Music
Courses
NOTE: The following course offerings outline the general scope of our
program. Not all courses are offered every year. It is essential that
students work closely with departmental advisers when planning their degree
programs.
Lower-Division
1A-B-C. Musical Literacy (4-4-4) Primarily intended
for students without extensive musical experience, this course develops
musical abilities through a conceptual understanding of the structure
of music together with listening exercises and techniques. Topics include
musical notation, melodic transcription, scales, chords, intervals, keys,
rhythm, meter, and rudiments of musical form. Prerequisite: none.
2A-B-C. Basic Musicianship (4-4-4) Primarily
intended for music majors. Development of basic skills: perception and
notation of pitch and temporal relationships. Introduction to functional
harmony. Studies in melodic writing. Drills in sight singing, rhythmic
reading, and dictation. Prerequisites: passing score on placement exam.
Must be taken in sequence. Music majors must be concurrently enrolled
in Music 2AK, 2BK, and 2CK (Basic Keyboard).
2AK-BK-CK. Basic Keyboard (2-2-2) Scales,
chords, harmonic progressions, transposition, and simple pieces. Prerequisites:
concurrent enrollment in Music 2A, B, C.
4. Introduction to Western Music (4) A
brief survey of the history of Western Music from the Middle Ages to the
present. Much attention will be paid to the direct experience of listening
to music and attendance of concerts. Class consists of lectures, listening
labs, and live performances. Prerequisite: none.
5. Introduction to Music Making (4) A one-quarter
course designed to discover musical potential and expand musical experience.
No knowledge of music, notation, or instrumental skill is necessary. Small
lab sessions present music through composing, improvising, and performing.
Results take the form of works for tape, theatre, voices, or instruments.
Prerequisite: none.
6. Electronic Music (4) Lectures and listening
sessions devoted to the most significant works of music realized through
the use of computers and other electronic devices from the middle of this
century through the present. Prerequisite: none.
7. Music, Science, and Computers (4) An
exploration of the interactions among music, science, and technology,
including the development and history of science and technology from the
perspective of music, and the modern resynthesis of these disciplines
occurring around computers. Prerequisite: none.
8. American Music (4) A course designed
to study the development of music in America. The focus will be on both
the vernacular traditions including hymn singing, country music, jazz,
big band, rock, etc., as well as the cultivated traditions of various
composers from William Billings to John Cage. Prerequisite: none.
(Offered in selected years.)
9. Symphony (4) The symphonic masterworks
course will consist of lectures and listening sessions devoted to a detailed
discussion of a small number of recognized masterworks (e.g., Mozart,
Beethoven, Berlioz, Stravinsky, Ligeti, etc.). Prerequisite: none.
(Offered in selected years.)
10. Chamber Music (4) Chamber Music will
consist of lectures and listening sessions devoted to a detailed discussion
of recognized chamber masterworks (e.g., Haydn, Mozart, Beethoven, Bartok,
etc.). Prerequisite: none. (Offered in selected years.)
11. Folk Music (4) A course on folk musics
of the world, covered through lectures, films, and listening sessions
devoted to detailed discussion of music indigenous to varying countries/areas
of the world. Topics vary from year to year. May be repeated once for
credit. Prerequisite: none.
12. Opera (4) A study of opera masterworks
that often coincide with operas presented in the San Diego Opera season.
Class consists of lectures, listening labs, live performances, and opera
on video. Prerequisite: none.
13AF. World Music/Africa (4) A course that
focuses on the music of Africa and on African ways of music making in
the Diaspora to the Caribbean and South America. No prior technical knowledge
of music is necessary. Prerequisite: none.
13AM. World Music/Multicultural America (4) A
study of music cultures in the United States, particularly Native American,
Hispanic American, European American, Asian American, and Pacific Islanders
from the perspective of ethnicity, origin, interaction, and the contribution
of various ethnic groups to American musical life. No prior technical
knowledge of music is necessary. Prerequisite: none.
13AS. World Music/Asia and Oceania (4) Introduction
to selected performance traditions of Asia and Oceania with links to local
and visiting musicians from these cultures. No prior technical knowledge
of music is necessary. Prerequisite: none.
14. Contemporary Music (4) This course
offers opportunities to prepare oneself for experiences with new music
(through preview lectures), hear performances (by visiting or faculty
artists), to discuss each event informally with a faculty panel: an effort
to foster informed listening to the new in music. Prerequisite: none.
15. Popular Music (4) A course on popular
music from different time periods, covered through lectures, films, and
listening sessions. Topics vary from year to year. May be repeated once
for credit. Prerequisite: none.
32. Instrumental/Vocal Instruction (2) Individual
instruction in instrumental or vocal technique and repertory. Intermediate
level. For declared music majors: students must be enrolled in courses
in the music major curriculum. Students must audition for performance
faculty on first Monday of fall quarter. Prerequisites: department
stamp required. Enrollment by consent of instructor after audition. May
be taken for credit six times.
32G. Group Instrumental Instruction (2) Group
instruction in instrumental or vocal technique and repertory. Intermediate
level. Intended for students who make an important contribution to Department
of Music ensembles. Prerequisites: Written recommendation of ensemble
director and audition for performance faculty on first day of classes
required. Department stamp required. May be taken for credit six times.
(Offered in selected years)
33. Introduction to Composition (4) This
course is intended to provide the prerequisite knowledge necessary to
pursue an emphasis in composition. Topics covered will include notation,
calligraphy, instrumentation, orchestration, and twentieth-century music
literature. Prerequisite: Music 2A and 2B or consent of instructor.
87. Freshman Seminar (1) The Freshman Seminar
Program is designed to provide new students with the opportunity to explore
an intellectual topic with a faculty member in a small seminar setting.
Freshman seminars are offered in all campus departments and undergraduate
colleges, and topics vary from quarter to quarter. Enrollment is limited
to 15 to 20 students, with preference given to entering freshmen.
95. Ensemble Performance (2) Performance
in an ensemble appropriate to student abilities and interests. Normally
each section requires student participation for the whole academic year,
with credit for participation each quarter. Sections of Music 95W have
included: African drumming, Korean percussion, Indian sitar and tabla,
koto, and Indonesian flute. Not all sections will be offered every year.
May be repeated for credit. Grading on participation level, individual
testing, comparative papers on repertoire covered, etc. Prerequisites:
audition and consent of instructor for each section.
Note: Students in the Music 95 series courses may enroll with
a letter grade option a total of twelve units for registered music majors
and a total of six units for all other students; after which students
may continue to enroll in Music 95 courses, but only with a P/NP grade
option. There is one exception to the above grading policy. Music 95G,
Gospel Choir, can only be taken for a P/NP grading option.
Section B. Instrument Choir
Section C. Concert Choir
Section D. Symphonic Chorus
Section G. Gospel Choir
Section H. Chamber Opera (Not offered every year.)
Section J. Jazz Ensemble
Section K. Chamber Singers
Section L. Wind Ensemble
Section W. World Music Ensembles
ICAM 40. Introduction to Computing in the Arts (4) (Cross-listed
with VIS 40.) An introduction to the conceptual uses and historical precedents
for the use of computers in art making. Preparation for further study
in the computer arts area by providing overview of theoretical issues
related to the use of computers by artists. Introduces the students to
the programs computer facilities and teaches them basic computer
skills. Prerequisite: none. NOTE: Materials Fee required.
Upper-Division
101A-B-C. Music Theory and Practice I (4-4-4) Study
of the materials and structures of music through hearing, analysis, writing,
and performance. Writing in two voices (101A) and four voices (101B-C).
Continues sight singing, dictation, and keyboard. Prerequisites: Music
2C and 2CK, and passing grade on proficiency exam.
102A-B-C. Music Theory and Practice II (4-4-4) Advanced
study of the materials and structures of music. Chromatic harmony and
twentieth-century techniques. Aural discrimination, analysis, exercises,
and short compositions. Continues sight singing, dictation, and keyboard.
Prerequisites: Music 101A-B-C. Department stamp required.
103A-B-C. Seminar in Composition (4-4-4) Individual
projects in composition will be critically reviewed in seminar with fellow
student and faculty composers. Prerequisites: Music 2A-B-C and 33.
103D-E-F. Honors Seminar in Composition (4-4-4) Advanced
individual projects for senior music majors pursuing honors in composition.
Projects will be critically reviewed in seminar with fellow students and
faculty composers. Prerequisites: Music 103A-B-C and admission into
the Department of Music Honors Program in compostion. Department stamp
required.
107. Critical Studies Seminar (4) Explore
music in relation to various traditions of critical thought and their
methodologies, such as in literature, cultural studies, sociology, and
philosophy. Readings and scores to be determined by the professor. Prerequisite:
upper-division standing or consent of instructor.
110. Doing Ethnomusicology (4) A how-to
course in the practice and theory of studying the music of contemporary
cultures. Students will record, document, analyze, and present music from
their local environment. Designed for students in music, ethnic studies,
anthropology, and the social sciences. Prerequisite: none. (Offered
in selected years.)
111. Topics/World Music Traditions (4) A
study of particular regional musics in their repertory, cultural context,
and interaction with other traditions. Topics vary. Prerequisite: none.
112. Topics in European Music Before 1750 (4) This
course will address topics in medieval, Renaissance, and Baroque music;
topics will vary from year to year. May be repeated five times for credit.
Prerequisites: knowledge of music notation or consent of instructor;
Music 4, 8-10 or 120 recommended.
113. Topics in Classic, Romantic, and Modern Music (4) This
course will focus on Western music between 1750 and the early 20th century;
topics will vary from year to year. May be repeated five times for credit.
Prerequisites: knowledge of music notation or consent of instructor;
Music 4, 8-10 or 120 recommended.
114. Music of the Twentieth Century (4) An
exploration of materials and methods used in the music of our time. There
will be an extra discussion group for music majors. May be repeated once
for credit. Prerequisites: none.
115. Women in Music (4) A survey of the
biographical, historical, sociological, and political issues affecting
woman musicians, their creativity, their opportunities, and their perception
by others. It compares and contrasts the work of women composers, performers,
patrons, teachers, and writers on music from the Middle Ages through the
present. Prerequisite: consent of instructor.
120A-B-C. Survey of Music History and Literature (4-4-4) Intensive
historical, analytical, and cultural-esthetic examination of music from
Gregorian chant through the twentieth century. Prerequisites: knowledge
of music notation; Music 1C or 2C strongly recommended.
126. Blues: An Oral Tradition (4) This
course will examine the development of the Blues from its roots in work-songs
and the minstrel show to its flowering in the Mississippi Delta to the
development of Urban Blues and the close relationship of the Blues with
Jazz, Rhythm and Blues, and Rock and Roll. (Cross-listed with Ethnic Studies
178.) Prerequisite: none.
127A. Jazz Roots and Early Development (19001943) (4) This
course will trace the early development of Jazz and the diverse traditions
which helped create this uniquely American art form. We will witness the
emergence of Louis Armstrong in New Orleans and examine the composers
role in Jazz with Jelly Roll Morton and Duke Ellington. (Cross-listed
with Ethnic Studies 179A.) Prerequisite: none.
127B. Jazz Since 1946: Freedom and Form (4) This
course will examine the evolution of Jazz from 1943 to the present. The
course will survey the contrasting and competing styles in Jazz from BEBOP
to COOL to the avant garde and fusion. (Cross-listed with Ethnic Studies
179B.) Prerequisite: none.
128. Principles and Practice of Conducting (4) The
theory and practice of instrumental and/or choral conducting as they have
to do with basic baton techniques, score reading, interpretation, orchestration,
program building, and functional analysis. Members of the class will be
expected to demonstrate their knowledge in the conducting of a small ensemble
performing literature from the eighteenth, nineteenth, and twentieth centuries.
Prerequisites: Music 2A-B-C and 101A-B-C. Department stamp required.
129. Orchestration (4) This course will
give practical experience in orchestration. Students will study works
from various eras of instrumental music and will demonstrate their knowledge
by orchestrating works in the styles of these various eras, learning the
capabilities, timbre, and articulation of all the instruments in the orchestra.
Prerequisite: Music 101B.
130. Chamber Music Performance (2-4/0) Instruction
in the preparation of small group performances of representative instrumental
and vocal chamber music literature. May be taken for credit six times,
after which students must enroll for zero units. Prerequisite: consent
of instructor through audition.
131. Jazz Improvisation (4/0) An extensive
study of jazz improvisation, including performance techniques, concepts,
and styles. Students theoretical knowledge will be applied to their
instruments, and a repertory of melodic and harmonic devices will be mastered.
Also covered will be jazz soloing, demands of melodic/harmonic innovations,
and modes of chord changes or progressions. May be taken for credit six
times, after which students must enroll for zero units. Prerequisites:
basic knowledge of major-minor scales and major, minor, and dominant seventh
chords on respective instruments. Basic functional keyboard techniques.
132. Pro-Seminar in Music Performance (4) Individual
or master class instruction in advanced instrumental/vocal performance.
May be repeated for credit, but only twenty-four units will be counted
within the 180-unit requirement for graduation. Prerequisite: consent
of instructor through audition. Preference given to music majors and some
approved music minors.
132C. Vocal Coaching (4) Individual and
masterclass instruction in advanced vocal coaching. Emphasis placed on
diction and musical issues. Prerequisites: at least one quarter of
Music 132 and consent of instructor. Preference given to majors and qualifying
music minors. Department stamp required.
132R. Recital Preparation (4) Advanced
instrumental/vocal preparation for senior music majors pursuing honors
in performance. Repertoire for a solo recital will be developed under
the direction of the appropriate instrumental/vocal faculty member. Special
audition required during Welcome Week preceding fall quarter. Prerequisites:
by audition only; Music 132. Department stamp required.
133. Projects in New Music Performance (4) Performance
of new music of the twentieth century. Normally offered winter quarter
only. Required a minimum of one time for all music majors. May be taken
two times for credit. Prerequisite: consent of instructor through audition.
134. Symphonic Orchestra (4) Repertoire
is drawn from the classic symphonic literature of the eigtheenth, nineteenth,
and twentieth centuries with a strong emphasis on recently composed and
new music. Distinguished soloists, as well as The La Jolla Symphony Chorus,
frequently appear with the orchestra. The La Jolla Symphony Orchestra
performs two full-length programs each quarter, each program being performed
twice. May be repeated six times for credit. Prerequisites: audition
and department stamp required.
143. Department Seminar (1) The department
seminar serves both as a general department meeting and as a forum for
the presentation of research and performances by visitors, faculty, and
students. Required of all undergraduate music majors every quarter.
170. Musical Acoustics (4) (Formerly Music
160A) An introduction to the acoustics of music with particular emphasis
on contemporary digital techniques for understanding and manipulating
sound. Prerequisites: Music 1A, 2A, or 4. Cross-listed with ICAM 103.
171. Computer Music I (4) (Formerly Music
160C) A practical introduction to computer techniques for desktop audio,
including audio editing, MIDI control, and real-time music algorithms
using the MAX programming environment. Prerequisite: Music 170; music
majors, ICAM-music and ICAM-visual arts majors and minors, or consent
of instructor.
172. Computer Music ll (4) (Formerly Music
161) Computer synthesis techniques including wavetable and additive synthesis,
waveshaping, and sampling. Transformation of musical sounds using filters,
modulation, and delay effects. Fourier analysis of sounds. Prerequisite:
Music 171 (formerly Music 160C); music majors, ICAM-music and ICAM-visual
arts majors and minors, or consent of instructor.
173. Audio Production: Mixing and Editing (4) (Formerly
Music 162) Theoretical and practical aspects of recording, mixing, and
editing sound for both musical and multimedia applications. Covers audio
montage, equalization, effects processing, spatialization, mastering,
and diffusion. Prerequisite: Music 170 (formerly Music 160A); music
majors, ICAM-music and ICAM-visual arts majors and minors, or consent
of instructor.
174. Recording/MlDI Studio Techniques (2-2-2) (Formerly
Music 164) This sequenced course surveys hardware and software resources
in an advanced analog/digital audio and media studio. It is a required
course for anyone who wishes to use the B108 Studio. Topics include: electronic
and computer music, digital and analog audio signal mixing and manipulation,
studio devices, interfacing, compositional applications, MIDI, synchronization,
performance and studio techniques. Student projects demonstrate mastery
of techniques studied. 174A: signals, mics, device based recording, mixing,
monitoring; 174B: digital audio workstations, computer-based mixing and
editing, soundfile transformation; 174C: MIDI, synchronization, sound-for-picture.
Prerequisites: MUS 174A: MUS 170; MUS 174B: MUS 174A; MUS 174C: MUS
174B; music majors, ICAM-music and ICAM-visual arts majors and minors,
or consent of instructor.
175. Musical Psychoacoustics (4) (Formerly
Music 160B) Survey of psychoacoustical phenomena, theories of hearing,
and their relation to musical perception and cognition. Techniques of
psychoacoustical experimentation. Prerequisite: Music 170 (formerly
Music 160A) recommended.
176. Music Technology Seminar (4) (Formerly
Music 163) Selected topics in music technology and its application to
composition and/or performance. Offerings vary according to faculty availability
and interest. May be repeated for credit. Prerequisites: Music 172
(formerly Music 161) and consent of instructor.
195. Instructional Assistance (2) Assisting
in the instruction of an undergraduate music class under the direct and
constant supervision of a faculty member. May be taken for credit three
times. Prerequisites: consent of instructor and departmental approval.
198. Directed Group Study (1-4) Concentrated
inquiry into various problems not covered in the usual undergraduate courses.
Prerequisites: consent of instructor and department chair approval.
Pass/No Pass grade only.
199. Independent Study (1-4) Independent
reading, research, or creative work under the direction of a faculty member,
provided no course covering the material to be studied already exists,
and the study area derives from previous course work. Prerequisites:
consent of instructor and department chair approval. Department stamp
required. Pass/No Pass grade only. May be taken for credit two times.
ICAM 101. Digital Imaging: Image and Interactivity (4) (Cross-listed
with VIS 140). An introduction to the digital image. Students will produce
works involving images, texts, and interactive display. A project will
be developed by each student that will exist both within a computer mediated
space (i.e., Web site) and in physical space (i.e., artist book). Techniques
for constructing an interactive narrative will be explored. The use of
computer programming as a tool and conceptual framework for art making
is introduced. Prerequisites: VIS 40/ICAM 40. NOTE: Materials fee required.
ICAM 102. Digital Media I: Time, Movement, Sound (4) (Cross-listed
with VIS 145A). As an exploration of time dependent media components,
this course will deal with the creation and manipulation of digital sound
as well as moving images and their integration in multimedia works. Use
of computer programming to control time in computer arts is emphasized.
Non-linear structures, branching narratives, and procedurally driven temporal
structures are examined. Prerequisites: VIS 40/ICAM 40 and VIS 140/ICAM
101. NOTE: Materials fee required.
ICAM 103. Musical Acoustics (4) (Cross-listed
with MUS 170). An introduction to the acoustics of music with particular
emphasis on contemporary digital techniques for understanding and manipulating
sound. Prerequisites: MUS 1A, 2A, or 4.
ICAM 110. Computing in the Arts: Current Practice (4) Designed
around the presentations by visiting artists, critics, and scientists
involved with contemporary issues related to computer arts. Lectures by
the instructor and contextual readings provide background material for
the visitor presentations. Prerequisites: none. NOTE: Materials fee
required.
ICAM 120. Virtual Environments (4) Students
will create virtual reality artworks in this course. Projects may be done
individually or in groups. An exploration of the theoretical issues involved
will underlie the acquisition of techniques utilized in the construction
of virtual realities. Prerequisites: VIS 145A/ICAM 102; CSE 11 recommended.
NOTE: Materials fee required.
ICAM 130. Seminar in Contemporary Computer Topics (4) (Cross-listed
with VIS 149). This seminar treats selected topics drawn from a broad
variety of subjects relevant to computer-based art- and music-making,
such as computer methods for making art and music, the design of interactive
systems, spatialization of visual and musical elements, and critical studies.
Topics will vary each time the course is offered. May be repeated five
times for credit. Prerequisites: VIS 140/ICAM 101 and ICAM 110; VIS
145A/ICAM 102 and MUS 170/ICAM 103 recommended. NOTE: Materials fee required.
ICAM 150. History of Art and Technology (4) (Cross-listed
with VIS 159). This course aims to provide historical context for computer
arts by examining the interaction between the arts, media technologies,
and sciences in different historical periods. Topics vary. Examples of
topics which may be considered are: Renaissance perspective, the introduction
of the printing press, the history of visual illusion in Western art,
new physics and the avant-garde in the early twentieth century, futurism
and technology, early electronic and computer art of the 1950s and 1960s.
Prerequisite: none. NOTE: Materials fee required.
ICAM 160 A-B. Senior Project in Computer Arts (4-4) Students
will pursue projects of their own design over two quarters with support
from faculty in a seminar environment. Project proposals are developed
and presented, informed by project development guidelines from real world
examples. Projects are then developed with presentation of the project
along with complete documentation as the final goal of the course sequence.
Collaborations are possible. Portfolio required for admission. Prerequisites:
VIS 140/ICAM 101,VIS 145A/ICAM 102, MUS 170/ICAM 103, ICAM 110, and senior
standing.
Graduate
All courses numbered 200 and above are intended for students admitted
to the graduate program in music.
201A-B-C-D-E-F. Projects in New Music Performance (1-4, 1-4, 1-4,
1-4, 1-4, 1-4) Performance of contemporary
music. Different sections represent active performance ensembles. A core
requirement for music graduate students as outlined in the curriculum.
202. Advanced Projects in Performance (1-4) Advanced
performance of new music with members of the performance faculty (SONOR).
Students taking this course do not need to take Music 201 that quarter.
Enrollment by consent of instructor/director of SONOR.
203A-B-C. Advanced Projects in Composition (4-4-4) Seminar
consisting of meetings and laboratory sessions devoted to the study of
composition.
203D. Advanced Projects in Composition (1-4) Meetings
on group basis with faculty composer in sessions devoted to the study
of composition. Prere-quisites: 203A-B-C and consent of instructor.
204. Focus on Composition (2) The purpose
of this seminar is to bring together the entire population of the graduate
composition program (all students and faculty) for in-depth discussion
of critical issues in music theory and composition. Each meeting will
feature a formal presentation by either a student, faculty member, or
visitor, followed by lively and challenging debate on relevant issues.
Prerequisite: consent of instructor.
205. Focus on Critical Studies/Experimental Issues in Music (2) The
purpose of this seminar is to bring together CS/EP students and faculty
for in-depth discussion(s) of theoretical, critical, and cultural issues
in music. In conjunction with the seminar, each student not yet advanced
to candidacy will meet with a faculty adviser to plan and prepare a presentation
of his or her own work as part of a one-day CS/EP student symposium during
the spring quarter.
206. Experimental Studies Seminar (4) Seminars
growing out of current faculty interests. The approach tends to be speculative
and includes individual projects or papers as well as assigned readings.
In the past, such areas as new instrumental and vocal resources, mixed
media, and compositional linguistics have been offered.
207. Theoretical Studies Seminar (4) Seminars
on subject areas relating to the established dimensions of music and in
which theoreticians have produced a substantial body of work. These include
studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings
vary depending on faculty availability and interest. Analytical paper
required.
208A. Critical Methods and Creative Identities (4) The
goal of this course is to develop critical thinking and self-reflexive
inquiry through study of a diverse range of critical and scholarly traditions
as they relate to music. Students are encouraged to investigate their
own sense of identity and voice, as embodied in their creative work. Prerequisite:
consent of instructor.
208B. Experimental Musical Practices (4) This
course examines, from social, cultural, historical and technological perspectives
the current state of experimental musical practice. Meetings and laboratory
sessions will explore alternative systems of musical organization, such
as improvisation, computer-based multimedia, and interdisciplinary performance
collaboration. Prerequisite: consent of instructor.
208C. World Musical Perception (4) This
seminar attempts to develop alternative procedures for the analysis of
intercultural musicality. Methods and practices to be explored will involve
computer technology, musical cognition and perception, and world music
practices, as these relate to the elucidation and interrogation of notions
of self and other, and tradition and innovation. Prerequisite: consent
of instructor.
208D. Advanced Projects in CS/EP (1-4) On
a group or individual basis, this course provides an opportunity for students
to create projects under the guidance of different faculty members each
term. Enrollment in this course culminates in the development by the student
of a portfolio of original work, or in a masters thesis. Prerequisite:
consent of instructor.
209. Advanced Music Theory and Practice (4) Advanced
integrated studies in music theory; composition and styles study through
analysis and performance. This course is intended primarily for doctoral
students and may be taken by M.A. students only with special approval
of M.A. adviser and course instructor. A major research or analytical
publishable paper required.
210. Musical Analysis (4) The analysis
of complex music. The course will assume that the student has a background
in traditional music analysis. The goal of the course is to investigate
and develop analytical procedures that yield significant information about
specific works of music, old and new. Reading, projects, and analytical
papers. Normally offered fall quarter only.
228. Conducting (4) This course will give
practical experience in conducting a variety of works from various eras
of instrumental and/or vocal music. Students will study problems of instrumental
or vocal techniques, formal and expressive analysis of the music, and
manners of rehearsal. Required of all graduate students. Prerequisite:
consent of instructor. (Offered in selected years.)
229. Seminar in Orchestration (4) A seminar
to give practical experience in orchestration. Students will study works
from various eras of instrumental music and will demonstrate their knowledge
by orchestrating works in the styles of these various eras, learning the
capabilities, timbre, and articulation of all the instruments in the orchestra.
Prerequisite: graduate standing. (Offered in selected years.)
230. Chamber Music Performance (4) Performance
of representative chamber music literature, instrumental and/or vocal,
through coached rehearsal and seminar studies. Course may be repeated
for credit since the literature studied varies from quarter to quarter.
Prerequisite: consent of instructor.
232. Pro-Seminar in Music Performance (4) Individual
or master class instruction in advanced instrumental/vocal performance.
Prerequisite: consent of instructor through audition.
234. Symphonic Orchestra (4) Repertoire
is drawn from the classic symphonic literature of the eigtheenth, nineteenth,
and twentieth centuries with a strong emphasis on recently composed and
new music. Distinguished soloists, as well as The La Jolla Symphony Chorus,
frequently appear with the orchestra. The La Jolla Symphony Orchestra
performs two full-length programs each quarter, each program being performed
twice. May be repeated six times for credit. Prerequisites: audition
and department stamp required.
245. Focus on Performance (2) The purpose
of this seminar is to bring together performance students, faculty, and
guests for discussion, presentation of student and faculty projects, performances
by guest artists, and master classes with different members of the performance
faculty. Prerequisite: consent of instructor.
250. Special Projects (1-12) An umbrella
course offered to music graduate students in lieu of normal seminar offerings.
Topics will be generated by faculty and graduate students and submitted
in December each year for review by faculty. Students may register for
up to four units of a specialized research topic with given faculty. May
be taken for up to twelve units a quarter.
267. Advanced Music Technology Seminar (4) Advanced
topics in music technology and its application to composition and/or performance.
Offerings vary according to faculty availability and interest. May be
repeated for credit. Prerequisites: Music 173 or equivalent and consent
of instructor.
270A. Digital Audio Processing (4) Digital
techniques for analysis, synthesis, and processing of musical sounds.
Sampling theory. Software synthesis techniques. Digital filter design.
The short-time Fourier transform. Numerical accuracy considerations. Prerequisite:
consent of instructor.
270B. Musical Cognitive Science (4) Theoretical
bases for analyzing musical sound. Approaches to perception and cognition,
including psychoacoustics and information processing, both ecological
and computational. Models of audition including Helmholtz's consonance/dissonance
theory and Bregman's streaming model. Musical cognition theories of Lerdahl
and Narmour. Neural network models of music perception and cognition.
Models of rhythm. The problem of timbre and timbre perception. Prerequisite:
consent of instructor.
270C. Compositional Algorithms (4) Transformations
in musical composition; series and intervalic structures; serial approaches
to rhythm and dynamic. The stochastic music of Xenakis and Cage. Hillers
automatic composition. Improvisational models. Computer analysis of musical
style. Neurally inspired and other quasiparallel algorithms. Prerequisite:
consent of instructor.
270D. Advanced Projects in Computer Music (4) Meetings
on group basis with computer music faculty in support of individual student
research projects. Prerequisites: consent of instructor and completion
of Music 270A-B-C.
271. Survey of Electronic Music Techniques (2) A
hands-on encounter with several important works from the classic electronic
repertory, showing a representative subset of the electronic techniques
available to musicians. Intended primarily for students in areas other than
computer music. Prerequisite: none.
291. Problems and Methods of Music Research and Performance (2) The
course will give practical experience in historical research, including
use of important source materials, evaluation of editions, and examination
of performance practice problems. (S/U grade option only.)
292. Academic Writing (1-4) Individual
and/or group work on particular academic writing projects in music. Prerequisite:
consent of instructor.
296. Directed Group Research in Performance (4) This
group research seminar involves the investigation and exploration of new
and experimental performance concerns. Areas could include: improvisation,
graphic notation, performance electronics, and working with combined media
(such as dance, poetry, and theater). (S/U grade option only.)
298. Directed Research (1-4) Individual
research. (S/U grades permitted.) May be repeated for credit. Enrollment
by consent of instructor only.
299. Advanced Research Projects and Independent Study (1-12) Individual
research projects relevant to the students selected area of graduate
interest conducted in continuing relationship with a faculty adviser in
preparation of the masters thesis or doctoral dissertation. (S/U
grades permitted.)
500. Apprentice Teaching (1-4) Participation
in the undergraduate teaching program is required of all graduate students
at the equivalent of 25 percent time for three quarters (six units is
required for all graduate students).
501. Apprentice TeachingNondepartmental (4) Consideration
and development of pedagogical methods appropriate to undergraduate teaching.
Music Courses
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