requires one hour per week of individual instruction (vocal or instrumental).

provides a practical introduction to useful computer tools for musicians, such as music notation software, basic digital audio editing, and new media.

is an introduction to practical keyboard skills for students whose Principal Applied Study is not piano or organ. Functional accompaniment, transposition and score reading are emphasized.

is a continuation of MUS 2401.

is a continuation of MUS 140A/B.

is an introduction to practical keyboard skills for students whose Principal Applied Study is piano or organ. Functional accompaniment, transposition and score reading are emphasized.

is a continuation of MUS 2411.

introduces students to perspectives and strategies for cultivating well-being while optimizing music learning and performance. Areas of exploration may include effective practice techniques, self-regulation, mindfulness, healthy movement, injury prevention, motivation, and mental skills training.

requires three hours rehearsal per week.

requires three hours rehearsal per week.

requires three hours rehearsal per week.

- inactive course.

requires three hours rehearsal per week.

requires three hours rehearsal per week.

requires six hours rehearsal per week.

requires three hours rehearsal per week.

requires three hours rehearsal per week.

requires 15 hours of rehearsal per semester.

requires 15 hours of rehearsal per semester.

is a study of English, German, French and Italian lyric diction. The International Phonetic Alphabet will be introduced and applied to singing in these four languages.

is a continuation of MUS 2700.

is continuation of MUS 2402. Emphasis is on functional keyboard skills for classroom music teachers.

is a continuation of MUS 3401.

is a continuation of MUS 240A/B for students whose Major is other than Performance.

is a continuation of MUS 2412. Emphasis is on functional keyboard skills for classroom music teachers.

is a continuation of MUS 3411.

is a continuation of MUS 240A/B. A more intensive approach to performance than in MUS 340A/B. Students are required to present a public recital consisting of 25 to 35 minutes of music. The passing grade is 50%, but a minimum final grade of 75% in both the course and the recital is required as a prerequisite for Music 445A and for continuance in the Performance Major.

is an introduction to principles and practices in chamber music performance with an overview of repertoire research methods.

requires the ensemble to prepare and perform a recital of 10-15 minutes of music. Each ensemble receives six hours of coaching in preparation for the performance.

requires the ensemble to prepare and perform a recital of 18-22 minutes of music. Each ensemble receives nine hours of coaching in preparation for the performance.

requires the ensemble to prepare and perform a recital of 25-30 minutes of music. Each ensemble receives twelve hours of coaching in preparation for the performance.

is a conducted ensemble requiring two hours per week of rehearsal.

requires the students to meet for one hour per week in a masterclass. Coaching will be given to prepare for performance of a 15- to 20-minute program with a singer or instrumentalist.

requires students to meet for one hour per week in a masterclass. Coaching will be given to prepare for performance of a half-hour program with a singer or instrumentalist.

is a coached activity exploring one or more world music repertoires. This ensemble requires 2 hours of rehearsal per week.

is a coached activity exploring improvisation and/or contemporary repertoire for mixed ensembles. This ensemble requires 2 hours of rehearsal per week.

- inactive course.

requires the ensemble to prepare and perform a recital of 10-15 minutes of music. Each ensemble receives six hours of coaching in preparation for the performance.

requires the ensemble to prepare and perform a recital of 18-22 minutes of music. Each ensemble receives nine hours of coaching in preparation for the performance.

requires the ensemble to prepare and perform a recital of 25-30 minutes of music. Each ensemble receives twelve hours of coaching in preparation for the performance.

is an exploration of careers in music. Topics may include preparation of CVs, resumes, cover letters, business plans, grant applications, web sites, press kits and other promotional materials, tax, legal and business issues in the arts; and the study of successful arts enterprises.

is an applied course for singers and instrumentalists, which aims to integrate the theory and practice of jazz. Jazz styles and improvisation will be explored through listening (recordings and live performance), imitation, and improvisation of selected jazz standards.

- inactive course.

- inactive course.

- inactive course.

- inactive course.

is designed to provide students with a basic knowledge of resources and pedagogical approaches used in studio teaching at various levels. May include guest masterclasses and lectures.

provides a thorough study of the anatomy. physiology and acoustics of the vocal tract and singing voice as well as a practical application of these topics.

is designed to provide students with a basic knowledge of resources and pedagogical approaches used in piano studio teaching at various levels. May include guest masterclasses and lectures.

is a continuation of MUS 340A/B.

is a continuation of MUS 345A/B. Students are required to present a public recital consisting of 50 to 60 minutes of music with program notes. The passing grade is 50%, but a minimum final grade of 75% in both the course and the recital is required for graduation with a Major in Performance.

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.

explores strategies for optimizing music learning and performance, based on research in the areas of cognitive, sport, and performance psychology. Topics will include motivation, memory and learning, effective practice techniques, mental skills training, and a selection of topics prioritized by students in the class.

uses somatic and contemplative inquiry as lenses through which to explore a range of strategies for refining awareness and affect in practice and performance. Students will be supported in progressively engaging with various practices aimed at cultivating greater presence, expression, and resilience, and will study the theoretical foundations of these practices through readings, lectures, and assignments.

explores strategies for reducing unnecessary tension, increasing physical resilience, and improving body awareness through a variety of movement modalities. The course includes both theoretical and practical components. Topics may include anatomy, biomechanics, pain, and injury prevention; movement modalities may include Body Mapping, Feldenkrais, Alexander Technique, and strength training.

allows students to explore the role of the artist in the community by planning and carrying out a community music-making project. Students will be required to propose a viable collaborative project prior to registering.

allows students to explore the role of the artist in the community by planning and carrying out a community music-making project. Students will be required to propose a viable collaborative project prior to registering.

allows students to explore the role of the artist in the community by planning and carrying out a community music- making project. Students will be required to propose a viable collaborative project prior to registering.

allows students to develop and explore business pathways and opportunities in the music industry through project based, experiential learning. The course is structured around applied projects where students explore one or more of the following in practice: entrepreneurship, social enterprise, music industry internship, volunteer opportunities. In addition to applied project work, students meet in seminar format to share and deepen their learning.