Department of Music

MUAP 10. Progress Jury Examination. 0 Unit.

Progress Jury Examination (All BA and BS Music Majors)

MUAP 11. Recital Class. 0 Unit.

MUAP 121. Principal Performance Area I. 2 Units.

Limited to music and music education majors. Recommended preparation: Entrance Jury/Audition

MUAP 122. Principal Performance Area II. 2 Units.

Limited to music and music education majors. Prereq: MUAP 121. Coreq: MUAP 10.

MUAP 131. Secondary Performance. 1 - 2 Units.

Secondary instrumental or vocal instruction (undergraduate level). Each student has the option of taking one-hour weekly lessons (2 credit units) or half-hour weekly lessons (1 credit unit). The applied lesson fee is waived for all music majors. Contact the Department of Music directly for registration consent.

MUAP 20. Level 300 Applied Music Entrance Jury Exam. 0 Unit.

Level Jury Examination

MUAP 221. Principal Performance Area III. 2 Units.

Limited to music and music education majors. Prereq: (MUTH 101 or 101I) and MUAP 122 and MUAP 10. Coreq: MUTH 101 or 101I.

MUAP 222. Principal Performance Area IV. 2 Units.

Limited to music and music education majors. Prereq: MUAP 221. Coreq: MUAP 20. Prereq or Coreq: MUTH 102.

MUAP 30. BA Performance Exit Jury Examination. 0 Unit.

BA Performance Exit Jury Examination

MUAP 321. Principal Level Performance Area V. 2 Units.

Limited to music and music education majors. Prereq: MUAP 222 and MUAP 20. Prereq or Coreq: MUTH 201.

MUAP 322. Principal Level Performance Area VI. 2 Units.

Limited to music and music education majors. Prereq: MUAP 321. Prereq or Coreq: MUTH 202.

MUAP 323. Principal Performance Area VII. 2 Units.

Limited to music performance and music education majors.

MUAP 324. Principal Performance Area VIII. 2 Units.

Limited to music performance and music education majors.

MUAP 35. BS Music Education Jury Examination. 0 Unit.

BS Music Education Jury Examination

MUAP 500. Applied Music/Ensembles. 1 - 3 Units.

Registration to reflect combined participation in a number of Historical Performance Ensembles, each of which is taken for 0 credit hours.

MUAP 521. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 522. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 523. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 524. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 525. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 526. Principal Performance Area IX. 0 - 3 Units.

Limited to music and music education majors.

MUAP 531. Secondary Performance. 0 - 3 Units.

Secondary instrumental or vocal instruction (graduate level). Each student not majoring in music has the option of taking one-hour weekly lessons (2 credit units) or half-hour weekly lessons (1 credit unit). Graduate students in music may be advised by their program advisor to take this course for variable credit (0-3 units). The applied lesson fee is waived for all music majors. Contact the Department of Music directly for registration consent.

MUAP 600. Historical Performance Progress Jury. 0 Unit.

Historical Performance Progress Jury, generally taken at the end of the second semester.

MUAP 605. DMA Principal Performance V. 3 Units.

MUAP 606. Principal Performance VI. 3 Units.

MUAP 691. M.A. Lecture Recital Preparation. 1 - 3 Units.

M.A. Lecture Recital Preparation for students in Historical Performance Practice.

MUAP 692. M.A. Lecture Recital Presentation. 0 Unit.

The lecture recital presentation consists of a performance and lecture exploring an aspect of historical performance, and is the outcome and product of the MUAP 691 lecture recital preparation course. It may be taken concurrently with or following MUAP 691. Prereq or Coreq: MUAP 691.

MUAP 698. Historical Performance Practice Studio Class. 0 Unit.

This course is intended to provide a weekly opportunity for students to perform in front of their peers, CWRU faculty, and guest coaches; to discuss and critique the performances of their colleagues; and to receive feedback and advice.

MUAP 699. Historical Performance Practicum. 0 Unit.

This course is intended to give graduate students in the historical performance practice program the opportunity to rehearse and perform in concert with a non-CWRU or professional early music ensemble, to put into practice the HPP skills and knowledge they have acquired at CWRU, and to observe and learn from professional performers and others in their field.

MUAP 700. Historical Performance Recital. 0 Unit.

Historical Performance Recital. Intended to demonstrate mastery of historically-informed performance in a number of different national styles.

MUAR 250. Audio Recording for Non-Majors. 2 Units.

This is a hands-on course for musicians who wish to understand the processes for recording music and speech that will be beneficial to their musical careers. Topics include microphone techniques, signal processing, delivering audio masters, computer workstations, audio software and the business of music.

MUCP 200. Composition Seminar. 0 - 1 Units.

MUCP 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MUCP 501. Composition Independent Study. 1 Unit.

MUED 200A. Basic Skills and Pedagogy: Voice. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 200B. Basic Skills and Pedagogy: Guitar. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 200C. Basic Skills and Pedagogy: Brass. 2 Units.

This course is designed to provide music education majors with basic skills and pedagogy in the areas of group and individual brass instruction techniques. The course will consist of two components: applied study on each brass instrument; and study/discussion of current pedagogical practices. Students need not have completed any prior music education courses prior to enrolling.

MUED 200E. Basic Skills and Pedagogy: Clarinet and Saxophone. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 200F. Basic Skills and Pedagogy: Double Reeds and Flute. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 200H. Basic Skills and Pedagogy: Strings. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 200J. Basic Skills & Pedagogy: Piano for Music Educators. 2 Units.

Designed for music education majors to provide the fundamentals of using piano in the classroom for pedagogy and accompaniment. Prereq: MUED 240.

MUED 200P. Basic Skills and Pedagogy: Percussion. 2 Units.

Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

MUED 215. Embodied Music: Rhythms of Self and Community. 3 Units.

Explore the intersection of music, movement, and human experience. This inclusive course is open to all, regardless of musical background. Students will engage in playful movement games, create group movement pieces, and explore musical concepts through interactive exercises. This course is inspired by the century-old practice of the Dalcroze approach, a method for developing musical intuition, creativity, expressivity and sharpened sense of listening and kinesthetic awareness. Through these shared embodied musical experiences, students will discover how music functions as a powerful form of communication, fostering creativity and a playful approach to human interaction. Students will analyze how cultural backgrounds, learning styles, and prior experiences shape individuals' relationships with music, developing a deeper understanding of human diversity and commonality through the shared language of music. No prior musical experience or movement training is required. Counts as a Human Diversity & Commonality course.

MUED 240. Foundations of Music Education. 3 Units.

An introduction to and overview of the music education profession. Philosophical, historical and psychological perspectives on music education in schools, including contemporary topics and trends. Introduction of Ohio academic content standards and curriculum model for music, along with K-12 National Music Standards. Students will travel to local area schools for observations. A student may not receive credit for both MUED 240 and MUED 410. Counts as a Communication Intensive course. Prereq: Declared major in Music Education (BS), Music (BA), or Music minor.

MUED 275. Elements of Conducting. 3 Units.

This course is designed to develop the cognitive, affective and psychomotor skills necessary for students to communicate effectively with performing ensembles. Students will learn to listen, think, and communicate verbally and nonverbally through systematic exercises, in order to prepare for ensemble rehearsal and performance experiences.

MUED 276. Advanced Conducting, Score Analysis and Rehearsal Techniques. 3 Units.

This course is designed to continue development of the cognitive, affective and psychomotor skills necessary for students to communicate effectively with performing ensembles. Students will learn to listen, think, and communicate nonverbally through systematic exercises, in order to prepare for ensemble rehearsal and performance experiences. In addition, students will apply foundational study of musical forms to score analysis and score preparation. Students will also develop a working vocabulary of rehearsal techniques for use with instrumental and vocal ensembles. Prereq: MUED 275.

MUED 300. Intensive Field Experience. 0 Unit.

This course is intended for BS and MA-Licensure music education majors, and acquaints students with various teaching settings in P-12 schools in the greater Cleveland area; allows students to observe and teach with practicing music teachers; and fosters critical thinking skills related to effective teaching, lesson planning, and other elements of teaching. Offered as MUED 300 and MUED 400. Prereq: MUED 240, MUED 305, and MUED 350. Coreq: MUED 355 and (MUED 352 or MUED 353).

MUED 305. World Music in Education. 3 Units.

This course acquaints students with the use of world music, or multicultural music, in the music education classroom. Students are given an overview of the history of world music within American music education, discuss topics related to world music in education, research diverse world music practices, and lead lessons based on this research. Topics and content include: definitions of world/multicultural music; philosophical basis for world music in education; diversity in our Cleveland community; authenticity; ethnomusicology; informal/formal music learning; international perspectives; pedagogical approaches; addressing the State and National Standards through world music in education; and the development of culturally informed music pedagogy based on the study of diverse music. Throughout the course students will become acquainted with the music of diverse cultures and people groups; these will be chosen in part based on student's own research interests. In addition to the musical cultures chosen by students for study and presentation, the music of The Gambia, West Africa and two additional cultures chosen by students will be highlighted during in-class activities and lessons. Recommended preparation: MUED 240. Counts as a CAS Global & Cultural Diversity course. Counts as a Understanding Global Perspectives course.

MUED 310. Instrumental and Choral Arranging. 3 Units.

Techniques of writing and arranging for instruments of the band and orchestra and voice. Study of scoring problems for school instrumental and vocal groups of all ages and abilities.

MUED 320. Technology Assisted Music Teaching and Learning. 3 Units.

Fundamental concepts and skills for using technology in music teaching and learning. This project-oriented class will develop computer science knowledge and competencies related to electronic musical instruments, MIDI sequencing, music notation software, computer-assisted instruction, digital media, the Internet, information processing, computer systems, lab management, and computational thinking skills as they relate to music education in K-12 schools. Recommended preparation: MUED 240. Offered as MUED 320 and MUED 420.

MUED 343. Music Cognition. 3 Units.

Why do you like the music you like? How does one learn music without direct instruction? How are music and language processing both similar and different? What about music's predictability makes it euphoric? Music operates as a tangled web of biological, cognitive, behavioral, and sociocultural processes that have captivated philosophers, scientists, and artists for centuries. This interdisciplinary course presents a survey and critical review of scholarly literature and methodologies related to the multiple ways of "knowing" music. Specific topics will include: neuroanatomical reactions related to music perception, cognitive organization and processing of music, psychological measures in music research, and enculturated effects on musical interactions. Students will become familiar with multiple bodies of literature in order to explore their own interests in musical processing and produce theories to help solve musical problems based on those interests and develop potential research strategies for future inquiries. Offered as COGS 343 and COGS 443 and MUED 343 and MUED 443 and PSCL 343 and PSCL 443. Counts as a Disciplinary Communication course. Counts as a Human Diversity & Commonality course. Prereq: Academic Inquiry Seminar (AIQS).

MUED 348. Arts Education Advocacy and Policy. 3 Units.

In arts education, policy experts operate as plumbers. They seem to only be acknowledged when a problem occurs - like when a newly implemented policy creates a barrier to licensure or a state changes high school graduation requirements - not to mention perennial budgetary crises that have students, parents, and community members wondering what courses will be cut. Through the study of arts education, political science, and education policy, this course empowers arts advocates and teachers to participate in local policy activism by clarifying their goals and expectations as well as help them explore the education policy quagmire through the arts education lens. Offered as MUED 348, MUED 448, POSC 382B, and POSC 482B.

MUED 350. General Music Methods. 3 Units.

General Music Methods introduces student to methods and materials for planning and implementing general music experiences for all ages, with concentration on Pre-K through sixth grade children. Topics of the course include: multiple meanings of music for children; characteristics/needs of young children and creating a supportive learning environment; theories of music learning and teaching; learning styles and collaborative learning; assorted teaching methods, rhythm, pitch, listening, movement, performing, composing; curriculum design; technology for music instruction; multicultural music; music for exceptional children; integrating music with the arts and other curricula; motivation and classroom management; lesson planning and record keeping; developing a personal philosophy of music education; national, state, and professional standards; and assessment. Clinical/Field experiences (Clinical-all ages; Field-focus on Pre-K through elementary) required.

MUED 352. Instrumental Methods and Materials. 3 Units.

This course prepares preservice music educators to design and lead comprehensive instrumental programs across grade levels. Emphasis is placed on the sequential development of instrumental technique and musicianship, including physiological development and instrument-specific considerations. Students develop skills in rehearsal pedagogy, instructional planning, assessment design, recruitment and retention strategies, classroom management, and program administration. Particular attention is given to culturally responsive repertoire selection, differentiation for diverse learners, and the creation of appropriately challenging musical objectives aligned with national, state, and professional standards. Moral and ethical practices, professional engagement, and effective integration of technology are examined as essential components of sustaining a high-quality instrumental music program. Eight (8) hours of Clinical/Field experiences (all ages) required. Counts as a Moral & Ethical Reasoning course.

MUED 353. Choral Methods and Materials. 3 Units.

This course acquaints students with effective ways to develop a successful choral program for any age group, based on a comprehensive choral music education model. Students are given an overview of vocal pedagogy, including physiological development, age-appropriate vocal expectations, and establishing and maintaining vocal health. Topics may include: philosophical basis for vocal music education; the adolescent voice; vocal tone; considerations for selecting repertoire including ensemble assessment, music evaluation, and musical styles and practices for authenticity; rehearsal techniques, collaborative learning, and motivation; rehearsal planning; developing conducting technique; recruitment, auditioning, placement, score analysis and preparation; classroom management; choral program design and management; participation in professional activities; effective use of technology in a choral program; moral and ethical reasoning within the educational context, and national state, and professional standards. Clinical/Field experiences (with adolescent voices) required. Recommended preparation: MUED 276. Counts as a Moral & Ethical Reasoning course.

MUED 355. Vernacular Music in Education. 3 Units.

This course is designed to aid preservice music teachers in organizing elements of music teaching, including assessment, lesson planning for diverse students, writing and communication skill development, and fostering critical thinking, all within the discipline-specific context of music teaching and learning. Using these elements, we will explore the tenets of vernacular music-making as it relates to teaching school music through creating, composing, improvising, and performing on a variety of instruments. Specific areas of focus in this course include analyzing songwriting practices, creating cross-over experiences for school music students, and strengthening professional communication skills. Counts as a Disciplinary Communication course. Prereq: MUED 240 and MUED 305 and MUED 350 or Requisites Not Met permission (if a BA in Music student).

MUED 391. Music in Early Childhood. 3 Units.

The goal of the course is to provide students with an understanding of the role of music in early childhood and approaches to music education with young children. Students will experience an overview of selected theories of musical development of young children, discuss the importance of music to various areas of child development, explore cultural perspectives and influences on musical development, evaluate curricular materials and methods used in early childhood music education, observe children's music making in early childhood classrooms, and develop teaching skills for early childhood music settings. Topics and content of this course include: music's role in early childhood development; music aptitude and its measurement; theories of early childhood music learning; early childhood making; evaluating curricular materials for early childhood music; the importance of play in early childhood musical development; incorporating State and National Music Education Standards; designing instruction for early childhood music settings; assessment in early childhood music; cultural perspectives on music in early childhood; cultural influences on musical development; music therapy with young children; benefits of family interaction in music; the role of listening in early childhood musical development; and formal music instruction with young children The class will participate in a weekly service learning project providing music instruction for preschool or kindergarten children at The Music Settlement. Offered as MUED 391 and MUED 491. Counts as a Local & Global Engagement course.

MUED 396A. Student Teaching in Music Education. 9 Units.

Teaching music in both elementary and secondary schools, full-time five days a week for 15 weeks. Closely supervised field experiences of all types with a wide variety of students. Emphasis on planning lessons and organizing materials, teaching methodologies, motivation, and student assessment. Topics addressed include communications and the arts, technology in learning, interdisciplinary learning, collaborative learning and teaching, creating a supportive environment, and professional development. Development of skills needed for self-assessment as well as student assessment. Clinical/Field experiences (all ages) required. Recommended preparation: Concurrent enrollment in MUED 396B. Offered as MUED 396A and MUED 496A. Counts as a Local & Global Engagement course. Counts as a SAGES Senior Capstone course. Prereq: EDUC 255 and MUAP 323 and MUAP 35.

MUED 396B. Student Teaching Seminar in Music Education. 3 Units.

This is the Senior Capstone requirement for students majoring in Music Education. Taken at the same time as the student teaching experience (MUED 396A/496A), this seminar will guide students through preparation for entering the professional world of music education, and mentor them in their preparation of their Senior Capstone Project and Presentation. Recommended preparation: Concurrent enrollment in MUED 496A. Offered as MUED 396B and MUED 496B. Counts as a Capstone Project course. Counts as a SAGES Senior Capstone course. Co-req: MUED 396A.

MUED 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MUED 400. Intensive Field Experience. 0 Unit.

This course is intended for BS and MA-Licensure music education majors, and acquaints students with various teaching settings in P-12 schools in the greater Cleveland area; allows students to observe and teach with practicing music teachers; and fosters critical thinking skills related to effective teaching, lesson planning, and other elements of teaching. Offered as MUED 300 and MUED 400. Prereq: MUED 305, MUED 350, and MUED 410. Coreq: MUED 355 and (MUED 352 or MUED 353).

MUED 410. Professional Music Education: A Career Introduction. 1 Unit.

The role of a Music Educator is complex and involves the practical application of music content in various Pre K-12 teaching environments. This course is designed for entering Master of Arts with Teaching License majors who have a performance-based undergraduate education to give a comprehensive overview of the profession and facilitate the journey and transition from music student to professional music educator. Admission into the Master of Arts with Teacher License Music Education Program is a prerequisite for this course. A student may not receive credit for both MUED 240 and MUED 410. Prereq: Admission into the Master of Arts with Teacher License Music Education Program.

MUED 420. Technology Assisted Music Teaching and Learning. 3 Units.

Fundamental concepts and skills for using technology in music teaching and learning. This project-oriented class will develop computer science knowledge and competencies related to electronic musical instruments, MIDI sequencing, music notation software, computer-assisted instruction, digital media, the Internet, information processing, computer systems, lab management, and computational thinking skills as they relate to music education in K-12 schools. Recommended preparation: MUED 240. Offered as MUED 320 and MUED 420.

MUED 440. Scholarship in Music Education. 3 Units.

In this course, we will be examining critically the research of others. We will explore the various paradigms and methods in music education research and will learn to become educated consumers of published research. In addition, we will be learning the beginnings of how to conduct our own research. Specific topics of this course include utilizing music education research tools, resources, and materials; identifying and generating research problems; reviewing related literature; designing research procedures; conducting quantitative and qualitative research studies; and writing empirical research reports and proposals. Writing skills are an important part of this course, for unless one can convey the findings of their research to other people with clarity, that research will be of limited value. Prereq: Graduate Student in Music Education.

MUED 441. Philosophical Foundations of Music Education. 3 Units.

In this course, students explore major aesthetic philosophies that have influenced contemporary music education, and discuss current issues central to our field. Among topics included: basic views about art/music; creating art/music; meaning in art/music, experiencing art/music; music and aesthetic education; criticism in music; multicultural music; and critical theories and inquiry regarding music education. Students are asked to assess their own roles in music education, as well as their obligations and potential capacities for leadership in the profession. Students will work toward development of a personal professional philosophy of music education.

MUED 442. Curriculum and Assessment in Music Education. 3 Units.

This course is designed to give graduate music education students thorough knowledge of the overarching role of curriculum and assessment as the organizational elements of instruction. In depth coverage of such topics as: the role of assessment and measurement in teaching; epistemology; scope and sequence; backward design; instructional goals; validity; reliability; performance assessments; measuring assessment; curriculum design; and teaching for understanding. These concepts and procedures will be explored in depth to give daily music instruction a global framework in the larger organizational structure of profession, state, national, and accreditation standards for P-12 and college music settings.

MUED 443. Music Cognition. 3 Units.

Why do you like the music you like? How does one learn music without direct instruction? How are music and language processing both similar and different? What about music's predictability makes it euphoric? Music operates as a tangled web of biological, cognitive, behavioral, and sociocultural processes that have captivated philosophers, scientists, and artists for centuries. This interdisciplinary course presents a survey and critical review of scholarly literature and methodologies related to the multiple ways of "knowing" music. Specific topics will include: neuroanatomical reactions related to music perception, cognitive organization and processing of music, psychological measures in music research, and enculturated effects on musical interactions. Students will become familiar with multiple bodies of literature in order to explore their own interests in musical processing and produce theories to help solve musical problems based on those interests and develop potential research strategies for future inquiries. Offered as COGS 343 and COGS 443 and MUED 343 and MUED 443 and PSCL 343 and PSCL 443. Counts as a Disciplinary Communication course. Counts as a Human Diversity & Commonality course.

MUED 446. Sociology of Music Education. 3 Units.

In this course, students explore philosophical, social, cultural, and theoretical issues regularly encountered by music educators in classroom and rehearsal settings. Topics covered include: local, state, and national issues and policies intersecting with music education; social challenges and classroom realities facing music educators; social and cultural diversity issues in music education; and the role(s) of music education in society. Prereq: MUED 440.

MUED 447. Seminar in College Music Teaching. 3 Units.

Seminar in College Music Teaching is a course to help prepare CWRU and CIM music graduate students for careers in university teaching. This course includes information on creating class syllabi, assessing students, interviewing for college jobs, and understanding the university ecosystem. Coursework will be tailored to meet the needs and goals of each graduate student, regardless of content area. Perspectives will be drawn from music education, applied music, musicology, conducting, music theory, and music technology. Prereq: Graduate music student at CWRU and CIM.

MUED 448. Arts Education Advocacy and Policy. 3 Units.

In arts education, policy experts operate as plumbers. They seem to only be acknowledged when a problem occurs - like when a newly implemented policy creates a barrier to licensure or a state changes high school graduation requirements - not to mention perennial budgetary crises that have students, parents, and community members wondering what courses will be cut. Through the study of arts education, political science, and education policy, this course empowers arts advocates and teachers to participate in local policy activism by clarifying their goals and expectations as well as help them explore the education policy quagmire through the arts education lens. Offered as MUED 348, MUED 448, POSC 382B, and POSC 482B.

MUED 475. Graduate Conducting. 3 Units.

This course provides training for graduate students interested in conducting at a professional level. The three main goals of this class are (1) to practice the gestures of conducting to refine the clarity of communication, (2) apply score study methods that will clarify and make the score coherent, and (3) connect the ways in which the gesture, score study, and rehearsal techniques interact to create a conductor's personality. Students will conduct the class ensemble, as well as in-university and outside ensembles. Video analysis, deep gestural study, and lively music making will enhance the graduate musical experience.

MUED 491. Music in Early Childhood. 3 Units.

The goal of the course is to provide students with an understanding of the role of music in early childhood and approaches to music education with young children. Students will experience an overview of selected theories of musical development of young children, discuss the importance of music to various areas of child development, explore cultural perspectives and influences on musical development, evaluate curricular materials and methods used in early childhood music education, observe children's music making in early childhood classrooms, and develop teaching skills for early childhood music settings. Topics and content of this course include: music's role in early childhood development; music aptitude and its measurement; theories of early childhood music learning; early childhood making; evaluating curricular materials for early childhood music; the importance of play in early childhood musical development; incorporating State and National Music Education Standards; designing instruction for early childhood music settings; assessment in early childhood music; cultural perspectives on music in early childhood; cultural influences on musical development; music therapy with young children; benefits of family interaction in music; the role of listening in early childhood musical development; and formal music instruction with young children The class will participate in a weekly service learning project providing music instruction for preschool or kindergarten children at The Music Settlement. Offered as MUED 391 and MUED 491. Counts as a Local & Global Engagement course.

MUED 496A. Student Teaching in Music Education. 9 Units.

Teaching music in both elementary and secondary schools, full-time five days a week for 15 weeks. Closely supervised field experiences of all types with a wide variety of students. Emphasis on planning lessons and organizing materials, teaching methodologies, motivation, and student assessment. Topics addressed include communications and the arts, technology in learning, interdisciplinary learning, collaborative learning and teaching, creating a supportive environment, and professional development. Development of skills needed for self-assessment as well as student assessment. Clinical/Field experiences (all ages) required. Recommended preparation: Concurrent enrollment in MUED 396B. Offered as MUED 396A and MUED 496A. Counts as a Local & Global Engagement course. Counts as a SAGES Senior Capstone course. Prereq: EDUC 255.

MUED 496B. Student Teaching Seminar in Music Education. 3 Units.

This is the Senior Capstone requirement for students majoring in Music Education. Taken at the same time as the student teaching experience (MUED 396A/496A), this seminar will guide students through preparation for entering the professional world of music education, and mentor them in their preparation of their Senior Capstone Project and Presentation. Recommended preparation: Concurrent enrollment in MUED 496A. Offered as MUED 396B and MUED 496B. Counts as a Capstone Project course. Counts as a SAGES Senior Capstone course. Co-req: MUED 496A.

MUED 501. Special Reading (M.A. and M.M.). 1 - 18 Units.

MUED 601. Special Readings (Ph.D./D.M.A.). 1 - 18 Units.

MUED 640. Qualitative Research in Music Education. 3 Units.

This course provides music education graduate students with an in-depth look at qualitative research techniques in educational settings, along with an emphasis on design and analysis, and a critical review of selected research studies in music education. The goals of this class include gaining an understanding of the qualitative research paradigm, learning to write effectively and efficiently as a qualitative researcher, and conducting a small-scale qualitative research project. Prereq: Graduate Music Education major and MUED 440 or requisites not met permission.

MUED 641. Quantitative Research Methods in Music Education. 3 Units.

Effective educators of all levels are expected to continually refine their knowledge of how students best learn music in practical applications through assimilation of current research. Implementation of research findings in one's classroom, as well as contributions back to the profession through scholarship, should remain a priority. Quantitative Research Methods will explore fundamentals of research design and appropriate statistical methods for interpretation of data. Specific topics will include: identification of research issues, selection of appropriate experimental designs for investigation, application of statistical methods for data interpretation, and evaluation of available research. Effective and efficient skills in writing and presentation will be expected and reinforced in all course activities. Prereq: MUED 440.

MUED 651. Thesis (M.A. and M.M.). 1 - 6 Units.

(Credit as arranged.)

MUED 701. Dissertation Ph.D.. 1 - 9 Units.

(Credit as arranged.) Prereq: Predoctoral research consent or advanced to Ph.D. candidacy milestone.

MUEN 324. Case Percussion Ensemble. 0 - 1 Units.

The Case Percussion Ensemble is open to all interested Case-affiliated individuals who seek to continue their musical development by performing percussion ensemble literature. Membership is contingent on an audition that demonstrates moderate percussion ability and the ability to read music. Audition materials can be acquired through the director. Recommended preparation: Audition required. Coreq: MUEN 383.

MUEN 335. Global Music Experience. 1 Unit.

MUEN 355. Miscellaneous Ensembles. 0 - 2 Units.

MUEN 370. Popular Music Ensemble. 0 - 1 Units.

The Popular Music Ensemble at Case Western rehearses and performs a wide range of non-jazz popular music styles. Repertoire is usually suggested by students and chosen in collaboration with the instructor. Current popular music of the United States has tended to be favored, but the ensemble has also worked on music that originated as much as several decades ago. The group's instrumentation is typically drums, bass, guitars, keyboard, and a number of vocalists. Occasionally original material is brought into the repertoire.

MUEN 371A. Klezmer Music Ensemble. 0 Unit.

The Klezmer Music Ensemble is dedicated to learning and performing traditional East European Jewish folk music (Klezmer Music). This important genre of world music involves a specialized performance style, a unique repertoire, and chamber-music interaction. Classes will consist of two-hour sessions (once a week) culminating with a performance to be scheduled at the end of the semester. The ensemble is open by audition to all CWRU and CIM instrumentalists and vocalists.

MUEN 371B. Klezmer Music Ensemble. 1 Unit.

The Klezmer Music Ensemble is dedicated to learning and performing traditional East European Jewish folk music (Klezmer Music). This important genre of world music involves a specialized performance style, a unique repertoire, and chamber-music interaction. Classes will consist of two-hour sessions (once a week) culminating with a performance to be scheduled at the end of the semester. The ensemble is open by audition to all CWRU and CIM instrumentalists and vocalists. Counts as a Human Diversity & Commonality course.

MUEN 373. Jazz Ensemble I. 0 - 1 Units.

Recommended preparation: Audition required.

MUEN 374. Jazz Ensemble II. 0 - 1 Units.

MUEN 380A. Case Glee Club. 0 Unit.

Case Glee Club is a lower voice choral ensemble open to all students enrolled in the University who enjoy singing. The ensemble performs a wide variety of accompanied and a cappella repertoire written specifically for tenor, baritone, and bass voices. The ability to read music is not required for participation and there is no formal audition. The director will lead members in exercises to ensure everyone is singing the appropriate voice part. Goals of the Case Glee Club include developing basic musicianship skills, learning healthy singing habits, and enjoying sharing music with fellow singers and the community.

MUEN 380B. Case Glee Club. 1 Unit.

Case Glee Club is a lower voice choral ensemble open to all students enrolled in the University who enjoy singing. The ensemble performs a wide variety of accompanied and a cappella repertoire written specifically for tenor, baritone, and bass voices. The ability to read music is not required for participation and there is no formal audition. The director will lead members in exercises to ensure everyone is singing the appropriate voice part. Goals of the Case Glee Club include developing basic musicianship skills, learning healthy singing habits, and enjoying sharing music with fellow singers and the community.

MUEN 382. Case Concert Choir. 0 - 1 Units.

Case Concert Choir is open to any undergraduate or graduate student by audition. The ensemble performs both a cappella and accompanied choral music from a variety of time periods and genres. Concert Choir members have the opportunity to perform choral-orchestral repertoire through collaborations with the Case University Circle Orchestra and our other University Circle neighbors. The ensemble maintains a tradition of excellence in performance, strives to improve group and individual musicianship skills, and fosters community building. Recommended preparation: Audition required.

MUEN 383. Symphonic Winds. 0 - 1 Units.

Performance of advanced symphonic band repertoire. Open to all Case students, faculty and staff. Audition required for part placement only.

MUEN 384. Spartan Marching Band. 0 - 1 Units.

The Spartan Marching Band (SMB) is built on pride, spirit, musicianship, and dedication. By attending to these components, we can achieve unity in the mission to support our student athletes as well as represent our school in impressive and inspiring ways. SMB meets for pre-season rehearsals prior to orientation week and throughout the fall football season. A full schedule and course materials will be available in early August every year. SMB performs at every home football game, Homecoming festivities, and special events around campus. Counts as a Full-Semester Wellness/Movement course.

MUEN 385. Case/University Circle Orchestra. 0 - 1 Units.

The orchestra is comprised of Case students, faculty, staff and community players who play strings, woodwinds, brass and percussion. Recommended preparation: Audition required.

MUEN 386. Case Camerata Chamber Orchestra. 0 - 1 Units.

This chamber string ensemble is open to all interested Case affiliated individuals who seek to continue their music development by performing orchestral literature. Each person is required to audition to determine initial placement, section assignment, and seating. All members are required to perform a minimum of 2 concerts per academic year. Recommended preparation: Audition required.

MUEN 388A. University Chorale. 0 Unit.

University Chorale is a treble vocal ensemble open to all students enrolled in the University who enjoy singing. The ensemble performs a wide variety of accompanied and a cappella repertoire written specifically for treble voices. The ability to read music is not required for participation and there is no formal audition. The director will lead members in exercises to ensure everyone is singing the appropriate voice part. Goals of the University Chorale include developing basic musicianship skills, learning healthy singing habits, and enjoying sharing music with fellow singers and the community.

MUEN 388B. University Chorale. 1 Unit.

University Chorale is a treble vocal ensemble open to all students enrolled in the University who enjoy singing. The ensemble performs a wide variety of accompanied and a cappella repertoire written specifically for treble voices. The ability to read music is not required for participation and there is no formal audition. The director will lead members in exercises to ensure everyone is singing the appropriate voice part. Goals of the University Chorale include developing basic musicianship skills, learning healthy singing habits, and enjoying sharing music with fellow singers and the community.

MUEN 389. Keyboard Ensemble. 0 - 1 Units.

Keyboard Ensemble is designed for music majors whose primary instrument is piano. The format involves coaching of in-class performances of solo literature, piano duets, and collaborative piano genres by enrolled students, as well as written and spoken presentations focusing on keyboard history, literature, and performance critique. The course meets once per week. It is highly recommended that students be concurrently enrolled in applied lessons. Non-majors who are pianists and majors whose primary instrument is not piano may enroll with instructor permission following a successful audition.

MUEN 393. Baroque Chamber Ensembles. 0 - 1 Units.

Designed for students interested in exploring baroque music in a chamber setting on historical instruments. Prereq: Audition required.

MUEN 394. Baroque Dance Ensemble. 0 - 1 Units.

This course allows musicians and dancers alike to explore historical dance steps and notation. History of dance and its relationships to music will be emphasized as students learn and perform historical dances. Prereq: MUHI 342 or MUHI 442 or permission of Instructor.

MUEN 395. Collegium Musicum. 0 - 1 Units.

Recommended preparation: Audition required.

MUEN 396. Early Music Singers. 0 - 1 Units.

Recommended preparation: Audition required.

MUEN 397. Baroque Orchestra. 0 - 1 Units.

Recommended preparation: Audition required.

MUGN 201. Introduction to Music: Listening Experience I. 3 Units.

A flexible approach to the study of the materials and literature of music, primarily European Classical music, with emphasis on aural and analytical skills. Counts as a Understanding Global Perspectives course.

MUGN 250. Responsible AI: Cultivating a Just and Sustainable Socio-technical Future through Data Citizenship. 3 Units.

An introduction to the key issues that inform ethically responsible design, deployment, and use of artificial intelligence (AI) technologies, with particular focus on the impact of data practices. From generative language models to video surveillance and identity detection to facial recognition, AI is becoming more and more embedded in our everyday lives. These AI technologies are increasingly built on our data, whether we are aware of it or not. In this praxis-oriented course, we will explore how data is fundamental to the development of AI technologies and develop practices for increased awareness of and participation in this data ecosystem. As we interrogate AI systems in everyday life through hands-on engagement with AI tools and their data pipelines, we will begin to construct a data citizenship model that can help us reclaim the power of collective responsibility in order to build a more just and sustainable socio-technical future. Students will focus their individual and group projects on questions and issues directly related to the subject area of the offering they are enrolled in. Offered as COGS 250, ENGL 250, HUMN 250, MUGN 250, PHIL 250 and RLGN 250. Counts as a Moral & Ethical Reasoning course.

MUGN 294. Stage Movement for Opera I. 1 Unit.

MUGN 295. Stage Movement for Opera II. 1 Unit.

MUGN 296. Acting Technique I. 1 Unit.

MUGN 298. Opera Role Preparation. 1 Unit.

MUGN 308. Digital Music: Composition and Production. 3 Units.

Course focuses on digital music creation and composition using audio sequencing software. Topics include song writing, synthesizers, recording, editing, mixing, and film scoring. Course is open to music majors, minors, and non-majors with sufficient musical background. Emphasis on group work, creativity, and imagination. All work done on Macintosh computers in The Core, the Department of Music's multimedia classroom.

MUGN 310. Folk Music of Eastern Europe. 1 Unit.

The course Folk Music of Eastern Europe is dedicated to the exploration and performance of vocal and instrumental music from Russia and the countries of Eastern Europe. All these countries comprise many ethnic groups and have a vast repertoire of folk music, folk instruments, and singing styles. Each musical piece is placed in context, with an eye towards culture, symbolism, history, poetry/lyrics, and customs. Class combines listening/watching, compare/contrast discussion, and singing/playing. We look at how classical composers use folk music in their long compositions. Percussion and other instruments will enhance the final performance consisting of folk dance, song, playing musical instruments, and explanation. Final performance is open to the public. Offered as RUSN 305 and MUGN 310.

MUGN 324. Applied Diction: French. 1 Unit.

Intended for undergraduate/graduate voice and collaborative piano majors with insufficient background in the fundamental rules of French pronunciation and the International Phonetic Alphabet. Prereq: MUGN 321.

MUGN 326. Expression of Italian. 2 Units.

MUGN 370. Intro to Improvisation. 1 Unit.

MUGN 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MUGN 651. Thesis: (M.A. and M.M.). 1 - 6 Units.

(Credit as arranged.)

MUGN 751. Recital Document I-D.M.A.. 1 - 3 Units.

MUHI 120. Crossing the Danube - Hungarian Study Abroad Trip. 3 Units.

Shaped by centuries of imperial rule, nation-building, world wars, and a socialist past, Hungary offers a layered portrait of grandeur, progressivism, and tradition. It also holds a distinctive place in global literary and cinematic imagination, where real and invented features intersect to create a setting that feels both familiar and mystical. When Jonathan Harker, in Dracula (1897), crosses the Danube--dividing the capital into Buda and Pest--he writes: "The impression I had was that we were leaving the West and entering the East." His words foreshadow how Budapest appears in art and film: as a threshold between worlds. In this study abroad course, we will "cross the Danube" both literally and figuratively, revisiting this sense of threshold. We'll explore Budapest's architectural landmarks--including the Buda Castle District, St. Stephen's Basilica, the Dohány Street Synagogue, and a traditional Turkish bath--while considering how cultural representations compare to lived realities (can we find The Grand Budapest Hotel?). We will also experience a lovasíjászat (horseback archery) demonstration, take part in a hands-on culinary workshop tracing the evolution of Hungarian national dishes, and participate in an ethnomusicology workshop exploring the folk traditions that inspired composers such as Béla Bartók. Offered as ENGL 120, HSTY 120, HUMN 120, INTL 120, MUHI 120, and WLIT 120. Counts as a Local & Global Engagement course. Counts as a Understanding Global Perspectives course.

MUHI 200. Music in Global Contexts. 3 Units.

An introduction to various historical and contemporary global musical cultures addressing their aesthetics, ethics, strategies, and functions. Counts as a CAS Global & Cultural Diversity course. Counts as a Human Diversity & Commonality course. Counts as a Understanding Global Perspectives course.

MUHI 201. Music of Europe and the Americas to 1800. 3 Units.

A series of case studies in the music of Europe and the Americas before 1800 connecting musical techniques and practices to wider historical and cultural currents. Counts as a Understanding Global Perspectives course. Prereq: MUTH 102 or MUTH 112.

MUHI 202. Music of Europe and the Americas after 1800. 3 Units.

A series of case studies in the music of Europe and the Americas after 1800 connecting musical techniques and practices to wider historical and cultural currents. Recommended preparation: MUHI 201. Counts as a Understanding Global Perspectives course. Prereq: MUTH 201 or MUTH 211.

MUHI 212. History of Rock and Roll. 3 Units.

This course surveys the music and culture of the rock and roll era, broadly defined to include much popular music since the 1950s to the present day. Music majors are to enroll in MUHI 312. Offered as AFST 212 and MUHI 212. Counts as a CAS Global & Cultural Diversity course. Counts as a Human Diversity & Commonality course.

MUHI 214. Composers of the Musical on Stage and Screen. 3 Units.

This course is meant to provide students with an introduction to the history, reception, and popularity of the Broadway and Hollywood musical, with a particular focus on the creators--composers, lyricists, orchestrators--and the widely varying contexts in which these works were created and in which they succeeded... or not. We will survey the early history, going back to 19th century experiments, revues, and the origins of the "book" musical, going through the golden age of the 1930s to the 1950s, the nadir of output in the 1960s and 1970s, the revival in the 1980s with the rise of the megamusical, all the way to today's rock music-driven puppet extravaganzas and online experiments. In class discussion will include topics such as ever-shifting genres and styles of music, new approaches to songwriting, and changes to what qualifies as "acceptable" music. There's also the structure of the stories to consider, as well as gender roles, racial stereotypes, ethnic under/overtones, and camp. Counts as a Human Diversity & Commonality course.

MUHI 216. Hip Hop History, Culture, Music. 3 Units.

This course surveys the history of hip hop. The relationship of hip hop to important currents in American life and culture will be examined, with a particular focus on how race, class, and gender shaped the evolution of the form. The origins of various styles of hip hop in the cultures of different ethnic and national groups will be discussed, along with the subsequent diffusion and transformation of such music through mass mediation. The characteristics and meanings of music, lyrics and images will be discussed, with the aid of sound recordings, music videos and films. Offered as AFST 216 and MUHI 216. Counts as a Human Diversity & Commonality course.

MUHI 217. Liturgy, Music, and Art in Medieval and Renaissance Europe. 3 Units.

In Europe of the thirteenth through sixteenth centuries, daily life was infused with the structure of Christian worship. Days of the year were tracked according to the Church calendar and the time of day was told in relation to the numerous daily Church services, in which virtually everything was sung. Many of the architectural wonders of this period were churches and private chapels, and there was an explosion of religious music and art meant to adorn the liturgical celebrations that took place within these spaces. This seminar explores connections between Christian liturgical services (especially the Mass), musical compositions (Gregorian chant, masses, motets, and other choral works), and visual artworks (paintings, sculptures, altarpieces, and illuminated manuscripts) from these centuries, all of which shared a common vocabulary of sacred texts, images, and symbols. In addition to analyzing readings, sound recordings, videos, and images, students will visit the Cleveland Museum of Art, attend musical performances, tour local architectural structures, and observe religious services. Counts as a Communication Intensive course. Counts as a Understanding Global Perspectives course.

MUHI 218. Jazz Perspectives on STEM and the Humanities. 3 Units.

Jazz Improvisation is often dependent upon a unique confluence of perspectives and expertise. We tend to associate STEM with technical expertise and view jazz as a highly subjective enterprise. While there is much truth in both assertions, the lines are blurrier than may be supposed. To that end, we will bring in a variety of speakers from STEM and the humanities to discuss how improvisation is present in their work and how their improvisatory practices and our understandings of jazz might mutually inform one another. Counts as a Communication Intensive course. Counts as a Human Diversity & Commonality course.

MUHI 219. American Music and Cultural Criticism. 3 Units.

We are all familiar with music as a mode of entertainment, accompaniment to rituals and ceremonies, earworms that sell us things. But how does music work? Not the nuts and bolts of ordering the sounds we call music, but how that same music is implicated in the gendered, racialized, and socioeconomic power structures that order our lives? For example: Is free jazz relevant to the civil rights movement of the 1960s? How and why is disco related to gay pride? What does musical minimalism have to do with consumerism? How might hip-hop and contemporary beat music be related to identity politics? With questions like these in mind, this communication intensive course investigates U.S. American vernacular musics as phenomena that create, reproduce, and push at the boundaries of structures of cultural power and value. Using conceptual lenses of representation, appropriation, ideology, experimentation, globalization, and modes of resistance, we will weave through American folk, avant-garde, free jazz, disco, hip-hop, and more. Music serves as our jumping-off point to think critically about the role of art in both creating the world we inhabit as well as informing how we navigate that world. As we approach different musics, we engage exemplary musical examples and texts from popular and scholarly sources to help frame discussions and written responses. Furthermore, we will listen to music both in and out of class with the goal of identifying, describing, and contextualizing what we hear. No previous musical training is required, concepts and terminology will be explained in class. A communication intensive course, we will have multiple opportunities to draft and workshop written responses via in-class peer-review and instructor feedback. Counts as a Communication Intensive course.

MUHI 220. 1977 in Twelve Records. 3 Units.

Music is magic. It connects us to our local and global histories, socializes us to aesthetic and political values, and helps us to (re)produce our personal identities - often without us being aware of it. Music is magic, and 1977 was a good year for music. In this seminar we will engage with critical considerations of just twelve influential records with the aim of informing our understanding of developments in popular culture, recording technology, reception histories, regional scenes, and national political movements - all while contributing to your general cultural knowledge and your record collection. A communication intensive course, we will have multiple opportunities to draft and workshop written responses via in-class peer-review and instructor feedback. Counts as a Communication Intensive course.

MUHI 247. Cantate Domino: Studying Christianity Through Its Music. 3 Units.

This interdisciplinary seminar explores the complex intersecting relationships between Christian church history, formation and development of church traditions, faith and identity construction of their congregants through the lens of Christian music, past and present. It explores the history and development of Christian music within the social, cultural, regional, ritual, and spiritual contexts that inspired their emergence and growth. While the primary approach in this seminar is historiographical with attention on Christian music which emerged and developed in Europe and North America, ethnomusicological principles may be utilized where appropriate to examine contemporary genres of Christian music from the Two-Thirds or Majority World. Offered as MUHI 247 and RLGN 247. Prereq: Academic Inquiry Seminar (AIQS).

MUHI 315. History of Jazz and American Popular Music. 3 Units.

Musical styles and structures of jazz and American popular music; emphasis on music since 1900. Recommended preparation: MUTH 202, MUTH 211, or MUHI 202. Offered as AFST 315 and MUHI 315. Counts as a CAS Global & Cultural Diversity course. Counts as a Human Diversity & Commonality course.

MUHI 316. The Lemonade Class: Religion, Race, Sex and Black Music. 3 Units.

Charles Long suggests that black musical forms are creative responses to the particular circumstances of black peoples' presence in the U.S and black notions of the sacred. In April of 2016, Beyoncé released her visual album Lemonade two days after the death of Prince. This course is organized around the album's title cuts and links these two artists together in an examination of religion and musical performance as creative response to the racial and gendered conditions of black life. The course investigates how both artists have used music as a platform to explore issues of race, gender, commerce, sexuality, power and divinity. The course also looks at examples from the works of earlier artists who address similar themes such as Ma Rainey, Bessie Smith, Muddy Waters, Billie Holiday, Nina Simone, Little Richard, James Brown, Marvin Gaye, and Aretha Franklin. Offered as AFST 302, ETHS 302, MUHI 316, RLGN 302, RLGN 402, and WGST 302. Counts as a CAS Global & Cultural Diversity course.

MUHI 317. Music, Mind, and Medicine. 3 Units.

Explores intersections among music, medicine, psychology, and neuroscience from empirical as well as historical and social perspectives. How does music impact the brain-body, and what functions can it have in medical and social healing? Topics covered include music therapies for patients with Alzheimer's Disease, neural plasticities associated with echolocation in Blind persons; the role of sound in Autism Spectrum Disorder therapies; and the cultivation of haptic listening in Deaf cultures. Later units deal with music as a tool for regulating mood and attention and the impact of silence/noise on human health. Throughout, we engage in sustained contemplation of neurodivergent and intersensorial models of aurality, expanding our awareness of how and to whom we listen, and contemplating how music can enhance human health and well-being. Involves reading, writing, listening, and hands-on experimentation. Offered as BETH 317, COGS 318, and MUHI 317. Counts as a Disciplinary Communication course. Counts as a Human Diversity & Commonality course.

MUHI 332. Music of the Renaissance. 3 Units.

A survey of the principal genres, styles, aesthetic concepts, and global influences of European music of the Renaissance, ca. 1425-ca. 1600. Offered as MUHI 332 and MUHI 432. Prereq: MUHI 201.

MUHI 341. Introduction to Historical Performance Practice. 3 Units.

Summary and perspective of the problems and issues associated with the field of historical performance practices. Offered as MUHI 341 and MUHI 441. Prereq: MUHI 301 and MUHI 302.

MUHI 342. Seminar in Historical Performance Practice. 3 Units.

Seminar in a specific instrument and/or vocal area of historical performance practices, such as baroque vocal, instrumental, or keyboard practices. May be repeated because topics vary. Offered as MUHI 342 and MUHI 442. Prereq: MUHI 341 or MUHI 441

MUHI 350. Topics in Music History. 3 Units.

Close study of a theme or aspect of music such as "Music and Gender," "Symphonies of Mahler," and "Wagner's Ring." Offered as MUHI 350 and MUHI 450.

MUHI 390. Undergraduate Seminar in Music History. 3 Units.

An intensive research seminar in music history for music majors. Counts as a Disciplinary Communication course.

MUHI 395A. Capstone for Music Majors A. 2 Units.

Not required for the music major, but intended for music majors who need a Capstone in music. Course consists of projects varying according to the students' area of study and interests, but each must include a document of appropriate length and scope and must be presented publicly in an appropriate forum. MUHI 395A guides students through the preliminary stages of the project. Counts as a Capstone Project course. Counts as a SAGES Senior Capstone course. Prereq: MUHI 201 and MUHI 202.

MUHI 395B. Capstone for Music Majors B. 1 - 4 Units.

Not required for the music major, but intended for music majors who choose to complete a capstone project in music. Course consists of projects varying according to students' area of study and interests, but each must include a document of appropriate length and scope and must be presented publicly in an appropriate forum. MUHI 395B guides students through completion of the project, including the document and public presentation. Counts as a Capstone Project course. Counts as a SAGES Senior Capstone course. Prereq: Successful completion of MUHI 395A.

MUHI 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MUHI 430. History of Music Pedagogy. 3 Units.

Examines the major shifts in pedagogical thought throughout Western music history and illuminates their effects on and relationships to musical practices and compositional trends.

MUHI 432. Music of the Renaissance. 3 Units.

A survey of the principal genres, styles, aesthetic concepts, and global influences of European music of the Renaissance, ca. 1425-ca. 1600. Offered as MUHI 332 and MUHI 432.

MUHI 433. Music of the Baroque. 3 Units.

Musical developments from Monteverdi to Bach and Handel.

MUHI 435. Nineteenth Century Music. 3 Units.

Romanticism and other 19th century trends in music up to impressionism.

MUHI 436. Twentieth Century Music. 3 Units.

Critical and analytical study of music since 1900. Examination and discussion of stylistic characteristics and aesthetic aims of contemporary composers.

MUHI 441. Introduction to Historical Performance Practice. 3 Units.

Summary and perspective of the problems and issues associated with the field of historical performance practices. Offered as MUHI 341 and MUHI 441.

MUHI 442. Seminar in Historical Performance Practice. 3 Units.

Seminar in a specific instrument and/or vocal area of historical performance practices, such as baroque vocal, instrumental, or keyboard practices. May be repeated because topics vary. Offered as MUHI 342 and MUHI 442. Prereq: MUHI 341 or MUHI 441

MUHI 443. Medieval/Renaissance Notation. 3 Units.

Theory of chant, modal, mensural, and tablature notations. Practice in making literal transcriptions, editing, and preparing scores for performances.

MUHI 450. Topics in Music History. 3 Units.

Close study of a theme or aspect of music such as "Music and Gender," "Symphonies of Mahler," and "Wagner's Ring." Offered as MUHI 350 and MUHI 450.

MUHI 501. Special Reading (M.A. and M.M.). 1 - 18 Units.

MUHI 590. Seminar in Musicology. 3 Units.

Problems in musical criticism, aesthetics, and analysis, as well as interdisciplinary methodologies.

MUHI 601. Special Readings Ph.D./D.M.A.. 1 - 3 Units.

Independent study

MUHI 610. Research Methods in Music. 3 Units.

Seminar in research methods and techniques, including a historical overview of modern musicology and an introduction to different research methodologies. Significant time will be spent on writing abilities related to writing for scholarly versus general audiences.

MUHI 611. DMA Lecture-Recital and Document Seminar. 3 Units.

This seminar prepares DMA students from CIM to produce either the Lecture-Recital or DMA Document, a crucial degree requirement for which students must demonstrate both scholarly and musical expertise. Over the course of the semester each student will identify a viable topic, develop a bibliography, and write a prospectus. Registered students are expected to attend and participate in every session.

MUHI 612. Analysis for Music Historians. 3 Units.

This seminar will be required of all first-year graduate students in Musicology and Historical Performance Practices. It seeks to develop the analytical skills of music historians, deepening their earlier technical training and teaching them how to approach repertories (music before 1700, after 1900, popular music) they are unlikely to have studied in depth previously. In contrast to the instruction offered at CIM, this seminar will present a range of ways in which to bridge between the details of a musical composition and the historical context within which it first appeared. The seminar deals with five case studies, one representative of each of the following repertories: Before 1700 (e.g., Josquin motets, Monteverdi madrigals, Frescobaldi toccatas) 1700-1820 (e.g., Rameau keyboard suites, Beethoven sonatas, Schubert string quartets) 1820-1910 (e.g., Berlioz Symphonie Fantastique, Brahms symphonies, Mahler songs) After 1910 (e.g., Stravinsky Sacre du Printemps, Webern Symphony, Ruth Crawford Seeger String Quartet, Ligeti Etudes) Popular Music (e.g. 12-bar blues, "rhythm changes," "Round Midnights") Of these, most students will have received training only in the analysis of music 1700-1820, and that training will have concentrated strictly on harmony and structure, without engagement with cultural context. Each unit of this seminar will proceed from basic grammatical norms for the repertory in question to formal criticism to cultural interpretation.

MUHI 651. Thesis (M.A. and M.M.). 1 - 6 Units.

(Credit as arranged.)

MUHI 699. Qualifying Exam Practicum. 0 Unit.

This class is meant to guide students as they prepare their bibliographies and works lists (if applicable) for their qualifying exams. We will discuss how best to address the broad topics they have chosen for their exams, and the manner in which they can begin to focus their research to an achievable list, one that they will craft with input from their exam committee. Beginning with the key works in their areas, they will be shown how best to expand the list to include current literature, and how to prioritize what should and should not be on the list.

MUHI 701. Dissertation Ph.D.. 1 - 9 Units.

(Credit as arranged.) Prereq: Predoctoral research consent or advanced to Ph.D. candidacy milestone.

MUHI 710. Dissertation Seminar. 0 Unit.

This class is meant to give students a place to deal with writing their dissertation: discussion, critique, complaints, and questions are all an accepted and expected part of the process. Once during the semester students will provide the group with a chapter (or part of a chapter, or conference paper), which they will read. The group will discuss the work as a group, giving everyone a chance to provide suggestions, corrections, and other forms of critique. Everyone will get a chance to present their own work and will get many chances to read the work of others. Exposure to different topics and writing styles will not only broaden students' approach to their own work, but will also prepare them for the multiplicity of research and writing styles they'll face on the job market and in the academy.

MUHI 751. D.M.A. Lecture Recital Preparation. 1 - 3 Units.

D.M.A. Lecture Recital Preparation for students in Historical Performance Practice.

MUHI 752. D.M.A. Lecture Recital Presentation. 0 Unit.

The lecture recital presentation consists of a performance and lecture exploring an aspect of historical performance, and is the outcome and product of the MUHI 751 lecture recital preparation course. It may be taken concurrently or following MUHI 751. Prereq or Coreq: MUHI 751.

MUHI 753. Recital Document III-D.M.A.. 1 - 6 Units.

MULI 330. Song Literature I. 2 Units.

This course traces the history of the art song genre, including its precursors,, major figures, trends, representative works, musical style, and poetry. Primary focus will be on German Lieder. Prereq: MUHI 201.

MULI 331. Song Literature II. 2 Units.

This course traces the history of the art song genre, including its precursors,, major figures, trends, representative works, musical style, and poetry. Primary focus will be on national trends in France and other countries, which may include Russia, Spain, England, the US and those in Latin America and Scandinavia. Prereq: MUHI 201.

MUPD 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MURP 310. Trumpet Repertoire. 1 Unit.

MURP 311. Horn Repertoire Class. 1 Unit.

MURP 317. Flute Repertoire Class. 1 Unit.

MUSP 100. Group Class for Beginners I. 1 Unit.

This course is intended for undergraduate non-music-major students with little or no previous musical experience seeking instruction in either piano, voice or guitar. The class will meet once per week for 15 weeks. Piano students will cover basic keyboard technique, staff-reading, harmonization, ensemble playing and improvisation. Guitar students will cover left and right-hand technique, notational systems commonly used with guitar repertoire, basic chords, single note melodies, and improvisation in a mix of solo repertoire and ensemble playing. Voice students will explore healthy vocal technique, tone production, breathing, diction, physiology, musical style and related theoretical topics. There is no pre-requisite for this course.

MUSP 101. Keyboard Skills I. 1 Unit.

Keyboard Skills class is designed to build basic keyboard skills and musicianship and to provide the necessary skills for using the keyboard as a tool within one's musical studies and profession. Emphasis on reading, technique and study of solo and ensemble repertoire.

MUSP 102. Keyboard Skills II. 1 Unit.

Keyboard Skills class is designed to build basic keyboard skills and musicianship and to provide the necessary skills for using the keyboard as a tool within one's musical studies and profession. Emphasis on reading, technique and study of solo and ensemble repertoire.

MUSP 103. Keyboard Skills III. 1 Unit.

Keyboard Skills class is designed to build basic keyboard skills and musicianship and to provide the necessary skills for using the keyboard as a tool within one's musical studies and profession. Emphasis on reading, technique and study of solo and ensemble repertoire.

MUSP 104. Keyboard Skills IV. 1 Unit.

Keyboard Skills class is designed to build basic keyboard skills and musicianship and to provide the necessary skills for using the keyboard as a tool within one's musical studies and profession. Emphasis on reading, technique and study of solo and ensemble repertoire.

MUSP 130. Group Class for Beginners II. 1 Unit.

This course is intended for undergraduate non-music-major students who have completed MUSP 100 and are seeking to further develop their skills in either piano, voice or guitar. This course will meet once per week for 15 weeks and is intended to build on the skills developed in MUSP 100. Piano students will develop greater fluency reading from the staff and will develop familiarity with more complex harmonization, ensemble playing, sight-reading and transposition exercises. Guitar students will focus on furthering the technical development of the right and left hands, reading music primarily in staff notation, improvising, and relevant theoretical concepts. Voice students will build on the development of healthy vocal technique, tone production, breathing, diction, physiology, musical style and related theoretical topics as required by more demanding repertoire and vocal exercises. Students completing MUSP 130 will be eligible to register for individual applied lessons on these instruments. Prereq: MUSP 100.

MUSP 202. Secondary Performance. 2 Units.

MUTH 101. Theory and Aural Skills I. 4 Units.

An investigation of common-practice tonality through written exercises, keyboard work, ear training, and sight singing. MUTH 101 contains four components: (1) written work emphasizing topics such as key signatures, scales, intervals, triad and seventh chord construction, voice leading, and harmonic analysis; (2) keyboard exercises that complement theoretical studies, including scales, folk melody accompaniment, chorale harmonization, and figured bass; (3) ear training consisting of various types of dictation and listening exercises; and (4) sight singing with an emphasis on diatonic materials. Placement by examination.

MUTH 101I. Intensive Theory and Aural Skills I. 4 Units.

An investigation of common-practice tonality through written exercises, keyboard work, ear training, and sight singing. MUTH 101I contains four components: (1) written work emphasizing topics such as key signatures, scales, intervals, triad and seventh chord construction, voice leading, and harmonic analysis; (2) keyboard exercises that complement theoretical studies, including scales, folk melody accompaniment, chorale harmonization, and figured bass; (3) ear training consisting of various types of dictation and listening exercises; and (4) sight singing with an emphasis on diatonic materials. This course includes a required Lab component. Each day students will meet for 20 minutes to drill the written and skills material covered in MUTH 101I. Placement by examination.

MUTH 103. Theory I. 3 Units.

Music theory for the nonmusic major. Intervals, scales, rhythmic drill, sight singing, eartraining, keyboard work, and harmony through inversions of triads and seventh chords. Not open to music majors.

MUTH 104. Theory II. 3 Units.

(See MUTH 103.) Recommended preparation: MUTH 103 or consent of department.

MUTH 111. Elements of Music Theory I. 3 Units.

This course introduces the student to language, visual representations, and conceptual tools for analyzing and communicating ideas about music. Course content centers genres popular in North America--hip hop, rock, top-40 pop, etc.--alongside music for film and video games, jazz, and classical traditions. Successful students will analyze multiple musical domains by ear and on paper, engaging with a variety of music notation systems. Coreq: MUTH 161.

MUTH 112. Elements of Music Theory II. 3 Units.

This course deepens the student's understanding of musical structures, focusing on the domains of musical form, colorful (chromatic) harmony, and meter. Course content centers genres popular in North America--hip hop, rock, top-40 pop, etc.--alongside music for film and video games, jazz, and classical traditions. Successful students will analyze multiple musical domains by ear and on paper, annotate and illustrate their interpretations, and write descriptively about music. Prereq: MUTH 111 and MUTH 161. Coreq: MUTH 162.

MUTH 161. Elements of Musicianship I. 1 Unit.

In this course students develop skills to embody, hear, and vocalize musical ideas. You will learn to feel and reproduce rhythms, sing melodies at sight, and transcribe musical materials by ear. We develop these skills through regular practice. Final grades are based on attainment of set benchmarks by the end of the term. Regular skills check-ups help students track progress towards these goals. Coreq: MUTH 111.

MUTH 162. Elements of Musicianship II. 1 Unit.

Continuation of MUTH 161; refinement of the same skills learned in that class. Rhythms, melodies, and exercises for transcription increase in difficulty, incorporating syncopation and chromaticism. Students begin identifying phrases and small forms by ear. We continue to develop skills through regular practice. Final grades are based on attainment of set benchmarks by the end of the term. Regular skills check-ups help students track progress towards these goals. Prereq: MUTH 111 and MUTH 161. Coreq: MUTH 112.

MUTH 201. Theory and Aural Skills III. 4 Units.

An investigation of common-practice tonality through written exercises, keyboard work, ear training, and sight singing. MUTH 201 contains four components: (1) written exercises including voice leading and analysis of topics including tonicization, modulation, mixture, and the Neapolitan chord; (2) keyboard exercises that complement theoretical studies, including modulatory progressions, folk melody accompaniment, chorale harmonization, and figured bass realization; (3) ear training consisting of harmonic dictation and listening exercises; and (4) sight singing with an emphasis on chromatic materials. Prereq: MUTH 102 or placement by exam.

MUTH 202. Harmony-Keyboard IV. 4 Units.

(See MUTH 201.) Recommended preparation: MUTH 102 or placement examination.

MUTH 211. Elements of Music Theory III. 3 Units.

This course focuses on music theoretical concepts and analytical techniques germane to the study of classical music in the European tradition. Course content includes Roman-numeral analysis, functional harmonic syntax, modulation, and classical form. Successful students will analyze music in the classical style by ear and on a score, annotate and illustrate their interpretations, and write descriptively about music. Prereq: MUTH 112 and MUTH 162. Coreq: MUTH 261.

MUTH 261. Elements of Musicianship III. 1 Unit.

Continuation of MUTH 162; refinement of the same skills learned in that class. Rhythms, melodies, and exercises for transcription increase in difficulty, incorporating advanced syncopation and modulation. Students identifying compound phrases and large forms by ear. We continue to develop skills through regular practice. Final grades are based on attainment of set benchmarks by the end of the term. Regular skills check-ups help students track progress towards these goals. Prereq: MUTH 112 and MUTH 162. Coreq: MUTH 211.

MUTH 311. 16th Century Counterpoint. 2 Units.

Sixteenth century modal counterpoint. Exercises in the five species. Writing of short compositions and motets in two, three and four voices. Recommended preparation: MUTH 202 or MUTH 206.

MUTH 312. Eighteenth Century Counterpoint. 3 Units.

Analysis and writing of inventions in two parts, and fugues in three and four parts. Recommended preparation: MUTH 202 or MUTH 206.

MUTH 319. Jazz Skills. 3 Units.

This class is designed to teach students basic skills in jazz improvisation, jazz keyboard, arranging/composition and pedagogy. Basic theory is required. Students will eventually arrange their own composition for big band, which will feature them as the improvising soloist. Prereq: MUTH 102 or MUTH 104.

MUTH 320. Form and Analysis. 3 Units.

Aural and visual analysis of structural and stylistic features of 16th through 20th century music. Prereq: MUTH 202 or MUTH 208.

MUTH 399. Undergraduate Independent Studies. 1 - 3 Units.

Each student develops a topic of interest to be explored with a faculty member.

MUTH 416. Pre-common Practice Theory and Analysis. 3 Units.

An exploration of treatises and analytical methods appropriate to music of the Medieval and Renaissance eras.

MUTH 422. Musical Analysis for Educators. 3 Units.

Musical Analysis for Educators is designed to strengthen the analysis skills of music educators and explore practical application of these skills. Recommended preparation: Placement exam.

MUTH 424. Introduction to Schenkerian Analysis. 3 Units.

An introduction to the theories of Heinrich Schenker and their application to the analysis of tonal music. Intensive analytical work and selected readings. Recommended preparation: MUTH 400A competency.

MUTH 461. Theory Pedagogy. 3 Units.

Principles of the teaching of theory at all levels, with examination and appraisal of teaching methods, textbooks, recent concepts, etc.

MUTH 495. Seminar in Music Theory. 3 Units.