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.

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.

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 1, 2013 - Instructor Joseph Mariglio. 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. We will examine music from a wide array of traditions, from so-called "Art Music" to so-called "Popular Music," and everything in between. Basic fundamentals of electronic music production techniques will also be covered, with historical examples and hands-on demonstrations. Interviews and commentary from the visionaries of electronic music will also be presented and discussed.

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: General: A non-chronological exploration of jazz with a varied focus including: jazz around the world, women in jazz, vibraphonists and much more. Will include live performances by instructor. Summer Session 2, 2011 - Topic: The United States Musical Instrument Industry. This course reviews the musical instrument manufacturing industry in the United States within the 20th and 21st centuries. The class will analyze written, audio, and video materials from sociological and economic perspectives, looking at the ways in which instruments represent musical and cultural changes within the United States, and how manufacturers have caused and reacted to these changes . Consideration will also be given to software-based music technologies, and the effects of the internet on retail, marketing, and the manufacturer/consumer relationship. Fall 2011: Topic TBA

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, 2013 - Instructor: Gregory Surges. We will study the development of experimental music in America. Beginning with historical precedents, the course will investigate the music of the American Experimental Tradition, 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, John 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.)

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.) Additional Description: Summer 1, 2013 - Instructor: Ariana Lamon-Anderson. A survey of Western symphonic work from the 18th century to the present. This class will have a strong emphasis on listening and developing vocabulary to discuss music. Composers to include: Haydn, Mozart, Beethoven, Schubert, Berlioz, Tchaikovsky, Mahler, Strauss, Rachmaninoff, Ives, and more. Instruments, sonata, and symphonic forms will be discussed. Listening exams, a paper, a midterm, and a final will be required.

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 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: Summer 2, 2013 - Instructor: Xavier Beteta. This course is an introduction to the appreciation of the different Latin Music genres. We will study and listen to many different Latin genres such as tango, milonga, salsa, merengue, habanera, danzón, cumbia, bossa nova, samba, etc.

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

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: Syllabus can be found at: chickenmonkey.biz/mus13as 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: A topical survey of classical and experimental art music in the modern era, with particular attention paid to the experiential side of listening to "difficult" contemporary music. Our focus will be on notions of innovation in a musical context, their origins and effects: the exploration of extended techniques and exploitation of new technology; the influence of an increasingly mechanized sonic environment; concordant movements in art and philosophy; emerging notions of an Avant Garde; and evolving social constructions of composer, performer, and audience.

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: 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: 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: 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: Fall 2012: Michael Jackson (1958-2009). Often referred to as "the King of Pop", Michael Jackson is recognized as one of the greatest pop icons of all time. The course will examine Michael Jackson's music and cultural legacy.

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, 2013 - Instructor: Joshua Weinstein. A musical, critical, cultural and social examination of The Beatles and their time, place, and meaning. 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: Summer 1, 2013 - Instructor: Eric Derr. 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 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, 2013 - Instructor: Sean Leah Bowden. This Course investigates historical associations of rhythm and gender and how they reestablish themselves in a contemporary context. After building a foundation of examples from throughout history and across the globe, the course focuses on the work of musicians and performing artists in American Popular Culture. Through the analysis of source readings, images, sound recordings and videos, students discuss concepts such as male gaze, performing the female body, gender normativity, gender transgressions, subversive potentialities and intersectionality. 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 2, 2013 - Instructor: Drew Ceccato. Science Fiction and Music is a survey style course that will address the different ways popular musicians have implemented elements of science fiction culture into their music. By focusing on the creative and cultural meaning of SF within the works of popular music, both the similarities and differences in contrasting genres of music can be explored in order to show the influence of SF on popular music. Students will also explore multiple aspects of music including particular sounds, lyrics, visual elements and their social and cultural implications in hopes of questioning and better understanding how science fiction and music interact. 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 2, 2013 - Instructor: Leslie Leytham. This course is designed to give a critical overview of the Teen Popular Music genre. We will begin with the screen stars of the early 20th Century (Mickey Rooney and Judy Garland, Shirley Temple) and the birth of The Mickey Mouse Club, and continue to examine the establishment of the "formula" by the French Yé- Yé girls in the 60's which was to be copied later in the Teen Pop boom of the late 80's and mid 90's. Through a series of assigned listening and reading, we will examine the role of Television and magazine publications and their respective dissemination to specific demographics (not limited to teen-agers), as well as critically analyze the music and imagery via the "Lolita Syndrome" coined by Simone de Beauvoir. Musically, we'll dissect the "camp" element and discuss the songwriting, and what makes each decade of Teen Pop different from its predecessors. There will be a 5-page essay on one of the artists discussed in class required. In this paper, you'll analyze the imagery and music, and how the two relate (or don't), outline the type of marketing associated with this artist, and of course, the cultural response. 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 2, 2013 - Instructor: Brian Griffeath-Loeb. In this course, we will dissect the issue of taste in popular music, its inherent subjectivity, and how to bring meaning to its expression through specificity and context. We will break down popular song into core elements such as lyrics, melody, harmony, rhythm, musicianship, production, and persona, cast in a frame of politics, race, gender, (sub)culture, and history. We will investigate the nature of taste on an individual and group level--both proposing and critiquing reasons for why it is as such. 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 2, 2013 - Instructor: Philip Skaller. The use of sound and music as a means to mobilize, coerce, control, and intimidate might conjure up images of ancient tribal warfare practices. However, this seminar explores the contemporary role of music and sound in U.S. military, police and state department tactics. Topics to be discussed include: sonic torture and long range acoustic devices, sound spatialization, noise control, force multiplication, soft power and, of course - mind control. As part of the seminar, students will develop either an 8-10 page research paper or creative project. 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 2, 2013 - Instructor: Philip Larson. Journey through 50s Blues-based Rock including Doo-wop, Rockabilly, Soul, and Rhythm & Blues while exploring the transitions of music style before, during, and after the 50s. Highlights of the period's jazz will also be featured, as well as iconic films of the era, reflecting the atmosphere of the times. No prerequisite.

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 1, 2013 - Instructor: Philip Larson. In a small group setting, learn the fundamentals of singing technique, improve your voice and be coached in a wide variety of musical styles while developing basic reading skills. The class will include ensemble performance and personal vocal instruction. All experienced levels from beginning to advanced are welcome.

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://ugseminars.ucsd.edu/UGSEM_SeminarListing.asp?qtr=sp13&c=f. 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. Additional Description: Baroque Ensemble: Students will develop understanding of the repertoire according to the performance practice in the Baroque period, including ornamentation, improvisation, dance movement interpretation, figured bass, and ensemble interaction. The ensemble is open to anyone who plays an instrument, at different levels of skill.

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 music from the 12th century to the present for accompanied and unaccompanied voices. Basic music reading skills are encouraged. 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 1, 2013 - Instructor: Stephen Solook. 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. Prerequisite: none.

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.

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.

Explore 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: Is there such thing as autonomous individual creativity, or has it always been constituted in reference to, response to, or defiance of a constituted Other? How does the cosmopolitan, a "citizen of the world," help negotiate this divide and for what purposes? In this seminar, we will examine cosmopolitanism from the Greek Stoics and Kant through Derrida and Post-Colonials, focusing on its meaning in music and musical practices. In seeing themselves as part of the world, cosmopolitans negotiate the Other as part of, or in relationship to, the Self and tend to relativize differences. At the same time, cosmopolitans need not give up local identities. What is a moral cosmopolitanism, a cultural and a political one? How does music organize multiple alterities? Students will be invited to concentrate on a musician, a genre, a musical style, or the musical life of a city of their choice.

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.

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.

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none. Additional Description: Summer 1, 2013 - Intructor: Jeffrey Kaiser. The course is an introduction to the the study of African music: both within the continent of Africa and in the Diaspora. We will at first focus on select traditional music cultures as representative of broad regions of the African continent, providing a limited glimpse at the extraordinary musical and cultural diversity of Africa. We will also explore salient issues concerning pre-colonial kingdoms and states, European colonization and missionaries, the spread of Islam, the Atlantic slave trade and the dispersion of African peoples and practices into the Diaspora. We will also focus on select contemporary musical practices and the issues that surround the "world music" phenomenon.

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.

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: This course aims to introduce students to contemporary popular music culture of Korea, addressing its multiple forms, context-dependent meanings, their aesthetic and commercial interconnections, and American and Japanese influences. We will explore its production, consumption, and representation in various forms of conventional and new media, including music videos, music/variety TV shows, TV commercials, TV dramas, films, and social media (e.g. YouTube, Facebook, Twitter). Emphasis will be on the issues of transnationalism, hybridity, gender/sexuality, cultural identity, and fandom.

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. 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.

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.

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. (Cross listed with MUS 267)

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:

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.