Music
Courses
For course descriptions not found in the 2005-2006 General
Catalog, please contact the department for more information.
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. Fundamentals of Music (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.
2JK. Jazz Keyboard (2) This
course will introduce basic voicings and voice leading, stylistically
appropriate accompaniment, and basic chord substitution. For majors
with a Jazz and the Music of the African Diaspora emphasis to be
taken concurrently with Music 2C. Prerequisites: Music 2AK and
2BK or passing proficiency exam, or consent of instructor. Concurrent
enrollment in Music 2C. Majors only.
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) Exploration
of the interactions among music, science, and technology, including
the history and current development of science and technology from
the perspective of music. 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 on intermediate level in instrumental technique and
repertory. For declared music majors and minors. Students must
be simultaneously enrolled in a performance ensemble or non-performance
music course. May be taken six times for credit. Prerequisites:
audition and department stamp.
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)
32V. Vocal Instruction (1) Individual instruction
on intermediate level in vocal technique and repertory. For declared
music majors and minors. Students
must be simultaneously enrolled in a performance ensemble or
non-performance music course and in Music 32VM. May be taken
six times for credit. Prerequisites: audition and department
stamp. 32VM. Vocal Masterclass (1) All
students enrolled in voice lessons (32, 132, or 132C) perform for
one another and their instructors. Students critique in-class performances,
with emphasis on presentation, diction, dramatic effect, vocal quality,
and musicality. Prerequisites: concurrent enrollment in Music
32, 132V or 132C.
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. Materials fee required.
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 C. Concert Choir
Section D. Symphonic Chorus
Section E. Chamber Orchestra
Section G. Gospel Choir
Section H. Chamber Opera (Not offered every year.)
Section JC. Jazz Chamber Ensembles
Section JL. Large 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.) Introduction to conceptual uses and historical precedents
for use of computers in art making. Introduces students to the
program’s computer facilities and teaches them basic computer
skills. Prerequisite: Visual Arts and ICAM majors and minors
only.
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.
104. Jazz Transcription and Analysis (4) An
introduction to the practice of transcribing and analyzing improvised
music. Discussion of music technique, style, aesthetics, and the
ideology of transcription. Prerequisites: Music 101A and 101B.
105. Jazz Composition (4) This
course will explore a range of compositional possibilities from
song forms to modal and more extended forms. May be repeated once
for credit. Prerequisite: Music 104 or consent of instructor.
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.
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.
116. Topics in Popular Music (4) This course examines special
topics in popular music from various sociopolitical, aesthetic,
and performance perspectives. Readings
include recent literature in cultural studies, musicology, and/or
performance practice. Topics vary. May be repeated three times
for credit. Prerequisites: majors, minors, or consent of instructor;
upper-division standing; department stamp required for non-majors/minors;
MUS 4 recommended.
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. Advanced Improvisation Performance (4/0) Master
class instruction in advanced improvisation performance for declared
majors and minors only or consent of instructor. Audition required
at first class meeting. May be repeated six times for credit. Prerequisites:
consent of instructor through audition. Department stamp required.
132. Pro-Seminar in Music Performance (4) Individual
or master class instruction in advanced instrumental performance.
For declared music majors and minors. Students must be simultaneously
enrolled in a performance ensemble or non-performance music course.
May be taken six times for credit. Prerequisites: audition
and department stamp.
132C. Vocal Coaching (4) Individual
instruction in advanced vocal coaching. Emphasis placed on diction
and musical issues. For declared music majors and minors. Students
must be simultaneously enrolled in the Vocal Masterclass, Music
32VM. May be taken six times for credit. Prerequisites: at least
one quarter of Music 132V and consent of instructor. 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.
132V. Pro-Seminar in Vocal Instruction (3) Individual
instruction in advanced vocal performance. For declared music majors
and minors. Students must be simultaneously enrolled
in a performance ensemble or non-performance music course and
in the Vocal Masterclass, Music 32VM. May be taken six times
for credit. Prerequisites: audition and department stamp.
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.
137A. Jazz Theory and Improvisation (4) Study
of jazz theory and improvisation, focused on fundamental rhythmic,
harmonic, melodic,
and formal aspects of modern jazz
style. Application of theoretical knowledge to instruments and
concepts will be reinforced through listening, transcription
work, and composition and improvisation exercises. First course
of a year-long sequence. Prerequisites: MUS 2A-B-C, proficiency
exam, or consent on instructor.
137B. Jazz Theory and Improvisation
(4) Study of jazz theory and improvisation, focused on fundamental
rhythmic, harmonic, melodic, and formal aspects of modern jazz
style. Application of theoretical knowledge to instruments and
concepts will be reinforced through listening, transcription work,
and composition and improvisation exercises. Second course of a
year-long sequence; continuation of Music 137A. Prerequisites:
MUS 2A-B-C and 137A, proficiency exam, or consent on instructor.
137C.
Jazz Theory and Improvisation (4) Study of jazz theory and improvisation,
focused on fundamental rhythmic, harmonic, melodic, and formal
aspects of modern jazz
style. Application of theoretical knowledge to instruments and
concepts will be reinforced through listening, transcription
work, and composition and improvisation exercises. Third course
of a
year-long sequence; continuation of MUS 137B. Prerequisites:
MUS 2A-B-C and 137B, proficiency exam, or consent on instructor.
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.
150. Jazz and the Music of the African Diaspora: Special
Topics Seminar (4) An in-depth
writing and listening intensive investigation into a jazz or diaspora-related
music history topic. Topics vary from year to year. May be repeated
once for credit. Prerequisite: Music 126, 127A-B, or consent
of instructor.
151. Race, Culture, and Social Change (4) Aggrieved
groups generate distinctive cultural expressions by turning negative
ascription into positive affirmation and by transforming segregation
into congregation. This course examines the role of cultural expressions
in struggles for social change by these communities inside and outside
the U.S. (Cross-listed with Ethnic Studies 108.) Prerequisite:
upper-division standing or consent of instructor.
152. Hip Hop: The Politics of Culture (4) Examination
of hip-hop’s music, technology, lyrics, and its influence
in graffiti, film, music video, fiction, advertising, gender, corporate
investment, government and censorship with a critical focus on race,
gender, popular culture, and the politics of creative expression.
(Cross-listed with Ethnic Studies 128.) Prerequisite: upper-division
standing or consent of instructor.
153. African Americans and the Mass Media (4) Examination
of media representations of African Americans from slavery to the
present focusing on emergence and transmission of enduring stereotypes,
their relationship to changing social, political, and economic frameworks,
and African Americans’ responses to and interpretations of
these mediated images. (Cross-listed with Ethnic Studies 164.) Prerequisite:
upper-division standing or consent of instructor.
154. Black Music/Black Texts: Communication and Cultural
Expression (4) Explores roles
of music as a traditional form of communication among Africans,
Afro-Americans, and West Indians: Special attention given to poetry
of black music, including blues and other forms of vocal music expressive
of contestatory political attitudes. (Cross-listed with Ethnic Studies
176 and Literature in English 187.) Prerequisite: upper-division
standing or consent of instructor.
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.
174A. Audio/MlDI Studio Techniques (2) First class in a
year-long sequence. Surveys hardware and software resources in
an advanced analog/digital audio and media studio.
Required for use of 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, and
student projects. 174A focuses on signals, mics, device based
recording, mixing, and monitoring. Prerequisites: MUS 170;
music majors, ICAM-music and ICAM-visual arts majors and minors,
or
consent of instructor.
174B. Audio/MlDI Studio Techniques (2) Second class in
a year-long sequence. Surveys hardware and software resources in
an advanced analog/digital audio and media studio.
Required for use of 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, and
student projects. 174B focuses on digital audio workstations,
computer-based
mixing and editing, and soundfile transformation. Prerequisites:
MUS 170; MUS 174A; music majors, ICAM-music and ICAM-visual arts
majors and minors, or consent of instructor.
174C. Audio/MlDI
Studio Techniques (2) Third class in a year-long sequence.
Surveys hardware and software resources in an advanced analog/digital
audio and media studio.
Required for use of 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, and
student projects. 174C focuses on MIDI, synchronization, and
sound-for-picture.
Prerequisites: MUS 170; 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).Introduction to digital image involving images, texts,
and interactive display and operates both within computer mediated
space (i.e., Web site) and in physical space (i.e., artist book).
Interactive narrative and computer programming are explored. Materials
fee required. Prerequisites: VIS 40 or ICAM 40. Open to media,
ICAM, and studio majors; computing and ICAM minors only..
ICAM 102. Digital Media I: Time, Movement, Sound (4) (Cross-listed
with VIS 145A). Exploration of time dependent media components.
Creation and manipulation of digital sound as well as moving images
and their integration in multimedia works. Use of computer programming
to control time is emphasized. Materials fee required. Prerequisites:
VIS 40 or ICAM 40 and VIS 140 or ICAM 101. Open to media, and ICAM
majors; ICAM minors only. Two production course limitation.
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
create virtual reality artworks. Projects may be done individually
or in groups. Exploration of theoretical issues involved will underlie
acquisition of techniques utilized in the construction of virtual
realities. Materials fee required. Prerequisites: VIS 145A
or ICAM 102; CSE 11 recommended. Open to ICAM majors and minors only. Two
production course limitation.
ICAM 130. Seminar in Contemporary Computer Topics (4) (Cross-listed
with VIS 149). Topics relevant to computer-based art- and music-making,
such as computer methods for making art/music, design of interactive
systems, spatialization of visual/musical elements, critical studies.
Topics will vary. May be repeated twice. Materials fee required.
Prerequisites: VIS 140 or ICAM 101; VIS 145A or ICAM 102 and
MUS 170 or ICAM 103 recommended. Open to media, and ICAM majors; ICAM
minors only. Two production course limitation.
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 160A. Senior Projects in Computer Arts I (4) Students
pursue projects of their own design over two quarters with support
from faculty in a seminar environment. Project proposals are developed,
informed by project development guidelines from real world examples.
Collaborations are possible. Portfolio required for admissions.
Prerequisites: VIS 141B or VIS 145B or VIS 147B ior MUS 172. Open
to ICAM majors only. Department stamp required. Two production
course limitation.
ICAM 160B. Senior Projects in Computer Arts II (4) Continuation
of ICAM 160A. Completion and presentation of independent projects
along with documentation. Prerequisite: ICAM 160A. Open to ICAM
majors only. Department stamp required. Two production course limitation.
ICAM 199. Special Studies (2/4) Independent reading,
research or creative work under direction of faculty member. Prerequisites:
department stamp and upper-division
standing required.
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 (6-6-6) 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.
(S/U grade option only.)
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.
(S/U grade option only.)
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. (S/U
grade option only.)
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). (S/U grade
option only.)
501. Apprentice TeachingNondepartmental (4) Consideration
and development of pedagogical methods appropriate to undergraduate
teaching. (S/U grade option only.)
Music Courses
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