Course Descriptions

Accompanying

6ACY 100 (I, II-1) Studio Accompanying

For this requirement, all BM Applied Music piano majors accompany two (2) fellow students of their choice (one vocalist and one instrumentalist) per semester, normally in their sophomore, junior, and senior years, totaling 6 semesters at the end of their bachelor's degree. Pianists will learn valuable collaborative skills through accompanying weekly lessons, regular studio & master classes, juries, and recitals for each of their partners. (rev 8/15/08)

6ACY 100G (I, II-0) Studio Accompanying - Graduate

For this requirement, all MM PRL piano majors accompany two (2) fellow students of their choice (one vocalist and one instrumentalist) per semester. Registration for this course is required for MM PRL piano majors during each semester in residence, up to and including four semesters.
Studio Accompanying and Orchestral Keyboard Graduate Assistants are exempted from this course. (rev 5/20/09)

6ACY 201 (I-2) Accompanying Class

A course designed to introduce the ESM undergraduate piano performance major (BM AMU) to the basics of ensemble with singers. Standard repertoire will be studied and the course will culminate in a class recital. Not open to graduate students. Prerequisites: KBD 111 and 112 and junior standing.

6ACY 202 (II-2) Accompanying Class

A course designed to introduce the ESM undergraduate piano performance major (BM AMU) to the basics of ensemble with one other instrument. Standard string and wind repertoire will be studied, and the course will culminate in a class recital. Not open to graduate students. Prerequisites: KBD 111 and 112 and junior standing.

6ACY 405 (I-1) Opera Coaching

Study of the practical skills needed to coach opera singers and to prepare the pianist to work in a professional operatic environment. Arias and scenes from standard repertoire ranging from Mozart to present day will be selected. Special attention given to unique challenges of the lyric theater: stylistic interpretation of accompanied and secco recitative, the basics of vocal ornamentation as it applies to the stage, the creative realizing of piano transcriptions of orchestral accompaniments, playing conducted rehearsals, etc. Prerequisite: permission of the instructor. Strong interest in languages recommended. May be repeated for credit.

6ACY 415A (I, II-1) English Lyric Diction

Study of the basic rules of English lyric diction. Preparation and performance of English texts in musical settings. Intended for graduate piano accompanying majors; others by permission of instructor.

6ACY 415B (I, II-1) German Lyric Diction

Study of the basic rules of German lyric diction. Preparation and performance of German texts in musical settings. Intended for graduate piano accompanying majors; others by permission of instructor.

6ACY 416A (I, II-1) French Lyric Diction

Study of the basic rules of French lyric diction. Preparation and performance of French texts in musical settings. Intended for graduate piano accompanying majors; others by permission of instructor.

6ACY 416B (I, II-1) Italian Lyric Diction

Study of the basic rules of Italian lyric diction. Preparation and performance of Italian texts in musical settings. Intended for graduate piano accompanying majors; others by permission of instructor.

6ACY 596 (I, II, S-credit to be arranged) PhD Dissertation Project

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Anthropology and Religion

6ANR 110 (I, II-3) Religions of the World

An introduction to world religions, examining the responses of world religions as well as smaller, local traditions to fundamental questions like the following: What is the relation of the individual to the divine? Is the religious life best lived in the world or apart from it? Are humans inherently good or bad? What is the relationship of humans to nature? We reflect on influences that draw people to new religions and elements that allow traditions to endure. The course helps students to better understand their own world views by exposing them to contrasting perspectives across the globe.

6ANR 210 (I, II-3) Meaning in Everyday Life

Art, music, and religion all give life meaning in special and dramatic ways. However, the world of our everyday lives is also filled with meanings that are reflected and amplified in a culture's great art forms and religious ideas. We leave the grand visions of high culture aside and examine the ordinary meanings of everyday life. These meanings tend to be invisible; being accustomed to them, we think of them as normal. They appear to us simply as reality. We will take a close look at everyday "realities." We examine the ways in which people use time and space and how they think about human relationships, nature, death, and what it means to a person. This allows students to understand their own culture more deeply as well as learn about others.

6ANR 220 (I, II-3) The Nature of Love

We think of love as the most personal of emotions, yet our private experiences of love and the way these can be enacted are influenced by biology, by social life , by cultural images and family expectations. In this course, we will consider love from many points of view, drawing on evolutionary theory, psychology, anthropology, and literature. We will examine ways in which love and courtship take place in a variety of societies, and will look at the definitions and expressions of love in Asian as well an European and American contexts.

6ANR 230 (I, II-3) Imagining India

As a place with its own highly civilized and exotic traditions, India has captured the imagination of many. This course gives us an understanding of this distant, complex and varied land, and in so doing will show us how societies can be conceived in terms very different from our own. More importantly, it shows us how different perspectives reveal different aspects of a society. Here, we will read ethnographies, novels, and autobiographies by indigenous South Asian authors and by foreigners, thinking carefully along the way about what informs their point of view as well as what they reveal about India.

6ANR 240 (I, II-3) Women and Religion

A study of conceptions of women embodied in the imagery of various religious traditions, the role of women in worship, and the impact of religious traditions on feminine experience and social definitions of gender roles. For each region, we consider both religious doctrine and the lives of women in the context of societies holding to these religious beliefs. Cross-listed as WST 240.

6ANR 250 (I, II-3) Culture and Communication

A study of the nature of human communication. Topics include whether there are universals in the way humans communicate; how language shapes understanding of the world; how people use communication to establish, maintain, or challenge power relations; and how gender influences communication. We also explore specific forms of artistic and religious communication.

6ANR 260 (I, II-3) Religion and Culture: Fundamentalisms

This course will examine the social and cultural circumstances that give rise to religious fundamentalism, explore the easons for its attraction to adherents, and look at its contrasts with other forms of religious practice. Readings will focus on Christianity and Islam. Analytic readings, weekly papers, and a final project will be required.

6ANR 280 (II-3) Approaches to Ethnography

Ethnography offers a window into a variety of cultural worlds, and provides the foundation for theorizing in anthropology and in related disciplines like ethnomusicology. In this course, we will examine ways in which anthropologists conduct ethnographic research and write ethnography. We will look at a range of analytic and interpretive approaches to ethnography, learn fundamental techniques for conducting ethnographic research, and consider ethical aspects of such work, exploring contemporary debates about the practice and production of ethnography. Cross-listed as ETH 480.

6ANR 281, 282 (I, II-3) Topics in Anthropology and Religion

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Applied Music Lessons

Lesson instruction is available in: (6ACM) accompanying (graduate students only), (6BSN) bassoon, (6CL) clarinet, (6DBL) double bass, (6EUP) euphonium, (6FL) flute, (6GTR) guitar, (6HP) harp, (6HPC) harpsichord, (6HRN) horn, (6JAZ) Jazz-various instruments, (6LUT) lute, (6OB) oboe, (6ORG) organ, (6PA) piano, (6PIC) piccolo, (6PRC) percussion, (6SAX) saxophone, (6TBA) tuba, (6TBN) trombone, (6TPT) trumpet, (6VLA) viola, (6VLN) violin, (6VCL) cello, and (6VCE) voice.

Undergraduate Applied Music

One weekly, one-hour private lesson (160-level) in the major or primary instrument (or voice) is included in the flat-rate tuition charged to all full-time Bachelor of Music degree candidates and is available for eight semesters.

Half-hour lessons (130-level) are provided for secondary instrument instruction, as described in the individual curricula. Students with a curricular requirement will have first priority for enrollment in secondary lesson studios. Other students may take secondary lessons on a space-available basis only if they have completed their piano class requirement, have the approval and signature of their advisor and the Office of the Dean of Academic Affairs, and pass the required audition.

Graduate Applied Music

One weekly, one-hour private lesson (460A-level) in the major or primary instrument (or voice).

MM PRL students should normally register for 460A (4 cr. hr.) applied lessons in their major instrument. Students must be enrolled in one-hour lessons every semester, up to and including the semester in which they give their degree recital. Students do not qualify for secondary lesson credit as part of their degree. However, if they wish to study a second instrument (half-hour lessons) for credit above and beyond the degree, they may register for 430 (1.5 cr. hr.) lessons, on a space-available basis only.

DMA PRL students should register for 460A (4 cr. hr.) applied lessons in their major instrument - 6 semesters of lessons are normally permitted; 5-6 semesters may be counted toward the degree. Students must be enrolled in one-hour lessons every semester up to and including the semester in which they give their final degree recital. DMA PRL students who have completed four consecutive semesters of applied-music study and who wish to register for anything less than 4 credit hours of applied music in a given semester must submit their request in writing to the Associate Dean of Graduate Studies, who will act in consultation with the department chair. Students are encouraged to complete/pass at least two of their recitals by the end of their second year of study. The DMA minor field may involve secondary applied music study to a maximum of 6 credit hours [three semesters of 430 (1.5 cr. hr.) lessons].

130 (I, II-2) Undergraduate Applied Music Lessons

(half-hour/week): Use to fulfill secondary instrument requirement or elective.

160 (I, II-4) Undergraduate Applied Music Lessons

(one-hour/week): Use to fulfill primary lesson requirement.

430 (I, II-1.5) Graduate Applied Music Lessons

(half-hour/week): May be used as secondary instrument elective credit or as part of a DMA minor. May not be used to fulfill major lesson requirement, except for MM Conductors who are required to take 4 credits of applied music. For students who enrolled in their current graduate degree program prior to summer 2009, these lessons carry 2 credits per semester.

430A (I, II-2) Graduate Applied Music Lessons

(half-hour/week): Half-hour lessons in your primary instrument major may be taken only with permission of the Associate Dean for Graduate Studies. For students who enrolled in their current graduate degree program prior to summer 2009, these lessons carry 2.5 credits per semester.

460 (I, II-3) Graduate Applied Music Lessons

(one-hour/week): Use to fulfill primary instrument requirement for all graduate degrees offered in Composition and for the MM in Jazz Studies & Contemporary Media. Theory, Theory Pedagogy, Musicology, and Music Education (MA and PhD) majors may use 460 for elective credit.

460A (I, II-4) Graduate Applied Music Lessons

(one-hour/week): Use to fulfill primary lesson requirement for all Performance & Literature majors, Music Education majors (MM & DMA), and for DMA students studying Jazz Studies & Contemporary Media. For students who enrolled in their current graduate degree program prior to summer 2009, these lessons carry 5 credits per semester.

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Art History

6AH 113 (I-3) History of Western Art

Survey of works of Western art in the years 1300-1950. Emphasis is placed on developing a vocabulary for the effective description and analysis of art. Other themes considered include patterns of patronage; the interrelationship of art with music, literature, technology, religion, and popular culture; and the changing dynamics of women as both subject and artist.

6AH 213 (II-3) Renaissance and Baroque Art

This course examines in greater depth the concepts introduced in AH 113, focusing on the development of Renaissance aesthetics in painting, sculpture, and architecture, and artistic responses to the Reformation and Counter-Reformation. There is a strong emphasis on understanding the historical events of the period. We explore the change in attitude towards the artist from craftsperson to creative individual, and trace the efforts of women artists to develop independent careers. Prerequisites: AH 113, HUM 101/102.

6AH 214 (II-3) Romanticism and Early Modern Art

An examination of the broad cultural context of Romanticism in literature, music, and the visual arts, and the breakdown of the traditional aesthetics of the "picture as window" in the early twentieth century. Differing approaches to art historical methodology are introduced by examining one event or work from varying viewpoints. Prerequisites: AH 113, HUM 101/102.

6AH 224 (II-3) Ideas and Images in American Architecture

An examination of American architecture from the seventeenth century to the present, considering the building as the visible manifestation of the architectural and philosophical ideas of the architect.

6AH 281, 282 (I, II-3) Topics in the Visual Arts

Topics vary from year to year, but may include Women in the Visual Arts, American Art, and The Architecture of Performance. May be repeated for credit. Prerequisite: AH 113.

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Arts Leadership

6ALC 210/ 410 (I, II-1) Entrepreneurship in Music

Topics vary by semester and may be half-semester (early or late semester) or full semester courses. All graduate students can take ALP courses for free by registering at the ALC 400 level. Graduate students in certain instances may also wish or be required to register for other than the ALC 400 level and pay regular tuition charges. For additional information on this policy and further details on whether or not a course may be used to fulfill certificate, diploma, or degree requirements, please see the ALP website at

http://www.esm.rochester.edu/iml/alp/gradpolicy.php

For a complete detailed listing of ALP courses offered for specific semesters, please see the ALP website at:

http://www.esm.rochester.edu/iml/alp/course_info.php

6ALC 220/ 420 (I, II-1) Leadership and Administration

6ALC 230/ 430 (I, II-1) Performance

6ALC 240/ 440 (I, II-1) Contemporary Orchestral Issues

6ALC 250/450 The Healthy Musician (I,II -1)

6ALC 280/ 280z Arts Leadership Internship

Open to Arts Leadership Program (ALP) certificate candidates only, the Catherine Filene Shouse Arts Leadership Program internship places ALP certificate candidates in internships designed to expose them to extra-musical tools and information that can only be learned in practical, "real world" settings. (rev. 8/1/05)

6ALC 290/ 290Z (I, II, S) Internship or Practicum

Open to matriculated students, except for freshman, who wish to pursue an internship opportunity for credit during their course of study. Students are encouraged to complete at least one semester of study at Eastman before applying for an internship. Undergraduate students are required to complete an independent study form and have it signed by the faculty advisor and by the Asst. Dean for Academic Affairs. Graduate students must complete the form and receive approval from the Assoc. Dean for Graduate Studies. The appropriate dean will determine if the number of proposed credits is consistent with the rigor of the experience. Student practicum registrations must carry at least one credit.

In their required written proposal, students should be prepared to demonstrate how the opportunity relates to their program of study or to previous course work or work experience. Students must have a faculty member advise, monitor, and evaluate the internship or project. Internship proposals must also identify a supervisor in the host organization. Some appropriate means of evaluating the internship must be arranged.

International students may register for ALC 290/490/590 as Curricular Practical Training in accordance with Immigration and Naturalization Service regulations and must obtain written approval from the International Services Office. Work must be professionally related to the student's program of study under the provision of Curricular Practical Training. ALC 290/490/590 may not be used to fulfill degree requirements.(Independent study may be used to fulfill degree requirements, but tuition charges apply.) May be repeated once. This course carries no tuition charge. Application forms are available in the Dean of Academic Affairs office and on the web.

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Chamber Music

6CHB 181/182 (I, II-1 cr. each, 2-semester course) Intro to String Quartet Seminar

Required of all first-year violin, viola and cello performance majors, this course serves as in introduction to chamber music at the Eastman School. Taught by the members of the Ying Quartet, classes consist of individual coachings, masterclasses, lectures, and demonstrations and cover a wide range of topics foundational to ensemble playing. Quartets and repertoire are assigned by the instructors and rotate by unit to cover the major stylistic periods from Haydn and Mozart through the 20th century. Each unit culminates in a public class recital.

6CHB 181/182 (I, II-1 cr. each, 2-semester course) Intro to Woodwind Quintet Seminar

Required of all first-year flute, clarinet, oboe, bassoon, and horn performance majors, this course addresses the specific technical demands of chamber music performance while providing an overview of the literature for this important ensemble. Groups and repertoire are assigned by the instructor, and ample performance opportunities are provided. Topics include developing group precision of intonation, rhythm, articulation, dynamics, and balance; rehearsal and communication techniques; how to make interpretive and stylistic decisions as an ensemble; tone production; and performance skills including stage deportment.

6CHB 232, 233 (I, II-2) Voice Repertoire-Junior & Senior

A two-semester chronological survey of the most important vocal repertoire for the recital & concert stage from Caccini to the present. In-class performance is emphasized in combination with outside listening & reading. Languages covered include Italian, English, German, & French. At the discretion of the applied teacher & the advisor, qualified students may begin CHB 232 in the sophomore year. Designed for applied majors in voice. Open to other majors by permission.

6CHB 277 (I, II-1) Baroque Chamber Music

Study and performance of the chamber music repertoire of the 17th and 18th centuries for strings, winds, harpsichord, voice and organ. The class is divided into several smaller ensembles with weekly coachings. Four specific topic classes regarding style and interpretation are also included. Performers on both modern and period instruments are welcome. Keyboard players must be able to play from figured bass; harpsichord experience is preferred. (Prerequisite for keyboard players: KBD 443 Keyboard Continuo Realization or permission of the instructor.)

6CHB 281, 282 (I, II-1 cr. each, 2-semester course) Chamber Music Performance

Chamber Music Coaching and performance of chamber music for strings, harp, piano, winds and brass. Includes Music for All performances as well as in-house public performances. May be repeated for credit. Prerequisite for pianists: ACM 201/202.

6CHB 284 (I-1) Vocal Chamber Music (undergraduate)

Introduction to basic vocal chamber repertoire. Attention given to ensemble rehearsal techniques, tuning and style. Repertoire chosen to suite voice types registered. Voice teacher's approval required for singers. Instrumentalists approved by chamber music coordinator.

6CHB 291, 292 (I, II-1 cr. each, 2-semester course) Advanced Chamber Music

Open to ensembles who have successfully completed at least one 281-282 sequence together and only by recommendation and invitation of the chamber music faculty. The course will be custom-designed for each individual ensemble and may include special performance opportunities or self-designed performance projects, cover special topics, or involve interdepartmental activities. Prerequisite: permission of instructor.

6CHB 401 (I-2) Instrumental Sonata and Duo Repertoire

Intensive study of special topics from the instrumental & piano duo repertoire, selected at the beginning of the semester by the class. Open to graduate pianists, strings, & winds. Prerequisite: permission of instructor. May be repeated for credit. Offered every other year, alternating with 6CHB 403.

6CHB 402 (I, II-2) Voice Repertoire for Pianists

An in-depth examination of specific areas of the vocal non-operatic repertoire, including such topics as Baroque style and ornamentation, twentieth-century repertoire, musical settings of a particular poet, comparative settings of the same poem(s), & neglected repertoire. The class meets concurrently with CHB 431 or CHB 432 & addresses the repertoire from the dual perspective of singer & pianist. Required of master's degree students majoring in Piano Accompanying & Chamber Music. Elective for DMA students in the Piano Accompanying & Chamber Music degree. Open to other keyboard majors with permission of the instructor. May be repeated for credit.

6CHB 403 (I-2) Piano Chamber Music Repertoire

Intensive study of chamber music repertoire in a performance class setting. The course is team-taught by 2 members of the performance faculty. Up to 8 pre-formed groups are accepted. Each of them must include a pianist, and must submit their repertoire at the time of registration. Available to pianists, strings, winds & voice. Prerequisite: permission of instructor. May be repeated for credit. Offered every other year, alternating with 6CHB 401.

6CHB 431, 432 (I, II-1) Voice Repertoire, Masters Level

A two-semester chronological survey of the most important vocal repertoire for the recital & concert stage from Caccini to the present. CHB 431 encompasses early Italian, English, French and German art song up to circa 1900. CHB 432 continues from circa 1900 on and includes French melodie and a sampling of Spanish and Russian songs. In-class performance is emphasized in combination with outside listening & reading. The class addresses the repertoire from the dual perspectives of singer & pianist. Required of master's degree students majoring in performance & literature-voice (two semesters) & in piano accompanying & chamber music (as CHB 402-I or II). Open to other majors by permission of the instructor.

6CHB 481, 482 (I, II-1 cr. each, 2-semester course) Graduate Chamber Music

Coaching & performance of chamber music for strings, piano, winds, & brass. Includes Music for All performances as well as in-house public performances. May be repeated for credit.

6CHB 483 (I,II 1) Special Projects in Chamber Music

No longer offered as of fall 2008. This information is offered for reference purposes only.

For graduate students seeking a one semester opportunity to explore one piece in depth. May be repeated for credit. Open to piano, strings, woodwinds and brass.

6CHB 484 (I-1) Vocal Chamber Music (graduate)

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Composition

6CMP 101-102 (I, II -3) Seminar and Master Class in the Composition of Twentieth-Century Music I and II

Composition class including occasional private lessons and readings of compositional studies and pieces. Enrollment is reserved for freshman composition majors; others may enroll only by permission of the individual instructor or by departmental approval.

6CMP 103-104, 201-204 (I, II, S-3) Major requirement

Composition study in private, weekly lessons. Enrollment is reserved for composition majors; others may enroll only by permission of the individual instructor or by departmental approval.

6CMP 212 (I-3) Compositional Practice circa 1925 to 1955

Offered every other year starting with the fall term of 2006. A writing and analysis course dealing with compositional trends in Europe and America from about 1925 to 1955 as demonstrated in the works of significant twentieth-century composers such as Bartok, Berg, Babbitt, Messaien, Schoenberg, Stravinsky, Varese, Webern, and others. Class participation, three compositional projects, and a final exam are required. Intended for seniors and graduate students (graduate students should register for CMP 412); others by permission of the instructor. May be taken independently from CMP 213.

6CMP 213 (II-3) Compositional Practice circa 1955 to 1980

Offered every other year starting with the spring term of 2007. A writing and analysis course dealing with compositional trends in Europe and America from about 1955 to 1980 as demonstrated in the works of significant twentieth-century composers such as Adams, Boulez, Cage, Carter, Feldman, Ligeti, Penderecki, Reich, Stockhausen, Xenakis, and others. Class participation, two compositional projects, one aural report, and a final exam are required. Intended for seniors and graduate students (graduate students should register for CMP 413); others by permission of the instructor. May be taken independently from CMP 212.

6CMP 221-224 (I, II, S-2) Composition for Non-Majors

Composition study designed for students who are not composition majors. Teaching occurs through a combination of private lessons and class meetings, as appropriate. Open for enrollment by students of all majors.

6CMP 225, 226 (I, II-3) Introduction to Computer Music Techniques

Principles of digital (and analog) recording, editing, signal processing (sound manipulation), sound analysis, multi-tracking, mixing, synchronization and mastering; sound synthesis techniques; hardware and software synthesizer and sampler design; fundamentals of MIDI; MIDI and audio sequencing; interactive MIDI performance and compositional techniques; performance interfaces; music notation software; the repertoire of computer and electronic music. Class lecture/demonstrations are supplemented by weekly labs and culminate in student projects.

6CMP 240 (I-2) Computer Engraving and Other Forms of Calligraphy

This undergraduate course is open to all students and required of all undergraduate composition majors. It will teach the standard notation guidelines (score layout, cueing of parts, dynamic and articulation placements, stem length, placement of accidentals, placement and font size for all words on the score, etc.) such that students can prepare materials ready for publication. While this course will introduce students to the various popular notation programs, it will provide in-depth instruction about one engraving program, and it will include several calligraphy projects. Graduate students should enroll in 6CMP 440.

6CMP 244 (II, S-2) Choral Arranging

Introduces students to voice types and standard choral arrangements; provides opportunity for composing and arranging for various combinations of voice, either accompanied or unaccompanied.

6CMP 250 (II-2) Basic Orchestration

Basic Orchestration, CMP 250, introduces students to the instruments of the European orchestral tradition and to the basics of orchestrating for the woodwind, brass, and string sections of the modern orchestra.
Orchestration techniques will be studied through the examination of scores from the literature as well as through the creative application of writing skills. Prerequisite: TH 102.

6CMP 251 (I-2) Intermediate Orchestration

Intermediate Orchestration, CMP 251, introduces students to advanced techniques of instrumentation and orchestration in the context of chamber music. Writing assignments and projects will be either transcriptions of existing music or newly composed work. Prerequisites: TH 102 and CMP 250.

6CMP 252 (II-2) Advanced Orchestration

Advanced Orchestration, CMP 252, gives practice in writing for groups of instruments drawn from the contemporary orchestra, wind ensemble, and other established instrumental collections. The work will culminate with writing for full orchestra. Composition will figure prominently in the projects and assignments. Prerequisite: CMP 251.

6CMP 280 (I-2) Image, Movement, Sound

This seminar-level course, offered in alternate years, is co-sponsored and administered by the Eastman Computer Music Center, the School of Film and Animation of the Rochester Institute of Technology, and the Graduate Department of Dance at SUNY Brockport.

Lecture/demonstrations held alternately at all three schools during the first six weeks of the course are designed to provide all students with a practical working knowledge of current and experimental performance and production techniques in film and video, contemporary art music, dance and related arts. Lecture topics additionally include technical and aesthetic issues involved in combinations or these artistic media, and a critical survey of selected innovative multimedia works. During the second half of the course, students work jointly and individually, under faculty advisement, on creative or research projects involving combinations of image, movement and sound.

6CMP 291-298 (I, II-1) Composition Symposium (Undergraduate)

Composition Symposium is a forum for presentations by guest composers and other speakers; there are also presentations and discussions by the students enrolled in the class. In preparation for each class meeting, students will be expected to familiarize themselves with the available work of our guest composers, to attend student composition performances that are the basis for Symposium discussions, and to prepare adequately for any special topics discussion that may be part of the schedule.

6CMP 401 (I, S-3) Advanced Composition I

Intensive work in free composition for chamber groups and orchestra. Prerequisite: CMP 204.

6CMP 402 (II, S-3) Advanced Composition II

Continuation. May terminate with a master's thesis. Composition 401 and 402 may be repeated in the second year of the master's degree program. Prerequisite: CMP 401.

6CMP 412 (I-3) Compositional Practice circa 1925 to 1955

Offered every other year starting with the fall term of 2006. A writing and analysis course dealing with compositional trends in Europe and America from about 1925 to 1955 as demonstrated in the works of significant twentieth-century composers such as Bartok, Berg, Babbitt, Messaien, Schoenberg, Stravinsky, Varese, Webern, and others. Class participation, three compositional projects, and a final exam are required. Intended for graduate students (undergraduates should register for CMP 212); others by permission of the instructor. May be taken independently from CMP 413. Required for all Composition MM and MA students.

6CMP 413 (II-3) Compositional Practices circa 1955 to 1980

Offered every other year starting with the spring term of 2007. A writing and analysis course dealing with compositional trends in Europe and America from about 1955 to 1980 as demonstrated in the works of significant twentieth-century composers such as Adams, Boulez, Cage, Carter, Feldman, Ligeti, Penderecki, Reich, Stockhausen, Xenakis, and others. Class participation, two compositional projects, one aural report, and a final exam are required. Intended for graduate students (undergraduates should register for CMP 213); others by permission of the instructor. May be taken independently from CMP 412. Required for all Composition MM and MA students.

6CMP 421, 422 (I, II, S-3) Advanced Computer Music Techniques

An intensive survey of advanced software-based techniques of digital recording, editing, synthesis, analysis and resynthesis, signal processing, mixing, spatial localization, ambience and movement, and current developments in the field. Class lecture/demonstrations are supplemented by weekly labs and culminate in student compositional projects. Pre-requisite: CMP 225-6 or equivalent.

6CMP 440 (I-2) Computer Engraving and Other Forms of Calligraphy

This graduate course is open to all students. It will teach the standard notation guidelines (score layout, cueing of parts, dynamic and articulation placements, stem length, placement of accidentals, placement and font size for all words on the score, etc.) such that students can prepare materials ready for publication. While this course will introduce students to the various popular notation programs, it will provide in-depth instruction about one engraving program, and it will include several calligraphy projects. Undergraduate students should enroll in 6CMP 240.

6CMP 491-494 (I, II-1) Composition Symposium (Graduate)

6CMP 495 (I, II, S-credit to be arranged) M.A. Thesis

For the Master of Arts degree.

6CMP 496 (I, II, S-credit to be arranged) M.M. Thesis

For the Master of Music degree.

6CMP 501, 502 (I, II, S-3) Advanced Composition

Free composition, with emphasis on works for orchestra. Limited to candidates for the doctorate in composition. These courses may be repeated for additional credit. Prerequisite: CMP 402.

6CMP 591-592 (I or II-3) Composition Research Seminar

Seminars on selected topics. Research and class discussion will focus on technical, structural, analytical and aesthetic issues salient or unique to the selected repertory under examination - the music of our own time. Permission of instructor required.

6CMP 595 (I, II, S-credit to be arranged) PhD Dissertation Project

6CMP 596 (I, II, S-credit to be arranged) DMA Dissertation Project

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Conducting

6CND 211, 212 (I, II-2) Basic Conducting

Prerequisites: TH 101, 102. Not open to freshmen. Also requires registration for CND 211 Basic Conducting Lab.

6CND 213 (I-2) Intermediate Conducting I (Instrumental)

Further refinement of basic skills. Introduction to more advanced techniques of subdividing and compound meters. Repertoire studied varies from classical through romantic repertoire. Two semester course: CND 213 Intermediate Conducting I and CND 214 Intermediate Conducting II.

6CND 214 (II-2) Intermediate Conducting II (Instrumental)

More advanced techniques, emphasis on compound meters (study of Stravinsky's l'Histoire du Soldat), and accuracy of technique and musicality. Two semester course: CND 213 Intermediate Conducting I and CND 214 Intermediate Conducting II.

6CND 215 (I-2) Advanced Conducting I (Instrumental)

Advanced Conducting is primarily for conducting majors only. A few exceptions can be made, on a case by case basis, for those with prior conducting experience who feel they may want to eventually pursue a degree in conducting. These exceptions will be considered only by audition. For the Advanced Conducting students, there will be about 4 to 5 sessions with orchestra per semester and each student will receive approximately 15 minutes of podium time per session. PLEASE NOTE: Permission of instructor required. This course is not available as an elective.

6CND 216 (II-2) Advanced Conducting II (Instrumental)

6CND 223 (I-2) Choral Conducting I

Emphasis on methods and techniques appropriate to rehearsal and performance of choral music, on reading and interpretation of choral scores, and on the development of a professional conducting approach. Prerequisites: CND 211, 212 (or equivalent) and permission of the instructor.

6CND 224 (II-2) Choral Techniques and Methods II

Study of choral/vocal techniques and methods, including breath support and control, tone quality, vowel uniformity, phrasing, score study, discipline, and organization.

6CND 229, 230 (I, II-2) Seminar in Wind Ensemble Repertory

Prerequisite: CND 211, 212. By permission.

6CND 231, 232 (I-2) Choral Literature

A comprehensive survey of choral materials suitable for church, secondary education, and college programs. CND 231 surveys repertoire and performance practice issues from the middle ages through 1750. CND 232 surveys repertoire and performance practice issues from 1750 to the present. Offered in fall semesters, alternating years between CND 231 and CND 232.

6CND 261, 262 (I, II - 2) Rehearsal Techniques I and II

Concentration on freedom of movement and manual dexterity along with development of score study habits. Class members will prepare musical works from all periods of orchestral music for in-class discussion, trial and review. Class study culminates in the leadership of the Conducting Orchestra. May be repeated for credit. (rev. 8/1/05)

6CND 264 (I, II - 1) Advanced Aural/ Keyboard Skills for Conductors

This course links with the TH aural skills courses, and is designed principally for conductors. It contains information and strengthens ear and piano skills needed in fron of an orchestra. Pre-requisites: TH 101/161, TH 102/162, TH 201/261 and TH 202/262. May be repeated for credit. (rev. 8/1/05)

6CND 415 (I-2) Advanced Conducting I (Instrumental)

6CND 416 (II-2) Advanced Conducting II (Instrumental)

6CND 423 (I-2) Choral Conducting II

Study of representative choral and choral/orchestral works of all periods. Emphasis is on the interpretation of scores and the development of refined professional conducting techniques. Prerequisites: CND 223, 224 (or equivalent) and permission of the instructor.

6CND 424 (II-2) Choral Techniques and Methods II

An extension of materials covered in CND 224, designed for the Master of Music degree in choral conducting.

6CND 441-444 (I, II-0.5) Colloquy in Conducting

Study with various members of Conducting and Ensembles Department faculty. This course provides an opportunity to work with conductors outside student's own area of expertise.

6CND 461, 462 (I, II-2) Rehearsal Techniques I and II

Contemporary performance practices (including proportional notation, aleatoric and improvisation techniques, multimedia, tape, electronic instruments); rehearsal organization, and administration. May be repeated for additional credit. Prerequisite: CND 212 or by examination.

6CND 481-484 (I, II-3) Orchestral Conducting

Focus on score study, gesture technique, and practical rehearsal procedure. Class sections will focus on orchestral repertoire, and preparing the student for regular sessions conducting the ESM Conducting Orchestra. Prerequisite: CND 216 or the equivalent.

6CND 515, 516 (I, II-3) Wind/Percussion Techniques & Repertoire

For doctoral students majoring in conducting.

6CND 523 (I-2) Choral Conducting III

For doctoral students majoring in conducting.

6CND 524 (II-2) Choral Techniques and Methods III

For doctoral students majoring in conducting.

6CND 541-544 (I, II, S-4) DMA Conducting

Private study with Conductor-Professor of Ensemble Specialty. Includes attendance at large ensemble rehearsals, section preparation, etc.; repertory study, ensemble rehearsal technique, interpretation, and advanced conducting problems.

6CND 553-554 (I, II, S-1) Colloquy in Ensemble and Repertory Development

Study with various members of Conducting and Ensembles Department faculty. Opportunity to work with conductors outside student's own area of expertise. (rev. 8/1/05)

6CND 596 (I, II, S-credit to be arranged) DMA Dissertation Project

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Eastman Initiatives Curriculum

6EIC 101 (I-1) Eastman Colloquium

Eastman Colloquium explores the sounds, meanings, and uses of music within a wide variety of contexts. Students consider ways in which imagining and experiencing music deepens their understandings of and connections to themselves as musicians, as well as to others in their communities, and to the larger social, political, and spiritual worlds we inhabit. The practical aspects of music and musical institutions are emphasized, along with philosophical, pedagogical, historical, and social underpinnings of music practiced in the broadest sense. The class format consists of weekly large group presentations by a diverse array of Eastman faculty, students, staff, and guests. Individual writing assignments focus on personal reflection as an opportunity for students to develop their own critical thinking and writing skills. Required of all freshmen; transfer students are expected to take this course unless they have had a similar experience in previous collegiate study.

6EIC 251, 252 (I, II--3) Senior Project for BM/MUA

The senior project is the final culmination of BM MUA study. As such, it must be a substantial and original contribution that is assumed to integrate the experience and education of the student. Students are required to present their findings in a public forum. The supervisory committee requires that all seniors present their projects in a advertised yearly one-day colloquium, to which Eastman students and faculty as well as the general public would be invited. A student will normally conceive of the senior project as emanating from the experience gained in the Concentration (that is, the project would be a hands-on application) or, with the approval of the supervisory committee, the project may be an exploration of another of the student's interests.

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English

6ENG 115 (I-1) English Diction

The sounds and phonation of English. Use of the International Phonetic Alphabet. Particular attention to the problems of singing intelligibly in English.

6ENG 118 (I-3) Creative Writing

Introduction to the creative writing process, with emphasis on poetry or short stories. Includes reading and discussion of student work.

6ENG 142 (I, II-3) Lyric Poetry

Historical survey of the lyric with particular emphasis on contemporary poetry.

6ENG 176 (II-3) The Short Story

Development of the short story through its Russian and American origins. Authors studied include Gogol, Turgenev, Poe, Hawthorne, Chekhov, Maupassant, Joyce, O'Connor, Hemingway, and others.

6ENG 209 (I, II-3) The Elizabethan Shakespeare

A survey of plays and poetry from the first half of Shakespeare's career, concentrating on the comedies and history plays. In addition to making students familiar and comfortable with the language and characters of Shakespeare's plays, this course aims to familiarize students with various historical materials as well. Contexts for the plays that are discussed include the nature and structure of Elizabethan theatres, the history of the English theatre, Elizabethan festivals, staging practices and the use of music in Renaissance playhouses, the composition of Shakespeare's audiences, attacks on and defenses of plays and play-going, political controversies in Elizabethan England alluded to by the plays, and transformations in social institutions like marriage and the family in Renaissance England.

6ENG 210 (I, II-3) The Jacobean Shakespeare

A survey of plays from the second half of Shakespeare's career, concentrating on the tragedies and romances. In addition to making students comfortable with the language and characters of Shakespeare's plays, this course aims to familiarize students with various historical materials as well. Contexts for the plays discussed include the nature and structure of the Jacobean theatres, the court masque, public vs. private theatres, shifts in the tone and subject matter of plays between the Elizabethan and Jacobean periods, King James as a patron of the theatre, the ideology of kingship under King James, political controversies in Jacobean England alluded to by the plays, and Shakespeare and the origins of the English revolution.

6ENG 222 (II-3) Writing About Music

Writing about music for newspaper and periodical publications. Music criticism, record reviews, and feature articles are studied and discussed. Students prepare articles for evaluation and possible publication. Guest instructors present lectures on special topics.

6ENG 230 (I, II-3) Musicians in Literature

We examine diverse representations of musicians in literature from the Renaissance to the Harlem Renaissance and beyond. The course is driven by the following large questions. How have music's and the musician's place in western culture changed from the Renaissance to the present? How have the relations between music and the other arts shifted over the same period? We read poetry and fiction in which music and musicians figure centrally, supplemented by essays on the social history of music.

6ENG 253 (I-3) Contemporary Literature

Introduction to twentieth-century literature, concentrating on British, European, American, women's literature, black writers, science fiction, or Third World literature.

6ENG 254 (I, II-3) Contemporary American Theater

A survey of American theater and performance of the late twentieth century. Emphasis is placed on how different identities within American society (gendered, racial, and sexual identity) are represented on the stage.

6ENG 260 (I, II-3) Virginia Woolf

A study of major fiction and selected nonfiction by one of the world's great modern writers and social thinkers. Emphasis is placed on understanding her writings in relation to her life and the social, economic, and political developments of her time, especially the two World Wars. Cross-listed as WST 260.

6ENG 262 (I, II-3) Voices of Women Artists

An exploration of challenges faced by women musicians, visual artists, dancers, and writers in the nineteenth and twentieth centuries, and the creative solutions employed by women in the fine arts to these challenges. All of our readings are autobiographical, and therefore we focus on how women choose to articulate their lives as artists. Cross-listed as WST 262.

6ENG 270 (I, II-3) James Joyce

An intensive study of three of Joyce's major works of narrative fiction - Dubliners, A Portrait of the Artist As a Young Man, and Ulysses - as well as some of his poetry, critical writings, and letters. We also seek to situate the works in various historical contexts that shed light on Joyce's fiction, including the rise of modernism, Irish nationalism, Anglo-Irish relations, English colonialism, Joyce's musical background and its relation to his fiction, and Joyce's life.

6ENG 281, 282 (I, II-3) Topics in World Literature

Topics vary from year to year. Recent topics focus on authors, periods, genre or themes such as drama, Romantic literature, or musicians in literature. May be repeated for credit.

6ENG 284 (I-3) The Novel

The novel from the beginnings through the nineteenth century. Works studied include those of Defoe, Richardson, Fielding, Sterne, and Austen.

6ENG 285 (II-3) The Modern Novel

The novel in the twentieth century. Works covered include those of Hardy, Lawrence, Gide, Camus, and Kazantzakis.

6ENG 481, 482 (I,II-3) Topics in World Literaure

Cross-listed with 6ENG 281,282. This graduate-level registration is offered as needed. Please see description for
ENG 281, 282.

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English as a Second Language

6ESL 101 (I -3) English Language Review I

In this course, students will review the core structures of English in natural, real-life contexts such as magazine articles, short stories and videotaped conversations. Topics concern academic culture in the United States. Students begin to develop a portfolio of materials to demonstrate their ability to succeed at academic work at Eastman in English. Instructor permission required.(6/23/05)

6ESL 101A (I -3) Graduate English Language Review I

For graduate students only. Students are billed for 1.5 credits, but recieve 3 credit hours.

In this course, students will review the core structures of English in natural, real-life contexts such as magazine articles, short stories and videotaped conversations. Topics concern academic culture in the United States. Students begin to develop a portfolio of materials to demonstrate their ability to succeed at academic work at Eastman in English. Instructor permission required.(6/23/05)

6ESL 102 (II-3) English Language Review II

Building upon English Language Review I, this course introduces more advanced level grammatical structures in real-life contexts. Students exit the course with a portfolio of written assignments, a videotaped presentation and a group project. Students may use this portfolio as evidence of their ability to handle rigorous academic work in English. Instructor permission required.(6/23/05)

6ESL 102A (II-3) Graduate English Language Review II

For graduate students only. Students are billed for 1.5 credits, but recieve 3 credit hours.

Building upon English Language Review I, this course introduces more advanced level grammatical structures in real-life contexts. Students exit the course with a portfolio of written assignments, a videotaped presentation and a group project. Students may use this portfolio as evidence of their ability to handle rigorous academic work in English. Instructor permission required.(6/23/05)

6ESL 103 (I-3) ESL for Academic Studies I

This course prepares undergraduate ESL students for reading longer texts and writing critical responses in English. The course introduces the writing process, from composing essays to revising and editing in English. Students develop skills in critical inquiry and increase their vocabulary through texts exploring themes in American culture. Instructor permission required. (6/23/05)

6ESL 104 (II-3) ESL for Academic Studies II

Building upon ESL for Academic Studies I, this course prepares ESL students for their academic work at Eastman. Students practice skills of annotation and summary writing. In longer written assignments, students practice appropriate citation of sources. In focused discussion groups, students practice rhetorical strategies to communicate ideas effectively. Instructor permission required. (6/23/05)

6ESL 105 (I-3) Communication Strategies for ESL Graduate Musicians I

This course prepares graduate ESL students for academic study in English. In the first semester of the course sequence, students increase their confidence to communicate effectively. Students gain familiarity with American speech patterns through listening and speaking tasks. Exploring American cultural themes, students increase vocabulary and knowledge of idioms. Instructor permission required. (6/23/05)

6ESL 106 (II-3) Communication Strategies for ESL Graduate Musicians II

This second part of the course sequence prepares graduate ESL students to handle the demands of reading and writing in the English-speaking academic environment. Working with authentic readings, students practice problem solving strategies for successful comprehension. Responding to readings, students practice each stage of the writing process, from planning and drafting, to revising and editing work. Instructor permission required. (6/23/05)

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Ensemble

6ENS 100 (I, II-2) Large Ensemble

Instrumental ensemble for freshmen and sophomores.

6ENS 120 (I, II-2) Chorale

6ENS 120A (I, II-1) Repertory Singers

6ENS 120B (I, II-1) Eastman Rochester Chorus

6ENS 120C (I, II-1) Women's Chorus

6ENS 200 (I, II-2) Advanced Large Ensemble

Instrumental ensemble for juniors and seniors.

6ENS 207, 208 (I, II-1) Collegium Musicum

Vocal and instrumental ensemble specializing in the performance of Renaissance and Baroque music on period instruments. May be repeated for credit. By audition. (Prerequisite for keyboard players: KBD 443 Keyboard Continuo Realization or permission of the instructor.)

6ENS 215 (I, II-1) Gamelan or Other Ensemble

The Eastman Gamelan (angklung) performs traditional ceremonial music and new-style music (keybar) from Bali as well as new compositions for gamelan. Students studying another world music instrument or participating in another, non-Eastman world music ensemble may receive credit for this instruction on a case-by-case basis. May be repeated for credit.

6ENS 216 (I, II-1) Mbira Ensemble

May be repeated for credit.

6ENS 242 (I, II-1) Trombone Choir

Preparation and performance of trombone ensemble music of various styles. Prerequisite: permission of instructor.

6ENS 243 (I, II-1) Tuba Mirum

Preparation and performance of all types of tuba ensemble repertory, especially works for tuba ensemble plus a small number of other instruments.

6ENS 244 (I, II-1) Brass Guild

The Brass Guild is composed of juniors, seniors, and graduate students selected by audition. This ensemble provides consistent, weekly rehearsals of brass and orchestral repertoire together with the study of brass orchestral techniques and performances of brass repertoire. Prerequisite: permission of instructor.

6ENS 245 (I, II-1) Horn Choir

Preparation and performance of various types and styles of horn ensemble repertory from quartets to octets for 4-24 performers. Prerequisite: concurrent enrollment in HRN 160/460 or permission of instructor.

6ENS 251, 252 (I, II-2) Orchestral Repertory

An in-depth survey of the standard repertory, particularly directed at preparing students for orchestral auditions and careers. May be repeated once for credit provided different repertory is covered.

6ENS 260 (I, II-1) Chamber Music (Percussion)

Performance of music for percussion ensemble.

6ENS 400 (I, II-1) Graduate Ensemble

Instrumental ensemble for graduate students.

6ENS 401 (I, II-0) Graduate Ensemble

Same as 6ENS 400, but for no credit and no charge. For MM PRL instrumental students who wish to participate in large ensembles, but do not need credit. Requires permission of the instructor. (rev 6/04/07)

6ENS 420 (I, II-2) Graduate Chorale

6ENS 420A (I, II-1) Graduate Repertory Singers

6ENS 420B (I, II-1) Graduate Eastman Rochester Chorus

6ENS 420C (I, II-1) Graduate Women's Chorus

6ENS 421 (I, II-0) Graduate Chorale

Same as 6ENS 420, but for no credit and no charge. For MM PRL voice students who need 2 semesters of vocal ensemble, but not the credit.

6ENS 421A (I, II-1) Graduate Repertory Singers

Same as 6ENS 420A, but for no credit and no charge. For MM PRL voice students who need 2 semesters of vocal ensemble, but not the credit.

6ENS 421B (I, II-1) Graduate Eastman Rochester Chorus

Same as 6ENS 420B, but for no credit and no charge. For MM PRL voice students who need 2 semesters of vocal ensemble, but not the credit.

6ENS 421C (I, II-1) Graduate Women's Chorus

Same as 6ENS 420C, but for no credit and no charge. For MM PRL voice students who need 2 semesters of vocal ensemble, but not the credit.

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Ethnomusicology

6ETH 281, 282 (I, II-3) Topics Ethnomusicology

6ETH 480 (II-3) Approaches to Ethnography

6ETH 485 (II-4) Fieldwork: Research and Analysis

In this seminar, we will focus on the practice of analyzing and interpreting fieldwork. Readings and discussions will relate directly to the students' field projects and will help them to strengthen their research skills and to cultivate the knowledge necessary to offer an informed and intellectually sophisticated interpretation of their field materials.

6ETH 495 (I, II, S-credit to be arranged) M.A. Thesis

Students will design and implement a semester-long fieldwork project carried out in the Rochester area, or another area of the student's choice. The project will result in a substantial paper and oral presentation. Projects will be monitored by the department faculty.

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Film Studies

6FS 151 (I, II-3) Cinema and Society: An Introduction to Hollywood Film

Study of American film from the silent era to the present. Students learn basic terms of film criticism and study how social, economic, and political factors have driven the development of film as a popular art form. Topics include the early history of movie culture, the development and collapse of the studio system, the production code, the advent of color and sound, the communist witch-hunt by HUAC, the competition with television, and the rise of independent cinema.

6FS 152 (I, II-3) European Cinema

An examination of the wide array of styles and movements in Western European cinema. We study individual films and directors in the contexts of broader artistic movements such as impressionism, expressionism, and surrealism, and the historical events that influenced them. The course begins with a review of key terms and concepts in film studies.

6FS 281, 282 (I, II-3) Topics in Film Studies

Topics such as Silent Film, Film Noir, The French New Wave, The Films of Alfred Hitchcock, and Race and Gender in Film vary from year to year. May be repeated for credit. Prerequisite: FS 151 or 152.

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French

6FR 101 (I-4) Elementary French

Introduction to French language, emphasizing proficiency in all four linguistic skills: speaking, listening comprehension, reading, and writing.

6FR 101G, 102G (I, II-1) Graduate Elementary French Review

Same courses as above. Graduate students may take for one credit.

6FR 102 (II-4) Elementary French

A continuation of FR 101, with a broadening of vocabulary resources, and a continued emphasis on speaking, listening comprehension, reading, and writing.

6FR 102V (II-4) Elementary French for Vocalists

French 102V offers an analytic approach to language designed for voice majors with an emphasis on phonetics and lyric diction, grammar for reading knowledge, and familiarity with the texts of the repertoire. Students learn to understand and analyze a text and to express it accurately, meaningfully, and convincingly. (rev. 6/21/05)

6FR 111 (I-3) Intermediate French I

Review and refinement of grammatical structure. Emphasis on both written and spoken communication. Students read and discuss short literary texts. Prerequisite 102 or equivalent.

6FR 111G, 112G (I, II-1) Graduate Intermediate French Review

Same courses as above. Graduate students may take for one credit.

6FR 112 (II-3) Intermediate French II

A continuation of FR 111. An advanced review of grammar. Emphasis on broadening vocabulary and increasing fluency. Students also read short literary texts and write short papers in French. Prerequisite FR 102 or equivalent.

6FR 201 (I-3) Advanced French

Intensive work on spoken French, with additional emphasis on written expression. Students will analyze and discuss a wide range of French cultural production, including cinema, theater, visual arts, and literary texts. Prerequisites: FR 112 or equivalent and permission of instructor.

6FR 211, 212 (I, II-3) Survey of French Literature

Reading and discussion of French literary texts of a selected period, movement, or genre. Additional emphasis on developing a broad critical vocabulary in discussion and on perfecting written expression in short papers. All coursework done in French. Prerequisites: FR 201 or equivalent or permission of the instructor. May be repeated for credit.

6FR 222 (I, II-3) The French and Francophone World

What does it mean to be French? How has the French-speaking world developed and changed over the last three centuries? What issues, movements, and problems currently preoccupy French politics and culture? This course examines in depth an aspect of French or Francophone culture. Topics may include the 1960s in France; Caribbean Francophone literature and culture; Modern French thought. This course is offered either in French or English. Prerequisite: FR 112 (only if offered in French).

6FR 231 (I, II-3) French Literature of the Repertory (in translation)

A survey of French literature that has inspired songs, opera, or orchestral music. Emphasis on the historical and literary movements that produced these texts.

6FR 281, 282 (I, II-3) Topics in French Literature

Topics vary from year to year. Recent offerings include Representing the French Revolution and Incarnations: The Body in French Literature. May be repeated for credit.

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Freshman Writing Seminar

6FWS 121 (I-3) Freshman Writing Seminar

FWS 121 introduces entering Eastman students to college-level inquiry by focusing on critical thinking and academic writing. Students will develop, test, and refine their analytical and argumentative skills by means of discussion, debate, response papers, and three essays of 5-7 pages. No matter which section you take, this course will help you learn to frame compelling questions, integrate various kinds of sources, and set forth complex ideas in clear, concise, and lively prose. Each fall several sections are offered on different literary, historical, political scientific, and art historical topics. Please check the descriptions for individual course sections in fall course catalog. (rev. 7/17/09)

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German

6GER 101 (I-4) Elementary German

Introduction to the language, emphasizing proficiency in all four linguistic skills: reading, writing, speaking, and comprehension.

6GER 101G, 102G (I, II-1) Graduate Elementary German Review

Same courses as above. Graduate students may take for one credit.

6GER 102 (II-4) Elementary German

A continuation of GER 101, with continued emphasis on proficiency in all four linguistic skills: reading, writing, speaking, and comprehension.

6GER 102V (II-4) Elementary German for Vocalists

German 102V offers an analytic approach to language designed for voice majors with an emphasis on phonetics and lyric diction, grammar for reading knowledge, and familiarity with the texts of the repertoire. Students learn to understand and analyze a text and to express it accurately, meaningfully, and convincingly. (rev. 6/21/05)

6GER 111, 112 (I, II-3) Intermediate German

Training in the structure of modern German on an intermediate level through reading of selected representative works of nineteenth- and twentieth-century authors (with emphasis on modern authors) and readings which deal with various aspects of German culture. Prerequisite: GER 102 or equivalent.

6GER 111G, 112G (I, II-1) Graduate Intermediate German Review

Same courses as above. Graduate students may take for one credit.

6GER 202 (I, II-3) Culture and Politics in Modern Germany

This course offers an introduction to twentieth-century German history, and investigates current events that have become important in the formation of the New "unified" Germany. It focuses on some of the pivotal issues affecting Germany since the fall of the wall, including the effort to consolidate a new national identity in the face of radical social upheaval. As a class, we attempt to establish a picture of other challenges facing Germany including the formation of a multicultural society, environmental concerns, and Germany's role in the European Community. The class is taught in English with readings in English. German credit is available for students who do readings in German and meet for extra German-language sessions with the instructor.

6GER 203 (I, II-3) Introduction to the Reading and Interpretation of German Literature

This seminar introduces selected German literary texts to students who are reading German literature in German for the first time. It also serves as an introduction to different methodologies developed by literary critics for reading texts. Beginning with an examination of our own relationships to texts as readers, we investigate how meaning is created, studying how reading is influenced by historical context and interpretive stance. We investigate such approaches to interpretation as socio-historical criticism, literary history, structuralism, and feminist criticism exploring them as possible ways to enhance our understanding of texts.

6GER 220 (I, II-3) German Women Writers

An introduction to the multifaceted culture of women's literature written in Germany from about 1700 to the present. In a seminar setting, students explore a wide range of writing by women, including fairy tales, autobiography and autobiographical fiction, letters, short stories, and novels in the context of social, political, and historical developments. Cross-listed as WST 220.

6GER 281, 282 (I, II) Topics in German Literature

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Guitar

6GTC 201 (I-2) History and Literature of Guitar I

A course which examines the literature of guitar-related instruments of the Renaissance and Baroque periods, including the vihuela, four-course guitar, Baroque guitar, Baroque lute, and theorbo. Notation conventions (with an emphasis on Renaissance and Baroque tablature and figured-bass realization) are studied, as well as documented performance practices. Students also acquire techniques for researching original sources.

6GTC 202 (II-2) History and Literature of Guitar II

A continuation of the preceding semester, this is a course which examines the solo, chamber, and concerto literature for the guitar across the classical, romantic, and twentieth-century style periods. The development of the instrument is discussed, along with developments in notation and guitar techniques as well as research methods.

6GTC 210 (II-2) Guitar Pedagogy

A course designed to examine the historic and contemporary materials and techniques available for effectively teaching the guitar to students at all levels. The course surveys a wide range of method and studies, and examines the effectiveness of various pedagogical approaches to technique and interpretive analysis. The history of guitar pedagogy is also studied.

6GTC 220 (I-2) Fretboard Harmony

A course designed to develop a full knowledge of the fretboard through the study of fingerings, harmony, sight reading, score reading, transposition, and figured-bass.

6GTC 401, 402 (I, II-2) Seminar in Guitar Studies

Examination and integration of guitar literature, fretboard harmony, guitar pedagogy, and research techniques. Students research the instruments, styles, notation systems, composers, and repertory of the guitar. Professional activities are also addressed. Required of all guitarists in the MM PRL program.

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History

6HIS 151, 152 (I, II-3) Twentieth-Century Europe

A survey of the major political, diplomatic, and socio-economic developments in Europe from about 1890 to the present.

6HIS 201, 202 (I, II-3) European Intellectual History

The principal intellectual currents that have characterized Western Europe from antiquity to the present.

6HIS 210 (I, II-3) Constructing Utopias

This course considers the history of real and imagined utopian communities from medieval monasteries through contemporary science fiction. Sometimes utopian communities succeed, providing interesting case studies in the effects of social planning. Even when they don't succeed, their design and discussion represents an important form of social criticism. Studying their history provides a window into the political, economic, and social development of Europe and the United States from the Middle Ages and the Renaissance to the present day. Cross-listed as WST 210.

6HIS 213, 214 (I, II-3) American Intellectual History

6HIS 220 (I, II-3) Comparative Revolutions

What makes a revolution? Why does it start? How does it end? What difference does it make? This course answers these questions by comparing three great revolutionary periods: the American Revolution through the Civil War, the French Revolution through the Revolutions of 1848, and the Russian Revolution through the present.

6HIS 222 (I, II-3) Modern France

Alternately friends and rivals, modern France and the United States have had a complicated relationship ever since both nations were born in revolution at the end of the eighteenth century. This course will seek to understand France on its own terms by considering a series of formative events such as the Revolution of 1848, the Franco-Prussian War and the Paris Commune, the Dreyfus Affair and the birth of the intellectual, the very different experiences of World Wars I and II, the post-colonial conflicts in Algeria and Vietman, the near-revolution of May 1968, and contemporary agruments over French foreign and domestic policy.

6HIS 230 (I, II-3) Men, Women, and War in the Twentieth Century

An exploration of major historical changes of the twentieth century by focusing on the social impact of modern war, especially World Wars I and II. Topics include the crisis of liberalism, the rise of fascism, the horror of the Holocaust, occupation and resistance, comparisons of military and civilian experience, pacifist politics, women in the military, the birth of psychoanalysis, the spread of modernist art and culture, the rise of the welfare state, and contemporary international affairs. Cross-listed as WST 230.

6HIS 250 (I, II-3) Conflicts in Feminism

People often think of feminism as a relatively recent phenomenon, but in fact arguments for sexual equality have existed since at least the eighteenth century. This course studies the history and theory of different kinds of feminism by considering a series of "conflicts in feminism": historic moments when feminists have disagreed over how to address given social situations. Topics will be drawn from the experience of women and men in Europe and the United States from the eighteenth century through the present. Cross-listed as WST 250.

6HIS 270 (I, II-3) Topics in Social Thought

This course offers students the chance to concentrate on the work of one or two important social theorists. We consider these thinkers in their intellectual, social, and political context. While using these thinkers as a window into the issues of their own time, we also consider what implications their ideas might have for us today. Selected figures include Jean-Paul Sartre, Simone de Beauvoir, Karl Marx, and Sigmund Freud.

6HIS 281, 282 (I, II-3) Topics in History

Topics vary from year to year. Recent topics have include American expatriates in Paris, feminist texts, existentialist philosophy and politics, Enlightenment thought, and the French revolution in history, literature and popular culture. May be repeated for credit.

6HIS 481, 482 (I, II-3) Topics in History

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Humanities

6HUM 101, 102 (I, II-3) Western Cultural Tradition

HUM 101 and 102 are no longer offered as of fall 2006. This description is provided for reference purposes only.
This one-year sequence combines two projects: (1) the exploration and analysis of important problems in the history, philosophy, literature, religion, and science of the Western cultural tradition, and (2) training in expository writing. Each section will read a series of original texts to analyze them in the light of modern creative adaptations and critical commentaries. Each student will complete a series of writing assignments totaling at least 5,000 words each semester. The first semester considers the ancient, medieval, and Renaissance worlds; the second moves from the early modern period to the present. Within these guidelines, each instructor organizes the course to focus on different writers, to emphasize different themes, to stress different methods of analysis, and to teach writing skills in different ways. All students are required to take this sequence, unless the Chair of the Humanities Department specifically exempts them. To satisfy this requirement, students are encouraged to register for sections whose concerns match their own interests. May not be repeated for credit.

6HUM 111, 112 (I, II-3) Foundations of Twentieth-Century Culture

Introduction to the main themes in contemporary culture with emphasis on the sources of novelty and experiment and on the quest for a new tradition. Prerequisite: HUM 101-102 or equivalent.

6HUM 281, 282; 481, 482 (I, II-3) Topics in Humanities

These courses tend to be broadly interdisciplinary. Topics vary from year to year. Recent offerings include The Literature of Leadership, Autobiography, Faust in Music and Literature, and Weimar Culture.

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Independent Study

290, 490, 590 (I, II, S-credit to be arranged) Independent Study

Student may seek approval to undertake a research or performance project for academic credit on an "independent study" basis. All such projects are similar in that they cannot be completed by the student as part of an existing class but can be completed by the student working on an independent basis with guidance from a faculty advisor.

Permission to undertake an independent study project is a privilege granted to students who have demonstrated their ability to work with little supervision. The student wishing to undertake the project must develop a written proposal and secure approval of the proposal by the potential faculty advisor of the project. The proposal should be two or three pages long and, in developing it, the student may wish to consult with the potential faculty advisor about what it should contain (a bibliography, for example).

Undergraduate students are required to complete an independent study course proposal form and have it signed by the faculty advisor and by the Asst. Dean for Academic Affairs. Graduate students must complete the form and receive approval from the Assoc. Dean for Graduate Studies. The appropriate Dean will determine if the number of credits associated with the independent study proposal is consistent with the rigor of the course. The project normally results in a paper or performance by the student. The actual registration would be under the appropriate subject heading (ENG, HUM, TH) and numbered 290 (undergraduate), 490 (masters), AND 590 (doctoral). Normal tuition charges apply to independent studies.
An Independent study is different from an internship or practicum. For practicum & internship information see course description for Arts Leadership 6ALC 290/290Z.

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Italian

6IT 101 (I-4) Elementary Italian

Introduction to the language, emphasizing proficiency in all four linguistic skills: reading, writing, speaking, and comprehension.

6IT 101G, 102G (I, II-1) Graduate Elementary Italian Review

Same courses as above. Graduate students may take for one credit.

6IT 102 (II-4) Elementary Italian

A continuation of IT 101, with continued emphasis on proficiency in all four linguistic skills: reading, writing, speaking, and comprehension.

6IT 102V (II-4) Elementary Italian for Vocalists

Italian 102V offers an analytic approach to language designed for voice majors with an emphasis on phonetics and lyric diction, grammar for reading knowledge, and familiarity with the texts of the repertoire. Students learn to understand and analyze a text and to express it accurately, meaningfully, and convincingly. (rev. 6/21/05)

6IT 113, 114 (I, II-2) Conversational Italian

Prerequisite: IT 102 or equivalent.

6IT 113G, 114G (I, II-1) Graduate Conversational Italian

Prerequisite IT 102 or equivalent.

6IT 241, 242 (I, II-2) Studies in Italian Libretto

This course is offered on two levels: (1) for students who have completed at least one year of college Italian, 101-102, 111, 112, or its equivalent, and wish to study librettos in the original language, and (2) for more advanced students of Italian who wish to continue their study of Italian literature or work on special investigations in Italian. May be repeated for additional credit.

6IT 241G, 242G (I, II-2) Studies in the Italian Libretto

Prerequisite IT 102 or equivalent. Same courses as above.

6IT 281, 282 (I, II-3) Topics in Italian Literature

Topics vary. The most recent offering, Italian Reincarnations, studied how Italian sources were adapted by writers and composers from other cultures. May be repeated for credit.

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Jazz Studies

6JCM 119 (I-1.5) Basic Jazz Theory and Aural Skills

Required for undergraduate jazz students in the first semester of the freshman year. Offered as a remedial course for graduate jazz students, who upon entrance, are found to be deficient in jazz theory and aural skills.

6JCM 151, 152 (I, II-1) Jazz Performance Workshop for Non-Majors

Combines the study of improvisation, theory, aural training and small group performance. Offered for non-majors from both Eastman and River Campus. This course may count as a chamber music credit, or for the WBP practical creative elective, only with permission of the students' department chair.

6JCM 200 (I, II-1) Large Jazz Ensemble

Jazz Ensemble, New Jazz Ensemble, Jazz Lab Band, and Jazz Workshop. A multifaceted collection of jazz "big band" experiences that incorporate the study and presentation of jazz from historically significant repertory to new works composed by Eastman student writers. Ensembles accompany renowned jazz soloists, showcase the music of the finest jazz composers and arrangers, and present educational events for audiences across the country. Seating is determined by auditions in the fall. The 70-piece Studio Orchestra (combining Jazz Ensemble and Philharmonia/ESSO for three weeks annually) is periodically organized by assignment; no pre-enrollment is required.

6JCM 201, 202 (I, II-2) Jazz Theory/Improvisation for Non-Jazz Majors

Exploring both abstract elements and essential functions of improvisation, this course stresses jazz rudiments of chord and scale spellings, chord/scale/mode relationships, jazz nomenclature, basic forms, chord substitution, and chord voicing. Emphasis upon aural training, vocalization, and transcription of recorded jazz solos. Blues structures, modal compositions, and tunes with simple progressions are emphasized in class performance.

6JCM 203 (I-1) Basic Jazz Bass

Fundamental techniques for beginners. Focuses on pedagogical skills for future teachers, jazz students majoring on instruments other than bass, and composition/arranging students. Prerequisite: JCM major or permission of instructor.

6JCM 204 (II-1) Basic Jazz Drumset

Fundamental techniques for beginners. Focuses on pedagogical skills for future teachers, jazz students majoring on instruments other than drums, and composition/arranging students. Prerequisite: JCM major or permission of instructor.

6JCM 205, 206 (I, II-1) Functional Jazz Piano

A keyboard methods course designed to equip each student with practical basic jazz piano skills sufficient for accompaniment, composing/arranging, and continued study of jazz harmony. Emphasis on basic jazz harmonic formulas, voice leading, scales and modally derived harmonies used in jazz, and two-hand homophonic jazz piano style (right-hand melody, left-hand accompaniment). Lead sheet sight-reading is stressed, in addition to tactile and visual familiarity with the keyboard. Prerequisite for non-JCM majors: JCM 201, 202 or permission of instructor. No prerequisite for JCM majors.

6JCM 207 (I-1) Woodwind Doubling (Flute)

Group instruction in basic technique for flute. Required for undergraduate JCM saxophone performance majors.

6JCM 208 (II-2) Woodwind Doubling (Clarinet)

Group instruction in basic technique for clarinet. Required for undergraduate JCM saxophone performance majors.

6JCM 209, 210 (I, II-1) Jazz Mallet Performance

A performance oriented class where students learn by performing for each other and as a mallet ensemble with one player playing bass lines, one player playing chords, one player playing melody/solos and one player playing time on hi-hat. Once students are comfortable in that setting, they change chairs, creating a "musical chairs" setting, such that each student learns to play all parts of the concept being studied. The repertory will consist of blues, standards, modal tunes, and rhythm changes forms. Students will achieve a basic competency in jazz improvisation in this class. Students will understand and be able to create different texture types: monophonic, homophonic, accompanied bass lines, accompanied melody as well as polyphonic textures which are all part of being a capable jazz mallet performer. Students will also be exposed to special vibraphone techniques: proper use of the sustain pedal, after pedaling, mallet dampening, playing on ends of bars, and special sticking considerations. This class is designed for classical and JCM percussion majors at the Eastman School of Music. Other students with considerable mallet experience may also join the class with permission of the instructor. A desire to practice improvisation daily and to listen to jazz is required.

6JCM 211-214 (I,II-3) Jazz Composition

Studio Lessons in jazz composition and arranging for undergraduate JCM writing skills majors.

6JCM 218 (I-2) Jazz Pedagogy

Basic rehearsal techniques for the development of large and small jazz ensembles. Survey of pedagogical concepts, performance practice, and performance repertory for big bands and small groups. Teaching skills pertaining to improvisation, theory, and aural training from beginning to advanced levels. Hands-on teaching experience and ensemble coaching are essential components in the course. Prerequisite: JCM major or permission of Jazz Studies chair.

6JCM 223 (I-2) Jazz Composition and Arranging I

Basic techniques of tune writing are presented and explored in relation to the work of specific jazz composers whose works are rooted in the creative use of tonal harmonic relationships. Students compose original tunes using the musical vocabulary and techniques utilized by specific composers. Prerequisite: for non-JCM majors, JCM 201, 202 or permission of the instructor.

6JCM 224 (II-2) Jazz Composition and Arranging II

Basic techniques of writing for small jazz groups are presented and explored in relation to instrumental combinations of two to five wind and brass instruments with rhythm section. Homophonic and contrapuntal textures as well as melody harmonization techniques are studied in relation to a variety of harmonic styles. Students arrange a standard or an original theme. Prerequisite: JCM 223.

6JCM 225 (I-2) Jazz Composition and Arranging III

Basic techniques of writing for standard jazz ensemble instrumentation are presented and explored. Traditional approaches to orchestration, harmony, thematic development and form are emphasized, as exemplified in jazz writers such as Neal Hefti, Ernie Wilkins, Frank Foster, Sammy Nestico and Duke Ellington. Students arrange a standard from the jazz repertoire. Prerequisite: JCM 224.

6JCM 226 (II-2) Jazz Composition and Arranging IV

Contemporary writing approaches for large ensembles are presented and explored, including the use of woodwind doubling in the saxophone section and the addition of horns and extra percussion instruments. The work of writers such as Gil Evans, Bill Holman, Thad Jones, Bob Brookmeyer, Clare Fischer and George Russell are emphasized, and non-jazz rhythmic idioms such as those of Brazilian and Afro-Cuban music are also included. Students arrange a standard or an original theme. Prerequisite: JCM 225.

6JCM 230 (I, II-1) Jazz Styles & Analysis

This course is required of all undergraduate jazz and contemporary media (JCM) majors in piano, bass, trumpet, saxophone, and trombone in any semester in which their applied lessons are in a classical studio. The purpose of this course is to better prepare these students for improvising in jazz ensembles, auditions, and juries. The class is normally taken for four semesters by freshmen and sophomores but can also be taken additional times as an elective per discretion of the instructor.
The course covers the major historic stylists as well as other important soloists on the particular instrument. Class activities emphasize analysis and performances of transcribed solos, with listening assignments as well as class listening to a wide variety of jazz soloists in various stylistic and historic contexts. During the spring semester priority is given to JCM jury preparation for freshman and sophomore students not studying in jazz studios. (updated 6/20/08)

6JCM 233, 234 (I,II-2) Film Scoring I, II

Focuses on such topics as understanding visual drama, synchronization of music to picture, the use of technology in the current industry, and the importance of film music history. Students will compose music to several projects, a process that includes creating mock-ups in specially fitted workstations as well as orchestrating and conducting their own music in recording sessions.

6JCM 241 (II-3) Jazz History and Analysis

Development of compositional and improvisational styles in jazz from 1900 to the present. All periods in the development of jazz are examined. Evolution of specific instrumental styles is also emphasized. Prerequisites: TH 101, 102, 111, and ENS 100 or permission of the instructor.

6JCM 251, 252 (I, II-2) Jazz Performance Workshop (Undergraduate)

This course combines a thorough study of improvisation, jazz theory, aural training, and small group performance practice in six classroom environments built around small ensembles. Resulting chamber ensembles perform throughout the year in Jazz Forums, and other school and public venues. Participation in this course is limited to JCM majors. (Eight semesters required for BM JCM degrees.)

6JCM 261 (II-1) Entrepreneurship in Music

An entrepreneur takes an idea and transforms it into an enterprise that creates value. This course will provide tools to help you turn your ideas into reality. What every entrepreneurial musician needs to know about business entities, profit vs. non-profit, contracts and dealing with lawyers, branding, developing a business plan, ethics and professionalism, financial planning, basic accounting, how to read a balance sheet, cash flow management and taxes. Students will work alone or in teams to develop their real-world ideas. (rev. 7/12/05)

6JCM 281, 282 (I, II-2) Advanced Writing Projects

Jazz composition and arranging instruction for the undergraduate JCM writing skills major. Emphasizes development of student works and senior recital production/performance concerns.

6JCM 291, 292 (I, II-0.0) Jazz Forum (Undergraduate)

A weekly departmental gathering in which jazz faculty, visiting artists, and students from JPWs appear in performance showcases. At other times there are discussions of departmental and current jazz topics, and exploration of new compositions, arrangements, and contemporary recorded works by professional composers and arrangers, as well a student and faculty works. Open to JCM majors only.

6JCM 400 (I, II-1) Large Jazz Ensemble

6JCM 406 (I-1) Graduate Jazz Pedagogy

Philosophical justification and outcome expectations for the school jazz studies program; profiles of established programs in institutions of various sizes; pedagogical discussions pertaining to the teaching of jazz improvisation, theory, history, composition/arranging, and ensembles; development of the curriculum vitae and job application preparation; preparation for the professional interview. Prerequisite: MM JCM major or permission of instructor.

6JCM 407 (II-1) Graduate Jazz Ensemble Direction

The course helps to develop the essential skills for directing a large jazz ensemble. Students learn to select, analyze and prepare repertoire, how to develop transposition and relevant keyboard skills, how to plan and carry out an organized and productive rehearsal, and how to relate to a specific or general type of audience. Prerequisite: JCM 406 or instructor's permission.

6JCM 410 (II-1) Jazz Mallet Performance

6JCM 431 (I-2) Studio Orchestra Arranging

Essential techniques of arranging for studio orchestra are developed through the study of jazz-related classical orchestral works and works by jazz arrangers and composers from a wide range of jazz styles. Student works are read by the Eastman Studio Orchestra and selected works are performed on the orchestra's annual concert. Prerequisite: JCM 225.

6JCM 441 (II-3) Advanced History and Analysis of Jazz Styles

Investigation of performance and compositional innovations in jazz in the twentieth century. Analysis of scores, transcriptions, and recordings by major jazz stylists. Prerequisite: JCM 241 or permission of instructor.

6JCM 451, 452 (I, II-2) Jazz Performance Workshop (Graduate)

6JCM 456 (I, II-0) Advanced Performance Projects-Contemporary Media

Preparation and finalizing a media related product which showcases the graduate student's area of focus.

6JCM 481, 482 (I, II-3) Advanced Studies in Jazz Composition

Jazz composition and arranging instruction for the graduate MM JCW major and DMA JCM major. Emphasis upon development of student works and recording production/live performance matters pertaining to the graduate recitals. Permission of instructor required.

6JCM 483-484 (I, II-3) Advanced Studies in Improvisation

Jazz improvisation and theory instruction for the graduate MM JCP major and DMA JCM major. Emphasis upon development of student works and recording production/live performance matters pertaining to the graduate recitals. Permission of instructor required.

6JCM 491, 492 (I, II-0) Jazz Forum (Graduate)

6JCM 501 (I,II-0) Large Jazz Ensemble

Same as 6JCM 400, but for no credit and no charge. For DMA JCM students who participate in large ensembles, but do not need credit. Requires permission of the instructor. (rev 7/09/08)

6JCM 560 (I,II-3) Applied Study in Jazz Composition and Arranging

Requires instructor permission. (rev. 8/1/05)

6JCM 596 (I, II, S-credit to be arranged) DMA Dissertation Project

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Keyboard

6KBD 111 (I-2) Piano Sight-Reading

Skills necessary for fluent sight reading of a wide variety of literature and to read open score (choral and instrumental), alto clef, and to transpose instrumental lines and song accompaniments.

6KBD 112 (II-2) Piano Sight-Reading II

A continuation of materials and skills presented in KBD 111. Tenor clef reading; an emphasis on full orchestral score realization at the piano.

6KBD 201, 401 (I-2, alternate years) Sacred Music Skills I

Focuses on the choral responsibilities of the church musician. The course includes sessions on training the amateur voice, phonetics, English and Latin diction, chanting, conducting, rehearsal techniques, and choral repertoire in its appropriate liturgical context. In addition to assigned special projects, students will participate through weekly conducting of the class as choir. The course will also explore innovative ways to enhance contemporary worship in the context of the evolution of liturgical practices. Each student will receive several individual "lab" coachings during the semester.

6KBD 202, 402 (II-2, alternate years) Sacred Music Skills II

Focuses on the training of young vocal and instrumental musicians through early musical training and the creation of opportunities for their involvement in the musical life of the church. Choral and handbell repertoire will be explored, and conducting techniques specific to younger participants will be learned. In addition to assigned special projects, each student will participate through occasional supervised conducting of children's and handbell choirs at a local church. Also included are sessions on the administration of a large music program, building congregational support, musicals and large productions, staff supervision, and budget.

6KBD 203, 403 (I-2, alternate years) Sacred Music Skills III

Focuses on essential keyboard skills for the church/synagogue musician, with emphasis on congregational song in various religious environments and traditions. Primary areas of instruction include hymn playing (introductions, reharmonizations, performance practices of various styles and traditions), anthem accompaniment, adapting piano/orchestral accompaniments to the organ, and conducting from the organ console. Each student will receive several individual "lab" coachings during the semester. Open to keyboard majors or by permission.

6KBD 204, 404 (II-2, alternate years) Sacred Music Skills IV

A continuation of KBD 203-403, that also focuses on sight-reading, open score reading, modulation, transposition,chant accompaniment, and organ repertoire appropriate to specific liturgical contexts. Elemental skills in hymn-based improvisation are developed through weekly exercises and assignments. Each student will receive individual "lab" coaching during the semester. Open to keyboard majors or by permission. Prerequisite: TH 475 or equivalent.

6KBD 205, 405 (I-1) Organ Improvisation

6KBD 211 (II-3) Piano Literature I (18th Century)

A survey of solo keyboard literature from the baroque and classical periods. The course syllabus includes reading and listening assignments, analysis and performance projects, and midterm and final exams. Piano majors in the BM degree are required to enroll in this course in their junior year. Prerequisites: Successful completion of the undergraduate piano literature listening exams.

6KBD 212 (I-3) Piano Literature II (19th Century)

A survey of piano literature from the romantic period. The course syllabus includes reading and listening assignments, analysis and performance projects, midterm and final exams. Piano majors in the BM degree are required to enroll in this course during their senior year. Prerequisite: KBD 211.

6KBD 213 (II-3) Piano Literature III (20th Century & Beyond)

A survey of solo piano literature from the twentieth and twenty-first centuries. The course syllabus includes reading and listening assignments, analysis and performance projects, and midterm and final exams. Piano majors in the BM program are required to enroll in this course during their senior year. Prerequisite: KBD 211, 212.

6KBD 250-251 (I, II-2) Jazz Piano Improvisation for Keyboard Majors

For advanced keyboard players with no experience in jazz piano improvisation. Topics include solo jazz harmonization, jazz, and non-jazz improvisation; open to ESM majors only.

6KBD 260 (II-1) The Piano: History, Design, & Maintenance

Mechanics of the piano, including its historical development, regulation, maintenance, & repair. Includes temperament theory, tone generation, and ownership/ purchasing considerations. Not vocational training.

6KBD 261 (I, II-1) Historical Development of the Organ: Its Design and Maintenance

Practical demonstration of tuning and maintenance techniques relative to the development of organ literature. Suggested for organ majors; open to others by permission of the instructor.

6KBD 405 (I-1) Graduate Organ Improvisation

The purpose of this course is to develop skills and techniques in musical improvisation, beginning with phrases and simple song-forms and progressing to sonata-allegro, hymn-improvisations, hymn preludes, organ chorales, hymn fantasias, the toccata, duo, trio, canon, fugue, and other forms. Sections consist of semi-private lessons in small groups at beginning, intermediate, and advanced levels. Prerequisite: TH 475, TH 476 or permission of instructor.

6KBD 407 (I-2) Harpsichord Performance and Literature through the Eighteenth Century

Discussion of performance practice problems related to the High Renaissance through the late eighteenth century.

6KBD 411 (II-3) Piano Literature I (18th Century)

See description under KBD 211. No prerequisites.

6KBD 412 (I-3) Piano Literature I (19th Century)

See description under KBD 212. No prerequisites.

6KBD 413 (II-3) Piano Literature I (20th Century & Beyond)

See description under KBD 213. No prerequisites.

6KBD 421 (I-2) Organ Repertory I

Pre-1750 Italy, Germany, Netherlands, Spain.

6KBD 422 (II-2) Organ Repertory II

France, 17th-20th centuries.

6KBD 423 (I-2) Organ Repertory III

Bach and Handel.

6KBD 424 (II-2) Organ Repertory IV

Post-1750 Germany, Austria, U.S.

6KBD 442 (I-3) Piano Repertory and Its Interpreters

An intensive examination of a specific area of the piano repertory; topics to vary from year to year (e.g., Chopin solo works, Beethoven sonatas and concertos, Bach Well-Tempered Clavier and other solo works, etc.) The class addresses its subject material from the dual perspectives of the literature itself and of the artists who have been historically associated with the literature. May be repeated for credit.

6KBD 443 (I-2) Keyboard Continuo Realization

Techniques of realizing continuo parts in the music of the seventeenth and eighteenth centuries. Special emphasis on the various national styles. Prerequisite: TH 476 or fluency in reading figured bass. Simultaneous enrollment in CHB 277 strongly encouraged.

6KBD 450-451 (I, II-1) Jazz Piano Improvisation for Graduate Keyboard Majors

For advanced keyboard players with no experience in jazz piano improvisation. Topics include solo jazz harmonization, jazz, and non-jazz improvisation; open to ESM majors only.

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Music Education

6MUE 110 (I-1) Introduction to Music Education

This course is part one of the MUE 110 – 111 sequence that is designed as an introduction to music teaching and learning in our culturally diverse society. Students will 1) develop the aural skills and musicianship skills for teaching music; and 2) develop an understanding of the following topics: (a) what, when, why, and how we teach music; (b) the National Standards for Music Education; (c) how students learn music; (d) assessment in music education. During MUE 110, students begin to fulfill the 20 hours of field experience required for the MUE 110-111 sequence.

6MUE 111 (II-1) Field Experiences in Music Education

This course is Part Two of the MUE 110 – 111 sequence. Students will participate in a series of lectures by faculty in the Music Education Department at Eastman and other specialists on topics relevant to music teaching and learning. The remaining hours of required field experience for the MUE 110-111 sequence (20 hours total) are completed during MUE 111.

6MUE 211 (I-2) Early Childhood Music Education

Orientation toward teaching music to children aged infant to 8 years. Links home and community environments to the music learning environment, and examines young children's motivation to learn music. Language development and musical development are compared. Observation and guided teaching experiences emphasize developmentally appropriate instructional planning, assessment (formal and informal), classroom management and communication. This course incorporates technology into student assignments and requires at least 25 hours of field experience. (revised 3/6/08)

6MUE 212 (I-2) Elementary General Music Methods

This course is designed to prepare students for teaching general music to all elementary age students, regardless of socioeconomic status or ability, in our diverse American society. Examines factors in the home, community, and school that affect students' readiness to learn music and links language literacy with musical literacy through singing, creating, moving, and listening activities. Observation and guided teaching experiences emphasize instructional planning, assessment (formal and informal), classroom management and communication. Reflective assignments for the teaching portfolio are encouraged. This course incorporates technology into student assignments and requires least 15 hours of field experience. (revised 3/6/08)

6MUE 213 (II-2) Secondary General Music Methods

This course is designed to prepare students for teaching general music to all secondary age students, regardless of socioeconomic status, ability, or previous musical experience. Examines the importance of music education to an educated citizenry. Technology for music composition and music production is incorporated throughout. Observation and guided teaching experiences emphasize age-appropriate communication and classroom management as well as instructional planning and assessment (formal and informal). Reflective assignments for the teaching portfolio are encouraged. At least 15 hours of field experience are required. (revised 3/6/08)

6MUE 214 (II, 2) Elementary and Middle School Choral Methods

In this course, preservice teachers will develop increased proficiency with musical repertoire, curriculum design, differentiated instruction, classroom management and communication in vocal music classrooms with students in grades 4-8. Extensive observation and teaching experiences take place in inclusive vocal music classrooms where assistive technology is frequently employed. In the classroom, preservice teachers have opportunities to see how parents, teachers, professional staff, and administrators interact productively to enhance student learning. Reflective assignments for the teaching portfolio are encouraged and at least 20 hours of field experience are required. (revised 3/6/08)

6MUE 215 (I-2) High School Choral Music

In this course, preservice teachers will develop increased proficiency with musical repertoire, curriculum design, differentiated instruction, classroom management and communication in vocal music classrooms with students in grades 9-12. This course requires at least 40 hours of extensive observation and supervised teaching in a high school classroom, where preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are required. (revised 3/6/08)

6MUE 216 (I, II-1) Music for Special Learners

This course explores the nature of music education for students within the full range of disabilities and special-health care needs identified by the Individuals with Disabilities Education Act (IDEA). Through class sessions, readings, observation and guided teaching, preservice teachers will identify the characteristics of special learners and observe how these affect musical behaviors. Strategies will be developed for (a) modifying existing music materials, (b) developing original music materials, and (c) collaborating with other professionals to design appropriate music learning environments and enhance the overall education of special learners. Field experience required, 5 hours. (revised 3/6/08)

6MUE 217 (II-2) Elementary Winds/Brass/ Percussion Methods

This course allows preservice teachers to develop an understanding of research-validated, appropriate methods for teaching elementary instrumental music (what to teach, when to teach, and why), and to develop the necessary techniques (how to teach) to implement those methods. The principles of music literacy acquisition and language acquisition are compared. Course requirements include: facility with function-based rhythm and tonal syllables, the ability to teach and coach composition and improvisation activities with elementary instrumental students (implementing appropriate technology), measurement and evaluation of instrumental teaching and performance skills. At least 15 hours of field experience allows preservice teachers opportunity to observe how productive relationships among the school, home, and community can enhance students' music learning. (revised 3/6/08)

6MUE 218 (I-2) Teaching Group Strings in the Elementary Setting

An orientation to the design and implementation of string programs in the elementary school, with emphasis on developing age appropriate instructional strategies, classroom management, communication and assessment (formal and informal) for heterogeneous groups. The principles of music literacy acquisition and language acquisition are compared. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are required. This course incorporates technology into student assignments and requires at least 15 hours of field experience. (revised 3/6/08)

6MUE 219 (II-2) Secondary Instrumental Rehearsals: Winds, Brass, Percussion

This course allows preservice teachers to develop an understanding of research-validated, appropriate methods for teaching secondary instrumental music, and to develop the necessary techniques to implement those methods. Course requirements include: making long-and short-range instructional plans based on a systematic analysis of the performance of individuals and the ensemble, teaching private and small group lessons, rehearsing and conducting the large ensemble. Assignments incorporate the use of music composition and production technologies. Through a minimum of 30 hours of field experience, preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students and learn age-appropriate classroom management, communication, and assessment (formal and informal) techniques. (revised 3/6/08)

6MUE 220 (II-2) Secondary Instrumental Rehearsals: Strings

This course allows preservice teachers to develop an understanding of research-validated, appropriate methods for teaching secondary instrumental music, and to develop the necessary techniques to implement those methods. Course requirements include: making long-and short-range instructional plans based on a systematic analysis of the performance of individuals and the ensemble, teaching private and small group lessons, rehearsing and conducting the large ensemble. Through a minimum of 30 hours of field experience, preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students and learn age-appropriate classroom management, communication, and assessment (formal and informal) techniques. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are required. (revised 3/6/08)

6MUE 221 (I, II-1) Clarinet Class

A laboratory class that allows students to develop intermediate-level performance skills on the instrument and methods for teaching. In preparation for teaching, students will learn to diagnose common performance problems associated with the clarinet and prescribe a variety of appropriate solutions. Additional topics covered include: maintenance and emergency repair, equipment and accessories, method books and repertoire, extended range and fingerings, and auxiliary clarinets. 2 hours field experience required. (Previously numbered MUE 121, revised 3/6/08)

6MUE 222 (I, II-0.5) Woodwinds Class

Extensions of 6MUE 221. Each of these half-semester (7 week) courses focuses on the development of intermediate-level performance skills and methods for teaching on a specific woodwind instrument; flute, oboe, saxophone, bassoon. (Previously numbered MUE 122, revised 3/6/08)

6MUE 225 (I, II-1) Trumpet Class

A laboratory class that allows students to develop intermediate level performance skills on the instrument and methods for reaching. In preparation for teaching, students will learn to diagnose common performance problems associated with the trumpet and prescribe a variety of appropriate solutions. Additional topics covered include: maintenance and emergency repair, equipment and accessories, method books and repertoire, embouchure problems, and auxiliary trumpets. 2 hours field experience required. (Previously numbered MUE 125, revised 3/6/08)

6MUE 226 (I, II-0.5) Brass Class

Extensions of 6MUE 225. Each of these half-semester (7 week) courses focuses on the development of intermediate-level performance skills and methods for teaching on a specific brass instrument; horn, trombone, euphonium, tuba. (Previously numbered MUE 126, revised 3/6/08)

6MUE 231 (I-2) Strings Class I

Development of string playing techniques on two stringed instruments. Includes one upper and one lower stringed instrument. 2 hours field experience required. (Previously numbered MUE 132, revised 3/6/08.)

6MUE 232 (II-2) Strings Class II

6MUE 235-236 (I, II-1) Harp Class

Harp study especially suited for music education majors. Emphasis on technique and repertoire selection for future teachers with harpists in public school settings. One hour of instruction per week. Permission of instructor required for MUE 236. (Previously numbered MUE 135-136, revised 3/6/08).

6MUE 241 (I, II-1) Voice Class I

Fundamentals of voice production: posture, breath control and support, tone, resonance, diction, phrasing, interpretation. Development of technique, confidence, and control through group and solo singing. 2 hours field experience required. (Previously numbered MUE 141, revised 3/6/08).

6MUE 242 (I, II-1) Voice Class II

Extension of Voice Class I, with opportunity to continue to develop individual skills in singing. 2 hours field experience required. (Previously numbered MUE 142, revised 3/6/08).

6MUE 255 (I, II-1) Percussion Class

A laboratory class that allows students to develop intermediate level performance skills on the instruments of the percussion family as well as addressing methods for teaching. In preparation for teaching, students will learn to diagnose common performance problems associated with percussion instruments and prescribe a variety of appropriate solutions. Additional topics covered include: maintenance and emergency repair, equipment and accessories, and method books and repertoire. 2 hours field experience required. (Previously numbered MUE 155, revised 3/6/08).

6MUE 260 (I, II-1 or 2) Teaching Individual and Small Group Lessons

For students in any major who are interested in learning to teach private and small group lessons. Enrollees will be assigned to teach for up to two hours each week at a K-12 school. Lessons will be observed periodically and enrollees will meet with a faculty member to discuss matters related to the teaching assignment. (Previously numbered MUE 221, revised 3/6/08).

6MUE 261 (II-1) Classroom Instruments

Fundamentals of performance on instruments such as guitar, dulcimer, recorder, and Orff Instruments for use as music classroom tools. Observation of classroom instrument use in local schools required, 5 hours. (rev. 9/23/04)

6MUE 271 (I, II-4) Student Teaching: Elementary Vocal/General

Seven-weeks of full-time teaching placement in classroom music settings in area schools, under the supervision of a master teacher. Eastman faculty conduct on-site supervisory visits a minimum of three times during the assignment.

6MUE 272 (I-1) Senior Practicum in Music Education

A continuation of 6MUE 226 (Brass Class) and 6MUE 222 (Woodwind Class). Study of two additional brass and two additional woodwind instruments in a homogeneous setting. As a laboratory ensemble for student teachers, enrollees will perform solely on secondary instruments, teach/conduct rehearsals, and prepare lesson plans for teaching. An application of performance skills on all wind instruments in a heterogeneous setting, a comparative survey of wind instrument performance technique, and an examination of appropriate musical materials for use in elementary and secondary schools. (rev. 6/18/09)

6MUE 273 (I, II-1) Student Teaching Seminar

Weekly meeting of all student teachers by area of emphasis. Readings and writing assignments, reports and reflection papers are incorporated into the seminar content. Guest speakers on topics important for certification protocols, as well as interviewing and applying for a teaching position.

6MUE 276 (I, II-4) Student Teaching: Secondary Vocal/General

Seven weeks of full-time teaching placement in middle school or high school music programs, with emphasis on choral and classroom settings in area schools, under the supervision of a master teacher. Eastman faculty conduct on-site supervisory visits a minimum of three times during the assignment.

6MUE 277 (I, II-4) Student Teaching: Elementary Instrumental

Seven-weeks of full-time teaching placement in programs for beginning instrumental music in area schools, under the supervision of a master teacher. Eastman faculty conduct on-site supervisory visits a minimum of three times during the assignment.

6MUE 278 (I, II-4) Student Teaching: Secondary Instrumental

Seven weeks of full-time teaching placement in secondary school instrumental music settings in the area, under the supervision of a master teacher. Eastman faculty conduct on-site supervisory visits a minimum of three times during the assignment.

6MUE 279, 280 (I, II-1) Supplementary Observation and Student Teaching

For students needing additional credits in observation and student teaching for certification to teach in other states.

6MUE 281/ 282/ 283 (I, II - 1-3) Special Topics in Music Education

Designed primarily for undergraduate students, these courses offer intensive study of limited topic areas in music education and pedagogy. May be repeated for credit.

6MUE 285 (I-2) Principles of String Playing and Teaching I

This course enables students to organize and present a sequence of string instruction with special attention to the needs of beginning and intermediate string players. Students develop and apply their growing knowledge of string playing and teaching by providing weekly private lessons to two students at School #17 of the Rochester City School District. Students must enroll for MUE/PED 286 following successful completion of this course. Open to upper-level AMU and PRL or DMA graduate string majors.

6MUE 286 (II-2) Principles of String Playing and Teaching II

A continuation of MUE/PED 285 with a focus on procedures for establishing a private studio, reviewing and developing a collection of method books, etude books, and solo materials. Students present case studies of their school-age string students to whom they continue to teach weekly private lessons to students at School #17 of the Rochester City School District. Pre-requisite: MUE/PED 285.

6MUE 402 (I, S-3) Measurement and Evaluation

This course reviews published aptitude and achievement tests and includes interpretation of test scores, administration of tests, and experience in developing tests.

6MUE 403 (II, S-3) Introduction to Research

Current techniques of educational research, with emphasis on design and analysis. Critical review of current research studies.

6MUE 404 (II-2) The Psychological Foundations of Musical Behavior

Although psychological issues are touched on in both the MUE 403 (Introduction to Research) and MUE 501 (Seminar I: History and Philosophy) courses, this one-semester course is designed to expose graduate students to more depth of information, current research, and to guest experts who are equipped to provide detailed input on certain specialized areas of psychology related to musical behavior.

6MUE 411 (I-2) Early Childhood Music Education

Orientation toward teaching music to children aged infant to 8 years. Links home and community environments to the music learning environment, and examines young children’s motivation to learn music. Language development and musical development are compared. Observation and guided teaching experiences emphasize developmentally appropriate instructional planning, assessment (formal and informal), classroom management and communication. This course incorporates technology into student assignments, requires at least 20 hours of field experience, and includes advanced readings and assignments linking theory (classroom) to practice (field experience).

6MUE 412 (I-2) Elementary General Music Methods

This course is designed to prepare students for teaching general music to all elementary age students, regardless of socioeconomic status or ability, in our diverse American society. Examines factors in the home, community, and school that affect students’ readiness to learn music and links language literacy with musical literacy through singing, creating, moving, and listening activities. Observation and guided teaching experiences emphasize instructional planning, assessment (formal and informal), classroom management and communication. Reflective assignments for the teaching portfolio are encouraged. This course incorporates technology into student assignments, requires at least 20 hours of field experience, and includes advanced readings and assignments linking theory (classroom) to practice (field experience).

6MUE 413 (II-2) Secondary General Music Methods

This course is designed to prepare students for teaching general music to all secondary age students, regardless of socioeconomic status, ability, or previous musical experience. Examines the importance of music education to an educated citizenry. Technology for music composition and music production is incorporated throughout. Observation and guided teaching experiences emphasize age-appropriate communication and classroom management as well as instructional planning and assessment (formal and informal). Reflective assignments for the teaching portfolio are encouraged. At least 20 hours of field experience as well as advanced readings and assignments linking theory (classroom) to practice (field experience) are required.

6MUE 414 (II, 2) Elementary and Middle School Choral Methods

In this course, preservice teachers will develop increased proficiency with musical repertoire, curriculum design, differentiated instruction, classroom management and communication in vocal music classrooms with students in grades 4-8. Extensive observation and teaching experiences take place in inclusive vocal music classrooms where assistive technology is frequently employed. In the classroom, preservice teachers have opportunities to see how parents, teachers, professional staff, and administrators interact productively to enhance student learning. Reflective assignments for the teaching portfolio are encouraged. At least 25 hours of field experience as well as advanced readings and assignments linking theory (classroom) to practice (field experience) are required.

6MUE 415 (I-2) High School Choral Music

In this course, preservice teachers will develop increased proficiency with musical repertoire, curriculum design, differentiated instruction, classroom management and communication in vocal music classrooms with students in grades 9-12. This course requires at least 45 hours of extensive observation and supervised teaching in a high school classroom, where preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students. Advanced readings and assignments linking professional development site experience to educational theory are required. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are also required.

6MUE 419 (I, II-2) Secondary Instrumental Rehearsals: Winds, Brass, Percussion

This course allows preservice teachers to develop an understanding of research-validated, appropriate methods for teaching secondary instrumental music, and to develop the necessary techniques to implement those methods. Course requirements include: making long-and short-range instructional plans based on a systematic analysis of the performance of individuals and the ensemble, teaching private and small group lessons, rehearsing and conducting the large ensemble. Assignments incorporate the use of music composition and production technologies. Through field experience, preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students and learn age-appropriate classroom management, communication, and assessment (formal and informal) techniques. At least 25 hours of field experience as well as advanced readings and assignments linking theory (classroom) to practice (field experience) are required.

6MUE 420 (II-2) Secondary Instrumental Rehearsals: Strings

This course allows preservice teachers to develop an understanding of research-validated, appropriate methods for teaching secondary instrumental music, and to develop the necessary techniques to implement those methods. Course requirements include: making long-and short-range instructional plans based on a systematic analysis of the performance of individuals and the ensemble, teaching private and small group lessons, rehearsing and conducting the large ensemble. Through a minimum of 30 hours of field experience, preservice teachers have opportunity to interact with teachers, professional staff, parents and administrators to enhance the music learning of high school students and learn age-appropriate classroom management, communication, and assessment (formal and informal) techniques. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are required. (revised 10/14/08)

6MUE 465 (I, S-3) Instrumental Methods and Techniques: Wind and Percussion

For instrumental, vocal, and general music teachers at all levels who wish to improve their musicianship skill for teaching, this course emphasizes innovative ways to address State and National Standards in Music and appropriately differentiate music instruction. The principles of music literacy acquisition and language acquisition are compared. Assignments incorporate the use of music composition and production technologies. Twenty-five (25) hours of field experience are required for students pursuing Initial-Professional Certification.

6MUE 466 (I, S-3) Instrumental Methods and Techniques: Strings

For instrumental, vocal, and general music teachers at all levels who wish to improve their musicianship skill for teaching, this course provides an orientation to the design and implementation of string programs, with emphasis on developing age appropriate instructional strategies, classroom management, communication and assessment (formal and informal) for heterogeneous groups. The principles of music literacy acquisition and language acquisition are compared. Video recording, reflective analysis and subsequent modification of all supervised teaching episodes in the field are required. Assignments incorporate the use of music composition and production technologies. 25 hours of field experience are required for students pursuing Initial-Professional Certification.

6MUE 471 (I-2) Teaching Internship

Students are required to demonstrate competence in teaching and the application of concepts presented in other courses required by the M.M. or M.A. degrees in music education by submitting (1) audio and video tapes of classes, (2) course descriptions and outlines, (3) sample examinations, (4) an annual calendar of performances and activities, and (5) sample programs. Students who are also employed as teachers can submit materials and tapes developed for their own classes; full-time graduate students are assigned a teaching responsibility to complete the requirements under faculty supervision. Readings are assigned individually. This requirement may be waived by the department chair if the above documentation is provided to demonstrate competence in teaching.

6MUE 472 (I, II-4) Teaching Internship for Certification

Supervised teaching experience for graduate students preparing for certification. Includes seminar.

6MUE 473 (I, II, S-1-4) M.A. Project

The specific nature of this master's project will be developed in consultation with a faculty member in the Music Education Department. Guidelines are available in the department for project proposals, which must be approved by the faculty. Examples might include (a) a field-based research study within a teacher's own classroom setting, (b) a curriculum project, or (c) a small-scale replication of an existing research study with a new population. At the completion of the project, a student will submit a written report, again subject to approval by the entire faculty.
Please see Guidelines for Field Project for complete information.

Parallel to the registration for thesis credits, the registration for this master's project may be broken down into single credits or enrolled as a block of four credits.

6MUE 481/ 482/ 483 (I, II - 1-3) Special Topics in Music Education

Designed primarily for graduate students, these courses offer intensive study of limited topic areas in music education and pedagogy. May be repeated for credit.

6MUE 495 (I, II, S-credit to be arranged) M.A. Thesis

For the Master of Arts degree.

6MUE 501 (I, S-3) History and Philosophy Seminar

Philosophy and history of music education, with emphasis on contemporary problems. Required of all graduate students in music education.

6MUE 502 (II, S-3) Curriculum Seminar

Inquiry into curriculum theory and creative curriculum development and implementation. Attention is devoted to how schools are organized, how th processes and outcomes of learning are evaluated, and how conditions can be created to foster professional growth among music teachers and administrators.

6MUE 503 (I, II-2) College Teaching Internship

This course will be related to one or more college level courses which the student is presently teaching, either as a teaching assistant or as a faculty member at another college or university. Students will be required to submit (1) a course description, (2) a course outline, (3) tests and examinations, (4) an annotated bibliography, (5) audio tapes of classes, and(6) a brief written statement of relevant philosophical and pedagogical issues. The instructor will observe teaching and meet with the students individually.

6MUE 504 (I-2) Preparing Future Music Faculty

Preparing Future Music Faculty For those graduate students who plan to teach in a college or community music school, even on a part-time basis, this course will help you answer the question: Is musical talent all you need to teach music well? Each student will learn to develop a teaching portfolio that complements his or her performance portfolio. Students will also explore to effective ways to assess their students prior musical knowledge and experience, organize music content for learning, clearly communicate expectations to their students, and talk about teaching with colleagues and administrators. Cross-listed as ALC 222 and ALC 422.

6MUE 505 (I-3) Seminar in Academic Administration

Topics and issues related to music administration in school, community, and higher education settings.

6MUE 506 (II-1 or 2) Internship in Academic Administration

Administrative project, to be carried out under supervision of faculty or administrative staff member, including possible assignment to a School administrative office. Occasional seminar sessions with other enrollees. Prerequisite: MUE 505.

6MUE 508 (II-3) Cultural Perspectives in Music Education

This course focuses on fundamental issues that affect the teaching and learning of music in our culturally pluralistic American society. It is a survey and critical study of historical, philosophical, and sociological aspects of multicultural music education. It is designed to provide opportunities for graduate students to develop thinking, inquiry, writing, and oral presentation skills necessary for perceptive and competent music educators. In addition, this course is intended to provide opportunities for graduate students to synthesize various components of music education scholarship. This course is addressed to all Eastman DMA and Ph.D. students in Music Education. Others with teaching experience will be admitted with the permission of the instructor.

6MUE 590 (I, II, S-credit to be arranged) Research for Ph.D. Students

6MUE 591 (I, II, S-credit to be arranged) Research for D.M.A. Students

6MUE 595 (I, II, S-credit to be arranged) PhD Dissertation Project

For the Doctor of Philosophy degree.

6MUE 596 (I, II, S-credit to be arranged) DMA Dissertation Project

For the Doctor of Musical Arts degree.

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Music History

6MHS 070 (I, II-0) Discussion Session

Optional listening session for MHS 121-123. Students sign up for any section that coincides with the appropriate course number and instructor.

6MHS 119 (I, S-1.5) Music History Review

A tutorial course for graduate students who, upon entrance into the graduate program, are found deficient in history of music. This course cannot be used as elective credit.

6MHS 121 (II-3) Music & Society: 800-1750

This course deals with the history of Western music from its first extant traces (liturgical chant in the ninth century) to the music of Bach and Handel. Although this span is too vast to allow a true survey, the course investigates many of the significant music-historical developments over that period, focusing on key composers and repertoires. Along with the traditional history of genres and styles, students learn about the historical and cultural context of music and music-making at various times and places. The course aims not only to introduce students to the earlier history of their own artistic tradition (a tradition that continues to draw on that very history), but also to expand their conceptions of the nature and purposes of music itself by exposing them to less familiar musics and cultures. In addition to a midterm and final examination, the course requires two papers of short to medium length. Classroom lectures are supported by optional (but highly recommended) discussion sections, which meet one hour per week.

6MHS 122 (I-3) Music & Society: 1730-1880

This course deals with the history of Western music during what are often described as the Classic and Romantic eras. It begins with composers (such as the sons of Bach) who broke from the prevailing genres and styles of the high Baroque era and continues through the achievements - in such genres as symphony, quartet, and opera - of such masters as Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin, Berlioz, Liszt, Brahms, Verdi, Wagner, Bruckner, Musorgsky, Tchaikovsky, and Dvorak. Along with the traditional history of genres and styles, students learn about the historical and cultural context of music and music-making at various times and places. The course also aims to expand the student's conceptions of the nature and purposes of music itself by exposing them, more briefly, to other musical traditions relevant to the repertoires under discussion, such as traditional musics of Eastern Europe (which can be compared helpfully to the mazurkas of Chopin and the Hungarian Rhapsodies of Liszt) or Caribbean polyrhythms (which influenced certain pieces by Gottschalk). In addition to a midterm and final examination, the course requires one paper of medium length and several short writing assignments and quizzes. Classroom lectures are supported by optional (but highly recommended) discussion sections, which meet one hour per week.

6MHS 123 (II-3) Music & Society: since 1880

The aim of this course is to trace the history of twentieth-century European and American art music; we will also touch on the nineteenth-century roots of modern music and the influence of non-art traditions throughout the era. Students will explore not only important changes in musical style and compositional techniques, but also the variety of cultural contexts and social meanings music both reflected and created. Be prepared to ask fresh questions about familiar pieces, to listen to new and difficult works with open minds, and to engage in close and careful analysis of sounds, scores, and the written word. Our primary goals are to gain a broad sense of twentieth-century musical life and to learn how to communicate our opinions and ideas about music thoughtfully, clearly, and persuasively. Students will be required to write two papers; there will be two exams during the semester and one (non-comprehensive) final exam.

6MHS 281, 282 (I, II-3) Special Topics

Intensive study of literature within limited topic areas. Emphasis upon analysis and comparative studies, with critical writing by the student. May be repeated for credit. Recent offerings include: Shakespeare & Music; The Symphonies of Beethoven; 19th-century Performance Practices; Vienna, 1900: Music and Culture; History and Analysis of Jazz (for non-jazz majors); World Musics; Women and Music; History of Rock Music; Rhythm, Blues, & Beyond.

6MHS 421 (I or II-3) Music in the Middle Ages

This course explores the music and culture of the Middle Ages from the 9th century to the early 15th century. We will address questions of style, genre, notation, organology, and performance practice as they pertain to the liturgical, sacred, and secular monophonic and polyphonic repertoires of the time.

6MHS 422 (I or II-3) Music in the Renaissance

Music of the early modern period from 1400 to 1600 is the focus of the course. Areas of emphasis include the development of vocal genres (motet, Mass, chanson, madrigal), as well as distinctive types of instrumental music. Overviews of political, artistic and social developments will contextualize the activity of composers and musicians. Also addressed are issues such as the interactions of patrons and composers, Franco-Flemish and Italian musical styles, and music and rhetoric. Basic theoretical underpinnings such as mode, hexachord, and notational conventions are covered, along with strategies for locating distinctive aesthetic features of works composed in a variety of styles and genres.

6MHS 423 (I or II-3) Music in the Baroque

This course examines the music and culture of the so-called baroque period in music, from the birth of monody and opera to the deaths of Bach and Handel. In order of increasing importance, the course aims to 1) expand students' familiarity with baroque repertoire; 2) trace the origin and development of important genres; 3) locate baroque music in its historical and cultural contexts; 4) follow the general development of style; and 5) explore and understand the expressive languages employed by baroque composers. In addition to a midterm and final examination, the course requires one or two short writing assignments and one longer paper later in the semester.

6MHS 424 (I or II-3) Music in the Classic Period

Although the works of Haydn, Mozart, and Beethoven serve as the primary "texts" of this course, close attention is paid to the history of styles and contexts of music-making from the so-called early classic period through the early 19th century. The relation of musical style to genre, performance venue, and audience is considered alongside changes in systems of patronage, dissemination of music as a commodity, private and public concert traditions, and performance practices documented in contemporary treatises.

6MHS 425 (I or II-3) Music in the Nineteenth Century

This course will not only deal with the history of musical style in nineteenth-century Europe, it will also explore music's cultural contexts and social meanings. Through a study of the major genres of the era (symphony, Lieder, opera, piano miniatures, etc.) we will explore how music embodied social, political, and gendered meanings in both public and private spheres. We will encounter new works (as well as ask new questions about familiar pieces) and will engage in close and careful analysis of sounds, scores, and the written word. Our primary goals are to gain a broad sense of nineteenth-century musical life and to learn how to communicate opinions and ideas about music thoughtfully, clearly, and persuasively.

6MHS 426 (I or II-3) Music Since 1900

This course is designed to provide a solid grasp of twentieth-century European and American art music by offering both broad coverage of significant works and in-depth examination of the era's diverse musical trends, social and political environments, and aesthetic and cultural controversies. Students are expected to contribute to class discussion, engage closely with musical scores, listen attentively to pieces, and write sensitively about compositional details as well as music's multiple roles in contemporary culture. Major graded work includes a midterm, final, and a paper that combines analysis and interpretation.

6MHS 435 (I - 1.5) Concert Repertoire: Museum or Living Art?

This course will examine some major works that have stood the test of time and have entered the musical "canon," as well as others that were originally unpopular, but are now staples in the repertoire. It will take prismatic approach to study music in cultural, sociological, and historical contexts, and through formal and theoretical analysis. By following a work from composition to performance to reception; through active listening, score study and text reading, we will explore what makes a work of music "classic." (2/28/08)

6MHS 441 (I-2) Issues in Performance Practice: Baroque

An introduction to the study of performance practice with an emphasis on Baroque music. Principles of rhetoric, phrasing, expression, articulation, rhythm, rubato and tuning based on historical sources. Designed to combine with MHS 443 as a comprehensive study of Baroque performance practices.

6MHS 442 (II-2) Performance Practice: Middle Ages and Renaissance

6MHS 443 (II-2) Performance Practice: Baroque

Dance music, tempo, ornamentation, improvisation, recitative, Baroque opera practice and a special session on performance practice issues in Bach, based on historical sources. Prerequisite: MHS 441 recommended.

6MHS 480 (I, II-2) Bibliography

A study of sources and reference materials in music.

6MHS 590 (I, II, S-3) Research Seminars

Seminars and independent studies on selected topics. May be repeated for credit. Recent offerings include:
The Bach Organ; Handel's Italian Vocal Music; The Mass from Chant to Stravinsky; Music and Ritual; Reading Mozart's Operas; The Symphony, 1800-1900; Studies in the German Lied; 19th c. Performance Practice; Romantic Music and Critics; Song after Schubert; Operas of Richard Wagner; Asian Classical Musics; American Musics; Popular Music from the Margins; Music and Postmodernism; The Improvising Musician; Music, Gender, and the Body; The Symphonic Poem; National Styles & Exoticism; 20th-century Voice and Spectacle.

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Musicology

6MUY 501 (I-4) Introduction to Musicology

This course will provide an introduction to the scope, bibliography, and prominent methodologies of musicology. To that end, it will explore the history and development of the discipline, focusing especially on the current trends and their background: provide a practical introduction to the diverse sources of information in the field; and give experience employing solid research and writing strategies.

6MUY 502 (II-4) Introduction to Ethnomusicology

This course explores some of the world's musical cultures and the social, political and religious systems that provide a context for music performances of all kinds. Traditional and classical music systems from Native America, Europe, Africa, Asia, and the Mediterranean will be examined with an emphasis on listening and analytic skills. Assignments include reading, listening, video, and ethnographic projects, and a mid-term and final exam.

6MUY 590 (I, II-credit to be arranged) Research

Independent investigation of problems in musicology. This course number is used by MM and DMA students enrolling in MUY 4-credit seminars for 3 credits.

6MUY 591, 592 (I, II-4) Seminars in Musicology and Ethnomusicology

Topics will vary by semester. Recent offerings include:
The Motet before 1360; Illuminated Music Manuscripts; Josquin and his Contemporaries; Early Music Analysis pre-1600; The 17th-century Italian Cantata; Romantic Criticism and Aesthetics; National Styles & Exoticism, 1600-2006; 19th century Italian Opera; Voice and Spectacle: Stage to Screen, 1880-1930; Kurt Weill and his Contemporaries; Sondheim; Postmodernism; Music and Ritual; as well as occasional seminars taught or co-taught by noted scholars from other departments at Eastman and in the College of the University of Rochester.

6MUY 593 (I-4) Directed Study I

Required of Ph.D. candidates in Musicology (and can be taken only by them). Prerequisites: Successful completion of Qualifying Exam.

6MUY 594 (II-4) Directed Study II

Required of Ph.D. candidates in Musicology (and can be taken only by them). Prerequisite: MUY 593.

6MUY 595 (I, II, S-credit to be arranged) PhD Dissertation Project

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Pedagogy

6PED 210-211 (I, II-1) Harp Pedagogy

Fundamentals of harp technique, including the exploration of methods and repertory for teaching harpists of all ages. (Required for undergraduate harp students in the junior year but open to other harp students.)

6PED 233 (I-1) Suzuki Violin Pedagogy I

Intensive study of the concepts, philosophy, and approach of the Suzuki method. Thorough study of Books 1 and 2 of the Suzuki Violin School. Exploration of techniques of working with parent and child at beginning and intermediate levels through observation of Community Education Division Suzuki program.

6PED 234 (II-1) Suzuki Violin Pedagogy II

Continuation of the study of concepts and teaching procedures appropriate to Books 3 and 4 (Suzuki Violin School). Pedagogy of technique and music reading. Continuing observation of Eastman School Suzuki program, with practice teaching assignments.

6PED 235 (I -2) History of Percussion

"Percussion is to be understood backwards but it must be played forward." The history of percussion course is designed to provide historical knowledge of the major events in the development of percussion from the beginning to the present with a look at the future.

6PED 239 (I, II-1) Organ Pedagogy

Required of organ majors in the senior year and open to graduate students. Offered alternate years.

6PED 261 (I-2) Practical Piano Pedagogy

Offered under the the number PED 251 through fall 2008 semester, thereafter numbered PED 261.

• teaching the Beginning and Elementary level Student: complete overview of beginning and elementary level piano instruction, with an in-depth exploration of lesson interviews; goals for first lesson; lesson planning for first month, and first term; practicing; musicianship; technique; supplemental music; practice suggestions;
• class presentations of Internet sites related to Pedagogy/Piano topics
• class use of Blackboard Academic Suite

6PED 262 (II-2) Practical Piano Pedagogy

Offered under the the number PED 252 through spring 2009 semester, thereafter numbered PED 262.

• Course includes (a) examination of intermediate level piano literature; (b) class piano teaching; teaching the adult beginner; electronic keyboards and related technology; (c) jazz piano improvisation; how to teach and interpret elementary to advanced jazz piano literature.
• Each student is assigned a in Intermediate level student and will teach 12 lessons

6PED 281, 282 (I, II-1) Voice

Pedagogy of Solo Voice. Fundamentals of voice production: posture, breath control, tone, diction. Class participants will work directly with their own students.

6PED 285 (I-2) Principles of String Playing and Teaching I

Crosslisted as MUE 285, 286.

6PED 286 (II-2) Principles of String Playing and Teaching II

6PED 420, 421 (I, II-2) Pedagogy of Accompanying

Establishing and administering courses or degree programs in sight reading and accompanying; basic curricula and materials; business aspects; supervised teaching experience. Prerequisite: permission of instructor. (Offered alternate years.)

6PED 431, 432 (I,II-2) String Pedagogy and Literature I & II

For graduate students in string performance who wish to teach in private studio settings. Topics covered will vary, but will include: beginning to advanced sequenced music literature, various string teaching methods, evolution of the instrument's technique over the past two-and-a-half centuries through players and composers, physical aspects of playing and it's evolution.

6PED 433 (II-2) History of String Instruments, Players and Pedagogues

This course is designed for graduate students in string performance who wish to teach their instrument. Topics covered will include a history of the instruments and their development over the past 400 years; instrument and bow makers and their innovations; famous performers and their repertoire; developments in technique over the years; and contributions of famous pedagogues.

6PED 435 (I -2) History of Percussion

6PED 440 (I,2) Survey of Child's Musical Development

Overview of pertinent methods and teaching aids from a child's early years through High School that would help to provide a solid basis for the developing music student, as well as knowledge to aid the teacher or parent guiding this student.

6PED 451 (I-2) Renaissance Lute Literature and Pedagogy

Literature and pedagogy for lute and other plucked instruments from the fourteenth through the sixteenth centuries. Works will be performed from original sources in French, Italian, Neapolitan, and German tablature, as well as mensural notation in all clefs. Major treatises of the period will be studied and the playing techniques and performance practices explored. Offered alternate years(rev. 9/16/08)

6PED 452 (II-2) Baroque Lute Literature and Pedagogy

Literature and pedagogy for lute, archlute, theorbo, and Baroque guitar in the seventeenth and eighteenth centuries. Works will be performed from original sources in French and Italian tablature, and guitar alfabeto, as well as from mensural notation in all clefs. Major treatises of the period will be studied and the playing techniques and performance practices explored. Offered alternate years.(rev. 9/16/08)

6PED 461/462 (I-II) Practical Piano Pedagogy

In addition to the coursework involved in 251-252, graduate students would be responsible for the following
• in-depth analysis of current piano pedagogy curricula in various music-school degree programs
• creation of a pedagogy syllabus for one semester, and two semesters sequences
• construction of a personal teaching philosophy
• thorough examination of web sites devoted to piano pedagogy
• the Independent studio teacher: Professional Studio Documents, Office Technology, The Art of Performance, Setting Rates, Studio Recitals, Tuition and Payment Plans, Composition and Improvisation, Marketing, Communications with Parents, Make-up Policies, Zoning and Business Licenses, Teaching Materials and Learning Styles, The Art of Practice, Arts Funding.

6PED 481 (I-2) Principles of Vocal Pedagogy

Designed to advance the student's knowledge of the structure and function of the vocal mechanism. The class addresses issues of both performance and the teaching of singing. Topics include exploring the relationship of function to artistry, breathing, coordination of vocal process, historic traditions, vocal health/longevity, methods for self-evaluation, performance challenges, teaching skills and studio management. Prerequisite: PED 281-282, Undergraduate Vocal Pedagogy or its equivalent.

6PED 482 (II-2) Advanced Vocal Pedagogy

Seminar discussions of selected readings and practical application of the principles discussed in PED 481 through supervised teaching. Each member of the class will be assigned two students, each of whom will be taught one hour per week. A diary will be maintained recording the progress of the student and a typed summary from this record will be turned in at the end of the semester. Twice during the semester, a PED 482 student will teach his or her student during class time with a discussion to follow. In addition, each student will spend time in the studios of several voice teachers, observing a lesson and then teaching the student observed a minimum of thirty minutes under the supervision of the studio teacher. Prerequisite PED 481 or its equivalent.

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Performance

6PRF 596 (I, II, S-credit to be arranged) DMA Dissertation Project

For Performance & Literature majors.

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Philosophy

6PHL 104 (I-3) Reason and Argument

A general examination of argument structure and the distinguishing virtues of good argument, followed by the presentation of a method of recognizing, analyzing, and evaluating arguments. Application of this method to scientific, moral, historical, and music-analytical arguments.

6PHL 111, 112 (I, II-3) Introduction to Philosophy

Introduction to some of the main problems, concepts, and figures in Western philosophy concerning metaphysics, theory of knowledge, and ethics. Readings from Descartes, Ayer, Austin, Hume, Kant, and others.

6PHL 120 (I-3) The History of Western Philosophy

An introductory survey and sampling of the classics of Western philosophy, from Plato and Aristotle to Sartre and Wittgenstein.

6PHL 151 (I-3) Introduction to Ethics

An introduction to the concepts, issues, and theories of both normative ethics and meta-ethics. One fundamental question governs this inquiry: What does it mean to be a normally good person? A variety of answers to and ramifications of this question will be addressed in class lectures and discussions.

6PHL 241 (I-3) Philosophy of Art

Philosophical problems concerned with the nature of art and the criteria of artistic judgment.

6PHL 242 (I, II-3) Philosophy of Music

This course investigates some of the following questions through lectures on and discussion of essays in philosophy, music theory, musicology, and cognitive science. Is modern music really music? What makes a composition or performance good? What obligations does a performer have to a composer and the score? What obligations does a composer have to the audience? Can programmatic music really represent non-aural events or ideas? … and a variety of other probing questions that are possible topics in this course.

6PHL 281, 282 (I, II-3) Topics in Philosophy

Topics are chosen from both contemporary and historical philosophy and vary from year to year. May be repeated for credit.

6PHL 441 (II-3) Seminar in the Philosophy of Music Theory

An in-depth and rigorous examination of the following philosophical and meta-music theoretical issues: the constraints of intentionality and cultural context on the identity, analysis, interpretation, and criticism of music; the ontological status of musical works of art; theories of meaning and emotion in music. (Also offered as TH 481.)

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Piano Class

6PCL 101 (I, II-2) Piano Class I

Objectives: a complete orientation to the keyboard for beginning pianists.

1) Technique:
* keyboard topography and orientation; proper posture and hand position
* focus on hand, outer fingers 2-3-4 first, then 1&5, using blocked 5ths
* all white key major and minor 5 finger patterns, tonic triads in root position
* multiple exercises in elementary level articulation; introducing coordination between hands
* selected etudes using pentachords
* scale preparation exercises
* all white key major scales in 8th notes, hands together, 2 octaves

2) Repertoire:
* many folk songs in a variety of settings: hands alone, hands together, solo, and duet
* solo and duet pieces in increasing difficulty; composers include Kabalevsky, Turk, Bartok, and Gurlitt
* selected outside material, especially accompaniments from student's major repertoire

3) Fundamental Skills:
* exercises in grand staff reading
* many sight reading examples ranging from single line melodies to independent voices within major and minor pentachord range
* harmonization using blocked and broken 5ths and 6ths, scale tones 1, 5, and 7 and single tones
* keyboard style texture; transposition of selected melodies
* lead sheet harmonization
* all key signatures and theory work
* improvisation using the technical and theoretical material of these chapters

Please also see Class Piano website.

6PCL 102 (I, II-2) Piano Class II

Objectives: a continuation of the skills acquired in PCL 101; further mastery of the keyboard through increased technical abilities.

1) Technique:
* all white key minor scales (3 forms) in 8th notes, hands together, 2 octaves
* review all white key major scales in 8th notes, hands together, 2 octaves
* the chromatic, whole tone and pentatonic scales, hands alone
* 2 and 3 note slurs; some preliminary attention to arm rotation, wrist flexibility; more emphasis on posture, finger strength and independence
* all white key major and minor arpeggios, hands together, 2 octaves
* modes

2) Repertoire:
* songs arrangements using chapter material
* pieces at the late elementary to early intermediate levels, stressing hand independence, a broader choice of articulation, a wider dynamic range, scale passages, chords in root and inverted positions; composers include Heller, Diabelli, Duncombe, Beethoven, Kabalevsky, Bartok, Dring, and Caramia
* patriotic songs

3) Fundamental Skills:
* chord progressions: I-V-I; I-iii-IV-I-ii-I-V7-I; I-IV-V7-I; I-V-vi-iii-ii-I-V7-I; I-vi-IV-I-ii-I-V7-I
* lead sheet harmonization, with triads, and jazz chords; harmonization by ear
* use of primary and secondary chords with inversions: in keyboard texture mainly
* two-hand accompaniments
* chord progressions of increasing difficulty: modulation to the dominant, to the relative major, to the relative minor
* study of all 7th chords
* ear training, using traditional and jazz accompaniments
* sight reading, improvisation and work with primary, secondary, and jazz chord vocabulary

Please also see Class Piano website.

6PCL 103 (I, II-2) Piano Class III

Objectives: to broaden the technical, practical, and musical skills begun in PCL 101-102

1) Technique:
* all black key major scales, hands together in 8th notes, 2 octaves
* all corresponding triad arpeggios, hands together, 2 octaves
* all corresponding dom 7th arpeggios
* major and minor pentachord review
* further use of sustaining pedal
* broken chords
* further chromatic scale studies

2 ) Repertoire:
* solo literature at the early to mid-intermediate level, stressing multiple keys, longer forms, greater dynamic range, increased finger complexity, thicker textural densities, and varied compositional and historical styles; composers include Bach, Gurlitt, Haydn, Schubert, Mozart, Beethoven, Wilder, Kabalevsky

3) Fundamental Skills:
* continued emphasis on sight reading, and transposition in multiple styles, textures, keys;
* harmonization using keyboard (piano) style; chording accompaniments; jazz symbols
* chord progressions:
* improvisation exercises in solo and ensemble settings

Please also see Class Piano website.

6PCL 104 (I, II-2) Piano Class IV

Objectives: to develop further the techniques learned in PCL 103

1) Technique:
* all black key minor scales, (all 3 forms), hands together, 2 octaves
* all corresponding triad, hands together, 2 octaves
* all corresponding dom 7th arpeggios, hands together, 2 octave
* all corresponding dim 7th arpeggios, hands together, 2 octaves
* Baroque ornamentation

2) Repertoire:
* solo, duet, literature at the mid to late intermediate level
o Baroque (Chapter 5, pp.196-207)
o Classic (Chapter 6, pp.242-249)
o Romantic (Chapter 7, pp.287-298)
o Contemporary (Chapter 8, pp.335-346)

3) Fundamental Skills:
* modulation patterns to the dominant, and relative minor
* more secondary dominant progressions
* dim. chord study:
* harmonization traditional and jazz
* improvisation studies
* sight reading and transposition
* patriotic and Holiday Music

Please also see Class Piano website.

6PCL 105, 106 (I, II-2) Piano Class V, VI

For undergraduate students in the following majors: Music Education - General (non-pianists), Music Education - Vocal (non-pianists), Theory, and Composition. Also open to any other interested students who have completed PCL 104 or equivalent.

Objectives: to provide a more advanced level of keyboard instruction.

1) Technique: to be done in lab: up to 3#'s, 3b's in 105, all keys in 106
* major scales; minor scales (3 forms), hands together, 4 octaves in 16th notes
* major and minor triad arpeggios, hands together, 4 octaves in 16th notes
* dom and dim 7th chord arpeggios, hands together, 2 octaves in 16th notes
* other technical exercises as needed

2) Keyboard Skills: to be done in lab
* Advanced Harmonization: see MUE related choral accompaniments
* Sight Reading

3a) Repertoire: to be covered in private lessons: a minimum of three (3) pieces per semester
* Baroque-Classic-Romantic in PCL 105
* Romantic-Impressionistic-Contemporary in PCL 106

3b) Accompaniments: Students are encouraged bring piano accompaniments from their major instruments to study.

Please also see Class Piano website.

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Psychology

6PSY 111 (I-3) General Psychology

An introduction to the methods, aims, and achievements of psychology as an academic discipline. Clinical and experimental approaches, as well as the range of psychological sub disciplines, from cognition and perception to abnormal psychology and personality theory are considered.

6PSY 112 (II-3) Educational Psychology

This course will focus on theories of child development, learning, and motivation, building on concepts introduced in the general psychology course. Students will explore a variety of theories and apply them to educations situations to achieve a deeper understanding of how children develop as learners. The course will center on a range of concepts, both cognitive and social, and on ways students might use these to become more insightful, sensitive, and skilled as educators. Prerequisite: PSY 111

6PSY 281, 282 (I, II-3) Topics in Psychology

Study of a particular area of psychology, such as Behavioral Management, The Unconscious Revolution: Rousseau to Freud, or Group Dynamics. To be offered once each year. Prerequisites: PSY 111, 112. May be repeated for credit.

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Recitals

6ESM 201 Bachelors Degree Recital

6ESM 202 Bachelors JCM Degree Recital

6ESM 401 Masters Degree Recital

6ESM 402 Masters JCM Degree Recital

6ESM 405 MM Accompanying Recital with Vocalist

6ESM 406 MM Accompanying Recital with Instrumentalist

6ESM 501 First Doctoral Recital

6ESM 502 Second Doctoral Recital

6ESM 503 Doctoral Lecture Recital

6ESM 504 DMA Piano Collaborative Recital

6ESM 505 DMA ACM Recital with Vocalist

6ESM 506 DMA ACM Recital with Instrumentalist

6ESM 507 DMA ACM Third Recital

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Sacred Music

6SMU 210 (I,II-1) Schola Cantorum

This singing group specializes in Gregorian chant, renaissance polyphony, and choral improvisation, and also performs romantic and contemporary music. Performance practice issues are approached as an aesthetic system of possibilities that generates expressive music making through informed choices. Students expand their listening, reading, and performance skills through rehearsals and subsequent public performance each week, singing the weekly Office of Compline at Christ Church on Sunday evenings at 9:00 p.m. (October through April). Rehearsals are Sunday evenings from 7:30 - 8:45 p.m. (rehearsals begin at 7:00 p.m. on first Sundays of the month) Permission of instructor Stephen Kennedy required following audition.

6SMU 407, 408 (I, II-2) Perspectives in Sacred Music

These courses focus on the history, function, and future of liturgical music in the Christian Church by examining theological, liturgical, historical, and philosophical issues pertaining to the practice of sacred music. Students will explore both church year and lectionary as contextual parameters for the function of music within the liturgy. The course also includes a comprehensive survey of Christian hymnody.

6SMU 471, 472 (I, II-1) Sacred Music Internship

Students in the internship will normally be employed in a church music position in the greater Rochester area. For those students who do not seek a paid position, placement as an intern in a large, local congregation is required. The internship is intended to provide students with opportunities to apply knowledge and skills under the guidance of faculty members teaching in organ, sacred music, conducting, and music education. The internship may include service playing, directing choirs, administration, and working as a member of a team ministry. Students, with the assistance of the professor of Sacred Music, will set individualized plans/goals of study for the internship. Each student can expect to be observed at least twice per semester by the faculty mentors, and can expect to participate in regular colloquia on current issues in church music.

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Special Enrollments

6ESM 385 Undergraduate Inactive Status

Requires permission from Academic Affairs Office.

6ESM 399 Continuation of Undergraduate Enrollment

Requires permission from Academic Affairs Office.

6ESM 985 Graduate Inactive Status

For graduate students who must temporarily delay progress in their program of study. Requires approval from the Associate Dean of Graduate Studies and the International Services Office (if applicable). (rev. 8/4/05)

6ESM 995 Continuation of Graduate Enrollment (Part Time)

For graduate students who are completing non-credit-bearing degree requirements (e.g. writing dissertation, preparing recital). Students are not considered to be in residence and therefore comprehensive, activity, and health fees are not charged. Carries no credit; students are considered less than half-time and are not eligible for financial aid. Requires approval from the Associate Dean of Graduate Studies and the International Services Office (if applicable). (rev. 8/4/05)

6ESM 999 Continuation of Graduate Enrollment (Full Time)

For graduate students who are completing non-credit-bearing degree requirements (e.g. writing dissertation, preparing recital). Students are considered to be in residence and therefore subject to comprehensive, activity, and health fees. Carries no credit; students are considered full-time and are eligible for financial aid. Requires approval from the Associate Dean of Graduate Studies and the International Services Office (if applicable). (rev. 8/4/05)

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Strings

6STR 101, 102 (I, II-1) Harp Technique I & II

A course for undergraduate harpists in the freshman year. Harp technique, and its practical application to the demands of solo, chamber, and orchestral literature, will be studied at the instrument. This course is designed to strengthen and enhance existing technique. Topics to be covered include arpeggios, irregular fingering patterns, tone production, and tuning.

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Study Abroad

6SAB 200/400 (I, II-16 credits for undergrad, 12 for grad) Eastman Conservatory Exchange Program

The Conservatory Exchange Program enables students to spend a year studying at a leading European conservatory in Freiburg, London, Lyon, Paris, or Vienna. Students will receive credit and pay tuition to Eastman, but will receive free tuition at the host school. Requires permission of the Dean of Academic Affairs; apply by November 1.

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Theory

6TH 101 (I-2) Model Composition and Tonal Analysis I

This course is an introduction to the vertical and linear dimensions of tonal music. After a review of musical fundamentals, in which students will be expected to demonstrate facility and speed in naming and spelling basic tonal materials, the course will introduce traditional contrapuntal exercises, basic diatonic harmony, and the paradigmatic construction of formal phrase units. A major concern of this course is the relationship between harmonic, contrapuntal, and formal prototypes and actual pieces of music from the 15th – 20th Centuries.

Students who complete this course successfully will be able to:
1. Spell and recognize all major and minor scales, key signatures, intervals, triads, and seventh chords quickly and accurately.
2. Write syntactically correct species counterpoint in two voices, five species. Students will also recognize passing, neighboring, and suspension tones in the context of 15th-19th century music.
3. Compose brief chord progressions using tonic, dominant, and predominant harmonies; realize figured bass exercises in four voices; harmonize chorale-style melodies that do not modulate in four voices.
4. Recognize the relationship between contrapuntal/harmonic paradigms and actual compositions from the 15th-20th Centuries, through analysis of selected works and excerpts, and through expansion of harmonic/contrapuntal prototypes in model composition assignments. Students will be able to provide Roman numeral analysis and identify cadences in diatonic, non-modulating music in many genres.
5. Recognize small forms (sentences, periods, 12-bar blues) in tonal music, both visually and aurally.
6. Compose sentential and periodic melodies with simple accompaniment in late 18th-Century style.
(updated 9/1/05)

6TH 102 (II-2.5) Model Composition and Tonal Analysis II

In this course, the second semester of the undergraduate theory sequence, we will continue the study of tonal harmony and voice leading, both through written work and analysis. We will continue to focus mostly on diatonic harmony (chords available within the prevailing key); however, we will also begin to explore techniques of tonicization and modulation (moves to different keys). In the second half of the semester we will learn about binary form, and will work towards a composition project: every student will write a theme and variations set which will be performed by students in the class.

Students who complete this course successfully will be able to:
1. Compose chord progressions using all diatonic harmonies, diatonic harmonic sequences, and/or pivot-chord modulations to the dominant or relative major; realize figured bass exercises in four voices; harmonize a chorale-style melody that modulates to and from the dominant or relative major.
2. Recognize the above-listed harmonic devices within compositions from the 18th and 19th centuries.
3. Recognize small forms (binary, sectional variations, ternary) in tonal music, both visually and aurally.
4. Compose a well-formed binary movement for two voices in Classical style using the harmonic, contrapuntal and formal devices described above.
5. Derive a four-voice Chorale-style background for compositions in various styles.
(updated 9/1/05)

6TH 115 (II-1.5) Review Dictation

An accelerated course in undergraduate ear training for graduate students who are found to be deficient on the entrance theory examination.

6TH 116 (I-1.5) Form and Analysis Review

An accelerated course in undergraduate harmony, counterpoint, and form for graduate students who are found to be deficient on the entrance theory examination.

6TH 117 (I -1.5) Theory, Analysis, Musicianship Review

The first semester of an accelerated review course designed for graduate students who are found to be deficient on the entrance theory placement examination. With a focus on eighteenth-century diatonic procedures, the course integrates conceptual and aural components of music theory, including writing, analysis, listening, singing, keyboard, and model improvisation.

6TH 118 (II - 1.5) Theory, Analysis, Musicianship Review

The second semester of an accelerated course designed for graduate students who are found to be deficient on the entrance theory placement examination. With a focus on late eighteenth- and early nineteenth-century chromatic procedures, the course integrates conceptual and aural components of music theory, including writing, analysis, listening, singing, keyboard, and model improvisation. Please note that students must pass TH 118 before they will be allowed to register for a 400- or 500-level theory course

6TH 161(I-2) Aural Musicianship I

The primary goal of aural musicianship study at the Eastman School of Music is instant, one-to-one mapping of sound to symbol. In other words, musicianship training enables musicians to put the right notes in the right place with the right expression. The first course in the sequence will emphasize strategies for accurate and expressive reading, improvising, singing, and dictation using elementary rhythms and diatonic pitch materials in treble and bass clefs.

Students who complete this course successfully will be able to:
1. Sing treble and bass clef diatonic melodies in major and minor keys, such as “Amarilli, mia bella”, “Per la gloria d’adorarvi”, “Caro mio ben”, or “Gia il sole dal Gange” with accuracy and appropriate musical expression. Students will prepare some material, and sight-read additional works.
2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
3. Perform syncopated rhythmic material such as Samuel Barber’s “Hermit Song #1” on a melodic instrument with rhythmic accuracy and appropriate musical expression.
4. Sing and play contrapuntal exercises and simple baroque pieces in two voices.
5. Aurally recognize all harmonic vocabulary taught in TH101.
6. Aurally recognize smaller musical forms (sentence, period, and 12-bar blues).
7. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.
8. Demonstrate keyboard facility in the rudiments of music, two-voiced species counterpoint, and four-voiced harmonic prototypes of common-practice music.
(updated 9/1/05)

6TH 162 (II-1.5) Aural Musicianship II

In this second course in the aural musicianship sequence, students will complete their aural understanding of diatonic harmony, will expand their improvisatory capabilities, will experience simple modulations, and will master most of the rhythmic gestures necessary for performance of Renaissance and common-practice European art music. Alto clef will be introduced with emphasis on rapid and accurate reading, along with associated transpositions. All harmonic, melodic, rhythmic, and formal procedures build on materials mastered in TH161.

Students who complete this course successfully will be able to:
1. Sing melodies, Mozart lieder, and representative Arie antiche with appropriate musical expression and accuracy. Students will prepare some material, and sight-read additional works.
2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
3. Read and write music in treble, alto, and bass clefs fluently, along with associated transpositions.
4. Improvise a well-formed sentence or progressive period, given a two- or four-measure incipit.
5. Perform Edgard Varése’s “Density 21.5” on a melodic instrument with rhythmic accuracy and observing all notated expression markings.
6. Aurally recognize all harmonic vocabulary and devices taught in TH102.
7. Describe formal procedures in aurally experienced works works such as a minuet movement from a Mozart string quartet, a suite movement by J. S. Bach, Jerome Kern’s “All the Things You Are,” or Richard Rodgers’ “My Romance”.
8. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.

6TH 201 (I-2.5) Model Composition and Tonal Analysis III

This course in harmony, analysis and composition completes our study of eighteenth- and early nineteenth-century tonal procedures. Students will explore the meaning of chromaticism in tonal music through examination of tonicization and modal mixture, emphasizing composers’ use of these chromatic techniques within large-scale movement organization. Intertwined with a review of the contrapuntal, harmonic, and formal procedures and concepts that were presented in TH 101-102 will be the introduction of two topics: graphic analysis, and its role in representing students’ deeper level understanding of linear and harmonic motions and how this understanding impacts performance decisions, and writing two-voice non-imitative and imitative counterpoint. Three large topics will follow: new chromatic techniques in late eighteenth- and early nineteenth-century music, large forms and genres, and motivic processes that create narratives through a piece and inform performance. The first of two compositional projects will be crafted in the common-practice style and involve imitative counterpoint. The second project, an accompanied song, will be crafted in an early nineteenth-century chromatic style.

Students who complete this course successfully will be able to:
1. Compose chord progressions using all diatonic and common chromatic harmonies.
2. Compose and perform representative pieces in the late-Baroque imitative style, the classical style, and the chromatic romantic style of the early-nineteenth century.
3. Recognize and negotiate both small (binary) and large (sonata) forms, including formal areas, harmonic language, tonal procedures, and motivic structure.
4. Graphically represent, speak, and write articulately about any of the above.
(updated 9/1/05)

6TH 202 (II-2.5) Model Composition and Tonal Analysis IV

Semester IV of the Eastman four-semester core curriculum is a course in harmony and analysis that moves from early nineteenth-century tonal practice to the forms that "tonality" took in the late nineteenth and early twentieth centuries. The later forms of tonality began to take full advantage of the equally-tempered, twelve-tone scale, as does jazz harmony, and thus the course will conclude with an introduction to jaz harmony, where many of these "extended-tonal" techniques survive to the present day. The course is divided into four units: 1. The Romantic Style: Harmony, Form and Texture; 2. 19th-century chromatic harmony; 3. tonality at the turn of the 20th Century; 4. introduction to jazz harmony. There will be one compositional project: students will compose either a 19-century style Lied, or a "character piece" for piano, or for solo instrument with piano accompaniment.

Students who complete this course successfully will be able to:
1. Compose a "character piece" for piano in 3-part form. (Schumann’s "Scenes from Childhood," and Mendelssohn’s "Songs without Words" represent compositional models for this project.)
2. Compose fragments of chromatic harmony, as demonstrated in exercises in figured bass and melody harmonization drawn from late 19th century pedagogical sources.
3. Compose a 3-part piece in a turn-of-the-(20th)-century tonal idiom for instrumental duo. The piece will explore scale-types that typify this historical period (diatonic modes, whole-tone, octatonic and hexatonic scales).
4. Write a piano arrangement of a jazz or popular tune that demonstrates "reharmonization" of a lead-sheet.
(updated 9/1/05)

6TH 202J (II-2.5) History, Analysis, and Theory of Early Jazz (1900-1940)

A comprehensive study of early jazz styles (Ragtime, New Orleans, Swing), their most significant representatives (Armstrong, Morton, Ellington, among others) and their various contributions to the development of modern jazz.
Major emphases will include examination of formal design, tonal syntax, improvisation techniques, and harmonic vocabulary using several analytical and contextual perspectives.

TH 202J is required for undergraduate JCM majors in place of TH 202. Non-jazz majors may NOT use this course to fulfill their TH 202 requirement. However, they may take it as an elective with the instructor's permission. Offered every other year.

6TH 205 (I-4) Model Composition and Post-Tonal Analysis

This course combines a survey of twentieth-century compositional styles with advanced musicianship exercises focusing on the post-tonal repertoire.
Analysis and model composition assignments will address aspects of pitch-class set and serial theory, as well as other techniques developed by contemporary composers.
Pre-requisite: TH 202 and 262 or placement by examination.

6TH 205J (I-4) Analysis and Theory of Modern Music & Jazz

This course offers a comprehensive study of modern music and jazz with an in-depth examination of compositional styles, analytical methods, improvisation techniques, and advanced harmony. This course is required for undergraduate Jazz and Contemporary Media (JCM) majors only, to be taken during junior or senior year. Recommended for undergraduate theory majors. Others may take the course with permission of the instructor. Offered every other year during fall semester.

6TH 212 (I-3, alternate years) Acoustics

An introductory course in the physical properties of sound, including vibrating systems, wave propagation, room acoustics, tuning and temperament, the psychology of hearing, the physics of musical instruments and the voice, digital synthesis and recording, and computer manipulation of sound. Prerequisite: TH 202. (May not be used as a humanities/science elective.)

6TH 241 (I, II-3 alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.
Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course. May be used as a humanities/science elective.

6TH 251 (I-3) Counterpoint I

A course in modal counterpoint, focusing on the study of two-, three- and four-part compositional techniques. Writing is primarily in the sacred styles, but some work in secular styles may be undertaken. Analysis of masterpieces of the sixteenth-century repertory provides context for compositional study. Prerequisite: TH 202.

6TH 252 (II-3) Counterpoint II

A course in tonal counterpoint, focusing primarily on the Baroque style, but with work in later eighteenth- and early nineteenth-century styles as well. Review of chorale setting, writing of chorale preludes and variations, inventions and suite movements, introduction to fugue. Relevant analysis provides context for compositional study. Prerequisite: TH 202.

6TH 260 (II-3) Music and the Mind

An introduction to the discipline of music cognition. Topics surveyed include empirical methods, psycho-acoustic principles, influence of Gestalt psychology, music and language, metric and tonal hierarchies, music and the brain, aspects of musical development, and research on musical memory, expectation, and emotion. Lecture and discussion format, with exams and final literature-review research paper. (Pre-requisite: TH 101 or MUR 110 or 111). Cross-listed as TH 460.

6TH 261 (I-1.5) Aural Musicianship III

In this, the third course in the aural musicianship curriculum, students will continue to build on skills acquired in the earlier courses. New material in this course emphasizes tenor clef and its associated transpositions, a systematic introduction to chromatic processes in tonal music, various problems associated with changing meter signatures and polyrhythms, and perception of tonal processes in complete movements composed in larger forms.

Students who complete this course successfully will be able to:

1. Sing selected songs from Schubert song cycles with or without accompaniment, with appropriate musical expression and accuracy. Students will prepare some material, and sight-read additional works.
2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
3. Read and write music in treble, alto, tenor, and bass clefs fluently, along with associated transpositions.
4. Improvise continuous variations above a ground bass or a circular harmonic sequential passage.
5. Conduct and perform music with changing meter (division or beat constant), tempo modulation, and simple polyrhythms (2:3, 3:4) accurately and expressively.
6. Aurally recognize all harmonic vocabulary and devices taught in TH201.
7. Aurally process larger formal units. Specifically, students will be able to identify fugal devices in the first module and sonata procedure in the second module.
8. Notate music with all of the above characteristics accurately and efficiently through dictationand transcription assignments. For example, students will be able to notate the opening subject/answer/countersubject statements of a fugue from dictation in open score using two clefs.
(updated 9/1/05)

6TH 262 (II-1.5) Aural Musicianship IV

In this, the fourth course in the aural musicianship curriculum, students will complete their formal studies of common-practice tonal relationships and begin exploration of post-tonal idioms of the early twentieth-century. In addition, students will learn audiation strategies for tonal vernacular music of the twentieth century. Facility in five clefs and score reading techniques will be stressed, along with an examination of multiple strategies for successfully learning and notating highly chromatic music. Students will also learn to read and perform music in asymmetrical meters, and music that changes meter asymmetrically.

Students who complete this course successfully will be able to:
1. Sing selected chromatic songs by H. Wolf, R. Strauss, G. Faure, and B. Strayhorn with or without accompaniment, with appropriate musical expression and accuracy.
2. Read melodies that contain considerable surface and deeper-level chromaticism. Emphasis is on recognizing chromatic processes, and developing multiple strategies for successfully learning such music.
3. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
4. Read and write music in treble, soprano, alto, tenor, and bass clefs fluently, along with associated transpositions, with emphasis on changes of clef within a given part.
5. Demonstrate the ability to read music in open score (3 or more parts).
6. Read, notate, and recognize melodies based on pentatonic, whole-tone, diatonically modal, non-functional diatonic, octatonic, and chromatic collections aurally.
7. Perform the following works in rhythmically accurate performances: Elliot Carter, “Canaries”; Samuel Barber, “The Secrets of the Old”; Steve Reich, “Tehillim” opening 3 pages; Benjamin Britten, “Rejoice in the Lamb” – Nimrod section.
8. perform a functional harmonic realization from “lead sheet” notation.
9. Aurally recognize all harmonic vocabulary and devices taught in TH202.
10. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.
(updated 9/1/05)

6TH 262J (II-1.5) Jazz Aural Musicianship IV

TH 262J is required for undergraduate JCM majors in place of TH 262. Non-jazz majors may NOT use this course to fulfill their TH 262 requirement. However, they may take it as an elective with the instructor's permission. Offered every other year.

6TH 285 (II-3) Comprehension and Analysis

An analysis seminar required for undergraduate theory majors, and open to all undergraduates. (If taken by a non-theory major, this course satisfies the requirement for an upper-division music academic elective course.) The course incorporates readings and analytical procedures from wide-ranging sources. The focus of the course is on the analysis of large tonal and post-tonal works. The coursework culminates in a large-scale analytical project. Prerequisite: TH 205 (fifth semester of the theory core)

6TH 295 (I,II-3) Senior Thesis

This two-semester course is designed as preparation for graduate school in music theory. To accomplish this, the first semester will focus on bibliographic and research skills, with the goal that students will develop a topic, thesis, and proposal for their senior thesis project. In the second semester, students will complete work on their undergraduate thesis. Students will present and discuss their work in class. Various members of the department serve as the primary advisors for the thesis projects; the instructor of the thesis course will serve as the second reader. Prerequisite: TH 285 Comprehension and Analysis.

6TH 400 (I, II-3) Analytical Techniques

An introduction to the basic techniques of both tonal and non-tonal repertories designed with the particular needs of the performance major in mind. The course introduces students to a broad range of techniques of analysis and insofar as possible, their implications for performance. Short assignments and papers explore the basic analytical literature and evaluate the results of various analytical techniques.

6TH 401 (I, II-3) Topics in Tonal Literature and Analysis

This course introduces and explores analytical techniques and issues relevant to the traditional tonal musical literature, addressing as well the performance implications of analytical decisions insofar as possible. The course deals with the analysis of various musical dimensions in a core repertoire that will vary from semester to semester. Topics include meter/ rhythm, harmonic syntax, motivic structure, deeper-level linear structure, formal processes, and text/music relationships.

6TH 402 (I, II-3) Topics in Twentieth-Century Music Literature and Analysis

This course introduces and explores a broad range of analytical techniques and issues relevant to twentieth-century music. The course deals with the analysis of various musical dimensions in a core repertoire that will vary from semester to semester. Topics include meter/ rhythm, harmonic syntax, motivic structure, deeper-level linear structure, formal processes, and text/music relationships.

6TH 411 (II-3) Theory and Analysis of Tonal Music

6TH 412 (I-3, alternate years) Acoustics

An introductory course in the physical properties of sound, including vibrating systems, wave propagation, room acoustics, tuning and temperament, the psychology of hearing, the physics of musical instruments and the voice, digital synthesis and recording, and computer manipulation of sound. A research paper on an approved topic is required. Prerequisite: TH 202. Students who have received credit for TH 212 may not enroll in this course.

6TH 421 (I, II-3) Pedagogy of Theory

A course in the materials, organization, techniques, and problems of the first two years of theory teaching, designed for DMA students. Bibliographical survey of texts and sample teaching. Observation and teaching of freshman and sophomore classes.

6TH 423 (II-3) Multimedia Programming for Pedagogy and Research

This course develops multimedia programming skills for application in music-theory pedagogy and as a basis for further research and study. The central focus is a multimedia authoring program and supporting applications. Students also learn a scripting language and basic multimedia techniques for using sound, image, and video files. This course is taught using Macintosh computers, although cross-platform programs are used as much as possible. Prerequisite: A basic familiarity with computers. Students with no familiarity with computers should meet with the instructor before enrolling in this course.

6TH 431 (I, II-3) Seminar in Analysis and Performance

This course deals primarily with the relationship between analysis and performance decisions. It also draws upon the history of performance practice, contemporaneous sources on the subject, and comparative evaluation of recorded performances. Specific works studied are determined by the instructor in consultation with the students. A major analysis of an approved work is required. Prerequisite: TH 400 or the equivalent.

6TH 441 (I, II-3, alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.
For TH 441 additional programs and readings beyond the specifications for TH 241 are required. Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course.

6TH 451 (I-3) Modal Counterpoint

Study of the practice of sixteenth-century modal counterpoint. Includes development of written skills through species counterpoint, and study of stylistic counterpoint as found in the sacred vocal polyphony of such masters of the period as Palestrina, Victoria, and Lasso. Composition of two-, three-, and four-voice pieces in counter-Reformation style.

6TH 452 (II-3) Eighteenth-Century Counterpoint

Study of contrapuntal practice of the mature and late Baroque periods, with emphasis on the style of J.S. Bach. Composition of two-, three-, and four-voice chorale preludes, binary dances, inventions, and fugues.

6TH 460 (II-3) Music and the Mind

6TH 471 (I-1), TH 472 (II-2) Apprenticeship in Pedagogy

A two-semester student-mentor relationship in which the student will learn first-hand about the workings of the undergraduate curriculum and then design a project. In the first semester, the student will observe each of the undergraduate core courses and keep a journal which reflects self-awareness of pedagogical technique and materials. The student will submit a written summary of each of the c. 30 observations at the end of the semester. In the second semester, the student will create, design, and craft an original project that focuses on some pedagogical aspect of the written or aural curricula. A
teaching recital and a skills exam are also required as final projects for TH 472. Open only to M.A. in Theory Pedagogy majors.

6TH 475 (I-3) Intermediate Keyboard Skills

Practical experience in score reading, figured bass realization, transposition, melody harmonization, and pop symbols. All students are expected to perform weekly assignments at the keyboard. Prerequisites: TH 202 or equivalent and Piano 104 proficiency; or permission of instructor.

6TH 476 (II-3) Advanced Keyboard Skills

Intensive practical experience in the realization of figured bass, score reading with emphasis on C-clefs, transposition, modulation, and improvisation. All students are expected to perform weekly assignments at the keyboard. Prerequisites: TH 475 or equivalent. An audition with the instructor, to be scheduled during the first week of spring semester, is required of all students. Instructor's signature required.

6TH 480 (I-3) Advanced Harmony and Composition

A course that seeks to build a bridge between undergraduate theory studies and composition. The advanced material in Aldwell/Schacter, "Harmony and Voice-leading," furnishes a point of departure for the course. Assignments begin with melody harmonization but lead quickly into sophisticated chorale settings. More advanced compositional projects include text setting in Lieder styles of the later nineteenth century or composition of short "character" pieces. (Primarily for Theory majors. Available as an elective for other students with permission of the instructor.)

6TH 481, 482 (I, II-3) Special Topics in Music Theory

A variety of analytical and theoretical topics of changing focus. Specific topics and instructors to be announced in advance. May be repeated for credit.

6TH 511 (II-4) Introduction to Theory and Analysis of Tonal Music

Introduction to the theories of Heinrich Schenker and their application to the analysis of tonal music. Intensive analytical work and selected readings. Prerequisite: at least one upper-level undergraduate form and analysis course.

6TH 512 (II-4) Proseminar in the Theory and Analysis of Tonal Music

A continuation of TH 511. Topics to be covered will include the following: the analysis of larger formal structures, problems in the analysis of late Romantic music, and extensions and modifications of Schenker's theories. Readings (Schenker and others) as well as analytical papers. Prerequisite: TH 511 or equivalent.

6TH 513 (II-4) Introduction to the Theory and Analysis of Twentieth-Century Music

Introduction to the theory and analysis of nontonal twentieth-century music. Topics include cyclic, set, serial, contour, and transformational theories.

6TH 514 (I-4) Proseminar in Theory and Analysis of Twentieth-Century Music

Study of advanced theories and/or analysis of twentieth-century music. Prerequisite: TH 513 or equivalent.

6TH 520 (II-4, alternate years) Proseminar in Analysis of Early Music

Study and application, in seminar format, of analytical techniques appropriate to the music of the fourteenth through the early seventeenth centuries. Includes critical discussion of analytical methodologies, selective survey of the analytical literature, and analysis of representative composers from the Ars Nova to Monteverdi. Knowledge of music history and literature of this period is presumed. Familiarity with techniques of linear analysis is desirable. Weekly reading assignments, analytical assignments, class presentations, research paper. Prerequisite: TH 401 or TH 511 or permission of instructor.

6TH 521 (I, II-4) Pedagogy of Theory

The materials, organization, techniques, and problems of undergraduate theory teaching, designed for Ph.D. students in theory who will be teaching in the ESM core curriculum. Intensive review of counterpoint, harmony, keyboard, and aural skills. Bibliographical survey of texts and anthologies. Observation and teaching of freshman and sophomore classes.

6TH 523 (I-4) What is Music Theory?

An investigation of such questions as the structure and limitations of theories in general and music theories in particular, the distinction between theory and analysis, and the relationship between music theory and other branches of musical scholarship. The course will present research methods and source materials appropriate to various music theories, and study the recent growth of music theory as an academic discipline.

6TH 524 (II-4) Introduction to the History of Music Theory

An introduction to such topics as division of the pitch continuum, consonance and dissonance, rhythm/meter, mode/scale, counterpoint, fundamental bass/figured bass, "functional" harmony, and analytical systems. Though the course consists primarily of practical exercises designed to teach theoretical/analytical "skills," it will also outline the basic chronology and primary source readings in Western Compositional Theory.

6TH 531 (I, II-4) Seminar in Analysis and Performance

6TH 541 (I, II-4, alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.
For TH 541, additional programs and readings beyond the specifications for TH 441 are required. Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course.

6TH 542 (I-4, alternate years) Proseminar in Computer Applications

Topics in object-oriented programming with Java or C++. Stacks, Queues, and Graphs; searching and sorting techniques; recursive algorithms; linked data structures; advanced music coding languages; and more sophisticated applications in theory, musicology, and composition. A substantial final programming project is required. Prerequisite: TH 441 or permission of instructor.

6TH 560 (I-4, alternate years) Proseminar in Music Cognition

The objective of this course is to engage in professional-level music-cognitive research. The course surveys primary research in the field of music cognition and functions as a "laboratory" course in experimental method. Students discuss and critique experimental studies published in journals and monographs. In addition, the class works collaboratively to build skills in experimental design and data analysis via readings and class demonstrations/activities. Each student is expected to design and run an empirical experiment or computational project as a final research paper.

6TH 581-584 (I, II-4) Theory Seminars

Seminar discussion and research into theoretical topics at the doctoral level. Subjects covered change from year to year, depending upon the mutual interests of faculty and students. Exploration of recent developments and articles in the area of theory. Prerequisite: permission of instructor.

6TH 591 (I, II-1) Theory Colloquium

Attendance and participation in Department colloquia.

6TH 595 (I, II, S-credit to be arranged) PhD Dissertation Project

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Voice and Opera

6OP 209 (I-2) Introduction to the Lyric Theater I

Introduces students to basic acting techniques and stage terminology that aid the singing-actor in dramatic presentation on the lyric theater stage. Character study through improvisation, observation, word association, sensory recall, and pantomime. Special emphasis given to the interpretation of music and the use of the singing voice as a necessary part of character development. Offered every fall semester.

6OP 210 (II-2) Introduction to the Lyric Theater II

A continuation of work of the first semester with added emphasis on character development through group projects. Special consideration given to auditioning techniques. The semester focuses on applying the various acting techniques covered in the first semester to short musical structures and scenes, culminating in an informal presentation at the end of the semester. Offered every spring semester.

6OP 211 (I-3) Opera Workshop I

Study, through exercises and performances of specific musical forms and acting techniques, that aids the singing-actor in the dramatic presentation of operatic repertory up through the eighteenth century. Private ensemble coaching, both musical and dramatic. Offered every other fall semester.

6OP 212 (II-3) Opera Workshop II

Study, through exercises and performances of specific musical forms and acting techniques, that aids the singing-actor in the dramatic presentation of operatic repertory of the nineteenth-century English, French, and Viennese operetta and the twentieth-century musical. Private ensemble coaching, both musical and dramatic. Offered every other spring semester.

6OP 213 (I-3) Opera Workshop III

Study, through exercises and performances of specific musical forms and acting techniques, that aids the singing-actor in the dramatic presentation of operatic repertory of the twentieth century. Private ensemble coaching, both musical and dramatic. Offered every other fall semester.

6OP 214 (II-3) Opera Workshop IV

A continuation of the first semester (study through musical forms and acting techniques) that aids the singing-actor in the dramatic presentation of operatic repertory of the nineteenth century. Training may be offered in physical skills such as stage combat and lyric theater dance forms. Offered every other spring semester.

6OP 215, 216 (I, II-1 or 2) Opera Performance Project

Participation and performance in Eastman Opera Theatre's fall and spring productions, 804 show and Opera a la Carte. Additional outside class coachings and stagings are required. May be substituted for 211-214 Opera Workshop with permission of opera coordinator. OP 215 (1 credits) and 216 (2 credits) may be repeated for additional credit.

6OP 401, 402 (I, II-2 or 3) Seminar in Stage Directing

Study and practice of operatic stage direction. Emphasis on the technical considerations in producing and directing opera. Students are required to assist in the direction of Opera Theatre productions or direct a scene in the opera workshop. Opera 401 and 402 may be repeated for additional credit. Prerequisites: 2 semesters of OP 209, 210; 2 semesters OP 211-214; and/or permission of instructor.

6OP 410 (I, II-2) Opera Production Project: Stage Management

Study of basic concepts and procedures relevant to an opera stage manager. Students are required to participate as assistant stage managers for the Opera Theatre productions. Prerequisites: 2 semesters of OP 209, 210; 2 semesters OP 211-214; and/or permission of instructor.

6OP 411, 412 (I, II-1) Opera Workshop: Scene Performance Module

Preparation of opera scenes through coaching, staging, and public performance. Permission of primary voice teacher and instructor required.

6OP 413, 414 (I, II-2) Performance Techniques for the Singing-Actor

Study of stage disciplines that will aid and develop the lyric theater performer. Permission of primary voice teacher and instructor required.

6OP 415 (I-1) Opera Repertoire

The practical study of operatic literature from Mozart to the present day through the musical preparation of arias and scenes appropriate for the enrollment. Specific attention is given to historic performance practice and the unique challenges of the lyric theater: stylistic interpretation of accompanied and secco recitative, the basics of vocal ornamentation as it applies to the stage, musical/ dramatic score analysis, etc. (Offered in the fall semester concurrently with OP 405 for pianists and designed to musically prepare singers for OP 416 in the spring semester.) Prerequisite: permission of instructor and voice teacher. May be repeated for credit.

6OP 416 (II-2) Advanced Opera Seminar: Performance Techniques

The study, preparation, and performance of arias and excerpts from operatic literature. Through historical research, character analysis, and dramatic staging, the student prepares excerpts and arias from the OP 415 class for public performances. Special attention given to the preparation of arias for professional auditions. Prerequisites: 2 semesters of OP 209, 210; 2 semesters OP 211-214; and/or permission of instructor.

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Womens Studies

6WST 210 (I, II-3) Constructing Utopias

This course considers the history of real and imagined utopian communities from medieval monasteries through contemporary science fiction. Sometimes utopian communities succeed, providing interesting case studies in the effects of social planning. Even when they don't succeed, their design and discussion represent an important form of social criticism. Studying their history provides a window into the political, economic, and social development of Europe and the United States from the Middle Ages and the Renaissance to the present day. Cross-listed as HIS 210.

6WST 220 (I, II-3) German Women Writers

6WST 230 (I, II-3) Men, Women, and War in the Twentieth Century

6WST 240 (I, II-3) Women and Religion

6WST 250 (I, II-3) Conflicts in Feminism

People often think of feminism as a relatively recent phenomenon, but in fact arguments for sexual equality have existed since at least the eighteenth century. This course studies the history and theory of different kinds of feminism by considering a series of "conflicts in feminism": historic moments when feminists have disagreed over how to address given social situations. Topics are drawn from the experience of women and men in Europe and the United States from the eighteenth century through the present. Cross-listed as HIS 250.

6WST 260 (I, II-3) Virginia Woolf

6WST 262 (I, II-3) Voices of Women Artists

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