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.

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

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: 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.

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 goal of this course is to guide one towards having the freedom to perform any rhythm, regardless of notational or performative intricacy. 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. This course will concentrate on those 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 Ð those meant to be performed substantially as written. Given a coded blueprint of an unfamiliar timing structure we will learn to build it in real-time, out of sound. Like any notation system some information will be implicit and some assumed. Some relationships will be camouflaged and various in commensurabilities between the reckoned, the heard and the notated will occur. One will learn to scan for notational inelegance, problematic rhythms, arithmetic questions and make probes for hidden patterns (like regional trajectories) that may facilitate accurate performance. Conventional notation interfaces well with performers in allowing them to read and execute change that can be fast, constant and subtle. We can use our abilities to instantly note and delimit the future, analyze what is being asked, choose the best reckoning strategy, launch the plan, monitor one's progress, neutralize any obstacles and Inconspicuously correct any instabilities - and it is this consciousness that allows us to know we are correct. We will also discuss the relation between a stepped, quantized, verbatim notation and a malleable humanizing capable of spawning virtuoso approximators, i.e. we will be clarifying what "accuracy" means in this world. We will suggest notations that can reveal any simple structures underlying difficult notation and learn to be expert at notation translation.

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: Telematic Music is synchronous performance with musicians in different geographical locations via high speed and high bandwidth networks. Over the past several years significant progress has been made in the methods and procedures with which we practice and integrate set design, lighting, and video in addition to our music. A course will be taught concurrently in Telematic Production, MU 176 to facilitate high production values. We will have guests lectures in Telematic Video by John Crawford from UCI. We are also cooperating with "Crossing Boundaries" taught by Shahrokh Yadegari and Victoria Petrovich in Theater and Dance and hope to have cross enrollment in both courses.

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

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: A study of how sound travels through or is emitted or absorbed by solids and fluids (air in particular). Topics to include: modes of vibration and traveling waves; junctions between vibrating objects and coupling of solids with air; Fourier and parametric analysis techniques; modal and finite-element computer models; and specific cases such as: strings, membranes, and plates; rooms, air columns, and the vocal tract; mics, speakers, resonators and soundboards. Some mathematics will be needed, roughly at the level assumed in The Theory and Technique of Electronic Music (http://crca.ucsd.edu/~msp/techniques.htm).

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: In this seminar, we will reflect on what constitutes a concert, its social as well as aesthetic meaning, spaces and places for concerts, performance rituals and the role of the performer, programming and the building of a repertoire, concerts as public culture, and the business of concerts. We will also examine the history of concert organizations as well as think beyond conventional notions, seeking to imagine new ways of theorizing concerts. Students will have the option of focusing on one concert organization of their choice throughout the quarter, examining it from all these perspectives and developing one of them in a final paper; or direct their theorizing to conceive/create/curate a new kind of concert experience.

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: "An Anthology", published by La Monte Young and Jackson MacLow in 1963, is a ground-breaking compendium of scores, proposals and essays by a loosely-affiliated group of musicians and artists near the beginning of their careers. It stands as a fascinating time capsule of an emerging, post-John Cage avant garde in New York which would later divide into classifications such as Fluxus, Minimalism, Performance Art and Conceptual Art; but at the time of publication, "An Anthology" presented a freeflowing composite statement of mostly young artists and thinkers. Above all, "An Anthology" put forward the event score, or the text instruction score, as a fully developed form of notation for the first time. Now more than fifty years old, this document bears a closer look as its contributors approach the end of their careers, marking out an epoch of American experimental music and art. We will familiarize ourselves with the individual artists (some of whom are obscure figures by now), flesh out the background from which they emerged, consider how the book functions as a complete work in the tradition of earlier avant garde documents and manifestos, and study the works themselves in depth, possibly leading to informal performances of some of the scores. Analytical paper required.

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: This seminar will explore the musical practices and related discourses of Asian Americans, considering the variety of styles and meanings of music in Asian American lives. We will focus in particular on the ways in which racialized Asian American identities are articulated through musical activities and musical tastes. The course will include coverage of Asian traditions transported to America, the involvement of Americans of various Asian ancestries in mainstream Euro-American and African American musical forms, and the hybrid mixtures that have developed, particularly in the past two decades. We will be considering these musics in relation to larger social, political, economic, and cultural forces within multiethnic contemporary American society, leading to reflection on the plurality of American cultural identity and how we should understand and reinterpret Asian American cultural identity. Students will be exposed to key ideas and issues in the study of Asian American history, including social movements and cultural politics, and in the field of ethnomusicology--including race, ethnicity, cultural identity, hybridity, and gender--through readings, lectures, and fieldwork projects.

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: In 1930s Birkhoff suggested that aesthetic effect can be measured in terms of a relation between complexity and order of an object. Since then many works, some unrelated, have touched upon the notions of complexity, ambiguity, anticipation and etc. as factors that shape our experience of art, music, literature and more. In the seminar we will explore the philosophical, formal and practical implications of these ideas. Questions to be discussed include beauty in randomness and whether there is an optimal randomness, what is order, symmetry and transformations, aspects of memory, familiarity and arousal related to feelings of Wow and Aha, structure in musical form, structure of narrative in screenplays, detecting visual and auditory surprise, and so on. The seminar is open to all music graduate students who are not afraid to see sometimes mathematical equations. No mathematical background is required but we will use some Greek symbols to help us formalize our thoughts, and sometimes regress to looking into code and practical programs that touch upon related ideas.

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: Performers in the Western art music tradition have been historically viewed in two extreme and contrasting ways. Hindemith, for example, commented that performers are taken as either "nothing but the low grade medium of transmitting music, a contrivance to produce tones" or as almost "superhuman" beings who, "with the wings of [their] divine talents, carry us into heavenly regions." In this seminar we will explore the "superhuman" side of things under the theoretical rubric of fandom. While we will study the fandoms of "classical" artists such as Maria Callas and Beverly Sills, we will also explore the fandoms surrounding Bruce Springsteen, Elvis, Michael Jackson, and other contemporary artists. Why and how do listeners form strong emotional attachments to performers who, in most cases, they will never meet? What do listeners gain through these often passionate, yet usually one-sided, relationships? What are the relationships between fandom and personal identity? How do fans use music to make sense of the world? What draws a listener to a particular artist and not to another equally accomplished artist of the same repertoire or similar style? What accounts for the ire displayed in YouTube comments between fans of competing opera divas, for example? Besides exploring the dynamics involved in fan culture through readings and fieldwork projects, students will also engage in identifying and explaining (in specific musical and performative detail) their own personal histories of fandom (or lack thereof).

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. Additional Description: Music's presumed inability to represent the world was for most of the history of western aesthetics a firm strike against it. That is, until romanticism and modernism when this abstraction would elevate it above all other art forms. Encounters with music from other cultures and the ubiquity of recording have shifted the landscape somewhat, and maybe things are not quite what they were (if they ever were). Including texts by Rousseau, Lessing, Adorno/Horkheimer, Steven Feld, and Michael Taussig. Music by Biber, Leopold Mozart, Luc Ferrari, Peter Ablinger, Annea Lockwood and others.

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.

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.

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.

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.

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

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.

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.)

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.

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.

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.

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.

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 500 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.).