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General Bulletin 2004-2006

Courses of Instruction

MUSIC (MUS-Fine Arts)

Note:
1. The following music history and literature courses require a reading knowledge of music: 311-312, 405, 427, 457-458, 461, 481-482, 505, 527, 557-558, 561, 621, 651.

2. Applied music courses are listed at the end of this section.
100/630.A Collegiate Chorale (2, or 0 for 100.E) Mixed chorus of fewer than 100 voices. May be repeated for credit.

100.C Choral Union (1)

Mixed chorus of 75 to 125 voices. Audition not required. May be repeated for credit.

101-102 Theory of Music (2, 2)

Understanding of the elements of music, directed toward intelligent and authoritative performance, as well as creative writing in music composition. Includes fundamentals of music, diatonic partwriting, and analysis. Final project in MUS 102 is an original composition using the principles studied. Recommend taking concurrently with MUS 151-152. Required of all music majors and open to all students with permission of instructor. Students must be able to read music fluently in at least one clef before enrolling in this course. MUS 101 is a prerequisite for MUS 102.

103/630.C Men's Glee Club (2, or 0 for 103.E)

Membership: 75. May be repeated for credit.

104/630.D Symphony Orchestra (2)

Open to all students by audition only. Membership: 80 string, wind, and percussion players. Study and performance of main symphonic literature. May be repeated for credit.

105/630.E Choraliers (2, or 0 for 105.E)

Women's chorus. Membership: 80. May be repeated for credit.

106/630.B Marching Band (2, or 0 for 106.E)

Membership: 200 wind and percussion players. May be repeated for credit.

106.S/630.B Symphonic Band (2, or 0 for 106.T)

Membership: 72 wind and percussion players. May be repeated for credit.

106.W/630.B Wind Ensemble (2, or 0 for 106.X)

Membership: 55 wind and percussion players. May be repeated for credit.

109.A Basketball Band (1)

Open to all students. Ensemble performs for on-campus basketball activities.

109.B Chamber Music Brass (1)

Participation in the performance of brass chamber music with such groups as French horn quartet, trumpet trio and quartet, brass quintet, trombone quartet. May be repeated for credit.

109.D Cello Choir (1)

Open to all with necessary proficiency. Admittance determined by audition or instructor recommendation. Study and performance of literature for multiple cellos, including original works and arrangements. May be repeated for credit.

109.G Balinese Gamelan Ensemble (1)

Introduction to Balinese culture through music and dance. Objectives are achieved through live performance presentations both on and off campus. No prior music reading skills are required. The ability to perform rhythmic music and to understand basic principles of music are the only prerequisites.

109.H Hockey Band (1)

Open to all students. Ensemble performs for all on-campus men's ice hockey activities.

109.J Jazz Ensemble (1)

Open to all students by audition only. Contemporary jazz ensemble literature is covered in this performance group. Two sections are available: advanced and intermediate. May be repeated for credit.

109.M Steel Band (1)

Open to all students by audition only. Two sections are available: advanced and beginner. Advanced ensemble focuses on performance of steel band literature; beginner ensemble is for students with little or no experience playing steel drum instruments. May be repeated for credit.

109.O/630.I Chamber Orchestra (1)

Open to all students by audition or instructor recommendation. Membership: 30 string, wind, and percussion players. Study and performance of the main chamber orchestra literature. May be repeated for credit.

109.P Miami University Percussion Ensemble (1)

Open to all with necessary proficiency. Admittance determined by audition or instructor recommendation. Study and performance of literature for varied combinations of percussion instruments. Literature ranges from percussion ensemble classics to pop arrangements. May be repeated for credit.

109.S Chamber Music Strings (1)

Study and performance of major chamber works for string quartets, string trios and string quartets, and compositions for strings with piano and other instruments. May be repeated for credit.

109.U Marching Band Auxiliaries (1)

Open only to members of the marching band auxiliaries (color guard and shakerettes). Concurrent registration in MUS 106 is required.

109.W/630.W Woodwind Ensemble (1)

Small woodwind ensembles. Prerequisite: permission of instructor. May be repeated for credit.

110 Vocal Accompanying (1)

Practical experience in studio accompanying of voice students.

111 Lab Band (0-1)

Laboratory ensemble for instrumental music education majors. Students reinforce and improve fundamentals of instrumental performance, expand technical and musical abilities, and develop and refine skills necessary for effective conducting and teaching. Prerequisite: junior students must have completed MUS 352. May be repeated for credit.

112 Lab Choir (0-1)

Introduction to the role of the choral conductor/teacher in the junior and senior high school. May be repeated for credit.

117-118 Class Voice (2,2)

Fundamentals of vocal production, song literature, and interpretation designed either as terminal course or to prepare for private study. Class approach combines lecture with group and individual singing. Literature assigned to students according to individual interests and needs.

120 Instrumental Accompanying (1)

Practical experience in studio accompanying of solo instruments: woodwinds, brass, or strings.

MPF, MPT 135 Jazz, Its History and Evolution (3)

Evolution of jazz in the United States from its origins to the present. Emphasis placed on developing aural perceptions of stylistic differences between historical periods and significant performers. IIA, IIIA, H.

140 Recital Requirement (0)

Required recital attendance as nonparticipant for undergraduate music majors consisting of seven semesters of verified attendance at minimum of 12 Department of Music or University Performing Arts Series programs per semester.

146 Vocal/General Music Methods and Materials (1)

Introduction to vocal, choral, and general music concepts and teaching techniques. Open to instrumental music education majors only.

151-152 Sightsinging and Dictation (1, 1)

Practice in rhythmic and melodic reading of music and its reproduction through singing. Dictation of rhythms, melodies, and tonal harmonic progressions. Focuses primarily on diatonic tonality. Required of all music majors. Recommend taking concurrently with MUS 101-102.

155 Chamber Singers (2, or 0 for 155.E)

Chamber choir; 20-25 mixed voices. Auditions open to all students. May be repeated for credit.

160 Functional Piano I (1)

Beginning level group piano instruction for music majors preparing to meet the piano proficiency requirement. Open to music majors only.

161 Functional Piano II (1)

Elementary level group piano instruction for music majors preparing to meet the piano proficiency requirement. Open to music majors only. Prerequisite: MUS 160 or permission of instructor.

175 Introduction to Music Education (1)

Scope of music education in early childhood, elementary, and secondary schools; licensure and degree requirements; assessment of personal and musical competencies/career counseling; foundations/philosophy of music education; introduction to computers in music education.

MPF 185 The Diverse Worlds of Music (3)

Introduces remarkable diversity of musical traditions, whether derived from African and Asian cultures, from Western European classical traditions or from European-derived nonclassical music. IIA, B, IIIB. CAS-B.

188 The Music of Russia (3)

Explores the music of a specific country as it devlops and changes along with its society. The course will discuss the 19th and 20th Century masters of Russian music as well as the influence of film music, popular music, and jazz on contemporary Russian music and culture.

MPF 189 Great Ideas in Western Music (3)

Development of a sequential listening skill and a descriptive vocabulary used in a study of the style of Western Art Music from Middle Ages through 20th century. IIA, H. CAS-B.

201-202 Theory of Music (2, 2)

Continuation of MUS 100-102. Adds the study of chromatic harmony and analytical writing. Final project in MUS 202 is a comprehensive analysis of an entire piece. Recommend taking concurrently with MUS 251-252. Prerequisite: MUS 101-102. MUS 201 is a prerequisite for MUS 202.

231 Class Instruments (Brass) (1)

Class instruction in brass instruments of the symphony orchestra and band. Open to music majors only.

232.A Class Instruments (Woodwinds I) (1)

Class instruction in woodwind instruments of the symphony orchestra and band. Open to music majors only.

232.B Class Instruments (Woodwinds II) (1)

Continuation of MUS 232.A.

233 Class Instruments (Percussion) (1)

Class instruction in percussion instruments of the symphony orchestra and band. Open to music majors only.

234.A Class Instruments (Strings I) (1)

Class instruction in string instruments of the symphony orchestra and guitar. Open to music majors only.

234.B Class Instruments (Strings II) (1)

Continuation of MUS 234.A.

235 Lyric Diction (2)

Study of phonetic structure of English and Latin as applied to singing. Instruction and practice in pronunciation and articulation. Study and performance of examples from vocal literature.

236 Lyric Diction (2)

Study of phonetic structure of German, Italian, and French as applied to singing. Instruction and practice in pronunciation and articulation. Study and performance of examples from vocal literature. Prerequisite: MUS 235.

248 Class Instruments: Brass, Woodwinds, Strings (1)

Brass, woodwind, and string instrument instruction for choral/general music education student.

249 Class Instruments: Percussion, Guitar (1)

Development of necessary expertise to use guitar and percussion instruments in choral and general music classes.

251-252 Sightsinging and Dictation (1, 1)

Continuation of MUS 151-152. Focuses primarily on chromatic and extended chromatic tonality and modulation. Required of all music majors. Recommend taking concurrently with MUS 201-202. Prerequisite: MUS 151-152.

260 Functional Piano III (1)

Early intermediate level group piano instruction for music majors preparing to meet piano proficiency requirement. Open to music majors only. Prerequisite: MUS 161 or permission of instructor.

261 Functional Piano IV (1)

Intermediate level group piano instruction for music majors preparing to meet piano proficiency requirement. Students will fulfill the piano proficiency requirement by passing the final examination. Open to music majors only. Prerequisite: MUS 260 or permission of instructor.

266 Basic Music Skills and Teaching Techniques for the Early Childhood Teacher (3)

Music education for early childhood teachers including philosophy, basic music skills and teaching techniques, music learning, development, and evaluation.

275 Sophomore Practicum in Music Education (1)

History and development of music education in America; career counseling; continuation of the development of computer skills; continuation of an examination of the scope of music education in the schools, prekindergarten through high school; use of audiovisual materials/equipment in the music classroom; musicianship for music educators. Prerequisite: completion of MUS 175 or permission of instructor.

MPT 285 A Survey of African and African-Derived Music in the Western World (3)

Surveys the evolution of African-derived music in the U.S., the Caribbean, and South America. Emphasizes how society, culture, and developing contexts of identity have an impact on music. Prerequisite: MUS 135 or 185.

MPT 301 Counterpoint (3)

Writing of species counterpoint and its application to common practice harmony. Project compositions in the style and smaller forms of 18th century polyphony. Prerequisite: MUS 201.

302 Analysis (3)

Study of advanced analytical methods in post-tonal repertoire, including set theory, networks, centricity, and narrative. The relationship between analysis and performance is emphasized. Prerequisite: MUS 301 (or MUS 202 and permission of instructor), MUS 252.

MPT 303 Electronic Music (3)

Survey of electronic music history, literature, styles, and studio techniques with emphasis on original expression using tape recorder editing, multi-track recording, and synthesizer operations. Open to music and nonmusic majors.

MPT 304 Commercial Applications in Composing/Arranging (3)

Focuses on composing and arranging music in various commercial music styles, utilizing acoustic and MIDI settings. Aspects of the music industry are covered along with information intended to assist the student in identifying and fulfilling personal ambitions in commercial music. Prerequisite: MUS 201 or demonstrated proficiency in the diatonic/chromatic harmony of the common practice period.

311-312 History of Western Music (3,3)

History of Western music from antiquity to the present placed in global context. Music and society; analysis of representative styles from scores. Prerequisite: MUS 201-202, 121-122, or permission of instructor.

320/630.P Opera Production (2)

Participation in the production of an opera or opera scenes for public performance. Prerequisite: permission of instructor.

351 Choral Techniques (2)

Methods, materials, and techniques for teaching choral ensembles at the secondary level. Overview of choral literature appropriate for secondary level choirs. Prerequisite: MUS 163, 202, or permission of instructor.

352 General Conducting (2)

Principles of baton technique, study of musical factors involved in training instrumental and choral groups, score study, rehearsal techniques. Prerequisite: completion of all first- and second-year music courses.

353 Choral Conducting (2)

Principles of conducting technique, study of musical factors involved in training choral groups, score study, rehearsal techniques. Prerequisite: MUS 352.

354 Instrumental Conducting (2)

Secondary school instrumental teaching and rehearsal techniques and advanced level conducting skills. Prerequisite: MUS 352.

355 General Music Teaching Techniques – Early Childhood and Elementary (3)

Music teaching techniques appropriate for effective teaching of general music at early childhood, elementary, and middle school levels. Prerequisite: completion of MUS 175, 275.

356 Secondary General Music Techniques (1)

Music education techniques appropriate for effective teaching of secondary-level general music courses. Prerequisite: MUS 175, 275.

358 Marching Band Techniques (2)

Techniques of marching band procedure, materials, problems, and administration.

359 Instrumental Methods – Elementary and Secondary (4)

The teaching of elementary and secondary instrumental music, including bands and orchestras. Includes foundation/organization of beginning and advanced programs; literature selection; rehearsal techniques; goals, program objectives, student perception and performance; arranging for chamber groups; classroom management; clinical experience. Prerequisite: completion of all instrumental music education degree work through first five semesters.

MPT 371-372 Composition (3,3)

Composition in small forms for solo and chamber ensembles. Prerequisite: MUS 201-202, 251-252, and permission of instructor.

MPT 385 The Roots of Black Music: Blues Gospel and Soul (3)

Development of these music genres in America. In-depth analysis of stylistic differences and musical and cultural relationships between each. Prerequisite: MUS 285 or permission of instructor.

MPT 386 The History and Development of Hip Hop Culture in America (3)

Surveys development of the Hip Hop culture (rapping, graffiti art, breaking, DJing) from black vernacular forms in Africa and America. Prerequisite: MUS 285, 385 or permission of instructor.

401/501 Studies in Music Theory (3)

Topics-oriented course in music theory. For the advanced undergraduate with a strong background in music theory or as an elective for the music graduate student. May be repeated providing the repetition covers a different subject area. Sample topics: History of Theory, Theory Pedagogy, 16th Century Vocal Counterpoint, Larger Contrapuntal Forms of the 18th Century. Prerequisite: MUS 252, 302.

402/502 Arranging (3)

Orchestration for wind, string, and percussion groups as used at the primary and secondary school level. Focuses on the principles of score layout/arranging for concert band and orchestra. Offered infrequently.

404/504 Wind Band Ensemble Literature (3)

A survey of wind/band ensemble literature from the Middle Ages to the present, with particular emphasis on the accepted masterworks of the genre.

405/505 Choral Literature (3)

Literature of choral music from early Middle Ages to the present. Prerequisite: MUS 201-202 and 311-312, or junior standing and permission of instructor.

420/520 Opera Coaching (1)

Preparation of solo vocal repertoire. Prerequisite: permission of instructor.

427/527 Music of the 20th Century (3)

Intensive study of major works, compositional approaches, and cultural context of music in the 20th century (1900-present). Prerequisite: MUS 201-202 and 311-312, or junior standing in music with permission of instructor.

430/530 Piano Pedagogy (2)

Study of contemporary methodologies for teaching beginning, elementary, and early intermediate level piano students. Assignments and lectures include critical analysis of teaching materials; considerations for literature selection; the business aspect of operating an independent studio; the use of piano lab and technology in teaching group classes. Observations of individual lessons and group piano classes are required. Open to piano majors or by permission of instructor.

433/533-434/534 String Instrument Pedagogy (1, 1)

Fundamental problems involved in teaching string instruments. Critical analysis of teaching materials. Observation and practice in private teaching required of all string majors. Prerequisite: senior standing in applied music. Offered infrequently.

451/551-452/552 Advanced Sightsinging and Dictation (1, 1)

Required of all music performance majors. Continuation of MUS 251-252, with addition of atonal and jazz idioms. Prerequisite: MUS 251-252.

MPC 453 Comparisons in the Arts (3)

Highlights correlative stylistic developments in music, art, and architecture. Class discussions on how art works reflect religious, philosophical, and social change. Lecture-demonstrations use simultaneous musical and visual examples. Students study, in reverse chronology, the arts of the baroque, classic, romantic and 20th century periods. Focuses on France, Germany, and Austria. Prerequisite: 9 hours in MPF II (fine arts, humanities) or permission of instructor.

456/556 Vocal Pedagogy (2)

Structure and function of the singing voice. Techniques for teaching voice. Overview of solo vocal materials for young singers. Prerequisite: MUS 235; two semesters of class or applied voice.

457/557-458/558 Piano Literature (3, 3)

Survey of solo piano literature from 1700 to the present. Historical and analytical approach to periods and styles. Undergraduate prerequisite: MUS 189 and 202. Graduate prerequisite: MUS 302 and 312, or equivalent.

461/561 American Music (3)

Music in American cultural life, including all levels and types of cultivated and vernacular expressions. Native American musical traditions through our present musical diversity. Prerequisite: MUS 201-202, 311-312, or permission of instructor.

471/571-472/572 Composition (3, 3)

Creative writing in smaller forms. Provides guided experience in creating original pieces in shorter forms for various media. Prerequisite: MUS 301, 371-372. Offered infrequently.

MPC 475 Senior Practicum in Music Education (3)

Assessment, synthesis, critical analysis, and evaluation of undergraduate experiences relative to the following areas of music education: philosophy, ethics, and standards of the profession. Prerequisite: completion of all third-year courses in music education degree program or permission of instructor.

481-482 Advanced Studies in Special Subjects (1-4, 1-4)

Opportunity for qualified upperclass, graduate, and special students to pursue individual research. Approval of department chair required. Offered infrequently.

491-492 Senior Recital (2,2)

Public performance of a solo recital.

MPC 493 Capstone/Senior Recital: Preparation and Performance (3)

Preparation and performance of a senior recital. Topics studied include creative, artistic, and technical aspects of performance preparation; theoretical, analytical, historical, and aesthetic aspects of the works being performed; and the relation between your performance and the public. Work one-on-one at a minimum of once a week with the faculty member assigned to your performance medium and attend specific seminars as determined by the syllabus prepared for your performance medium. Complete a final written project in conjunction with performance. Such projects include one of the following: a detailed journal of your performance preparation, a public lecture in conjunction with the recital, or extensive and detailed program notes. Perform all or part of the prepared recital in a venue outside the university setting. Corequisite: MUS 442 or 444.

610 Special Project (1-4)

Conference course offering opportunity for work in specialized areas. Course may be repeated for credit.

611 Research Project (3-4)

Research paper in areas related to student's major. Required for majors in performance and music education.

621 Graduate Research in Music (3)

Bibliography and research methodology applied to selected historical subjects. Prerequisite: graduate standing in music.

626 Foundations of Music Education (3)

Intensive study of historical perspectives in music education, psychological and social foundations, philosophical and aesthetic rationale for music programs, and research skills using scholarly resources. Offered infrequently.

627 Recent Developments in Music Education (3)

Intensive study of the scope and sequence of curricular offerings in music and impact on pedagogy in music classrooms. Survey of technology, music of other cultures, current issues in music education, and administrative aspects of school music programs.

628 Research Problems in Music Education (3)

Research techniques applied to selected problems in vocal and instrumental teaching and supervision. Survey of research literature and procedures, use of library resources, and interpretation of results. Offered infrequently.

630 Advanced Ensemble (1; maximum 6 toward any degree)

Participation in choral, orchestral, or chamber music groups, with emphasis on techniques of coaching. Prerequisite: bachelor's degree in music or equivalent and permission of instructor.

630.G Chamber Music (1)

Study and performance of advanced literature for small ensembles. Prerequisite: permission of instructor.

630.Z Steel Band (1)

Open to all students by audition only. Two sections are available: advanced and beginner. Advanced ensemble focuses on performance of steel band literature; beginner ensemble is for students with little or no experience playing steel drum instruments. May be repeated for credit.

633 Topics in 19th Century Music (3)

Advanced topical studies in romantic music, emphasizing music in sociological context, extensive repertory studies, and interpretive primary source reading. Offered infrequently.

634 Advanced Orchestral Conducting (2)

Advanced study of expressive conducting and rehearsal techniques and their application to the orchestra repertoire. May be repeated for credit.

635 Advanced Wind Band/Ensemble Conducting (2)

Advanced study of expressive conducting and rehearsal techniques and their application to the Wind Band/Ensemble repertoire. May be repeated for credit.

636 Advanced Choral Conducting (2)

Interpretation of choral music in large and small forms; emphasis on choral literature for school groups. Summer only.

640 Concepts in Music History (3)

Investigates philosophies and methodologies of teaching and learning music history in the 21st century. Study of the current postmodern musical culture placed within the disciplinary contexts of new musicology, ethnomusicology, and traditional musicology. Case studies investigate the interconnections between postmodernity, musicology, and ethnomusicology.

642 Applied Music (2; maximum 12)

Individual instruction for graduate students in music in the major performing medium. May be repeated for credit. Prerequisite: approval of graduate music faculty. Offered infrequently.

644 Applied Music (4)

Same as MUS 642. Required of all applied music majors at graduate level.

661 Graduate Analysis (3)

Investigation of music literature from analytic view. Pieces from 18th through 20th centuries studied with respect to structure and compositional technique. Prerequisite: successful completion of Music Theory Diagnostic Examination or permission of instructor.

682 Repertory (2)

Preparation of extensive and balanced repertory of compositions. Prerequisite: MUS 642 or 644 and permission of instructor.

684 Repertory (4)

Same as MUS 682.

690 Graduate Recital (1-2)

Public performance of a solo recital of professional caliber. Required of all applied music majors at the graduate level. Prerequisite: approval of graduate music faculty.

Applied Music

You must audition to qualify for studio lessons in applied music. Requirements with course descriptions for each area (voice, piano, etc.) follow.

Study in applied music carries two semester credit hours for one half-hour lesson per week and three or four semester credit hours for two half-hour lessons per week. Credit earned depends on repertoire studied, number of lessons, and preparation required. Performance majors are required to enroll for three or four credit hours per semester; all other majors enroll for two credits per semester.

Applied music course numbers designate level of instruction (freshman through senior) and number of credit hours per semester. The first digit of each number shows the level of instruction, and the third shows the number of credit hours. The letter following the number designates the specific applied music area, as follows:

A- Voice
B- Piano
D- Flute
E- Clarinet
F- Saxophone
G- Oboe
H- Bassoon
I- Trumpet
J- French Horn
K- Trombone
L- Euphonium
M- Tuba
N- Percussion
O- Violin
P- Viola
R- Cello
S- String Bass
T- Harp

For example, MUS 142.A signifies freshman-level voice for two credit hours per semester.

Voice

142.A, 144.A

Study of basic principles of singing, including posture, breath control, vocal freedom, resonance, and diction. First semester repertoire is at the discretion of the instructor. Second semester repertoire for 142.A is a minimum of three songs (memorized); for 144.A is a minimum of five songs (memorized).

242.A, 244.A

Continuation of study of principles of singing. Repertoire requirement for 242.A is four songs in two languages (memorized) each semester; for 244.A is six songs in two languages (memorized) each semester. Prerequisite: two semesters of 142.A or 144.A and successful completion of the sophomore-standing examination.

342.A, 344.A

Study of advanced singing technique; increased emphasis on literature and performance. Repertoire requirement for 342.A is five songs in three languages (memorized) each semester; for 344.A is literature for the junior recital. Prerequisite: two semesters of 242.A or 244.A and successful completion of junior-standing examination.

442.A, 444.A

Continuation of advanced singing technique. Repertoire requirement is literature for the senior recital. Prerequisite: two semesters of 342.A or 344.A.

Piano

142.B, 144.B

Introduction to piano technique and interpretation based on study of scales, arpeggios, and other standard pianistic patterns, as well as compositions from the standard repertoire, such as: Bach Inventions, and Preludes and Fugues from the Well-Tempered Clavier; Haydn, Mozart, and Beethoven sonatas; Chopin, Schumann, and Debussy character pieces; and Bartok Mikrokosmos.

242.B, 244.B

More advanced level study of materials, including technical exercises and repertory classifications in 142.B and 144.B; preparation for junior standing examination. Different repertoire assigned, learned, and performed each semester. Prerequisite: passage of the sophomore standing examination.

342.B, 344.B

Increasing presumption of student responsibility for mastering notational details and technical exercises. Emphasizes study of qualities of expressive depth and variety. May include preparation of junior and Thematic Sequence recitals.

442.B, 444.B

Most challenging undergraduate course of piano study. Emphasizes quick memorization of repertoire, physical ease in performance, and while respecting the composers' wishes, development of maximum variety and spontaneity of expressive style. Preparation of the senior recital as well as further polishing technical exercises.

Flute

Note: Admission audition requirement for music major: no specific repertoire requirement; technical proficiency of an advanced high school flutist.

142.D, 144.D

Studies for development of tone and technique; major and minor scales and arpeggios. Drouet 25 Etudes Celebres; Donjon Etudes de Salon; Karg-Elert 24 Caprices. Sonatas of Blavet, Handel, C.P.E. Bach, Koechlin 14 pieces pour Flute et Piano; Bloch Suite Modale; and works of comparable difficulty.

242.D, 244.D

Continuation of tone studies. Orchestral studies (memorized). Anderson op. 15, op. 30, and op. 63; Etudes of Boehm, Altes. Participation in two class recitals or equivalent. J.S. Bach Sonatas, Suite in B Minor; Hindemith Sonata; Henze Sonatina; Faure Fantasie; Mozart Concerti; Blavet Concerto in A minor; and works of comparable difficulty.

342.D, 344.D

Tone studies, orchestral studies (memorized). Etudes of Genzmer, Jean, Boehm. Participation in two class recitals or equivalent; J.S. Bach Sonatas, Hue Fantasie, Griffes Poem, Burton Sonatina, Copland Duo, Hindemith Acht Stucke, Ibert Piece, Martin Ballade, and works of comparable difficulty.

442.D, 444.D

Tone studies, orchestral studies (memorized). Participation in one class recital, presentation of senior recital. Bozza 14 Arabesques, Anderson Virtuoso Studies, Jolivet Chant du Linos, Nielson Concerto, Prokofieff Sonata, Dutilleux Sonatina, J.S. Bach Partita in A Minor, Messiaen Le Merle Noir, Ibert Concerto, Schubert Introduction and Variations, and works of comparable difficulty.

Clarinet

142.E, 144.E

Technical studies as needed: embouchure, breath control, hand and finger position, articulation, intonation, phrasing. Scales Studies Baermann Bk. III, Etudes from Rose, Klosé Celebrated Method. Works by Weber, Mozart, Stamitz, Saint-Saëns, Tartini, Brahms, Hindemith, and others. Reed work. All scales.

242.E, 244.E

Works by Mercadante, Arnold, Cahuzac, Finzi, Lutoslawski, or equivalent. French conservatory contest solos. Orchestral excerpts. All scales and additional technical work.

342.E, 344.E

Jeanjean Etudes, Cavallini 30 Caprices. Works by Spohr, Stravinsky, Debussy, Rossini, Bernstein, Poulenc, or equivalent. Orchestral excerpts. Transposition.

442.E, 444.E

Emphasis on repertoire. Works by Copland, Berg, Verdi, Manevich, Françaix, Nielsen, or equivalent. Contemporary techniques. Orchestral excerpts. Clarinet with electronics. Senior recital.

Saxophone

142.F, 144.F

Technical studies as needed; embouchure, breath control, hand and finger position and articulation. Studies by Klose, Mule Etudes after Berbiguier and after Samie. All major and minor scales. Pieces by Bozza, Bach, Leclair, Creston, or works of comparable difficulty.

242.F, 244.F

Mule Etudes after Terschak and after Ferling. Pieces by Handel, Ibert, Glazounov, etc. Technical exercises.

342.F, 344.F

Mule Etudes after Boehm, Tershak et Fursteneau; Lang Altissimo Etudes. Pieces by Maurice, Heiden, Bozza, Debussy, Noda, etc. Jazz style studies. Chamber music.

442.F, 444.F

Etudes by Lacour and Bozza. Pieces by Desenclos, Dubois, Bonneau, etc. Contemporary saxophone techniques. Chamber music. Orchestral excerpts. Preparation of senior recital.

Oboe

142.G, 144.G

Focuses on basic elements of tone production: breathing embouchure and articulation. Musicality. Reedmaking. All major and minor (3 forms) scales, Triad arpeggios. Articulation and melodic Studies from Barret Oboe Method, Salviani Scale Studies, Book II. Pieces: Handel Sonatas, Telemann Sonata in A Minor, Sammartini Sonata in G, Albinoni Concerti, Cimarosa Concerto, Haydn Concerto.

242.G, 244.G

Further refinement of tone and development of musicality. Reedmaking. All Major & Minor (3 forms) Scales in broken 3rds. 7th Arpeggios. Sonatas from Barret Oboe Method. Selected duets. Pieces: Hindemith Sonata, Britten Metamorphoses after Ovid, Handel Concerto in G Minor, Vivaldi Concerti, Marcello Concerto.

342.G, 344.G

Continuation of technical studies. Reedmaking. Study of English horn. Grand Studies from Barret Oboe Method. Pieces: J.S. Bach Sonata in G Minor, BWV 1020, Hummel Adagio, Theme and Variations, Saint-Saëns Sonata, Mozart Concert.

442.G, 444.G

Orchestral studies. Study of baroque ornamentation. Study of Oboe d'amore. Oboe pedagogy. Ferling 48 Famous Studies. Pieces: Schumann Romances, Poulenc Sonata, Dutilleux Sonata, Mozart Oboe Quartet, Strauss Concerto. Selected contemporary works. Preparation of recital program.

Bassoon

142.H, 144.H

Basic technical studies; proper breath control, tongue placement, vibrato, embouchure, reed making. Weissenborn Studies, Ozi Caprices, solos of difficulty of the Galliard Sonatas.

242.H, 244.H

Continuation of technical studies and basic elements of playing. Ferling 48 Famous Studies, Vivaldi Concerto in D, Handel Sonatas.

342.H, 344.H

Piard Arpeggio Studies, Stadio Orchestral Studies, Orefici Melodic Studies, Saint-Saens Sonata, Etler Sonata or works of comparable difficulty including some study of contemporary music for bassoon.

442.H, 444.H

Coverage of important orchestral literature and teaching materials, studies by Bozza, Bitsch, and Bianchi, Mozart and Weber Concerti, or works of comparable difficulty. Chamber music literature. Preparation of senior recital.

Trumpet

142.I, 144.I

Emphasis on tone production, articulation, and lip flexibility. Introductory work in Schlossberg, Daily Drills; Arban, Complete Method for Trumpet. Introduction to transposition. Study of etudes from Hering, 32 Etudes for Trumpet; Concone, Legato Etudes; and others. Technique: all major scales and arpeggios; etudes from Clarke, Technical Studies; introduction to multiple tongueing as in Arban, Complete Method for Trumpet.

242.I, 244.I

Concentration upon embouchure development using Schlossberg, Daily Drills; Irons, 27 Groups of Exercises; and others. Study of transposition and applications of basic technical skills in Sasche, 100 Etudes or Caffarelli, 100 Studi Melodici; Hering 28 Etudes, or equivalent in difficulty. Solo repertoire. Technique: all major and minor scales and arpeggios; single, double, and triple articulations in Arban, Complete Method for Trumpet; and Schlossberg, Daily Drills.

342.I, 344.I

Continuation of embouchure development in Schlossberg, Daily Drills; study of etudes by Sasche, Paudert, Concone, Bordogni, Vannetelbosch, Arban, Hering, Clarke, and others; continued study of solo literature; introduction of orchestral trumpet parts.

442.I, 444.I

Study of more advanced etudes including Charlier, 36 Etudes transcendentales; Brandt, Etudes for the Orchestral Trumpeter, Part II; and others. Solo literature by Barat, Bozza, Handel, Haydn, Hummel, Hindemith, Kennan, Latham, Riisager, Torelli, and others. Study of orchestral trumpet parts. Preparation of senior recital.

French Horn

142.J, 144.J

Emphasis on elements of basic technique: embouchure, breathing, tone production. Develop individual routine to address range extension, endurance, flexibility. All major and minor scales, transposition study. Etudes from Kopprasch 60 Studies, Kling 40 Studies, Pottag-Andraud Method Book 1, Shoemaker Legato Etudes for French Horn, bass clef studies. Solo literature by Mozart, Saint-Saens, and others.

242.J, 244.J

Continuation of major-minor scales, transposition, and above basic studies. Begin orchestral excerpt studies. Etudes from Pottag-Andraud Method Book 2, Maxime-Alphonse Book 4, Gallay 12 Grand Caprices. Solos by Beethoven, Richard Strauss, Franz Strauss, others.

342.J, 344.J

Continuation of orchestral studies, problems in basic technique. Etudes by Gallay, Mueller, Maxime-Alphonse Book 5. Solo literature by Steven, Porter, Schumann, Dukas, Haydn, unaccompanied solo studies.

442.J, 444.J

Further orchestral studies. Advanced etudes: Maxime-Alphonse Book 6, Reynolds 48 Etudes, Barboteu. Solo literature: Jacob, Strauss, Bozza, Reynolds, Gliere. Preparation of senior recital.

Trombone

142.K, 144.K

Emphasis on tone production, articulation, and basic musicianship. Bordogni-Rochut Melodious Etudes Vol. I; Blazhevich Studies in Clefs. Solos by Guilmant, Barat, Galliard.

242.K, 244.K

Continued emphasis on tone production, articulation, and basic musicianship. Blazhevich Studies in Clefs; Bordogni-Rochut Melodious Etudes Vol. I and II; Schroeder 170 Foundation Studies for Cello Vol. I. Solos by Galliard, de la Nux, Blazhevich.

342.K, 344.K

Blazhevich Studies in Clefs; Schroeder 170 Foundation Studies for Cello Vol. I; Bach Cello Suites. Solos by Handel, Marcello, Bozza, Hindemith. Orchestral excerpts.

442.K, 444.K

Couillaud 30 Modern Etudes; Bitsch 15 Rhythmical Etudes; Bach Cello Suites. Solos by Milhaud, Serocki, Tomasi, Creston. Orchestral excerpts. Preparation of senior recital.

Euphonium

142.L, 144.L

Primary emphasis on tone production and advancement of technique: breath studies, range development, major and minor scales. Example: Stacy Scale Studies Bk. 3, Arban Bass Clef Studies, Pares Daily Exercises and Scales, solo works of the difficulty of Marcello Sonata in C Major, Muller Prelude, Chorale, Variations and Fugue, Presser Sonatina.

242.L, 244.L

Continuation of above studies. Example: Rochut Melodius Etudes, Koprrasch Sixty Selected Studies, solo works of difficulty of Galliard Sonatas One Through Six, Corelli Sonata VIII, Barat Andante and Allegro, Mozart Concerto No. 1.

342.L, 344.L

Continuation of above studies. Example: Handel aria con Variazioni, Schlossberg Daily Drills and Technical Studies, Cimera Concerto, Ropartz Andante and Allegro.

442.L, 444.L

Preparation of recital. Solo works of the difficulty of Busser Variations in D Flat Major, Tuthill Concerto, Hindemith Sonata for Trombone, Corelli Sonata in D Minor.

Tuba

142.M, 144.M

Primary emphasis on tone production and advancement of technique: breath studies, range development, major and minor scales. Example: Tyrrell Advanced Studies for Tuba, Arban Bass Clef Studies, Bell Daily Routines for Tuba, solo works of the difficulty of Bach-Bell Air and Bourree, Marcello Sonata in C Major.

242.M, 244.M

Continuation of above studies. Example: Kopprasch Sixty Selected Studies, Cimera 73 Advanced Studies, solo works of the difficulty of Haddad Suite, Corelli Sonata in F Major, Mozart Horn Concerto No. 3, Beethoven-Bell Variations on a Theme by Handel.

342.M, 344.M

Continuation of above studies. Transposition studies. Solo works of the difficulty of Lebedev Concerto for Tuba, Presser Concerto, Mozart Horn Concerto, Hogg Sonatina, Bencriscutto Concertino.

442.M, 444.M

Preparation of recital. Solo works of the difficulty of Persichetti Serenade No. 12, Vaughan Williams Concerto for Tuba, Vivaldi Concerto in A Minor, Wilder Sonata, orchestral excerpts. Preparation of senior recital.

Percussion

142.N, 144.N

Snare drum: development of rudimental and concert styles through study of rolls (double and triple stroke, multiple bounce); grace note rudiments (flams, drags, and ruffs); others from P{ASIC 40 International Rudiment list; and sight reading. Method books: Stick Control, George L. Stone; Modern School for Snare Drum, Morris Goldenberg; Standard Snare Drum Method, B. Podemski; others, Garwood Whaley; concert and rudimental solos from O.M.E.A. approved list for solos and ensemble contest.

Keyboard instruments: major and minor scales played two octaves in all keys; major, minor, augmented, and diminished 7th broken chord patterns in all keys; selected warm ups; repertory appropriate to level; sight reading; introduction to four mallet techniques. Method books: Modern School of Xylophone, Marimba, and Vibraphone, Morris Goldenberg; Modern Mallet Methods, Phil Kraus; Mental and Manual Calisthenics, Elden Bailey; Instruction Course for Xylophone, George L. Green; Method for Movement for Marimba, Leigh H. Stevens; others, Garwood Whaley; solos from OMEA approved list.

Tambourine, triangle, cymbals: basic performance techniques, ensemble repertoire.

242.N, 244.N

Timpani: tone production, types of articulations, interval tuning, cross sticking, roll development, analysis of physical properties of drum sticks, sight reading. Method books: Modern Method for Timpani, Saul Goodman; Timpani Method, Alfred Friese.

Keyboard instruments: advanced techniques and repertoire for four mallet, vibraphone techniques (e.g., chord studies, muffling, improvisation studies). Method book: Vibraphone Technique, David Friedman.

342.N, 344.N

Advanced studies and development of recital repertory keyboard instruments: contemporary repertory including concertos and unaccompanied works by Stout, Abe, Stevens, and others.

Snare Drum: advanced repertory for concert and rudimental styles, works by Benson, Colgrass, and others.

Timpani: repertory from works by Beck, Hinger, Carter, and others.

442.N, 444.N

Afro-Indo-Latin percussion methods: from books by Morales, Sabanovich, and Reed. Drum set: from books by Chapin, Reed, Latham, Soph, and Erskine. Orchestral excerpts. Repertoire for senior recital.

Violin

142.O, 144.O

Technical facility in scales, arpeggios, and violin studies. Sonatas and concerti of the baroque, classical, or romantic repertoire.

242.O, 244.O

Violin studies. Baroque, classical, and romantic concerti and sonatas, and other solo compositions.

342.O, 344.O

Violin studies. Baroque, classical, romantic, and contemporary concerti, sonatas, and solo pieces. Preparation of a half recital required of performance majors.

442.O, 444.O

Advanced technical studies. Preparation of senior recital including composition of all major styles.

Viola

142.P, 144.P

Scales: three octaves, arpeggios. Etudes: Sevick (bowing), Mazas, Kayser, position studies. Repertoire level: Bach, Solo Suite, G Major, Hoffmeister, Telemann, Zelter, Concerto, Marcello, Sonatas.

242.P, 244.P

Scales: double stops, broken thirds. Etudes: Kreutzer, Bruni, Schradieck. Repertoire level: J.C. Bach, Stamitz, Handel Concerto, Bach, Solo Suites in D Minor, C Major, Hummel Fantasy.

342.P, 344.P

Scales. Etudes: Kreutzer, Sevcik, op. 8, Campagnoli. Repertoire level: Bloch, Suite Habraique, Bach, Gamba Sonatas, Reger, Suites.

442.P, 444.P

Scales. Etudes: Rode, Kreutzer. Repertoire level: Weber, Andante and Rondo Ungarese, Hindemith, Der Schwanendreher, Bartok, Concerto, Walton, Concerto, Brahms, Sonatas, Schubert, “Arpeggione” Sonata.

Cello

142.R, 144.R

Technical facility in scales, arpeggios. Studies: sonatas, concerti, and solo pieces of the baroque, classical, and romantic repertoire. Orchestral repertoire.

242.R, 244.R

Technical facility in scales, arpeggios. Studies: sonatas, concerti, and solo pieces of the baroque, classical, and romantic repertoire. Baroque solo suites. Orchestral repertoire.

342.R, 344.R

Advanced studies. Sonatas, concerti, and solo pieces of the baroque, classical, romantic, and early 20th century repertoire. Orchestral studies. Chamber music studies.

442.R, 444.R

Advanced studies. Compositions of all major periods. Contemporary performance practices. Orchestral and chamber music studies.

String Bass

Note: Admission audition requirement for music major: no specific repertoire requirement; technical proficiency of advanced high school string bass player.

142.S, 144.S

Technical facility in scales, arpeggios. Studies: sonatas, concerti, and solo pieces of baroque, classical, and romantic repertoire. Orchestral repertoire.

242.S, 244.S

Technical facility in scales, arpeggios. Studies: sonatas, concerti, and solo pieces of baroque, classical, and romantic repertoire. Baroque solo suites. Orchestral repertoire.

342.S, 344.S

Advanced studies. Sonatas, concerti, and solo pieces of baroque, classical, romantic, and early 20th century repertoire. Orchestral studies. Chamber music studies.

442.S, 444.S

Advanced studies. Compositions of all major periods. Contemporary performance practices. Orchestral and chamber music studies.

Harp

142.T, 144.T

Technical studies and etudes such as Salzedo Conditioning Exercises, Bochsa Etudes Op. 318, Pozzoli Studies. Grandjany Two French Folk Songs, Salzedo Chanson dans la Nuit, Handel Passacaglia and Concerto in Bb Major, Haydn Theme and Variations, Annie Louise David Album of Solo Pieces Vol. 1&2.

242.T, 244.T

Continued technical studies and etudes including Bach-Grandjany Etudes for Harp, Dizi 48 Etudes Vol. 1. Salzedo Suite of Eight Dances, Naderman Sonatinas, Debussy Premiere Arabesque, Salzedo Quietude and Introspection, A.L. David Album of Solo Pieces Vol. 1 & 2.

342.T, 344.T

Continuation of technical studies and etudes. Dussek Sonata in C Minor, Handel-Salzedo Harmonious Blacksmith, Debussy Danses Sacree et Profane. Preparation for junior recital.

442.T, 444.T

Etudes and technical studies. Mozart Concerto in C Major for Flute and Harp, Ravel Introduction and Allegro. Solos such as Pescetti Sonata in C Minor, Salzedo Whirlwind and Scintillation.


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