Claire Trevor School of the Arts - Department of Music

DEPARTMENT OF MUSIC

303 Music and Media Building; (949) 824-6615
http://music.arts.uci.edu/
David Brodbeck, Department Chair

Faculty / Undergraduate Program / Graduate Program / Courses

UNDERGRADUATE PROGRAM

The Department of Music offers the degrees of Bachelor of Arts in Music and Bachelor of Music. Both provide 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 determination 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.

The Bachelor of Arts (B.A.) degree program enables students to study 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. A senior thesis or project is required.

The Bachelor of Music (B.Mus.) degree program offers students the opportunity in their junior and senior years 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), and guitar and lute performance. Students in this program receive weekly private instrumental or vocal instruction, and present a public solo recital during their senior year. For details on admission to this program, see the description under Entrance to the Bachelor of Music Program on page 115.

Undergraduate Admissions. All applicants, regardless of their degree objective, apply to the B.A. program and must demonstrate appropriate vocal or instrumental proficiency, as determined by the results of the Department's required entrance audition (typically scheduled on campus in late January or early February). For the most up-to-date information, see the Department's Web site at http://music.arts.uci.edu. NOTE: Transfer applicants who perform at a sufficiently high level in the entrance audition, have the requisite background in music theory and musicianship, and wish to earn the B.Mus. rather than B.A. degree, will be offered the opportunity to change their degree objective from B.A. to B.Mus. upon matriculation at the University.

REQUIREMENTS FOR THE BACHELOR'S DEGREE IN MUSIC

University Requirements: See pages 54-61.

School Requirements: None.

Departmental Requirements—Common Curriculum: All courses must be completed with a grade of C- or higher.

Music 15A-B-C (Musicianship)

Music 16A-B-C (Music Theory)

Music 16D (Theory/Musicianship)

Music 40B-C (History of European Music: Josquin to Wagner)

Music 40D (Twentieth-Century Music)

Six quarters of instrumental or vocal instruction for Music majors (Music 65-70)

Additional Requirements for the Bachelor of Arts Degree

In addition to completing the common curriculum, students in the B.A. program must pass the departmental piano proficiency examination or take three quarters of Music 10 (Piano for Majors) with a grade of C or better and complete the following course requirements:

1. Three courses in Theory, Composition, and Technology, selected from Music 51 (Music Technology and Computers), Music 131 (Post-Tonal Theory), Music 132 (Jazz Theory), Music 136 (Instrumentation), Music 147 (Studies in Music Technology), Music 150 (Composition), Music 151 (Computer Music Composition), Music 152 (Interactive Arts Programming), Music 155 (Music Analysis), Music 157 (Advanced Study in Composition), Music 183A-B-C (Jazz Composition), Music 189 (Accompanying for Plucked Strings: Continuo and Changes).

2. Three courses in Music and Culture (including at least two upper-division courses) selected from Music 4 (Introduction to Opera), Music 8 (The Beatles and the Sixties), Music 9 (Rock: The Early Years), Music 14A, B, C (European and American Music: 1700 to the Twentieth Century), Music 41 (Major Composer), Music 42 (Music and Gender), Music 44 (Classical Music in Society), Music 78A, B (History of Jazz), Music 82A, B, C (Pish Radif: Introduction to Classical Persian Music), Music 140 (Studies in Medieval Music), Music 141 (Studies in Renaissance Music), Music 142 (Studies in Baroque Music), Music 143 (Studies in Classical Music), Music 144 (Studies in Romantic Music), Music 145 (Studies in Twentieth-Century Music), Music 146 (Studies in Jazz Music), Music 148 (Studies in Ethnomusicology), Music 149 (Studies in Music History), Music 156A-B-C (Song Literature), Music 180 (Music Criticism), Music 181 (Improvisation), Anthropology 138M (Music as Expressive Culture), Anthropology 138T (Africa and Afro-American Music), Chicano/Latino Studies 115A (Latino Music), Chicano/Latino Studies 115B (Music of Greater Mexico), Chicano/Latino Studies 115C (Afro-Latin Music), African American Studies 143 (Topics in African American Music), African American Studies 144 (Fire Music: Jazz and the Black Arts Movement).

3. Six courses in Performance and Practice selected from Music 21A-B-C (Keyboard Skills), Music 158A-B-C (Diction), Music 160 (University Orchestra), Music 161 (Wind Ensemble), Music 162 (University Chorus), Music 164 (Opera Workshop), Music 171 (Chamber Singers), Music 172 (Men in Blaque), Music 176 (Chamber Ensembles), Music 178 (Jazz Orchestra), Music 182 (Advanced Jazz Combo), Music 193 (Conducting), Music 197 (Word and Music).

4. Depending upon the student's area of emphasis, one of the following senior projects (which may develop work originally completed in meeting the requirements of another course) must be completed: (1) a formal lecture or lecture/performance lasting a minimum of 20 minutes; (2) a composition or portfolio of compositions of appropriate length growing out of work done in Music 157; or (3) a thesis of at least 20 double-spaced pages on an appropriate musical subject. Proposed projects, along with the name of the Senate faculty member who has agreed to supervise it, must be submitted to the undergraduate faculty advisor by November 1 of the academic year in which graduation is expected.

Upon approval of the project proposal the student may register for up to two quarters of independent study (Music 199) in which to complete the project.

Departmental Honors Program in Music and Culture

The Honors Program in Music and Culture is designed to challenge superior students in the B.A. or B.Mus. program beyond the academic requirements of the Music major. It provides them with the opportunity to advance their knowledge in the scholarly fields of music while developing their writing, analytical, and research skills. The honors program is ideally suited for students who wish to study music at the graduate level, but not in performance, and who may be preparing for graduate work in arts criticism, the humanities, the social sciences, and the law.

Eligibility requirements are (1) completion of the core requirements for the major; (2) an overall GPA of 3.5 or higher; and (3) completion of the eligibility form (available for download through the Departmental Web site).

Admission to the Honors Program in Music and Culture is competitive. Students must apply no later than the spring quarter of their junior year. The application should be accompanied by two substantial writing samples. These may represent work done for courses at UCI. Only truly exceptional students may undertake Honors projects.

Students who are admitted to the Honors Program, regardless of whether they are in the B.A. or B.Mus. program, are required to complete three additional courses in categories 1 and 2 under Additional Requirements for the Bachelor of Arts Degree beyond those taken in fulfillment of the core requirement; all three must be upper-division courses (numbered 100 or higher). Relevant upper-division courses in other departments may be taken to fulfill this requirement by approval of the Department Honors Committee.

The capstone project is a senior thesis, an extended original research project prepared under the supervision of the faculty advisor on a topic chosen by the student in consultation with that advisor. The thesis topic must be approved by the Departmental Honors Committee prior to the end of the fall quarter of the senior year. Students develop their topic during an ensuing two-quarter sequence of Senior Thesis (Music 195A-B). Upon successful completion of the thesis, a single grade is applied for both quarters and 4 units (total) are posted to the student's record (2 units each for Music 195A and 195B).

Entrance to the Bachelor of Music Degree Program

Admission to the B.Mus. degree program is by a second audition (the B.Mus. audition), typically taken in the spring quarter of the second year (for most students) or, in certain circumstances, in the first year (for third-year transfers only). The B.Mus. audition is evaluated by at least two members of the faculty. No student will be allowed to begin the B.Mus. program before having completed Music 15A, B, C and Music 16A, B, C (or their equivalents at another institution).

Additional Requirements for the Bachelor of Music Degree

In addition to completing the common curriculum, students in the B.Mus. program must pass the departmental piano proficiency examination, perform a senior recital (and, for voice students only, a junior recital), and complete the following course requirements:

1. Three courses in Theory, Composition, and Technology including Music 155 (Music Analysis) and two others selected from Music 51 (Music Technology and Computers), Music 131 (Post-Tonal Theory), Music 132 (Jazz Theory), Music 136 (Instrumentation), Music 147 (Studies in Music Technology), Music 150 (Composition), Music 151 (Computer Music Composition), Music 152 (Interactive Arts Programming), Music 157 (Advanced Study in Composition), Music 183A-B-C (Jazz Composition), Music 189 (Accompanying for Plucked Strings: Continuo and Changes).

2. Three courses in Music and Culture selected from Music 41 (Major Composer), Music 42 (Music and Gender), Music 44 (Classical Music in Society), Music 140 (Studies in Medieval Music), Music 141 (Studies in Renaissance Music), Music 142 (Studies in Baroque Music), Music 143 (Studies in Classical Music), Music 144 (Studies in Romantic Music), Music 145 (Studies in Twentieth-Century Music), Music 146 (Studies in Jazz Music), Music 148 (Studies in Ethnomusicology), Music 149 (Studies in Music History), Music 180 (Music Criticism), Music 181 (Improvisation), Anthropology 138M (Music as Expressive Culture), Anthropology 138T (Africa and Afro-American Music), Chicano/Latino Studies 115A (Latino Music), Chicano/Latino Studies 115C (African-Latin Music), African American Studies 143 (Topics in African American Music), African American Studies 144 (Fire Music: Jazz and the Black Arts Movement).

3. Six quarters of instrumental or vocal instruction for Music Performance majors (Music 165-170).

4. Completion of the following courses according to the approved Bachelor of Music specialization:

Guitar and Lute: Music 176 (Chamber Ensembles), every quarter in residence.

Jazz Studies: Music 78A (History of Jazz); Music 132 (Jazz Theory); Music 160 (University Orchestra), Music 161 (Wind Ensemble), or Music 178 (Jazz Orchestra); and Music 176 (Chamber Ensembles) or Music 182 (Advanced Jazz Combo), every quarter in residence.

Piano: Music 21A-B-C (Keyboard Skills); Music 122A-B-C (Piano Literature); Music 126 (Piano Pedagogy); six quarters of Music 176 (Chamber Ensembles) and three quarters of Music 162P, 164P, 166P, or 197 (Accompanying), as assigned by the Department. Transfer students must complete six quarters of chamber ensembles and/or accompanying in residence.

Voice: Music 156A-B (Song Literature), Music 158A-B-C (Diction); nine quarters of choral ensembles (minimum of three quarters for junior transfers; minimum of six quarters for sophomore transfers) selected from Music 162 (University Chorus), Music 171 (Chamber Singers), or Music 172 (Men in Blaque); three quarters of Music 164 (Opera Workshop).

Woodwinds, Brass, Percussion, and Strings: Music 160 (University Orchestra) or Music 161 (Wind Ensemble); and Music 176 (Chamber Ensembles), every quarter in residence.

Study Abroad

The Department actively encourages this option for eligible students and makes every effort to accommodate the student's work abroad within departmental requirements. Interested students should consult with the undergraduate faculty advisor at the earliest possible date for advice on this matter. For further information, see http://www.cie.uci.edu/academics/music.html.

MASTER OF FINE ARTS PROGRAM

Degree Offered

M.F.A. in Music, with emphasis in Choral Conducting, Collaborative Piano, Guitar/Lute Performance, Instrumental Performance, Integrated Composition, Improvisation, and Technology (ICIT), Piano Performance, and Vocal Arts.

Admission

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.

The online application must be submitted and all supporting materials must be received by January 15. Late applications cannot be considered. Supporting materials must include at least one substantial writing sample, preferably on a musical subject. This requirement may be fulfilled by the submission of an undergraduate paper of appropriate scope, preferably on a musical topic.

Applicants must audition for members of the Music faculty by February 1. 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 except those in the ICIT emphasis must complete the graduate core curriculum in bibliography (Music 200) and music analysis (Music 201A-B). All students must register for tutorial study in the major field (Music 210, 211, or 212) during every quarter in residence. Students in the emphasis in Instrumental Performance must enroll in an approved large ensemble during every quarter in residence.

Students enrolled in the emphasis in Choral Conducting, Collaborative Piano, 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.

The normative time to degree for students in the M.F.A. program is two years. Residence is required. The normative time to degree can be extended to three years only through a petition to the Chair of the Department. The maximum time to degree is three years. Students who do not complete the degree in three years will be dropped from the program.

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), 3 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.

Guitar/Lute 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), 3 units; Accompanying for Plucked Strings: Continuo and Changes (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), 3 units; Large Ensemble (Music 160, 161), every quarter in residence (maximum of 12 units); Graduate Recital (Music 214), 0 units.

Integrated Composition, Improvisation, and Technology (ICIT)

Course Work: Seminar in Creative Practices (Music 209) every quarter of the first year in residence, 12 units; Composition (Music 212) every quarter in residence after the first year, maximum of 12 units; two courses in Music Technology (Music 215), 8 units; Improvisation (Music 231), 4 units; Critical Studies in Music (Music 235), 4 units; three additional graduate-level seminars, two of which must be selected from Music 230 or 236, with the third seminar chosen with the approval of the faculty advisor; Thesis Colloquium (Music 239), 1 unit in the first year, 2 units in the second year, for a total of 3 units.

Comprehensive Examination: Preparation and public presentation of a capstone project of original music (concert of original works or comparable body of original recorded music), including full documentation (scores and recordings as applicable) and a supporting written essay. Successful oral defense of the capstone project (music and essay) before the faculty committee.

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), 3 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

(Schedule of Classes designation: Music)

LOWER-DIVISION

3 Introduction to Music (4). Introduction to musical concepts and active listening skills. Students develop musical understanding through critical readings, selected repertoire, fundamental concepts related to rhythm, pitch, and genre. Students apply those concepts to music from a wide range of historical and cultural origins. (IV)

4 Introduction to Opera (4). Introduces students who have no musical background to the dramatic and performance conventions of the genre of opera and to some of its most successful examples, and suggests ways of developing a critical stance vis-a-vis the social, political, gender-related, and moral conflicts that are presented by composers and librettists. (IV)

8 The Beatles and the Sixties (4). Through a study of the music of the Beatles, students are introduced to selected broader historical and cultural themes (e.g., race and music, gender and music, music and the counterculture) while developing an understanding of the basic elements of music. (IV)

9 Rock: The Early Years (4). Surveys the social and cultural fabric of the post-World War II United States (from the late 1940s through the early 1970s) as seen through the prism of music—rock and roll music. (IV)

10 Piano for Majors (1) 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. May be taken for credit three times. Open to Music and Music Performance majors only.

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. May be taken in any order. 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. Corequisite: Music 16A-B-C. Prerequisite:a minimum grade of C- is required to advance from one stage to the next in the Music 15A-B-C sequence. Open to Music and Music Performance majors only.

16A-B-C Music Theory (4-4-4) F, W, S. 16A: Review of music fundamentals. Triad and seventh chords, musical texture, chord spacing, embellishing tones, and introduction to diatonic harmony. Part-writing and model composition with tonic, dominant seventh, and subdominant harmonies. 16B: Introduction to phrase structure. Part-writing and harmonization with predominants, linear dominants, 6/4 embellishing chords, leading-tone and other diatonic seventh chords. Advanced meters and rhythmic-metric dissonance. Diatonic sequence. Introduction to tonicization and modulation through motion to V and III. 16C: Tonicization and modulation to closely related keys. Simple binary and ternary forms. Voice-leading reductions and simple forms. Diatonic sequence with seventh chords. Introduction to chromatic harmony I: modal exchange and mixture chords, the Neapolitan and augmented sixth chords. Corequisites: Music 15A-B-C. Prerequisite: a minimum grade of C- is required to advance from one stage to the next in the Music 16A-B-C-D sequence. Open to Music and Music Performance majors only.

16D Theory/Musicianship (4) F. Extended homophonic and contrapuntal formal designs (continuous variations, rondo form, sonata form, invention, fugue). Embellishing chromatic chords, dominant prolongation, modulations to foreign keys, extended harmonies, chromatic sequence, chromatic voice-leading and symmetrical divisions of the octave. Prerequisites: Music 15A-B-C and 16A-B-C, all with a minimum grade of C-. Open to Music and Music Performance majors only.

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. Open to Music and Music Performance majors only.

25 Music Fundamentals (4). 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. Formerly Music 25A.

40B-C History of European Music: Josquin to Wagner (4-4) F, W. 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. Prerequisite: Music 16C with a grade of C- or higher. 40C: to Richard Wagner. Prerequisite: Music 40B with a grade of C- or higher; Music 16D recommended. Music and Music Performance majors have first consideration for enrollment. (IV, VIII)

40D Twentieth-Century Music (4) S. Survey of principal composers, movements, and compositional techniques of Western art music of the modern era. Prerequisite: Music 16C with a grade of C- or higher. Music and Music Performance majors have first consideration for enrollment. (IV, VIII)

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. May be taken for credit two times as topics vary.

42 Music and Gender (4). Explores various intersections between music and gender. Examines ways in which gender and sexuality have played a vital role in the creation, dissemination, and consumption of music ranging from medieval Christian mysticism to contemporary hip-hop artists. (IV, VIII)

44 Classical Music in Society (4). Examines some ways in which classical music has played an integral role in aspects of society. Studies pieces from different cultural, political, and historical contexts in order to understand how musical meaning is created and interpreted. (IV, VIII)

51 Music Technology and Computers (4). A study of the influence of technology on the musical culture and aesthetics from the twentieth century to the present, with particular emphasis on the role of the computer. Work includes lectures, readings, listenings, discussions, demonstrations, writing, and experimentation. (IV)

65 Piano for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

66 Strings for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

67 Winds for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

68 Voice for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

69 Percussion for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

70 Guitar, Lute, and Other Plucked Instruments for Music Majors (4). Private weekly lessons. May be taken for credit six times. Open to Music majors only.

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. Music and Music Performance majors have first consideration for enrollment. (VII)

82A, B, C Pish Radif: Introduction to Classical Persian Music (4, 4, 4) F, W, S. Survey of art music in Iran and the basic structures of classical Persian music. Students learn through vocal exercises how Persian music evolved and how it was influenced by Persian poetry. An interest in vocal music is strongly recommended.

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. Open to Music and Music Performance majors only.

126 Piano Pedagogy (2). The materials and methods of piano instruction are examined and evaluated. Open to Music and Music Performance majors only.

131 Post-Tonal Theory (4). 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. Open to Music and Music Performance majors only.

132 Jazz Theory (4). Study of jazz harmony and melody construction in improvisation. Covered topics include terminology, chord symbols, notation, voicings, and scales as commonly used in jazz and popular music. Issues regarding tonality and ramifications of the blue scale are also examined. Prerequisite: Music 16D. Open to Music and Music Performance majors only.

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. Open to Music and Music Performance majors only.

140 Studies in Medieval Music (4). Open to Music and Music Performance majors only.

141 Studies in Renaissance Music (4). Prerequisite: Music 40B or equivalent, or consent of instructor. May be taken for credit three times. Open to Music and Music Performance majors only.

142 Studies in Baroque Music (4). Prerequisite: Music 40B or equivalent, or consent of instructor. Open to Music and Music Performance majors only.

143 Studies in Classical Music (4). Prerequisite: Music 40C or equivalent, or consent of instructor; and when offered for upper-division writing credit, satisfactory completion of the lower-division writing requirement. May be taken for credit three times. Open to Music and Music Performance majors only.

144 Studies in Romantic Music (4). Prerequisite: Music 40C or equivalent, or consent of instructor. May be taken for credit three times. Open to Music and Music Performance majors only.

145 Studies in Twentieth-Century Music (4). Prerequisites: satisfactory completion of the lower-division writing requirement and upper-division standing. Open to Music and Music Performance majors only.

146 Studies in Jazz Music (4). Open to Music and Music Performance majors only.

147 Studies in Music Technology (4). Specialized topics in electronic music, computer-aided music, and other aspects of music technology.

148 Studies in Ethnomusicology (4). Open to Music and Music Performance majors only.

149 Studies in Music History (4). Specialized topics in musical genres; culture and social issues; performance practices; and interrelated arts. Prerequisites: satisfactory completion of the lower-division writing requirement; Music 40B-C-D or equivalent, or consent of instructor. Open to Music and Music Performance majors only.

150 Composition (4). 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. Open to Music and Music Performance majors only.

151 Computer Music Composition (4). 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). 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.

155 Music Analysis (4). 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. May be repeated for credit as topics vary. Open to Music and Music Performance majors only.

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: French mélodie. 156C: National Schools. Open to Music and Music Performance majors only.

157 Advanced Study in Composition (4). Individual weekly lessons in composition. Prerequisite: Music 150. Open only to upper-division Music majors. May be taken for credit six times. Open to Music and Music Performance majors only.

158A-B-C Diction (2-2-2). 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: German diction. 158C: French diction. Open to Music and Music Performance majors only.

159 Vocal Pedagogy (2). Survey about the physical structure of the singing mechanism, science and philosophy of studio instruction. Open to Music and Music Performance majors only.

160 University Orchestra (2) F, W, S. Study and performance of standard orchestral repertory and works by contemporary composers. Membership is open to all qualified students by audition only. May be repeated for credit.

161 Wind Ensemble (2) F, W, S. Study and performance of works written for varying combinations of wind and percussion instruments. Membership is open to all qualified students by audition only. May be repeated for credit.

162 Choral Ensembles (2) F, W, S. Make-up of the ensembles varies and may include University Chorus, Chamber Choir, Madrigal Singers, Women's Chorus, and Reading Choir. Membership is open to all qualified students by audition only. May be repeated for credit.

162L Basic Voice Lab (1) 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.

164 Opera Workshop (2 to 4). Preparation and performance of operatic repertoire, including arias, scenes, and fully staged operas, and/or stage training and role analysis. May be repeated for credit. Open to Music and Music Performance majors only.

164P Opera Workshop: Accompanying (2 to 4). Training in techniques and operatic repertory for keyboard players. Prerequisite: consent of instructor. May be repeated for credit.

165 Piano for Music Performance Majors (Piano II) (4) F, W, S. Private weekly lessons. May be taken for credit six times. Open to Music Performance majors only.

166 Strings for Music Performance Majors (Strings II) (4) F, W, S. Private weekly lessons. May be taken for credit six times. Open to Music Performance majors only.

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 Winds for Music Performance Majors (Winds II) (4) F, W, S. Private weekly lessons. May be taken for credit six times. Open to Music Performance majors only.

168 Voice for Music Performance Majors (Voice II) (4) F, W, S. Private weekly lessons. May be taken for credit six times. Open to Music Performance majors only.

169 Percussion for Music Performance Majors (Percussion II) (4) F, W, S. Private weekly lessons. May be taken for credit six times. Open to Music Performance majors only.

170 Guitar, Lute, and Other Plucked Instruments for Music Performance Majors (4) F, W, S. Private weekly lessons and a weekly master class/workshop for the discussion of solo repertory and performance practice, including special topics such as historical notational systems, traditional American guitar styles, and demonstrations of period plucked instruments. May be taken for credit six times. Open to Music Performance majors only.

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.

176 Chamber Ensembles (2) F, W, S. Make-up of the ensembles varies and may include various Classical ensembles, Latin Jazz Ensemble, Small Jazz Combos, Percussion Ensemble, and Guitar Ensemble. Membership is open to all qualified students by audition only. May be repeated for credit. Music and Music Performance majors have first consideration for enrollment.

178 Jazz Orchestra (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. Open to Music and Music Performance majors only.

180A Music and Material Culture (4) F, W, S. Examines the cultural value of secular musical objects such as scores, musical instruments, and cassette tapes beyond the period of their use. "Biographies" of not-sounding musical objects trace the changing social contexts in which they survived. Prerequisite: satisfactory completion of the lower-division writing requirement.

181 Improvisation (4). Improvisation has been central to all music traditions. Course explores real-time music-making in a variety of non-notated contexts. Different improvisational styles are presented, including jazz, Asian improvisation, and experimental modern music. Emphasis on actual classroom performance. May be repeated for credit as topics vary. Open to Music and Music Performance majors only.

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: Cyclical forms, modal compositions, blues-oriented compositions, ballad writing. Prerequisites: Music 78A and 132. 183B: Non-functional harmony, contemporary forms, free-bop, and current trends. Prerequisites: Music 78A, 132, 183A. 183C: Study of modern tonal-center compositions, intervallic compositions, and alternate rhythms. Prerequisites: Music 78A, 132, 183A-B. Open to Music and Music Performance majors only.

189 Accompanying for Plucked Strings: Continuo and Changes (2). 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. Open to Music and Music Performance majors only.

191 Tutorial in Music (1 to 4). Independent supplemental instruction related to student's area of study. May be repeated for credit.

193 Conducting (4). Introduces students to the basic techniques employed in the practice of conducting and includes score study and development of leadership skills. Prerequisites: Music 16D and 40B-C or equivalent. Formerly Music 193A. Open to Music and Music Performance majors only.

195A-B Senior Thesis (2-2). 195A: With consultation in regularly scheduled meetings, students identify and study relevant texts and materials and prepare a prospectus for an original thesis. Prerequisite: senior standing in the Honors Program in Music and Culture. In-progress grading. 195B: Students submit an outline and preliminary drafts of section of their thesis to the instructor, on a schedule supervised by the instructor. The final version will address the instructor's comments and criticisms. Prerequisite: Music 195A. Open to Music and Music Performance majors only.

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. Open to Music and Music Performance majors only.

199 Independent Study (2). Research, writing, or composition work, under the guidance of a faculty member. 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.

209 Seminar in Creative Practices (4) F, W, S. Core first-year seminar required for graduate students in the Integrated Composition, Improvisation, and Technology emphasis of the M.F.A. in Music. Composition and presentation of original student works, lecture, and discussion. May be taken for credit three times.

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. Authorization of instructor required. 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 contemporary music with emphasis on analytical techniques and style criticism. May be repeated for credit as topics vary.

231 Improvisation (4) F. Introduces the practice and history of improvisation in diverse fields of Western music since 1950. Performance projects and group critiques; weekly reading and listening assignments; participation in a class concert; and a research paper.

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.

236 Seminar in Integrated Composition, Improvisation, and Technology (4). Seminar studying new genres and topics that integrate composition, improvisation, new technologies, and non-classical cultures. May be repeated for credit as topics vary.

239 Thesis Colloquium (1 to 2) W. Second-year ICIT students present their thesis work-in-progress for discussion and criticism. Faculty and visiting artists/scholars also present their current work. May be taken for credit twice.

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. Satisfactory/Unsatisfactory only. May be repeated for credit.