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.

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.)

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.

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.)

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: Spring '10 : Klezmer Music

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.

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: Summer 1 2009: This course is an introduction and study of traditional, popular, and classical music from Asia and Oceania (India, Indonesia, Japan, China, and many nearby smaller countries in the Pacific). We will be discussing the musical instruments, form, and style along with the roles and function of music performance. Students will learn to identify and recognize the music associated with different parts of the world , as well as to understand the relationship music has with the cultural values and history of each society.

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 Session 2 2009: CONTEMPORARY MUSIC: Contemporary Music, Technology, and the Environment This course focuses not on technology itself, but by the way contemporary musicians, particularly in making music for acoustic instruments, are affected by technology. The course will function as a thorough history of contemporary classical and experimental music, but it will focus on what that music has to say about its immediate environment, an environment filled with cars, refrigerators, and televisions. Topics will include futurism; musique concrete; the music and thoughts of John Cage, Edgard Varese, Morton Feldman and Iannis Xenakis; the explorations of extended techniques led by Anthony Braxton, AMM, Helmut Lachenmann and others; and contemporary improvisation. While the course will not be about the workings of technology, it should be, for computer musicians and technology-based artists from other fields, an interesting look at a century of music history. The course should also be intriguing for non-musicians seeking to understand the relationship of "difficult" contemporary music to the world we live in. 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: Music 15 will examine music of the Beatles in three ways: as emblematic of the changing social, cultural and political climate of the 1960's; as a model of musical transformation by detailing the musical and technological trajectories within the group's lifetime; and as a source of great songs which can be examined for their intrinsic values. To establish a meaningful context, we will look at the precursors of the Beatles Ð American blues, country, R & B, and rockabilly artists from Bessie Smith to Buddy Holly. Primary tools in this study will be the original British releases of the group's 13 albums on Parlophone and Apple Records. In addition, we will use the music of the Beatles to illustrate major topics in the appreciation and theory of music. Therefore each lecture will consist of a cross-referencing of musical terminology and concepts with seminal recordings from The Beatles.

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 look at Heavy Metal music and culture from a variety of perspectives. Along with a basic understanding of the history and major figure/groups of the genre, students will develop an understanding of the musical style and evolution, and a basic critical facility for engaging with the broader cultural meanings of popular music. Students will study the various influences on the early performers of this music, examine how the genre expanded and spread to America and the world, trace all the major sub-genres of Metal noticing how Thrash turned into Death which spawned Black Metal, etc., and exam the Heavy Metal identity and what creates authenticity in this genre.

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 Ð 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: This course investigates the role of contemporary music cultural flows and exchanges among China, Korea, and Japan ,as well as between East Asia and the West. We will explore various examples of popular music genres and singers/groups from these countries which are or have been popular throughout East Asia and beyond. Examples include (1) Japanese dance music of the 1980s (TK Family--Komuro Tetsuya and Amuro Namie), (2) Hong Kong actor-singer stars in the late 1980s and early 1990s (Leslie Cheung, Anita Mui, Andy Lau), (3) Japanese visual-rock band, X-Japan, in the early and mid 1990s, (4) Japanese Idol/Idoru production, (5) Korean hip-hop and punk music scenes since the mid 1990s (Seo Taiji, Crying Nut), (6) the Korean Wave stars since the early 2000s (BoA, Rain, Se7en), and (7) Asian American fusion and hip-hop. Particular attention will be paid to the issues of youth culture, gender, hybridity, race/ethnicity, and media.

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 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 33B or consent of instructor.

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: Winter '10: Listener's Collective- Skills and Context. For more information & descriptions, go to http://academicaffairs.ucsd.edu/ug%2Ded/init/ugsem/ugsem_quarters.asp

Performance in an ensemble appropriate to student abilities and interests. Grading is based on participation level, individual testing, and comparative papers on repertoire covered. Prerequisities: consent of instructor through audition and department stamp required for each ensemble except 95C, 95G and 95W. Note: A $15 lab/production fee, except for 95G and 95W for which the fee is $10, will be assessed for all students enrolled in a Music 95 ensemble. Non-majors may take Music 95 courses for a total of 6 units (3 quarters) for a letter grade, after which they may be taken for a P/NP (Pass/No Pass) only. Music majors may take Music 95 courses for a total of 12 units (6 quarters) for a letter grade, after which they may be taken for P/NP only. There is one exception to the above grading policy: Music 95G, Gospel Choir, may be taken P/NP only. Ensembles are offered Fall, Winter and Spring unless specified otherwise.

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.

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.

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.

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.

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 101A

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: Music 2A-B-C and 33. (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, Music 2A-B-C and 33.

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Music 103B, 2A-B-C and 33.

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.

An introduction to the practice of transcribing and analyzing improvised music. Discussion of music technique, style, aesthetics and the ideology of transcription. Prerequisites: Music 101A and 101B.

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 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: This course offers a broad survey of the classical music and dance traditions of India. We focus on North Indian (Hindustani) and South Indian (Carnatic) music traditions, exploring their stylistic differences by listening to various instrumental and vocal genres. We examine the four main dance styles of India: Bharata Natyam, Kuchipudi, Kathakali, and Kathak, and touch upon other related dance forms, including Odissi. We also explore the vast significance of the arts to the spiritual and religious traditions of India. We conclude with a discussion of film and popular music in the context of globalization and postcolonial theories, addressing notions of cultural tourism, diaspora, hybridity, identity and national identity.

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none.

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. Additional Description: Fall 2009 Topic: The Italian Madrigal, 1520-1620 A study of the leading genre of social music in 16th-century Italy, from its beginnings to its culmination in the path-breaking works of Monteverdi that led to his first operas. We will study the musical development of the madrigal, the poetic texts on which it was based, and the social contexts that supported and surrounded it. (Knowledge of music notation is required. Weekly section meeting for music majors and other advanced students.)

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.

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: Winter 10: Women and Popular Music of Japan and Korea 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.

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.

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.

Master class instruction in advanced improvisation performance for declared majors and minors only or by consent of instructor. Audition required at first class meeting. 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.

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. Additional Description: Spring 2010: Miles Davis

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.

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: 2007/08 - Offered in Fall 07 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.

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.

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:

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.