Department of Music Course Offerings

The general subtitles offered under the heading Understanding Music will share a common aim of developing perceptive listening and basic analytical skills through exposure to a specific body of music literature, delineated either by style (e.g., jazz or rock) or topic (e.g., The Romantic Spirit, Film Music or a survey of Musical Styles). Each course will begin with an introduction to the musical elements, branching out to consider how these elements function with the specific musical repertory. It will be equally important to consider the role the music, in turn, plays within the ideological, cultural, and political contexts of its time. Attendance at musical performances will be required.
Credits: 3

In this course, students will learn a range of fundamental skills in recording, production, signal modulation, synthesis, and many forms of music creation that incorporate electronic devices and digital interfaces. Students will also learn the fundamentals of creative coding in music. As a project-based course, students will primarily use tools that are available to them (mobile devices, laptops, open source software), creating audio and audio-visual artifacts to demonstrate their learning progress. Students will leave this course with some practical skills in music technology, as well as the ability to reflect critically on the relationship between music and technology.
Credits: 3

An examination of the significant trends and the major figures of American popular music from the eighteenth century to the present. The course will cover vocal and instrumental traditions from the British legacy of the eighteenth century, through the home, stage, and ballroom music of the nineteenth century, to the rise of Tin Pan Alley and Rock and Roll in the twentieth century. Emphasis will be placed not only on the composers, performers, and the music itself, but also on the social and cultural forces as they have related to America's popular traditions. Offered every spring
Credits: 3

An introduction to reading and writing musical notation, identifying elementary musical patterns by ear, and performing basic rhythms, melodies and chords through singing and piano playing.
Credits: 3

An introduction to the history of music from its beginnings in Western culture to the present. Designed for the non-music major with little musical background, the course provides an overview of major composers, trends, and types of music in relationship to the political, economic, and cultural conditions of various historical periods.
Credits: 3

An introduction to the great diversity of music throughout the world. The course will examine the historical backgrounds, social functions, and general technical characteristics of music and musical instruments in Africa, native America, Asia, and Europe. Class members will have opportunities to participate actively in musical traditions being studied. Attendance at representative musical performances will be required.
Credits: 3

This is a beginning course in piano aimed at providing students that have had little or no previous training in piano with basic skills in playing the piano. Foundational aspects of keyboard technique are built through the study of technical exercises and through elementary repertoire. Included is the reinforcement of fundamental skills in understanding and interpreting musical notation in an applied setting. This course will also reinforce music theoretical concepts presented in MUSC 189, and it will build a strong foundation of keyboard skills for the purposes of melody harmonization, improvisation, transposition, and sight reading. This course is offered in a class setting.
Credits: 1

This course is a continuation of MUSC 139, designed for students in their second semester of study, or for those who have had previous piano instruction at a basic level. It will build on the development of piano skills through appropriate technical exercises and repertoire. This course will also reinforce music theoretical concepts presented in MUSC 256, continuing to build skills in melody harmonization, improvisation, transposition, and sight reading. This course is offered in a class setting.
Credits: 1

Instruction in voice designed for students who have had little or no previous voice training.
Credits: 1

Instruction in flute, clarinet, saxophone, oboe, or bassoon intended for the general student.
Credits: 1

Instruction in trumpet, horn, trombone, euphonium, or tuba intended for the student with a level of technical competence sufficient for admission to a MUSC 165 instrumental organization.
Credits: 1

Instruction in violin, viola, cello, or double-bass intended for the student with a level of technical competence sufficient for admission to a MUSC 165 instrumental organization.
Credits: 1

Instruction in the various percussion instruments intended for the student with a level of technical competence sufficient for admission to a MUSC 165 instrumental organization.
Credits: 1

Instruction in piano designed for those admitted to the Performance Option-Piano.
Credits: 2

Instruction in voice designed for those admitted to the Performance Option-Voice.
Credits: 0-2

Instruction in selected woodwind instruments designed for those admitted to the Performance Option-Woodwind.
Credits: 2

Instruction in selected brass instruments designed for those admitted to the Performance Option-Brass.
Credits: 2

Instruction in selected string instruments designed for those admitted to the Performance Option-String.
Credits: 2

Instruction in selected percussion instruments designed for those admitted to the Performance Option-Percussion.
Credits: 2

Each of the choruses provides the student with the opportunity to perform a broad variety of musical literature appropriate for that particular ensemble. Special emphasis is placed on the development of good choral technique and vocal production, musical sensitivity, and excellence in performance. The regular rehearsal schedule of each ensemble, which is printed in the Master Schedule of classes for any given semester, is supplemented by required attendance at extra rehearsals and performances on and off campus listed in the calendar accompanying the syllabus for any given semester. Choruses, offered when demand is sufficient, include Chamber Singers, Spectrum, Men's Chorus, and Festival Chorus.
Credits: 1

The instrumental organizations emphasize the development of musicianship and an expanding knowledge of musical literature. Each organization meets for an average of three hours' rehearsal every week. Opportunities are provided for all groups to perform on and off campus throughout the year. Instrumental groups, offered when demand is sufficient, include Symphony, Orchestra, Jazz Ensemble, Percussion Ensemble, String Band, and Wind Ensemble. Admission is by permission of instructor following audition (audition times for any given ensemble are given in the Master Schedule of classes); special registration procedures are handled by the music department.
Credits: 1

An intensive semester designed to provide the student with traditional techniques of accompanying folk songs on the six-string guitar. Instruction is adapted to beginners, and no previous experience is necessary.
Credits: 1

This course is designed as an introduction to college success within the musical theatre major. Students will learn and practice time management and growth mindset, self-reflective writing, usage of resources supporting learning and wellbeing on campus as well as in the multiple disciplines of musical theatre, the basics of actor training, and readiness and availability in the classroom as appropriate to the various rehearsal studios, including appropriate professional behavior among other students and with instructors and guest artists.
Credits: 1

Spontaneity, awareness, concentration, imagination, and trust. In Musical Theatre Expansions, students explore their natural performance instincts and impulses, learn to take risks, and build a sense of trust and support with their fellow students and themselves. This course is intended to be a precursor to the Musical Theatre Performance sequence.
Credits: 1

This course is designed for musical theatre students to develop written musicianship and practical sight-singing/ear training skills, and a heightened musical awareness of self and others. The course will focus on parameters of rhythm-to develop a strong sense of pulse, rhythmic underpinning, clear subdivisions-and pitch-to develop inner hearing and pitch memory-and to maintain a certain relaxed focus in all written and performed solo and ensemble work.
Credits: 3

This course is designed for musical theatre students to develop written musicianship and practical sight-singing/ear training skills, and a heightened musical awareness of self and others. The course will focus on parameters of rhythm-to develop a strong sense of pulse, rhythmic underpinning, clear subdivisions-and pitch-to develop inner hearing and pitch memory-and to maintain a certain relaxed focus in all written and performed solo and ensemble work.
Credits: 3

Credits: 0-4

An introduction to musical rudiments and practical musicianship. Rudiments including scales, keys, chord construction, meter and rhythm, and cadential patterns are addressed from a theoretical perspective as well as through practical exercises in solfège, aural skills and basic music writing. Prospective music majors should take MUSC 139 in the same semester as MUSC 189. An ability to read music fluently is required.
Credits: 3

Credits: 1-6

Credits: 3

Basic principles and movement techniques of musical theatre dance. Participation at musical theatre spotlight, reading and writing assignments, and video evaluation will be required.
Credits: 0-2

Every independent musical venture, whether it is forming a band with friends or making music videos for YouTube, is-in part-an entrepreneurial venture. It is important for anyone who wants to pursue music professionally or semi-professionally to have a grounded understanding of yesterday's music industry (ticket/merch/music sales, publishing, recording), as well as the new directions of tomorrow's music industry (Artificial Intelligence, FinTech, Tiktok Influencers). MUSC 202 - Music Entrepreneurship will equip students with ideas and strategies on how to seek and identify opportunities, develop business models, and market a brand in both for-profit and nonprofit organizations.
Credits: 3

A practical study of musicianship emphasizing keyboard harmony, figured bass, composition, improvisation, and intermediate solfège and aural skills. Prospective music majors should take MUSC 213 in the same semester as MUSC 236. Prerequisites: MUSC 140 and 190. Offered every fall
Credits: 0-2

An examination of the history, development, and meanings of jazz in the United States. Students learn to analyze and interpret jazz styles, and they learn about key figures such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, John Coltrane, Wynton Marsalis, and Esperanza Spalding. Students gain an understanding of the cultural and political forces that shaped (and continue to shape) the American jazz tradition. They examine the relationship between jazz and African American history by engaging with texts by African American writers such as Amiri Baraka and Toni Morrison.
Credits: 3

An examination of the history and development of the American musical, highlights specific repertoire from the musical theatre tradition, and challenges students to think critically about how the American musical has contributed to ideas about American national identity. Students examine how factors such as race, gender, and class have been and continue to be negotiated on the American musical theatre stage. Students learn about the work of composers, lyricists, book writers, choreographers, directors and producers such as Richard Rodgers, Oscar Hammerstein II, Leonard Bernstein, Jerome Robbins, Stephen Sondheim, Harold Prince, Stephen Schwartz, Bob Fosse, Marsha Norman, and Lin-Manuel Miranda. Attendance at representative performances is required.
Credits: 3

A study of music in the history of Western civilization to 1750. Emphasis is placed not only upon the evolutional development of music as an art but also upon its relationship to the political, economic, and cultural conditions of the various historical periods. Attendance at musical performances may be required.
Credits: 3

An examination of the contributions of key figures in music history during the nineteenth, twentieth, and twenty-first centuries. Students begin in Europe with the classical music tradition, analyzing the music of composers such as Ludwig van Beethoven, Franz Schubert, Richard Wagner, Giuseppe Verdi, and Johannes Brahms. Students conclude in the United States, surveying the rise of new traditions such as jazz and rock 'n roll, and considering the cultural significance of artists such as Louis Armstrong, Duke Ellington, Chuck Berry, Michael Jackson, and Beyonce Knowles. Students gain an understanding of the personal, cultural, and political forces that shaped (and continue to shape) the classical music canon, and they gain an understanding of the personal, cultural, and political forces that shaped the formation of new canons, namely the canons of jazz, rock 'n roll, and popular music more broadly.
Credits: 3

An overview of the study of world music. The course will study musical traditions in light of distinctive technical characteristics; social and political roles; and local, national and international transmission and identity, both historically and as they are practiced to the present. Course requirements will call on students to engage in individual fieldwork and notate musical transcriptions.
Credits: 3

A survey of folk music and related folklore in the United States and Canada. Explores the historical development of traditional song types and styles, instrumental folk music, and folk instruments. The main emphasis is on folk music in the Anglo-American and African-American traditions. Other population groups (e.g., French, Hispanic, German, Slavic and Asian-American) are studied for their influences on this music and for their current importance in an overall view of American folk music.(Attendance at representative musical performances will be required.
Credits: 3

How do we ascribe meaning to music? To answer this question, students begin by reflecting critically on the music history survey. Students then consider other frameworks for thinking through and ascribing meaning to music. Students examine the relationship between music, gender, and sexuality, as well as the relationship between music, race, and ethnicity. They analyze key debates in the fields of musicology and ethnomusicology, and they consider how people from different parts of the world ascribe meaning to music. Students learn to connect music with its contexts and subtexts, developing essential skills for thinking, writing, and speaking critically about music.
Credits: 3

A continuation of MUSC 140.
Credits: 1

A continuation of MUSC 141.
Credits: 1

A continuation of MUSC 142.
Credits: 1

A continuation of MUSC 143.
Credits: 1

A continuation of MUSC 144.
Credits: 1

A continuation of MUSC 145.
Credits: 1

This course is designed to provide vocalists with an understanding and knowledge of the international phonetic alphabet and its functions as used by singers, including: vowel and consonant formation; production and IPA transcription of pure, mixed, nasal vowels; diphthongs, glides, semi-glides; as well as voiced and unvoiced consonants. Students will also develop the physical capacity to form vowels/consonants in English, Italian, German, French, Spanish and learn how to apply this knowledge to recitation and in musical performance.
Credits: 2

A continuation of MUSC 150.
Credits: 2

A continuation of MUSC 151.
Credits: 0-2

A continuation of MUSC 152.
Credits: 2

A continuation of MUSC 153.
Credits: 2

A continuation of MUSC 154.
Credits: 2

A continuation of MUSC 155.
Credits: 2

A detailed practical study of classical harmony and part writing in both keyboard and vocal polyphonic styles through the use of partimenti and related materials. The first semester of the harmony course covers topics in consonant harmony, including cadences, sequences, simple modulations, and simple broderie. Continued emphasis on the development of aural skills. Required for all students interested in the department's music education option as well as those interested in further study in conducting and composition and those intending to pursue graduate study.
Credits: 3

A continuation of MUSC 256, a detailed practical study of classical harmony and part writing in both keyboard and vocal polyphonic styles using partimenti and related materials. Topics include dissonant harmony, borrowed chords, altered chords, chromatic modulation, pedals and complex broderie.
Credits: 3

An introduction to the elements of Jazz harmony including chord construction, basic chord tensions, chord-scale theory, diatonic chord cycles, cadential patterns, and first-order chord substitutions. Exercises will focus on the harmonization and reharmonization of melodies and standards.
Credits: 3

An introduction to realizing keyboard accompaniments from a figured bass. This course addresses techniques for accompanying a bass using triads and dominant seventh chords. This course acts as a lab for Elements of Polyphony and is required for students interested in music composition as well as those intending to pursue preprofessional studies in music including any of the department's preprofessional minors. Students should take MUSC 259 simultaneously with MUSC 256.
Credits: 1

Small ensembles, such as piano trio, string quartet, wind quintet, or brass sextet, for advanced instrumentalists.
Credits: 1

Provides students with a practical study of a selected musical through rehearsal and public performance. Emphasis is placed upon stage diction, dramaturgy, song and role interpretation, stage movement and vocal techniques, technical design and crew work.
Credits: 1

Provides students with a practical study of a selected musicals through rehearsal and public performance. Emphasis is placed upon song and role interpretation, stage movement, vocal techniques, musicianship, dramaturgy, technical design, crew work, and collaboration as an ensemble.
Credits: 1

This course is designed to provide the student with traditional techniques for accompanying folk songs and an introduction to playing folk-derived instrumental solos.
Credits: 1

This course is designed for potential musical theatre artists to integrate functional musical and dramatic skills in a musical theatre performance setting. Emphasis will include basic performance techniques, an introduction to portfolio creation, the development of analytic and interpretive abilities through solo songs, the discovery and process of the singer-actor, and the introduction of duet repertoire.
Credits: 0-3

Credits: 0-3

Each of the subtitles offered under Music and Ideas will present a focused study of the musical works of a single composer or closely allied network of composers, putting them in context with artistic, literary, economic, social, and political trends and movements of their era. Readings will include biographical and autobiographical writings regarding the individuals being studied, as well as period and contemporary scholarly and popular commentary. Attendance at musical performances will be required. Offered every year.
Credits: 3

Credits: 1-6

An introduction to composing and recording music in a computer-based studio and home-studio environments. Students learn about tools and techniques for MIDI sequencing, multi-track hard disk recording, and music production. This course combines theoretical lectures illustrated by audio examples, class discussions on specific topics, in-class recording sessions, guest lectures, professor demonstrations followed by in-class labs, and peer listening critiques of completed creative projects. The course emphasizes the application of acquired skills and knowledge in the completion of creative projects. Students will have hands-on opportunities recording & mixing for concerts in the music program.
Credits: 3

In this courses, students explore the coordination of music with the visual and narrative elements of a multimedia production. Students compose for both electronic and traditional media in a variety of musical genres. A survey of film music is an integral component of the course. This course combines theoretical lectures illustrated by audio examples, class discussions on specific topics, in-class recording sessions, lectures, professor demonstrations followed by in-class labs, and peer listening critiques of completed creative projects. The course emphasizes the application of acquired skills and knowledge in the completion of creative projects.
Credits: 3

An examination of twentieth-century music from a historical and analytical perspective. Topics include impressionism, twentieth-century tonal practice, jazz harmony, atonality, pitch-class sets, serialism, and minimalism.
Credits: 3

An introduction to analytical models of harmony and form. Topics covered include: binary, ternary, rondo, and sonata form; the analysis of applied chords, chromatic harmony, mixture, and the relationship of harmony to form. Course includes short readings from the scholarly literature, regular short analysis assignments, and emphasizes the development of writing skills.
Credits: 3

Instruments and their usages in various kinds of ensembles. Emphasis is upon the development of practical skills, such as scoring and arranging, score and part preparation and score reading.
Credits: 0-2

An upper-level methods course, this course builds on methods addressed by MUSC 236 as well as required coursework in history, criticism and analysis (MUSC 226, 227, 326). Taking concert music of the twentieth and twenty-first centuries as a point of departure, this course examines this repertory from a range of critical perspectives and valences, including the aesthetic, social, and political discourses implicated by this music.
Credits: 3

A seminar focusing on repertoire composed for the keyboard, delimited by the subtitle in a given semester (e.g., The History of Keyboard Literature, Keyboard Literature of the Classical Period, Twentieth-Century Keyboard Literature, The Keyboard as Chamber Instrument), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style, performance practice, and instrument construction, as well as significant composers, celebrated performers, and contrasting analytical/performing interpretations. Activities central to the course include listening to, analyzing and discussing representative compositions. Attendance at specific musical performances is required. (May be taken two times under different subtitles.) Prerequisites: MUSC 227 or permission of instructor. Offered fall, even years
Credits: 3

A seminar focusing on repertoire composed for the voice, delimited by the subtitle in a given semester (e.g., The History of Opera, Mozart's Operas, The Operas of Verdi and Wagner, The History of Art Song), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style and performance practice, as well as significant composers, celebrated singers, analytical/performing interpretations, and the relationships between text and music, voice and instrument, as relevant. Activities central to the course include listening to, viewing, analyzing and discussing representative compositions. Attendance at specific musical performances is required. May be taken two times under different subtitles.
Credits: 3

This course introduces students to theories and histories of the intersection of music, sound, and the moving image. Over the course of the semester, students will watch assigned films, read relative primary and secondary materials, and develop projects incorporating lessons and techniques discussed in class. Possible topics include the history of Hollywood film music, silent film sound, music and cross-marketing, television film music and sound, European cinema sound, video game music, as well as composer, director, or genre-specific topics. May be taken twice under different subtitles. Prerequisite: MUSC 227; Credits 3(3-0); Offered regularly though not on a rotating basis.
Credits: 3

A seminar focusing on repertoire composed for instruments, delimited by the subtitle in a given semester (e.g., The History of the Symphony, The History of Chamber Music, Beethoven's Symphonies, The Post-Wagnerian Symphony, The String Quartet), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style, performance practice, and instrument construction, as well as significant composers, celebrated conductors/performers, and analytical/performing interpretations. Activities central to the course include listening to, analyzing and discussing representative compositions. Attendance at specific musical performances is required. (May be taken two times under different subtitles.) Prerequisites: MUSC 227. Offered fall, odd years
Credits: 3

A consideration of the relationships between musical practices, styles, and genres to notions of gender and sexuality. Offered under rotating subtitles, topics may include gender and musical genre; music, modernism, and sexuality; opera and queer theory/opera and feminist criticism; and gender, sexuality and musical media. In addition to Musicological approaches to gender and sexuality studies, this course will also examine foundational texts in feminist theory, queer theory, as well as histories of gender and sexuality by authors such as Foucault, Butler, Sedgwick, and others. May be taken twice under different subtitles. Prerequisite: MUSC 227; Credits 3(3-0). Offered regularly though not on a rotating basis.
Credits: 3

An examination of the relationship between historical, cultural, and political contexts, notions of race and ethnicity, and resulting artistic production. Students will engage with popular music, jazz, fusion, as well as classical genres. They will analyze works drawing from a variety of disciplines including critical theory and music analysis in order to understand the cultural work music and musical activities do in social contexts. Possible topics include critical theories of race and musical production, the history of hip-hop, music in immigrant communities, the history of jazz, and a survey course on theories of race, politics, and music by African Americans. May be taken twice under different subtitles. Prerequisites: MUSC 227 or MUSC 232 or MUSC 233; Credits 3(3-0). Offered regularly though not on a rotating basis.
Credits: 3

An ethnomusicological study of folk music and selected ethnic, popular, and classical traditions in New York State. The course will examine both historical and present day examples and will emphasize the extraordinary variety of musical traditions found within the state. Attendance at off-campus musical events and individual fieldwork will be required.
Credits: 3

An examination of various styles and genres of popular and folk music in specific historical, cultural, aesthetic, and political contexts. This course will also examine basic theoretical texts in the field of popular music studies. Topics to be considered may include notions of high and low art, popular music and identity construction, geographies of popular music, the politics of folk and popular music, and musical folklore. May be taken twice under different subtitles. Prerequisites: MUSC 227 or 232 or 233; Credits 3(3-0); Offered regularly though not on a rotating basis.
Credits: 3

A continuation of MUSC 240.
Credits: 1

A continuation of MUSC 241.
Credits: 1

A continuation of MUSC 242.
Credits: 1

A continuation of MUSC 243.
Credits: 1

A continuation of MUSC 244.
Credits: 1

A continuation of MUSC 245.
Credits: 1

This course is an introductory study of jazz improvisation and the fundamental elements necessary to develop musical ideas in the jazz idiom. Topics will include the study of form, common patterns, vocabulary and style analysis. Techniques will include transcription, practical application, sight singing and the development of original solo ideas. Principles to be covered will include melodic and harmonic analysis, phrase construction, ear training and solo development. Prerequisite: MUSC 213. Offered every spring
Credits: 0-2

A continuation of MUSC 346, this course is an in-depth study of jazz improvisation and the fundamental elements necessary to develop musical ideas in the jazz idiom. Topics will include the study of form, common patterns, vocabulary and style analysis. Techniques will include transcription, practical application, sight singing and the development of original solo ideas. Principles to be covered will include melodic and harmonic analysis, phrase construction, ear training and solo development. Prerequisite: MUSC 346. Offered every fall
Credits: 0-2

A continuation of MUSC 250.
Credits: 2

A continuation of MUSC 251.
Credits: 0-2

A continuation of MUSC 252.
Credits: 2

A continuation of MUSC 253.
Credits: 2

A continuation of MUSC 254.
Credits: 2

A continuation of MUSC 255.
Credits: 2

An introductory study of contemporary diatonic and chromatic harmony from a practical, compositional perspective, intended to familiarize students with basic techniques for extended tonal, as well as post-tonal composition. Topics may include: use of extended harmonies, dissonance treatment, non-functional chromaticism, modality, parallelism, use of whole tone scales, pentatonicism and octatonicism, quartal and quintal harmonies, and atonal/free chromatic counterpoint. Emphasis is placed on choral writing and small instrumental ensembles.
Credits: 2

A species approach to four-part and five-part counterpoint. Topics may include imitative, invertible, dissonant, chromatic, and atonal counterpoint. Students will be responsible for weekly contrapuntal assignments as well as a series of short compositions including canons and inventions.
Credits: 2

Required of all music majors in the music performance option, to be taken in the junior year in preparation for a 30-minute recital of representative works studied, selected in consultation with the studio teacher, demonstrating knowledge of varied musical styles as well as professional standards of technique, musicality, and interpretation.
Credits: 1

An introduction to the conductor's art. Training in the basic patterns and gestures of conducting; special exercises in aural development; score reading and analytical skills for score study; rehearsal techniques. Emphasis will be placed upon choral literature and vocal development. Attendance at musical performances will be required.
Credits: 3

A continuation of Conducting I with an emphasis on orchestral and wind ensemble conducting techniques, repertory, sight reading and score reading at the piano. While emphasis is placed on these practical aspects of conducting, students will also be expected to demonstrate a working knowledge of all transpositions, instrumental fingerings and ranges. Conducting assignments, resulting in public performance, will be assigned at the beginning of the term. A final "practicum" demonstrating competency in all areas will be expected of each student. In addition, students will be expected to attend specified rehearsals and concerts to observe different rehearsal and conducting techniques. Prerequisites: MUSC 365. Credits: 3(3-0) Offered spring, even years
Credits: 3

A study of various aspects of the singing process in light of analyzing and solving performance problems that commonly confront the student singer. The areas of study include vocal technique, musicianship, communication, and stage presence, with particular emphasis given to vocal technique. In addition to a one-hour class per week, each student pedagogue will be assigned one male and one female voice student with whom to work individually for a minimum of 1/2 hour each, per week.
Credits: 0-2

An introduction to methods and materials used in teaching piano. Study of traditional theories of teaching and playing developed over three centuries, as well as recent methods of dealing with child and adult, beginning and intermediate, students. Field trips may be scheduled.
Credits: 3

Students are to observe and assist faculty instructors in group and individual situations in which piano instruction is given on beginning and intermediate levels. Two one-hour sessions of teaching participation and one period devoted to critique and discussion will be required. Students participating will assume the role of tutors only. All grades in the piano courses being taught will be given by faculty instructors. Prerequisites: MUSC 375
Credits: 0-2

This course is designed for potential musical theatre artists to continue to integrate and strengthen musical and dramatic skills. The emphasis on musical scene study will include research and analysis of selected repertoire, detailed rehearsal skills and techniques, heightened awareness of the transitional moment when spoken word becomes song, and the strengthening of analytic and interpretive abilities through duet and small group repertoire.
Credits: 0-2

This course is designed for potential musical theatre artists to continue to integrate and strengthen musical and dramatic skills in several audition settings. Emphasis will include detailed musical theatre audition skills and techniques, communication skills in a professional audition, and the completion of an audition portfolio.
Credits: 0-1

This course is designed for potential musical theatre artists to free the natural voice through the Linklater technique. Emphasis will include speech production, relaxation, breath support, use of resonators and articulators, and understanding and use of the International Phonetic Alphabet.
Credits: 0-2

This course is designed for potential musical theatre artists to identify and apply Laban movement qualities to all character work and be able to convey stories non-verbally; physical details of posture, gesture, locomotion and movement qualities will convey details of characters objectives, histories, and emotional/psychological states.
Credits: 0-2

Credits: 0-12

Independent study on a musical project mutually agreed upon by the student and a mentor from the Music Faculty. Enrollment by invitation of the Faculty. To be eligible, students normally will have completed 75 semester hours with at least a 3.0 cumulative grade point average overall and a 3.5 grade point average in music courses. Offered by individual arrangement
Credits: 3-6

Credits: 1-15

Selected study or research in a field of specialization in music or solo recital under the supervision of a staff member. (1 to 3 semester hours.) Prerequisites: Permission of instructor. Offered by individual arrangement
Credits: 1-15

Portfolio of written and/or creative work required for all students in the HTCC option. Developed in consultation with the advisor, the portfolio will include samples of student work, both revised and new, as well as a statement of reflection addressing learning goals and outcomes. Students will meet for regular writing and peer review/editing workshops, as well as present work on an ongoing basis over the course of the semester. Offered by individual appointment. Offered every semester.
Credits: 2-3

A continuation of MUSC 350.
Credits: 2

A continuation of MUSC 351.
Credits: 0-2

A continuation of MUSC 352.
Credits: 2

A continuation of MUSC 353.
Credits: 2

A continuation of MUSC 354.
Credits: 2

Individualized study of recent compositional practices, including but not limited to atonality, extended tonality, neo-romanticism and minimalism.
Credits: 0-2

Required of all music majors in the music performance option, to be taken in the senior year in preparation for a 1-hour recital of representative works studied, selected in consultation with the studio teacher, demonstrating knowledge of varied musical styles as well as professional standards of technique, musicality, and interpretation.
Credits: 2

This course is designed for potential musical theatre artists to develop the seven techniques of comedy ? automatism, takes, comic anger, exaggeration, the rule of three, timing, and delivery. Emphasis will include comedy techniques and development of Vaudeville, Golden Age, New Age, and Contemporary styles in musical theatre. May be repeated one time for credit. Prerequisites: MUSC 380 & permission of instructor. Credits: 3 (2-2). Offered every spring.
Credits: 0-3

This course is designed to continue the preparation of young musical theatre artists and the understanding of the musical theatre genre as not only entertainment, but also art. Students will reflect on the industry, on art, and on community as it relates to the musical theatre world. Students will begin the process of bridging into non-academic theatre by learning to explore employment options and further schooling. Students will establish a reel, portfolio, resume, repertoire list, and acquire headshots.
Credits: 1

Students join the Study Away/NYC Immersion experience to discover and explore non-performance-related career options in the musical theatre industry/community. Open to senior B.A. in musical theatre majors and musical theatre minors.
Credits: 1

Credits: 0-12

This course is designed to prepare potential musical theatre artists to participate in a musical theatre showcase on campus as arranged by the instructor (includes solos, small ensembles and scenes, group numbers) that will culminate in an Externship to NYC to perform for industry professionals. Students will accumulate performable solo material (4 pre-1970 ballads, 4 pre-1970 up-tempos, 4 contemporary ballads, 4 contemporary up-tempos, 2 Sondheim, 1 country, 1 pop/rock, 2 comic selections) and observe professional work.
Credits: 0-2

This capstone course is designed for senior musical theatre students to perform their senior showcase in NYC for casting directors, agents, and industry professionals.
Credits: 1

Credits: 1-3

Credits: 1-15

Credits: 1-15

Credits: 0-6