Graduate Course Descriptions

For a complete listing of courses, please refer to the UCSD General Catalog.

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. Instructor: John Fonville

Offered: Winter

Music 201A. 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. Additional Description: Instructor: Susan Narucki

Offered: Fall

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. Additional Description: Rehearsals and performance of works by Reynolds, Stockhausen, Frey and Qingqing Wang. Instructor: Aleck Karis

Offered: Winter

Music 201A. Projects in New Music Performance: Opera (1-4 units)

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: "Kallisti Chamber Opera" Project. Three performances of chamber opera repertoire, TBD. Enrollment by permission of instructor. Instructor: Susan Narucki

Offered: 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. Additional Description: Instructor: Mark Dresser

Offered: Winter

Music 201A. Projects in New Music Performance Collaborative DJ 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: This laboratory and performance ensemble allows students to experiment with DJ and production techniques of sampling, remix, mashup, beatmaking, circuit bending, and electroacoustic improvisation in collaborative configurations. Moving away from presentational settings such as the concert hall or installation space, we will focus on developing pieces and sets that are suited for dancing, movement, and participatory/social environments. We will explore the challenges and creative possibilities of working within DJ-specific approaches to groove, harmony, dynamics, timbre, and more. Students will have the opportunity to perform in area clubs during the Spring quarter. The ensemble will accommodate most instruments or media that students may wish to utilize. No prior experience in DJing or production is required. Instructor: Sarah Hankins

Offered: Spring

Music 201B-B. Projects in New Music Performance: Improvisation Ensemble (1-4,1-4 units)

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Improvisation Workshop. Instructor: Anthony Davis

Offered: Winter,Spring

Music 201C. Projects in New Music Performance: Percussion Ensemble (rfbf) (1-4 units)

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Percussion Ensemble red fish blue fish. Instructor: Steven Schick

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: First year Collaborative Projects for Performers and Composers. Only first year performance students can enroll in this course. Instructor: Steven Schick

Offered: Fall

Music 202. Advanced Projects in Performance (1-4 units)

Advanced performance of new music with members of the performance faculty (SONOR). 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 Music Intranet) to the Graduate Advisor. This form must include titles, composers, instrumentation, duration, proposed course credit, performers, and have supervising faculty and Performance Chair approval. 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. For FALL only: Students may (but are not required to) present the work(s) in public performance.

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 in small groups. Consent of instructor required. 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. Instructor: Rand Steiger

Offered: Fall,Winter,Spring

Music 204. Focus on Composition (2 units)

The purpose of this seminar is to bring in 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. 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. Instructors: Chinary Ung (Fall), Lei Liang (Winter), and Rand Steiger (Spring)

Offered: Fall,Winter,Spring

Music 205. Focus on Integrative Studies (2 units)

Meets on a biweekly 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. Additional Description: Instructors: Sarah Hankins (Fall), Amy Cimini (Winter), and Nancy Guy (Spring)

Offered: Fall,Winter,Spring

Music 206. Experimental Studies Seminar: Advanced Rhythm Reading (4 units)

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

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: "Sound Installation Art I" 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 that is studio-based, allowing a small number of students to develop and realize sound installation projects. Instructor: Katharina Rosenberger

Offered: Fall

Music 206. Experimental Studies Seminar: Hearing Seascapes (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: Hearing Seascapes: A Collaborative Seminar on the Sonification of Coral Reefs: This seminar provides an unusual opportunity for grad students from both the Music and the Engineering Departments to develop an interdisciplinary project centering around the sonification of coral reefs. Through creative processes in musical composition and data visualization, our highly collaborative project and data-driven approach seek to initiate dialogues between artists and scientists and lead to a new way to immerse the viewers in a scientific and artistic experience of coral reefs, its colors, its calcification process, etc. Here, music serves an instrument to give the visualization of coral reefs a voice both literally and figuratively.The seminar welcomes composers, performers (especially for those performers who compose and/or improvise), computer-musicians and scholars to explore and to re-imagine how music can be created, where music can be experienced, and how science and music can intersect in a fully integrated way. Instructor: L. Liang

Offered: Spring

Music 206. Experimental Studies Seminar: Frequency-domain audio techniques (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: A survey of existing techniques and open questions for frequency-domain audio processing. Topics to include: the analysis/synthesis chain and its two theoretical frameworks; windowing effects; multiple-time-scale approaches; inverse-FFT synthesis; phase coherence across analysis windows and channels. Some mathematics and signal processing background will be needed; if in doubt check with instructor. Instructor: Miller Puckette

Offered: Spring

Music 206. Experimental Studies Seminar (4 units)

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

Offered: Fall,Winter

Music 206. Experimental Studies Seminar: Deep and shallow (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: Deep and shallow: machine learning for music generation. In this seminar we will explore the use of machine learning and deep neural network technologies for creative purposes. Our focus will be on generative methods and their relevance to modeling of creative processes and cognition, with applications to style transfer and machine improvisation. We will introduce python and TensorFlow, and use of AWS for running deep learning algorithms. The models to be discussed include variable Markov models, auto encoders, convolution networks, GANS and more. There are no mathematical or computer science prerequisites for the course, but programming experience will be an advantage. Students are expected to work individually or in groups on a project of their choice and present it at the end of the class. Instructor: Shlomo Dubnov Instructor: Shlomo Dubnov

Offered: Fall

Music 206. Experimental Studies Seminar: (4 units)

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

Offered: Fall

Music 206. Experimental Studies Seminar-Music of minimal variation (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: Music of minimal variation. A non-comprehensive study of drones and related music through readings, discussions, and extensive listening. Instructor: Erik Carlson

Offered: Fall

Music 207. Theoretical Studies Seminar (4 units)

Seminars on subject areas relating to the established dimensions of music and in which theoreticians have produced a substantial body of work. These include studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings vary depending on faculty availability and interest. Analytical paper required. Additional Description: .

Offered: Fall,Spring

Music 207. Theoretical Studies Seminar: Musical Creativity and Science (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: This seminar brings together four individuals in a coordinated sharing of their extensive experience in considering and utilizing the resources of science/technology in enabling or suggesting innovative creative goals. The scheduled sessions begin with presentations by the two UCSD faculty composers regarding how science-oriented information and tools have influenced their creative paths. There follow presentations by the two visitors: one discussing and demonstrating the logistics of multimedia presentations (including explanation and demonstration of the Projection Design process for using images) The second presents a series of five, two-part lectures. The initial segment of each lecture is a "primer" on a psychological principle/phenomenon especially relevant to innovative projects. This is followed by a more extended exploration of issues stretching from form, through auditory scene analysis, timbre and instrumentation, and the cognitive dynamics of music listening. We believe this seminar offers a unique opportunity for any individual interested in explorative creation, one that will help them identify and explore resources that can inform and enable their work. Individual in-class presentations will be augmented by a paper expanding upon a previously submitted and approved abstract. Instructors: Roger Reynolds and Rand Steiger; Guest Instructors: Ross Karre (Co-Artistic Director, ICE New York) and Stephen McAdams (McGill University)

Offered: Fall

Music 207. Theoretical Studies Seminar: Scholarly Writing intended for Publication (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: This seminar will create a kind of "think-tank" atmosphere for productive thinking and critical discourse. Its purpose is to help students produce (or revise) an article or book chapter that they wish to submit for publication, or advance work on their dissertations-in-progress with the benefit of group discussions and interactions. It will begin with each student defining his or her focus for the quarter, reflecting on its potential significance and its intended readership, reading and studying a wide array of abstracts in various publications, and writing an abstract for their writing project, all of this followed by peer review and discussion. Each student will then choose an article or book chapter for study and discussion that best represents what he or she admires in terms of argument, style, or method; the following week, each will write a short essay aiming to emulate such aspects in their own work. Finally, students will turn to writing or revising their own article or dissertation chapter, and then distributing it for group discussion. The seminar will be conducted in such a way that, in addition to the professor, everyone in the seminar reads one another's various assignments and offers critical feedback. Limited to 6 or 7 advanced graduate students. Instructor: Jann Pasler

Offered: Winter

Music 207. Theoretical Studies Seminar: Critical Historiography: Doing History in the 21st (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: "History" is both what happened in the past (before this morning) and the books that we read telling us what happened (written by people like Peter Burkholder or Richard Taruskin, and often taken as Truth). But there is considerable slippage between these two, an inconvenient problem that the writers of history typically do their best to ignore. In this seminar we'll examine that slippage and read some of what recent historians ("theorists," "philosophers of history") have been thinking about it. But we'll also read some practical advice from a working historian about the many traps awaiting anyone who tries to study and write the history of something as each member of the seminar will do through the course of the quarter. Prospective students are encouraged to talk to me during the fall about topics they are considering working on. Instructor: Jane Stevens

Offered: Winter

Music 207. Theoretical Studies Seminar: Sounding Sex, Race, and Gender (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: This seminar interrogates categories of gender, race and sexuality through interdisciplinary approaches in sound studies, media studies, and critical theory. We explore how these categories are framed, contested, and circulated through sound, music, and the aural, both historically and in 21st century contexts of neoliberalism and globalization. How, for instance, are "voice" and language constructed as properties of raced and gendered bodies? What are the socially situated processes of perception and cognition through which sonic characteristics like timbre or "tone color" accumulate raced and gendered valences? Why is music so readily conceived as a "natural" expression of ethnocultural identity, even in contexts of intense population mixing and musical hybridity? What are the differential impacts of sonic warfare and violence on communities of color, women, and queers? Ultimately, we attend to sound's constituent roles in the racializing and gendering assemblages that produce what is known as modernity, as well sound's capacity to disrupt these assemblages, redistribute power, and birth novel social formations. Special topics may include: chants and music in the Black Lives Matter movement; queer tactical performance in Israel/Palestine activism; soundscapes in filmic and literary representations of slavery; drag and gender performance; pornography; queer and Black aesthetics in experimental and popular musics; and the female voice in horror media. Seminar meetings will include analysis of audio recordings, films, and multimedia, as well as weekly readings drawn from queer of color critique, feminist theory, affect theory, biopolitics, psychoacoustics, musicology, and/or ethnography. Students will produce a research paper and/or critical media project at the end of the course. Instructor: Sarah Hankins

Offered: Winter

Music 209. Advanced Music Theory and Practice: (4 units)

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.

Offered: Spring

Music 210. Musical Analysis (4 units)

The analysis of complex music. The course will assume that the student has a background in traditional musical analysis. The goal of the course is to investigate and develop analytical procedures that yield significant information about specific works of music, old and new. Reading, projects, and analytical papers. Additional Description: Core course. May be offered in alternate years. Instructors: Chinary Ung (Winter), Anthony Davis (Spring)

Offered: Winter,Spring

Music 211. Introduction to Ethnomusicology (2 units)

Introduces the field of ethnomusicology by highlighting important thinkers, concepts, and issues and by orienting students toward work of an anthropological, ethnographic, or comparative nature. Students who have taken and passed MUS 208A may not get credit for MUS 211. Additional Description: Instructor: Nancy Guy

Offered: Spring

Music 213. Introduction to Critical Studies (2 units)

Introduces important themes and thinkers from the fields of critical theory and cultural studies and explores how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender. Students who have taken MUS 208C for credit may not take MUS 213 for credit. Additional Description: Instructor: Jann Pasler

Offered: Winter

Music 214. Introduction to Creative Practice (2 units)

Surveys the terrain of contemporary creative music and investigates the social, cultural, historical, and technological dimensions of its manifestations and practice. Students who have taken MUS 208D for credit may not take MUS 214 for credit. Additional Description: Instructor: Anthony Davis

Offered: Fall

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. Instructor: Chinary Ung

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. Instructors: Performance faculty

Offered: Fall,Winter,Spring

Music 234. Symphonic Orchestra (4 units)

Repertoire is drawn from the classic symphonic literature of the eighteenth, 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 required. Additional Description: Students participating must enroll for credit. Instructor: Steven Schick

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: A regular gathering of all the performance graduate students for music-making and discussion; presentation of student and faculty projects; performances by guest performers; master classes with different members of the performance faculty. Meets biweekly. Taken by Performance emphasis MA students every quarter in residence, and DMA students every quarter until advancement to candidacy. Instructors: Performance faculty

Offered: Fall,Winter,Spring

Music 250. Special Projects (1-12 units)

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

Offered: Not offered this year

Music 252. Integrative Studies Seminar in Systems Inquiry (4 units)

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

Offered: Not offered this year

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. 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. Tamara Smyth

Offered: Fall

Music 270B. Musical Cognitive Science (4 units)

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

Offered: Winter

Music 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 271C. Survey of Electronic Techniques III (4 units)

A continuation of 271A and B, with emphasis on compositional techniques (e.g., computer aided composition; production; spatialization). Prerequisite; Music 271B. Additional Description: Composition students may petition through the Graduate Advisor to substitute this for the Music 291 core course.

Offered: Not offered this year

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

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

Offered: Not offered this year

Music 291. Problems and Methods of Music Research and Performance (2 units)

The course will give practical experience in historical research, including use of important source materials, evaluation of editions, and examination of performance practice problems. (S/U grade option only.) Additional Description: Composition emphasis students may petition through the Graduate Advisor to substitute Music 271 for the Music 291 core requirement. May be offered in alternate years.

Offered: Spring

Music 298. Directed Research (1-4 units)

Individual research. (S/U grades permitted.) May be repeated for credit. Enrollment by consent of instructor only. Additional Description: Research with selected faculty on individual basis, with units per agreement between student and faculty. Six unit minimum required specifically for preparation of PhD/DMA qualifying exams, normally taken with each of the Music committee members for S/U grade.

Offered: Fall,Winter,Spring

Music 299. Advanced Research Projects and Independent Study (1-12 units)

Individual research projects relevant to the student's selected area of graduate interest conducted in continuing relationship with a faculty adviser in preparation for the master's thesis or doctoral dissertation.(S/Ugrades permitted.) Additional Description: Six unit minimum required in preparation of MA thesis. Twelve units quarterly required after PhD/DMA qualifying exams, to prepare for doctoral dissertation; normally taken with music committee chair and/or members for S/U grade.

Offered: Fall,Winter,Spring

Music 500. Apprentice Teaching (1-4 units)

Participation in the undergraduate teaching program is required of all graduate students at the equivalentof 25 percent time for three quarters (six units is required for all graduate students). Additional Description: All TAs must simultaneously enroll in Music 500 with the course instructor each quarter in which they are a TA. Participation in the undergraduate teaching program is required of all graduate students at the equivalent of 25% time for three quarters, or 33% for two quarters (6 units of Music 500). Units correspond to hours of work per week. Enroll as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.). It is the student's responsibility to seek out teaching experiences to acquire 6 units of Music 500 if no TA is assigned. NOTE: New TAs also enroll in FALL quarter for 1 unit of MUS 501 with the department Faculty TA Advisor, Prof. Jane Stevens, for New TA Training.

Offered: Fall,Winter,Spring

Music 501. Apprentice Teaching - Non-departmental (4 units)

Consideration and development of pedagogical methods appropriate to undergraduate teaching. Additional Description: TAs with appointments in a non-Music department or college (e.g. 6th College) with a MUSIC department instructor enroll in Music 501, instead of 500, as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.). TA's must enroll in MUS 501 in FALL quarter only with Prof. Jane Stevens for New TA Training.

Offered: Fall