292 Music Building; (949) 824-6615
Rae Linda Brown, Department Chair
Faculty
Kei Akagi, B.A. International Christian University, Tokyo, Lecturer in Music (piano, jazz studies)
Douglas Basye, M.M. Carnegie Mellon University, Lecturer in Music (bass)
Haroutune Bedelian, Associate of the Royal Academy of Music, London, Associate Professor of Music (violin)
Rae Linda Brown, Ph.D. Yale University, Department Chair and Associate Professor of Music, and Robert and Marjorie Rawlins Chair in Music (history, American musics)
Ellie Choate, M.A. California State University, Long Beach, Lecturer in Music (harp)
Thomas Cockrell, D.M.A. State University of New York at Stony Brook, Assistant Professor of Music and Director of the University Orchestra (conducting, analysis)
Christina Dahlin, M.F.A. University of California, Irvine, Lecturer in Music (voice, diction)
Arthur Davis, Ph.D. New York University, Lecturer in Music (bass, jazz studies)
Jonathan Davis, M.M. The Juilliard School of Music, Lecturer in Music (oboe)
Russell Dicey, B.F.A. California Institute of the Arts, Lecturer in Music (French horn)
Theresa Dimond, D.M.A. University of Southern California, Lecturer in Music (percussion)
Christopher Dobrian, Ph.D. University of California, San Diego, Assistant Professor of Music and of Information and Computer Science (electronic music, composition)
Nina Gilbert, D.M.A. Stanford University, Lecturer in Music (conducting, choral ensembles)
Bernard Gilmore, D.M.A. Stanford University, Professor of Music (composition, theory)
Patrick Goeser, M.A. University of Iowa, Lecturer in Music (voice)
Frederick Greene, M.Mus. Ed. University of Southern California, Lecturer in Music (tuba)
Lorna Griffitt, D.M. Indiana University, Lecturer in Music (piano)
Robert Hickok, B.Mus. Yale University, Professor Emeritus of Music (choral conducting)
Nina Hinson, M.M. University of Southern California, Lecturer in Music (voice, vocal pedagogy)
Joseph B. Huszti, M.Mus. Northwestern University, Professor of Music and Director of Voice and Choral Music (conducting, choral ensembles, voice)
Rosemary Hyler-Ritter, B.Mus. Catholic University of America, Lecturer in Music (accompanying, piano, vocal coaching)
Larry Kaplan, Performance Certificate, Academie Internationale in France, Lecturer in Music (flute)
Andrew Klein, B.F.A. California Institute of the Arts, Lecturer in Music (bassoon)
Alfred Lang, M.F.A. University of California, Irvine, Assistant Professor of Music and Director of the Wind Ensemble (trumpet, rock music)
Margaret Murata, Ph.D. University of Chicago, Professor of Music (history, analysis, criticism)
James Newton, B.M. California State University, Los Angeles, Professor of Music and Director of the Charles Mingus Jazz Ensemble (flute, jazz studies, composition)
Peter S. Odegard, Ph.D. University of California, Berkeley, Professor Emeritus of Music (theory, composition)
Charles M. Owens, B.M. California State University, Los Angeles, Lecturer in Music and Director of the Jazz Big Band (saxophone and jazz studies)
Margaret Parkins, D.M.A. State University of New York at Stony Brook, Lecturer in Music (cello)
Mahlon Schanzenbach, M.A. California State University, Long Beach, Lecturer in Drama and Music (voice)
John Schneiderman, B.Mus. University of California, Irvine, Lecturer in Music (guitar, lute)
Nina Scolnik, B.Mus. Oberlin Conservatory, Performance Diploma, The Juilliard School, Lecturer in Music (piano)
H. Colin Slim, Ph.D. Harvard University, Professor Emeritus of Music (history)
David Stetson, B.M. University of Southern California, Lecturer in Music (trombone)
Additional professional staff in instrumental music supplement the faculty in accordance with the needs of the program.
The Department of Music offers two undergraduate degrees (the Bachelor of Arts in Music and the Bachelor of Music) and the Master of Fine Arts degree in Music. The minor in Music is unavailable until further notice.
The Bachelor of Music (B.Mus.) degree program is performance-oriented. It offers students the opportunity to specialize in one of the following: bassoon, clarinet, composition, contrabass, flute, French horn, harp, jazz instrumental, lute and guitar, oboe, percussion, piano, saxophone, trombone, trumpet, tuba, viola, violin, violoncello, or voice. (The specialization appears on the student's UCI transcript.) In addition, B.Mus. students may qualify for the Special String Performance option, an intensified curriculum for professional-level students. All B.Mus. students receive weekly private instruction, for a maximum of 12 quarters for entering freshmen or six quarters for transfers and composition students, and present a solo recital during their senior year. B.Mus. students participate in performance classes each quarter. Vocal performance students focus on diction, movement, stage presentation, repertory, criticism, and style. Guitar and lute students focus on ensemble work, repertory with other instruments and voice, criticism, and pedagogy. Piano students give weekly solo performances before other students, and also focus on criticism, style, and interpretation. String, wind, brass, percussion, and also piano students focus on quartet work, small ensembles, and solo sonatas privately coached and presented in afternoon recitals.
The Bachelor of Arts (B.A.) degree program enables students to pursue elective subjects in music (such as analysis, history, or jazz), in the arts, or in other academic disciplines. Students receive two years of instrumental or vocal instruction and participate at the same time in two years of ensemble or repertory classes. Students also complete a senior project in an area of interest: a historical project, a composition, or a lecture/performance.
Music scholarships are offered to promising undergraduate performers. Scholarship awards are generally based on the preadmission auditions which are held in February.
The University's Education Abroad Program offers students the opportunity to study abroad during their junior year. Music majors may enroll in conservatories and universities in several countries; highly qualified performers may be eligible to attend the Conservatorio G. B. Martini in Bologna, Italy. See the Educational Abroad Program section for additional information.
In each baccalaureate degree program, students receive private lessons on their instruments or in voice, and perform in orchestral or choral concerts, in chamber ensembles, and in solo recitals; however, such participation varies according to which degree the student pursues.
A five-year program coordinated with the UCI Department of Education is available for students interested in obtaining a California Teaching Credential.
The Master of Fine Arts (M.F.A.) degree program in Music emphasizes Accompanying, Choral Conducting, Composition and Technology, Guitar/Lute Performance, Instrumental Performance, Jazz Composition, Jazz Instrumental Performance, Piano Performance, and Vocal Performance.
Choral/Vocal
Choral ensembles at UCI offer all students, regardless of major, the opportunity to sing. Regular ensembles include the California Chamber Singers, Concert Choir, Madrigal Singers, Men's Chorus, Women's Chorus, and Women's Chamber Choir. Performances range from international concert tours, to Southern California concert venues, to campus concerts. The Department produces the annual Madrigal Dinner celebrating the court of Henry VIII. Annual invitational choral festivals are an integral part of the program. Opera and oratorio performances feature student soloists.
Instrumental
The UCI Symphony Orchestra offers participants an opportunity to explore the great masterworks of the standard orchestra repertory. The most proficient students have an opportunity to perform a concerto with the orchestra by winning the annual concerto competition. The symphony performs six times a year including collaborations with the UCI Opera Theatre and the Departments of Dance and Drama. Productions have included Bizet's Carmen and Humperdinck's Hansel and Gretel.
A cornerstone of instrumental study at UCI is the chamber music program. Small ensembles, coached by the faculty, have frequent opportunities to perform.
Additional student performance opportunities are available with four conducted ensembles: the Wind Ensemble performs great works from the concert band literature; the Jazz Big Band performs a variety of jazz big band repertoire; the Charles Mingus Jazz Ensemble performs improvised ragtime to the most current avante-garde jazz; and the UCI Band plays at athletic events, including home basketball season games.
Composition
Students have the opportunity to compose works for performances by undergraduates and graduates, chamber groups, and a student modern music chamber ensemble. Selected student works may be read by the large performing ensembles.
A degree in Music offers many career opportunities. Music is a highly competitive profession and a degree may or may not lead to professional employment with an orchestra or as a concert artist. Many graduates do, however, become successful freelance members of symphony orchestras, composers, and performers. Many others go on to pursue graduate degrees in performance, music history, conducting, arts management, music librarianship, composition, or secondary or postsecondary education. Some graduates have made careers in music publishing and in the recording industry.
All applicants for admission are required to pass an audition in their principal performing medium and will receive information concerning the mandatory audition approximately 60 days following the close of the application period.
Freshmen students wishing to enter either of the baccalaureate degree programs in Music must demonstrate appropriate performance proficiency and should have had a minimum of two years of instrumental or vocal instruction. They should know scales, fundamental notation, triads, and have the ability to read music in both treble and bass clefs. Basic keyboard skill is highly desirable, as is experience as a solo performer. Choral, orchestral, band, or stage experience is desirable. Freshmen students who wish to pursue the B.Mus. degree should have, in addition to the above, at least three years (instead of two years) of private instruction; knowledge of scales, chords, and arpeggios; sight-reading ability; and a solo repertory from the sonata or chamber literature or the art song and oratorio literature.
Transfer students pursuing either undergraduate degree should have had college-level private instrumental or vocal instruction; two years of music theory; the history of western music; ear-training; sight-singing; sight-reading; and piano. All transfer students must pass a performance audition in order to enter either baccalaureate degree program.
For transfer students pursuing the B.Mus. degree, results of placement tests will determine the minimum number of quarters necessary to complete degree requirements. All transfer students must take placement tests in musicianship, theory, and history in order to transfer these courses in fulfillment of the UCI Music degree requirements. These placement tests are given just before the beginning of the student's first quarter of study at UCI.
It is strongly recommended that all entering B.Mus. students have at least the following experience and/or abilities in music:
Composition students--instrumental or vocal performance proficiency as listed below for the appropriate instrument; submission of original instrumental and/or electronic compositions (scores and/or tapes) demonstrating creative talent and writing ability.
Guitar and lute students--knowledge of basic chord shapes, ability to read basic chord progressions and staff notation or tablature. Prior knowledge of the lute is desirable but not required. Guitarists with a nonclassical background (fingerstyle, jazz, rock) will be considered if they have adequate facility on the instrument and the desire to explore the classical guitar and lute repertory.
Jazz instrumental students--ability to produce a focused, clear tone and precise intonation on their instrument. Students must perform from memory at least three blues compositions and three compositions (32 bar or other) chosen from Ellington, Parker, Coltrane, Mingus, Monk, or Wayne Shorter. Students also must perform by memory the major, minor, blues, and altered scales in all keys.
Percussion students--mastery of rudimentary snare drum techniques to include open and closed rolls, flams, ruffs, and drags; familiarity with mallet percussion instruments (including bells, xylophone, and marimba) and ability to play rolls on tympani; knowledge of tuning techniques and basic rhythmic reading, major and minor scales, and basic note-reading skills.
Piano students--ability to perform from memory a prelude and fugue from Bach's Well-Tempered Clavier, the first movement of a classical sonata of the difficulty of a Beethoven sonata, excluding op. 49 nos. 1 and 2 and op. 79, and a composition from the romantic period or twentieth century.
Special String Performance students--Violin: major and minor scales and arpeggios through three octaves, one movement from a Bach unaccompanied sonata or partita, one movement from a classical or romantic sonata, two contrasting movements of a classical or romantic concerto from the standard repertory; Viola: major and minor scales and arpeggios through three octaves, one movement from a Bach suite, one movement of a sonata or concerto from the standard repertory (e.g., Brahms sonata, or concertos by Handel, Hoffmeister, Bartók, or Telemann); Violoncello: major and minor scales and arpeggios through three octaves, one movement from a classical sonata (e.g., Sammartini G major sonata, Beethoven sonata) or two contrasting movements from a Bach suite, one movement from a romantic sonata (e.g., Brahms, Strauss) or one movement from a concerto from the standard repertory (e.g., Lalo, Saint-Saëns, Dvôrák, Haydn, Boccherini); Double Bass: major and minor scales and arpeggios, a solo from Saint-Saëns' Carnival of the Animals or comparable work, two contrasting movements from any concerto of the standard repertory.
String students--ability to produce a clear tone and precise intonation with and without vibrato; controlled vibrato; slurred, detaché, louré, staccato, and simple spiccato bow strokes; knowledge of all major and minor scales and arpeggios; ability to play and read repertory of a difficulty comparable to the symphonies of Haydn, Mozart, Beethoven, and Schubert as well as demonstrable knowledge of the sonata and/or chamber music literature for the particular instrument.
Voice students--ability to perform solo literature; at least two years of private study and/or participation in choral or instrumental ensemble; some facility at the keyboard; a background in Italian, French, and German art songs.
Woodwind and brass students--ability to sustain tone production; accurate intonation over a dynamic range (from pianissimo to fortissimo); control of breath and articulation; all major and minor scales and arpeggios (legato and staccato) commensurate with the range and technique of the particular instrument; ability to play and read repertory from the seventeenth century to the present.
| Course Groups by Specialization | |
| Composition | |
| Private Lesson | Music 157 |
| Ensembles | Music 160, 161, 162, 171, 174, |
| 176, 178 | |
| Guitar/Lute | |
| Private Lesson | Music 170 |
| Solo Performance Class | Music 174 |
| Ensemble | Music 176 |
| Jazz | |
| Private Lesson | Music 165, 167, 169 |
| Solo Performance Class | Music 176 |
| Ensemble | Music 160, 161, 178, or 182 |
| Percussion | |
| Private Lesson | Music 169 |
| Solo Performance Class | Music 176 |
| Ensemble | Music 160, 161, or 178 |
| Piano | |
| Private Lesson | Music 165 |
| Solo Performance Class | Music 175 |
| Ensemble | Music 176 |
| String | |
| Private Lesson | Music 166 |
| Solo Performance Class | Music 176 or 194 |
| Ensemble | Music 160 |
| Voice | |
| Private Lesson | Music 168 |
| Solo Performance Class | Music 63, 163 |
| Ensemble | Music 162 |
| Woodwind/Brass | |
| Private Lesson | Music 167 |
| Solo Performance Class | Music 176 |
| Ensemble | Music 160, 161, or 178 |
University Requirements: See pages 54-59.
School Requirements: None.
Departmental Requirements--Core
Four quarters of theory/musicianship (Music 16A-B-C-D); two quarters of courses chosen from post-tonal theory (Music 35A-B), jazz theory (Music 36A-B), counterpoint (Music 43) or advanced counterpoint (Music 135), instrumentation (Music 136), composition (Music 150), music technology (Music 51, 151, or 152); one year of music history (Music 40B-C-D); attainment of a passing score on the Piano Sight-Reading Examination, to be taken no later than the first quarter of the junior year.
NOTE: Composition students may not use Music 136, 150, and 151 to satisfy core requirements.
Bachelor of Arts Degree: Satisfactory completion of the Core requirements; one quarter of analysis (Music 155A); one quarter upper-division topics course chosen from the Music 140-147 series or Music 155B; two years of instrumental or vocal instruction (12 units maximum, selected from Music 165-170); two years of ensemble or repertory classes as assigned by the Department selected from Music 63, 160-164, 171-176, 178, 194, or 197. Lesson must be taken concurrently with ensemble or repertory class. Transfer students must complete at least six units of instrumental or vocal instruction in residence and six units in ensemble or repertory courses in residence.
Students may choose to emphasize Analysis, History, Performance, and Jazz. One of the following senior projects must be completed: (1) a lecture or lecture/performance (including jazz) of approximately 20 minutes in length on a musical subject presented to students, faculty, and guests, which can be a revision of a paper or project prepared for a course; (2) a composition or group of compositions of appropriate length; or (3) a thesis of at least 15 typed, double-spaced pages on a musical subject, which can be based on material taken from a course other than Music 155B. Proposed projects must be approved by the B.A. advisor by the end of the fall quarter of the year in which graduation is expected. Upon approval of the project proposal and with faculty supervision, a student may take Music 199 to research and write the thesis.
Sample Program -- B.A.
| FALL | WINTER | SPRING |
| Freshman | ||
| Music 16A | Music 16B | Music 16C |
| Lessons | Lessons | Lessons |
| Ensemble | Ensemble | Ensemble |
| Lower-division writing | Lower-division writing | Lower-division writing |
| Sophomore | ||
| Music 16D | Music elective1 | Music elective1 |
| Lessons | Lessons | Lessons |
| Ensemble | Ensemble | Ensemble |
| Breadth II | Breadth II | Breadth II |
| Breadth VI | Breadth VI | Breadth VI |
| Junior2 | ||
| Music 40B | Music 40C | Music 40D |
| Breadth III | Breadth III | Upper-division writing |
| Breadth VI | Breadth V | Breadth V |
| Breadth V | Elective | Elective |
| Senior | ||
| Music 155A | Music 140-147, or 155B | Music 192P |
| Breadth VII | Breadth VII | Breadth III |
| Elective | Elective | Elective |
| Elective | Elective | Elective |
| Elective | ||
1 Selected from the following: Music 35A-B, 36A-B, 43, 51, 135, 136, 150, 151, or 152.
2 Piano sight-reading examination should be taken no later than the first quarter of junior year.
Bachelor of Music Degree: Satisfactory completion of the Core requirements; one quarter of analysis (Music 155A); one quarter upper-division topics course chosen from the Music 140-147 series or Music 155B; instrumental or vocal students receive instruction each quarter of residence (Music 165-170) for a maximum of 12 quarters for entering freshmen and six quarters for transfer students. Composition students receive instruction for six quarters (Music 157) normally in their junior and senior years. Instruction beyond the maximum must be approved by the department; senior recital (Music 192S); completion of the following courses according to the approved Bachelor of Music specialization:
Composition: six quarters of ensemble performance selected from orchestra (Music 160), wind ensemble (Music 161), chorus (Music 162 or 171), chamber ensembles (Music 174 or 176), jazz big band (Music 178), or Charles Mingus jazz ensemble (Music 182); one quarter instrumentation (Music 136); two quarters of music technology (Music 51 and 151); three quarters of composition (Music 150). A senior project (Music 192P) may be substituted for the recital (Music 192S).
Guitar and Lute: guitar and lute workshop (Music 174) and chamber ensembles (Music 176) each quarter of residence.
Jazz Instrumental: jazz big band (Music 178), Charles Mingus jazz ensemble (Music 182), orchestra (Music 160), wind ensemble (Music 161) as assigned by the Department, and chamber ensembles (Music 176) each quarter of residence.
Orchestral or Band instruments: orchestra, wind ensemble, or jazz big band, as assigned by the Department (Music 160, 161, or 178) and chamber ensembles (Music 176) each quarter of residence.
Piano: piano repertory (Music 175 each quarter of residence); nine quarters of chamber ensembles (Music 176) or accompanying (Music 162P, 164P, 166P, or 197) as assigned by the Department. Transfer students must complete six quarters of chamber ensembles or accompanying in residence.
Voice: chorus (Music 162) each quarter of residence, and a minimum of six quarters of vocal performance (three quarters of Music 63 and three quarters of Music 163) for entering freshmen and a minimum of three quarters (Music 163) for transfer students. Three quarters of diction (Music 158) and two quarters of song literature (Music 156) are required for upper-division students. Vocal coaching (Music 168L) is also recommended for senior-level students, with approval from the Department, for three quarters, and must be taken concurrently with Music 163. During the quarter of their senior recital, students, with written permission of the Music faculty, may be exempted from a portion of their ensemble requirement.
NOTE: "Each quarter of residence" refers to residence within the major and residence at UCI.
Sample Program -- B.Mus.
| FALL | WINTER | SPRING |
| Freshman | ||
| Music 16A | Music 16B | Music 16C |
| Major group1 | Major group1 | Major group1 |
| Lower-division writing | Lower-division writing | Lower-division writing |
| Sophomore | ||
| Music 16D | Music elective2 | Music elective2 |
| Major group1 | Major group1 | Major group1 |
| Breadth II | Breadth II | Breadth II |
| Breadth VI | Breadth VI | Breadth VI |
| Junior3 | ||
| Music 40B | Music 40C | Music 40D |
| Major group1 | Major group1 | Major group1 |
| Breadth VI | Breadth III | Upper-division writing |
| Breadth V | Breadth V | Breadth V |
| Senior | ||
| Music 155A | Music 140-147, or 155B | Major group1 |
| Major group1 | Major group1 | Music 192S |
| Breadth VII | Breadth VII | Breadth III |
| Breadth III | ||
1 Three courses taken concurrently that are determined by the student's major. See Course Groups by Specialization chart.
2 Selected from the following: Music 35A-B, 36A-B, 43, 51, 135, 136, 150, 151, or 152.
3 Piano sight-reading examination should be taken no later than the first quarter of junior year.
Sample Program -- B.Mus. in Composition
| FALL | WINTER | SPRING | |
| Freshman | |||
| Music 16A | Music 16B | Music 16C | |
| Ensemble1 | Ensemble1 | Ensemble1 | |
| Lower-division writing | Lower-division writing | Lower-division writing | |
| Breadth II | Breadth II | Breadth II | |
| Sophomore | |||
| Music 16D | Music elective2 | Music elective2 | |
| Music 150 | Music 150 | Music 150 | |
| Ensemble1 | Ensemble1 | Ensemble1 | |
| Breadth V | Breadth V | Breadth V | |
| Junior3 | |||
| Music 40B | Music 40C | Music 40D | |
| Music 51 | Music 151 | Music 136 | |
| Music 157 | Music 157 | Music 157 | |
| Breadth VI | Breadth VI | Upper-division writing | |
| Breadth VI | |||
| Senior | |||
| Music 155A | Music 140-147, or 155B | Music 157 | |
| Music 157 | Music 157 | Music 192P or 192S | |
| Breadth VI | Breadth III | Breadth III | |
| Breadth VII | Breadth VII | Breadth III | |
| Elective | |||
1 Selected from the following: Music 160, 161, 162, 171, 174, 176, or 178.
2 Selected from the following: Music 35A-B, 36A-B, 43, 51, 135, or 152.
3 Piano sight-reading examination should be taken no later than the first quarter of junior year.
Sample Program -- B.Mus. in Voice
| FALL | WINTER | SPRING |
| Freshman | ||
| Music 16A | Music 16B | Music 16C |
| Music 162 | Music 162 | Music 162 |
| Music 168 | Music 168 | Music 168 |
| Lower-division writing | Lower-division writing | Lower-division writing |
| Sophomore | ||
| Music 16D | Music elective1 | Music elective1 |
| Music 63 | Music 63 | Music 63 |
| Music 162 | Music 162 | Music 162 |
| Music 168 | Music 168 | Music 168 |
| Breadth II | Breadth II | Breadth II |
| Breadth VI | Breadth VI | Breadth VI |
| Junior2 | ||
| Music 40B | Music 40C | Music 40D |
| Music 156 | Music 156 | Upper-division writing |
| Music 158 | Music 158 | Music 158 |
| Music 162 | Music 162 | Music 162 |
| Music 168 | Music 168 | Music 168 |
| Breadth VI | Breadth III | Breadth V |
| Breadth V | Breadth V | Breadth III |
| Senior | ||
| Music 155A | Music 140-147, or 155B | Music 192S |
| Music 162 | Music 162 | Music 162 |
| Music 163 | Music 163 | Music 163 |
| Music 168 | Music 168 | Music 168 |
| Music 168L | Music 168L | Music 168L |
| Breadth VII | Breadth VII | Breadth III |
1 Selected from the following: Music 35A-B, 36A-B, 43, 51, 135, 136, 150, 151, or 152.
2 Piano sight-reading examination should be taken no later than the first quarter of junior year.
Bachelor of Music Degree (Special String Performance): Satisfactory completion of the Core requirements; four years of instruction in the major instrument (Music 77 and 177); four years of orchestra (Music 160); two years of chamber music (Music 194); any three courses in history or criticism of art, dance history, development of drama, dramatic literature, or film criticism; four to eight units of a music elective selected from Music 135, 140-147, 155A-B; senior recital (Music 196).
Degree Offered
M.F.A. in Music, with emphasis in Accompanying, Choral Conducting, Composition and Technology, Guitar/Lute Performance, Instrumental Performance, Jazz Composition, Jazz Instrumental Performance, Piano Performance, and Vocal Performance.
Admission
Applications for admission to the degree program should be submitted by March 1 for the following fall quarter. Applicants must meet the general requirements for admission to graduate study and hold a B.A. in Music, or B.Mus., or the equivalent. Applicants should have completed the equivalent of two years of study in a foreign language.
Applicants must also submit a substantial sample of their writing, preferably on a musical subject (analytical, theoretical, historical); this requirement may be fulfilled by the submission of an undergraduate term paper.
All applicants for programs in performance must audition for members of the Music faculty by March 1. In special cases, a recently recorded demonstration of performance may be accepted. Applicants for programs in composition must submit scores and tapes of their works.
All applicants for admission must demonstrate competence in basic musical skills: sight-singing, written and keyboard harmony, dictation, and minimal facility at the keyboard (including sight-reading). In some cases, students who do not demonstrate appropriate proficiency in some area may be considered for admission. If admitted, these students will be required to make up any deficiency by the end of the first year of residency. All applicants who are admitted will be given a placement examination prior to the beginning of their studies.
General Degree Requirements
Normally, two years of residence are required. Each candidate must enroll for at least 12 units each quarter (normally consisting of three courses) for six quarters, exclusive of summer sessions. Students in choral conducting, vocal performance, and keyboard performance must demonstrate reading knowledge of French, German, Italian, Spanish, or Latin by passing a written examination administered through the Department of Music, or by passing the appropriate language course (level 2A) for one quarter. This course must be passed with a grade of B or better to fulfill the foreign language requirement. Students who are required to fulfill this requirement must do so prior to the comprehensive examination.
Comprehensive examinations are taken after the fourth quarter in residence as a prerequisite to candidacy for the M.F.A. degree. A student who fails the comprehensive examination may reschedule it once in the following quarter.
Specific Degree Requirements
Seventy-two quarter units in graduate or approved upper-division undergraduate courses must be completed with a grade of at least B in each course. Total units must include 52 units of graduate-level courses, and not more than 20 units in upper-division courses may count toward the degree. Specific course requirements must be completed in one of the following areas:
Accompanying: Bibliography (Music 200); two courses in analysis (Music 201A-B); six courses in instrumental literature (Music 211); one seminar (Music 220, 230, or 235); two graduate projects (Music 240); Directed Reading (Music 250); three courses of vocal or choral accompanying (Music 197, 162P, or 164) and two courses of instrumental or chamber accompanying (Music 166P or 176) as assigned by the Department; three courses of diction (Music 158) and two courses of song literature (Music 156). There will be a recital at the end of each of the two years of residence.
Choral Conducting: Bibliography (Music 200); two courses in analysis (Music 201A-B); one seminar (Music 220, 230, or 235); two studio tutorials (Music 190); five courses in choral literature (Music 210); Tutorial in Music (Music 191); Directed Reading (Music 250); two graduate projects (Music 240); 10 units of electives selected in consultation with head of student's program area; participation in performance (Music 162, 164, or 171) as assigned by the Department each quarter of residence of which only six units may be counted toward degree requirements; preparation of choral performance supported by a paper (circa 15-25 pages) in the second year of residence.
Composition and Technology: Bibliography (Music 200); two courses in analysis (Music 201A-B); six courses in composition (Music 212); two courses in music technology (Music 215); two seminars (Music 220 or 230); Critical Studies in Music (Music 235); 10 units of electives selected from Music 136, 145-147, 190, 191, 201A, 215, 220, 240, and 250; participation in a large ensemble or chamber group for three quarters selected from Music 160, 161, 162, 162P, 171, 176, 178, 182, 194, 197; preparation of a project in composition, including score and supporting written essay, in the second year of residence.
Guitar/Lute Performance: Bibliography (Music 200); two courses in analysis (Music 201A-B); one seminar (Music 220, 230, or 235); six courses in instrumental literature (Music 211); two graduate projects (Music 240); six quarters of chamber ensembles (Music 176 or 189) as assigned by instructors; 12 units of electives selected in consultation with head of student's program area. There will be a solo recital at the end of the second year of residence supported by a written essay submitted prior to the recital.
Instrumental Performance: Bibliography (Music 200); two courses in analysis (Music 201A-B); one seminar (Music 220, 230, or 235); six courses in instrumental literature (Music 211); six quarters of chamber ensembles (Music 176) as assigned by instructors; two graduate projects (Music 240); six units of electives selected in consultation with head of student's program area; participation in a large ensemble as assigned by the Department (Music 160, 161, or 178) each quarter of residence of which only six units may be counted toward degree requirements. There will be a solo recital at the end of the second year of residence supported by a written essay submitted prior to the recital.
Jazz Composition: Bibliography (Music 200); Analysis (Music 201B); six courses in composition (Music 212); two courses in music technology (Music 215); two seminars (Music 220 or 230); Critical Studies in Music (Music 235); two graduate projects (Music 240); six units of electives selected from Music 136, 145-147, 160, 161, 190, 191, 194, 201A, 215, 220, 240, and 250; participation in a large ensemble or chamber group for three quarters selected from Music 160, 161, 176, 178, and 194; preparation of a project in composition, including score and supporting written essay, in the second year of residence.
Jazz Instrumental Performance: Bibliography (Music 200); Analysis (Music 201B); six courses in instrumental literature (Music 211); one course in music technology (Music 215); two seminars (Music 220 or 230); Critical Studies in Music (Music 235); two graduate projects (Music 240); 10 units of electives selected from Music 136, 145-147, 160, 161, 190, 191, 194, 201A, 215, 220, 240, and 250; participation in a large ensemble or chamber group as assigned by the Department (Music 176, 178, or 182) each quarter of residence, of which only six units may be counted toward degree requirements; preparation of a project in performance supported by a written essay submitted prior to the recital in the second year of residence.
Piano Performance: Bibliography (Music 200); two courses in analysis (Music 201A-B); one seminar (Music 220, 230, or 235); six courses in instrumental literature (Music 211); two graduate projects (Music 240); six quarters of chamber ensembles (Music 176) as assigned by instructors each quarter of residence; 12 units of electives selected in consultation with head of student's program area. There will be a solo recital at the end of each of the two years of residence. Prior to the second-year recital, student must submit a supporting written essay of the performance material.
Vocal Performance: Bibliography (Music 200); two courses in analysis (Music 201A-B); one seminar (Music 220, 230, or 235); Studio Tutorial (Music 190); Vocal Pedagogy (Music 159); four quarters of vocal performance (Music 163) with concurrent enrollment in vocal coaching (Music 168L); six courses in vocal literature (Music 210); two graduate projects (Music 240); Directed Reading (Music 250); one elective selected in consultation with head of student's program area; participation in performance as assigned by the Department (Music 162, 164, 190, or 240) each quarter of residence, of which only six units may be counted toward degree requirements; preparation of a performance supported by a written essay submitted prior to the recital in the second year of residence.
2 Percussion Laboratory (1). Introduction to percussion instruments and basic performing skills and notations. Prerequisites: restricted to Office of Teacher Education students pursuing a teaching credential; ability to read music.
3 Music Appreciation (4). Introductory learning-to-listen course. Students develop musical understanding through listening to live and recorded performances: identifying such elements as melody, meter, mode, pitch, rhythm, harmony, and timbre; applying those concepts to music from a wide range of historical and cultural origins.
6 Instrumental Laboratory (2). Basic studio introduction to strings, winds, and brass instruments. Students must provide their own instruments. Prerequisites: restricted to Office of Teacher Education students entering in or enrolled in the single-subject teaching credential program; Music 25 or equivalent.
7 Gospel Choir (2) F, W, S. Learning about and performing American spirituals and gospel songs. Approach is one of cultural scholarship rather than "musically straight." Performances are given throughout the year. May be repeated for credit. Same as African American Studies 10.
9 History of Rock (4) S. Explores the development of rock music--its history and stylistic development from a political, sociological, and musical perspective.
10 Piano for Majors (2) F, W, S. For Music majors with little or no piano experience. Provides the necessary background for realizing keyboard exercises required in the theory and harmony courses, and develops skills to play and sight-read simple music from different periods. Pass/Not Pass only. May be taken for credit three times.
14A-B-C European and American Music: 1700--Twentieth Century (4-4-4) F, W, S. Survey of European and American music from the Baroque period through the twentieth century. 14A: Baroque and Classical music with adequate attention given to the Medieval and Renaissance periods. 14B: The nineteenth and twentieth centuries. 14C: Selected topics in American music. (IV)
16A-B-C-D Theory/Musicianship (6-6-6-6) F, W, S. 16A: Basic concepts and materials. Major and minor scales, intervals between pitches, key signatures, elements of rhythm, diatonic chords in root position, and inversion. Simple and compound meters. 16B: Principles of voice-leading, harmonic progression. Triads in first inversion. Triads in second inversion (6-4 chords). Syncopation in simple and compound meters. 16C: Phrase structure, non-chord tones, the V7 chord and its resolutions, inversions of the V7 chord, ii7 and vii7, other diatonic seventh chords. Non-symmetrical meters and mixed meters. 16D: Chromaticism and altered chords, secondary (applied) V and V7 chords, secondary vii7 chords, common--chord and common--tone modulations, other modulations, mode mixture, the Neapolitan chord, augmented-sixth chords, altered dominant chords, extended chords (ninth, eleventh, and thirteenth chords), harmonic practices of the late nineteenth century.
18 Basic Voice (2) Summer. Class instruction for nonmusic majors. Prerequisite: Music 25 or consent of instructor. May be repeated for credit.
25 Fundamentals of Music (2) Summer. Scales, key signatures, notation, basic progressions, intervals, reading, intonation, transposition, basic rhythms.
35A-B Post-Tonal Theory (4-4) W, S. Study of significant harmonic, rhythmic, and structural practices since 1900. Analysis and written work exploring free atonality and serialism; neo-tonal practices such as use of extended tertian harmonies, modalism, pandiatonicism, and non-tertian harmonies; structural principles such as aleatory, metric modulation and minimalism. Prerequisite: Music 16D.
36A-B Jazz Theory (4-4) W, S. 36A: Introduction to the jazz symbols and terminology. Study of the most basic harmonic and melodic devices used by the jazz improviser. Emphasis is placed on understanding harmonization. Prerequisite: Music 16D. 36B: Continuation of the study of harmonic and melodic devices in jazz with emphasis on role that bi-tonality has in modern idiom. Use of non-chordal notes is examined as well as a look at reharmonization of pre-existing melodies. Prerequisite: Music 36A.
40B-C History of European Music to Wagner (4-4) F, W. A survey of Western music. An introduction to the analysis of musical styles and forms and to the sources for constructing music history and reconstructing historical music. 40B: to J.S. Bach; 40C: to Richard Wagner. Prerequisites: Music 16C; Music 35B recommended for 40C. Open to Music majors only. (IV, VII-B)
40D Twentieth-Century Music (4) S. Survey of principal composers, movements, and compositional techniques of Western art music of the modern era. Prerequisites: Music 16D and 40B-C. (IV, VII-B)
41 Great Composers (4). Study of the works of an important composer with emphasis on their significance in historical and social contexts. Composers selected represent a wide variety of historical periods, nationalities, and stylistic orientations. Primarily for non-music majors; majors may enroll with permission. May be taken for credit two times as topics vary.
43 Counterpoint (4) W. Studies in contrapuntal practices of various style periods such as the sixteenth, eighteenth, and twentieth centuries. Prerequisite: Music 16D.
51 Music Technology and Computers (4) F. A study of the influence of technology on the musical culture and aesthetics of America in the twentieth century, with particular emphasis on the role of the computer. Work includes lectures, readings, listenings, discussions, demonstrations, writing, and experimentation.
63 Vocal Performance (1) F, W, S. Performance class for lower-division students emphasizing the development of style and stage presentation of song literature. Repertoire chosen from material assigned in the voice studio. May be repeated for credit. Formerly Music 63A-B-C.
77 Private Lesson (Special String Performance majors) (4) F, W, S. A one-hour weekly private lesson. Instruction in technique and literature. For lower-division Special String Performance students only. May be repeated for credit.
78A, B History of Jazz (4, 4) F, W. 78A: Development of jazz from its African and African-American folk origins through blues, early jazz and the swing era. 78B: Continuation of the above survey, concentrating on bebop, "cool" jazz, and fusion. (VII-A)
92 Sophomore Recital (0) F, W, S. Solo or joint public recital by audition only and with departmental approval. Prerequisite: Music 16C. Corequisite: Music 174, 175, or 176. Open only to Music majors, except students concentrating in voice. Pass/Not Pass only.
135 Advanced Counterpoint (4) S. Advanced exercises and composition in two- and three-part tonal writing, canon, and fugue, as well as some contemporary forms. Prerequisite: Music 43. Formerly Music 135B.
136 Instrumentation (4) W. Ranges and capabilities of modern orchestral instruments. Exercise in writing for various combinations of wind, string, and percussion instruments and for full orchestra. Prerequisite: Music 16C.
NOTE: Courses in the 140-147 sequence are for Music majors and include such topics as: The Motet in the Thirteenth and Fourteenth Centuries (140), Renaissance Keyboard Music (141), The Cantatas of Bach (142), Mozart's Operas (143), Early Nineteenth-Century Opera (144), Schoenberg, Bartók, and Stravinsky (145), Duke Ellington, Miles Davis, and Billie Holliday (146). Topics vary from quarter to quarter; each course may be repeated for credit. Some topics courses are open to nonmajors.
140 Studies in Medieval Music (4)
141 Studies in Renaissance Music (4)
142 Studies in Baroque Music (4)
143 Studies in Classical Music (4)
144 Studies in Romantic Music (4)
145 Studies in Twentieth-Century Music (4). Prerequisites: satisfactory completion of the lower-division writing requirement and upper-division standing.
146 Studies in Jazz Music (4)
147 Studies in Music Technology (4) F, W, S. Specialized topics in electronic music, computer-aided music, and other aspects of music technology.
150 Composition (4) F, W, S. Exercises and projects for diverse instrumental-vocal combinations; contemporary techniques and problems. Participation in the improvisation ensemble and working with electronic media. Prerequisite: Music 16C or consent of instructor. May be repeated for credit. Formerly Music 150A-B-C.
151 Computer Music Composition (4) W. Exercises in the composition of music uniquely possible by computer, including digital signal processing, computer control of synthesizers and processors, and algorithmic composition. Demonstrations and musical analyses in class; considerable studio work outside class. Prerequisite: Music 51 or consent of instructor.
152 Interactive Arts Programming (4) S. Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art. Prerequisite: Music 151 or Studio Art 106 or consent of instructor.
155A-B Analysis (4-4) F, W. Methods of formal analysis applicable to all Western musical styles: additive, continuous, transformational, and hierarchic forms; rhythm, texture, and sonority as form and process. Prerequisite: Music 16D and 40B-C, or equivalent; satisfactory completion of the lower-division writing requirement.
156A-B Song Literature (2-2) F, W. A survey of song literature. Designed as an overview of the song repertoire. 156A: German Lieder. 156B: Songs of other European languages. Open only to upper-division Music majors.
157 Advanced Study in Composition (2) F, W, S. Individual weekly lessons in composition. Prerequisite: Music 150C. Open only to upper-division Music majors.
158A-B-C Diction (2-2-2) F, W, S. In-depth study of the International Phonetic Alphabet (IPA), including its transcription and pronunciation, and its application for singers. 158A: Introduction to IPA and Italian diction. 158B: French diction. 158C: German diction. Open only to upper-division Music majors.
159 Vocal Pedagogy (2) S. Survey about the physical structure of the singing mechanism, science, and philosophy of studio instruction.
160 University Orchestra (1 to 2) F, W, S. Study and performance of standard orchestral repertory and works by contemporary composers. Emphasis on ensemble techniques including articulation, balance, phrasing, expression, accompanying. Two concerts per quarter; musicians required to attend all rehearsals. By audition only. May be repeated for credit.
160L Orchestral Tutorial (1 to 2) F, W, S. Tutorial instruction for individual players in the University Orchestra, combining private instruction with independent practice. Corequisite: Music 160. Open to nonmajors only with consent of Department of Music and instructor. May be repeated for credit.
161 Wind Ensemble (2) F, W, S. An ensemble devoted to the study and performance of music written for varying combinations of wind and percussion instruments. Concerts typically include works for small groups (e.g., octets), as well as those for full symphonic wind ensemble. Membership open to both Music majors and nonmajors by audition only. May be repeated for credit.
162 University Chorus (2) F, W, S. Included in the University Chorus are Concert Choir, Madrigal Singers, Men's Chorus, Women's Chorus. Each quarter a major concert is prepared, often with orchestral accompaniment. Membership is open by audition. May be repeated for credit.
162L Basic Voice Lab (2) F, W, S. Vocal technique and musicianship for selected singers in UCI's choral organizations. Not open to Music majors. Corequisite: Music 162. Prerequisite: consent of Director of the choral group. May be repeated for credit.
162P University Chorus: Accompanying (2) F, W, S. Keyboard accompanying for one of the UCI choral organizations, with individual coaching in sight reading, score reading, and other accompanying skills. Prerequisite: consent of instructor. May be repeated for credit.
162S Summer Choir (2) Summer. Participants with all levels of experience (or inexperience) are encouraged to join this class. Each meeting is a rehearsal, where students learn basic choral singing techniques and apply those techniques to choral repertoire. Pass/Not Pass only. May be repeated for credit.
163 Vocal Performance (1) F, W, S. Performance class for upper-division students emphasizing the development of style and stage presentation of song literature. Repertoire chosen from material assigned in the voice studio. May be repeated for credit. Formerly Music 163A-B-C.
164 Opera Workshop (2) F, W, S. Students participate in staged performances of scenes from complete operas. The aim is to broaden the repertoire of singers by offering them opportunities to become acquainted with a wide variety of operatic roles.
164P Opera Workshop: Accompanying (2) F, W, S. Training in techniques and operatic repertory for keyboard players. Prerequisite: consent of instructor May be repeated for credit.
165 Advanced Study in Piano (2) F, W, S. Designed to give students the technique, musical insight, and performance experience for interpreting works of the piano literature in concert performances. Private weekly lessons. Open to Music majors only. May be repeated for credit.
166 Advanced Study for String Instruments (2) F, W, S. Private weekly lessons. Open to Music majors and minors only. Corequisite: Music 160, 161, 162, or 178. May be repeated for credit.
166P String Accompaniment (2) F, W, S. Chamber ensemble experience with the solo string repertory for keyboard, participation in the weekly string master class, performance in public recitals. Prerequisite: consent of instructor. May be taken for credit three times.
167 Advanced Study for Wind Instruments (2) F, W, S. Private weekly lessons. Open to Music majors and minors only. Corequisite: Music 160, 161, 162, or 178. May be repeated for credit.
168 Advanced Study in Voice (2) F, W, S. Designed for voice majors; students are selected by audition. Private weekly lessons. Corequisite: concurrent enrollment in Music 162 or 171. May be repeated for credit.
169 Advanced Study for Percussion Instruments (2) F, W, S. Private weekly lessons. Corequisite: Music 160, 161, or 178 as assigned by the Department. Open to Music majors only. May be repeated for credit.
170 Advanced Study for Guitar and Lute (2) F, W, S. Private weekly lessons. Corequisite: Music 174. Open to Music majors and minors only. May be repeated for credit.
171 Chamber Singers (2) F, W, S. A select ensemble specializing in vocal chamber music from all periods. Frequent performances on and off campus. Membership is open to all singers by audition. May be repeated for credit.
173 Band (2). A 40- to 50-member ensemble which plays classical, jazz, and pop arrangements for athletic events and social and charity functions both on and off campus.
174 Guitar and Lute Workshop (2) F, W, S. An informal master class for the discussion of solo repertory and performance practice, this workshop also includes special topics such as historical notational systems, traditional American guitar styles, and demonstrations of period plucked instruments.
175 Piano Repertory (2) F, W, S. Weekly two-hour meetings for students to perform before each other, followed by open discussion. The aim is to develop a sense of self-criticism and the ability to listen intelligently. Normally each student also participates quarterly in piano recitals. May be repeated for credit.
176 Chamber Ensembles (2) F, W, S. A class for instrumental majors. Instrumental students are assigned to various music ensembles, such as classical, jazz, contemporary, etc. May be repeated for credit.
177 Private Lesson (Special String Performance majors) (4) F, W, S. A one-hour weekly private lesson. Instruction in technique and literature for Special String Performance option at junior and senior levels. Corequisite: Music 196. May be repeated for credit.
178 Jazz Big Band (2) F, W, S. Rehearsal and performance of literature written for large jazz ensemble with emphasis on methods and materials. Laboratory setting for new arrangers and/or composers of modern jazz pieces. Prerequisite: consent of instructor. May be repeated for credit.
180 Music Criticism (4). Topics vary.
181A Beginning Jazz Improvisation (2) F. Develops the student's basic understanding of the fundamentals of jazz improvisation. Basic harmonic patterns, blues, modality, and simpler song forms are covered. This is a performance workshop requiring a reasonable amount of instrumental facility. Prerequisite: Music 16C or equivalent. Formerly Music 178I.
181B Intermediate Jazz Improvisation (2) W. Continuation of beginning jazz improvisation which covers various 32-bar song forms, modal improvisation and more sophisticated blues forms. Studies the development of improvisation through history of jazz including composers Ellington, Monk, Morton, Mingus, Coltrane, Silver, and others. Prerequisite: Music 181A.
181C Advanced Jazz Improvisation (2) S. Reviews the relationship between long-form composition and improvisation. The historical context of various improvisational styles and linear non-chordal improvisation are introduced. Prerequisite: Music 181B.
182 Charles Mingus Jazz Ensemble (2) F, W, S. Ensemble based on performance practices of Charles Mingus. Range of music covered encompasses the full traditional jazz from improvised ragtime up through the most current avant-garde musical techniques. Prerequisites: Music 181C or equivalent; consent of instructor.
189 Accompanying for Plucked Strings: Continuo and Changes (2) F, W, S. Students apply theory to their instruments as they learn the basics of pre-1800 continuo playing and post-1900 jazz charts. Includes discussions of appropriate repertory, treatment of harmonic progressions, and finer points of style and technique. Prerequisite: Music 16C. May be repeated for credit.
190 Studio Tutorials in Music (2) F, W, S. Private lessons for Music majors and minors in guitar/lute and percussion, as well as for graduate composition students in piano, strings, winds, voice, guitar/lute, and percussion. May be repeated for credit.
191 Tutorial in Music (4) F, W, S. May be repeated for credit.
192J Junior Recital (0) F, W, S. Solo or joint public recital by audition only and with departmental approval. Corequisite: Music 163, 174, 175, or 176. Prerequisite: Music 16D. Open to Music majors only. Pass/Not Pass only.
192P Senior Project (0) F, W, S. Senior project for Music majors in the B.A. program. Open to Music majors only. Pass/Not Pass only.
192S Senior Recital (0) F, W, S. Performance of solo public recital with departmental approval. The recital must include at least one work composed since 1945. Corequisites: Music 163, 174, 175, or 176. Prerequisites: Music 16D, 40B-C-D or equivalent; and Music 155A. Pass/Not Pass only.
193 Conducting (4) S. Fundamentals of baton technique, score study, transposition, and orchestration. Prerequisites: Music 16D and 40B-C-D or equivalent. May be taken for credit twice.
194 Chamber Music (2) F, W, S. Performance of classical, romantic, and contemporary chamber music works. Includes private coaching (every other week) and an open forum for constructive criticism by class members. Open to string players and a limited number of woodwind players and pianists by audition. May be repeated for credit.
196 Special String Senior Recital (4) F, W, S. A full, public recital to be given in the senior year. The program must include works from the major periods of music (e.g., Baroque, classical, romantic, modern). The recital must include at least one work composed since 1945. For Special String Performance students only. Corequisite: Music 177. May be taken for credit two times.
197 Song Interpretation (2) F, W, S. Designed for advanced pianists to work with singers. Performance class on song. Variety of languages, countries, and styles. Prerequisite: consent of instructor. May be repeated for credit.
199 Independent Study (2) F, W, S. Research, writing, or composition work, under the guidance of a faculty member, normally undertaken in conjunction with preparation of the B.A. Senior Project. Prerequisite: consent of instructor. May be taken for credit two times.
All graduate courses may be repeated for credit except Music 201A-B.
200 Bibliography and Research (4) F, W. Required of all entering students. A systematic introduction to the bibliographical tools both in the general field of music and in the students' areas of specialization.
201A-B Analysis (4-4) F, W. Various approaches to analysis through concentrated study of a number of selected works. Formerly Music 201.
210 Vocal or Choral Literature (4) F, W, S. Intensive private instruction and study of the various vocal/choral literatures. May be taken for credit six times.
210R M.F.A. Vocal/Choral Recital (0) F, S. Performance of public recital. The recital must include at least one work composed since 1945. Satisfactory/Unsatisfactory only.
211 Graduate Studio: Instrumental Literature (4) F, W, S. Contents vary according to the student's major instrument. The core of this course is intensive private instruction and study of the various instrumental literatures. May be taken for credit six times.
211R M.F.A. Instrumental Recital (0) F, S. Performance of public recital. The recital must include at least one work composed since 1945. Satisfactory/Unsatisfactory only. May be taken for credit two times.
212 Graduate Studio: Composition (4) F, W, S. Intensive work in composition geared to each student's level of competence. May be repeated for credit.
215 Graduate Tutorial: Music Technology (4) F, W, S. Studies in the history, literature, composition, and performance of electronic and computer music, including instruction in the theory and usage of prevalent music technology.
220 Seminar in Music History (4)
230 Seminar in Contemporary Music (4) F, W, S. Special seminar projects dealing with music of the twentieth century with emphasis on analytical techniques and style criticism.
235 Critical Studies in Music (4) F, W, S. A critical examination of Western music traditions, institutions, and aesthetics, employing new scholarship in music and new critical studies in other disciplines.
240 Graduate Projects (4) F, W, S. Substantial projects in performance, conducting, or composition (other than those specifically required for the degree), accompanied by a summary paper.
250 Directed Reading (4). Individual research projects, resulting in the writing of a substantial paper pertaining to the principal area of concentration. May be repeated for credit.
399 University Teaching (1 to 4) F, W, S. Limited to Teaching Assistants.
