Music

Associate Professor Janet Schmalfeldt, Chair; Music theory, performance
Professor Jane A. Bernstein, Fletcher Professor of Music; Director of Graduate Studies; Music history, musicology
Associate Professor David Locke, Music culture, ethnomusicology, performance
Associate Professor John McDonald, Composition, music theory, performance
Senior Lecturer Vivian Taylor, Music theory
Lecturer Paul Ahlstrand, Small Jazz Ensemble
Lecturer Andrew Clark, Director of Choral Activities
Lecturer Peter Kvetko, Ethnomusicology
Lecturer Paul Lehrman, Music for multimedia
Lecturer John McCann, Director of Wind Ensemble; Music theory, music history
Lecturer Rose Pruiksma, Musicology
Lecturer Joseph Schloss, Music culture, ethnomusicology
Lecturer Joel Larue Smith, Director of Jazz Activities; Composition, music theory, performance
Lecturer Karma Tomm, Coordinator of Applied Music
Lecturer Michael Ullman, Music history
Lecturer Malka Yaacobi, Director of Orchestral Activities; Coordinator of Chamber Music

Music plays an essential role in a liberal arts college education. Musical studies integrate mind, body, and spirit. Students who study music in college prepare themselves for a lifelong appreciation of the musical arts. The faculty of the music department guide students along a rigorous yet joyful pursuit of knowledge in the following fields: instrumental/ensemble performance, theory of music, history of music, social/cultural musical context, and musical composition. Musical studies are interdisciplinary, drawing on other disciplines in the arts, humanities, social sciences, mathematics, sciences, and engineering. Studies in music teach transferable skills of value for careers in the professions and business.

The Department of Music offers courses in the disciplines of composition, ethnomusicology, musicology, performance, and theory. Our curriculum is inclusive and diverse, with emphasis on the traditions of Western classical music, American music (especially African-American music and jazz), and world music (especially African and Asian music). Individual study of instrumental and vocal performance and participation in performing ensembles is enthusiastically endorsed; students may earn academic credit for these musical activities.

The music department's flexible program serves (a) those students who would choose music as a major or minor, and (b) all students seeking to develop their musical knowledge and/or performance skills. Students may major in music, double major in music and another field, or minor in music. Music courses fulfill many requirements (arts distribution, world civilizations, international relations, American studies, and several interdisciplinary minors). The courses, programs, and facilities of the music department are open to all members of the Tufts community.

Performance Opportunities
The music department provides students the opportunity for private study of instrumental and vocal performance with the outstanding faculty in our applied music program. Lessons may be taken for half credit (0.5) or not for credit (NC). Extra tuition of $550 is required; beginning in the sophomore year, students majoring or minoring in music are eligible for a ninety percent tuition waiver for two semesters. For detailed information, contact the Coordinator of Applied Music at 617-627-5228.

Faculty in the Department of Music teach a diverse variety of courses in ensemble performance, including African Ensemble (Kiniwe), chamber ensembles, Chamber Singers, University Chorale, Early Music Ensemble, Flute Ensemble, Gospel Choir, Javanese Gamelan, Jazz Big Band, Jazz Improvisation Ensemble, New Music Ensemble, Pep Band, Tufts Symphony Orchestra, and University Wind Ensemble. Enrollment in performing groups requires audition; contact the department office for audition information, 617-627-3564. Musical excellence is highly valued, but competition for membership is much less severe than in music conservatories.

Undergraduate Concentration Requirements
The curriculum required of music majors provides a rigorous, balanced exposure to the essential fields in liberal arts music studies, including composition, ethnomusicology, musicology, performance, and theory. Normally, students declare the major in music and choose a member of the full-time faculty as major adviser during the spring semester of the sophomore year. Students obtain the necessary signatures for declaration of major forms and change of adviser forms at the department office.

Undergraduate students who would major in music are required to take eight courses in the department. Two courses in related fields that enrich and broaden one's musical studies should be chosen after consultation with the major adviser. Students considering graduate studies in music or careers in music are advised to take additional courses beyond the eight required for the major.

Courses required for the undergraduate major in music are:

a. Musicology--history of Western music (two one-credit courses): Music 42, 43.
b. Music theory--principles of tonal theory (two one-credit courses): Music 45, 46.
c. Music theory--principles of tonal theory, or jazz theory (one-credit course): Music 47 or 48.
d. Ethnomusicology--music culture, non-Western music (one-credit course): Music 41, 98, 100, 127, 128, 129.
e. Applied music--instrumental/vocal study (two half-credit courses): Music 61.
f. Elective--ethnomusicology, musicology, performance (one-credit course): Music 40, 120-129, 161, 188-198.

Subsequent to declaring the major in music, students must enroll each semester in at least one performing-ensemble course (Music 62 to 83).

Undergraduate Minor Programs

Minor in Music
Students who would seriously pursue music studies at Tufts may choose the disciplinary minor in music. The undergraduate minor in music requires five courses. Courses must be chosen from those numbered Music 40 and above. Two semesters in instrumental and/or vocal study (Music 61 or 161) are required; no more than one credit of applied music may count toward the minor. Students minoring in music must enroll in a performing-ensemble course (Music 62-83) for two semesters, but these credits cannot count toward the minor. After consultation with a member of the full-time music faculty for advice on a suggested program of study, students should complete a minor declaration form (available from the department office).

Minor in Multimedia Arts
An interdisciplinary minor in multimedia arts is offered by the Departments of Art and Art History, Drama and Dance, Electrical Engineering and Computer Science, and Music, and is administered jointly by the Department of Music and the Department of Electrical Engineering and Computer Science. A detailed description of the minor and its requirements can be found in the alphabetical listings in this bulletin under Multimedia Arts.

Courses at New England Conservatory of Music
A reciprocal arrangement between Tufts University and New England Conservatory of Music allows students at both institutions to select a limited number of courses at either school that may be applied toward their respective degrees. Students may not take a course at the conservatory if it is offered at Tufts. This agreement does not apply to summer school. Students must first receive permission from their own dean, then from the dean of the second institution.

Combined-Degrees Program with New England Conservatory of Music
Music studies at Tufts are enhanced by the five-year double-degree program leading to a bachelor of arts or bachelor of science degree from Tufts and a bachelor of music degree from New England Conservatory of Music. (Please consult the academic catalogue of New England Conservatory of Music for information about its programs.) Students interested in this program first must be admitted to both institutions; acceptance into the double-degree program is highly selective, based on both academic and musical competence. Transfer students are not normally accepted into this program; students currently enrolled at either school may apply for admission to the other institution and place themselves in contention for a place in the program. Students may discontinue the program and continue toward completion of the preferred degree at the chosen institution. The cost of the program is based on Tufts undergraduate tuition rates. For information about the program, please contact Associate Dean Jeanne Dillon, NEC liaison at Tufts University; or the Dean of Enrollment Services, Office of Admission, New England Conservatory of Music, 290 Huntington Avenue, Boston, Massachusetts 02115.

Graduate Program

Master of Arts
The Department of Music offers the degree of master of arts in the areas of theory, composition, musicology, or ethnomusicology. Applicants for the master's degree must demonstrate a satisfactory background in musical studies, must submit a writing sample or composition as part of their application, and are urged but not required to take the Graduate Record Examination. The two-year program of study consists of eight semester courses numbered 100 and above, a thesis or composition (one course of the eight required), and an oral defense of the thesis or composition. A reading knowledge in one foreign language is required, and students are expected to take music courses outside their subfield. The department encourages students to gain practical experience in performance courses, but these do not count for credit toward the master of arts degree.

Courses for Undergraduates

1 Introduction to Western Music. Introduction to selected forms and genres of Western music. The course emphasizes analytical listening and cultural critique through guided examinations of both the formal organization and the social/cultural background of music ranging from Bach to bebop and recitative to hip-hop. Previous musical training not required. Members of the department

2 Introduction to World Music. Exploration of the diverse musical traditions of the world. Musical systems, musical instruments, lives of musicians, social setting of performance, music, and culture. No prerequisite. Schloss, members of the department

3,4 Musicianship I and II. Exploration of the basics of music theory, including notation, scales and modes, intervals, triads, seventh chords, chord progressions, rhythm, melody, form, and composition. An introduction to ear training, sight singing, and keyboard skills. Intended for nonmajors. Two courses. Prerequisite for Music 4: Music 3 or consent. Taylor, Yaacobi, Clark

5 Musical Elements of Jazz Improvisation. The fundamental musical language of jazz, including scales, modes, chords, and the primary vocabulary of rhythm and melody. Examination of characteristic jazz patterns in rhythm, melody, harmony, and form. Consideration of various styles of jazz improvisation, including blues, swing, bebop, and Afro-Cuban. Study of theory, history, and meaning of improvisation with practice-based learning. Prerequisite: ability to play a musical instrument (including voice), and consent. Smith

6 J. S. Bach. Selected works from Bach's cantatas, passions, and other choral works; his orchestral, chamber, and keyboard music. An examination of the German composer's position as one of the culminating figures of the Baroque era. No prerequisite. Members of the department

7 Beethoven. Selected symphonies, quartets, piano sonatas, and other major works. Consideration of Beethoven's life and times, his innovations, and his influence on the subsequent development of music. No prerequisite. Members of the department

8 Mozart. Mozart's music (piano concerti, chamber music, sacred music, symphonies, and operas) considered in relationship to Vienna, the Enlightenment, and modern-day listeners. Mozart as a child prodigy and his experience during the grand European concert tour taken by the Mozart family. Mozart's character as revealed in his letters; the "myth of Mozart" in the play and film Amadeus. No prerequisite. Members of the department

9 Composer of the Year. A study of an important composer. Focus on significant works in the context of the composer's life and times. No prerequisite. Members of the department

10 Opera as Film, Drama, and Music. Examination of opera from several perspectives, including musical structure, drama, film, and myth. Specific works considered in their original social and cultural contexts and in light of modern-day questions concerning gender, race, and sexual orientation. No prerequisite. Bernstein

11 African-American Music. The course traces the development of black music and aesthetics in the United States from the antebellum period to the present. Materials will include the music and appropriate literature representing the composed, folk, and popular traditions. No prerequisite. Members of the department

12 Blues. Origins, development, and regional styles; downhome blues, classic blues, and urban blues; vocal and instrumental traditions and innovations. Emphasis on such major figures as Bessie Smith, Robert Johnson, Muddy Waters, and B.B. King. No prerequisite. Ullman

13 History of Rock 'n' Roll. An examination of sociocultural meaning and musical structure of rock 'n' roll and related idioms of popular music. Emergence of the idiom in context of the history of American music. Connections among various styles and major artists. Impact of technology and the music industry. Schloss

14 African-American Sacred Music. History of African-American religious musical genres: spiritual and gospel. Aesthetic, social, political, religious, economic, and broad cultural dimensions as related to the historical development of music. Highlights key luminaries. No prerequisite. Members of the department

15 Music in the U.S.A. since 1945. Comparison of musical genres, styles, and traditions in light of the social and cultural history of the United States since World War II. The effect of the mass media and the culture industry on musical production, reception, and transmission. The construction of musical icons in Hollywood, the emergence of rock 'n' roll, the folk revival, race music from bebop to hip-hop, the continuing significance of "classical" music. No prerequisite. Members of the department

16 The Psychology of Music. (Cross-listed as Psychology 80.) Examination of a wide range of topics in the psychology of music: Music perception; music cognition; music aesthetics; music and emotions; the influence of music on human behavior; the nature and measurement of musical abilities; music education; and child development. Curtis

21 Music in the Age of Vivaldi, Bach, and Handel. Studies in seventeenth- and early eighteenth-century music; the concerto grosso, opera, oratorio, and church cantata. No prerequisite. (May be taken at 100 level with consent, see below.) Members of the department 

22 The Classical Style: Haydn, Mozart, and Beethoven. Studies in music of the late eighteenth century. No prerequisite. (May be taken at 100 level with consent, see below.) Members of the department

23 Music of Spain, Portugal, and Latin America. The history of music genres and traditions in the Iberian peninsula and Latin America from 1492 to the present. Classes focus on selected aspects and repertories of Iberian and Latin America's rich classical and popular music cultures, ranging from sixteenth-century polyphony to popular music in the 1970s. Particular attention is given to the social, aesthetic, and political contexts of each genre. (May be taken at 100 level with consent, see below.) Members of the department

24 Music in Paris and Vienna at the Turn of the Century. Paris and Vienna as epicenters of music, literature, and the visual arts. Studies of works by Debussy, Ravel, Satie, Stravinsky, Mahler, and Schoenberg, with attention to cultural and artistic contexts. No prerequisite. (May be taken at 100 level with consent, see below.) Members of the department

25 Contemporary Concert Music. A study of music by recent twentieth-century composers. Serialism, minimalism, the new Romanticism. Attention to sociological and cultural conditions that define modern composers and their art. Guest lectures by Boston-area composers, and attendance at concerts of new music. No prerequisite. (May be taken at 100 level with consent, see below.) McDonald

26 Women in Music. Popular music and art music around the world from the perspective of women. The roles of women as creators, performers, sponsors, and consumers. The representation of women in music and how it reflects the culture of the past and present. No prerequisite. (May be taken at 100 level with consent, see below.) Bernstein

27 The Music of Asia. Musical systems, musical instruments, music in its historical, social, and cultural context. Topics from the musical traditions of diverse Asian cultures. No prerequisite. (May be taken at 100 level with consent, see below.) Schloss

28 The Music of Africa. Musical systems, musical instruments, music in its historical, social, and cultural context. Topics from the musical traditions of the Shona, Biaka/Mbuti, Ewe, and Dagomba. No prerequisite. (May be taken at 100 level with consent, see below.) Locke

29 Japanese Performing Traditions. The music of selected Japanese performing arts, such as noh, kabuki, and nihonbuyo, considered in light of Japanese traditional and contemporary culture. Focus on the musical repertoires of these inherently multi-arts genres. Secondary topics in aesthetics, religious ethos, gender, media, kinesthesia. Learning modes include performance study, meditation, lecture, discussion, and reading. Prerequisite: Music 2 or 27 or 41 or consent. (May be taken at 100 level with consent, see below.) Members of the department

30 Analysis for Performance. Inquiry into values and limitations of music analysis for performance preparation. Emphasis on how performances can shape analytic views. Tonal repertory from eighteenth century to present, including works scheduled by the Tufts Symphony Orchestra and the University Chorale, and solo or chamber pieces chosen by students for performance in class. Prerequisite: vocal or instrumental performance experience and Music 4, or consent. Schmalfeldt

40 History of Jazz. Major figures and schools of this American music approached primarily through detailed study of recordings dating from about 1914 through the present. Artists include Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, John Coltrane, and many others. No prerequisite. Ullman

41 Music as Culture. An introduction to ethnomusicology, the study of music in human life. The anthropological view of music as a response to the natural environment and social experience. Comparative method using case studies from diverse world traditions. Summit, Locke, Schloss

42, 43 History of Western Music. Analytical investigation of European art music from the Middle Ages through the twentieth century, with close readings of representative works from the perspective of theorists and critics. Emphasis on analysis. Prerequisite: Music 4 or equivalent with consent. Two courses. Bernstein

45, 46 Principles of Tonal Theory I and II. An integrated approach to the study of harmony, counterpoint, and analysis. Attention given to the development of aural skills such as sight singing and dictation. Prerequisite: Music 3 or equivalent with consent. Two courses. Schmalfeldt, McDonald

47 Principles of Tonal Theory III. The interaction of harmony and counterpoint in music of the eighteenth and nineteenth centuries. Written exercises and analysis; some composition in small and larger forms, with emphasis on dances, sonata form, and songs. (May be taken at 100 level with consent, see below.) Prerequisite: Music 46. Schmalfeldt, McDonald

48 Jazz Theory. The harmonic and melodic techniques of jazz and popular music. Extended chords (ninths, elevenths, thirteenths) and substitutions; modulations and free melodic treatment of dissonance. Song forms. Written exercises and analysis; emphasis on student composition. Continuation of aural and keyboard skills. Prerequisite: Music 46 or consent. Smith

49 Advanced Musicianship. Training in aural perception, sight singing, transcription, and keyboard skills through an exploration of tonal, atonal, jazz, contemporary, and non-Western idioms of music. Prerequisite: Music 46 or equivalent with consent. McDonald

50 African Music Systems. African musical traditions from a music theory perspective. African approach to rhythm, melody, form, and texture. Methodological and ethical problems in cross-cultural formalization of theory for unwritten musical traditions.  (May be taken at 100 level with consent, see below.) Prerequisites: Music 45 or consent. Locke

51 Music for Multimedia I. Applications of computers and digital electronics in creating and editing music and audio. Basic studio electronics and recording techniques, hardware and software synthesis, MIDI, sampling, sequencing, digital audio recording and editing, multitrack recording, analog and digital signal processing, and synchronization. Music literacy and familiarity with Macintosh OS required, some keyboard ability helpful.  (May be taken at 100 level with consent, see below.) Lehrman

52 Music for Multimedia II. Advanced topics in computer generation and manipulation of sound and music, including hardware (Kurzweil 2000 series) and software (Reason) synthesis and sampling; MIDI and audio sequencing (Digital Performer); synchronization with linear and non-linear video and Web graphics; sound design and mixing for visual applications. Emphasis on individual projects. Prerequisite: Music 51 or consent. (May be taken at 100 level with consent, see below.) Lehrman

53 Electronic Musical Instrument Design. (Cross-listed as Mechanical Engineering 95.) Non-standard electronic musical instruments or "controllers," incorporating sensors that respond to touch, position, movement, finger pressure, wind pressure, and other human factors, and their translation to Musical Instrument Digital Interface (MIDI) data. Designing and building original systems using common materials and object-oriented music-specific programming languages and software-based synthesis. Prerequisites: Experience in one or more of the following: electronic music, electronic prototyping, mechanical engineering, computer programming. (May be taken at 100 level with consent, see below.) Lehrman

Performance Courses
(May be repeated for credit. All music ensembles are open by audition to the Tufts community.)

61 Private Lessons. Individualized instruction by the Applied Music faculty or with private teachers approved by the department in an instrument or voice. Admission is by audition. For details, consult the Coordinator of Applied Music. Prerequisite: fourth-year level of competence. Extra tuition of $550 per semester is charged for this course; for music majors or minors, ninety percent of this fee will be waived for two semesters. One-half course credit. Tomm

62 Tufts Chamber Singers. Works for small vocal forces, including madrigals, holiday music, jazz arrangements, and non-Western music. One-half course credit. Clark

63 Chamber Ensembles. Study and coaching of selected works for small chamber ensembles. For details, consult the Coordinator of Chamber Music. Corequisite: enrollment in a performance ensemble in the Department of Music.  One-half course credit. Yaacobi

64 Gospel Choir. Selected repertory of choral works from the African-American tradition of religious music. No prerequisite or previous musical experience necessary. Patterson

65, 66 Kiniwe African Music Ensemble. Repertory of traditional instrumental and vocal music. Prerequisite for Music 66: Music 65. One-half course credit. Locke

67 Early Music Ensemble. Music from the medieval period to the eighteenth century. Ensembles include recorder consorts, lute ensemble, Renaissance wind band, small vocal ensembles, viols, and mixed ensemble. One-half course credit. Hershey

68 New Music Ensemble. Recently written compositions by both professional and student composers; free improvisation. Frequent performances. One-half course credit. McDonald, Berman

69 Big Band. Jazz instrumental and ensemble improvisation skills developed through performance of classical jazz compositions and recent works for big band. Elements of jazz, including rhythms, blues, and other traditional song forms; jazz melody and harmony. One-half course credit. Smith

70 Jazz Improvisation Ensemble. Focus on a practical knowledge of jazz improvisation in small combo setting; includes blues and AABA structures, turnarounds, construction of chords, phrasing, scale and chord relationships, and rhythmic pulse. One-half course credit. Okoshi, Aruda

71 Flute Ensemble. Composed of members of the flute family (piccolos, C-flutes, alto flute, bass flute). Performs music from several centuries and a wide variety of styles (Renaissance, Bach, Debussy, Joplin, avant-garde). One-half course credit. Barwell

72 Tufts Javanese Gamelan Ensemble. Traditional repertory of Javanese court music played on an orchestra of gongs, chimes, and xylophones; use of authentic instruments; no prior music performance experience required. One-half course credit. Drummond

74 Opera Scenes Ensemble. Music for beginning opera singers with emphasis on development of musical skills, staging techniques, acting and singing skills, and role interpretation. Public performance of opera scenes, including solo arias. Prerequisite: concurrent private vocal study for credit (Music 61). One-half course credit. Mastrodomenico

75 Klezmer Ensemble. Old style and current Klezmer music, the celebratory art originating with the Ashkenazi Jews of Eastern Europe. Improvisation of lead melodies. Arrangements and instrumental roles. Prerequisite: instrumental fluency (intermediate to advanced). One-half course credit. McLaughlin

80 University Wind Ensemble. Symphonic band and wind ensemble literature as well as contemporary works. One-half course credit. McCann

81 Pep Band. Performs at football games and rallies. Fall only. One-half course credit. Members of the department

82 University Orchestra. Music ranging from the Baroque to the twentieth century. Major works for chorus and orchestra regularly undertaken with the University Chorale. One-half course credit. Yaacobi

83 University Chorale. Music for large vocal forces ranging from Bach to Bernstein, including major works in the Western canon, recent compositions, and arrangements of non-Western choral music. One-half course credit. Clark

Courses for Undergraduate and Graduate Students

98 Music and Prayer in the Jewish Tradition. (Cross-listed as Comparative Religion 98.) The role and function of music in Jewish worship and cultural identity. Focus on the Kabbalat Shabbat. Topics to include participation vs. performance in worship, music and historical authenticity in prayer, music and religious experience, and the invention and presentation of tradition. Liturgical music and dual culturalism in the American Jewish community. Summit

100 West African Music Cultures. Selected music cultures of West Africa studied in detail from an interdisciplinary perspective (history, anthropology, and music). Traditional and contemporary genres of music. Musical instruments, musical repertories, musical systems, lives of musicians, musical meaning in context of rapid cultural change and globalization. Comparison to other music cultures. Influence of West Africa on music of Europe and the Americas. Locke

106 Introduction to Schenkerian Techniques. A critical appraisal of Heinrich Schenker's ideas and theory of tonal music. Analysis of Schenker's voice-leading and graphing techniques in light of traditional and recent theories of musical form. Assessment of Schenker's relevance to present-day cultural concerns. Prerequisite: graduate standing, Music 46, or consent. Schmalfeldt

107 Tonal Counterpoint. Harmonically controlled counterpoint in the style of J.S. Bach. Analysis and composition of keyboard inventions and chorale preludes in two and three parts. Prerequisite: Music 47. Members of the department

109 Orchestration. Ranges, tone qualities, and expressiveness of instruments and voices. The student will learn how to orchestrate songs and piano scores or reduce the size of a larger score. Special individual projects reflecting student interest. Prerequisite: Music 46 or consent. Clark

110 Jazz Analysis. Formal analysis of important jazz compositions and improvised solos from the 1920s to the present, including early jazz, swing, bebop, free jazz, and fusion. Application of theory through composition and performance. Critique of the value, meaning, and definition of jazz analysis. Prerequisite: Music 48 or equivalent with consent. Smith

111 Jazz Arranging and Composition. Techniques of arranging jazz and popular compositions for ensembles of various sizes and types. Intensive work on student compositions. Prerequisite: Music 48 or consent. Smith

112 Conducting. Vocal and instrumental conducting, stressing baton techniques and score reading. Preparation of vocal, orchestral, band, and other instrumental ensembles for conducting with the assistance of Tufts performing groups. Prerequisite: Music 46 or consent. Yaacobi

113 Seminar in Composition. A project-oriented course with emphasis on the creative experience. Lectures on significant composers; attendance at concerts of contemporary music. Prerequisite: Music 47 or consent. Course may be repeated for credit. McDonald

120 Seminar: Medieval and Renaissance Music. Studies in music from the beginning of manuscript culture to the emergence and development of print. Topics may include Gregorian chant, early polyphony, the songs of Machaut and Dufay, the madrigal in Italy and England, the French chanson. Bernstein

121 Music in the Age of Vivaldi, Bach, and Handel. (See Music 21 for course description.) Extra assignments and class meetings.

122 The Classical Style: Haydn, Mozart, and Beethoven. (See Music 22 for course description.) Extra assignments and class meetings.

123 Music of Spain, Portugal, and Latin America. (See Music 23 for course description.) Extra assignments and class meetings.

124 Music in Paris and Vienna at the Turn of the Century. (See Music 24 for course description.) Extra assignments and class meetings.

125 Contemporary Concert Music. (See Music 25 for course description.) Extra assignments and class meetings.

126 Women in Music. (See Music 26 for course description.) Extra assignments and class meetings.

127 The Music of Asia. (See Music 27 for course description.) Extra assignments and class meetings.

128 The Music of Africa. (See Music 28 for course description.) Extra assignments and class meetings.

129 Japanese Performance Traditions. (See Music 29 for course description.) Extra assignments and class meetings.

131 Seminar: Opera Studies. Studies in opera from its beginnings to the present. Selected works will be examined from a variety of perspectives including music analysis, literary and cultural theory, psychoanalysis, and gender studies. Topics vary from semester to semester and may include the birth of opera, opera and the Enlightenment, Wagner's music dramas, Verdi and Shakespeare, Orientalism, and Modernism. Prerequisites: graduate standing, Music 45, or consent. Members of the department

147 Principles of Tonal Theory III. (See Music 47 four course description.) Extra assignments and class meetings.

148 Jazz Harmony, Voice Leading, and Composition. (See Music 48 for course description.) Extra assignments and class meetings.

149 Advanced Musicianship. (See Music 49 for course description.) Extra assignments and class meetings.

150 African Music Systems. (See Music 50 for course description.) Extra assignments and class meetings.

151 Music for Multimedia I. (See Music 51 for course description.) Extra assignments and class meetings.

152 Music for Multimedia II. (See Music 52 for course description.) Extra assignments and class meetings.

153 Electronic Musical Instrument Design. (See Music 53 for course description.) Extra assignments and class meetings.

161 Senior Recital. Recital-level competence; emphasis on solo literature and major repertory; solo recital required. One course credit. Prerequisite: consent of Coordinator of Applied Music. Tomm

162 Instrumental Ensemble, Advanced. A continuation of chamber music performance at an advanced level. One course credit. Prerequisite: consent of Coordinator of Chamber Music. Yaacobi

175 Children’s Musical Development and Learning. (Cross-listed as Child Development 175.) Research, theory, and practices related to the development of musical skills and understanding in children from infancy through adolescence. Topics include development of musicianship; musical intelligence, and the relationship of music to other cognitive functions; acquisition of pitch and rhythm; family involvement in music learning; approaches to teaching music (Dalcroze, Kodály, Suzuki, Orff); music education for special learners, including gifted and talented; development of musical performance skills; resources for classroom and private music instruction; curriculum frameworks and standards for music education; and music therapy. Lectures, discussions, observations of children engaged in musical activities. A practicum in music learning and music teaching accompanies the course. May be taken as a graduate elective course, but may not be used to fulfill the degree requirements for the master's degree in music. No prerequisites. Camara

188 Analytic and Cultural Studies in Twentieth-Century Music. Analysis of early-to-mid twentieth-century concert-music styles in Europe and North America, with reference to social, ideological, national , literary, artistic, and biographical cultural contexts. Assessment of landmark repertoire, from Debussy and Mahler to composers of the 1960s and 70s. Introduction to analytic techniques such as pitch-class set theory and twelve-tone methods; exploration of what "modern" can mean in application to twentieth-century music. Schmalfeldt

189 Seminar: Analytic and Cultural Studies in Nineteenth-Century European Music. Exploration and assessment of music-analytical methods in light of recent studies of early- to mid-nineteenth-century European ideologies. Romanticism, form and content, gender and genius. Emphasis on the notion of musical form as process and its precedents in early nineteenth-century philosophy. Prerequisite: graduate standing, Music 46, or consent. Schmalfeldt

190 Seminar: Jazz Studies. Emphasis on discography, bibliography, and/or biography. Selected topics include a single jazz figure such as John Coltrane or Duke Ellington or a specific period such as 1945 to 1970. Prerequisite: graduate standing or consent. Schloss

191 Multimedia Projects for Music-Culture Research. A practice-based examination of humanistic music studies through the creation of multimedia projects that integrate video, audio, graphics (including musical notation), and text. Disciplinary basis in ethnomusicology. Student teams undertake research that includes primary source fieldwork. Projects in non-Western and/or ethnic, folk, popular, and traditional music are particularly encouraged. Prerequisites: one full-credit course in music numbered Music 41 or above, Computer Science 20, or Drama 22. Locke

192 Seminar: Fieldwork in Music Studies. Field techniques learned by doing: participant-observation, field notes, interview audio/video documentation, project design and management, fundraising. History of fieldwork, ethics, intercultural communication, self-other relationships and awareness. Prerequisite: graduate standing, Music 41, or consent. Summit, Schloss

193 Seminar: Introduction to Music Research. Intended for graduate students, this course introduces the tools of music scholarship including reference and research materials in both book and electronic forms particularly in the fields of ethnomusicology, musicology, and music theory. Emphasis on a critical approach to writing about music, with specific reference to style and form. Methodologies concerning the various subfields of music research will also be explored. Prerequisite: any course from the Music 120 series or consent. Bernstein

194 Seminar: Ethnomusicology. History, method, and theory of ethnomusicology; transcription/analysis, fieldwork, current trends in the field. Prerequisite: graduate standing or consent. Locke, Summit

195, 196 Special Studies. Advanced study and research in a seminar involving one or more of the following: music history, composition, ethnomusicology, music theory. Open only to qualified upper-class and graduate students. Credit as arranged. Members of the department

197, 198 Special Topics. Guided independent study of an approved topic. Credit as arranged. Members of the department

199 Honors Thesis. Guided research on a topic that has been approved as a suitable subject. A full-year course; two course credits. Members of the department

295, 296 Thesis. Guided research on a topic that has been approved as a suitable subject for a master's thesis. Members of the department

401PT Master's Continuation. Part-time.

402FT Master's Continuation. Full-time.