67 courses with the subject MTC, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
MTC 051Composition Seminar, Freshman0
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two & four guest presentations by visiting composers per semester. Required of all undergraduate composition majors.
Elementary note reading, meter, intervals; diatonic harmony including key signatures, major & minor scales, triads, 7th chords and accompanying chord symbols. For non-music majors only.
Music fundamentals. Elementary counterpoint. Basic principles of diatonic harmony, voice leading and analysis. All diatonic triads and their inversions. Primarily for music majors.
Diatonic harmony and voice leading continued. Seventh chords. Nonharmonic tones. Common chord modulation. Melody harmonization. Analysis of music literature.
Sight singing with diatonic melodies. Rhythmic reading and dictation with simple and compound meter. Melodic and harmonic dictation using all diatonic triads and their inversions.
Sight singing with diatonic melodies continued. Rhythmic reading and dictation with triplet subdivisions, hemiola, and syncopation. Melodic and harmonic dictation using seventh chords and non-harmonic tones.
Introductory composition. Exploration of contemporary compositional methods, emphasizing solo works and works for small ensembles. Open to students with evidence of previous compositional experience. Required of music students planning to major in composition. Permission of instructor
Introductory composition. Exploration of contemporary compositional methods, emphasizing solo works and works for small ensembles. Open to students with evidence of previous compositional experience. Required of music students planning to major in composition. Permission of instructor
Chromatic harmony and voice leading. Secondary dominants, altered chords and all forms of modulation. Introduction to musical form. Analysis of repertoire through early 19th century.
Sight singing melodies with chromatic alterations and modulation. Rhythmic reading and dictation with quintuplet and septuplet subdivisions. Melodic and harmonic dictation using secondary dominants, altered chords and modulation.
Sight singing and dictation with highly chromatic and nontonal melodies. Rhythmic reading and dictation with complex meter and changes in meter. Melodic and harmonic dictation using nontonal harmony.
Exploration of a problem, or problems, in depth. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor(s) and the department.
Offered through SUAbroad by educational institution outside the United States. Student registers for the course at the foreign institution and is graded according to that institution's practice. SUAbroad works with the S.U. academic department to assign the appropriate course level, title, and grade for the student's transcript.
Students teach help sections of undergraduate theory classes. Meet with professor to discuss pedagogy and techniques. Register for one credit for each two hours with students. Does not satisfy upper division theory elective requirement.
Ranges and idiomatic uses of wind, percussion, and string instruments in bands and orchestras and of voices in choral ensembles and choirs. Elementary scoring for choral combination instrumental and choral groups.
Exploration of a problem, or problems, in depth. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor(s) and the department.
Review of music fundamentals, tonal harmony, and aural skills. Entering graduate students failing written portion of theory diagnostic exam attend classes on fundamentals and harmony. Those failing aural skills portion attend ear training classes. Passing this course satisfies diagnostic exam requirements. Not applicable to any degree.
A comprehensive approach to the craft of popular songwriting. Analysis includes historical perspectives, song form, style, content, lyric writing, lead sheet and demo creation, copyright, recording, and marketing techniques.
Beginning jazz theory; simple harmonic functions. Improvisation with Ionian, Dorian, and Mixolydian modes. Arranging for small ensembles. Permission of instructor.
Improvisation with half-diminished seventh chord and related scale. Application of improvisational techniques to pop and jazz tunes. Recordings and transcriptions of major artists. Preparation of charts for larger ensembles.
Improvisation with pentatonic and lydian scales and turn-around patterns. Improvisational principles using chord scales, guide tones, and other techniques. Preparation of charts for larger ensembles.
Introduction to techniques, repertoire, and history of electroacoustic/computer generated music. Projects include three compositions for electronic sounds; electronics alone, with soloist, and with small ensemble. Required course for music composition majors.
An exploration of techniques for live performance with computers: interactive, multimedia, installation, DJ and others, using a broad array of software and hardware combinations, focusing on their actual and potential creative uses.
Intensive focus on a composer, genre or stylistic development, to be chosen by the instructor. Emphasis on analytical understanding, aesthetic issues and interdisciplinary context.
Offered through SUAbroad by educational institution outside the United States. Student registers for the course at the foreign institution and is graded according to that institution's practice. SUAbroad works with the S.U. academic department to assign the appropriate course level, title, and grade for the student's transcript.
Preparation of a project paper under guidance of a member of the appropriate faculty, who introduces the student to tools of research. Presented for reading and grading to a group of three faculty, one of whom is the advisor.
Ranges and idiomatic uses of wind, percussion, and string instruments in bands and orchestras and of voices in choral ensembles and choirs. Elementary scoring for choral combination instrumental and choral groups.
Tonal harmony and its extensions from circa 1830 to the present. Introduction to Schenker analysis. Required of all graduate students in the School of Music.
Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.
Participation in a discipline or subject related experience. Student must be evaluated by written or oral reports or an examination. Permission in advance with the consent of the department chairperson, instructor, and dean. Limited to those in good academic standing.
In-depth exploration of a problem or problems. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor or instructors and the department.
Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.
Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.
