Music
OFFICE: 111 Mandeville Center for the Arts
Web page: http://music.ucsd.edu
Professors
Courses
This department is dedicated to the development of musical intelligence
and capacity, centering its quest on the music of our own time.
The undergraduate programs intend to enhance the exercise and comprehension
of the music-making process. The graduate programs aim to educate
practitioners and researchers who can nourish the entire domain
of music as well as extend its boundaries.
Resources
Performance/Production Opportunities
Performing in
front of an audience is an essential part of the performance program;
composers too must hear their works performed. Both performance and non-performance
students are encouraged to participate in ensembles, festivals, and collaborative
events. Practice facilities include grand pianos, disclaviers and uprights, an
electronic keyboard lab, several harpsichords, a wide array of percussion instruments,
a percussion studio, and instruments for student checkout.
Each academic year,
more than 150 public concerts are presented in well-equipped venues:
Mandeville Center Auditorium (792 seats), Mandeville Recital Hall
(150
seats), Erickson Hall (150 seats), and Studio A (100 seats). Substantial resources
and staffing are dedicated to performances of faculty and student works by new
music ensembles, SONOR (faculty), experimental and improvisational ensembles,
student performance collectives (New Music Forum, Performers’ Forum, and
CS/EP Forum), and at an annual graduate Spring Festival.
Our concert calendar
can be viewed at: http://music.ucsd.edu/events.
ENSEMBLES IN RESIDENCE
Chamber Music Advanced
Chamber Singers
Concert Choir
Gospel Choir
Ensemble Realizations of Unconventionally Notated Scores
Improvisation Ensemble
Jazz Ensembles
La Jolla Symphony and Chorus
redfishbluefish
SONOR
Wind Ensemble
World Music (Sitar & Tabla)
Indian classical music
VISITING ARTISTS/ARTISTS IN RESIDENCE
Visiting artists and artists
in-residence play an integral part in research and collaborate
with faculty and students in focus
seminars, concerts, weeklong
festivals,
and colloquia, bringing an array of new creativity and ideas. Recent special
events included Powering Up/Powering Down, an international festival of radical
media arts, and the CS/EP Intermedia Festival, featuring sound installation,
performance, and critical theory.
Music Technology Facilities
The Department of Music maintains highly sophisticated,
continuously upgraded facilities for the support of graduate and undergraduate
instruction. http://music.ucsd.edu/facilities/
Computer Music Instructional Laboratory (CMIL)—Established
in 1987 to support undergraduate and graduate studies in computer
music, CMIL is a 900-square-foot
facility with recessed storage and printing areas, machine isolation, acoustical
treatments, a presentation console, ergonomic workstation components, a high-resolution
data projection system, CD and DVD authoring, and integrated digital audio
equipment for student access to audio processing, duplicating,
high-definition digital
mixing and high-quality (Dynaudio) multichannel audio monitoring. The facility
provides adequate space for instrumental rehearsal and interfacing experimentation,
and provides several FireWire interfaces for laptop computing. Mobile desktop
systems optimized for live performance applications are also maintained in
CMIL.
Our server has high-speed network and wireless connections,
mass storage, and archiving systems. Intel and Macintosh computer
workstations run unique
music
software packages developed at UCSD. Pd is a new, real-time, interactive
musical and graphics programming environment written and under continuing
development
by Professor Miller Puckette. Other audio and graphics editing and processing
software packages are also supported, including Pro Tools HD, development
compilers, and several standard music-production packages. The facility is
configured
and optimized to support direct connection of musical instruments to computers
for
prototyping of real-time interactive performance and compositional projects
using MAX/MSP/Jitter and Pd computer music software. The facility is also
used for
advanced seminars and classes in such topics as sound spatialization, music
software programming, computer music techniques, repertoire analysis, and
research.
Digital Music Project Studio—This is a 900-square-foot facility,
including an isolation booth, absorption and diffusion treatments, data connections,
and audio tie-lines to CMIL and Erickson Hall. The studio houses Macintosh
and Linux
systems and many dedicated devices for music production and recording, including
a Pro Tools HD digital audio production package with sixteen channels of
digital I/O for precise digital recording and editing. Recent upgrades include
improved
microphone preamps and an array of new software packages, including Waves
plug-ins and convolution reverb. The studio features a Yamaha 02R96 digital
mixing console
with all upgrades, 5.1 and stereo monitoring, and sound-for-picture capabilities.
The studio supports MIDI for synthesis, processing, and control in music
composition and performance, and includes hardware and software for CD and
DVD mastering.
Open Computing Laboratory (OCL)—This facility occupies
1,950 square feet, with audio and printer connections to CMIL and the Digital
Music Project
Studio.
Most workstations are networked, and several stations are equipped with
CD and DVD burning equipment. OCL was established in 1990 to support
many facets
of
the department curriculum, and has been upgraded incrementally every year
thereafter. It now comprises seventeen computer workstations (iMacs, desktop
G4s and G5s, and several
Intels), most with MIDI interfaces and Yamaha SY22/33 synthesizers. Coda
Finale, Max/MSP, Soundhack, Metasynth, DVD Studio Pro, Final Cut, Pd, Pro
Tools, and IRCAM
Forum are some of the packages supported in the lab. Large-format music
and text printing are supported. For instructional presentation,
the room features
a high-quality
data projection and surround sound system. The presentation station also
features a PC workstation, a G5 Mac with Pro Tools editing, DAT, Bias Peak
editor and
SpectraFoo, signal display software, and DVD-authoring software burner.
Media Networking—All instructional labs and all
of the Department of Music's performance spaces and classroom spaces
have been upgraded
for wireless and fast
Ethernet and media networking. Media networking allows advanced students
and researchers to “stream” digital video and audio among
diverse on-campus facilities and onto the Internet. Additionally,
there is wireless connectivity
at most campus locations. All UCSD music production and research facilities
are designed for ease of data portability and as complementary components
of a powerful,
well-designed, thoroughly integrated continuum of resources serving the
needs of entering students through postdoctorate students and faculty
researchers.
Music Technology Equipment Checkout—The music
department maintains an inventory of technology equipment available
to music majors and graduate
students for overnight
and weekend checkout. Equipment includes laptop computers with music software
installed, FireWire audio interfaces, MIDI keyboards and interfaces, microphones,
cables, and other recording and production sound equipment. This equipment
is provided primarily to support class-related, dissertation, thesis and
ICAM senior
projects.
Concert Recording and CD Releases—All faculty and most student concerts
are recorded by professional staff or their assistants, and qualified students
can utilize the department's extensive high-tech resources for experimental
projects resulting in public performance and recordings of new works. Regularly
released
CDs, under advisement by faculty mentors, feature advanced graduate students
who perform, compose, edit, and collaborate to produce a snapshot of musical
achievement that predicts distinguished careers and new avenues of musical
thought and practice.
Music Center Studios—The Department of Music
has a state-of-the-art recording and faculty research complex, completely
refurbished in 2004-05,
with studios
designed to meet the following objectives:
- Serve as an unsurpassed facility
for recording and mastering classical and contemporary
music.
- Serve as a reference-critical listening space for the evaluation
of audio production.
- Support faculty research in psychoacoustics, computer music,
and digital signal processing
(DSP) for audio.
The facility incorporates two large recording studios (50
x 60 feet) with variable wall and floor surfaces for diverse acoustical
configurations,
a control room
(20 x 30 feet), an isolated machine room, and other support spaces.
Music center studios host live performances as well as six-camera video
shoots,
and are
well suited for high-tech presentations and concert recording. A
120-dimmer grid with
a digital lighting board supports theatrical lighting for performance,
and for television and video production.
The control room features highly
refined acoustical qualities and new all-digital mixing and editing
systems including Pyramix and Pro Tools
HD. ATC
monitoring systems have been upgraded for surround sound. An excellent
range of
microphones supports an unusual array of recording possibilities; a
fine selection
of pianos, percussion, and electronic instruments is also part
of the holdings of the
complex. Grad students may apply for staff positions and recording-project
support at
music center studios, and ICAM majors may apply for engineering
and production internship credits. The department's instructional
labs are
designed
to serve
as networked, media-compatible satellites to the music center studios.
http://music.ucsd.edu/facilities
Center for Research in Computing
and the Arts (CRCA), and California Institute for Telecommunications
and Information Technology (Calit2)
The Center for Research in
Computing and the Arts (CRCA) is an organized research unit of
UCSD. Historically rooted in the Center
for Music
Experiment (CME),
CRCA now exists to foster collaborative working relationships
among a wide array of
artists, scientists, and technologists by identifying and promoting
projects in which common research interests may be advanced
through computing.
Music projects at CRCA cover a wide spectrum,
from pure research to technically advanced creative endeavors.
Current research
includes, but is not limited
to, interactive multimedia and performance, digital audio
and synthesis techniques, video/image processing, spatial audio,
computer music
languages,
virtual
environments, robotics, computer composition, installation,
artificial intelligence, and
Web
art.
CRCA offers a broad array of events in its facilities,
reflecting the research and artistic expression of faculty, students,
associates, and visiting
scholars. Research residencies and fellowships are available
for undergraduate
and
graduate students on an annual, competitive basis.
In fall
2005 CRCA moved into its new home in the Media Arts wing of UCSD's
new Calit2 building. This impressive
new structure
houses offices,
labs,
and performance
spaces on a world-class stage that places CRCA at the
crossroads of artistic and technical innovation. CRCA affiliates
work
alongside
leading
researchers
in the areas of wireless communications, computer imaging,
signal processing, bioinformatics, chip design, immersive
media, and
a host of new and
emerging disciplines.
http://www.crca.ucsd.edu
http://www.calit2.net/
Music
Library
The Music Library (located in Geisel Library) maintains
extensive collections of materials in all areas of
music, and is known
internationally for
contemporary music holdings. Ethnic music collections
are aggressively being expanded.
The Music Library's Services Room has fifty-two stations
for playback of the recordings
collection, including CD, DVD, VHS, LP, or tape formats.
Ten of the remote control stations are equipped with
video monitors.
The
Seminar
Room is
equipped with
audio and video equipment for group presentations.
Digital Audio Reserves (DAR) provides students with 24/7 access,
including off-campus access,
to course
listening assignments, via the UCSD nework.
http://orpheus.ucsd.edu/music
The Undergraduate Program
Undergraduate courses offered in the Department of Music satisfy
a wide range of interests for non-music majors as well as for students
majoring in music.
Students wishing to acquire a musical background to support further
study should take Music 1A-B-C, which develops skills musicians
use in the analysis and performance of music. Students interested
in music appreciation should choose from the following
courses, which introduce aspects of the rich heritage of music:
Music 415. None of the aforementioned courses have prerequisites.
For students with prior musical background who wish to continue
in upper-division theory courses, Music 2A-B-C (in lieu of 1A-B-C)
is essential.
Music Major Programs
The undergraduate program at UCSD offers a bachelor of arts degree
in music and in music humanities. The curriculum emphasizes
the development of musical listening and performance skills as applied
to both contemporary and traditional music.
The music major is intended for students who may choose
to engage in music as a profession. This major thus requires extensive
development of musical skills. A student without the appropriate
level of those skills upon entrance to UCSD must devote considerable
time to attaining them, either in lower-division courses or independent
study. Students can concentrate in composition, performance, literature,
technology, or jazz and the music of the African diaspora.
The Department of Music is committed to creative music making;
thus all music majors are required to enroll in ensemble performance
for at least three quarters (see #8 below).
The music/humanities major is intended for students who
wish to pursue a broad liberal arts program that includes music
as a central element. This program emphasizes music history and
literature, and allows the individual student to select an area
of interest for the major within the broad field of the humanities.
Music Major Requirements
The lower-division prerequisites for the music major are Music
2A-B-C, and Music 2AK-BK-CK. Jazz emphasis students take Music 2JK
in lieu of 2CK. To continue within the major, all students must
pass Music 2C or an equivalent proficiency exam. Composition emphasis
students must take Music 33, Introduction to Composition, or take
a proficiency exam for the course. All required music major courses
must be taken for a letter grade, with the exception of Music 143,
which is taken on a Pass/No Pass basis. All courses to be counted
toward satisfying the major requirements must be passed with a grade
of C or better.
To complete the music major the following courses are required.
Courses which are specific to each area of emphasis are shown in
parentheses.
- One of the following sequences:
• Music 101A-B-C (performance, composition, literature,
and technology)
• Music 101A-B and 104 (jazz)
- One of the following sequences:
• Music 102A-B-C (performance, composition, literature,
and technology)
• Music 137A-B-C (jazz)
- Music 120A-B-C
- One quarter of Music 133 (normally taken in the winter quarter
of the junior or senior year)
- One of the following:
• Music 107, 110, 116, or 150 (performance, composition,
literature, and technology)
• Music 150 (jazz)
- One of the following:
• three quarters of Music 132 or 132V (performance)
• Music 103A-B-C (composition)
• three courses from the series Music 107-116, 126, 127A-B,
and 150, of which at least one must be 107, 110, 116, or 150
[in addition to #5 above] (literature)
• Music 170/171/175 (technology)
• two courses from Music 105, 126, 127A, and 127B; plus
one course from Music 107, 110, 111, 114, 115, 116, or 150 [in
addition to #5 above] (jazz)
- One additional course to be selected from:
• Music 107-116, 126, 127A-B, and 150 (performance, composition,
literature, and technology)
• Music 151-154 (jazz)
- One of the following sequences:
• Three quarters of Music 95, 130, 131, or 134, including
two quarters from 95C, 95D, or 95K (performance, composition,
literature, and technology)
• Two quarters of Music 95JC or 131, plus one quarter
of Music 95C, 95D, 95G, or 95K (jazz)
- Music 143 every quarter
Music/Humanities Major Requirements
The prerequisite for the music/humanities major is Music 1A-B-C
(or 2A-B-C, if qualified). To complete the major the following courses
are required:
- Music 120A-B-C.
- Three courses chosen from Music 107-116, 126, 127A-B, and
150, of which at least one must be 107, 110, 116, or 150
- A coherent seet of six upper-division courses selected from
the humanities or fine arts (including music) that focuses on
a specific topic, chosen in consultation with the music/humanities
academic adviser.
- Three quarters of Music 95, 130, 131, or 134 (two from 95C,
95D, or 95K)
- Music 143 every quarter
Students interested in this major should confer with the music/humanities
faculty adviser to work out a course of study, which must be submitted
at the beginning of the junior year for the advisers written
approval.
Interdisciplinary Computing and the Arts (ICAM) Major
Major Requirements
Twenty courses are required in the computing and the arts major
for the attainment of the Bachelor of Arts degree. A minimum of
twelve of these courses must be upper division.
All courses taken to satisfy major requirements must be taken for
a letter grade, and only grades of C or better will be accepted
in the major.
The Undergraduate Program
The Interdisciplinary Computing and the Arts program in the Music
and Visual Arts departments draws upon, and aims to bring together,
ideas and paradigms from computer science, art, and cultural theory.
It also takes for granted that the computer has become a metamedium
and that artists working with computers are expected to combine
different media forms in their works. All of this makes the program
unique among other currently existing computer art or design programs
which, on the one hand, usually focus on the use of computers for
a particular media (for instance, specializing in computer animation,
or computer music, or computer design for print) and, on the other
hand, does not enter into a serious dialog with the current research
in computer science, only teaching the students off-the-shelf software.
The program also recognizes that creating sophisticated artistic
works with computers requires a new model of the creative process,
one that combines traditional artistic procedures with the experimental
research characteristic of the sciences. All in all, it aims to
train a new type of cultural producer, who is familiar with music
technology, who is equally proficient with computer programming
and artistic skills, who is always ready to learn new technologies,
and who is comfortable interacting with scientists and computer
industry resources.
The goals of the program are:
- to prepare the next generation of artists who will be functioning
in a computer- mediated culture
- to give students necessary technical, theoretical, and historical
backgrounds so they can contribute to the development of new aesthetics
for computer media
- to prepare students to mediate between the worlds of computer
science and technology, the arts, and the culture at large by
being equally proficient with computing and cultural concepts
- to give students sufficient understanding of the trajectories
of development in computing so they can anticipate and work with
the emerging trends, rather than being locked in particular software
currently available on the market.
Admission to the ICAM Major
Student interest in the Interdisciplinary Computing and the Arts
Major (ICAM) has been strong. Because the department has limited
resources to accommodate student demand, it is necessary to limit
admission to these majors to the most highly qualified students.
Any student admitted to UCSD beginning in fall 2002 who wishes to
declare an ICAM major will be admitted to the pre-major rather than
being directly admitted to the major.
ICAM Pre-Major
Students designated as pre-majors in ICAM must complete the following
eight required lower-division courses within six quarters (by the
end of their sophomore years):
MUS 4, Introduction to Western Music
VIS 1, Introduction to Art-Making
ICAM 40/VIS 40, Introduction to Computing in the Arts
MATH 20A, Calculus for Science and Engineering*
MATH 20B, Calculus for Science and Engineering*
CSE 11, Introduction to Computer Science: JAVA*
and one from
MUS 1A, Musical Literacy
MUS 2A, Basic Musicianship
MUS 5, Introduction to Music Making
and one from
MUS 6, Electronic Music
MUS 7, Music, Science, and Computers
MUS 14, Contemporary Music
* MATH 20A and MATH 20B is an accelerated calculus course for science
and engineering. MATH 10A-B-C covers similar material in a non-accelerated
format, and can be substituted. CSE 11 is an accelerated course
in the JAVA programming language. CSE 8A and CSE 8B, which cover
the same material in a non-accelerated format, may be substituted.
Applying to the Major
Upon completion of all required lower-division courses, pre-majors
who seek entrance to the ICAM major must formally apply at the Music
Department Undergraduate Program Office. Admission will be based
on the following criteria:
- Performance in the lower-division courses as measured by a GPA
of 3.0 or higher, determined by the department on an annual basis.
- Submission to the department of a portfolio of work demonstrating
superior progress as a pre-major. The portfolio will consist of
at least two projects that the student has produced in ICAM 40/VIS
40, in another digital arts class, or independently, that in the
faculty's judgment demonstrate that the student possesses the
artistic ability and technical skills to perform at a high level
in upper-division courses in the majors. Pre-majors should consult
the undergraduate adviser in music as to the form in which projects
should be submitted (disk, slides, tapes, etc.). For ICAM-music
students the portfolio may consist of CDs, DVDs, videotapes, audio
tapes, Web sites, performances and performace reviews, ICAM 40
projects, media works created independently or collaboratively
with other students, media works created independently or during
internships or employment, written personal statements regarding
career goals; written recommendations from ICAM faculty, software
design, and implementation projects.
Transfer Students
Beginning in fall 2002, transfer students who wish to declare an
ICAM major are subject to the majors admissions policies:
that is, they will be admitted initially as pre-majors, apply to
the major on the same basis as other students, and be subject to
the same requirements with respect to lower-division courses, grade-point
average, and portfolio evaluation. Transfers entering with 36 or
more quarter units must apply for admission to the major no later
than their third quarter of study at UCSD. At the time of admission
to the pre-major, transfer students transcripts will be evaluated
by the departments to determine what courses completed elsewhere,
if any, may be petitioned as equivalent to required courses. Students
should be prepared to provide course descriptions and other materials
that may be required to determine the content of such courses.
Continuing Students (Students admitted prior to fall 2002)
Any student admitted to UCSD before fall 2002 may declare an ICAM
major by completing a Change of Major form at the undergraduate
advisers office and attending an orientation meeting.
Policies Relating to the ICAM Major
Satisfactory Progress
Any ICAM major whose GPA in courses required for the major drops
below 2.0 will be placed on probationary status the following quarter.
If, during that probationary quarter, the GPA does not move back
to up 2.0 or better, he or she will be dropped from the major.
Prerequisites
Students are required to complete all prerequisites prior to enrolling
in any course required for the major. Exceptions must be negotiated
with the instructor of the course in question, in consultation with
the department undergraduate adviser.
Limitations to Enrollment by Non-Majors
A department stamp is required for all upper-division courses in
computing in the arts. Because ICAM is an impacted major, first
preference in enrollment in upper-division computing in the arts
will be given to ICAM majors and to music majors with a technology
concentration. Second preference will be given to other visual arts
and music majors. Other students will be admitted to these courses
only if space is available.
Lower-Division
(Eight courses required.)
MUS 4, Introduction to Western Music
VIS 1, Introduction to Art-Making
ICAM 40/VIS 40, Introduction to Computing in the Arts
MATH 20A, Calculus for Science and Engineering*
MATH 20B, Calculus for Science and Engineering*
CSE 11, Introduction to Computer Science: JAVA*
and one from
MUS 1A, Musical Literacy
MUS 2A, Basic Musicianship
MUS 5, Introduction to Music Making
and one from
MUS 6, Electronic Music
MUS 7, Music, Science, and Computers
MUS 14, Contemporary Music
* MATH 20A and MATH 20B is an accelerated calculus course for science
and engineering. MATH 10A-B-C covers similar material in a non-accelerated
format, and can be substituted. CSE 11 is an accelerated course
in the JAVA programming language. CSE 8A and CSE 8B, which cover
the same material in a non-accelerated format, may be substituted.
Upper-Division
(twelve courses required)
Survey (one course required)
ICAM 110. Computing in the Arts: Current Practice
Foundation (three courses required)
ICAM 101/VIS 140. Digital Imaging: Image and Interactivity
ICAM 102/VIS 145A. Digital Media I: Time, Movement, Sound
ICAM 103/MUS 170. Musical Acoustics
Advanced (four courses required)
One of:
MUS 172. Computer Music II
VIS 141B. Computer Programming for the Arts II
VIS 145B. Digital Media II
VIS 147B. Electronic Technologies for Art II
Three of:
ICAM 120. Virtual Environments
ICAM 130/VIS 149. Seminar in Contemporary Computer Topics
MUS 171. Computer Music I
MUS 173. Audio Production: Mixing and Editing
MUS 174A-B. Audio and MIDI Studio Techniques
MUS 175. Musical Psychoacoustics
MUS 176. Music Technology Seminar
VIS 109. Advanced Projects in Media
VIS 131. Special Projects in Media
VIS 132. Installation Production and Studio
VIS 141A. Computer Programming for the Arts I
VIS 147A. Electronic Technologies for Art I
VIS 174. Media Sketchbook
Theory and History (two courses required)
ICAM 150/VIS 159. History of Art and Technology
and one of:
MUS 111. World Music Traditions
MUS 114. Music of the Twentieth Century
VIS 123CN. Early Print Culture: The First Media Revolution
VIS 125E. History of Performance
VIS 150. History and Art of the Silent Cinema
VIS 151. History of the Experimental Film
VIS 152. Film in Social Context
VIS 153. The Genre Series
VIS 154. Hard Look at the Movies
VIS 155. The Director Series
VIS 157. Video History and Criticism
VIS 158. Histories of Photography
Senior Project (two courses required)
ICAM 160A. Senior Project in Computer Arts I
ICAM 160B. Senior Projects in Computer Arts II
All Computing and the Arts (ICAM) course descriptions are listed
at the end of the lower- and upper-division sections under Courses.
Not all courses are offered each year.
Honors
1. To be admitted into the honors program a student must have the
following:
- Excellence in a specific subject matter (performance, composition,
literature, technology, or music/humanities) and faculty support.
- Performers must have previously performed on Performers Forum
and enrolled in Chamber Music, Music 130. (Vocalists can seek
an exception.) Other students must have completed all Music 95
requirements prior to entering the honors program.
- A GPA in the Department of Music of 3.6; an overall GPA of
3.0
All of the requirements below must be completed before the last
day of instruction in the spring quarter prior to the academic year
in which the student proposes to pursue an honors curriculum.
- Performance students must present a piece before the performance
faculty that demonstrates their technical and musical abilities.
In addition, students must provide a proposed program for an honors
recital.
- Composition students must have a composition performed on the
New Music Forum series. Either the students principal instructor
must attend this performance or a tape of this performance must
be provided for faculty review. In addition, students must provide
a proposed portfolio of original scores for an honors recital.
- Literature students who have (1) presented historically- or
musicologically-oriented research papers at campus venues featuring
undergraduate research, or (2) been involved in the faculty mentor
program, or (3) participated in the presentation of the winter
opera with the accompanying symposium, may submit a portfolio
of papers to the Critical Studies/Experimental Practices (CSEP)
faculty. In addition, students must propose a fifty minute lecture
for the Department Seminar (Music 143).
- Music science and technology students must present a portfolio
of projects to the music technology faculty and propose a fifty-minute
lecture/demonstration for the Department Seminar (Music 143).
2. Once admitted to the honors program:
- Students must be supervised by a faculty adviser throughout
the honors program.
- Composition students admitted to the honors program will enroll
in twelve units of the Composition Honors course (Music 103D-E-F).
Performance students will enroll in twelve units of Music 132R
(after at least three quarters of Music 132). Technology students
will enroll in twelve units of Music 176 or 199; Music literature
and music humanities students will enroll in twelve units of Music
199, 150, or 107.
3. To receive honors:
- A student must publicly demonstrate an appropriate level of
excellence, an acceptable GPA, and suitable participation in department
presentations and seminars, as determined by the students
honors committee.
Please Note: Being admitted to the honors curriculum does
not guarantee that a student will receive honors.
For further information on the Department of Music Honors Program
and to obtain an application form, students should make an appointment
with the undergraduate staff adviser.
Transfer Students
Students who plan to transfer into the music major should have
strong skills in basic musicianship. For those planning to emphasize
performance, solid proficiency on the instrument is required. A
general course in the history of music is recommended. All transfer
students must pass a proficiency examination in Music 2C (Basic
Musicianship) and Music 2CK (Basic Keyboard). To verify the acceptability
of transfer music courses, students must make an appointment with
the undergraduate staff adviser.
Minor Programs
Please obtain a Department of Music brochure of approved minors
from the undergraduate office. Students must seek advice and obtain
approval from the undergraduate adviser prior to embarking upon
a minor program.
The music minor for students entering UCSD in and after winter
quarter 1998 consists of:
- two lower-division music courses except performance ensembles
(Music 95A Music 95W) and lessons (Music 32)
- five upper-division music courses
Students who entered UCSD before winter 1998 may select either
the new minor or one of the music minors offered at the time of
their entry into the university.
A minor with an emphasis in ICAM consists of seven specific courses,
of which at least five must be upper division. Prospective minors
should consult with the respective departmental adviser for a complete
list of appropriate classes acceptable for the minor.
Advising Office
Undergraduate Staff Adviser
Eileen Voreades, Room 110 Mandeville Center, (858) 534-8226
evoreades@ucsd.edu
The Graduate Program
UCSD offers the master of arts and doctor of philosophy in music
as well as a doctor of musical arts. Areas of emphasis for the M.A.
include Composition, Computer Music, Critical Studies/ Experimental
Practices (CS/EP), and Performance. For the Ph.D., areas
of emphasis offered are Composition, Computer Music, and Critical
Studies/Experimental Practices. The doctor of musical arts
has an emphasis in Contemporary Music Performance.
Composition
The Composition Program is committed to nourishing the individual
gifts and capacities of student composers in a diverse and active
environment, with an emphasis on intensive personal interaction
between faculty and student. The faculty mentor considers a student's
particular goals and then attempts to strengthen his or her technical
capacity to meet them. The diversity
and liveliness of our program itself often challenges students
to reevaluate their goals.
An incoming member in the M.A. or Ph.D. program begins with a year-long
seminar (taught by a different faculty composer each quarter) and
continues with individual studies thereafter. At the close of the
first year fall quarter and again after the following spring quarter,
the entire composition community gathers for a day-long jury.
Each seminar member is allotted a block of time during which the
composition that has just been completed is performed and recorded
in a carefully rehearsed presentation. There is a detailed discussion
of each work by the faculty composers, and the student has opportunity
to comment, explain, and pose questions. Following the performance
and discussions of this day, the composition faculty meets to assess
the students work collectively and to offer any guidance deemed
necessary. This process is at the root of the uniqueness of the
UCSD program, and manifests the range, seriousness, and vitality
with which compositional issues are explored here.
After completing three quarters of seminar and two juries, students
come to know something about the ideas and perspectives of each
faculty composer; the faculty, in turn, is aware of each students
objectives and needs. At this point, an individual mentor is agreed
upon and this relationship becomes the center of the students
continuing work as the degree is completed. A Third Year Forum presents,
under departmental auspices, a work composed by each third-year
Ph.D. composer in the four quarters since his or her second jury.
As a part of preparation for this forum, each student composer is
expected to have a faculty performer on his or her Ph.D. committee
(as a regular member, or as an additional sixth member). The faculty
performer is the student's performance mentor and guide in interfacing
with the performance community. There is also a biweekly Focus on
Composition Seminar at which faculty, students and selected visitors
present work of interest (compositional, analytical, technological,
and even whimsical).
The seminars serve to foster mutual awareness within the student
composer group. Collegial relationships develop which lead not only
to friendships but also to further creative outlets in cooperative
projects, including the student-run Composers Forums, performance
collectives, and recital projects. UCSD performersfaculty
and studentare all committed to the playing of new music,
and frequent composer/performer collaborations are a vital aspect
of life in the Department of Music.
Computer Music
http://music.ucsd.edu/grad/comp_music.html
The Computer Music Program emphasizes research in new techniques
for electronic music composition and performance, catalyzed through
an active concert program of new works by students, faculty, and
visitors. Areas of research include:
- new audio synthesis techniques
- audio signal processing
- psychoacoustics
- live improvisation with and by computers
- integrating audio and video
- electronic spatialization of sounds
- techniques for live electronic music performance
- computer music software and HCL design
- audio analysis and feature detection
The Computer Music Program encourages work which overlaps with
the other programs of study: composition, performance, and critical
studies/experimental practices. Analyzing and performing electronic
music repertoire as well as writing new music involving electronics
are encouraged.
The computer music areas first year is centered on a yearlongbackbone
course covering the essentials of the computer music field. This
material divides naturally into three portions (audio signal processing,
compositional algorithms, and musical cognition).
In their second year, students work individually with faculty members
to deepen their mastery of their subject areas of concentration.
For example, a student wishing to focus on signal processing aspects
might study techniques for digital audio analysis and resynthesis,
drawing on the current research literature.
Also during these first two years Ph.D. students take seminars
on music analysis, composition, and performance practice. After
having taken a critical mass of such subjects students enter a qualifying
examination preparation period, and, once successful, they start
their dissertation research.
UCSDs Center for Research in Computing and the Arts (http://crca.ucsd.edu)
offers an ideal research environment for graduate students in this
area. The music department also provides extensive laboratory and
computing support for computer music.
Critical Studies/ Experimental Practices
The Program in Critical Studies/Experimental Practices (CS/EP)
explores what music is about over the widest possible range of traditions
and possibilities. An exploration of experimental, Western, and
nonwestern music-making is combined with the critical examination
of music and musical ideas within human societies.
This interactive environment encourages a cross-fertilization between
diverse musical forms and the theoretical and critical discourses
that surround them, often drawing in those who may not fit conventional
categories of composer or performer, or
those whose work is not constrained by traditional disciplinary
boundaries.
Thinking about music requires both analytic engagement with
music and the creative investigation of ideas relevant to its nature,
creation, production, and reception. Core seminars explore multiple
ways of thinking about music, including critical, cognitive, and
intercultural appoaches. Recent seminars have included hermeneutics
of music, jazz criticism, transnational and postcolonial theory,
interdisciplinary and intercultural investigation of improvisation,
eco-musicology, fieldwork methods, psychoacoutstics, film and popular
music, music and video, representations of sexuality and gender
in music, ethics, music theater, music history, and theorizing
concert life. Students are encouraged to share their scholarly,
musical, and intermedia
work
in quarterly
CS/EP forums.
Music-making in CS/EP encompasses both compositional and performance
activities. Experimental performance workshops incorporate improvisation
and such diverse elements as new technologies, video, dance, visual,
and theatrical components to make music in a multiplicity of ways.
Student-generated projects and workshops are also an important
component of the UCSD Graduate Program in CS/EP. Individual student
interests and initiatives are welcomed by the faculty, who are expert
in such diverse fields as cognitive psychology, computer-aided improvisation,
ethnomusicology, historical development of Western music, and contemporary
critical thought.
Performance
Fostering the creative, intelligent, and passionate performance
of contemporary music is the mission of the Performance Program
of the Department of Music. As once stated by founding faculty composer
Robert Erickson, we at UCSD are a community of musicians.
The performance of contemporary music is viewed as a creative act
which balances expertise and exploration. Within this context, performers
act and interact in a communal environment, working with faculty
and student composers, collaborating in music technology, researching
instrument design, improvising, and experimenting in performance
practice, among many other pursuits.
Graduate performance students pursue either a master of arts or
a doctor of musical arts degree in contemporary performance. The
course of study for both programs involves the completion of required
graduate seminars and intensive study with a mentoring faculty member.
Students are encouraged to adopt a vigorous, exploratory orientation
in their private study. Final degree requirements include a recital,
or in the case of the DMA, two recitals and the presentation of
personal performance research.
The work of graduate performance students forms an integral component
of a rich musical environment which produces an astonishing quantity
and variety of performances. Students may perform in SONOR (the
universitys contemporary music ensemble) or in SIRIUS, (the
graduate student contemporary music group). The Performance Forum,
a student-initiated concert series, provides an opportunity for
students to present a wide variety of concerts of improvised music,
world music, and music with technology. A strong, collaborative
spirit between the Performance and Composition programs also yields
many new works each year performed on New Music Forum concerts series.
Graduate Admissions
Students are admitted to begin in fall quarter only. The deadline
for submission of ALL application materials is January 10. Failure
to meet this deadline jeopardizes admission and financial support.
Step 1 Preliminary Application
The application process begins at the Department of Music Web
site http://music.ucsd.edu with a preliminary online application.
We encourage all applicants to apply as early as September.
Step 2 Portfolio
Music applicants must submit a portfolio consisting of the following
by January 10 to: UCSD, Department of Music, MC 0326, La Jolla,
CA 92093. Please include your most recent works as well as twentieth-century
pieces, when possible.
- For all applicants, a repertory list of works (solo and
chamber) performed or composed during the past few years and a
sample of printed concert programs in which you have participated,
either as performer, composer, or collaborator.
- For all applicants, a minimum of two papers illustrating
writing ability in any of the following areas: musical analysis,
criticism, aesthetics, music theory, or music technology.
in addition
- For composition applicants ONLY, a minimum of three
scores of instrumental works with taped examples of the works
being performed. (These may include, but should not be exclusively,
electroacoustic works.)
- For computer music and CS/EP applicants ONLY,
representative documentation (e.g., papers, performances, intermedia
works, computer programs, etc.) of relevant research and activities.
- For performance applicants ONLY, tapes or CD demonstrating
the level of vocal and/ or instrumental performance. In person
auditions are desirable when possible, but not required.
Step 3 UCSD Application for Graduate Admission
All sections of the official online UCSD Application for Graduate
Admission with the $60 non-refundable fee, or $80 for international
students, must be submitted by January
10. Applications must include all supporting documents:
- statement of purpose
- three letters of recommendation
- official transcripts
- Graduate Record Examination (GRE) required for all applicants.
- TOEFL (Test of English as a Foreign Language) or International
English Language Testing System (IELTS) required for all applicants
whose country of citizenship does not have
English
as its primary language. Minimum TOEFL score is 550 for the paper-based
test, 213 for the computer-based test, or 80 for the Internet-based
test. The minimum IELTS score is 7.
Advisory Examinations
After completion of an advisory examination during Welcome Week,
each new student will meet with the departmental M.A. or Ph.D. adviser.
Students found to be deficient in any areas covered on the advisory
examination (dictation, sight reading, keyboard proficiency, history,
and literature) will be advised to remedy deficiencies during their
first year.
Core Graduate Curriculum
All graduate students are required to take Music 201 (Projects
in New Music Performance) as outlined under each area, Music 210
(Musical Analysis), Music 228 (Conducting)optional for CS/EP
students, and Music 291 (Problems and Methods of Music Research
and Performance). Students who completed Music 210, 228, and 291
during their masters degree program at UCSD, do not need to
retake those courses for their doctoral curriculum.
To assure that all requirements are being adequately met, all graduate
students must make an appointment with the graduate staff adviser
for a degree check no later than the winter quarter of the second
year.
Masters Degree Program
The master of arts in music degree includes areas of emphasis in
Composition, Computer Music, Critical Studies/Experimental Practices
(CS/EP), and Performance. The degree requires completion
of at least thirty-six quarter units of graduate courses (courses
numbered 201299), including six units of Music 500 (Apprentice
Teaching in Music) and six units of Music 299 (Advanced Research
Projects and Independent Study) bearing directly on completion of
the masters thesis. Masters students are expected to
complete all requirements for the degree in six quarters of residence.
Course Requirements
In addition to the core graduate curriculum, all masters
degree students are required to complete requirements in their area
of emphasis:
Composition
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 203A-B-Csuccessful completion of the jury process
is necessary to get a passing grade in the corresponding seminar.
- Music 203Dafter successful completion of 203C, students
must enroll in Music 203D (with their committee chair) every quarter
until graduation.
- Music 204every quarter until graduation.
- Music 206 and/or 207a combination of any two courses.
Computer Music
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 270A-B-Cmust take within the first year of the
program.
- Music 270Drequired every quarter of the second year.
- Music 206, 207, and/or 267a combination of any two courses.
Critical Studies/Experimental Practices
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 205every quarter until graduation.
- Music 206 or 207a combination of any two courses.
- Music 208A-B-Cmust take within the first year of the
program.
- Music 208Done time during the second year.
Performance
- Music 201(A, B, C, D, E, or F) or 202every quarter until
graduation.
- Music 206 or 207a combination of any two courses.
- Music 232every quarter until graduation.
- Music 245every quarter in residence.
Masters Degree Completion Requirements
A folio of three research papers in professional format
(normally to be written in connection with the courses the student
will be taking) must be accepted by the students committee
prior to approval of the thesis.
MA candidates will present a thesis consisting of the following
under the supervision of the students committee chair in Music
299:
- Candidates emphasizing Composition will prepare a folio
of three chamber compositions together with tape recordings of
at least two of them.
- Candidates emphasizing Computer Music will write a research
paper (thesis) and present a lecture-performance in which the
scientific, technological, and musical aspects of an original
computer music composition are documented, played, and discussed.
- Candidates emphasizing Critical Studies/ Experimental Practices
will write an extended research paper (thesis) on a topic chosen
with their committee chair.
- Candidates emphasizing Performance will present a recital
supported by lecture-quality notes. The program must be approved
by the students committee chair.
All of the above masters requirements must have final approval
from the students individual committee upon completion.
Doctoral Degree Program
Students of superior musical competence may pursue a program with
emphasis in Composition, Computer Music, or Critical Studies/
Experimental Practices (CS/EP) leading to the Ph.D. or doctor
of musical arts (D.M.A.) degree in Contemporary Music Performance.
All doctoral students within the Department of Music must complete
the Core Graduate Curriculum (outlined in the section above the
Masters Degree Program) plus additional core requirements
for the Ph.D. Or D.M.A. program. These additional core requirements
are:
- Successful completion of an M.A. degree, including requirements
equivalent to those described above for the M.A. in music. UCSD
M.A. students who apply to the Ph.D./D.M.A. program must complete
all departmental requirements, obtain OGSR approval, and file
the M.A. degree at Geisel Library before enrolling in any
Ph.D./D.M.A. level courses.
- The Department of Music strongly recommends that entering students
have acquired a reading ability in at least one of the standard
reference foreign languages (French, German, Italian, or Spanish)
in addition to their native language.
- All Ph.D./D.M.A. students are required to complete six units
of credit in Music 500 (Apprentice Teaching) unless the student
has completed this requirement in UCSDs masters degree
program.
- After completing the qualifying examination, all students must
remain in residence for at least three quarters, during which
time they must enroll in twelve units of Music 299 (Advanced Research
Projects and Independent Study) with their committee chair or
members every quarter.
Course Requirements
In addition to the core graduate and Ph.D./D.M.A. curriculum, doctoral
students (according to their area of emphasis) must complete the
following courses prior to the qualifying examination:
Composition
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 203A-B-Csuccessful completion of the jury process
is necessary to get a passing grade in the corresponding seminar.
Continuing students from the UCSD Composition M.A. program may
be excused from Music 203B-C by successfully completing Music
203A at the Ph.D. level.
- Music 203Dafter successful completion of 203C, students
must enroll in Music 203D (with their committee chair) every quarter
in residence.
- Music 204every quarter in residence.
- Music 206 and/or 207a combination of any three courses.
- Music 209must be taken at least three times.
- Music 298must complete at least six units.
Computer Music
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 270A-B-Cmust be taken within the first year of
the program unless previously taken as a UCSD M.A. student.
- Music 270Dafter successful completion of 270C, students
must enroll in Music 270D (with their committee chair) every quarter
in residence.
- Music 206, 207, 209, and/or 267a combination of any six
courses.
Critical Studies/Experimental Practices
- Music 201 (A, B, C, D, E, or F)must take at least two
times.
- Music 205every quarter in residence.
- Music 206 and/or 207—a combination of any three courses.
- Music 208A-B-Cmust take within the first year of the
program unless previously taken as a UCSD M.A. student.
- Music 208Drequired at least three times during the Ph.D.
Program
- Music 209must be taken at least three times.
- Music 298must complete at least six units.
Performance
- Music 201(A, B, C, D, E, or F) or 202every quarter until
completion of qualifying examination.
- Music 206/207/209as approved by D.M.A. adviser, a combination
of any six seminars related to the primary and secondary area
of specialization. Music 296 may be substituted for up to four
seminars with permission of D.M.A. adviser.
- Music 232every quarter until completion of qualifying
examination.
- Music 245every quarter in residence.
- Music 250must be taken at least three times.
- Music 298must complete at least six units.
Qualifying Examination/Advancement to Candidacy
Requirements prior to taking the qualifying examination:
- Completion of all Ph.D./D.M.A. required course work.
- For Ph.D. Students, one research paper judged to be of publishable
quality must be completed prior to qualifying examinations. The
subject of the publishable paper will be developed during the
students first two years and must be approved by the students
Ph.D. committee chair.
- For Composition students, in addition to the publishable paper,
a folio of not fewer than three compositions (not previously accepted
for an M.A. degree) must be completed prior to qualifying examinations.
A Third Year Forum presents, under departmental auspices, a work
composed by each third-year Ph.D. composer in the four quarters
since his or her second jury. As a part of preparation for this
forum, each student composer is expected to have a faculty performer
on his or her Ph.D. committee (as a regular member, or as an additional
sixth member). The faculty performer is the student's performance
mentor and guide in interfacing with the performance community.
- For D.M.A. students, one major recital; plus either (a) an
abstract of the thesis or research project which will be given
to the Doctoral Committee at the qualifying examination; or (b)
a substantial portion of the works from the students first
two major recitals will be presented at the qualifying
examination.
The qualifying examination for all doctoral students will consist
of the following:
- A written and oral defense of three questions provided by the
Doctoral Committee pertaining to appropriate areas of specialization.
Ph.D./D.M.A. Degree Completion Requirements
- For Composition students, completion of a major composition
project.
- For CS/EP and Computer Music students, completion
of an acceptable dissertation.
- For D.M.A. students, completion of a second major recital
plus one of the following: (a) thesis or research project; or
(b) a concert that is innovative in design and/or content, and
which is supported by a document containing extensive stylistic
or analytical discussion of the program; or (c) a lecture/concert
pertaining to innovative and/or original material, with appropriate
documentation as determined by the committee, or (d) two approved
chamber music concerts with appropriate documentation as determined
by the committee.
- A final public defense of the composition/ dissertation/recitals.
Materials previously submitted for other degrees are not acceptable
for submission for the Ph.D./D.M.A. degree.
Time Limit Policy for the Doctoral Degree
Normative Time Limits
4 years: |
Students entering the Ph.D./D.M.A. program
with a masters degree from another institution. |
6 years: |
Students continuing into the Ph.D./D.M.A.
program with a masters degree from UCSD. Time limit
is calculated from the beginning of the M.A. program (i.e.,
2 years for M.A. program plus 4 years normative time for Ph.D./D.M.A.). |
Support Time Limits
6 years: |
Students entering the Ph.D./D.M.A. program
with a masters degree from another institution. |
7 years: |
Students continuing into the Ph.D./D.M.A.
program with a masters degree from UCSD. Time limit
is calculated from the beginning of the M.A. program |
Total Registered Time Limits
6 years: |
Students entering the Ph.D./D.M.A. program
with a masters degree from another institution. |
8 years: |
Students continuing into the Ph.D./D.M.A.
program with a masters degree from UCSD. Time limit
is calculated from the beginning of the M.A. program |
Students who have not completed all Ph.D. requirements within the
maximum total registered time will no longer be permitted to register
for classes.
Advising Office
Graduate Staff Adviser
Lori Bantz, Room 109, Mandeville Center, (858) 534-3279
lbantz@ucsd.edu
Music
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