Students will collaborate with faculty and guest artists in the preparation and performance of a fully-staged contemporary chamber opera. The opera will be presented in multiple public performances.

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Performance of contemporary music; a core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Winter '10- Prof. Susan Narucki: "Collaborative projects in contemporary chamber music." Notated 20/21st C chamber music for instruments and/or voice and instruments.

Advanced performance of new music with members of the performance faculty (SONOR). Enrollment by consent of instructor/director. Students taking this course do not need to take Music 201 that quarter. Enrollment by consent of instructor/director of SONOR. Additional Description: Advanced projects in performance. Students must submit a Performance/Project Proposal Form located outside the Graduate office PRIOR to enrollment. Include titles, composers, instrumentation, duration, proposed course credit, approval, and performers. For FALL 09 only: Students may (but are not required to) present the work(s) in public performance. Each group will be mentored by a member of performance faculty. May be taken in lieu of 201. The number of units is based on work performed by agreement with instructor. See instructors for additional information.

Meetings and laboratoory sessions devoted to the study of composition. Additional Description: The composition seminar, required of all entering graduate composers, is taught on a rotating basis by the Music Department composition faculty and has several purposes: to intensify the collegiality of student composers both with regard to ideas and techniques and to become better acquainted with each other's outlooks and needs in order to achieve the most congenial and productive match-ups between faculty and students for subsequent individual study. Seminars typically include group meetings and individual attention as appropriate. Composition Juries - At the end of the first Fall quarter in residence (in January), and again following Spring quarter (in October), all new graduate composition students are reviewed in juries by the composition faculty. Following the performance and discussions of the day, the composition faculty meets to assess the students' work. Details about the jury process are provided during Welcome Week and throughout the quarter.

The purpose of this seminar is to bring together the entire population of the graduate composition program (all students and faculty) for in-depth discussion of critical issues in music theory and composition. Each meeting will feature a formal presentation by either a student, faculty member, or visitor, followed by lively and challenging debate on relevant issues. Prerequisite: consent of instructor. Additional Description: Seminar meets throughout the year on a biweekly basis in the evening. Participation is required of all enrolled graduate composition students every quarter in residence. Other students are welcome to participate. Each session begins with a one-hour talk (including recordings) by the featured composer, followed by at least one hour of discussion. Lively and challenging debate on relevant issues is encouraged.

Meets on a bi-weekly basis to facilitate presentations by advanced students and invited guests and to encourage in-depth discussion between students, faculty, and visitors about theoretical and artistic issues of interest. Participation is required of all enrolled IS students until advanced to candidacy. Others are welcome to participate.

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Fall 2009: Shlomo Dubnov: "Musical Information Processing" - The course will survey applications of machine learning, pattern recognition and neural networks for musical purposes. Susan Narucki: "Writing for the Voice" - Course will discuss practical aspects of writing for the voice, including range, tessitura, text-setting, prosody, exploration of timbre, juxtapostions of instrumental textures, use of extended vocal techniques, amplification, use of non-traditional and traditional vocal techniques, etc. Discussion will be framed through examination of a wide variety of works written for voice in 20th/21st century repertoire.

Seminars on subject areas relating to the established dimensions of music and in which theoreticians have produced a substantial body of work. These include studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings vary depending on faculty availability and interest. Analytical paper required.

Advanced integrated studies in music theory; composition and styles study through analysis and performance.This course is intended primarily for doctoral students and may be taken by M.A. students only with special approval of M.A. adviser and course instructor. A major research or analytical publishable paper required.

The analysis of complex music. The course will assume that the student has a background in traditional musicanalysis. The goal of the course is to investigate and develop analytical procedures that yield significant information about specific works of music, old and new. Reading, projects, and analytical papers. Normally offered fall quarter only. Additional Description: Core requirement for all graduate students.

Introduces the field of ethnomusicology by highlighting important thinkers, concepts, and issues and by orienting students towards work of an anthropological, ethnographic, or comparative nature.

Introduces the network of concepts and approaches that comprise systems inquiry and explores the theoretical, philosophical, and methodological implications of systems thinking for musical research and practice.

Introduces important themes and thinkers from the fields of critical theory and cultural studies and explores how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender.

Surveys the terrain of contemporary creative music and investigates the social, cultural, historical, and technological dimensions of its manifestations and practice.

This course will give practical experience in conducting a variety of works from various eras of instrumental and/or vocal music. Students will study problems of instrumental or vocal techniques, formal and expressive analysis of the music, and manners of rehearsal. Required of all graduate students. Prerequisite: consent of instructor. (Offered in selected years.) Additional Description: Core requirement for all graduate students. May be offered in alternate years.

Performance of representative chamber music literature, instrumental and/or vocal, through coached rehearsal and seminar studies. Course may be repeated for credit since the literature studied varies from quarter to quarter. Prerequisite: consent of instructor and graduate standing.

Individual or master class instruction in advanced instrumental/vocal performance. Prerequisite: consent of instructor through audition. Additional Description: Taken every quarter by students with an emphasis in Performance.

Repertoire is drawn from the classic symphonic literature of the eigtheenth, nineteenth, and twentieth centuries with a strong emphasis on recently composed and new music. Distinguished soloists, as well as The La Jolla Symphony Chorus, frequently appear with the orchestra. The La Jolla Symphony Orchestra performs two full-length programs each quarter, each program being performed twice. May be repeated six times for credit. Prerequisites: audition, graduate standing and department stamp required. Additional Description: Students participating must enroll for credit. May be repeated six times for credit.

The purpose of this seminar is to bring together performance students, faculty, and guests for discussion, presentation of student and faculty projects, performances by guest artists, and master classes with different members of the performance faculty. Prerequisite: consent of instructor. (S/U grade option only). Additional Description: Meets on a bi-weekly basis. Taken by Performance emphasis MA students every quarter in residence, and DMA students every quarter until advancement to candidacy.

Provides an in-depth look at the shifting definitions, methods, and scope of ethnomusicology and explores contemporary writings and issues that are shaping the field today.

Traces the development of systems thinking and encourages work of a transdisciplinary nature, integrating models, strategies, methods, and tools from natural, human, social, and technological realms.

Advanced topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest.Maybe repeated for credit. Prerequisites: Music 173 or equivalent and consent of instructor.

Meetings on group basis with computer music faculty in support of individual student research projects. Prerequisites: consent of instructor and completion of Music 270A-B-C. Additional Description: Taken by Computer Music emphasis MA students every quarter of the second year, and PhD students every quarter in residence, after completion of the 270ABC sequence. Normally offered by all Integrative Studies faculty.

A hands-on encounter with several important works from the classic electronic repertory, showing a representative subset of the electronic techniques available to musicians. Intended primarily for students in areas other than computer music. Prerequisite: none. Additional Description: Composition emphasis students may petition through the Graduate Advisor to substitute Music 271 for the Music 291 core requirement.

A continuation of 271A, with emphasis on live interactive techniques (e.g., audio processing; analysis/resynthesis; score following). Prerequisite; Music 271A.

A continuation of 271B, with emphasis on compositional techniques (e.g., computer aided composition; production; spatialization). Prerequisite; Music 271B.

Group projects to create new pieces of live electronic music involving research in electronic music and/or instrumental techniques. May be repeated for credit. Prerequisite; Music 271ABC or permission of instructor.

The course will give practical experience in historical research, including use of important source materials, evaluation of editions, and examination of performance practice problems. (S/U grade option only.) Additional Description: Composition emphasis students may petition through the Graduate Advisor to substitute Music 271 for the Music 291 core requirement. May be offered in alternate years.

Individual research. (S/U grades permitted.) May be repeated for credit. Enrollment by consent of instructor only. Additional Description: Research with selected faculty on individual basis, per agreement between student and faculty. Six units required specifically for preparation of PhD/DMA qualifying exams, normally taken with each of the Music committee members for S/U grade.

Individual research projects relevant to the student's selected area of graduate interest conducted in continuing relationship with a faculty adviser in preparation for the master's thesis or doctoral dissertation.(S/Ugrades permitted.) Additional Description: Six units required in preparation of MA thesis. Twelve units quarterly required after PhD/DMA qualifying exams, to prepare for doctoral dissertation; normally taken with music committee chair and/or members for S/U grade.

Participation in the undergraduate teaching program is required of all graduate students at the equivalentof 25 percent time for three quarters (six units is required for all graduate students). Additional Description: All TAs must simultaneously enroll in Music 500 with the course instructor each quarter in which they are a TA. Participation in the undergraduate teaching program is required of all graduate students at the equivalent of 25% time for three quarters, or 33% for two quarters (6 units of Music 500). Units correspond to hours of work per week. Enroll as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.). It is the student's responsibility to seek out teaching experiences to acquire 6 units of Music 500 if no TA is assigned. NOTE: New TAs also enroll in FALL quarter for 1 unit of MUS 500 with the department Faculty TA Advisor, Prof. Jane Stevens, for New TA Training.

Consideration and development of pedagogical methods appropriate to undergraduate teaching. Additional Description: TAs with appointments in a non-Music department or college (e.g. 6th College) with a MUSIC department instructor enroll in Music 501, instead of 500, as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.).