Graduate Course Descriptions

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

Music 1A. Fundamentals of Music A (4 units)

This course, first in a three-quarter sequence, is primarily intended for students without extensive musical experience. It introduces music notation and basic music theory topics such as intervals, scales, keys and chords, as well as basic rhythm skills. Prerequisite: none.

Offered: Fall

Music 1B. Fundamentals of Music B (4 units)

This course, second in a three-quarter sequence, focuses on understanding music theory and developing musical ability through rhythm, ear training and sight singing exercises. Topics include major and minor scales, seventh-chords, transposition, compound meter and rudiments of musical form. Prerequisite: Music 1A.

Offered: Winter

Music 1C. Fundamentals of Music C (4 units)

This course, third in a three-quarter sequence, offers a solid foundation in musical literacy through exercises such as harmonic and melodic dictation, sight singing excerises and rhythm in various meters. Topics include complex rhythm, harmony and basic keyboard skills. Prerequisite: Music 1B.

Offered: Spring

Music 2A-B-C. Basic Musicianship (4,4,4 units)

Primarily intended for music majors. Development of basic skills: perception and notation of pitch and temporal relationships. Introduction of functional harmony. Studies in melodic writing. Drills in sight singing, rhythmic reading, and dictation. Prerequisites: Must be taken in sequence. Majors must be concurrently enrolled in Music 2AK.

Offered: Fall,Winter,Spring

Music 2AK-BK-CK. Basic Keyboard (2,2,2 units)

Scales, chords, harmonic progressions, transposition, and simple pieces. Prerequisites: Majors must be concurrently enrolled in Music 2A. Majors only.

Offered: Fall,Winter,Spring

Music 2JK. Jazz Keyboard (2 units)

This course will introduce basic voicings and voice leading, stylistically appropriate accompaniment, and basic chord substitution. For Music Majors with a Jazz and the Music of the African Diaspora emphasis to be taken concurrently with Music 2C. Prerequisites: Music 2AK and 2BK or passing proficiency exam, or consent of instructor. Concurrent enrollment in Music 2C. Majors only.

Offered: Spring

Music 4. Introduction to Western Music (4 units)

A brief survey of the history of Western Music from the Middle Ages to the present. Much attention will be paid to the direct experience of listening music and attendance of concerts. Class consists of lectures, listening labs, and live performances. Prerequisite: none.

Offered: Fall,Spring

Music 5. Sound in Time (4 units)

An examination and exploration of the art and science of music making. Topics include acoustics, improvisation, composition, electronic and popular forms. There will be required listening, reading, and creative assignments. No previous musical background required. Prerequisite: none.

Offered: Winter

Music 6. Electronic Music (4 units)

Lectures and listening sessions devoted to the most significant works of music realized through the use of computers and other electronic devices from the middle of this century through the present. Prerequisite: none. (Offered in alternate years.)

Offered: Fall

Music 7. Music, Science, and Computers (4 units)

An exploration of the interactions among music, science, and technology, including the development and history of science and technology from the perspective of music, and the modern re-synthesis of these disciplines occurring around computers. Prerequisite: none. (Offered in alternative years.)

Offered: Spring

Music 8. American Music (4 units)

A course designed to study the development of music in America. The focus will be on both the vernacular traditions including hymn singing, country music, jazz, blues, big band, rock, etc., as well as the cultivated traditions of various composers from William Billings to John Cage. Prerequisite: none. (Offered in selected years.)

Offered: Fall

Music 9. Symphony (4 units)

The symphonic masterworks course will consist of lectures and listening sessions devoted to a detailed discussion of a small number of recognized masterworks (e.g., Mozart, Beethoven, Berlioz, Stravinsky, Ligeti, etc.). Prerequisite: none. (Offered in selected years.)

Offered: Winter

Music 11. Folk Music (4 units)

A course on folk musics of the world, covered through lectures, films, and listening sessions devoted to detailed discussion of music indigenous to varying countries/areas of the world. Topics vary from year to year. May be repeated once for credit. Prerequisite: none.

Offered: Fall

Music 12. Opera (4 units)

A study of opera masterworks that often coincide with operas presented in the San Diego Opera season. Class consists of lectures, listening labs, live performances, and opera on video. Prerequisite: none.

Offered: Spring

Music 13AF. World Music/Africa (4 units)

A course that focuses on the music of Africa and on African ways of music- making in the Diaspora to the Caribbean and South America. No prior technical knowledge of music is necessary. Prerequisite: none

Offered: Spring

Music 13AM. World Music/Multicultural America (4 units)

A study of music cultures in the United States, particularly Native American, Hispanic American, European American, Asian American, and Pacific Islanders from the perspective of ethnicity, origin, interaction, and the contribution of various ethnic groups to American musical life. No prior technical knowledge of music is necessary. Prerequisite: none.

Offered: Winter

Music 13AS. World Music/Asia and Oceania (4 units)

Introduction to selected performance traditions of Asia and Oceania with links to local and visiting musicians from these cultures. No prior technical knowledge of music is necessary. Prerequisite: none.

Offered: Spring

Music 14. Contemporary Music (4 units)

This course offers opportunities to prepare oneself for experiences with new music through preview lectures, to hear quality performances by visiting or faculty artists, to discuss each event informally with a faculty panel: an effort to foster informed listening to the new in music. Prerequisite: none.

Offered: Winter

Music 15. Popular Music: The Beatles (4 units)

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: The Beatles were a phenomenon of expansive and widely acknowledged influence. Their imprint is still seen on arguably every song that finds its way into the various musical air spaces. Forty years after they last recorded together, their brand continues to live on in computer games, T-shirt designs and general advertising cachet. They helped define the ÒbandÓ as a synergistic artistic endeavor, as a commercial venture, as socio-cultural catalyst, and as a phenomenon of pop-cultural Òmania.Ó In this course, we will explore The Beatles from musical, cultural, historical, technological and critical angles. We will place them in context, examining their assorted confluences and wide influences. We will think critically about them about them as artists, innovators, and public personalities. And finally, we will listen, watch, absorb and discuss, so that students might leave with a broader, deeper, and more personal understanding of the group's enduring appeal.

Offered: Fall,Spring

Music 15. Popular Music: Hip Hop (4 units)

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: This course will examine the role and impact of Hip Hop music on popular culture. We will begin by investigating the history of this music, starting at the roots of the genre in the South Bronx and following its transformation to its complex current state. We will examine the music's relationship to other threads of Hip Hop culture, i.e. DJing, graffiti and break dancing. Students will gain an understanding of the political and social implications and meanings of Hip Hop music. Emphasis will be given to the nuanced role of class, gender and race surrounding this music. Critical approaches and techniques developed in the class will not only be relevant to Hip Hop music, but also to the larger world of popular music.

Offered: Spring

Music 15. Popular Music: TBA (4 units)

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none.

Offered: Fall,Winter,Spring

Music 15. Popular Music: Video Game Music and Sound Design (4 units)

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: In this course, students will examine the role of music and sound design in interactive media (i.e. video games) by surveying the historical, technical, cultural and aesthetic concerns of game audio and music. Throughout the quarter, students will hear presentations from several industry composers, sound designers and programmer.

Offered: Winter

Music 32. Instrumental Instruction (2 units)

Individual instruction on intermediate level in instrumental technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Offered: Fall,Winter,Spring

Music 32V. Vocal Instruction (1 units)

Individual instruction on intermediate level in vocal technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course and in Music 32VM. May be taken six times for credit. Prerequisite: Audition and Department Stamp.

Offered: Fall,Winter,Spring

Music 32VM. Vocal Masterclass (1 units)

All students enrolled in voice lessons (32V or 132V) perform for one another and their instructors. Students critique in-class performances, with emphasis on presentation, diction, dramatic effect, vocal quality, and musicality in a critically supportive manner. Prerequisite: Concurrent enrollment in Music 32V or 132V.

Offered: Fall,Winter,Spring

Music 33A. Introduction to Composition I (4 units)

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 2C or consent of instructor.

Offered: Fall

Music 33B. Introduction to Composition II (4 units)

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33A.

Offered: Winter

Music 33C. Introduction to Composition III (4 units)

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33B.

Offered: Spring

Music 87. Freshman Seminar (1 units)

The Freshman Seminar Program is designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small seminar setting. Freshman seminars are offered in all campus departments and undergraduate colleges, and topics vary from quarter to quarter. Enrollment is limited from 15 to 20 students, with preference given to entering Freshman. For a complete schedule of topics offered each quarter go to: https://students.ucsd.edu/academics/enroll/seminars/freshman-seminars.html

Offered: Fall,Winter,Spring

Music 95B . Instrumental Choir for Bass (2 units)

Instrumental course consisting of quartets, quintets, sextets, or octets of specific instruments, i.e. percussion, etc. The ensemble promotes good performance ensemble skills and will expose students to great composers from the classical to the contemporary periods.

Offered: Winter

Music 95C. Concert Choir (2 units)

Open to all university students, the Concert Choir meets twice a week to prepare one program of choral literature each quarter. Repertoire chosen from a wide variety of musical styles. Attendance at all rehearsals and performances is mandatory.

Offered: Fall,Winter,Spring

Music 95D. Symphonic Chorus (2 units)

A 120-voice, advanced choral ensemble combining UCSD students with community members, which performs a subscription series of masterwork concerts with the La Jolla Symphony and Chorus.

Offered: Fall,Winter,Spring

Music 95E. Chamber Orchestra (2 units)

Rehearsal of varied works for full orchestra culminating in at least one public performance each quarter.

Offered: Fall,Winter,Spring

Music 95G. Gospel Choir - Pass/No Pass only (2 - 3 units)

The goal of this course is to lead students in experiencing the singing and understanding of Gospel music and its various styles, as well as other forms of sacred music of the 20th century of the African American experience. The course may be taken for either two units or three units. Extra sections and concerts are required for three units; the instructor will announce these requirements at the first class session.

Offered: Fall,Winter,Spring

Music 95JC. Jazz Chamber Ensembles (2 units)

Small jazz ensembles will be arranged by audition and organized according to instrumentation and student interest, and ability. Each ensemble will meet on a weekly basis under faculty guidance and will have the opportunity for both on- and off-campus performances. Prerequisites: By audition only; Department stamp required.

Offered: Fall,Winter,Spring

Music 95K. Chamber Singers (2 units)

An advanced choral group. Preparation, stylistic interpretation and performance of music from the 12th century to the present for accompanied and unaccompanied voices. Basic music reading skills are encouraged. Prerequisites: By audition only. http://musicweb.ucsd.edu/ugrad/ensembles.php Attend the first class meeting to schedule an audition. Department stamp required.

Offered: Fall,Winter,Spring

Music 95L. Wind Ensemble (2 units)

An intermediate to advanced level ensemble performing traditional to contemporary band literature.

Offered: Fall,Winter,Spring

Music 95W. World Music Ensembles: Indian Classical Music Ensemble (2 units)

An Indian Classical Music Ensemble with a focus on the Sitar and Tabla. No previous background necessary. Additional Description: An Indian classical music ensemble with a focus on the Sitar and Tabla or an instrument of your choice. Voice students are encouraged to join. Students will be introduced to the concepts of Raga and Tabla through fixed compositions and ear training. While no previous background is necessary, all students MUST attend the first meeting of class. Failure to do so will require students to drop the course. This first meeting is to assign students to proper groups and offer a broad survey of the history and theory of the tradition.

Offered: Fall,Winter,Spring

Music 101A. Music Theory and Practice I (4 units)

Study of modal coounterpoint in the style of 16th century. Two-voice species counterpoint studies. Analysis of music of the period. Musicianship studies:sight singing, dictation and keyboard skills. Prerequisites: Music 2C and 2CK.

Offered: Fall

Music 101B. Music Theory and Practice II (4 units)

Study of tonal harmony and counterpoint. Analysis of Bach chorales and other music from the Baroque period. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 101A

Offered: Winter

Music 101C. Music Theory and Practice III (4 units)

Tonal harmony and counterpoint. Analysis of larger classical forms: Sonata, Variation, Minuet and Trio, Rondo. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 101B

Offered: Spring

Music 102A. Music Theory and Practice IV (4 units)

Advanced study of the materials and structures of music (Beethoven to Wagner) emphasizing the evoluation of music through chromatic harmony and voice leading. Developing of aural discrimination and in-depth analysis. Prerequisites: Music 101C.

Offered: Fall

Music 102B. Music Theory and Practice V (4 units)

Advanced study of the materials and structures of music (Schoenberg, Stavinsky, Webern, etc - 1900-1940) emphasizing the evolution of music through extended harmony post tonality and neoclassicism. Development of aural discrimination and in-depth analysis. Prerequisites: Music 102A

Offered: Winter

Music 102C. Music Theory and Practice VI (4 units)

Advanced study of the materials and structures of music (1945-2006) emphasizing the evolution of music through the many compositional trends of late 20th century. Prerequisites: Music 102B

Offered: Spring

Music 103 A. Seminar in Composition I (4 units)

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: 33ABC. (Course must be taken in sequence - Music 103 A-B-C)

Offered: Fall

Music 103B. Seminar in Composition II (4 units)

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Mus 103A

Offered: Winter

Music 103C. Seminar in Composition III - (4 units)

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Music 103B

Offered: Spring

Music 104. Jazz Transcription and Analysis (4 units)

An introduction to the practice of transcribing and analyzing improvised music. Discussion of music technique, style, aesthetics and the ideology of transcription. Prerequisites: Music 101A and 101B.

Offered: Spring

Music 105. Jazz Composition (4 units)

This course will explore a range of compositional possibilities from song forms to modal and more extended forms. May be repeated once for credit. Prerequisites: Music 104 or consent of instructor.

Offered: Fall

Music 107. Critical Studies Seminar: Theorizing Concerts (4 units)

Additional Description: Instructor: Jann Pasler. "Theorizing Concerts" In this seminar, students will be asked to investigate one concert organization of their choice as well as to think beyond conventional notions and imagine new ways of theorizing concerts. Together, using the example of the concerts chosen by each student, we will examine concepts underlying various kinds of concerts, spaces and places for concerts, leadership and patronage, performance rituals, concerts as public culture, programming and repertoire, audience development, the business of concerts and beyond. Readings and discussion will come from a broad range of fields, but mostly students will be expected to do their own research on their chosen organization. After examining their chosen concert organization from all these perspectives, they will be asked to develop one of them in a final paper, or direct their theorizing to conceive/create/curate a new kind of concert experience.

Offered: Fall

Music 107. Critical Studies Seminar (4 units)

Explore music in relation to various traditions of critical thought and their methodologies, such as in literature, cultural studies, sociology, and philosophy. Readings and scores to be determined by the professor. Additional Description: 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. Fall 2014 - In this seminar, students will be asked to investigate one concert organization of their choice as well as to think beyond conventional notions and imagine new ways of theorizing concerts. Together, using the example of the concerts chosen by each student, we will examine concepts underlying various kinds of concerts, spaces and places for concerts, leadership and patronage, performance rituals, concerts as public culture, programming and repertoire, audience development, the business of concerts and beyond. Readings and discussion will come from a broad range of fields, but mostly students will be expected to do their own research on their chosen organization. After examining their chosen concert organization from all these perspectives, they will be asked to develop one of them in a final paper, or direct their theorizing to conceive/create/curate a new kind of concert experience.

Offered: Fall

Music 111. World Music Traditions - Chinese Opera (4 units)

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Additional Description: This course will focus on the music, acting conventions, stagecraft, and stories of Chinese opera as it was performed in the twentieth century. Until fairly recently, more than 300 different regional forms of opera existed in China. Among these, Peking opera is the most well-known both inside China and internationally. About half of the course will be devoted to an overview of Peking opera. Other regional forms to be introduced include "Huangmei opera," Shanghai's "Yueju,", and Taiwanese opera (koa-a-hi)

Offered: Winter

Music 112. Topics in European Music Before 1750 (4 units)

This course will address topics in medieval, Renaissance, and Baroque music; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended.

Offered: Winter

Music 113. Topics in Classic, Romantic, and Modern Music (4 units)

This course will focus on Western music between 1750 and the early 20th century; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended.

Offered: Fall,Winter

Music 114. Music of the Twentieth Century (4 units)

An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none.

Offered: Spring

Music 116. Popular Music Studies Seminar - Topic TBA (4 units)

This course examines special topics in popular music from various sociopolitical, aesthetic, and performance perspectives. Readings include recent literature in cultural studies, musicology, and/or performance practice. Topics vary. May be taken three times for credit. Prerequisites:Upper division standing or consent of instructor.

Offered: Fall,Spring

Music 120A. History of Music in Western Culture I (4 units)

First part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both sacred and secular repertories from Gregorian chant through early opera, c. 800-1600. Prerequisites: Music 1C or 2C, or passing grade on proficiency exam. Music majors should be enrolled concurrently in Music 101A. Department stamp required for non-majors.

Offered: Fall

Music 120B. History of Music in Western Culture II (4 units)

Second part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both instrumental and vocal repertories, from the "Baroque" to the "Romantic," c. 1600-1830. Prerequisites: Music 120A. Music majors should be enrolled concurrently in Music 101B. Department stamp required for non-majors.

Offered: Winter

Music 120C. History of Music in Western Culture III (4 units)

Third part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both established traditions and new trends, from Romanticism through Modernism and Post-Modernism, c.1890-present. Prerequisites: Music 120B. Music majors should be enrolled concurrently in Music 101C. Department stamp required for non-majors.

Offered: Spring

Music 126. Blues: An Oral Tradition (4 units)

This course will examine the development of the Blues from its roots in work-songs and the minstrel show to its flowering in the Mississippi Delta to the development of Urban Blues and the close relationship of the Blues with Jazz, Rhythm and Blues, and Rock and Roll. (Cross-listed with Ethnic Studies 178.) Prerequisite: none.

Offered: Fall

Music 127A. Jazz Roots and Early Development (1900-1943) (4 units)

This course will trace the early development of Jazz and the diverse traditions which helped create this uniquely American art form. We will witness the emergence of Louis Armstrong in New Orleans and examine the composer's role in Jazz with Jelly Roll Morton and Duke Ellington. (Cross-listed with Ethnic Studies 179A.) Prerequisite: none.

Offered: Winter

Music 127B. Jazz Since 1946: Freedom and Form (4 units)

This course will examine the evolution of Jazz from 1943 to the present. The course will survey the contrasting and competing styles in Jazz from BEBOP to COOL to the avant garde and fusion. (Cross-listed with Ethnic Studies 179B.) Prerequisite: none.

Offered: Spring

Music 130. Chamber Music Performance (4 units)

Instruction in the preparation of small group performances of representative instrumental and vocal chamber music literature. Prerequisites: Consent of instructor through audition. May be taken for credit six times, unlimited thereafter for zero units.

Offered: Fall,Winter,Spring

Music 131. Advanced Improvisation Performance (4 units)

Master-level class instruction in advanced improvisation performance for declared majors and minors only or by consent of instructor. May be taken for credit six times, unlimited thereafter for zero units. Prerequisites: Consent of instructor through audition.

Offered: Fall

Music 132. Pro-Seminar in Instrumental Instruction (4 units)

Individual or master class instruction in advanced instrumental performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Offered: Fall,Winter,Spring

Music 132V. Pro-Seminar in Vocal Instruction (3 units)

Individual instruction in advanced vocal performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course, and in the Voice Masterclass, Music 32VM. May be taken six times for credit. Prerequisites: audition and department stamp.

Offered: Fall,Winter,Spring

Music 133. Projects in New Music Performance (4 units)

Performance of new music of the twentieth century, with readings relevant to the selected repertory. Normally offered in Winter Quarter only. Required minimum of one time for all Music majors. May be taken two times for credit. Prerequisite: Consent of instructor through audition. Department stamp required.

Offered: Winter

Music 134. 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 137A-B-C. Jazz Theory and Improvisation (4,4,4 units)

Study of Jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. Prerequisites: Music 2A-B-C, proficiency exam, or consent of instructor.

Offered: Fall,Winter,Spring

Music 143. Department Seminar (1 units)

The department seminar serves both as a general department meeting and as a forum for the presentation of research and performances by visitors, faculty, and students. Required of all undergraduate music majors every quarter.

Offered: Fall,Winter,Spring

Music 150. Jazz and the Music of the African Diaspora: Special Topics Seminar- Miles Davis (4 units)

An in-depth writing and listening intensive investigation into a jazz or diaspora-related music history topic. Topics vary from year to year. May be repeated once for credit. Prerequisites: Music 126, 127A, or 127B or consent of instructor.

Offered: Spring

Music 170. Musical Acoustics (4 units)

An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: Music 1A, or 2A, or 4. Cross-listed with ICAM 103. Depending on the instructor, this course may include the following tools: pd. Additional Description: Offered Fall Quarter Only

Offered: Fall

Music 171. Computer Music I (4 units)

A practical introduction to computer techniques for desktop audio, including audio editing, MIDI control, and real-time music algorithms. Prerequisite: Music 170, or consent of instructor. Depending on the instructor, this course may include the following tools: Max/MSP, pd, Matlab. Additional Description: Offered Winter Quarter Only

Offered: Winter

Music 172. Computer Music ll (4 units)

Computer synthesis techniques including wavetable and additive synthesis, waveshaping, and sampling. Transformation of musical sounds using filters, modulation, and delay effects. Fourier analysis of sounds. Prerequisite: Music 171. Depending on the instructor, this course may include the following tools: Max/MSP, pd. Additional Description: Offered Spring Quarter Only.

Offered: Spring

Music 173. Audio Production: Mixing and Editing (4 units)

Theoretical and practical aspects of recording, mixing, and editing sound for both musical and multimedia applications. Covers audio montage, equalization, effects processing, spatialization, mastering, and diffusion. Prerequisite: Music 170. Depending on the instructor, this course may include the following tools: Ableton Live, Max/MSP, Max for Live, Logic, pd.

Offered: Winter

Music 174A. Audio and MIDI Studio Techniques I (2 units)

First class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the Studio. Topics include: electronic and computer music, digital and analogue audio signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and student projects. 174A focuses on signals, mics, device based recording, mixing, monitoring. Prerequisites: Music 170; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors; or consent of instructor. Depending on the instructor, this course may include the following tools: Pro Tools HD, Altiverb, Waves.

Offered: Fall

Music 174B. Audio and MIDI Studio Techniques II (2 units)

Second class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the ICAM Studio. Topics include: electronic and computer music, digital and analog signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and studio techniques, and student projects. 174B focuses on digital audio workstations, computer-based mixing and editing, soundfile transformation. Prerequisites: Music 170; Music 174A; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor. Depending on the instructor, this course may include the following tools: Pro Tools HD, Altiverb, Waves.

Offered: Winter

Music 174C. Audio and MIDI Studio Techniques III (2 units)

Third class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the ICAM Studio. Topics include: electronic and computer music, digital and analog audio signal mixing and manipulation, studio devices, interfacing, composition applications, MIDI synchronization, performance and studio techniques , and student projects. 174C focuses on MIDI, synchronization, and sound-for-picture. Prerequisites: Music 170; Music 174B; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor. Depending on the instructor, this course may include the following tools: Pro Tools HD, Altiverb, Waves.

Offered: Spring

Music 175. Musical Psychoacoustics (4 units)

Survey of psychoacoustical phenomena, theories of hearing, and their relation to musical perception and cognition. Techniques of psychoacoustical experimentation. Prerequisite: Music 170. Depending on the instructor, this course may include the following tools: Matlab.

Offered: Spring

Music 176. Music Technology Seminar: TBA (4 units)

Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 172 or consent of instructor. Depending on the instructor, this course may include the following tools: Pro Tools HD3, Logic, Ableton Live, Xcode, Visual C++, Max/MSP.

Offered: Fall,Spring

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: Spring

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: Fall,Winter,Spring

Music 201A. Projects in New Music Performance: 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.

Offered: Fall,Winter,Spring

Music 201A-A. Projects in New Music Performance (Various) (1-4,1-4 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 Stephanie Richards. Site Specific Performer/Composer Collaboration. This performance laboratory will investigate unconventional spaces throughout campus and provide an opportunity for composers and performers to engage in site specific collaborations for the duration of the course. While discovering, creating and listening within unconventional performance spaces, this course accentuates the relationship between performing environments and the music we create while embracing the inherent soundscape/musical panorama that preexists within every environment.

Offered: Fall,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 201B. Projects in New Music Performance- 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: Fall Quarter: Prof. Stephanie Richards; Spring Quarter: Prof. David Borgo

Offered: Fall,Spring

Music 201C. Projects in New Music Performance- Percussion 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: 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 Mark Dresser. Composition Juries - only first year performance students can enroll in this course.

Offered: Fall

Music 201E. Projects in New Music Performance (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.

Offered: Not offered this year

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: Fall

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 - SOUND INSTALLATION ART I (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: Prof. Katharina Rosenberger: SOUND INSTALLATION ART. This seminar introduces students to historic, contemporary, and critical issues surrounding sound installation art. Issues as how conceptual, spatial and sonic needs define the work's language and application, and how this is a tool for communication and artistic expression are subjects under discussion. The weekly assigned readings, in class discussions and guest lectures provide a theoretical and philosophical context to critically engage with themes such as musical interactivity, the role of technology, perceptive behavior modes, aesthetics and phenomenological thoughts as it relates to the practice of sound and/or installation art. The course intends to provide the students with an opportunity to extend their critical interest and understanding of the field and as a result to develop their reflective approach towards their own work and practice. This course welcomes music students from all areas and an hourly research presentation and a final paper will be expected of everyone. This course will feature a sequel (14-15) that is studio-based, allowing a small number of students to develop and realize sound installation projects. Enrollment limit is 12.

Offered: Fall

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: Instructor: Tamara Smyth. ÒComputational Acoustic Modelling for Sound SynthesisÓ 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: Spring

Music 206-. Experimental Studies Seminar (4,4 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: Instructor Edwin Harkins. ÒThe Foundations of Advanced Rhythm ReadingÓ 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.

Offered: Winter

Music 206. Experimental Studies Seminar- Experiments in 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. Additional Description: Professor Mark Dresser. Experiments in Telematic Music: As our world 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. All class and lab meetings will be held jointly between UCSD and UCI using video conferencing software and tools specifically designed for telematic music making. Course work will include: 1) short assignments and pilot projects that introduce basic technical and production skills necessary for telematic performance; 2) original creative work that students will develop collaboratively using the lab sessions, culminating in a final telematic concert, and 3) a small amount of assigned readings and student presentations.

Offered: Fall

Music 206. Experimental Studies Seminar: Feedback and Distortion (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 Miller Puckette: Feedback and Distortion: Although widely hated and feared by sound engineers, feedback and distortion lie at the heart of most hardware and software synthesis algorithms. Without them there would be no electronic music. With care and knowledge, they can be used to make a wide array of oscillators, semi-periodic and chaotic signal generators, filters, dynamic processors, reverberators, and more.

Offered: Winter

Music 206. Experimental Studies Seminar-The Music of La Monte Young (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 Charles Curtis. The Music of La Monte Young: In this seminar we will take an in-depth look at the creative output of La Monte Young. Spanning the early fifties to the present and encompassing fully-scored works for traditional instruments, conceptual works, sound and light installations, semi-improvised music and raga, Young's ground-breaking oeuvre raises provocative musicological, performative and aesthetic issues. By his own choice, his music and ideas have not been widely circulated, and access to recordings is limited. This seminar will attempt to provide a fair survey of the main phases of the work as well as careful discussion of the special conditions of the work's reception.

Offered: Spring

Music 206. Experimental Studies Seminar- Embodied Performance - Body and Mind Integration f (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 Mark Dresser. Embodied Performance - Body and Mind Integration for the Musician: The focus of this graduate seminar will be the critical evaluation of various cross cultural approaches towards body and mind integration relevant to the musician. Open to all grads this will be of obvious use but not solely for performers in avoiding and recovering from injury, increasing motility, coordination, mental and physical endurance. This seminar will examine through readings, demonstrations by outside experts and assigned practicum, various western and eastern approaches towards a development of a personal tool-kit. Areas of research and evaluation include chi-kung, yoga, Alexander Technique, sports medicine, brain research, sleep research and nutrition. Musical metrics of evaluation will be applied to gauge effectiveness of various approaches towards musical ends. Expectations: regular attendance, a moderate amount of required reading, weekly assignments, a final paper/presentation.

Offered: Spring

Music 206. Experimental Studies Seminar: Curation and Presentation in the 21stCentury (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: The workshop will help the composer and librettist develop the tools necessary to create an opera or music theater work. Composers and librettists will be assigned specific exercises in collaboration from the creation of arias to larger vocal ensembles. The course will explore the practical issues of text setting and examine the tenuous balance of text, music and meaning. How can music illuminate a text? How does dramaturgy help develop musical forms? How can song forms enhance the drama and serve a larger, musical form? The course will culminate in the creation of a scene study. The class is open for composers, writers and performers. Additional Description: Professor Stephanie Richards. Curation and Presentation in the 21stCentury: This seminar examines the art and significance of music curation and presentation within the context of our current economy in contemporary music. Technical facets of music presentation will include examination of audience development, funding, budgeting and resources while examining the success of traditional and unconventional performance presentationformats. Through weekly assigned readings, in-class discussions and guest lectures, a theoretical and philosophical context will be established from which practical application and experimentation will be implemented through a course-curated series with a partnered venue in the community.

Offered: Spring

Music 207. Theoretical Studies Seminar: Popular Music Studies (4 units)

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. Additional Description: Professor Eun-Young Jung: Popular Music Studies: This seminar will explore the major issues and research methodologies in the study of popular music. We will discuss contributions and limitations of traditional approaches and current research trends of popular music by reading works from a wide range of disciplines including ethnomusicology, musicology, anthropology, cultural studies, sociology, history, gender studies, performance studies, and American studies. Particular attention will be given to questions such as 1) how specific aesthetic values and meanings are produced, negotiated, and challenged, 2) how race and ethnicity are stereotyped, reinforced, and overturned, 3) how gender and sexuality are performed and consumed, 4) what roles media and technology play in production, distribution, and consumption (including social media), and 5) how relations between musicians and fans are formed and experienced. We will also examine genre-oriented case studies in the U.S. and from around the world (e.g. rock, hip-hop, punk). Students will be exposed to key ideas and issues in the study of popular music through readings, class discussion, and fieldwork projects (conventional/virtual).

Offered: Fall

Music 207. Theoretical Studies Seminar: Personal Narrative, Musical Voices (4 units)

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. Additional Description: Instructor: Jann Pasler. "Theorizing Concerts" In this seminar, students will be asked to investigate one concert organization of their choice as well as to think beyond conventional notions and imagine new ways of theorizing concerts. Together, using the example of the concerts chosen by each student, we will examine concepts underlying various kinds of concerts, spaces and places for concerts, leadership and patronage, performance rituals, concerts as public culture, programming and repertoire, audience development, the business of concerts and beyond. Readings and discussion will come from a broad range of fields, but mostly students will be expected to do their own research on their chosen organization. After examining their chosen concert organization from all these perspectives, they will be asked to develop one of them in a final paper, or direct their theorizing to conceive/create/curate a new kind of concert experience.

Offered: Fall

Music 207. Theoretical Studies Seminar: Intercultural Resources and Dialogue (4 units)

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. Additional Description: .Instructor: Lei Liang. Intercultural Resources and Dialogue: 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. Weekly reading and listening assignments will provide key topics for discussion. Students from all areas are welcome to engage in this creative dialogue through composition, interpretation, analysis or comparative studies.

Offered: Winter

Music 207. Theoretical Studies Seminar: (4 units)

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. Additional Description: Instructor Nancy Guy. Title and Description Pending.

Offered: Winter

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

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. Additional Description: Instructor: Amy Cimini. Music and Affect: Affect was once considered too diffuse for serious study, but since the mid-1990s, there has been an increasing interest among the humanities and social sciences in "affect," understood (broadly) as a pre-personal, extra-subjective field of intensities that orient us toward action, habit, association and attachment. This so-called "affective turn" has produced new approaches to the body, sensation, potentiality and materiality in dialogue with debates about affect's status as a political asset. In this course, we consider how the study of affect recapitulates and reframes debates about identity, knowledge and bodily experience in the music fields during the last thirty years, linked in part by a shared concern with the mind-body relation formed (differently) in dialogue with early modern sources. By querying how and why sound, music and the aural have been treated as models for affect's circulation and transmission, we ask what methods might suit exploring the affective dimensions of our research and creative practice. How has affect been studied historically and ethnographically? How do theorists of affect engage gender, sexuality, race and class? How has affect been studied in cross-cultural perspective? Our archive is critical (Ahmed, Berlant, Brennan, Connolly, Clough, Cvetkovich Leys, Thrift, Sedgwick); anthropological (Hirschkind, Howes, Jackson, Navaro-Yashin, Seremetakis); philosophical (Deleuze, Heidegger, Massumi, Zizek); cultural-historical (Descartes, Spinoza, Elizabeth of Bohemia, Rameau, Helmholtz).

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 Katharina Rosenberger.

Offered: Winter

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: Spring

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 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: Spring

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.

Offered: Winter

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: 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 information: 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: Spring

Music 267. Advanced Music Technology Seminar: Programming Music Software (FALL 2012) (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. (Cross listed with MUS 176)

Offered: Fall

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.

Offered: Winter

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: Part of first year computer music sequence.

Offered: Fall

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: Fall

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: Winter

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 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.).

Offered: Fall

Music 80. Special Topics in Music (1 - 4 units)

Lower division course with various topics will be offered during the summer sessions each year.

Offered: Summer

ICAM 160A. Senior Project in Computer Arts I (4 units)

Students pursue projects of their own design over two quarters with support from faculty in a seminar environment. Project proposals are developed, informed by project development guidelines from real world examples. Collaborations are possible. Prerequisites: VIS 141B or VIS 145B or VIS 147B or MUS 172. Open to ICAM majors only. Offered winter quarter only. Two production course limitation.

Offered: Winter

ICAM 160B. Senior Project in Computer Arts II (4 units)

Continuation of ICAM 160A. Completion and presentation of independent projects along with documentation. Prerequisite: ICAM 160A. Open to ICAM majors only. Offered spring quarter only. Two production course limitation.

Offered: Spring