168 courses with the subject MUS, 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.
MUS 101Introduction to Western Music4
An historical study of the basic elements and major periods of 2,000 years of Western music, major composers and their works, with emphasis on the development of listening skills. Meets Humanity and Culture Intellectual Perspective requirement (HC).
Historic survey of music of non-Western societies as it relates to the different cultures. Study of development of instruments, vocal practices, and performance media within the specific cultures. Meets Visual and Performing Arts Intellectual Perspective requirement (VP).
A historical survey of the unique development of jazz from its origins as an African-American art form to its present status as an American art form. The course will be taught in conjunction with HIS 223 (African-American History) course as an approved cluster. Meets Visual and Performing Arts Intellectual Perspective requirement (VP).
A study of the panorama of American music tracing the origins of Native American tribal music, to the psalm-singing colonials, to African slaves. Folk music, opera, popular song, marches, and dance tunes are viewed in their historical contexts. The Singing School movement, shaped-note hymnody, classical music, jazz, and rock are also considered.
A study of opera as an art form showing how the various elements (music, dance, drama) come together to form a whole. An introduction to opera including its history, cultural importance, and sociological implications will be presented before an in-depth study of individual works.
Music Theory 1 is the first of four semesters of the music theory sequence. Topics to be covered will include: pitch, pitch class, scales, the basics of rhythm, intervals, triads, seventh chords, two-voice counterpoint, and notation and scoring. Students will also be introduced to technologies used in the study of music theory. In addition, a progressive program for developing aural, sight-reading, and keyboard skills will be initiated, which will be continued through the remainder of the required theory courses. Also included is an introductory study of the rhythmic procedures in the music of Africa. This course is a pre-requisite for all other theory courses and may be waived only upon satisfactory performance on a music theory placement exam and/or AP credit, along with permission of the Music Theory/Composition Area Head. There is no prerequisite for this course. A letter grade of at least C- must be attained in MUS 121 in order for the course to count toward the music major.
Music Theory I Aural Skills Practicum is the first of four semesters of the music theory practicum sequence. Topics to be covered will include: pitch, pitch class, scales, the basics of rhythm, intervals, triads, seventh chords, two-voice counterpoint, and notation and scoring. Students will apply their knowledge of these topics by demonstrating their aural skills through melodic, harmonic, and rhythmic dictation, sight-singing, performance, and composition. Students will also be introduced to technologies used in the study of aural skills. There is no prerequisite for this course.
Students must also register for the course MUS 121.
MUS 122Music Theory 24
Music Theory 2 is the second of four semesters of the music theory sequence. Topics to be covered will include: SATB voicing, non-chord tones, common-practice harmonic function, phrase and cadence structure, sequences, and secondary dominants. Students will continue to use appropriate technologies for the study of music theory. Also included is an introductory study of the music of China. This course is prerequisite for all other theory courses except MUS 121 and may be waived only upon satisfactory completion of a music theory placement exam and/or AP credit, along with permission of the Music Theory/Composition Area Head.
A grade of C- or higher in MUS 121 Music Theory 1.
Corequisite
Students must also register for the lab MUS 122P.
MUS 122PAural Skills Practicum 20
Music Theory 2 Aural Skills Practicum is the second of four semesters of the music theory lab sequence. Topics to be covered will include: non-chord tones, common-practice harmonic function, phrase and cadence structure, sequences, and secondary dominants. Students will apply their knowledge of these topics by demonstrating their aural skills through melodic, harmonic, and rhythmic dictation, sight-singing, performance, and composition. Students will continue to use technologies in the study of aural skills.
MUS 121 : A grade of C- in Music Theory 1 or satisfactory completion of a music theory placement test or appropriate AP test scores, and permission of the Music Theory/Composition Area Head.
Corequisite
must also register for the course MUS 122 .
MUS 123Music Theory 34
Music Theory 3 is the third of four semesters of the music theory sequence. Topics to be covered will include: a review of secondary dominants and leading-tone chords, phrase rhythm and motivic analysis, modulations by common chord, other modulatory techniques, mode mixture, the intensification of the predominant with Neapolitan and augmented sixth chords, enharmonic spellings and modulations, further elements of the harmonic vocabulary, and a brief introduction to the analysis of musical form. Students will continue to use appropriate technologies for the study of music theory. Also included is an introductory study of the music of Korea and Japan.
a grade of C- or higher in MUS 122 : Music Theory 2.
Corequisite
students must also register for lab MUS 123P.
MUS 123PAural Skills Practicum 30
Music Theory 3 Aural Skills Practicum is the third of four semesters of the music theory lab sequence. Topics to be covered will include: a review of secondary dominants and leading-tone chords, modulations by common chord, other modulatory techniques, mode mixture, the intensification of the predominant with Neapolitan and augmented sixth chords, enharmonic spellings and modulations, further elements of the harmonic vocabulary, and a brief introduction to the analysis of musical form. Students will apply their knowledge of these topics by demonstrating their aural skills through melodic, harmonic, and rhythmic dictation, sight-singing, performance, composition, and improvisation. Students will also continue to use computer-assisted instruction in the study of aural skills.
students must also register for the course MUS 123.
MUS 124Music Theory 44
Music Theory 4 is the fourth of four semesters of the music theory sequence. Topics to be covered will include: new approaches to tonal or centric writing, analysis of non-serial atonal music, analysis of twelve-tone music, neoclassicism, post-1945 serialism, expansion of approaches to rhythm, aleatoric music, sound mass, post-modernism and the use of quotation, minimalism, and present directions in compositional practice. Students will continue to use appropriate technologies for the study of music theory. Also included is an introductory study of the musics of India and Indonesia, particularly as they relate to exoticism in 20th-century European compositions.
Music Theory 4 Aural Skills Practicum is the fourth of four semesters of the music theory lab sequence. Aural skills topics to be covered will include: modal and pentatonic scales; centric and symmetrical constructions; atonal cells; atonal relationships; tertian, quartal, and quintal constructions; serial atonality; tonal and atonal hybrids; as well as the aural identification of significant twentieth-century compositions. Students will apply their knowledge of these topics by demonstrating their aural skills through pitch and rhythmic dictation, sight-singing, performance, composition, and improvisation. Students will also continue to use computer-assisted instruction in the study of aural skills. This course also includes an introduction to music technology, with topics such as music notation software, MIDI, DAW’s, acoustics, and microphones.
This course is a comprehensive introduction to the study of form in music. The course is based on the premise that form must be perceived aurally, and that the most effective analysis is based on critical listening. Topics covered are the general structural aspects of music, small-scale units of form, and larger-scale units of form. Evaluation will be based on the student’s ability to describe, analyze, and evaluate the function of formal units in various pieces of music in class and in written prose.
MUS 123 and MUS 123P , or permission of the instructor.
MUS 126Orchestration4
Study of the timbres, ranges, transposition, technical characteristics, and idiomatic uses of the instruments of the orchestra. Orchestral families of sound are examined in their individual sound colors and in their contribution to orchestral sound.
This course begins with an overview of basic species counterpoint. It turns to multiple-part settings of music in the various polyphonic forms of the Renaissance. Following that, stylistic innovations in counterpoint from the Baroque era are introduced. Forms such as the chorale prelude, invention, and fugue are studied. Evaluation is based on counterpoint exercises and larger-scale projects in which students create their own compositions based on the rules of counterpoint.
This course considers human behavior from both the psychological and musical perspectives. The course is an introduction to understanding why music exists, why people listen to music, how people understand music, and how social relationships influence musical tastes. In particular, MUS 130 covers theories on the evolutionary origins of music, musical development, music and the brain, music and emotion, the role of music in our everyday lives, social influences on musical tastes, composers with psychological disorders, and a brief introduction to music therapy. This is an introductory course in music cognition; no musical talent or experience is necessary. Meets Social Thought and Tradition Intellectual Perspective requirement (ST).
A historical survey of the development of Western music from primitive sources through the Baroque, with emphasis on composers, styles, and performance practices in relation to the cultural backgrounds. Satisfies IP credit in Humanity and Culture. Meets Humanity and Culture Intellectual Perspective requirement (HC).
All except double majors must have had MUS 121 , MUS 122 , and MUS 123 , or permission of instructor. Intellectual Perspective: HC
MUS 142History of Western Music from 17504
A continuation of MUS 141 . An historical survey of the development of Western music from the pre-Classic to the present, with emphasis on composers, styles, and performance practices in relation to the cultural backgrounds. Also included is an in-depth study of the historical significance and development of the music of African, Middle Eastern, and Far Eastern cultures. Satisfies IP credit in Humanity and Culture. Meets Humanity and Culture Intellectual Perspective requirement (HC).
All except double majors must have had MUS 121 , MUS 122 , and MUS 123 , or permission of instructor. Intellectual Perspective: HC
MUS 143Women in Music4
This course will examine the history, contri-butions, and social issues surrounding the role of women in the field of music, from the 10th to the 21st centuries. The acceptance of women as contributors in the field of music has coincided with the acceptance of women as participants and leaders in church and society. The class will examine the music and the lives and surrounding culture of women composers, as well as the lives and contributions of female musi-cians as performers.
The Strathgheny School of Scottish Fiddling is a week-long, immersion program which provides instruction on how to perform and interpret traditional and contemporary Scottish fiddling pieces (“tunes”).
MUS 141 and MUS 142 , or permission of instructor.
MUS 167Symphonic Literature4
A chronological survey of symphonic music, from the pre-Classic period through the 21st century with emphasis on both the aural and analytical understanding of this repertoire.
Study of philosophies, principles and practices related to general music instruction in elementary and secondary schools. Examination of contemporary approaches to teaching general music. Analysis of skills, concepts, and materials appropriate to elementary and secondary general music programs. Practice in planning and implementing elements of a comprehensive general music curriculum.
Emphasis on methods and materials for developing comprehensive musicianship through the vocal program of the public school; consideration of the child voice, the changing voice, and the adolescent voice; budgeting and administering the program; planning and preparing for public performance; repertoire for choral groups; preparation of a philosophy of music education.
Emphasis on methods and materials for developing comprehensive musicianship through the instrumental program of the public school; techniques for recruiting and organizing performing ensembles; scheduling, budgeting and administering the instrumental program; organizing trips, developing music and equipment inventories, dealing with parent groups and administrators, planning and preparing for public performance; repertory for beginning and advanced ensembles and soloists; preparation of a philosophy of music education; teaching techniques.
Learning about music and other art forms through the performance of various techniques as they relate to the developing child, focusing on pre-K through 4th grade. Students will experience elemental music concepts through singing, playing instruments (including the keyboard lab), moving, active listening, and creating music. Through role playing as both teachers and children, students will learn about music, plus learn how music may be used in conjunction with additional areas of the curriculum, such as the visual arts. Theatre (pretending, dramatization) will be incorporated into class activities, as well. Students will also learn about the elements of visual art, and explore a variety of media as they pertain to early childhood. Meets Visual and Performing Arts Intellectual Perspective requirement (VP).
Observation and directed teaching of vocal and instrumental and general music at the elementary level of the public schools, supervised by music personnel of the College and the cooperating schools. Participation in weekly student teaching seminars throughout the semester of student teaching.
see “Eligibility Requirements for Admission into Student Teaching.”
MUS 196Secondary Student Teaching8
Observation and directed teaching of vocal and instrumental and general music at the secondary level of the public schools, supervised by music personnel of the College and the cooperating schools. Participation in weekly student teaching seminars throughout the semester of student teaching.
Two hours of class instruction per week on woodwind instruments (flute, clarinet, and saxophone) with emphasis on the development of performance skills, repertoire, teaching methods, and instrument maintenance. Required of all students wishing to teach flute, clarinet, or saxophone private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
A continuation of MUS 200 , covering double reeds. Required of all students wishing to teach oboe or bassoon private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
Two hours of class instruction per week on brass instruments (trumpet, horn, trombone, euphonium, and tuba) with emphasis on the development of performance skills, repertoire, teaching methods, transpositions, basic arranging, and instrument maintenance. Required for all students wishing to teach brass private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
Two hours of class instruction per week on percussion instruments (snare, timpani, xylophone, and set) with emphasis on the development of performance skills, repertoire, teaching methods, and instrument maintenance. Required of all students wishing to teach percussion private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
Two hours of class instruction per week on violin and viola with emphasis on the development of performance skills, repertoire, and instrument specific teaching methods. Required of all students wishing to teach string private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
A continuation of MUS 204 , with students learning to play the cello and bass and additional emphasis on maintenance, ability to recognize and choose differing levels of instruments, and classroom teaching skills. Required of all students wishing to teach string private lessons in the Music Intern Teaching Program. Participation in weekly 45-minute Performance Lab required.
The aim of Vocal Pedagogy is to prepare students to give voice lessons to individuals and groups in both K-12 and private studio settings. During this course, students will: (a) develop their own vocal technique, diction and artistry; (b) learn about the anatomy of the voice; (c) learn the basics of the International Phonetic Alphabet and how it applies to the English language; and (d) how to teach voice to K-12 students. This course is required of all students wishing to teach private voice lessons in the Music Intern Teaching Program.
MUS 210Keyboard Pedagogy, Improvisation, and Harmony2
A study of the specific principles of teaching piano and its literature. Required of all students wishing to teach piano private lessons in the Music Intern Teaching Program. May be repeated.
Prepare instrumental music teachers to diagnose repair needs, evaluate quality of repair technician’s work, replace and adjust pads, and perform minimal emergency repairs on woodwind instruments.
This course may be selected as one of the three music electives required by the Music Education curriculum. This course fulfills a significant skillset for most instrumental music teaching position in the public schools: marching band. Students will: (1) Learn and demonstrate knowledge of planning, budgeting and administration of band camps and marching band; (2) Work with and demonstrate the understanding of the primary technology involved in marching and drill writing: (3) Chart actual marching band drill using music and the three-dimensional functions of the technology; and (4) Develop an understanding and be able to create marching drill in the four primary styles of marching band - Corps Style, Squad Style, Block Band, Show Band, thus preparing them to be adaptable for any style used by school districts following their hiring.
MUS 215Introduction to Professional Development for Musicians1
This course will introduce students to the most crucial aspects of musical professional development, including developing resumes, biographies, cover letters, communicating effectively in writing and orally, constructing five-year career development plans, building and maintaining a network of arts industry professionals, branding themselves and/or their projects, building a website and maintaining social media pages, and giving an “elevator speech.” A focus of this course will be on helping students to identify their personal values, interests, and skills as related to their career path. Teaching methods will include lectures, classroom discussions, creative workshops, and simulation exercises.
Designed to prepare students to take the piano proficiency exam. This is a remedial and introductory course in piano technique for non-piano majors. May be repeated innumerable times, but will not count towards graduation. Graded as S/U.
Subject
MUS
Credits (min)
0
Credits (max)
0
Credit unit
Semester Hours
Type
course
Repeatable
May be repeated innumerable times, but will not count towards graduation.
To make the students familiar with the multi-dimensional uses of technology available in music composition, music education, analysis and MIDI capabilities. Music students need not only to understand the music specific software, they must also reinforce their understanding of the capabilities of computer technology in organization and administration necessary for their careers.
Choral conducting techniques, including cueing, score reading and interpretation, preparation and delivery of choral rehearsals and performances, with emphasis on organization and techniques of conducting choral groups. Introduction to survey of choral literature. Practice in score reading, rehearsal techniques and conducting performances.
Instrumental conducting techniques, including cueing, score reading and interpretation, preparation and delivery of instrumental rehearsals and performances, with emphasis on organization and techniques of conducting instrumental groups. Practice in score reading, rehearsal techniques and conducting performances. Participation in weekly 45-minute Instrumental Performance Lab required.
Advanced techniques of conducting, including score reading, rehearsal techniques, etc. Both the musical and psychological roles of the conductor will be examined.
Students will write analyses of all pieces on recital, prepare program notes, prepare language translations (where appropriate), and pass a Recital Hearing by the faculty.
A marching band during the first half to two-thirds of the Fall Semester and a symphonic band during the remainder of the fall and all of the Spring Semester. The Marching Band performs both corps and traditional style half-time shows at all home and some away football games. The Symphonic Band performs a diverse and challenging repertoire in two concerts each year. Membership in the fully instrumented organization(s) is open to all students of the College. Students desiring partial Intellectual Perspectives (IP) credit in Visual & Performing Arts should register for MUS 401V .
The Jazz Ensemble features improvisation solos by different students at each of several performances each year. Membership in the fully instrumented organizations is open to all students of the College. This course does not fulfill the large ensemble requirement for music majors.
Opportunities for participation in percussion chamber ensembles (duets, trios, quartets, quintets, etc.), as student enrollment dictates. This course does not fulfill the large ensemble requirement for music majors.
The Wind Ensemble is a select ensemble of approximately 35 woodwind, brass and percussion players, all of whom also play in the Symphonic Band. This ensemble, which is basically one on a part, is dedicated to performing the very best in modern Wind Ensemble literature. This course does not fulfill the large ensemble requirement for music majors.
Chamber ensembles such as Flute Choir, Saxophone Quartet, Horn Ensemble, Woodwind or Brass Ensembles, or mixed instrument groups may be formed by students and run under this course. Students will be coached by a faculty member and will rehearse independently. This course does not fulfill the large ensemble requirement for music majors.
The Concert Choir sings traditional, contemporary, and ethnic choral pieces, as well as teaches musicianship and vocal education to its members. The choir participates in the College Vesper services, in the annual Christmas Vesper service, and presents several choral concerts through the year. The Concert Choir tours annually throughout part of the United States or Europe. Students desiring partial Intellectual Perspectives (IP) credit in Visual & Performing Arts should register for MUS 421V .
Same as 421, except that students earn Intellectual Perspectives (IP) credit in Visual & Performing Arts after 4 semesters of 421V. Students may accumulate 4 semester hours from the following courses, MUS 421V, MUS 423V and MUS 424V to meet the VP requirement.
A select, mixed ensemble which sings small ensemble music such as madrigals, chansons, motets, vocal jazz, etc. Performances are both on and off campus. This course does not fulfill the large ensemble requirement for music majors.
A treble ensemble comprised of music and non-music majors. Repertoire is drawn from all periods and genres. The chorus participates in the College Vesper services, in the annual Christmas Vesper service, and in additional choral concerts through the year. Students desiring partial Intellectual Perspectives (IP) credit in Visual & Performing Arts should register for MUS 424V .
Same as 424, except that students earn Intellectual Perspectives (IP) credit in Visual & Performing Arts after four semesters of 424V. Students may accumulate four semester hours from the following courses, MUS 421V, MUS 423V and MUS 424V to meet the VP requirement.
Study and performance of oratorio and/or opera scenes. Emphasis is on vocal production and acting. This course does not fulfill the large ensemble requirement for music majors.
Study and performance of a selected musical, co-produced by the departments of music and theatre. Emphasis is on acting, speaking, staging, scenery, costuming, and singing. This course does not fulfill the large ensemble requirement for music majors.
A study of representative Baroque, Classical, Romantic, and Modern literature for chamber and symphony orchestra. Several performances are presented each year, one or more of which may utilize student soloists or choral organizations. The orchestra is open to all string players with the director’s permission. Wind and brass musicians must audition. Students desiring partial Intellectual Perspectives (IP) credit in Visual & Performing Arts should register for MUS 441V .
A marching band during the first half to two-thirds of the Fall Semester and a symphonic band during the remainder of the fall and all of the Spring Semester. The Marching Band performs both corps and traditional style half-time shows at all home and some away football games. The Symphonic Band performs a diverse and challenging repertoire in two concerts each year. Membership in the fully instrumented organization(s) is open to all students of the College. Students desiring partial Intellectual Perspectives (IP) credit in Visual & Performing Arts should register for MUS 501V. Zero-credit option. Graded as S/U.
permission of the instructor and program coordinator.
MUS 507Wind Ensemble0
The Wind Ensemble is a select ensemble of approximately 35 woodwind, brass and percussion players, all of whom also play in the Symphonic Band. This ensemble, which is basically one on a part, is dedicated to performing the very best in modern Wind Ensemble literature. This course does not fulfill the large ensemble requirement for music majors. Zero-credit option. Graded as S/U.
permission of the instructor and program coordinator.
MUS 590Field Experience/Internship1-4
May be taken in Music Theory, Music History, Music Performance, Music Composition, Music Literature, Sacred Music, Music Education, or in some aspect of the Music Business. May be repeated for credit.
Students will work with a professional recording engineer as an apprentice for a semester. Students will first demonstrate the thorough knowledge of the science of sound waves and how they can be manipulated to achieve desirable results in the recording of music. Students will then learn about appropriate microphones for specific kinds of record-ing sessions. Students will also gain appropriate background in recording software. Following this, students will, under the supervision of a professional recording en-gineer, run musical recording sessions from start to finish, with the outcome being the production of a professional-grade recording.
Meets once each week. Performance skills are cultivated. Students of like instruments or voice meet together to perform for and be critiqued publicly by a master teacher. May be repeated. Graded S/U.
Students will write a comprehensive capstone document (analyses of all pieces on recital), prepare program notes, and prepare language translations (where appropriate), and pass a Recital Hearing by the faculty and perform a Capstone Recital. The Capstone Document will conform to Option A or Option B. Option A is a standard document that includes historical background, theoretical analysis, and a discussion of the interpretive challenges inherent in the recital material. Option B enables students to propose their own Capstone topic that is a deeper investigation into a topic in Music Education, Music Performance, Music Theory, Ethnomusicology, the Psychology of Music, Original Composition, Music Recording Technology, or some other recognized sub-discipline of Music. This topic must present original research, composition, or practical recording technology skills. Such a topic must be proposed to and approved by the full-time music faculty by a deadline set by the faculty in the semester prior to the semester in which the Capstone Document is written. Students performing Capstone Recital within three weeks of the end-of-semester jury will be exempt from performing the jury.
Students will write a comprehensive capstone document (analyses of all pieces on recital), prepare program notes, and prepare language translations (where appropriate), and pass a Lecture/Recital Hearing by the faculty and perform a Capstone Recital. Students will present a public lecture-recital with the lecture conveying aspects of the written Capstone Document in presentation form and the recital being a performance of the music. The Capstone Document and lecture content will conform to Option A or Option B. Option A is a standard document that includes historical background, theoretical analysis, and a discussion of the interpretive challenges inherent in the recital material. Option B enables students to propose their own Capstone topic that is a deeper investigation into a topic in Music Education, Music Performance, Music Theory, Ethnomusicology, the Psychology of Music, Original Composition, Music Recording Technology, or some other recognized sub-discipline of Music. This topic must present original research, composition, or skills in music recording technology. Such a topic must be proposed to and approved by three members of the full-time faculty by a deadline set by the faculty in the semester prior to the semester in which the Capstone Document is written. Students performing Capstone Recital within three weeks of the end-of-semester jury will be exempt from performing the jury, except that they must perform their independently prepared piece for the jury.
