( ) Year of initial appointment at Binghamton
Biggers, Jonathan, Visiting Associate Professor of Music (Link Professor of Organ) and Director of Graduate Studies, DMA, 1991, Eastman School of Music: Organ, harpsichord, history and literature, theory. (1992)
Borroff, Edith, Professor Emerita, PhD, 1958, University of Michigan: Music history, American music, style studies, humanities. (1973)
Borton, Bruce, Associate Professor and Department Chair, DMA, 1983, College Conservatory of Music, University of Cincinnati: Director of choral activities, conducting, voice. (1988)
Brackett, David, Assistant Professor, DMA, 1991, Cornell University: Composition, history, literature. (1992)
Burgess, Mary M., Associate Professor, BM, 1965, Curtis Institute of Music: Voice, opera. (1984)
Buttolph, David L., Associate Professor Emeritus, MS, 1959, Juilliard School of Music: Director of choral activities, Kodaly methodology, conducting. (1965)
Chianis, Sam, Professor Emeritus, PhD, 1967, University of California at Los Angeles: Ethnomusicology, organology, musicology. (1968)
Clatworthy, David, Professor Emeritus, MA, 1959, Teachers College, Columbia University: Voice, opera. (1971)
Fink, Seymour M., Professor Emeritus, MM, 1953, Yale University: Piano, piano literature. (1971)
Goldstaub, Paul, Assistant Professor, DMA, 1977, Eastman School of Music: Theory, computer-assisted instruction. (1998)
Hamme, Albert P., Bartle Professor, MST, 1969, State University of New York at Binghamton: Jazz, saxophone, orchestration. (1968)
Hanson, John R., Associate Professor Emeritus, PhD, 1969, Eastman School of Music: Theory, musicianship. (1977)
Hodson, Robert, Assistant Professor, PhD, 2000, University of Wisconsin-Madison: Theory, computer-assisted instruction. (2000)
Jordan, Paul, Professor Emeritus, MM, 1967, Yale University: Organ, conducting, recorder, harpsichord, German diction. (1973)
Lincoln, Harry B., Distinguished Service Professor Emeritus, PhD, 1951, Northwestern University: Music history, Renaissance Italian polyphony, computer applications to music research. (1951)
Mitchell, Alice L., Associate Professor, MA, 1948, Smith College: Theory, history and literature, piano. (1970)
Perry, Timothy, Associate Professor, DMA, 1985, Yale University: Conductor of orchestra and wind ensemble, clarinet, conducting. (1986)
Ponce, Walter, Professor Emeritus, DMA, 1975, Juilliard School of Music: Piano. (1972)
Reardon, Colleen, Associate Professor and Director of Undergraduate Studies, PhD, 1987, University of California at Los Angeles: Music history, Italian 17th-century music. (1993)
Rothgeb, John, Professor Emeritus, PhD, 1968, Yale University: Theory. (1973)
Schlosser, Roberta D., Associate Professor Emerita, PhD, 1964, University of Rochester: Voice, vocal literature, theory, opera. (1963)
Part-Time Faculty
Aldridge, Benjamin L., Adjunct Lecturer, MM, 1972, Yale University: Trumpet. (1976)
Browne, Peter, Adjunct Lecturer, MM, 1980, State University of New York at Binghamton: Choral conducting, musicianship. (1998)
Carbone, Michael, Adjunct Lecturer, MM, 1985, State University of New York at Binghamton: Jazz ensemble, improvisation. (1997)
Crawford, Roberta, Adjunct Lecturer, MM, 1989, Eastman School of Music: Viola. (1983)
Fabricius, Daniel, Adjunct Lecturer, MM, 1983, Ithaca College: Percussion. (1992)
Gobrecht, Edward, Adjunct Lecturer: Bassoon. (1990)
Hibbitt, Peyton M., Adjunct Professor Emeritus: Opera, voice. (1977)
Lathwell, John, Adjunct Lecturer, MM, 1984, Manhattan School of Music: Oboe. (1988)
LeFebvre, Timothy, Adjunct Lecturer, MM, 1993, State University of New York at Binghamton: Voice. (1998)
Lucas, April, Adjunct Lecturer, MM, 1991, State University of New York at Binghamton: Saxophone. (1995)
Mackiewicz-Wolfe, Ewa, Adjunct Lecturer, MA, 1967, Academy of Music (Lodz, Poland): Piano. (1985)
Maiolo, Georgetta, Adjunct Lecturer, BSME, 1961, Duquesne University: Flute. (1977)
Mallinson, Chai-Kyou, Adjunct Lecturer, MA, 1970, State University of New York at Binghamton: Accompanist, piano. (1974)
Olsson, Kenneth, Adjunct Lecturer, BM, 1994, Ithaca College: Accompanist. (1996)
Reitz, Margaret, Adjunct Lecturer, BM, 1978, Boston University: Accompanist. (1992)
Richardson, Diane, Associate Professor, MA, 1971, Teachers College, Columbia University: Vocal coach, accompanying, vocal literature. (1983)
Robertson, Donald, Adjunct Lecturer, MM, 1975, State University of New York at Binghamton: Low brass. (1980)
Salmirs, Michael, Adjunct Lecturer: Piano. (1999)
Sicilian, Peter, Adjunct Assistant Professor, MM, 1984, State University of New York at Binghamton: Opera, voice. (1998)
Skrabalak, Duane, Adjunct Assistant Professor: Opera, voice. (1998)
Stalker, Stephen, Adjunct Lecturer, MM, 1970, Manhattan School of Music: Cello, chamber music, double bass. (1980)
Sternberg, Brian, Adjunct Lecturer, BS, 1964, Ithaca College: French horn. (1977)
Course offerings in the Music Department are lettered and numbered to reflect the content and sequence of courses.
MUS: History and literature, theory, orchestration, conducting, performance not by audition.
MUSP: Performance courses requiring an audition. Auditions are held the first week of classes each semester. If accepted, the student adds the course at a special registration held in the Music Department during the second week of classes.
The department views the grade of D as passing but unsatisfactory. Therefore, a course in which a grade of D was received cannot be used to fulfill the requirements for the major or minor in music. No course taken Pass/Fail counts toward the minimum requirements for the major or minor, with the exception of ensembles.
Students who wish to become music majors in the BA program should first consult with the undergraduate director for advising and then declare their intentions formally through the Harpur College academic advising office. The department urges all prospective BA majors to begin the major core as early as possible during their college residence to permit sufficient time for the sequence of courses. Studio instruction is encouraged but cannot substitute for any of the required courses.
The BA degree in music requires the following courses as the basis for a liberal arts program in music:
Theory and Musicianship (to be taken in sequence)
MUS 215. Theory I, and MUS 216. Musicianship I
MUS 217. Theory II, and MUS 218. Musicianship II
MUS 315. Theory III, and MUS 316. Musicianship III
MUS 317. Theory IV, and MUS 318. Musicianship IV
History and Literature (to be taken in sequence)
MUS 201. Introduction to Music History and Literature (prerequisite to all other history and literature courses)
MUS 301. History of Music: Antiquity through Renaissance
MUS 302. History of Music: Baroque and Classical
MUS 303. History of Music: Romantic and 20th-Century
Music Electives
A total of eight credits from among the following courses: MUS 323, 324, 325, 326, 331, 332, 427, 428, 431, 432 and 497. Composition may be used only once to satisfy one music elective. A total of four credits of music electives is required for double majors.
Performance
Music majors in the BA program are required to participate for at least four semesters in any of the varied music-making activities, such as vocal and instrumental ensembles or accompanying. Students are placed by the director(s) of the appropriate ensemble program(s).
Students who wish to become music majors in the BMus program should first consult the undergraduate director during their freshman year to ensure that the appropriate courses are taken during the first year of study. Admission to the BMus program is open only to students who demonstrate excellence in music performance; acceptance to the program will be based on an audition at the end of the freshman year or the beginning of the sophomore year, which will be heard by a music faculty committee.
For music majors pursuing the BMus degree the department prescribes a core of 86 credit hours in music:
Theory/Musicianship/Conducting
MUS 215. Theory I, and MUS 216. Musicianship I
MUS 217. Theory II, and MUS 218. Musicianship II
MUS 315. Theory III, and MUS 316. Musicianship III
MUS 317. Theory IV, and MUS 318. Musicianship IV
MUS 427. Conducting I
MUS 428. Conducting II
History and Literature (to be taken in sequence)
MUS 201. Introduction to Music History and Literature (MUS 201 is prerequisite to all other history and literature courses)
MUS 301. History of Music: Antiquity through Renaissance
MUS 302. History of Music: Baroque and Classical
MUS 303. History of Music: Romantic and 20th-Century
Performance Courses
Primary concentration (8 semesters/28 credits)
Secondary concentration (2 semesters/2 credits)
Ensemble participation (8 semesters/0 credits)
MUSP 394. Junior Recital (2 credits)
MUSP 494. Senior Recital
or MUSP 498. Senior Honors Recital
(4 credits)
Music Electives
Two additional 300- or 400-level courses, designated specifically for music major credit. Composition may be used only once to satisfy one music elective.
Two additional performance/applied courses (4 credits).
Students who wish to minor in music should first consult with the undergraduate director for advising and then declare their intentions formally through the Harpur College academic advising office. Studio instruction is encouraged but cannot substitute for any of the required courses:
Theory and Musicianship
MUS 215. Theory I, and MUS 216. Musicianship I
MUS 217. Theory II, and MUS 218. Musicianship II
Students choice, one of the following:
MUS 315. Theory III, and MUS 316. Musicianship III; or MUS 323. Counterpoint
History and Literature
MUS 201. Introduction to Music History and Literature (prerequisite to all other history and literature courses)
Students choice, two of the following:
MUS 301. History of Music: Antiquity through Renaissance; or MUS 302. History of Music: Baroque and Classical
or MUS 303. History of Music: Romantic and 20th-Century
Performance
Music minors are required to participate for at least two semesters in any of the varied music-making activities provided by the department, such as vocal and instrumental ensembles or accompanying. Students are placed by the director(s) of the appropriate program(s).
To register for a senior honors project (MUS 499, maximum total of four credits) a student must have declared a music major or music minor, have a 3.5 average in music courses and be recommended by the person who agrees to serve as the faculty adviser (studio teacher, history/theory teacher or composition teacher). The recommendation must include evidence of appropriate accomplishment in the field of the proposed project: in performance, an evaluation by the prospective adviser and one other faculty member of a performance by the student in a Thursday department recital in the semester preceding that of the proposed project; in research and composition, an evaluation and/or an example of written work from a previous or current course. With the supporting documentation, a petition to register for honors, including the specific proposal, must be submitted to the director of undergraduate studies during the semester preceding that of the initiation of the proposed project and will be subject to approval by the undergraduate committee.
Prior to the middle of the semester of a performance project, the student must perform on a Thursday department recital for approval, by the adviser and one other faculty member, to proceed on the honors track.
When the final performance has been given or the written project completed, a committee consisting of the adviser and two other full-time faculty members decides if the project meets expected standards. If so, a grade of A is assigned with honors, high honors or highest honors designated; if not, the course registration reverts to independent study and the course grade is given by the adviser. Faculty committee members are selected by the student.
A checklist for the student considering an honors recital and the appropriate forms for the submission of the program to the Undergraduate Committee for approval, as well as for the evaluation of both the mid-day recital and the final performance, are available from the undergraduate director.
The BMus student may use the senior recital as a senior honors project under the following conditions:
1. The student must have a 3.5 average in music courses.
2. The student must be recommended
by the primary concentration faculty member.3. The repertoire to be performed must be of sufficient difficulty to merit the honors designation. The program will require the approval of the undergraduate committee at least two months preceding the performance. Any changes in the program, once approved, also require approval by the committee.
4. The performance is held to an extremely high standard, with at least two members of the undergraduate committee serving on the jury (in addition to the students principal adviser.)
5. Recitals in voice and keyboard instruments, in which the custom is to perform from memory, are memorized. Recitalists on other instruments, whose tradition may not include memorization, are required to perform at least one quarter of the program from memory.
The BMus student pursuing honors should register for MUSP 498 for four credits rather than MUSP 494. The grade of A must be received to qualify for honors; if not, the registration reverts to MUSP 494, Senior Recital.
A checklist for the student considering an honors recital and the appropriate forms for the submission of the program to the Undergraduate Committee for approval, as well as for the evaluation of the final performance, are available from the undergraduate director.
The Department of Music offers graduate studies leading to the master of music degree. In the master of music degree, the field of specialization may be composition, music history or performance (instrumental, vocal, opera, conducting).
All students entering the Master of Music program must satisfy the general conditions for admission as stated in the Bulletin.
Students applying for the Master of Music program in composition or music history should submit examples of their recent work and arrange for a personal interview. Students applying for the Master of Music program in performance are expected to arrange for an audition and should submit a pre-audition tape exemplifying recent performance capabilities.
On admission to the graduate program, students are expected to demonstrate levels of achievement in music history and theory equivalent to those for the baccalaureate degree with a major in music. Proficiency is determined by written placement examinations normally given each semester during the week preceding the beginning of classes. The results are used for diagnostic and advisory purposes; students may be required to do remedial work before taking specified graduate courses.
Master of music students in voice or in opera are required to take a placement examination in French, German, Italian and English lyric diction during the week preceding the beginning of classes. Students are informed which diction courses are required and which (if any) are waived.
A minimum of 32 graduate credits in music, with a B average or above, must be completed. Distribution requirements are the following:
MUS 503. Research Materials and Methods* 4
Music history and literature 4
Music theory 4
Field of specialization 12
Electives in music** 4
MUS 599. Thesis 4
TOTAL 32
* Suggested within the first year of study.
** With the approval of the principal adviser and the director of graduate studies.
Offered by the University in collaboration with the Tri-Cities Opera Company, this is generally a two-year program of professional training in preparation for an operatic career. A minimum of 36 graduate credit hours in music with a B average or above must be completed. (In the two-year program, full-time students normally will exceed the 36-hour minimum.) Distribution requirements are the following:
Music history and literature
or MUS 503 4
Music theory 4
Studio Voice 9
Opera Workshop 9
Electives (chosen from German,
French, Italian, English lyric
diction; vocal literature; coaching; advanced musicianship; keyboard/piano; vocal pedagogy; stage movement; acting) 6 MUS 599. Thesis 4
TOTAL 36
Comprehensive Examinations
Majors in composition and music history are required to take comprehensive
examinations during their program of study.
Additional Requirements (Master of Music/Music History)
All music history candidates must demonstrate a reading knowledge of one
foreign language (German or one Romance language); proficiency is demonstrated
by translating a passage from a reading in the field of music, chosen by the
music history faculty.
Piano proficiency must be demonstrated by the ability to play a Bach chorale.
Thesis
Candidates in composition must submit two substantial compositions;
acceptability is judged by the thesis committee, consisting of the principal
adviser and two other faculty members.
Candidates in music history must submit an acceptable written thesis that demonstrates knowledge of appropriate research techniques. Acceptability of the thesis is judged by a thesis committee consisting of the principal adviser and two other faculty members, and an oral defense of the thesis must be made before the same committee.
Candidates in performance (except those specializing in opera) must present two recitals. In most cases, one includes ensemble performances. Consult the director of graduate studies concerning recital requirements.
Candidates whose field of specialization is opera must present one solo recital and perform one of the following: (a) one leading role, (b) two featured roles or (c) three or more supporting roles.
Candidates in conducting must conduct, in public performances, one substantial work (or concert segment) with a major ensemble and at least two additional appropriate performances.
All thesis recitals and roles must be approved in advance by the graduate committee and the performance be judged satisfactory by a thesis committee, consisting of the principal adviser(s) and two other faculty members.
NOTE: Unless otherwise noted, all undergraduate courses carry 4 credits and are offered every year.
MUS 497. INDEPENDENT STUDY var. cr.
Reserved mainly for seniors. Individual study under direct supervision of
faculty member. Prior to registration, student must consult proposed sponsor and
submit written proposal, approved by sponsor, to undergraduate adviser. Approval
required by undergraduate adviser and chairman. May be selected as restricted
senior elective, with consent of the undergraduate adviser and instructor.
Prerequisites: consent of department chair and departmental adviser.
MUS 499. HONORS var. cr.
See description under "Honors (BA Degree)," above.
MUS 101. INTRODUCTION TO MUSIC
Learning to listen to music with intelligence and pleasure. Lectures,
readings, performances and recordings; principal elements of musical structure
and expression. Open to all students.
MUS 111. MUSIC CULTURES: FAR EAST, ASIA
Musical traditions of world cultures; role of music in societies; musical
instruments; forms and types of music. Far East, Pacific, Southeast Asia and
India.
MUS 112. MUSIC CULTURES: EUROPE,
AFRICA, AMERICA
Musical traditions of world cultures; role of music in societies; musical
instruments; forms and types of music. Africa, Middle East, Southern Europe
(Spain, Balkans, Turkey), Latin America, North America.
MUS 113. JAZZ IN AMERICAN MUSIC
Survey through lectures, recordings and live demonstrations of techniques,
procedures, idioms and role of jazz in American music.
MUS 115. POP, ROCK AND SOUL MUSICS
Study of North American and British popular music from the 1950s to the
present. Musical style, social history and the impact of technology are examined
through recordings, films, videos and readings. Styles studied include R&B,
British Invasion, folk-rock, soul, psychedelic, reggae, punk, disco, heavy
metal, rap, techno and alternative. Relationship between style and identity
studied through contributions of African Americans, Latino Americans and
European Americans to contemporary popular music.
MUS 201. INTRODUCTION TO Music fall,
HISTORY AND LITERATURE 2 cr.
Examination of traditional forms and genres of Western and non-Western
music. Preparatory course for further study of history of music. Required of
music majors; open to non-majors who can read music and have had some previous
training.
MUS 204. THE SYMPHONY
Symphonic literature from the mid-18th century through the mid-20th century.
Illustrations of various styles and tech-niques drawn from symphonic masterworks
of such composers as Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Brahms,
Berlioz, Liszt, Richard Strauss. Absolute music, program music, structural
principles, classicism, neo-classicism, romanticism, nationalism are among
topics.
MUS 280. SPECIAL TOPICS IN MUSIC 4 cr.
Particular topic determined in advance. May be repeated for credit if topic
varies.
MUS 281. SPECIAL TOPICS IN MUSIC 2 cr.
Particular topic determined in advance. May be repeated for credit if topic
varies.
MUS 301. HISTORY OF MUSIC: spring
ANTIQUITY THROUGH RENAISSANCE
Development of Western music from antiquity through Renaissance. Survey of
genres and styles through readings, study scores, recordings, performance in
class. Prerequisites: MUS 201 and 215.
MUS 302. HISTORY OF MUSIC: fall
BAROQUE AND CLASSICAL
Development of musical styles of the 17th and 18th centuries. Recordings,
study scores and performance in class illustrate material presented in lectures
and discussions. Prerequisites: MUS 201, 301 and 217.
MUS 303. HISTORY OF MUSIC: spring
ROMANTIC AND 20TH CENTURY
Development of music in the 19th and 20th centuries. Material studied
through readings, scores, recordings, performance in class. Prerequisites: MUS
201, 218, 301 and 302.
MUS 491. PRACTICUM IN COLLEGE var. cr.
TEACHING
Independent study by means of teaching in particular course in Music
Department. Various assignments closely directed by instructor in that course,
including development of syllabi and other course materials; construction and
reading of examinations; lecturing and/or discussion leadership; laboratory
supervision; academic counseling of students. May be repeated for total of no
more than eight credits. Credit may not be earned in conjunction with course in
which student is concurrently enrolled. Does not satisfy major or all-college
requirements. Prerequisites: consent of instructor and department.
MUS 120. MUSIC THEORY FOR NON-MAJORS
Rudiments of music and their expression in notation; rhythm and meter,
melody and scales, texture and sonorities, structural principles. Open to all
undergraduates not majoring in music.
MUS 215. THEORY I fall
Basic materials of music and elements of notation. Introduction to chord
structure and voice-leading. Prerequisite: ability to read music.
MUS 216. MUSICIANSHIP I fall, 1 cr.
Drills in ear-training, dictation, sight-singing and reading, keyboard
harmony, in conjunction with and based on materials of MUS 215.
MUS 217. THEORY II spring
Continuation of MUS 215. Chords, voice-leading and harmonic principles based
on musical practices of 18th and 19th centuries. Prerequisite: MUS 215.
MUS 218. MUSICIANSHIP II spring, 1 cr.
Continuation of MUS 216.
MUS 315. THEORY III fall
Continuation of MUS 217. Linear and sonoric chromaticism in tonal music of
17th through 19th centuries. Prerequisite: MUS 217.
MUS 316. MUSICIANSHIP III fall, 1 cr.
Continuation of MUS 218.
MUS 317. THEORY IV spring
Advanced techniques involving dissonance and chromaticism, including
structural organization of larger contexts. Prerequisite: MUS 315.
MUS 318. MUSICIANSHIP IV spring, 1 cr.
Continuation of MUS 316.
MUS 323. COUNTERPOINT
Development of contrapuntal skills through appropriate exercises and
analysis of polyphonic styles from selected periods. May be selected as
restricted music major elective with consent of departmental adviser and
instructor. Prerequisite: MUS 217.
MUS 325. ORCHESTRATION
Fundamental techniques in writing for instruments in various combinations.
May be selected as restricted music major elective with consent of departmental
adviser and instructor. Prerequisite: MUS 217.
MUS 427. CONDUCTING I 2 cr.
Principles and practice of conducting techniques in music of various periods
and styles. May be selected as restricted music major elective with consent of
depart-
mental adviser and instructor. Prerequisite: MUS 217.
MUS 428. CONDUCTING II 2 cr.
Continuation and expansion of materials and techniques presented in MUS 427.
May be selected as restricted music major elective with consent of departmental
adviser and instructor. Prerequisite: MUS 427.
MUS 331. COMPOSITION I
Examination and practice of creative music composition; main focus on
basic technique and motivic manipulation. May be selected as restricted music
major elective with consent of departmental adviser and instructor.
Prerequisite: MUS 217.
MUSP 458B. COMPOSITION II
Continuation of MUS 331, focusing on small forms and structural
principles. Prerequisite: MUS 331.
MUSP 458C. COMPOSITION III
Continuation of MUSP 458B, focusing on larger forms and idiomatic
instrumental procedures. Prerequisite: MUSP 458B.
MUSP 458D. COMPOSITION IV
Continuation of MUSP 458C, focusing on timbral and textural issues, as
well as contemporary aesthetic values and professional standards.
Prerequisite: MUSP 458C.
MUS 141. BEGINNING PIANO 2 cr.
Introductory piano for beginners. Includes basic aspects of music theory
and its practical application on keyboard; scales, chords, cadences, simple
composition and improvisation.
MUS 143, 243, 343, 443. SPECIAL var.cr.
TOPICS IN PERFORMANCE
Available for qualified students as appropriate. Precise subjects
determined each semester.
Individual studio instruction in performance is offered in areas of faculty expertise and to the extent of available faculty time. To receive lessons initially, a student must audition for the appropriate faculty member(s) at the beginning of a semester. The decision for acceptance is based on natural aptitude, current level of achievement and promise for future growth. (To be eligible for private lessons, a student must be enrolled in an ensemble.) The commitment for instruction is for one semester at a time renewable based on subsequent auditions or by consent of instructor. Students not accepted for studio instruction are encouraged to audition in a subsequent semester.
MUSP 251/351/451. WOODWINDS var. cr.
FLUTE, OBOE, CLARINET, BASSOON, SAXOPHONE
MUSP 252/352/452. BRASS var. cr.
FRENCH HORN, TRUMPET, TROMBONE, TUBA, BARITONE
MUSP 253/353/453. PERCUSSION var. cr.
MUSP 254/354/454. STRINGS var. cr.
VIOLIN, VIOLA, CELLO, BASS
MUSP 255/355/455. KEYBOARD var. cr.
PIANO, HARPSICHORD, ORGAN
MUSP 256/356/456. VOICE var. cr.
MUSP 257. NON-WESTERN var. cr.
INSTRUMENTS
Vocal and instrumental ensembles are open to all by audition and are offered every year. Students may receive one to two credits for their participation in ensembles by registering at the 200, 300 or 400 level. Ensembles are also offered for 0 credits at the 100 level. (Students add these courses at the departments registration held during the second week of classes.)
MUSP 160. BAND, WIND ENSEMBLE
MUSP 162. ORCHESTRA
MUSP 164. JAZZ ENSEMBLE, JAZZ WORKSHOP
MUSP 166. CHAMBER ENSEMBLE
(strings, woodwinds, brass, percussion, flute, mixed)
MUSP 167. EARLY MUSIC ENSEMBLE, KEYBOARD TRAINING, ORGAN
REPERTOIRE
MUSP 170. HARPUR CHORALE
MUSP 172. UNIVERSITY CHORUS
MUSP 174. WOMENS CHORUS
MUSP 258. SECONDARY var. cr.
CONCENTRATION BMUS
For students intending to follow BMus core. A. piano; B. voice.
MUSP 260-276/360-376/460-476. var. cr.
ENSEMBLE INSTRUCTION/
REPERTOIRE CLASSES
Available for qualified students by audition. May be repeated for credit.
MUSP 283-286/383-386/483-486. var. cr.
SPECIAL TOPICS IN PERFORMANCE PRACTICE
Available for qualified students as appropriate. Precise subjects determined
each semester. MUSP 283/383/483, woodwinds, brass, percussion; MUSP 284/384/484,
strings; MUSP 285/385/485, keyboard (piano, harpsichord, organ); MUSP
286/386/486, voice-diction, sightsinging, etc. Prerequisites: enrollment in a
studio instruction course, consent of instructor. May be repeated for credit.
MUSP 394. REPERTOIRE CLASS 2 cr.
(JUNIOR RECITAL)
For BMus candidates only. Preparation of repertoire for junior recital.
MUSP 494. REPERTOIRE CLASS (SENIOR RECITAL)
For BMus candidates only. Preparation of repertoire for senior recital.
MUSP 498. SENIOR HONORS RECITAL (BMus)
For BMus candidates only. See description under "Honors (BMus)."
All MM degree candidates are reviewed at the end of each semester of study; continuation in the program of specialization is contingent on satisfactory academic progress, as well as satisfactory artistic progress as judged by a committee of faculty experts in, or appropriate to, the candidates discipline.
Course offerings are lettered and numbered to reflect the content and sequence of courses. MUS: history and literature, theory and composition. MUSP: performance courses requiring an audition.
MUS 501. HISTORY OF MUSICAL STYLES I
Survey of history of music and musical styles; combines lectures,
discussions, quizzes, individual projects in analysis, chosen from six major
eras in history of music (medieval, Renaissance, baroque, Classical, Romantic,
20th century).
MUS 502. HISTORY OF MUSICAL STYLES II
Continuation of MUS 501, with greater scope of analytical techniques and
study of more difficult works. Prerequisite: MUS 501 or permission of
instructor.
MUS 503. RESEARCH MATERIALS AND METHODS
Music bibliography, research techniques in music history, theory and
criticism.
MUS 521. THEORY SURVEY
Studies in voice leading and harmony through strict counterpoint and figured
bass, with applications to analysis and performance of tonal music.
MUS 581. SEMINAR IN THE HISTORY AND LITERATURE OF MUSIC
Study of single composer or genre, historical epoch or idiomatic literature.
Precise subjects determined in advance. May be repeated for credit.
MUS 591. THE TEACHING OF var. cr.
COLLEGE MUSIC
Available to teaching assistants with special permission. (Course credit but no
grade.)
MUS 597. INDEPENDENT STUDY 1-4 cr.
Faculty member assists and advises in independent study project. Student
submits written proposal, subject to approval by supervising faculty, director
of graduate studies and department chairperson.
MUS 599. THESIS 1-4 cr.
Preparation of thesis: research, composition or recitals. Student submits
written proposal, subject to approval by supervising faculty, thesis committee
and graduate committee.
MUS 700. CONTINUOUS 1 cr./sem.
REGISTRATION
Required for maintenance of matriculated status in graduate program. No
credit toward graduate degree requirements.
MUS 707. RESEARCH SKILLS 1-4 cr.
Development of research skills required within graduate programs. May not be
applied toward course credits for any graduate degree. Prerequisite: approval of
relevant graduate program director or department chair.
MUSP 551, 552, 553, 554, 555, 556, 1-4 cr.
557, 558, 559. STUDIO INSTRUCTION
Individual lessons. Students accepted on basis of audition. MUSP 551,
Woodwinds flute, oboe, clarinet, bassoon, saxophone; MUSP 552, Brass
French horn, trumpet, trombone, tuba, baritone; MUSP 553, Percussion; MUSP 554,
Strings violin, viola, cello, bass; MUSP 555, Keyboard piano,
harpsichord, organ; MUSP 556, voice, coaching, etc; MUSP 557, Non-Western
Instruments; MUSP 558, Composition; MUSP 559, Conducting. May be repeated for
credit.
MUSP 560/561, 562/563, 564/565, 1-4 cr.
566, 567, 570/71, 572/573, 574,
575, 576, 577. ENSEMBLE INSTRUCTION
Open to all by audition. Appropriate ensemble(s) required of graduate
students enrolled in studio instruction program. MUSP 560/561, Concert
Band/Sectionals; MUSP 562/563, Orchestra/Sectionals; MUSP 564/565, Jazz
Ensembles/Sectionals; MUSP 566, Chamber Ensembles; MUSP 567, Early Music,
Keyboard Training; MUSP 570/571, Harpur Chorale/Sectionals; MUSP 572/573,
University Chorus/Sectionals; MUSP 574, Mens Chorus, Womens Chorus; MUSP
575, Chamber Singers; MUSP 576, Opera Workshop; MUSP 577, Tri-Cities Opera
Workshop. May be repeated for credit.
MUSP 583, 584, 585, 586. SPECIAL 1-4 cr.
TOPICS IN PERFORMANCE PRACTICE
Open by audition to qualified students as appropriate. Precise subjects
determined each semester. MUSP 583, Woodwind, Brass, Percussion; MUSP 584,
Strings; MUSP 585, Keyboard accompanying, organ literature, church music
skills, organ building and design, etc.; MUSP 586, Voice-diction, sightsinging,
vocal literature, etc. May be repeated for credit.