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: 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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

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

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional description: 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: Fall 2012: 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.

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

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

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: This seminar examines some of the many design problems that come up when writing real-time computer music applications, such as: how to get audio and other information in and out on time; scheduling; concurrent processes and priorities; memory and data management; DSP coding; the user interface and graphics; and programming style choices. Participants should have some experience programming in a "real" programming language (C, Java, Fortran, Basic, Forth, ADA, COBOL...; not just Max or Pd). Whatever examples I provide will be in C. Students will be asked to make a prototype of something and/or make a presentation to the class about some related topic. Additional Description: Perspectives on Performance

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 Shlomo Dubnov: Creation and production of experimental musical pieces using software for free and structured improvisation. Of special interest are uses of machine listening, learning and interaction elements, such as style imitation, interfaces for live group improvisation sets, and other approaches that blur the boundary between human and machine creators, performers and the listeners. This is a hands on seminar that requires collaborative work between technology and composition.

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: 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.

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: Joint, inter-campus Seminar simultaneously taught at UCI and UCSD, weekly seminar meetings and Supportive Laboratory Sessions. As our culture continues to move towards integrated auditory and visual immersion platforms, the necessity to investigate, conceptualize and develop fluency with creating and utilizing multimedia forms becomes increasingly important to the arts, indeed, essential. This seminar will have two thrusts Ð towards distributed multi-media performance (displaced in location) and innovative multi-media documentation (displaced in time).

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: Building upon the investigations, skill sets, values and proposals developed during the winter quarter, the thrust of the Spring course will be on the realization of a quality telematic performance and its multi-dimensional documentation. The seminar will focus on the production steps to realize a high quality multimedia telematic event and its enhanced documentation.

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings.In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: This project is the beginning of a long-term cooperation between the Bauhaus University Weimar and the University of California, San Diego. Partners in Weimar are Robin Minard and Ludger Hennig from the Studio for Electroacoustic Music (SeaM) and Max Neupert (Medial Environments). Partners in San Diego are Miller Puckette and Katharina Rosenberger (Music) and Shahrokh Yadegari (Theatre and Dance). In this seminar we will investigate the boundaries and frictions between low-fi aesthetics (spanning a century from Futurism through Glitch and its descendants) and the hi-fi world of multichannel soundfields and modern studio craft. The academic periods at Weimar and UCSD overlap for only nine weeks, so in this seminar the aim will be to encourage the formation of collaborative groups drawing on the different expertises of students and faculty in the two UCSD departments and Bauhaus University to work on longer-term projects. These might take the form of an electroacoustic composition, a simulation of spatial perception, a sonic architecture or a set design as a virtual or performative environment. Meetings will be held jointly, Mondays, 9:30 AM - 12:30 PM (San Diego); 6:30-9:30 PM (Weimar). At UCSD we'll meet in CALIT, where a studio will be available between class meetings to allow continuous collaboration between the two sites.

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: Reading Contemporary Improvisation: Professor David Borgo will take a close look at several recent and influential texts in the field of improvisation studies: The Philosophy of Improvisation by Gary Peters, Improvisation as Art by Edgar Landgraf, The Improvising Mind by Aaron L. Berkowitz, and Perpetual Frontier by Joe Morris. Using these works and other independent outside reading, students are asked to engage with and to synthesize various aspects of the contemporary discourse surrounding musical improvisation and to generate a prospectus for their own future research.

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 Jann Pasler: Is there such thing as autonomous individual creativity, or has it always been constituted in reference to, response to, or defiance of a constituted Other? How does the cosmopolitan, a "citizen of the world," help negotiate this divide and for what purposes? In this seminar, we will examine cosmopolitanism from the Greek Stoics and Kant through Derrida and Post-Colonials, focusing on its meaning in music and musical practices. In seeing themselves as part of the world, cosmopolitans negotiate the Other as part of, or in relationship to, the Self and tend to relativize differences. At the same time, cosmopolitans need not give up local identities. What is a moral cosmopolitanism, a cultural and a political one? How does music organize multiple alterities? Students will be invited to concentrate on a musician, a genre, a musical style, or the musical life of a city of their choice.

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: Whether you perform or compose or just think about music, "history" is something we all use; but few people think very much about what it actually is, assuming that to be a rather straightforward matter. In this seminar we'll read some theoretical ponderings and arguments about how (and whether) we can write and read meaningfully abut the past, whether recent or distant. In addition, each participant will choose an individual topic in Western music (anything 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 just interesting, leading to a final presentation and paper. I encourage those who might wish to take the 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.

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: 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).

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

The analysis of complex music. The course will assume that the student has a background in traditional 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. Normally offered fall quarter only. Additional Description: Core requirement for all graduate students. May be offered in alternate years.

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

Performance of representative chamber music literature, instrumental and/or vocal, through coached rehearsal and seminar studies. Course may be repeated for credit since the literature studied varies from quarter to quarter. Prerequisite: consent of instructor and graduate standing. Additional Description: Advanced seminar in the performance of music for small ensemble. Offered with MUS 130.

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

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

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

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.

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

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

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.).