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.

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: 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,Spring

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.

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.

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: 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: 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: 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

Music 206. Experimental Studies Seminar: Computational Acoustic Modeling for Sound Synthesi (4 units)

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Instructor: Tamara Smyth. ÒComputational Acoustic Modelling for Sound SynthesisÓ This seminar introduces methods for discrete-time modeling of musical acoustic systems and delay-based audio effects. Covered topics, including delay lines, sampling traveling waves, filters, artificial reverberation, flanging, musical instrument modelling and acoustic measurement, will be consolidated with practical programming assignments in Matlab.

Offered: Spring

Music 206. Experimental Studies Seminar: 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: Instructor: Katharina Rosenberger. ÒSound Installation Art IÓ This seminar introduces students to historic, contemporary, and critical issues surrounding sound installation art. Issues as how conceptual, spatial and sonic needs define the work's language and application, and how this is a tool for communication and artistic expression are subjects under discussion. The weekly assigned readings, in class discussions and guest lectures provide a theoretical and philosophical context to critically engage with themes such as musical interactivity, the role of technology, perceptive behavior modes, aesthetics and phenomenological thoughts as it relates to the practice of sound and/or installation art. The course intends to provide the students with an opportunity to extend their critical interest and understanding of the field and as a result to develop their reflective approach towards their own work and practice. This course welcomes music students from all areas and an hourly research presentation and a final paper will be expected of everyone. This course will feature a sequel (14-15) that is studio-based, allowing a small number of students to develop and realize sound installation projects. Enrollment limit is 12.

Offered: Spring

Music 206. Experimental Studies Seminar: Vocal Lab: Experimental Practices (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: This course is co-taught by vocalist Susan Narucki and composer Katharina Rosenberger. ÒVocal Lab: Experimental PracticesÓ It is a creative and experimental laboratory that investigates the relationships between the voice and the performing body, the voice as a medium to project sound and/or a narrative, to aurally highlight an acoustic space or a dramatic character. The class aims further to teach the students a comprehensive survey of vocal extended techniques, and their expressive and timbral capabilities. Students will work in teams, composing and performing for each other and support each other in the research for a new work for voice (sung, spoken, exploring vocal sounds) in an interdisciplinary and experimental context. The final project will consist of a 4-5 minute video documentation, where the students introduce and comment on their new works, show excerpts of the vocal performance piece (either completed or in progress) and highlight the research and experimentations they have conducted for it. The class is open to graduate students from all areas. Enrollment limit: 12 students

Offered: Winter

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: Anthony Burr. ÒThe Performance of ListeningÓ A consideration of circumstances and works where the performer's listening becomes a central feature of the performance. We'll also consider musical practices based on reinterpretation i.e. where the new performance/work is the presentation of the artist's hearing of something else. To what extent do these practices upend old notions of listening as passive and private or performance as public and demonstrative?

Offered: Fall

Music 207. Theoretical Studies Seminar: Music, Race, and Ethinicity in the U.S. (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: Eun-Young Jung. "Music, Race, and Ethinicity in the U.S." This seminar will explore issues of race and ethnicity in the U.S. as they bear upon musical practice and perception. The emphasis is on minority groups in the U.S. and their relationship with the white, largely Anglo American, mainstream. We will concentrate on the musics practiced by minority groups and the musical and cultural forces that have shaped these music cultural identities. It is a basic premise of the course that musical meaning is not locked in the structures of sound, to be decoded by a clever analysis of the melodies, rhythms, and harmonies, but that musical meaning is socially constructed and undergoes continuous reinterpretation over time. Particular attention will be given to Asian Americans whose Òbuilt-in foreignnessÓ has been closely related to their ÒinvisibleÓ socio-political position within the U.S. racial landscape. Students will be exposed to key issues of race and ethnicity and their relation to musical practices in the U.S.

Offered: Fall

Music 207. Theoretical Studies Seminar - Music, Sound and Biopolitics: 1968-Present (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, Sound and Biopolitics: 1968-Present" The terms biomusic and biopolitics emerged almost simultaneously during the latter quarter of the 20th century. Used to describe the work of David Rosenboom, Alvin Lucier, Maryanne Amacher, Pauline Oliveros and others, biomusic uses biological potentials as sound sources that seem to issue directly from the bodies of listeners and composers. In the late work of Michel Foucault, biopolitics describes mechanisms for the maintenance and control of biological life that appear to operate directly upon the bodies of individuals and populations. This course examines how contested configurations of embodiment, agency, power and materiality emerge through the theoretical and practical coupling of both music and politics with biology in the late 20th century. We assess how and why, since Foucault, theories of the biopolitical been used to analyze a network of urgent contemporary assemblages, such as conditions of war, logics of preemption, surveillance and modulation of affect, drawing on the work of Jasbir Puar, Fred Moten, Steve Goodman, Judith Butler, Roberto Esposito and others. As we orient this assessment within wide-ranging work in anthropology, history of science, philosophy, music studies, and critical race and gender theory, many questions arise: How do theoretical and practical emphases on biological life reinscribe or reconfigure traditional distinctions between nature and culture? How do music and sound participate in the distribution and partition of community, security, danger and perceptibility within and across the socio-political field? These questions produce new perspectives on recent musicological concern with, for example, torture, sonic materiality and ecology while also generating new critical frameworks for soundscape composition, improvisation, installation and multi-media performance.

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. ÒPersonal Narrative, Musical VoicesÓ In this course, students will concentrate on one musician, preferably themselves or someone whose influence on their work they consider very important. We will then examine various factors that impact personal identity, narrative, and meaning in music--family, gender, sexuality, religion, class, friends, ennemies, influences, geography, ethnic, regional, national, cultural identities and their musical manifestations. Thus, we will begin with music as a metaphor for personal space; then music as a metaphor for shared space: performance and the meaning of the local and contingent; music as a metaphor for the public space, the body of society, the Nation-State; music as a metaphor for cosmic space; Contested Meanings in Practice and Performance; and finally Hybridity and Multiple identities.

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. ÒIntercultural Resources and DialogueÓ We are living in a world of many centers and many interests. Our work should not be mere variations of one master set of coding interests. Instead, we would like to engage in the richer confrontations, negotiations, convergences, divergences and modifications between and among cultures in a sort of tensional dialogue. By introducing the perceptual-expression procedures of Asian arts and music which are vastly different from the cultural-aesthetic assumptions of the west, we hope to evoke new aesthetic strategies leading to new perceptual horizons. Weekly reading and listening assignments will provide key topics for discussion. Students from all areas are welcome to engage in this creative dialogue through composition, interpretation, analysis or comparative studies.

Offered: Winter

Music 207. Theoretical Studies Seminar: Historiography and (Music) History, in Theory and i (4 units)

Seminars on subject areas relating to the established dimensions of music and in which theoreticians have produced a substantial body of work. These include studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings vary depending on faculty availability and interest. Analytical paper required. Additional Description: Instructor: Jane Stevens. ÒHistoriography and (Music) History, in Theory and in PracticeÓ Whether one performs or composes or just thinks about music, every thoughtful musician makes use of some notion of "history"; but few people ask themselves what that actually is, assuming the answer to be obvious. In this seminar we'll read some theoretical ponderings and arguments about whether, and in what ways, it's actually possible to write and read meaningfully about the past, whether recent or distant, and how ÒtrueÓ any historical writing can be. At the same time, each seminar participant will choose an individual topic in Western music (from Gregorian chant to Now) as the subject for his or her own investigation of some bit of musical history that might be useful, or interesting, or maybe just out of the way. I encourage anyone who might like to take this seminar for 209 credit; if possible, try to talk to me before the class begins about your proposed topic. N.B. Although this course has obvious relevance for IS students, the seminar will be much more interesting for everyone if it includes people with different sorts of experience and interests, and students from all areas are encouraged to take part.

Offered: Winter

Music 207. Theoretical Studies Seminar: Ecomusicology (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. Turning ecocriticism towards the study of music, ecomusicology (an emerging branch of music scholarship) seeks to investigate the relationship between music and the physical environment. This course will be a cooperative seminar in which ecocritical inquiry provides the basis for our mutual exploration. Key questions to be engaged include: how might music affect humankind's relationship to the natural world? how and to what effect has environmental degradation been represented in contemporary music? how and to what effect is environmental protection presented as a value via music? what cross-fertilization is possible between music (including scholarship, performance, and composition) and environmental discourses in other disciplines such as history, literary criticism, art history, and theatre? what is the creative artist's role in the environmental movement? In addition to reading and critiquing foundational writings in ecocriticism and ecomusicology, students will write a research paper.

Offered: Spring

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 250. Special Projects (1-12 units)

An umbrella course offered to music graduate studentsin lieu of normal seminar offerings.Topics will be generated by faculty and graduate students and submitted in December each year for review by faculty.Students may register for up to four units of a specialized research topic with given faculty. May be taken forup to twelve units a quarter. (S/U grading option only). Additional Description: A proposal form signed by faculty sponsor is required prior to enrollment. Approved course offerings will be posted.

Offered: Winter

Music 251. Integrative Studies Seminar in Ethnomusicology (4 units)

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

Offered: Spring

Music 253. Integrative Studies Seminar in Critical Studies (4 units)

Develops critical thinking and self-reflexive inquiry through in-depth study of a diverse range of critical and scholarly traditions as they relate to music. Students are encouraged to investigate their own sense of identity and voice, as embodied in their creative and/or scholarly work.

Offered: Winter

Music 254. Integrative Studies Seminar in Creative Practice (4 units)

Students will explore a variety of approaches to collaborative work and will be challenged to develop a personal aesthetic in experimental art and new media and design original work for presentation at faculty juries. Additional Description: Traces the development of systems thinking and encourages work of a transdisciplinary nature, integrating models, strategies, methods, and tools from natural, human, social, and technological realms. Additional information: Explore the interrelated history of music and technology from the nineteenth to the twenty-first century, with an emphasis on the role that cultural factors play in technological design, production, consumption and use. Students will engage with literature in several disciplines and will be asked to complete a few small creative projects and prepare a final presentation for the class.

Offered: Spring

Music 267. Advanced Music Technology Seminar: Programming Music Software (FALL 2012) (4 units)

Advanced topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest.Maybe repeated for credit. Prerequisites: Music 173 or equivalent and consent of instructor. Additional Description: This course will cover the fundamentals of programming music software in C and C++. We will cover programming externals for PD and Max/MSP and VST plugins. Basic DSP technique, programming techniques specific to audio and simple GUI design will be covered. Music 172 or consent of the instructor is required. (Cross listed with MUS 176)

Offered: Fall

Music 270A. Digital Audio Processing (4 units)

Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Prerequisite: consent of instructor. Additional Description: Part of the three-course sequence 270ABC for first year Computer Music students.

Offered: Winter

Music 270B. Musical Cognitive Science (4 units)

Theoretical bases for analyzing musical sound.Approaches to perception and cognition, including psychoacoustics and information processing, bothecological and computational. Models of audition including Helmholtz's consonance/dissonance theory and Bregman's streaming model. Musical cognition theories of Lerdahl and Narmour. Neural network models of music perception and cognition. Models of rhythm. The problem of timbre and timbre perception. Prerequisite: consent of instructor.

Offered: Spring

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: Winter

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: Spring

Music 272. Seminar in Live Computer Music (4 units)

Group projects to create new pieces of live electronic music involving research in electronic music and/or instrumental techniques. May be repeated for credit. Prerequisite; Music 271ABC or permission of instructor.

Offered: Not offered this year

Music 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.

Offered: Fall