Major

Core Curriculum:
101, 102, 125, 126
One course from MUAC 206, 209, 210, 221
One course from MUAC 351, 352, 353, 354

All majors are required to participate for two complete semesters in one or more department ensembles (MUEN courses) to fulfill the ensemble requirement for the degree.  Majors are also expected to participate in ensembles every semester in residence on campus

Students participating in MUSC ensembles will receive .25 credit per semester of co-curriculum involvement.  Students will be graded on CR/NC grade type.

Students may complete the Arts requirement after four semesters (1.0 course) of involvement in the same music ensemble:

  • an instrumental ensemble (DICE, Jazz, Orchestra or Chamber music)  
  • a vocal ensemble (Choir, Collegium, Chamber music (with a vocal component) 
  • chamber music

Musical Studies Emphasis (10 total courses):
Six-course core
MUAC 401 (Senior Colloquium)

Three additional courses from the following:
MUAC 131 (Introduction to the Art of Composition) & Composers’ Forum
MUAC 206 (Music in the United States)
MUAC 209 (Ethnomusicology)
MUAC 210 (Special Topics in Global Music)
MUAC 221 (Music in Film)
MUAC 231 (Counterpoint) & Composers’ Forum
MUAC 232 (Counterpoint) & Composers’ Forum
MUAC 245 (Theory III, with lab)
MUAC 246 (THEORY IV, with lab)
MUAC 251 (Score Study and Conducting)
MUAC 331 (Intermediate Composition Lessons: Electronic Media) & Composers’ Forum
MUAC 332 (Intermediate Composition Lessons: Electronic Media) & Composers’ Forum
MUAC 335/336 (Orchestration)
MUAC 345 (Analytical Theory)
MUAC 351/352/353/354 (Topics Seminars in Music History)
MUAC 431 (Advanced Composition) & Composers’ Forum
MUAC 432 (Advanced Composition) & Composers’ Forum
One full credit of performance at the MUPS 200-level or higher (.5 credits may be coupled if semesters are consecutive and the instrument is the same)

Music History/Theory Emphasis (11 total courses):
Six-course core
MUAC 245, 246
One additional course from 206, 209, 210, 221
One additional course from 345, 351, 352, 353, 354
Either 495 or 496 by advisement, culminating in a research paper.

Music Performance Emphasis (12 total courses):
Six-course core
MUAC 245, 246
MUPS 323 and 324
MUPS 423 and 424

Music performance majors must pass an upper divisional performance examination at the end of 224, in order to remain in the performance emphasis. Majors with this emphasis who wish to apply for study abroad in the junior year must have their advisor’s permission before the end of fall semester, sophomore year to pursue the Performance Studies emphasis.  Once declared, music performance majors are required to participate in ensembles every semester in residence on campus.

Music Composition Emphasis (10 total courses):
101, 102, 245, 246
One of the following: 351, 352, 353, 354
231 (0.5 credit)
232 (0.5 credit)
233 (0.5 credit)
234 (0.5 credit)
333 (0.5 credit) or 334 (0.5 credit)
335 (0.5 credit) or 336 (0.5 credit)
435 (0.5 credit) and 436 (0.5 credit)
One elective from the following:  206, 209, 221, 251, 345, 351, 352, 353 or 354 (if not already completed above)

Minor

Six courses:

1) The student's choice of one full introductory sequence, either MUAC 101 and 102 or 125 and 126.

2) Four full-credit electives to be drawn from the following eligible courses:

MUAC 101, 102, 115, 125, 126, 206, 209, 221, 245, 246, 251, 253, 255, 256, 345, 351, 352, 353, 354

MUPS 213, 214, 313, 314, 413, 414 (NOTE: Half-hour lessons can be combined towards one credit. Performance Studies fees will be assessed to minors.)

3) Participation for two complete semesters in one or more department ensembles (MUEN) to fulfill the ensemble participation requirement.

Music Department Ensembles

Students participating in MUSC ensembles will receive .25 credit per semester of co-curriculum involvement.  Students will be graded on CR/NC grade type.

Admission to all department ensembles is by audition at the beginning of the academic year or by permission of the director. Instrumental ensembles meet once a week for 2 to 2 1/2 hours each. Choral ensembles meet twice a week for 1 to 1 1/4 hours each. Credit for participation in department ensembles is noted on participants' transcripts.

MUEN 009-01, Collegium The Dickinson Collegium consists of a small, select chamber choir. The group specializes in music of the medieval, Renaissance and Baroque eras. 

MUEN 009-02, College Choir The College Choir performs several major choral works each year.

MUEN 009-03, DICE (Dickinson Improvisation and Collaboration Ensemble), a flexible, open-instrumentation ensemble (woodwinds, brass, percussion, strings and voice). Repertoire is diverse but focuses mostly on masterworks and lesser-known pieces of the 20th and 21st centuries.

MUEN 009-04, Jazz Ensemble This ensemble performs classic big band arrangements and also features small combos from the larger group. Concerts regularly feature nationally-known guest soloists.

MUEN 009-05, College-Community Orchestra Open to students and faculty at the college and to instrumentalists from the surrounding area interested in the performance and study of the best in orchestral literature.

MUEN 009-06, Chamber Music Ensembles The department coordinates, coaches and supports performances of student chamber music ensembles according to student demand and availability. These ensembles are featured at the end of each semester in a student chamber music concert.

Honors

The distinction of Honors in Music--the highest distinction that the Department can bestow--is awarded to a graduating senior or seniors who have met the requisite academic standards:

1) Maintenance of a minimum GPA of 3.50 in the core courses of the music major (7 courses: MUAC 101, 102, 125, 126, 245, 246, one 350-level seminar)and the courses specific to the major's concentration:

and
History: 35x, 35x
Theory: 35x, 345
Performance: 35x, 323, 324
Composition: 255, 256

2) An "A" grade in the capstone course and capstone project according to the major's concentration, and a successful public presentation at the majors' colloquium for a full-time faculty panel:
History: 495 OR 496
Theory: 493 OR 494
Performance: 423 AND 424
Composition: 491/492 (must take both - 0.5 credit each)

3) Satisfactory fulfillment of the ensemble participation requirement in every semester the student enrolls in an ensemble.

The student's final GPA will be certified at the end of the senior year just prior to graduation.

Courses

NOTE: Students may withdraw from performance studies courses with a full refund (minus charges for lessons taken) up to the end of the add/drop period. After the add/drop period, no refund is made.

MUPS - Music Performance Studies

111-01 Performance Studies: Piano Technique
Introduction to piano technique and keyboard fundamentals in a group setting. Recommended for all students with no keyboard experience regardless of major. Course content includes both group and solo playing, individual practice sessions, basic music theory, and expository writing. Learning objectives include being able to read and play basic piano music with two hands and pedal. 
Will meet prerequisite for continued study in piano (114). Prerequisite: permission of the instructor.

111-02 Performance Studies: Vocal Technique
An introduction to vocal technique in a group setting. Course content includes physiology, both group and solo singing, independent practice sessions, IPA (International Phonetic Alphabet), written listening assignments and required concert attendance.
Will meet prerequisite for continued study in voice (114). Prerequisite: permission of the instructor.

111-03 Performance Studies: Guitar
Introduction to plectrum and finger style guitar technique in a group setting. Recommended for all students wanting to learn guitar at Dickinson with little or no prior experience and for those music majors or future music majors with no guitar experience. Course content includes both group and solo playing, individual practice sessions, music notation, listening assignments, fretboard theory, basic musicianship and required concert attendance. While the emphasis in reading will be on standard notation, tablature and chord chart diagrams will be explored. 
Prerequisite: permission of the instructor.

113 Performance Studies I
Private study open to all students who demonstrate some acquaintance with musical notation, and who should continue to study voice or an instrument at the basic level.
One-half or one course credit each semester. Prerequisite: permission of the instructor.
Attributes: Appropriate for First-Year, Can't be taken pass/fail

114 Performance Studies I
Private study open to all students who demonstrate some acquaintance with musical notation, and who should continue to study voice or an instrument at the basic level.
One-half or one course each semester. Prerequisite: permission of the instructor.
Attributes: Can't be taken pass/fail

313 Performance Studies III
Private study open to non-majors and majors with a performance emphasis, who demonstrate a fully developed technical skill and who should continue study on the advanced level. May be repeated for credit with the permission of the instructor.
One-half or one course credit each semester. Prerequisite: 214 and permission of the instructor.
Attributes: Can't be taken pass/fail

314 Performance Studies III
Private study open to non-majors and majors with a performance emphasis, who demonstrate a fully developed technical skill and who should continue study on the advanced level. May be repeated for credit with the permission of the instructor.
One-half or one course credit each semester. Prerequisite: 214 and permission of the instructor.
Attributes: Can't be taken pass/fail

323 Performance Studies III (Performance Emphasis, with junior recital)
A two-semester sequence of private study for music majors with a performance emphasis, culminating in a public junior recital (324) that includes a variety of musical styles and, for vocalists, a variety of languages. A recital hearing is required at the end of 323 to determine if the student is prepared for the required junior recital (324).One course each semester; may be taken out of sequence. Prerequisite for 323: successful Upper Divisional Performance exam at the end of 224, permission of the instructor and director of performance studies. Prerequisite for 324: successful recital hearing at the end of 323, permission of the instructor and director of performance studies.
Attributes: Arts (Division I C)

324 Performance Studies III (Performance Emphasis, with junior recital)
A two-semester sequence of private study for music majors with a performance emphasis, culminating in a public junior recital (324) that includes a variety of musical styles and, for vocalists, a variety of languages. A recital hearing is required at the end of 323 to determine if the student is prepared for the required junior recital (324).One course each semester; may be taken out of sequence. Prerequisite for 323: successful Upper Divisional Performance exam at the end of 224, permission of the instructor and director of performance studies. Prerequisite for 324: successful recital hearing at the end of 323, permission of the instructor and director of performance studies.
Attributes: Arts (Division I C)

413 Peformance Studies IV
Private study for non-majors or majors without a performance emphasis who will continue study at an advanced level.
Prerequisite: 314 and permission of the instructor.
Attributes: Can't be taken pass/fail

414 Peformance Studies IV
Private study for non-majors or majors without a performance emphasis who will continue study at an advanced level.
Prerequisite: 314 and permission of the instructor.
Attributes: Can't be taken pass/fail

423 Performance Studies IV (Performance Emphasis, with senior recital)
A two-semester sequence of private study for senior music majors with a performance emphasis, culminating in a public senior recital (MUPS 424) that includes a variety of musical styles and, for vocalists, a variety of languages. The course content of MUPS 423 is the research, selection and preparation of the solo recital repertoire for the senior recital (MUPS 424). The culmination of MUPS 423 is an annotated bibliography and written program notes (about the composers, genres, poets, and other relevant information), to be published in the recital program booklet (MUPS 424) One course each semester. Must be taken in sequence within the same academic year. Prerequisite for MUPS 423: MUPS 324, permission of the instructor and director of performance studies. Prerequisite for MUPS 424: MUPS 423, including successful completion of annotated bibliography, written program notes, and Recital Hearing at the end of MUPS 423; permission of the instructor and director of performance studies.
Attributes: Arts (Division I C)

424 Performance Studies IV (Performance Emphasis, with senior recital)
A two-semester sequence of private study for senior music majors with a performance emphasis, culminating in a public senior recital (MUPS 424) that includes a variety of musical styles and, for vocalists, a variety of languages. The course content of MUPS 423 is the research, selection and preparation of the solo recital repertoire for the senior recital (MUPS 424). The culmination of MUPS 423 is an annotated bibliography and written program notes (about the composers, genres, poets, and other relevant information), to be published in the recital program booklet (MUPS 424) One course each semester. Must be taken in sequence within the same academic year. Prerequisite for MUPS 423: MUPS 324, permission of the instructor and director of performance studies. Prerequisite for MUPS 424: MUPS 423, including successful completion of annotated bibliography, written program notes, and Recital Hearing at the end of MUPS 423; permission of the instructor and director of performance studies.
Attributes: Arts (Division I C)

MUAC - Music Academic

101 History of Music
An introductory course for students with some previous music experience providing training in intelligent listening through chronological discussion and analysis of selected representative works from the Middle Ages to 1750. This course fulfills the Arts (Division I C) distribution requirement.
Attributes: Appropriate for First-Year, Arts (Division I C), MEMS Elective

102 History of Music
Why do we consider Mozart and Beethoven geniuses? What distinguishes music from sound and noise? How do opera and song encode cultural mores? How have social and political issues influenced supposed "abstract" music? Is music a more definite language than words? These are some of the aesthetic and philosophical issues that students will consider in this course, which explores musical composition from the death of Bach (1750) to avant-garde and minimalist composers. Students will develop skills associated with intelligent listening while also consulting primary sources in order to understand the contexts of musical production over the past 250 years. The ability to read music is not required for this course and non-musicians are welcome and encouraged. This course fulfills the Arts (Division I C) distribution requirement.
Attributes: Appropriate for First-Year, Arts (Division I C)

111 Performance Studies Class
Permission of the instructor required.
Attributes: Appropriate for First-Year, Can't be taken pass/fail

115 Fundamentals of Music
A hands-on introduction to the fundamentals of music through reading, writing, listening, singing, and basic keyboard skills. Emphasis is upon the acquisition of musical literacy grounded in a thorough knowledge of music notation.
The course is intended for non-majors with little or no theory background, and for minors and majors as a preparation for Music 125.
Attributes: Appropriate for First-Year, Arts (Division I C)

125 Music Theory I, with lab
An introduction to the basic materials of music by means of discussion, analysis, and written exercises, with a complementary lab component comprising practice in sight singing, ear training, and keyboard harmony.
Course includes a one-hour lab each week. Prerequisite: 115, placement exam, or permission of the instructor. Offered every fall semester.
Attributes: Appropriate for First-Year, Arts (Division I C), Quantitative Reasoning

126 Music Theory II, with lab
An introduction to the basic materials of music by means of discussion, analysis, and written exercises, with a complementary lab component comprising practice in sight singing, ear training, and keyboard harmony.
Course includes a one-hour lab each week. Prerequisite: 115, placement exam, or permission of the instructor. Offered every fall semester.
Attributes: Arts (Division I C), Quantitative Reasoning

131 Introduction to the Art of Composition
So you think the art of composing epic symphonies died with guys like Mozart, Beethoven, and Tchaikovsky? You think you need to wear a wig and be dead to compose great music? Think again! All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music in the great Classical tradition is being performed and heard, music created by living composers, music of recent and current generations, your generation no less, music by people you may meet or already know. And you, too, can learn to develop a sophisticated, articulate musical voice of your life and times. Think: Symphony for the 21st century. In this one-semester, half-credit course, students learn about the living art and discipline of music composition through lectures on its history and current practice, listening assignments, and incremental composition exercises resulting in completed, small-scale works. Students will learn how the elements of sound comprise tools for conveying artistic expression, order, and meaning.
Prerequisite: Ability to read music in both treble and bass clefs.

133 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.

134 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.

206 Music in the United States
This course explores the wide variety of music that composers and musicians created to reflect their own experience of and attitude toward American culture. The course explores not only the diverse means by which identity is encoded in musical language, including race, class, gender, ethnicity, and local practices, but also the ways in which music is employed within American culture, including religious life, social movements, wartime conflicts and protest movements, labor, and geo-political commentary. Unlike other courses at Dickinson, Music in the United States draws examples from a lengthy time-span (1600s to the present day), fosters critical listening skills (i.e., how do I listen to jazz?), and interrogates the dialogues between musical genres that are often viewed as being on opposite sides of the "high/low" art divide (classical, religious, folk, blues, jazz, pop, rock, hip hop).
Offered every two years.
Attributes: Arts (Division I C), US Diversity

209 Ethnomusicology
This course explores the musical culture of six regions (Africa, India, Southeast Asia, Middle East, North American, and Europe) from the disciplinary perspective of ethnomusicology, a field that emphasizes the direct connections between social structures and musical sound/aesthetics. Students are exposed to the disciplinary methods of ethnomusicology, including its basic terminology and classification systems, and then apply these tools to the study of non-Western musics in a series of analytical assignments and presentations. Some of the questions posed in the class include: What differentiates music from sound, speech, and dance? How does music reflect cultural values and social structures? How does one learn to listen to non-western music? How has globalism affected local musical cultures? How does western terminology limit our understanding of another's music? What are the ideological and physical boundaries that hinder the experience of another culture's music?
Offered every two years.
Attributes: Arts (Division I C), Comparative Civilizations

210 Topics in Global Music
A topics course in which students explore a global musical culture or analytical issue (selected by the FTE) in greater detail and depth. This course builds from the survey/methods design of MUAC 209 (Ethnomusicology) and allows students to engage more deeply with advanced study of a specific music culture (e.g., South African music; Jewish music; global jazz) or of a specific analytical/historiographical issue within the discipline (e.g., colonialism; diaspora; transnationalism; multiculturalism; ecomusicology; improvisation).
Prerequisite: MUAC 209

221 Music in Film
An introduction to the role and subject of music in film. This course will focus upon films made between ca. 1933 and the present, chosen for the variety and significance of their musical scores. Through critical reading, listening, and viewing, students will be taught to analyze the various functions of music in film, and to appreciate music as an essential and distinctive component of film narrative. No prior background in music is required for this course. This course fulfills the Arts (Division I C) distribution requirement.
Attributes: AMST Representation Elective, Appropriate for First-Year, Arts (Division I C), Film Studies Elective

231 Counterpoint
A two-semester, one-credit course in 16th- and 18th-century contrapuntal rules, styles, and genres taught in one-on one lessons.
May be taken out of sequence. Two semesters, 0.5 credit each semester. Prerequisite: MUAC 115 or 125 or substantial evidence of previous compositional experience, advanced theory placement by exam (e.g. into MUAC 126, 245 or 246) and permission of instructor.

232 Counterpoint
A two-semester, one-credit course in 16th- and 18th-century contrapuntal rules, styles, and genres taught in one-on one lessons.
May be taken out of sequence. Two semesters, 0.5 credit each semester. Prerequisite: MUAC 115 or 125 or substantial evidence of previous compositional experience, advanced theory placement by exam (e.g. into MUAC 126, 245 or 246) and permission of instructor.

233 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.Prerequisite: 134.

234 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.Prerequisite: 233.

245 Music Theory III, with lab
A continuation of MUAC 126, this course focuses on the evolution of chromatic harmony through the 19th century and selected techniques in 20th century music. Increased emphasis is placed upon formal analysis and analytical writing. Advanced skills of ear-training, sight-singing, and keyboard harmony will be developed in the complementary lab component. These courses include two forty-five minute labs per week.
Prerequisite: 126, placement exam or permission of the instructor. Offered every fall semester.

Attributes: Arts (Division I C), Quantitative Reasoning

246 Music Theory IV, with lab
A continuation of MUAC 126, this course focuses on the evolution of chromatic harmony through the 19th century and selected techniques in 20th century music. Increased emphasis is placed upon formal analysis and analytical writing. Advanced skills of ear-training, sight-singing, and keyboard harmony will be developed in the complementary lab component.These courses include two forty-five minute labs per week.
Prerequisite: 126, placement exam or permission of the instructor. Offered every spring semester.

Attributes: Arts (Division I C), Quantitative Reasoning

251 Score Study and Conducting
An intermediate course in conducting vocal and instrumental ensembles following fundamentals of conducting taught in Music Theory 125-246. Principals of score study and analysis, score preparation, baton technique, expressivity, recitative and concerto-accompanying will be addressed. Texts include tradition choral and instrumental repertoire, examining the variety of problems and technical challenges of leading an ensemble and in developing an interpretation.
Prerequisite: 245.

253 Orchestration
A course in orchestrating music for a complete range of traditional Western orchestral, chamber and solo instruments. Issues of balance, transposition, score format, instrument ranges, characteristics and technical limitations will be studied. Students will practice arranging for a thorough array of instruments and will have their final orchestrations read by an ensemble.
Prerequisite: 126.

255 Techniques of Composition
An introduction to various compositional trends which emerged during the twentieth century. Techniques such as extended chromaticism, modal composition, free atonal counterpoint and serialism, are explored as well as the resources of MIDI (Musical Instrument Digital Interface). Current notational procedures are examined and practiced. The course concludes with a final composition project for solo or chamber instrumental or vocal forces. The music department is equipped with a computer music lab for student use on assignments and projects.
Prerequisite: 125 and 126 and permission of the instructor.

256 Seminar in Composition
This course explores in depth composition for instruments or voices, and emphasizes scoring for large ensembles, including orchestra, symphonic band, and chorus. Extended instrumental techniques are discussed as well as advanced notational procedures. The course concludes with a final composition project appropriate to one of the college co-curricular ensembles.
Prerequisite: 255 or permission of the instructor.

331 Intermediate Composition Lessons: Composing with Electronic Media
Drawing on the experience gained in MUAC 231/232, students will learn to compose original works for solo instruments, small chamber ensembles, and electronic media in one-on-one study. Emphasis will be placed on developing original solutions to compositional problems and challenges and to incorporating technology in compositional works and practice. When possible, the works will be read and/or performed and recorded.
Prerequisite: MUAC 126, and 231 or 232, and 233 or 234 and permission of the instructor

332 Intermediate Composition Lessons: Composing with Electronic Media
Drawing on the experience gained in MUAC 231/232, students will learn to compose original works for solo instruments, small chamber ensembles, and electronic media in one-on-one study. Emphasis will be placed on developing original solutions to compositional problems and challenges and to incorporating technology in compositional works and practice. When possible, the works will be read and/or performed and recorded.
Prerequisite: MUAC 126, and 231 or 232, and 233 or 234 and permission of the instructor

333 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.Prerequisite: 234.

334 Composers' Forum
All around us, in concert halls, community centers, schools, private and public galleries, in large cities, small towns and even in isolated, rural settings, new music is being performed and heard, music created by living composers in the venerable tradition of composers such as Bach, Mozart, Beethoven, and Tchaikovsky. You may never have heard such music, as it is a small fraction of programming on mainstream media. Nevertheless, this amazingly diverse repertoire passionately voices and reflects contemporary life, experience, and society. This is music of recent and current generations, your generation no less, music by people you may meet or already know. This half-credit course offered each semester explores such music, recent and contemporary (20th- and 21st-century) compositions and composers in the Western art-music tradition. Students will become acquainted with a wide variety of styles, will gain deeper understanding of the elements of sound as tools for artistic creation, and will hone analytical listening skills.Prerequisite: 333.

335 Composition Studies I: Orchestration
Drawing on the experience gained in MUAC 231/232, students will learn the complexities, challenges, and best practices in composing for all standard, Western, acoustic instruments. Students will arrange works by other composers for instrumental combinations and will also create original works for large chamber ensembles of mixed instrumentation. When possible, the works will be read and/or performed and recorded.
Two semesters, 0.5 credit each semester. Prerequisite: MUAC 246, 231, 232, 233, 234 and permission of instructor.

336 Composition Studies I: Orchestration
Drawing on the experience gained in MUAC 231/232, students will learn the complexities, challenges, and best practices in composing for all standard, Western, acoustic instruments. Students will arrange works by other composers for instrumental combinations and will also create original works for large chamber ensembles of mixed instrumentation. When possible, the works will be read and/or performed and recorded.
Two semesters, 0.5 credit each semester. Prerequisite: MUAC 246, 231, 232, 233, 234 and permission of instructor.

345 Analytical Theory
Drawing on analytical skills and experience gained in Music Theory (MUAC 125 – 246), students will read major music-theoretical literature from the Renaissance to the present day and will write analyses in which they apply the theories they have read. Students will also develop the ability to postulate and apply original theories of music.
Prerequisite: 246.
Attributes: Writing in the Discipline

351 Seminar in Medieval and Renaissance Music
Studies in selected topics of the history of music from chant to ca. 1600.
Prerequisite: 101 and 126 or permission of the instructor. Offered alternate years.
Attributes: MEMS Elective

352 Seminar in Baroque Music
Studies in selected topics of the history of music ca. 1600-1750.
Prerequisite: 101 and 126 or permission of the instructor. Offered alternate years.
Attributes: MEMS Elective

353 Seminar in Classic and Romantic Music
Studies in selected topics of the history of music from ca. 1750 to 1900.
Prerequisite: 102 and 126 or permission of the instructor. Offered alternate years.

354 Seminar in Contemporary Music
Studies in selected topics of the history of music ca. 1900 to the present.
Prerequisite: 102 and 126 or permission of the instructor. Offered alternate years.

401 Senior Colloquium
The senior colloquium brings majors together in the final year of their coursework and provides them with a forum by which to research, develop, and execute their capstone projects within the major. Students in the musical studies emphasis will collaboratively determine and design a culminating project (e.g., residency or concert curation; poster or digital humanities presentation) based on original research and analysis.
MUAC 101, 102, 125, 126.

431 Advanced Composition Lessons
Drawing on the experience gained in MUAC 331/332 and/or 335/336, students will be guided in one-on-one lessons to compose original works of broader scope for chamber ensembles. Students will develop increasingly sophisticated and original solutions to compositional problems and challenges. When possible, the works will be read and/or performed and recorded.
Prerequisite: MUAC 246 and 331 or 332 or 335 or 336, and 333 or 334, and permission of instructor.

432 Advanced Composition Lessons
Drawing on the experience gained in MUAC 331/332 and/or 335/336, students will be guided in one-on-one lessons to compose original works of broader scope for chamber ensembles. Students will develop increasingly sophisticated and original solutions to compositional problems and challenges. When possible, the works will be read and/or performed and recorded.
Prerequisite: MUAC 246 and 331 or 332 or 335 or 336, and 333 or 334, and permission of instructor.

435 Composition Studies II: Portfolio and Project
Drawing on the experience gained in MUAC 335/336, students will compose a substantial work for large ensemble (orchestra, band, choir). Students will also revise and refine works created earlier in their previous composition courses to achieve a polished portfolio of works for a variety of instruments, ensembles, and media. When possible and at the discretion of the professor and the director of the relevant ensemble(s), the work will be read, recorded, and possibly performed. Students will write a substantial essay on their composition process, their aesthetic outlook, and their creative goals for their compositions. This essay will form the basis of a 12-minute presentation on the annual Music Majors’ Colloquium.
Two semesters, 0.5 credit each semester. Prerequisite: MUAC 333 or 334, and 335 or 336, and permission of instructor.

436 Composition Studies II: Portfolio and Project
Drawing on the experience gained in MUAC 335/336, students will compose a substantial work for large ensemble (orchestra, band, choir). Students will also revise and refine works created earlier in their previous composition courses to achieve a polished portfolio of works for a variety of instruments, ensembles, and media. When possible and at the discretion of the professor and the director of the relevant ensemble(s), the work will be read, recorded, and possibly performed. Students will write a substantial essay on their composition process, their aesthetic outlook, and their creative goals for their compositions. This essay will form the basis of a 12-minute presentation on the annual Music Majors’ Colloquium.
Two semesters, 0.5 credit each semester. Prerequisite: MUAC 333 or 334, and 335 or 336, and permission of instructor.

491 Senior Seminar in Composition
Advanced independent study culminating in the creation of a substantial composition. The course must be taken as a fall-spring pair of half-credit courses. Open to seniors majoring in music.
Prerequisite: 245, 246, 255 and permission of the department chair.

492 Senior Seminar in Composition
Advanced independent study culminating in the creation of a substantial composition. The course must be taken as a fall-spring pair of half-credit courses. Open to seniors majoring in music.
Prerequisite: 245, 246, 255 and permission of the department chair.

493 Senior Seminar in Analytical Theory
Advanced independent study in musical analysis culminating in the creation of a major analytical essay. Open to seniors majoring in music.
Prerequisite: 245, 246, the relevant 300-level seminar, and permission of the department chair.

494 Senior Seminar in Analytical Theory
Advanced independent study in musical analysis culminating in the creation of a major analytical essay. Open to seniors majoring in music.
Prerequisite: 245, 246, the relevant 300-level seminar, and permission of the department chair.

495 Senior Seminar in Music History/Theory
Advanced independent study in music history culminating in a major research paper. Open to seniors majoring in music.
Prerequisite: two courses from 351-354 and permission of the department chair.

496 Senior Sem in Music History
Advanced independent study in music history culminating in a major research paper. Open to seniors majoring in music.
Prerequisite: two courses from 351-354 and permission of the department chair.