Graduate Course Descriptions

For a complete listing of courses, please refer to the UCSD General Catalog.

Music 200. Contemporary Chamber Opera Performance (4 units)

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. Additional Description: Professor Susan Narucki. 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.

Offered: Not offered this year

Music 201A. Projects in New Music Performance: Just Intonation (1-4 units)

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: Instructor Professor John Fonville: This workshop will focus on the intricate tuning issues of extended just intonation. It will begin with the 5 limit intervals and chords exploring difference tone tuning, enharmonic issues and the syntonic comma. The workshop will include the prime number partials 7, 11 and 13 with many of the chroma associated with those partials. Of particular interest is the general application of utonality as presented and used by Partch and Johnston. Maximum of 7 students with consent of instructor.

Offered: Winter

Music 201A. Projects in New Music Perf: Palimpsest (1-4 units)

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: Rehearsals and performance of works by Ligeti, Carter, and Chodos. 

Offered: Winter

Music 201A. Projects in New Music Performance: Bass Ensemble (1-4 units)

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: Professor Mark Dresser

Offered: Winter

Music 201A-A-A-A. Proj in New Mus Perf (4,4,4,4 units)

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: "UC San Diego – Stanford Collaborative Opera Project" Students will create and perform new 20-30 minute operas at UCSD and at Stanford.  Pre-requisite: enrollment and successful completion of "Re-imagining Opera Seminar (offered in AY 2015-16). Professor Susan Narucki

Offered: Fall,Spring

Music 201a. Prof in New Mus Perf (4 units)

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: "Second Juries Ensemble" Ensemble of graduate performers organized for the performance of graduate student works in juries and elsewhere.  Enrollment by permission of instructor. Professor Steven Schick

Offered: Fall

Music 201B. Projects in New Music Perf- Improvisation Ensemble (1-4 units)

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: Stephanie Richards -- Imporovisation Ensemble "The Art of Conduction" This performance laboratory and ensemble introduces the methods of Butch Morris' Conduction idiom; a platform for conducted compositional language and improvisatory experimentation. Defined by Morris as "an improvised duet for ensemble and conductor", the ensemble will be featured in Conduction Concert Series at The Loft throughout the Winter 2017 quarter. In addition, participants will be presented with an opportunity to perform, compose and direct conductions. A discussion and evaluation of other conducted improvisational techniques including Anthony Braxton's Language Music will be explored through interviews and conducted application.

Offered: Winter

Music 201C. Projects in New Music Perf- Percussion-rfbf (1-4 units)

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: Fall, Winter & Spring: Prof. Steve Schick- Percussion Ensemble red fish blue fish

Offered: Fall,Winter,Spring

Music 201D. Projects in New Music Performance- Composition Juries (1-4 units)

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: Professor Susan Narucki. Composition Juries - only first year performance students can enroll in this course.

Offered: Fall

Music 201F. Projects in New Music Performance- Ensemble R.U.N.S. (1-4 units)

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: Professor Charles Curtis. Ensemble Realization of Unconventionally Notated Scores.

Offered: Winter

Music 202. Advanced Projects in Performance (1-4 units)

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: Students must submit a Performance/Project Proposal Form (located on the department Intranet) and must include titles, composers, instrumentation, duration, proposed course credit, approval, and performers. For FALL 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.

Offered: Fall,Winter,Spring

Music 203A-B-C-D. Advanced Projects in Composition (6,6,6,1-4 units)

Meetings and laboratory 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.

Offered: Fall,Winter,Spring

Music 204. Focus on Composition (2 units)

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.

Offered: Fall,Winter,Spring

Music 205. Focus on Integrative Studies (2 units)

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.

Offered: Fall,Winter,Spring

Music 206 . Experimental Studies Seminar-Composing for Violin (4 units)

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: "Composing for the Violin" This course will be an exploration of issues related to composing for the violin specifically and strings in general, through the study of scores old and new, readings, listening, and composition exercises. Erik Carlson

Offered: Fall

Music 206. Experimental Studies Seminar-Analysis for Conductors (4 units)

Steven Schick - 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: This seminar will explore the issues of preparing to conduct, from basic technical skills, to score preparation to trouble shooting in rehearsals. Most of the work will be done away from the podium, but practical experience will be offered wherever practicable. This course would be especially relevant to students wishing to deepen their understanding of conducting and to composers who wish to understand better the practical conducting problems raised in their scores.

Offered: Winter

Music 206. Experimental Studies Seminar-Advanced Rhythm Reading (4 units)

Ed Harkins - 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: "The Foundations of Advanced Rhythm Reading." Edwin Harkins. The goal of this course is to guide one towards having the freedom to perform any rhythm, regardless of notational or performative intricacy and ultimately nudge rhythm reading to the background of consciousness and to remove yet another technical obstacle to being musical. We want 1) to ensure that one is never perplexed by what is being asked via conventional notation - that one never has to avoid performing any music because one is stumped by the notation nor has to hear a rhythm before one can perform it, and 2) To ensure that one is always capable of producing, in a timely fashion, an excellent performance of the target rhythm and know that it is correct. Prior to conventional notation, we will be learning to create measured rhythms without prior audition and activating one's rhythm intuitions, including learning a) reckoning strategies, b) computational tools, and c) concomitant physical coordination. We will be learning how to create silent time-rulers and comparison structures that are flexible enough to allow for contextual imperatives and exercise our considerable abilities at fineness of distinction. The course will concentrate on rhythms communicated via the conventional notation system, eventually exploring the full range of intricacies and subtleties possible. We will be focusing on the measured rhythms of set pieces. Topics include: notational inelegance, problematic rhythms, arithmetic questions, hidden patterns, notation translation, and the design of effective learning pieces and tests that explore all classes of rhythmic problems. This course is guaranteed not to impair one's ability to be expressive.

Offered: Winter

Music 206. Experimental Studies Seminar: Computational Acoustic Modeling for Sound Synthesi (4 units)

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: Professor Tamara Smyth. "Computational Acoustic Modelling for Sound Synthesis" This seminar introduces methods for discrete-time modeling of musical acoustic systems and delay-based audio effects. Covered topics, including delay lines, sampling traveling waves, filters, artificial reverberation, flanging, musical instrument modelling and acoustic measurement, will be consolidated with practical programming assignments in Matlab.

Offered: Winter

Music 206. Experimental Studies Seminar-Self-similarity in Synthesis and Composition (4 units)

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: Shahrokh Yadegari: Self-similarity in Synthesis and Composition - In his course we will discuss the musical, technical, and critical applications of the concepts of self-referentiality, self-similarity, fractals, and non-linear dynamics. The class is project based and discussion driven.

Offered: Winter

Music 206. Experimental Studies Seminar-Frequency Domain audio techniques (4 units)

Miller Puckette - Frequency-Domain audio techniques Additional Description: A survey of existing techniques and open questions for frequency-domain audio processing. Topics to include: the analysis/synthesis chain and its two theoretical frameworks; windowing effects; multiple-time-scale approaches; inverse-FFT synthesis; phase coherence across analysis windows and channels.

Offered: Spring

Music 206. Experimental Studies Seminar-Watching Music (4 units)

Rand Steiger

Offered: Spring

Music 206. Experimental studies Seminar-Sound Installation Art II (4 units)

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. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. Additional Description: "Sound Installation Art II" This class is a studio-based sequel of the Sound Installation Art I seminar and will be a combination of reading, meeting, and making. Readings, group discussions, and the review of students' works in progress are designed to understand how these artworks position themselves in a social and cultural context and what values and philosophical underpinnings are implied or expressed by the art. The class will include guest speakers, field trips and culminates with a group show of the developed sound installation art works. The class is primarily addressed to students, who have taken the Sound Installation Art I seminar. If space permits, additional students can enroll upon approval of the instructor. Katharina Rosenberger

Offered: Fall

Music 206. Experimental Studies Seminar-Telematic Music (4 units)

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. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. Additional Description: "Experiments in Telematic Music" As our culture increasingly embraces platforms for integrated audio-visual immersion, and as telecommunications technologies become more sophisticated and more embedded in our daily lives, artists in diverse fields are finding exciting new potentials and challenges in using Internet-based technologies. The focus of this graduate seminar is telematic music, defined here as live, simultaneous performance by musicians in different geographical locations using high-bandwidth, fiber optic networks. Bi-weekly class and lab meetings will be held jointly between UCSD and UCI using video conferencing software (UltraGrid) and audio software specifically designed for telematic music making (Jacktrip). In addition to the collaborative projects between campuses, discussions led by the two instructors, the course will also feature outside guest presentations by noted experts. Mark Dresser

Offered: Fall

Music 207. Theoretical Studies Seminar-Sound and Violence (4 units)

Sarah Hankins - Sound and Violence Additional Description: This course investigates sonic dimensions of violence in three broad spheres of individual and collective human experience: military conflict, "civil society," and the nuclear family. We will explore phenomena including noise bombs, sonic torture, laments and propaganda songs; music in commerce, and sonic disciplining of bodies in public spaces; sound in memories of family violence, and sonic spatializations of the interior body in trauma psychoanalysis. These diverse trajectories of inquiry will be linked by a corpus of theoretical writing in sound studies that draws from phenomenology, psychoacoustics, political geography, ethnography, and musicology. Students will interrogate the intersections of race, gender, and class that shape sonic encounters with violence in different sociocultural contexts, with attention to subalterities that are endemic to globalized modernity.

Offered: Winter

Music 207. Theoretical Studies Seminar-Intercultural Experiment (4 units)

Lei Liang - Intercultural Experiment Additional Description: We are living in a world of many centers and many interests. Our work should not be mere variations of one master set of coding interests. Instead, we would like to engage in the richer confrontations, negotiations, convergences, divergences and modifications between and among cultures in a sort of tensional dialogue. By introducing the perceptual-expression procedures of Asian arts and music which are vastly different from the cultural-aesthetic assumptions of the west, we hope to evoke new aesthetic strategies leading to new perceptual horizons.

Offered: Spring

Music 207. Theoretical Studies Seminar-Philosophy of Modern Music (4 units)

A. Burr and C. Curtis - Philosophy of Modern Music Additional Description: Theodor Adorno's text, part musical analysis, part theoretical speculation and part polemic, had a huge impact on post-war art music of all stripes. The outlines are still obvious, but it seems worthwhile to dig back into the text in detail and to work through its immediate context and reflections and look at responses to it, from Thomas Mann's Doctor Faustus through to more recent musicology.

Offered: Spring

Music 207. Theoretical Studies Seminar-Writing and Publication Workshop (4 units)

Nancy Guy - Writing and Publication Workshop Additional Description: The aim of this seminar is for each student to submit an essay to a peer-reviewed journal by the end of the quarter. Students will arrive on week one with a solid draft of the essay on which they will work throughout the quarter. Identifying a suitable publication venue, writing, and revising (with intensive feedback from other seminar participants) are key aspects of the quarter's activities.

Offered: Spring

Music 210. Musical Analysis: (4 units)

The analysis of complex music. The course will assume that the student has a background in traditional musical analysis. The goal of the course is to investigate and develop analytical procedures that yield significant information about specific works of music, old and new. Reading, projects, and analytical papers. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. Additional Description: Instructor: Katherina Rosenberger The analysis of complex music. The course will assume that the student has a background in traditional musical analysis. The goal is to investigate and develop analytical procedures that yield significant information about specific information about specific works of music, old and new. Reading, projects, and analytical papers. Core course. May be offered in alternate years.

Offered: Spring

Music 211. Introduction to Ethnomusicology (2 units)

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.

Offered: Not offered this year

Music 212. Introduction to Systems Inquiry (2 units)

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.

Offered: Not offered this year

Music 213. Introduction to Critical Studies (2 units)

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.

Offered: Not offered this year

Music 214. Introduction to Creative Practice (2 units)

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

Offered: Not offered this year

Music 228. Conducting (4 units)

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.

Offered: Fall

Music 229. Seminar in Orchestration (4 units)

A seminar to give practical experience in orchestration. Students will study works from various eras ofinstrumental music and will demonstrate their knowledgeby orchestrating works in the styles of these various eras, learning the capabilities, timbre, and articulation of all the instruments in the orchestra. Prerequisite: graduate standing. (Offered in selected years.)

Offered: Winter

Music 230. Chamber Music Performance (4 units)

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. Additional Description: Advanced seminar in the performance of music for small ensemble. Offered with MUS 130.

Offered: Not offered this year

Music 232. Pro-Seminar in Music Performance (4 units)

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.

Offered: Fall,Winter,Spring

Music 234. Symphonic Orchestra (4 units)

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.

Offered: Fall,Winter,Spring

Music 245. Focus on Performance (2 units)

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.

Offered: Fall,Winter,Spring

Music 250. Special Projects (1-12 units)

An umbrella course offered to music graduate studentsin lieu of normal seminar offerings.Topics will be generated by faculty and graduate students and submitted in December each year for review by faculty.Students may register for up to four units of a specialized research topic with given faculty. May be taken forup to twelve units a quarter. (S/U grading option only). Additional Description: A proposal form signed by faculty sponsor is required prior to enrollment. Approved course offerings will be posted.

Offered: Not offered this year

Music 251. Integrative Studies Seminar in Ethnomusicology (4 units)

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.

Offered: Winter

Music 252. Integrative Studies Seminar in Systems Inquiry (4 units)

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. Additional Description: Explore the interrelated history of music and technology from the nineteenth to the twenty-first century, with an emphasis on the role that cultural factors play in technological design, production, consumption and use. Students will engage with literature in several disciplines and will be asked to complete a few small creative projects and prepare a final presentation for the class.

Offered: Not offered this year

Music 253. Integrative Studies Seminar in Critical Studies (4 units)

Develops critical thinking and self-reflexive inquiry through in-depth study of a diverse range of critical and scholarly traditions as they relate to music. Students are encouraged to investigate their own sense of identity and voice, as embodied in their creative and/or scholarly work. Additional Description: Memory, History, and their Impact on Intercultural Musical Exchange This seminar will investigate the role of memory and history in intercultural contexts, together with their implications in the construction of musical knowledge and the evolution of musical practices. How does memory function amid human displacements, migrations, and constant confrontation with difference? Is it distinct from tradition and heritage? How can memory be used and abused in such contexts by not only musicians but also music scholars? How do musicians negotiate the sometimes contradictory needs of personal as well as collective memory? In an intercultural context, how has music history be conceived and written and what have been its implications? What has led to certain exclusions, certain inclusions, and for what reasons? How do musicians negotiate the call to articulate a certain identity, sometimes associated with authenticity, traditions, and even nostalgia for a certain past, while being confronted with the allures and counter-pressures of progress or modernity and the need for change? How do networks of exchange function to produce musical hybridities? What have been the effects of dislocation and multiple layers of knowledge and experience on people's understanding of music? And what kinds of new musical knowledge and new musical practices are produced in such contexts? To ground our discussions, each week we will do close readings from Paul Ricoeur's Memory, History, Forgetting (2004). We will also read essays by other philosophers, historians, social scientists, and music scholars with particular attention to how these help us to rethink how music has been understood music in the 20th century and how we might theorize anew its meaning in the contemporary global context. Students will be encouraged to concentrate on the music of one region or genre.

Offered: Not offered this year

Music 254. Integrative Studies Seminar in Creative Practice (4 units)

Students will explore a variety of approaches to collaborative work and will be challenged to develop a personal aesthetic in experimental art and new media and design original work for presentation at faculty juries. Additional Description: Anthony Davis

Offered: Spring

Music 267. Advanced Music Technology Seminar (4 units)

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. Additional Description: This course will cover the fundamentals of programming music software in C and C++. We will cover programming externals for PD and Max/MSP and VST plugins. Basic DSP technique, programming techniques specific to audio and simple GUI design will be covered. Music 172 or consent of the instructor is required. (Meets with MUS 176)

Offered: Fall

Music 267. Advanced Music Technology Seminar-Spatial Audio and VR applications (4 units)

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. Additional Description: Shahrokh Yadegari - Spatial Audio and VR applications -- This course is a survey of various audio spatialization techniques and their musical and sound design applications. Special attention will be given to Virtual Reality audio production.

Offered: Winter

Music 270A. Digital Audio Processing (4 units)

Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Prerequisite: consent of instructor. Additional Description: Part of the three-course sequence 270ABC for first year Computer Music students. Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Tamara Smyth

Offered: Fall

Music 270B. Musical Cognitive Science (4 units)

Theoretical bases for analyzing musical sound.Approaches to perception and cognition, including psychoacoustics and information processing, bothecological and computational. Models of audition including Helmholtz's consonance/dissonance theory and Bregman's streaming model. Musical cognition theories of Lerdahl and Narmour. Neural network models of music perception and cognition. Models of rhythm. The problem of timbre and timbre perception. Prerequisite: consent of instructor.

Offered: Not offered this year

Music 270C. Compositional Algorithms (4 units)

Transformations in musical composition; series and intervalic structures; serial approaches to rhythm and dynamic. The stochastic music of Xenakis and Cage. Hiller's automatic composition. Improvisational models. Computer analysis of musical style. Neurally inspired and other quasiparallel algorithms. Prerequisite: consent of instructor. Additional Description: Shlomo Dubnov - Part of first year computer music sequence.

Offered: Spring

Music 270D. Advanced Projects in Computer Music (4 units)

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.

Offered: Fall,Winter,Spring

Music 271A. Survey of Electronic Music Techniques (2 units)

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.

Offered: Winter

Music 271B. Survey of Electronic Techniques II (4 units)

A continuation of 271A, with emphasis on live interactive techniques (e.g., audio processing; analysis/resynthesis; score following). Prerequisite; Music 271A. Additional Description: Composition students may petition through the Graduate Advisor to substitute this for the Music 291 core course.

Offered: Spring

Music 271C. Survey of Electronic Techniques III (4 units)

A continuation of 271A and B, with emphasis on compositional techniques (e.g., computer aided composition; production; spatialization). Prerequisite; Music 271B. Additional Description: Composition students may petition through the Graduate Advisor to substitute this for the Music 291 core course.

Offered: Not offered this year

Music 272. Seminar in Live Computer Music (4 units)

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.

Offered: Not offered this year

Music 291. Problems and Methods of Music Research and Performance (2 units)

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.

Offered: Not offered this year

Music 298. Directed Research (1-4 units)

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, with units per agreement between student and faculty. Six unit minimum required specifically for preparation of PhD/DMA qualifying exams, normally taken with each of the Music committee members for S/U grade.

Offered: Fall,Winter,Spring

Music 299. Advanced Research Projects and Independent Study (1-12 units)

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 unit minimum 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.

Offered: Fall,Winter,Spring

Music 500. Apprentice Teaching (1-4 units)

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 501 with the department Faculty TA Advisor, Prof. Jane Stevens, for New TA Training.

Offered: Fall,Winter,Spring

Music 501. Apprentice Teaching - Non-departmental (4 units)

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.). TA's must enroll in MUS 501 in FALL quarter only with Prof. Jane Stevens for New TA Training.

Offered: Fall