2007-08 UCI Catalogue: Arts

DEPARTMENT OF MUSIC

303 Music and Media Building; (949) 824-6615
David Brodbeck, Department Chair

Undergraduate Program

Graduate Program

Courses

Faculty

Victor Aguilar, D.M.A. University of California, Los Angeles, Lecturer in Music (wind conducting)

Kei Akagi, B.A. International Christian University, Tokyo, UCI Chancellor's Professor of Music (piano, jazz studies)

Amy Bauer, Ph.D. Yale University, Assistant Professor of Music (music theory, critical theory)

Haroutune Bedelian, Associate of the Royal Academy of Music, London, Associate Professor of Music (violin)

David Brodbeck, Ph.D. University of Pennsylvania, Department Chair and Professor of Music, and The Robert and Marjorie Rawlins Chair in Music (musicology)

Rae Linda Brown, Ph.D. Yale University, Associate Professor of Music (musicology)

Robin Buck, M.M. University of Southern California, Associate Professor of Music (vocal arts)

Ellie Choate, M.A. California State University, Long Beach, Lecturer in Music (harp)

Jonathan Davis, D.M.A. The Juilliard School of Music, Lecturer in Music (oboe)

Michael Dessen, Ph.D. University of California, San Diego, Assistant Professor of Music (composition, critical theory)

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, Professor of Music and Informatics (composition, music technology)

Nohema Fernández, D.M.A. Stanford University, Dean of the Claire Trevor School of the Arts, Professor of Music, and Claire Trevor Dean's Endowed Chair (Latin American musics, piano)

Bernard Gilmore, D.M.A. Stanford University, Professor Emeritus of Music (composition, theory)

Frederick Greene, M.Mus. Ed. University of Southern California, Lecturer in Music (tuba)

Lorna Griffitt, D.M. Indiana University, Lecturer in Music (piano)

Jason Harnell, Lecturer in Music (percussion, jazz studies)

Robert Hickok, B.Mus. Yale University, Professor Emeritus of Music (choral conducting)

Joseph B. Huszti, M.Mus. Northwestern University, Professor of Music (choral conducting)

Patricia Kaufmann, M.M. University of Southern California, Lecturer in Music (flute)

Jerzy Kosmala, D.M. Indiana University, Lecturer in Music (viola)

George McMullen, Lecturer in Music (trombone, jazz studies)

Margaret Murata, Ph.D. University of Chicago, Professor of Music (musicology)

Peter S. Odegard, Ph.D. University of California, Berkeley, Professor Emeritus of Music (theory, composition)

Darek Oles, B.A. California Institute of the Arts, Lecturer in Music (bass, jazz studies)

Hossein Omoumi, Ph.D. University of Florence, Maseeh Professor in Persian Performing Arts (Persian music)

Charles M. Owens, B.M. California State University, Los Angeles, Lecturer in Music (jazz studies)

Margaret Parkins, D.M.A. State University of New York at Stony Brook, Lecturer in Music (cello)

Colleen Reardon, Ph.D. University of California, Los Angeles, Associate Dean of the Claire Trevor School of the Arts and Professor of Music (musicology)

Bobby Rodriguez, D.M.A. University of California, Los Angeles, Lecturer in Music (trumpet, jazz studies)

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 (musicology)

David Stetson, B.M. University of Southern California, Lecturer in Music (trombone)

Darryl Taylor, D.M.A. University of Michigan, Associate Professor of Music (vocal arts)

Fred Tinsley, M.A. University of Redlands, Lecturer in Music (bass)

Stephen Tucker, D.M.A. University of California, Los Angeles, Assistant Professor of Music (orchestral conducting)

Amanda Walker, M.F.A. University of California, Los Angeles, Lecturer in Music (clarinet)

David Washburn, M.M. New England Conservatory of Music, Lecturer in Music (trumpet)

PROGRAMS OF STUDY

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 Bachelor of Arts (B.A.) degree program enables students to emphasize study in music history, music theory, composition, or performance within a curriculum that is flexible enough to allow for a second major, study abroad, and other curricular options. Students in this program currently receive two years of instrumental or vocal instruction and participate in a minimum of two years of ensemble or repertory classes. A senior thesis or project is required.

The Bachelor of Music (B.Mus.) degree program offers students the opportunity to specialize in piano performance, vocal performance, instrumental performance (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, percussion, violin, viola, violoncello, and double bass), jazz studies (piano, saxophone, trumpet, trombone, bass, and percussion), guitar and lute performance, and composition. Students in this program receive weekly private instrumental or vocal instruction, and present a solo recital during their senior year. In addition, B.Mus. students participate in a variety of ensembles and performance classes every quarter.

The Master of Fine Arts (M.F.A.) degree program allows for emphasis in choral conducting, collaborative piano, composition and technology, guitar/lute performance, instrumental performance, jazz studies, piano performance, and vocal arts.

CAREERS IN MUSIC

The Department's undergraduate programs offer a secure foundation in the academic and applied study of music. This does not necessarily mean, however, that all undergraduates will go on to become professional musicians or musicologists. A good number do indeed continue to further study at the graduate level. However, many also use their degrees in Music as a more general educational qualification. Music is perhaps unique among the arts and humanities in terms of the wide range of transferable skills developed in the undergraduate curriculum. Musicians learn how to think, to write, to present themselves in public, and to work collaboratively in different kinds of teams. They have intellectual, technical, and social skills that tend to be widely admired by employers in many fields. They have also demonstrated over the long term a determina

tion and commitment, and a desire to succeed, often beyond the norm. With a degree in Music, students will find that many career paths lie before them.

RECOMMENDED PROFICIENCY LEVELS

In addition to meeting the general requirements for admission to UCI, applicants must demonstrate technical and creative promise. The Department holds annual entrance auditions for potential freshmen and transfer students during the first few weeks of the winter quarter prior to the fall quarter in which entrance is anticipated. First-year students wishing to major in Music must demonstrate appropriate performance proficiency. Normally this implies a minimum of three years of private instrumental or vocal instruction, as well as technical facility with scales, chords, and arpeggios; sight-reading ability; and command of an appropriate repertoire. First-year students should have the ability to read music in both treble and bass clefs and have a knowledge of basic music theory. In addition, basic keyboard skills are highly desirable.

Examinations are held during Welcome Week in the fall quarter to determine proper placement into courses in musicianship, music theory, and (for transfer students) music history.

Transfer students should have had the equivalent of two years of college-level private instrumental or vocal instruction, two years of college-level music theory, one year of college-level music history, and appropriate fluency in ear-training, sight-singing, and basic keyboard skills.

Transfer students deficient in their level of performance or academic preparation should be prepared to extend their studies at UCI beyond two years in order to meet the requirements for graduation; at this time, however, transfer students cannot be guaranteed more than six quarters of private instrumental or vocal instruction.

REQUIREMENTS FOR THE BACHELOR'S DEGREE

University Requirements: See pages 57-62.

School Requirements: None.

Departmental Requirements—Common Curriculum

Three quarters of musicianship (Music 15A-B-C)

Three quarters of music theory (Music 16A-B-C)

One quarter of theory/musicianship (Music 16D)

Three quarters of music history (Music 40B-C-D)

Two quarters of courses selected from post-tonal theory (Music 35A-B); jazz theory (Music 36A-B); music technology (Music 51, 151, or 152); instrumentation (Music 136); and composition (Music 150)

One quarter of an upper-division topics course chosen from Music 140-148, Music 155B, Anthropology 138M, 138S, 139, or Chicano/Latino Studies 115A, 115B, 115C

One quarter of music analysis (Music 155A)

In addition to meeting these course requirements, all students must earn a passing grade on the departmental piano sight-reading examination, which is normally taken no later than the beginning of the third year.

Additional Requirements for the Bachelor of Arts Degree:

Six quarters of instrumental or vocal instruction (Music 165-170)

Six quarters of approved ensemble or repertory classes (Music 160-164, 171-176, 178, 194, or 197). Transfer students must complete at least three quarters of instrumental or vocal instruction and three quarters in ensemble or repertory courses while in residence at UCI.

Depending upon the student's area of emphasis, one of the following senior projects (Music 192P) must be completed: (1) a public lecture or lecture/performance lasting approximately 20 minutes, which may be based on work completed for another course; (2) a composition or portfolio of compositions of appropriate length; or (3) a thesis of at least 15 double-spaced pages on an appropriate musical subject, which may be based on work completed in another course. Proposed projects must be approved by the faculty 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 register for independent study (Music 199) in which to complete the project.

Additional Requirements for the Bachelor of Music Degree:

Instrumental or vocal instruction (Music 165-170) every quarter in residence up to a maximum of 12 quarters for entering freshmen and six quarters for transfer students. For students in composition, this requirement is met by taking six quarters of instrumental or vocal instruction (Music 165-170, normally taken during the freshman and sophomore years) and six quarters of composition instruction (Music 157, normally taken during the junior and senior years). Instruction beyond the maximum specified here 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 orchestra (Music 178), or advanced jazz combo (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). NOTE: Music 51, 136, and 151 may also be counted toward partial fulfillment of the common curriculum where appropriate.

Guitar and Lute: guitar and lute workshop (Music 174) and chamber ensembles (Music 176) each quarter of residence.

Jazz Studies: jazz theory (Music 36A-B), jazz improvisation (Music 181A-B-C), twelve quarters of orchestra, wind ensemble, or jazz orchestra as assigned by the Department (Music 160, 161, or 178), and nine quarters of chamber ensembles (Music 176 or 182). Transfer students take six quarters of orchestra, wind ensemble, or jazz orchestra and six quarters of chamber ensembles. NOTE: Music 36A-B may be counted toward partial fulfillment of the common curriculum where appropriate.

Piano: three quarters of keyboard skills (Music 21A-B-C); three quarters of piano literature (Music 122A-B-C); one quarter of piano pedagogy (Music 126); piano repertory (Music 175) every quarter in residence; six quarters of chamber ensembles (Music 176) and three quarters of

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: song literature (Music 156A-B), diction (Music 158A-B-C); chorus (Music 162) each quarter in residence; three quarters of opera workshop (Music 164); three quarters of word and music (Music 197).

Winds, Percussion, and Strings: large ensemble (Music 160-161) and chamber ensembles (Music 176) every quarter in residence.

MASTER OF FINE ARTS PROGRAM

Degree Offered

M.F.A. in Music, with emphasis in Choral Conducting, Collaborative Piano, Composition and Technology, Guitar/Lute Performance, Instrumental Performance, Jazz Studies, Piano Performance, and Vocal Arts.

Admission

Applications must be received by February 1. In addition to meeting all general requirements for admission to graduate study, applicants should hold a B.A. in Music, a B.Mus., or the equivalent.

Applications must be accompanied by a writing sample in English, preferably on a musical topic; this requirement may be fulfilled by the submission of an undergraduate paper or example of similar size and scope.

Applicants must audition for members of the Music faculty prior to the February deadline. In exceptional cases (as approved in advance by the departmental graduate advisor), a recently recorded performance may be accepted in lieu of a live audition. Applicants in composition must, in addition, submit a representative sample of scores and recordings of their works.

Applicants are expected to have good general knowledge of music history and music theory, competence in basic musicianship skills, including sight-singing, written and keyboard harmony, dictation, and basic keyboard facility (including sight-reading). Entering students will be given diagnostic tests in these areas prior to the beginning of classes and will be required to remedy any evident deficiencies during the first year in residence by registering for the appropriate undergraduate courses. Credit earned in such courses cannot be counted toward fulfillment of any degree requirement.

General Degree Requirements

Course requirements may be fulfilled only by graduate courses (numbered 200 and higher) and upper-division undergraduate courses (numbered 100 and higher), and only by those courses in which a grade of B or higher has been earned.

All students must complete the graduate core curriculum in bibliography (Music 200) and music analysis (Music 201A-B) and register for tutorial study in the major field (Music 210, 211, or 212) during every quarter in residence. Students in the emphasis in Composition and Technology and Instrumental Performance must enroll in an approved large ensemble during every quarter in residence.

Students enrolled in the emphasis in Choral Conducting, Collaborative Piano, Guitar/Lute Performance, Piano Performance, and Vocal Arts must fulfill a foreign language requirement, as described in the individual emphasis descriptions below. This requirement may be met either by attaining a passing score in the departmental examination or by earning a grade of B or higher in level 2A of an approved undergraduate language course.

All students must pass the Comprehensive Examination (normally taken during the fifth quarter in residence) and perform one or more public recitals. Details are found in the individual emphasis descriptions below.

Individual Emphasis Requirements

Choral Conducting

Languages: reading knowledge of French, German, or Italian.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Choral Conducting (Music 210), every quarter in residence (maximum 24 units); Diction (Music 158A-B-C), 6 units (Note: this requirement may be met by examination, in which case these 6 units are taken as electives); Seminars (selected from Music 220, 230, 235), 12 units; electives, selected with advisor, 12 units; Graduate Recital (Music 214), 0 units.

Comprehensive Examination: This is a special field exam, related to (but not limited to) repertoire selected for the Graduate Recital. It is taken no later than March of the second year. The graduate committee sets the exam 24 hours in advance; the student makes an oral presentation and then fields the committee's questions.

Collaborative Piano

Languages: reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum 24 units); Seminar (selected from Music 220, 230, 235), 4 units; Diction (Music 158A-B-C), 6 units (Note: This requirement is waived for students who demonstrate competence in this area by passing a diagnostic exam, in which case these 6 units are taken as electives); Song Literature (Music 156A-B-C), 6 units; Chamber Ensembles (Music 176), 6 units; two Graduate Recitals (Music 214), one instrumental and one vocal, 0 units.

Comprehensive Examination: This is a special field exam, related to (but not limited to) repertoire selected for the Graduate Recitals. It is taken no later than March of the second year. The graduate committee sets the exam 24 hours in advance; the student makes an oral presentation and then fields the committee's questions.

Composition and Technology

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Composition (Music 212), every quarter in residence (maximum of 24 units); Music Technology (Music 215), 8 units; Seminars (selected from Music 220, 230, 235), 12 units (Note: must include at least one quarter of Music 235 or comparable course in critical studies, selected with advisor); Music electives, 8 units (selected from Music 136, 145-148, 191, 215 [beyond the two quarters required above], 220 [beyond those used to meet the seminar requirement above], 240, 250); participation in a large ensemble or chamber group (Music 160, 161, 162, 162P, 171, 176, 178, or 182), 6 units; Graduate Recital (Music 214), 0 units.

(Note: Preparation and public presentation of a project in composition [major composition, recital of compositions, CD/DVD, etc.], including score and supporting written essay.)

Comprehensive Examination: Successful oral defense of the recital project (music and essay) before the faculty committee.

Guitar/Lute Performance

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Guitar Accompanying (Music 189), 6 units; Graduate Project in Performance (Music 240), 4 units; Graduate Recital (Music 214), 0 units. (Note: The recital is supported by a written essay, presented in advance of the Comprehensive Examination.)

Instrumental Performance

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Large Ensemble (Music 160, 161), every quarter in residence (maximum of 12 units); Graduate Recital (Music 214), 0 units.

Jazz Studies

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Composition (Music 212), 12 units; Jazz Orchestra (Music 178), 6 units; Advanced Jazz Combo (Music 182), 6 units; Critical Studies in Music (Music 235) or other comparable course offered in another department, selected with advisor, 4 units; Graduate Recital (Music 214), 0 units.

Piano Performance

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Electives, selected with advisor (upper division or graduate, Music or non-Music), 4 units; two Graduate Recitals (Music 214), 0 units.

Vocal Arts

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Opera Workshop (Music 164), 6 units; Electives, selected with advisor (upper division or graduate, Music or non-Music), 10 units; Graduate Recital (Music 214), 0 units.

Courses in Music

LOWER-DIVISION

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.

8 The Music of the Beatles (4). Provides students the opportunity to develop their understanding of the basic elements of music while providing an introduction to selective broader cultural themes (e.g., the "teenage culture" of the 1950s and the "youth counter-culture" in the late 1960s).

9 History of Rock (4). 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)

15A-B-C Musicianship (2-2-2) F, W, S. Interval and chord quality identification, melodic and harmonic dictation, tonal and chromatic sight-singing, rhythmic reading and dictation, and keyboard harmony. Corequisite: Music 16A-B-C. Open to Music majors only.

16A-B-C Music Theory (4-4-4) 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. Corequisites: Music 15A-B-C.

16D Theory/Musicanship (4) F. 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. Prerequisites: Music 15A-B-C and 16A-B-C.

21A-B-C Keyboard Skills (1-1-1) F, W, S. Designed to develop the foundational skills of sight-reading, harmonization, transposition, improvisation, figured bass realization, and score reading.

25A-B-C Fundamentals Music (2-2-2) F, W, S. 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.

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 Major Composer (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). 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.

78A, B History of Jazz (4, 4). 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.

UPPER-DIVISION

122A-B-C Piano Literature (2-2-2) F, W, S. Survey of stringed keyboard literature from the English Virginalists through twentieth-century composers. Historical, formal, and stylistic considerations of music presented. Performances by class participants and occasional outside guests. Prerequisites: Music 16A-B-C.

126 Piano Pedagogy (2). The materials and methods of piano instruction are examined and evaluated.

135 Advanced Counterpoint (4). Advanced exercises and composition in two- and three-part tonal writing, canon, and fugue, as well as some contemporary forms. Prerequisite: Music 43.

136 Instrumentation (4). 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 140-148 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). Prerequisite when offered for upper-division writing: satisfactory completion of the lower-division writing requirement.

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.

148 Studies in Ethnomusicology (4)

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.

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. Prerequisites: Music 16D and 40B-C, or equivalent; satisfactory completion of the lower-division writing requirement.

156A-B-C Song Literature (2-2-2) F, W, S. A survey of song literature. Designed as an overview of the song repertoire. 156A: German Lieder. 156B: Songs of other European languages. 156C: National Schools.

157 Advanced Study in Composition (2) F, W, S. Individual weekly lessons in composition. Prerequisite: Music 150. Open only to upper-division Music majors. May be taken for credit six times.

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.

159 Vocal Pedagogy (2). Survey about the physical structure of the singing mechanism, science, and philosophy of studio instruction.

160 University Orchestra (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. Advanced 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 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.

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.

172 Men in Blaque (2) F, W, S. Men's chamber choir studying and performing music in original SATB and TTBB voicing. Gregorian chant, Renaissance motets and masses, part-songs from the Romantic era by Schubert and Schumann, folksongs, spirituals, jazz and contemporary literature comprises majority of repertoire. May be taken for credit 12 times.

173 Athletics Bands (1 to 2) F, W, S. Bands support athletic events including Drumline: study and rehearsal of rudiments, cadences, arrangements; Marching Band: exercises and performance of marching fundamentals, formations, precision drills; Pep Bands: rehearsal and performance of variety of music styles for athletic events, school, community, private functions. May be repeated for credit.

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 (1) F, W, S. Weekly one-hour meetings for piano 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. 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.

178 Jazz Orchestra (1) 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 Advanced Jazz Combo (2) F, W, S. Small-group jazz ensemble and improvisational workshop. Range of music covered encompasses the full traditional jazz from improvised ragtime up through the most current avant-garde musical techniques. Prerequisite: consent of instructor. May be repeated for credit.

183A-B-C Jazz Composition (4-4-4) F, W, S. Performance and lecture course for writing and performing original jazz compositions. Emphasis is placed on composing as a way to create new improvisational frameworks. 183A: Study of be-bop and hard-bop compositional methods centered on diatonic and dominant-motion harmonic structures. 183B: Study of post-be-bop non-diatonic and modal structures. 183C: Study of modern tonal-center compositions, intervallic compositions, and alternate rhythms. Prerequisites: Music 36A-B and Music 78A, 78B.

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.

191 Tutorial in Music (1 to 4) F, W, S. Independent supplemental instruction related to student's area of study. 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.

193A-B Conducting (2-2). 193A: Introduces students to the basic technique employed in the practice of conducting. 193B: Application of advanced conducting techniques, score study, and leadership skills. Prerequisites: Music 16D and 40B-C-D or equivalent.

195 Orchestral Repertoire (2). Extensive study of orchestral repertoire, as represented in the canon. Exploration of new and emerging orchestral works and performance techniques. Prerequisites: Music 40B-C-D. May be taken for credit four times.

197 Word and Music (2). Performance class for advanced singers and pianists with emphasis on collaborative approach to vocal literature. 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.

GRADUATE

200 Bibliography and Research (4). 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. May be repeated for credit.

201A-B Analysis (4-4). Various approaches to analysis through concentrated study of a number of selected works.

210 Choral Conducting (4) F, W, S. Intensive private instruction and study of the various choral literatures. May be taken for credit six times.

211 Performance (4) F, W, S. Contents vary according to the student's major instrument. Intensive private instruction and study of the various literatures. May be taken for credit six times.

212 Composition (4) F, W, S. Intensive work in composition geared to each student's level of competence. May be repeated for credit.

213 Orchestral Conducting (4) F, W, S. Intensive private instruction in instrumental conducting. May be repeated for credit.

214 Graduate Recital (0) F, W, S. Performance of public recital. Satisfactory/Unsatisfactory only. May be taken for credit two times.

215 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. May be repeated for credit.

220 Seminar in Music History (4)

230 Seminar in Contemporary Music (4). Special seminar projects dealing with music of the twentieth century with emphasis on analytical techniques and style criticism. May be repeated for credit as topics vary.

235 Critical Studies in Music (4). A critical examination of Western music traditions, institutions, and aesthetics, employing new scholarship in music and new critical studies in other disciplines. May be repeated for credit.

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. May be repeated for credit.

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. May be repeated for credit.