Claire Trevor School of the Arts - Department of Music

DEPARTMENT OF MUSIC

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

Faculty

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

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

Haroutune Bedelian, Associate of the Royal Academy of Music, London, 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 (nineteenth- and twentieth-century music, popular music studies)

Rae Linda Brown, Ph.D. Yale University, Professor Emerita of Music (music history)

Robin Buck, M.M. University of Southern California, Associate Professor of Music and Director of the UCI Opera (vocal arts)

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

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 and improvisation)

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 and technology)

Nohema Fernández, D.M.A. Stanford University, Professor of Music (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 with Security of Employment, Music (piano)

Matthew Hare, D.M.A. University of Iowa, Lecturer in Music (double bass)

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 and Director of the UCI Choirs (choral conducting, vocal arts)

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

Kevin McKeown, M.M. University of California, Los Angeles, Lecturer in Music (wind conducting)

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

Elliott Moreau, M.M. University of Southern California, Lecturer in Music (bassoon)

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

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 and Director of the UCI Jazz Orchestra (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 (music history)

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 with Security of Employment, Music (guitar, lute)

Nina Scolnik, B.Mus. Oberlin Conservatory, Performance Diploma, The Juilliard School, Lecturer with Security of Employment, Music (piano)

H. Colin Slim, Ph.D. Harvard University, Professor Emeritus of Music (music history)

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)

Stephen Tucker, D.M.A. University of California, Los Angeles, Assistant Professor of Music and Director of the UCI Symphony (orchestral conducting)

Kojiro Umezaki, M.A. Dartmouth College, Assistant Professor of Music (improvisation and technology)

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)

Frances Young, B.Mus. University of California, Irvine, Lecturer in Music (vocal arts)

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 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.

Undergraduate Admissions. Undergraduate applicants who wish to major in Music must meet the entrance requirements for the University of California and must also pass the Department's entrance audition. For information about audition dates and requirements, see the Department's Web site at http://music.arts.uci.edu.

All first-year applicants and second-year transfer students apply to the B.A. degree program. Admission to the B.Mus. degree program, for those continuing students who wish to pursue a pre-professional track, is by a second audition (the B.Mus. audition), typically taken during winter quarter of the second year. Third-year transfers may apply and audition for admission to either the B.A. or B.Mus. program. Third-year transfer applicants who are offered admission into the B.Mus. degree will normally be expected to perform on their instrument at the level of other third-year students in the B.Mus. program and will be expected to complete their degrees in two years. Third-year transfer applicants who are offered admission into the B.A. program will likewise be expected to complete their degree requirements within two years.

REQUIREMENTS FOR THE BACHELOR'S DEGREE

University Requirements: See pages 56–62.

School Requirements: None.

Departmental Requirements—Common Curriculum

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 (Music 165-170)

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 (Topics in Music Analysis), Music 157 (Advanced Study in 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 8 (The Beatles and the Sixties), Music 9 (Rock: The Early Years), 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 180 (Music Criticism), 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 (no more than four of which may be selected from Music 160, 161, 162, 171, 172, and 178), 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 181A (Jazz Improvisation), Music 193A-B (Conducting).

4. One quarter of Senior Project (Music 192P). 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 one quarter of independent study (Music 199) in which to complete the project. In any case, the student must register for Music 192P in the quarter in which the project is completed.

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 and complete the following course requirements:

1. Three courses in Theory, Composition, and Technology including Music 155 (Topics in 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 189 (Accompanying for Plucked Strings: Continuo and Changes).

2. Three courses in Music and Culture, selected from 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 180 (Music Criticism), 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 (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. Instrumental or vocal instruction (Music 165-170), every quarter in residence upon admission to the B.Mus. program (but no more than 12 quarters total, including instruction taken to meet the Common Curriculum).

4. Music 192S (Senior Recital).

5. 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), 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 transfers) selected from Music 162 (University Chorus), Music 171 (Chamber Singers), or Music 172 (Men in Blaque); three quarters of Music 164 (Opera Workshop); Junior Recital (192J).

Winds, 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

Applications must be received online by January 15. 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 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, 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.

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

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; 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: Composition (Music 212), every quarter in residence (maximum of 24 units); two courses in Music Technology (Music 215), 8 units; Open Improvisation (Music 231), 4 units; Advanced Improvisational Harmony (Music 232), 4 units; Black Music (Music 233), 4 units; Critical Studies in Music (Music 235), 4 units; seminar selected from Music 220 or 230, or comparable seminar in another department, 4 units; Thesis Colloquium (Music 239), 2 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

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)

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.

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. Corequisite: Music 16A-B-C. Open to Music 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.

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.

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 Fundamentals Music (2-2) F, W. 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.

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; 40C: to Richard Wagner. Prerequisites: Music 16C; Music 16D recommended for 40C. Open to Music majors only. (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. (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. Primarily for non-music majors; majors may enroll with permission. May be taken for credit two times as topics vary.

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)

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.

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

131 Post-Tonal Theory (4) W. 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. Formerly Music 35A.

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.

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.

140 Studies in Medieval Music (4)

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

142 Studies in Baroque Music (4). Prerequisite: Music 40B or equivalent, or consent of instructor.

143 Studies in Classical Music (4). Prerequisite: Music 40C or equivalent, or consent of instructor. May be taken for credit three times.

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

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.

155 Topics in 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. Formerly Music 155A.

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.

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: German diction. 158C: French diction.

160 University Orchestra (1 to 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. (IX)

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 (1 to 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. (IX)

162 Choral Ensembles (1 to 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. (IX)

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.

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. 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. (IX)

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. 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 only. 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 only. May be repeated for credit.

168 Advanced Study in Voice (2) F, W, S. Private weekly lessons. Open to Music majors only. May be repeated for credit.

169 Advanced Study for Percussion Instruments (2) F, W, S. Private weekly lessons. Open to Music majors only. May be repeated for credit.

170 Advanced Study for Guitar, Lute, and Other Plucked Strings (2) 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. Open to Music majors 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.

176 Chamber Ensembles (1) 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. (IX)

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. (IX)

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.

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.

182 Advanced Jazz Combo (1) 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 or 132, and 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 with departmental approval. 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. 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.

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.

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

232 Advanced Improvisational Harmony (4) S. Knowledge of jazz chord symbols. Study of harmony used in modern improvisation. Issues covered include upper extension theory, tonal-center improvisation, and polychord progressions. Emphasis is placed on compositional methods for generating improvisational structures.

233 Black Music (4) F. Introduces questions of aesthetics, historiography, philosophy, and political economy in relation to Black music traditions. Topics center mostly on the United States, but also include other locations and transcultural forms. Students complete weekly assignments 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.

239 Thesis Colloquium (2) W. Presentation of current research/creative activity. Second-year ICIT students present their thesis work-in-progress for discussion and criticism. Faculty and visiting artists/scholars also present their current work. Students are graded on their presentation and informed participation in critiques.

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.