is the study of the basic materials of the common-practice period, including a review of rudiments with emphasis on building an understanding of the underlying concepts involved; introduction to melody writing; introduction to voice leading with emphasis on chorale style; analysis and composition of smaller formal elements. This course meets three hours per week.

is a continuation of Music 1107. Harmonic vocabulary is expanded to include all diatonic triads and seventh chords, with an introduction to chromatic harmony; beginning study of writing for keyboard and band/orchestra instruments; analysis and composition of small binary and ternary forms, introduction to jazz harmony. This course meets three hours per week.

is an introduction to sightsinging and dictation for students whose level of preparation is not adequate for Music 1117. This course meets two hours per week.

is a course on sightsinging and dictation. This course meets two hours per week.

is a continuation of Music 1117. This course meets two hours per week.

is an introductory course in music rudiments and theory. Development of aural skills is emphasized. This course meets three hours per week.

is an introduction to practical keyboard harmony skills. This course meets one hour per week.

is a continuation of Music 1127. This course meets one hour per week.

is keyboard harmony skills for keyboard players. This course meets one hour per week.

is a continuation of Music 1137. This course meets one hour per week.

is a study of chromatic harmony with emphasis on both writing and analysis. Continuing studies in techniques of orchestration; study of larger binary and compound ternary forms. This course meets three hours per week.

is a continuing study of chromatic harmony with an emphasis on enharmonic modulation and other advanced chromatic techniques. Introduction to Impressionism; introduction to selected 20th-century compositional techniques; use of form in late 19th- and 20th- century composition. Written work will include both analysis and composition exercises in the styles studied. This course meets three hours per week.

is a continuation of Music 1118. This course meets two hours per week.

is a continuation of Music 2117. This course meets two hours per week.

is a continuation of Music 1128. This course meets one hour per week.

is a continuation of Music 2127. This course meets one hour per week.

is a continuation of Music 1138. This course meets one hour per week.

is a continuation of Music 2137. This course meets one hour per week.

is an introduction to basic compositional techniques and their application through the writing of original music for choral and/or instrumental resources. No previous training in composition is required.

is a course designed to give basic instruction in the theory, technique, and philosophy of electronic music composition. Students obtain the skills necessary to operate the equipment of an electronic music studio (including mixers, synthesizers, and samplers) and to use them in appropriate and creative ways. Objectives of the course are achieved through lecture, lab experiences, listening and practical application.

is a study of compositional devices used in the twentieth century. Topics include minimalism, new tonality, aleatorism, atonality, set theory, serial techniques, and electronic music.

is a course combining the analytical study of 16th-century sacred polyphony with an emphasis on the development of compositional skills in this style. Students will be required to write two- and three-part counterpoint exercises and a motet. The principal composers studied will be Palestrina, Lassus and Victoria. Some listening and singing assignments are required.

is a study of major post-Baroque forms and genres, including sonata, rondo, sonata-rondo, variation, symphony, and concerto, as well as selected twentieth-century styles and techniques. This course meets three hours per week.

is a study of form and polyphony in eighteenth-century music, including the fugue and the Baroque suite. Assignments include analysis, composition, and written exercises in counterpoint.

is an introduction to jazz theory and the principles of arranging for jazz ensembles.

examines the principles of Orchestration and Arranging for instrumental ensembles with emphasis on the small ensemble.

is a continuation of Music 2118. This course meets two hours per week.

is a continuation of Music 3100.

- inactive course.

- inactive course.

will have topics to be studied announced by the School of Music.

will have topics to be studied announced by the School of Music.

will have topics to be studied announced by the School of Music.

examines the principles of Orchestration and Arranging for instrumental ensembles with emphasis on the large ensemble.