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: 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. √íComputational Acoustic Modelling for Sound Synthesis√ď 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. √íThe Foundations of Advanced Rhythm Reading√ď 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.√š Technical facets of music presentation will include examination of audience development, funding, budgeting and resources while examining the success of traditional and unconventional performance presentation√šformats. 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 √švarious 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. Writing and Publication Workshop. The aim of this seminar is for each student to submit an essay to a peer-reviewed journal by the end of the quarter. Students will arrive on week one with a solid draft of the essay on which they will work throughout the quarter. Identifying a suitable publication venue, writing, and revising (with intensive feedback from other seminar participants) are key aspects of the quarter's activities.

Offered: 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 √šand 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. Additional Description: Professor Jann Pasler. Radio and recordings. In this seminar, we will investigate radio, recordings, and their interactions with the creation, circulation, and reception of music from wax cylinder recordings to the present, worldwide. What does it mean to record music and to come to know a period through its recordings? Through radio and radio programming? And how are listeners√' understandings of music changed by access to recordings or by radio programming? What does it mean to collaborate in the transformation of one√'s music into these media? What are the hopes and aspirations associated with these media, and how do musicians and producers negotiate them? What can happen because of these media, perhaps only possible through them? √šHow is musical meaning constructed in such contexts, and especially in contexts reflective of situations distinct from musical creation, such as pre-war anxieties or war or the ever evolving dynamics of national identity? Our study will range from the pragmatic to the social and political, the technological to the aesthetic.

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