This course, first in a three-quarter sequence, is primarily intended for students without extensive musical experience. It introduces music notation and basic music theory topics such as intervals, scales, keys and chords, as well as basic rhythm skills. Prerequisite: none.

This course, second in a three-quarter sequence, focuses on understanding music theory and developing musical ability through rhythm, ear training and sight singing exercises. Topics include major and minor scales, seventh-chords, transposition, compound meter and rudiments of musical form. Prerequisite: Music 1A.

This course, third in a three-quarter sequence, offers a solid foundation in musical literacy through exercises such as harmonic and melodic dictation, sight singing excerises and rhythm in various meters. Topics include complex rhythm, harmony and basic keyboard skills. Prerequisite: Music 1B.

Primarily intended for music majors. Development of basic skills: perception and notation of pitch and temporal relationships. Introduction of functional harmony. Studies in melodic writing. Drills in sight singing, rhythmic reading, and dictation. Prerequisites: Must be taken in sequence. Majors must be concurrently enrolled in Music 2AK.

Scales, chords, harmonic progressions, transposition, and simple pieces. Prerequisites: Majors must be concurrently enrolled in Music 2A.

This course will introduce basic voicings and voice leading, stylistically appropriate accompaniment, and basic chord substitution. For Music Majors with a Jazz and the Music of the African Diaspora emphasis to be taken concurrently with Music 2C. Prerequisites: Music 2AK and 2BK or passing proficiency exam, or consent of instructor. Concurrent enrollment in Music 2C. Majors only.

A brief survey of the history of Western Music from the Middle Ages to the present. Much attention will be paid to the direct experience of listening music and attendance of concerts. Class consists of lectures, listening labs, and live performances. Prerequisite: none.

An examination and exploration of the art and science of music making. Topics include acoustics, improvisation, composition, electronic and popular forms. There will be required listening, reading, and creative assignments. No previous musical background required. Prerequisite: none. Additional Description: Before there was music there was sound. What is listening as opposed to hearing? The components of sound, rhythm, pitch, texture, notation, and structure are the general areas to be covered. Participate through experimentation, improvisation, composition, collaboration and performance.

An examination and exploration of the art and science of music making. Topics include acoustics, improvisation, composition, electronic and popular forms. There will be required listening, reading, and creative assignments. No previous musical background required. Prerequisite: none. Additional Description: Summer 1, 2012: Students will develop basic compositional skills and complete a short electronic music piece by the end. Classes will include critical listening of pieces from the 20th century repertoire and practical assignments using Ardour, an open-source Digital Audio Workstation equivalent to Pro Tools. The course will provide a friendly introduction to the basics of audio editing and manipulation, assuming that students have no prior exposure to professional music software (even if all you know is iTunes, you can still take this course!). Emphasis will be given on the development of musical creativity through empirical experimentation. No music theory background is required.

Lectures and listening sessions devoted to the most significant works of music realized through the use of computers and other electronic devices from the middle of this century through the present. Prerequisite: none.(Offered in alternate years.) Additional Description: Summer 2, 2012: This course is a basic introduction to understanding and creating electronic and computer music. Students will receive brief historical examples of electronic music pieces as an introduction to techniques for creating and performing their own compositions. No priority will be given to any specific software or platform. Students will use those applications and techniques most appropriate to each student's interests. These can include: digital field recording, digital audio workstation software such as Audacity and Protools, loop based applications like Abelton Live and Reason, node-based applications like Max/MSP and Pd and more programmatic software like Super Collider and Processing.

Lectures and listening sessions devoted to the most significant works of music realized through the use of computers and other electronic devices from the middle of this century through the present. Prerequisite: none.(Offered in alternate years.) Additional Description: The use of electronics, including the computer, in the creation of music is ubiquitous. We find it both in industry standard production, performance, and playback techniques as well as in specialized experimental music and music creation environments. The purpose of this course is to give an introduction to the history, styles, and techniques employed by electronic musicians. The course will also provide the opportunity for hands on learning, with introduction to software for the creation and manipulation of sounds. Topics covered will include Musique Concrete, MIDI, spectral audio, music information retrieval and synthesis techniques such as subtractive, additive, wavetable, granular, and frequency modulation. The history will start from the Futurist movement and end in today's electronic music forms, trends and music economy. The course will culminate in a final project for which each student will create a piece of music using techniques learned in class or write a paper on a relevant topic. Final projects may be in a stylistic idiom of the student's choosing. No prior music coursework is required.

An exploration of the interactions among music, science, and technology, including the development and history of science and technology from the perspective of music, and the modern re-synthesis of these disciplines occurring around computers. Prerequisite: none. (Offered in alternative years.) Additional Description: Summer 1, 2012: This course is designed for students with little or no programming experience and undertakes a study of artistic issues and programming techniques involved in the development of interactive computer art and music. It includes the study of basic computer-human interaction, basic tenets of programming, practical exercises in programming interactive computer multimedia art, and the conceptualization and design of a complete work of interactive music and/or art. We will deal specifically with the Max/MSP/Jitter graphical programming environment, an application for designing and creating interactive programs. Max/MSP/Jitter is a suitable environment for programming music performances, sound and art installations, animations, and video, particularly for situations involving human-computer interaction.

A course designed to study the development of music in America. The focus will be on both the vernacular traditions including hymn singing, country music, jazz, blues, big band, rock, etc., as well as the cultivated traditions of various composers from William Billings to John Cage. Prerequisite: none. (Offered in selected years.) Additional Description: A non-chronological exploration of jazz with a varied focus including: piano trios, women in jazz, vibraphonists and much more. Listening to jazz will be strongly emphasized. Will include live performances by instructor.

A course designed to study the development of music in America. The focus will be on both the vernacular traditions including hymn singing, country music, jazz, blues, big band, rock, etc., as well as the cultivated traditions of various composers from William Billings to John Cage. Prerequisite: none. (Offered in selected years.) Additional Description: Summer 2, 2012: A course designed to study the development of experimental music in America. Beginning with historical precedents (Ives, Satie, Schoenberg), the course will investigate the music of the New York School centered around John Cage, and the influence it had on global musical thought in the second half of the 20th century. The course will emphasize listening examples, readings, and score study/informal performance. Topics covered include early experimentalism, Cage's pre-chance music, indeterminacy and chance procedures, the influence of American composition in Europe, electronic music, and the question of improvisation. Prerequisite: none.

The symphonic masterworks course will consist of lectures and listening sessions devoted to a detailed discussion of a small number of recognized masterworks (e.g., Mozart, Beethoven, Berlioz, Stravinsky, Ligeti, etc.). Prerequisite: none. (Offered in selected years.)

Chamber Music will consist of lectures and listening sessions devoted to a detailed discussion of recognized chamber masterworks (e.g., Haydn, Mozart, Beethoven, Bartok, etc.). Prerequisite: none. (Offered in selected years.)

A course on folk musics of the world, covered through lectures, films, and listening sessions devoted to detailed discussion of music indigenous to varying countries/areas of the world. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Klezmer Music- A SURVEY OF EASTERN EUROPEAN JEWISH FOLK MUSIC, YIDDISH THEATER AND POPULAR SONG AND THEIR TRANSITION TO AMERICA.

A study of opera masterworks that often coincide with operas presented in the San Diego Opera season. Class consists of lectures, listening labs, live performances, and opera on video. Prerequisite: none.

A course that focuses on the music of Africa and on African ways of music- making in the Diaspora to the Caribbean and South America. No prior technical knowledge of music is necessary. Prerequisite: none

A study of music cultures in the United States, particularly Native American, Hispanic American, European American, Asian American, and Pacific Islanders from the perspective of ethnicity, origin, interaction, and the contribution of various ethnic groups to American musical life. No prior technical knowledge of music is necessary. Prerequisite: none. Additional Description: Spring 2012: "Do you like American music?" What is "American" music within the confines of the United States? Is it a reflection of the supposed ethnic, religious, and cultural "melting-pot?" Or is it a distributed assemblage of groups, each negotiating their own identity while co-existing with others in the same geography? In this course we will examine the musical practices of the ethnicities, religions, and localities found within the United States, considering how they are thought of as both "American" and "other." Thinking from a sociological perspective, students will learn how to understand these practices as social forms and identities, and perhaps consider their own use of music as a cultural expression. Analyzing from a musical perspective, students will engage listening skills and musical vocabulary to clearly identify and describe these musics. Our goal is to synthesize these perspectives, using the sounds to critique what is "American" and the culture to understand the music.

Introduction to selected performance traditions of Asia and Oceania with links to local and visiting musicians from these cultures. No prior technical knowledge of music is necessary. Prerequisite: none. Additional Description: Fall 2011: We will cover the various musics of the past and present from Japan, Indonesia, China and India. We will discuss in-depth how these musics are put together and how they relate to larger cultural, political and economic contexts. Students will be tested primarily on their critical listening skills and will be expected to write a short research paper on an Asian musician or musical group of their choice.

This course offers opportunities to prepare oneself for experiences with new music through preview lectures, to hear quality performances by visiting or faculty artists, to discuss each event informally with a faculty panel: an effort to foster informed listening to the new in music. Prerequisite: none. Additional Description: Summer 1, 2012: This course focuses on music being written by composers today. Students will explore and discuss a wide variety of current musical styles and their cultural contexts. The central goal of this class is to introduce students to the incredible diversity of 21st century music and to the issues facing artists of our time. In addition to this musical survey, the course will address the relevance of music to society, the role of new technologies in contemporary music, and the development of new musical institutions. An emphasis will be given to developing critical listening skills and informed discussion of contemporary music.

This course offers opportunities to prepare oneself for experiences with new music through preview lectures, to hear quality performances by visiting or faculty artists, to discuss each event informally with a faculty panel: an effort to foster informed listening to the new in music. Prerequisite: none.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Fall 2012: The Beatles were a phenomenon of expansive and widely acknowledged influence. Their imprint is still seen on arguably every song that finds its way into the various musical airspaces. Forty years after they last recorded together, their brand continues to live on in computer games, t-shirt designs and general advertising cachet. They helped define the "band" as a synergistic artistic endeavor, as a commercial venture, as socio-cultural catalyst, and as a phenomenon of pop-cultural Ômania.' Their success was also the result of a uniquely resonant confluence Ñ of their volatile but (or so) ideally balanced mix of personalities; of a particular moment in popular music development; of the circumstances of their city and country of origin; of their professional and personal endeavors and sidetrips; and of a circumstantial cultural redefinition not only of how art was seen, but of how youth itself was understood. They were the nexus of an emergent blend of talent, opportunity, time and place that amounted to a musical perfect storm. In this course, we will explore The Beatles from musical, cultural, historical, technological and critical angles. We will place them in context, examining their assorted confluences and wide influences. We will think critically about them about them as artists, innovators, and public personalities. And finally, we will listen, watch, absorb and discuss, so that students might leave with a broader, deeper, and more personal understanding of the group's enduring appeal.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: This course will examine the role and impact of Hip Hop music on popular culture. We will begin by investigating the history of this music, starting at the roots of the genre in the South Bronx and following its transformation to its complex current state. We will examine the music's relationship to other threads of Hip Hop culture, i.e. DJing, graffiti and break dancing. Students will gain an understanding of the political and social implications and meanings of Hip Hop music. Emphasis will be given to the nuanced role of class, gender and race surrounding this music. Critical approaches and techniques developed in the class will not only be relevant to Hip Hop music, but also to the larger world of popular music.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer Session 2011 & Winter 2012: J-Pop Culture - This course aims to introduce students to contemporary popular music culture of Japan (known as J- pop culture), stressing its multiple forms, multiple and context-dependent meanings, and their aesthetic and commercial interconnections.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Great Women of Song is a survey of female vocalists drawn from different musical genres (jazz, pop, blues, classical, folk, soul, experimental, world music, etc.) and various cultures, who have distinguished themselves in any number of ways: with their vocal artistry, musical innovation, and, in some cases, their commitment to social justice. (Artists include: Billie Holliday, Bessie Smith, Marian Anderson, Mahalia Jackson, Mercedes Sosa, Patti Smith, Tina Turner, Bjork and more.) We will define the musical styles, examine their cultural context, evaluate the impact of these artists within their own time period as well as discussing the broader implications of their work. Students will be asked to draw comparisons between historical figures and events and contemporary artists/events.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Spring 2012: This historical survey will review the development of the "rock guitar hero" persona over the past 60 years. This course will combine elements of musical analysis, and sociological perspectives regarding technology and culture. We will consider a variety of guitar heroes' musical achievements, the construction of their public identity, and their influences on and use of guitar technologies.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer 1, 2012: This course examines two popular genres of Mexican music: Banda and Norteno. Through detailed study of prominent artists and songs, students will develop a knowledge of the multicultural origins of the music, its use as an expression of regional identity in Mexico, and its current status as a border music important to populations in Mexico as well as the United States. The course will also address the relationship between the music and organized crime. Though prior music knowledge is not necessary, the course will focus on developing listening skills and will introduce musical concepts of form, meter and orchestration.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer 2, 2012: This course examines the postwar role and impact of song contests on popular culture and national identity. Beginning with the Eurovision song contests in the late 1950s, the course explores questions of the voice and performativity, together with broader topics of simulacra, population, mass democracy, and biopolitics. Students will develop a broad set of critical skills with which to analyze contemporary popular culture.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer 2, 2012: This course enriches students' popular music experience by studying its musical, social and cultural making. The goal is to equip students with a wide range of critical tools that can be applied to pop music or even music in general. Particular attention will be given to how music and identity interact. For instance, music shapes identity in underground Hong Kong music, and identity shapes music in government-funded pop songs that promotes tourism in China and Taiwan. While the songs we focus on will involve Chinese, prior knowledge of Chinese is not required and translation will be provided whenever needed.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer 2, 2012: Popular music of the last 50 years has been filled with experimentally-minded artists whose innovations have pushed against the boundaries of the art form. From Jimi Hendrix to Mr. Bungle to Lady Gaga, this course will cover the output of important ground-breakers in the field of popular music since the 1960s. Through listening and reading assignments, lectures, and discussions, the course will examine these musicians' work, its influences, and its relationship to the historical, artistic, and cultural contexts within which it was created. The course will culminate with the student creating their own musical experiments. No prerequisite.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: Summer 1, 2012: Since launching in 2005, YouTube has allowed people around the world to post a tremendous diversity of videos Ð blurring boundaries between professional and amateur, private and public, personal and political, producer and audience. How has Youtube affected how we listen, watch, and otherwise relate to music and the world? Is there a "Youtube aesthetic"? How do things go viral? As a participatory, worldwide network, what does YouTube represent as a form of "popular culture"? We will explore these questions through readings on music, popular culture, and technology; analysis of various YouTube genres; and the creation of our own videos.

Individual instruction on intermediate level in instrumental technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Individual instruction on intermediate level in vocal technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course and in Music 32VM. May be taken six times for credit. Prerequisite: Audition and Department Stamp.

All students enrolled in voice lessons (32V or 132V) perform for one another and their instructors. Students crituque in-class performances, with emphasis on presentation, diction, dramatic effect, vocal quality, and musicality in a critically supportive manner. Prerequisite: Concurrent enrollment in Music 32V or 132V.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 2C or consent of instructor.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33A.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33B.

This course presents selected topics in music and consists of lecture and listening sessions. No prior technical knowledge is necessary. Additional Description: Summer 2, 2012: Singing and singers of Pop, R and B, Rock , Jazz, and the Avante Guarde. Exploring the transitions of style before after and during the 1950's.

This course presents selected topics in music and consists of lecture and listening sessions. No prior technical knowledge is necessary. Additional Description: Summer 1, 2012: In a small group, learn the fundamentals of singing technique, improve your voice and be coached in a wide variety of musical styles, while developing basic music reading skills. The class will include personal vocal instruction and ensemble performance.

This course presents selected topics in music and consists of lecture and listening sessions. No prior technical knowledge is necessary. Additional Description: Summer 2, 2012: This seminar explores the complex and interrelated history of music and technology, with a particular emphasis on the perceived shifts that have taken place in the past few decades as digital technologies offer new ways to consume, share, produce, and conceptualize music. Students will learn to assess critically the extent and intensity of the kinds of changes that media technologies can bring about, while also gaining awareness of the ways in which cultural factors affect the design, production, consumption, and use of technology, especially in its relationship to musical practice.

The Freshman Seminar Program is designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small seminar setting. Freshman seminars are offered in all campus departments and undergraduate colleges, and topics vary from quarter to quarter. Enrollment is limited to 15 to 20 students, with preference given to entering Freshman. Additional Description: For more information & descriptions, go to http://academicaffairs.ucsd.edu/ug%2Ded/init/ugsem/ugsem_quarters.asp. Please note, Freshmen Seminars meet on specific dates; they may not meet consistently throughout the quarter.

Instrumental course consisting of quartets, quintets, sextets, or octets of specific instruments, i.e. percussion, etc. The ensemble promotes good performance ensemble skills and will expose students to great composers from the classical to the contemporary periods. Prerequisites: Audition required on the first day of class. Department stamp required.

Open to all university students, the Concert Choir meets twice a week to prepare one program of choral literature each quarter. Repertoire chosen from a wide variety of musical styles. Attendance at all rehearsals and performances is mandatory.

A 120-voice, advanced choral ensemble combining UCSD students with community members, which performs a subscription series of masterwork concerts with the Symphony Orchestra. Prerequisites: By audition only; Department stamp required.

Rehearsal of varied works for full orchestra culminating in at least one public performance each quarter. Additional Description: Course website: http://imusic1.ucsd.edu/~dmedine/

The goal of this course is to lead students in experiencing the singing and understanding of Gospel music and its various styles, as well as other forms of sacred music of the 20th century of the African American experience.

Preparation and performance of a chamber opera in English. Works from the 18th or 20th Century. Prerequisites: By audition only; Department stamp required.

Small jazz ensembles will be arranged by audition and organized according to instrumentation and student interest, and ability. Each ensemble will meet on a weekly basis under faculty guidance and will have the opportunity for both on- and off-campus performances. Prerequisites: By audition only; Department stamp required.

Preparation and performances of jazz repertoire for large ensemble. Improvisation and section playing skills will be stressed. Students must be proficient on their instrument. Prerequisites: By audition only; Department stamp required.

An advanced choral group. Preparation, stylistic interpretation and performance of 16th and 17th century repertoire written for 3-8 voices. Ability to read music is imperative. Prerequisites: By audition only; Department stamp required.

An intermediate to advanced level ensemble performing traditional to contemporary band literature. Prerequisites: By audition only; Department stamp required.

An Indian sitar and tabla ensemble. No previous background necessary. No audition required.

An Indian sitar and tabla ensemble. No previous background necessary. No audition required. Additional Description: Summer 2, 2012: Learn how to play African/Middle Eastern frame drums while simultaneously learning how to breathe and speak fluently, all while moving. This experience strives to be semi-meditative but also a very physically active ensemble. Concepts of Dalacroze movement will be incorporated into classes. South Indian rhythm syllables, Konokol, will be used to learn and internalize patterns in music. All students will learn how to incorporate breath and natural/efficient movement into their daily lives. The class will culminate with an in-class performance of all materials learned.

Study of modal coounterpoint in the style of 16th century. Two-voice species counterpoint studies. Analysis of music of the period. Musicianship studies:sight singing, dictation and keyboard skills. Prerequisites: Music 2C and 2CK.

Study of tonal harmony and counterpoint. Analysis of Bach chorales and other music from the Baroque period. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 101A

Tonal harmony and counterpoint. Analysis of larger classical forms: Sonata, Variation, Minuet and Trio, Rondo. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 101B

Advanced study of the materials and structures of music (Beethoven to Wagner) emphasizing the evoluation of music through chromatic harmony and voice leading. Developing of aural discrimination and in-depth analysis. Prerequisites: Music 101C.

Advanced study of the materials and structures of music (Schoenberg, Stavinsky, Webern, etc - 1900-1040) emphasizing the evolution of music through extended harmony post tonality and neoclassicism. Development of aural discrimination and in-depth analysis. Prerequisites: Music 102A

Advanced study of the materials and structures of music (1945-2006) emphasizing the evolution of music through the many compositional trends of late 20th century. Prerequisites: Music 102B

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: 33ABC. (Course must be taken in sequence - Music 103 A-B-C)

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Mus 103A

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Music 103B

Advanced individual projects for senior music majors pursuing honors in composition. Projects will be critically reviewed in seminar with fellow students and faculty composers. Prerequisites: Music 103A-B-C and admission into the Department of Music Honors Program in composition. Department stamp required.

This course will explore a range of compositional possibilities from song forms to modal and more extended forms. May be repeated once for credit. Prerequisites: Music 104 or consent of instructor.

This seminar explores music in relation to various traditions of critical thought and their methodologies, such as in literature, cultural studies, sociology, and philosophy. Readings and scores to be determined by the professor. Prerequisite: upper-division standing or consent of instructor. 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. The prerequisite is MUS 120C.

This seminar explores music in relation to various traditions of critical thought and their methodologies, such as in literature, cultural studies, sociology, and philosophy. Readings and scores to be determined by the professor. Prerequisite: upper-division standing or consent of instructor. 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).

This seminar introduces the central theories, methods, and approaches used to study the musics of contemporary cultures, in their local contexts. In addition to surveying key writings, students will document music from their local environment. Prerequisite: Upper division standing or consent of instructor. (Offered in selected years.)

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none. Additional Description: Traditional Music of Scotland and Ireland: This course will introduce students to the traditional music and dance from Scotland and Ireland, from its development and use as early as the 11th century to its contemporary performance in both traditional and hybrid pop modes. We will cover its early adoption by the recording industry, its growth following the 1960s folk revival, the Riverdance phenomenon, and the ongoing popularity of the traditional session. We will also use these musics as a lens through which to examine issues that affect many musics in the contemporary world, such as hybridity in the face of popular music, copyright and ownership, the influence of the music industry, oral transmission, and cultural identity and immigration. Overall, our emphasis will be on tradition and change, as we examine a musical tradition that has changed remarkably across several hundred years, yet has recently experienced some of its most successful decades.

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none. Additional Description: This course will introduce students to the bagpipe, its current social context, and that context throughout history. Students will be able to examine and try several types of bagpipes while being introduced to their traditions and their makers. In addition, students will be asked to critically engage the historical discourses that have most frequently seen the bagpipe become an instrument of the periphery yet in places carry iconic power. We will also consider drone based music as a type, discussing the affect and meaning of the drone, and, by way of comparison, will consider other instruments that use it.

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none. Additional Description: Fall 2012: In this course, we will study the music of Southeast Asia from historical, theoretical, compositional, and performance perspectives, focusing on universal ideas and principles as well as on a few regional genres. We will study traditions that stretch deep into the past, but also consider the contemporary composers/performers of the region. We will also discuss the vast influences of Southeast Asian music on some contemporary 'non-Asian' composers. NOTE: The course will incorporate brief selections from musicology texts, audio and video examples, lectures, live performances, and an opportunity for you to either create artistic works inspired by the region or to conduct your own research. Do not worry if you cannot read music; we will learn the music aurally. No prior knowledge of Western or Asian music is required for this course.

This course will address topics in medieval, Renaissance, and Baroque music; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended.

This course will focus on Western music between 1750 and the early 20th century; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended. Additional Description:

An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none.

An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none. Additional Description: Summer 1, 2012: An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none. Additional Description: In celebration of the centennial of composer John Cage's birth in September of 2012, this course functions as a survey of Twentieth Century experimental music through the lens of this iconic composer's prolific and diverse offerings. Exploring Cage's connections and influences from Satie to Boulez to Sonic Youth, we will also spend time learning how to listen to, talk about, and write about this non-traditional music.

A survey of the biographical, historical, sociological, and political issues affecting woman musicians, their creativity, their opportunities, and their perception by others. It compares and contrasts the work of women composers, performers, patrons, teachers, and writers on music from the Middle Ages through the present. Prerequisite: none

This course examines special topics in popular music from various sociopolitical, aesthetic, and performance perspectives. Readings include recent literature in cultural studies, musicology, and/or performance practice. Topics vary. May be taken three times for credit. Prerequisites:Upper division standing or consent of instructor. Additional Description: Japan and Korea have shared many philosophical, religious, and aesthetic similarities from as early as the 5th century, including the sanctioning of particular roles and limitations for women--the "Wise Mother, Good Wife" model. The socio-cultural expectations and pressures on women in Japan and Korea through history are reflected in the performing arts (both traditional and contemporary), and these arts in turn have contributed substantially to shaping the images of women, as held by men and by women themselves. This course focuses on women's socio-cultural identities and gender roles in popular music of Japan and Korea. Theoretical and historical background on gender and on women's roles in Japanese and Korean society will be introduced early in the course. Based on comparative sociological, cultural anthropological, and ethnomusicological perspectives, we will examine women's roles and representational images in popular music and media. The course will combine lectures with discussions of the readings as well as audio-visual materials, including theater, dance, music, films, and TV dramas. The course does not require prior knowledge of the languages and cultures of Japan and Korea. It is a focused introduction, intended to stimulate and provide a base for further exploration.

This course examines special topics in popular music from various sociopolitical, aesthetic, and performance perspectives. Readings include recent literature in cultural studies, musicology, and/or performance practice. Topics vary. May be taken three times for credit. Prerequisites:Upper division standing or consent of instructor. Additional Description: Summer 2, 2012: The respective creative practices of Popular music group Radiohead and artist Bjork have been influenced by improvisational practices in Jazz. Jazz musicians have also taken inspiration from the dynamic creativity in the work of Radiohead and Bjork. This popular music course examines these question(s): What has this two-way flow meant for modern jazz and modern popular music? How can we situate this two-way flow historically? How does cross-fertilization in the creative practices between these two groups transgress geography, national identity, racial constructs, and gender? Students will develop an understanding of pop music and jazz criticism within the context of cultural studies and critical theory while "rocking out" to cool compositions.

First part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both sacred and secular repertories from Gregorian chant through early opera, c. 800-1600. Prerequisites: Music 1C or 2C, or passing grade on proficiency exam. Music majors should be enrolled concurrently in Music 101A. Department stamp required for non-majors.

Second part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both instrumental and vocal repertories, from the "Baroque" to the "Romantic," c. 1600-1830. Prerequisites: Music 120A. Music majors should be enrolled concurrently in Music 101B. Department stamp required for non-majors.

Third part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both established traditions and new trends, from Romanticism through Modernism and Post-Modernism, c.1890-present. Prerequisites: Music 120B. Music majors should be enrolled concurrently in Music 101C. Department stamp required for non-majors.

This course will examine the development of the Blues from its roots in work-songs and the minstrel show to its flowering in the Mississippi Delta to the development of Urban Blues and the close relationship of the Blues with Jazz, Rhythm and Blues, and Rock and Roll. (Cross-listed with Ethnic Studies 178.) Prerequisite: none.

This course will trace the early development of Jazz and the diverse traditions which helped create this uniquely American art form. We will witness the emergence of Louis Armstrong in New Orleans and examine the composer's role in Jazz with Jelly Roll Morton and Duke Ellington. (Cross-listed with Ethnic Studies 179A.) Prerequisite: none.

This course will examine the evolution of Jazz from 1943 to the present. The course will survey the contrasting and competing styles in Jazz from BEBOP to COOL to the avant garde and fusion. (Cross-listed with Ethnic Studies 179B.) Prerequisite: none.

The theory and practice of instrumental and/or choral conducting as they have to do with basic baton techniques, score reading, interpretation, orchestration, program building, and functional analysis. Members of the class will be expected to demonstrate their knowledge in the conducting of a small ensemble performing literature from the eighteenth, nineteenth, and twentieth centuries. Prerequisites: Music 2A-B-C and 101A-B-C. Department stamp required.

This course will give practical experience in orchestration. Students will study works from various eras of instrumental music and will demonstrate their knowledge by orchestrating works in the styles of these various eras, learning the capabilities, timbre, and articulation of all the instruments in the orchestra. Prerequisite: Music 101B.

Instruction in the preparation of small group performances of representative instrumental and vocal chamber music literature. Prerequisites: Consent of instructor through audition; Department stamp required. May be taken for credit six times, unlimited thereafter for zero units. Additional Description: THIS COURSE IS NOT ACCEPTING NEW STUDENTS FOR SPRING 2012.

Master class instruction in advanced improvisation performance for declared majors and minors only or by consent of instructor. May be taken for credit six times, unlimited thereafter for zero units. Prerequisites: Consent of instructor through audition. Department stamp required.

Individual or master class instruction in advanced instrumental performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Advanced instrumental/vocal preparation for senior music majors pursuing honors in performance. Repertoire for a solo recital will be developed under the direction of the appropriate instrumental/vocal faculty member. Prerequisites: by audition only, Music 132. Department stamp required.

Individual instruction in advanced vocal performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course, and in the Voice Masterclass, Music 32V. May be taken six times for credit. Prerequisites: audition and department stamp.

Performance of new music of the twentieth century, with readings relevant to the selected repertory. Normally offered in Winter Quarter only. Required minimum of one time for all Music majors. May be taken two times for credit. Prerequisite: Consent of instructor through audition. Department stamp required.

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. Prerequisities: audition and department stamp required.

Study of Jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. Prerequisites: Music 2A-B-C, proficiency exam, or consent of instructor.

Advanced individual projects for senior music majors pursuing honors in jazz and the music of the African Diaspora. Projects will be critically reviewed in seminar with fellow students and jazz faculty. This is a year long sequence. Prerequisite: Department stamp and admission into the Music Department's Honors Program in Jazz.

The department seminar serves both as a general department meeting and as a forum for the presentation of research and performances by visitors, faculty, and students. Required of all undergraduate music majors every quarter.

An in-depth writing and listening intensive investigation into a jazz or diaspora-related music history topic. Topics vary from year to year. May be repeated once for credit. Prerequisites: Music 126, 127A, or 127B or consent of instructor.

Aggrieved groups generate distinctive cultural expressions by turning negative ascription into positive affirmation and be transforming segregation into congregation. This course examines the role of cultural expressions in struggles for social change by these communities inside and outside the U.S. (Crosslisted with Ethnic Studies 108). Prerequisites: upper-division standing or consent of instructor. Additional Description: Summer 1, 2012

Examination of hip hop's music, technology, lyrics and dance and its influence in graffiti, film, music video, fiction, advertising, gender, corporate investment, government and censorship with a critical focus on race, gender, popular culture and the politics of creative expression. (Crosslisted with Ethnic Studies 128). Prerequisites: upper-division standing or consent of instructor.

Examination of media representations of African Americans from slavery to the present focusing on emergence and transmission of enduring stereotypes, their relationship to changing social, political, and economic frameworks, and African Americans' responses to and interpretations of these mediated images. (Crosslisted with Ethnic Studies 164). Prerequisites: upper-division standing or consent of instructor.

Explores roles of music as a traditional form of communication among Africans, Afro-Americans, and West Indians. Special attention is given to poetry of black music, including blues and other forms of vocal msuic expressive of contestatory political attitudes. (Crosslisted with LTEN 187 and ETHN 176). Prerequisites: upper-division standing or consent of instructor. Additional Description: This course focuses on the intersection of Black Arts Movement writers and experimental jazz musicians of the 1960s. Using saxophonist Archie Shepp's 1965 album Fire Music and Amiri Baraka's landmark 1963 book of music and social criticism Blues People: Negro Music in White America as its central focus, we will explore ways in which trends in black literature used music as a model of black identity. We survey the development of the so-called jazz avant-garde and the emergence of the "black aesthetic" in African American literature. No previous musical training is required to take the course.

An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: Music 1A, 2A, or 4. Cross-listed with ICAM 103. Additional Description: Offered Fall Quarter Only

A practical introduction to computer techniques for desktop audio, including audio editing, MIDI control, and real-time music algorithms using the MAX programming environment. Prerequisite: Music 170, or consent of instructor. Additional Description: Offered Winter Quarter Only

Computer synthesis techniques including wavetable and additive synthesis, waveshaping, and sampling. Transformation of musical sounds using filters, modulation, and delay effects. Fourier analysis of sounds. Prerequisite: Music 171. Additional Description: Offered Spring Quarter Only.

Theoretical and practical aspects of recording, mixing, and editing sound for both musical and multimedia applications. Covers audio montage, equalization, effects processing, spatialization, mastering, and diffusion. Prerequisite: Music 170.

First class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the B-108 Studio. Topics include: electronic and computer music, digital and analogue audio signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and student projects. 174A focuses on signals, mics, device based recording, mixing, monitoring. Prerequisites: Music 170; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors; or consent of instructor.

Second class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the B-108 Studio. Topics include: electronic and computer music, digital and analog signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and studio techniques, and student projects. 174B focuses on digital audio workstations, computer-based mixing and editing, soundfile transformation. Prerequisites: Music 170; Music 174A; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor.

Third class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the B-108 Studio. Topics include: electronic and computer music, digital and analog audio signal mixing and manipulation, studio devices, interfacing, composition applications, MIDI synchronization, performance and studio techniques , and student projects. 174C focuses on MIDI, synchronization, and sound-for-picture. Prerequisites: Music 170; Music 174B; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor.

Survey of psychoacoustical phenomena, theories of hearing, and their relation to musical perception and cognition. Techniques of psychoacoustical experimentation. Prerequisite: Music 170.

Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 172 or 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.

Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 172 or consent of instructor. Additional Description:

Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Please contact instructor Jason Ponce, jbponce@ucsd.edu, for course approval. If approved, forward his email approval to info@music.ucsd.edu before the add deadline. Additional Description: This class will focus on production techniques for multisite music performance. Software and hardware supporting audio and video networking will be studied. This class is taught in conjunction with Music 206 and similar courses at other institutions. Students at all locations will collaborate on multisite network performances.

The Senior Seminar Program is designed to allow senior undergraduates to meet with faculty members in a small group setting to explore an intellectual topic in music (at the upper division level). Topics will vary from quarter to quarter. Senior Seminars may be taken for credit up to 4 times, with a change in topics, and permission of the department. Enrollment is limited to 20 students, with preference given to seniors. Prerequisites: upper division standing and department stamp or consent of instructor.

Assisting in the instruction of an undergraduate music class under the direct and constant supervision of a faculty member. May be taken for credit three times. Prerequisites: consent of instructor and departmental approval.

Concentrated inquiry into various problems not covered in the usual undergraduate courses. Prerequisites: consent of instructor and department chair approval. Pass/No Pass grade only.

Independent reading, research, or creative work under the direction of a faculty member, provided no course covering the material to be studied already exists, and the study area derives from previous course work. Prerequisites: consent of instructor and department chair approval. Department stamp required. Pass/No Pass grade only. May be taken for credit two times.

Students pursue projects of their own design over two quarters with support from faculty in a seminar environment. Project proposals are developed, informed by project development guidelines from real world examples. Collaborations are possible. Prerequisites: VIS 141B or VIS 145B or VIS 147B or MUS 172. Open to ICAM majors only. Department stamp required. Two production course limitation.

Continuation of ICAM 160A. Completion and presentation of independent projects along with documentation. Prerequisite: ICAM 160A. Open to ICAM majors only. Department stamp required. Two productioin course limitation.