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: Fall,Winter,Spring

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.

Offered: Fall,Winter

Music 201A. Projects in New Music Performance (Various) (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 Sound, Movement and Space. In collaboration with TDCH 142 (Choreographic Workshop) and choreographer and dancer Liam Clancy, this performance laboratory will investigate unconventional spaces throughout campus providing an opportunity for composers, performers and dancers to engage in site specific collaborations for the duration of the course. While discovering, creating, improvising and listening within unconventional performance spaces, this course provides a template for dialogue and creation between choreographer and composer, performer and space.

Offered: Winter

Music 201A. Projects in New Music Perf: Opera (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: Susan Narucki. Kallisti Chamber Opera Project. UCSD-Stanford collaborative chamber opera project.

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. Projects in New Music Perf: (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: Susan Narucki. Noon at Dusk.

Offered: Spring

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: Fall Quarter: Prof. Stephanie Richards; Spring Quarter: Prof. David Borgo

Offered: Fall

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

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 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: 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 - 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: Spring

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: Spring

Music 206. Experimental Studies Seminar (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. "The Foundations of Advanced Rhythm Reading" 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: Work Shopping a Multi-Disciplinary Project (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: Professor Miller Pucket: Stored and live control streams for real-time electronic music. Various problems and approaches to managing parameters for synthesizing music. How you can store and recall, automate, generate, and/or combine synthesis parameters in live performance. Issues include handling polyphony; editing collections of parameter changes; control by automata; combining parameter streams; triggering and synchronization. Some knowledge of Pure Data (such as from the 271 sequence or by going through the video 171 lectures) will be helpful.

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: Historiography and (Music) History, in Theory and i (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: Jane Stevens: Historiography and (Music) History, in Theory and in Practice. "History" is simply the stories we tell about the past, whether about last week or last millenium, and we all use those stories to understand our present. For many musicians, the "music history" story is assumed to be fully contained in books (most commonly the one by Burkholder); but it turns out that history is not so straightforward. In this seminar we'll read some theoretical ponderings and arguments about whether, and in what ways, it's actually possible to write and read meaningfully about the past, whether recent or distant, and how "true" any historical writing can be. At the same time, each seminar participant will choose an individual topic in Western music (from Gregorian chant to Now) as the subject for his or her own investigation of some bit of musical history that might be useful, or interesting, or maybe just out of the mainstream. I encourage anyone who might like to take this seminar for 209 credit; if possible, try to talk to me before the class begins about your proposed topic. N.B. Although this course has obvious relevance for IS students, the seminar will be much more interesting for everyone if it includes people with different sorts of experience and interests, and students from all areas are encouraged to take part.

Offered: Winter

Music 207--. Theoretical Studies Seminar - Music and Affect (4,4,4 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.

Offered: Spring

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: Susan Narcuki. Re-imagining Opera. During the past twenty-five years, there has been an explosion of interest in the creation of new operas,  including those that incorporate interactive technology, live-streaming and site-specific works. What began centuries ago as narrative story telling through the medium of the classically trained voice is in the process of being transformed.  But what elements are essential to opera?  How have modern artists re-imagined opera in both creation and context to create works of great expressive power and renew the form?  Sessions will be held concurrently with seminar at Stanford University led by Jarek Kapuscinski  Permission of instructor required, enrollment limited to 10.

Offered: Fall

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: Instructors: Winter-Roger Reynolds; Spring-Chinary Ung

Offered: Winter,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: Winter

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: Fall

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: Fall

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: 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: Winter

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: Not offered this year

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

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: Not offered this year

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: 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. 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: 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: Not offered this year

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: 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: 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: Not offered this year

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: 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 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: Spring

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.).

Offered: Fall