Professional Documents
Culture Documents
Summer 2008
May 19 Spring 2008 grades available on my.berklee.net
May 21 Online Check-in begins for Continuing & Returning students
Residence Hall Check-in for Summer 2008 begins at 9:00 a.m.
New Student Orientation & Check-in begins
May 21-23 Summer 2008 Check-in Week
May 26* Memorial Day (no classes)
May 27 First Day of Summer 2008 classes, instrumental labs and lessons, ensembles
June 3 Last day to request a change of major, program, or instrument for Summer 2007
June 6 Summer 2008 Check-in ends at 4:00 p.m.
Last day to add/drop, including all course schedule changes due to Credit by Exam
Last day to declare part-time status for Summer 2008
Fall 2008
August 31 Residence Hall Check-in for Fall 2008 begins
September 1 Online Check-in begins for Continuing & Returning students
New Student Orientation and Check-in begins
Labor Day*
September 1-5 Fall 2008 Check-in Week
September 8 First day of Fall 2008 classes, instrumental lessons, labs, and ensembles
September 16 Last day to request a change of major, program or instrument for Fall 2008
September 19 Fall 2008 Check-in ends at 4:00 p.m.
Last day to add/drop, including all course schedule changes due to Credit by Exam
Last day to declare part-time status for Fall 2008
December 4 Last day to register for Spring 2009 Registration - ends at 11:59 p.m.
December 5 Waitlisting for Spring 2009 begins
December 15-19 Final Exam Week/Audition Week
December 19 Last day to change a grade of “I” earned during Spring or Summer 2008
December 20 Residence Halls close at 12:00 p.m.
December 22-January 15* Winter Recess
*College closed
Summer/Fall 2008
Table of Contents
Table of Contents Performance Studies
Performance Styles/Survey
153
167
Private Instruction & Recital Preparation 169
Letter from the Registrar 2
Professional Music 174
Introduction Professional Writing 175
Introduction 3 Songwriting 176
Completing Your Registration 3
Schedule of Courses - Summer 2008
Completing Your Check-In 4
Arranging 181
Registration Appointment Time 4
Composition 181
Instructions for Web Registration 5
Conducting 182
Student Participation in Educational Decisions 9
Counterpoint 182
Tuition and Fees Contemporary Writing & Production 183
Spring 2008 Tuition and Expenses 10 Ensemble 184
Student Health Insurance 10 Ear Training 187
Payment Options 11 Film Scoring 188
Financial Aid 13 Harmony 188
Policies and Procedures Instrumental Labs 189
Full and Part-Time Policy 14 Instrumental Studies 195
Special Notice to International Students 14 Internships 195
Credit By Exam 15 Jazz Composition 195
Policy on Grades of Incomplete 15 Liberal Arts 195
Withdrawals 15 Music Business/Management 197
Repeated Courses 16 Music Education 198
Declaration of Major 16 Music Production & Engineering 199
Catalog Year Policy 18 Music Synthesis 200
Online Grids and Registration Profile 18 Music Technology 201
My Degree Audit 18 Music Therapy 201
Performance Ear Training 201
Curriculum Information
Performance Styles - Survey Courses 201
First Semester Testing and Placement 19
Professional Music 202
Instrumental Labs 19
Performance Studies 202
Ensemble Information 19
Professional Writing 203
Semester Level Calculation 19
Songwriting 204
Additional Graduation Requirements 19
Schedule of Courses - Fall 2008
Special Opportunities
Arranging 205
MBA Opportunity at Suffolk University 20
Composition 205
ProArts Consortium 20
Conducting 207
International Study Abroad Programs 21
Counterpoint 208
Private Instruction Contemporary Writing & Production 208
Private Instruction & Recital Preparation 22 Ensemble 210
Private Lesson Roster 24 Ear Training 222
Courses Open to All Students 26 Film Scoring 223
Harmony 224
Prototype Courses 28
Instrumental Labs 225
New Courses and Prototype Courses 30 Instrumental Studies 238
Course Descriptions Internships 239
Arranging 31 Jazz Composition 239
Composition 32 Liberal Arts 239
Conducting 36 Literature, History & Analysis 241
Contemporary Writing & Production 39 Music Business/Management 244
Counterpoint 44 Music Education 245
Ear Training 45 Music Production & Engineering 246
Ensemble 47 Music Synthesis 247
Film Scoring 58 Music Technology 248
Harmony 61 Music Therapy 249
Instrumental Labs 63 Performance Ear Training 249
Instrumental Studies 103 Performance Styles - Survey Courses 250
Internships 105 Professional Music 250
Liberal Arts 109 Performance Studies 251
Literature, History & Analysis 123 Professional Writing 254
Music Business/Management 129 Songwriting 255
Music Education 134 Campus Map 257
Music Production & Engineering 137
Class Planning Worksheets
Music Synthesis 142
Worksheet 1 - 3: Schedule Planning 258
Music Technology 148
Music Therapy 149
Performance Ear Training 151
1
Welcome
Summer/Fall 2008
Spring 2008
Dear Students,
Welcome to the 2008 Summer/Fall Registration Manual! Inside you will find a comprehensive set of tools for you to
use in selecting and registering for all your Summer and/or Fall courses. A full set of up-to-date course descriptions
and the 2008 Summer and Fall Master Course Schedule are at the heart of this manual. However, there is valuable
information on every page, so I hope you can find some time out of your busy schedules to read all that we have
compiled for you.
l If you are not planning to return to Berklee next fall, please remember to submit a Not Continuing
Notification Form to the Office of the Registrar by the May 2nd registration deadline. (Students
graduating in May or August need to do this too).
– Students who submit this form by the deadline receive their tuition deposits back before
the end of the spring term.
– Students who do not submit this form and do not return next fall forfeit their tuition
deposits. For your own sake (and money), please submit the form!
l Berklee adopted a late registration policy in 2005 to help control the size of enrollment by providing a
better planning structure. As a result, students who do not register for spring term courses by the
registration deadline are not guaranteed a space at Berklee in the fall. Therefore:
– If you are planning to attend next fall, please do not hesitate to register for courses
by the May 2nd registration deadline.
– If you are not sure you can attend next fall, please come in and talk to us before
the registration deadline. The Offices of Financial Aid, Scholarships & Student Employment,
the Counseling and Advising Center, and the Registrar may be able to advise you how to
best navigate these sometimes difficult decisions to your best advantage.
– Do not get caught past the registration deadline without having registered for courses or
notified the college of your plans not to attend!
I wish you the best in your registration process. Proper planning is the key! The Counseling & Advising Center
and advisors from each academic department are available to assist you in your registration planning. We are
always working to improve the full registration experience for you.
If you encounter technical problems with your registration process, please contact the Student Computer Support
Center on the lower level of 186 Mass Ave., email them at 8800@berklee.edu, or call them at 617-747-8800. For
any other type of registration problem you may encounter, please feel free to contact me at registrar@berklee.edu.
Finally, please save this manual for future re-use or recycle it by sharing with a friend. A PDF version of this manual
can be found on www.berklee.edu (look under forms), and at my.berklee.net under the Student Services tab.
Michael Hagerty
Registrar
2
Summer/Fall 2008
Introduction
l
Introduction Students who entered Berklee in Spring 2008:
please be aware that your Peer Advisor will be
contacting you to meet with him/her prior to your
The purpose of this manual is to provide you with the registration appointment window. He/She will assist
information and procedures you will need to register for you in choosing classes and registering for classes
the 2008 Summer and Fall semesters. Although we have online. Your assigned Faculty Advisor or mentor
tried to be as thorough as possible, you may find that further will also be available to you for a one on one
assistance is necessary. The information center for registration meeting if so needed.
advising is the Counseling and Advising Center, located on
l Check course descriptions to ensure you have
the second floor of 939 Boylston Street. Counselors are there
to help your registration go as smoothly as possible, and the proper prerequisites, corequisites, ensemble
they encourage you to visit them and ask any questions that ratings, and whether you are eligible to elect
you may have. In addition, Faculty Departmental Advisors the course (Electable by:). You must have a passing
are available to assist you with specific concerns about their grade, transfer credit or credit by exam in the computer
departments or majors. system to satisfy course prerequisites. It is assumed
that courses in which you are currently enrolled will be
Please note that the provisions of this manual do not passed and can, therefore, be used as prerequisites. If
constitute a contract between the student and Berklee there is any reason that you are ineligible for registering
College of Music. The sole purpose of this manual is to for a course, the course chair may, at his or her
provide regulations and curricular information that were in discretion, approve a prerequisite waiver. The chair The information
effect at the time of publication. Berklee College of Music must enter that waiver onto Colleague before you center for
reserves the right to change course content, fees, program attempt to register for the course online. Prerequisite registration
requirements, plans of study, schedules and the academic waivers remain valid for one semester only.
advising is the
calendar, or to make other changes deemed necessary or l Private Instruction registration requires special Counseling and
desirable. The college also reserves the right to cancel course
course coding. Please see instructions on page 22. Advising Center,
sections in which enrollment is not sufficient. Excessive
Students have the opportunity to register for a private located at 939
offering of underpopulated course sections will eventually
instruction with a predetermined instructor and time. Boylston Street
lead to higher tuition costs to students. By combining or
eliminating sections of courses, the college is better able to l Performance majors registering for their third and (access through
control tuition increases. fourth level private instruction must register for an 3rd floor of 921
hour-long Private Instruction with their instrumental Uchida building).
Important: Please carefully review the tuition deposit department. See page 23 for more details.
information on page 4 before registering. It is
l Students who will have a semester level status of
particularly important to review this information if
you do not plan on attending the Fall 2008 semester. 3 or higher in the summer or fall should declare
their major at the major department office before
their registration time. You can confirm your major
Completing Your Registration
status online on your Registration Profile screen.
For Summer and/or Fall 2008
l See web registration instructions on page 5.
Be sure to review the registration checklist below.
Students are expected to register online for
l Check and confirm your registration apppointment courses using the instructions printed in this
time, which can be found at my.berklee.net. Once you manual. Should you need any assistance with learning
are logged in, select the Student Services tab and to register online, you can get help at the Office of
Registration subtab, and open your Registration Profile the Registrar (Uchida, Suite 120).
to view the initial date and time that you may register. l Add or drop courses if necessary.
You can register then or any time after that date and
time up through May 2, 2008.
l Take advantage of the academic advising services
at the Counseling and Advising Center or through
Please note: Your appointment time is merely the
your major/instrumental departmental advisor. The
registration advising period begins March 31, 2008 earliest time you can register. You can register at
and extends through the end of the registration any time following your appointment time through
appointment windows, which is April 18, 2008. Friday, May 2, 2008.
Students at 6th semester standing and higher are
encouraged to come in early for advising.
3
Introduction
Summer/Fall 2008
If you do not plan to attend the Fall 2008 semester: Important Notice: Tuition Deposit Change
l Fill out a Not Continuing Notification Form at the
Planned for Fall 2008
Office of the Registrar by May 2, 2008 to ensure
the return of your tuition deposit. Notification of Beginning with the Fall 2008 semester, Berklee is discontinuing
non-attendance after this date will result in the its rolling tuition deposit policy. This Fall all enrolled students
loss of your tuition deposit. will have their tuition deposits credited to their tuition accounts,
l
resulting in a reduced tuition price for the Fall. Going forward,
Be sure to indicate on the form if you will be picking
Berklee will only collect tuition deposits from newly accepted
up your tuition deposit or if you prefer to have it
students, and those tuition deposits will also be credited to
mailed to you.
tuition accounts in the first term of enrollment.
l If you intend to return to Berklee in the future, you
should complete a Returning Student Intent Form It remains very important for all students enrolled in the
at the Office of the Registrar. Spring 2008 semester who are not planning to be enrolled
in Fall 2008, May and August graduates included, to submit
a Not Continuing Notification Form to the Office of the
Registrar by May 2, 2008 in order to receive your tuition
Are you unsure if you will be attending? deposits back.
If at the time of the Registration Period you are unsure
Fill out a whether you will be attending the Fall 2008 semester and a Registration Appointment Time
Not Continuing you do not want to forfeit your tuition deposit, do not
Notification register for fall courses and instead submit a Not Continuing The registration appointment time is the earliest date and
Notification Form by May 2, 2008. If later you change your time a student can start registering for Summer/Fall 2008
Form at the
plans and decide to attend the Fall semester, contact the classes. Registration appointment times are necessary to
Office of the
Office of the Registrar about returning. According to space ensure the registration system can handle the number of
Registrar by availability, you may be placed on a wait list. There is no students registering at any one time. They are also used to
May 2, 2008 to guarantee that space will open up and a late registration offer students with the most seniority the first opportunity
ensure the will be approved. to register for classes. Registration appointment times are
return of your determined by a ranking of highest semester levels and
tuition deposit credits earned within a semester level. Students with the
Check-in highest semester levels and credits within a semester level are
if you don’t
provided with the earliest registration appointment times.
intend to attend All students are required to check-in online by the end of
Fall 2008. Check-in week for each term. (International students with We have scheduled your registration appointment for a time
an FSA hold and students in their entering semester cannot of day when you are not in class. Your appointment time can
check-in online). be found at my.berklee.net by going into the Student Services
tab, clicking on the Registration subtab and then clicking on
Check-in involves the following two steps: the Registration Profile sidebar. At the Registration Profile,
l Settle your bill with the Office of the Bursar by the your time is listed under Student Information.
due date for each term. Your bill must be paid in full
by May 16, 2008 for the Summer semester and by
August 22, 2008 for the Fall semester. Please note:
Students who pay by the due date will have an easier
Check-in process.
l Check-in online between May 21-23, 2008 for the
Summer semester and September 1-5, 2008 for the
fall semester. Students checking-in online will receive
a confirmation screen upon successfully finishing the
process. Print this screen for your records. Once you
have checked-in, you will be able to view your schedule
(with room numbers) and add and drop courses.
l Students who must check-in in person should receive
an official schedule from a staff person. Official schedules
have room numbers printed on them.
4
Summer/Fall 2008
http://my.berklee.net is accessible from any Internet-connected computer with an up-to-date web browser.
For Macintosh users, either the Safari (version 2.0.x or later) or Firefox (version 2.0 or later) browser is recommended.
PC users should use either Firefox (version 2.0 or later) or Internet Explorer (version 7.x or later).
In the Log In column on the right side of the web page, enter your username and password. If you do not know your
username and/or password, contact the Student Computer Support Center on the lower level of 186 Massachusetts
Avenue, email them at 8800@berklee.edu, or call them at (617) 747-8800.
5
Instructions for Web Registration
Summer/Fall 2008
This is the area that contains the links to the information and registration options you will use to create your schedule.
Menu Options:
The Student Services Tab contains several subtabs. Click on the one labeled Registration.
The left hand menus on the Student Services Registration Tab contain information and tools to help you register
a including a step-by-step guide, the Registration Manual, academic requirements, transcript view, network options,
ensembles with open seats for your instrument, and other useful resources.
The Registration Tools menu contains the links you will use to build your schedule. The options include:
Express Register allows you to request up to ten classes at one time. Express Register requires you to know
the Subject, Course Number, Section Number, and Term for each of the classes you request.
1. Fill out Subject, Course Number, Section Number, and Term for each class
you are requesting.
2. Click submit.
3. A result screen is displayed. The courses you are eligible for will be added to your
schedule with a status of ‘registered’.
4. For any course that you are prevented from registering for, a message describing
the reason why you were prevented will be displayed.
5. Links to the other registration tools can be accessed at the navigation menu
on the left side of the screen.
6
Summer/Fall 2008
Search and Register allows you to select classes by searching the course catalog.
1. Fill out search criteria to limit the search results to the classes you are interested in taking.
a. Term (required) – choose term for classes for which you are searching.
b. Subject (optional) – choose subject from drop-down menu to limit results
to subject chosen.
c. Course Number (optional) – enter course number to limit results
to course chosen.
d. Section Number (optional) – enter section number to limit results
to section chosen.
e. Class Meeting Time (optional) – limit results to a specified time by
using the provided drop-down menus.
f. Day of Week (optional) – select days on which you want your search
results limited.
g. Course Title Keyword (optional) – enter a title or partial course title to
limit results to courses that contain that title.
h. Instructor’s Last Name (optional) – enter an instructor’s last name to limit
search results to those courses taught by the instructor entered.
i. Only Show Open Courses (optional) – select check box to toggle whether
or not search results contain only open courses.
2. Click submit.
3. A result screen listing courses based on your criteria will be displayed.
4. Using the check boxes, select the classes that you would like to add to your schedule.
5. Click submit.
6. A confirmation screen will be displayed to verify the courses you selected.
7. Review information and click submit.
7
Instructions for Web Registration
Summer/Fall 2008
8. A result screen is displayed. The courses for which you are eligible will be added to
your schedule with a status of ‘registered’.
9. For any course that you are prevented from registering for, a message describing the
reason why you were prevented will be displayed.
10. Links to the other registration tools can be accessed at the navigation menu on
the left side of the screen.
View/Change Schedule
View/Change Schedule displays classes for which you are registered and provides functionality
to drop classes.
1. To drop a class, select the check box next to the course title.
2. Click submit.
3. A resulting schedule view will display classes for which you are registered.
8
Summer/Fall 2008
Music Business/Management
You are encouraged to give input into the educational Don Gorder, Chair (On Sabbatical Spring ’08), 617-747-2517
decisions made by the college. Your recommendations should Room F6, 22 The Fenway
be directed to the appropriate departmental office or chair. John Kellogg, Assistant Chair, 617-747-3179
Please be aware that all department chairs have office hours Room F5, 22 The Fenway
and are available to hear and discuss your viewpoints.
Furthermore, most departments have provisions for students Music Education
to attend departmental educational meetings. Guidelines for Cecil Adderley, Chair, 617-747-2426
participation in educational decisions of each department are Room F37, 22 The Fenway
governed by the department. Below is a list of chairs and
assistant chairs of each department, and their office locations. Music Production and Engineering
We encourage you to contact them to find out how you can Rob Jaczko, Chair, 617-747-8253
become more involved in decision-making. Dan Thompson, Assistant Chair, 617-747-8145
Room A17, 150 Massachusetts Ave.
Bass
Rich Appleman, Chair, 617-747-2281 Music Synthesis
Room 1H, 1140 Boylston St. Kurt Biederwolf, Chair, 617-747-2486
John Repucci, Assistant Chair, 617-747-2301 Room B10, 150 Massachusetts Ave.
Room 1K, 1140 Boylston St.
Music Therapy
Brass Suzanne Hanser, Chair, 617-747-2639
Tom Plsek, Chair, 617-747-2291 Room 2Y1, 1140 Boylston St.
Room 3H, 1140 Boylston St.
Percussion
Composition Dean Anderson, Chair, 617-747-2293
Greg Fritze, Chair, 617-747-2452 Room 001, 921 Boylston Street
Jim Smith, Assistant Chair, 617-747-8356 Yoron Israel, Assistant Chair, 617-747-2703
Professional Writing Center, 2nd Floor, 150 Massachusetts Ave. Room 4B1, 1140 Boylston St.
Guitar String
Larry Baione, Chair, 617-747-2294 Matthew Glaser, Chair (On Sabbatical Spring ’08),
Room 5K, 1140 Boylston St. 617-747-2296
Rick Peckham, Assistant Chair, 617-747-2511 Melissa Howe, Acting Chair, (Spring ’08)
Room 5L, 1140 Boylston St. Room 5B2, 1140 Boylston St.
Voice
Harmony
Jan Shapiro, Chair, 617-747-2103
Joe Mulholland, Chair, 617-747-8468
Room 3N, 1140 Boylston St.
Thomas Hojnacki, Assistant Chair, 617-747-8438
Bob Stoloff, Assistant Chair, 617-747-8367
Professional Writing Center, 2nd Floor, 150 Massachusetts Ave.
Room 3M, 1140 Boylston St.
Jazz Composition
Woodwind
Ken Pullig, Chair, 617-747-2384
William Pierce, Chair, 617-747-2437
Professional Writing Center, 2nd Floor, 150 Massachusetts Ave.
Room 2H, 1140 Boylston St. 9
Tuition and Fees
Summer/Fall 2008
10
Summer/Fall 2008
11
Tuition and Fees
Summer/Fall 2008
Wire Transfers The student has approximately 14 business days to pay the
If the wire is between two U.S. banks, the following balance due in full. If payment is not received after receipt of
information will be required to wire monies: the bill or payment arrangements are not made with the
Office of the Bursar, the account will be subject to collection
Pay to: Berklee College of Music procedures.
Berklee Account #:00533-37159
ABA#: 0260-0959-3 The College will make every internal effort to collect
Bank of America outstanding balances before placement with one of five
100 Federal Street external collection agencies utilized by the College. Once
Boston, Massachusetts 02110 placed with an external agency, the account will be subject
to a 33% collection charge, or the industry standard rate.
If the wire involves an international bank, the following These charges are solely the responsibility of the student.
information will be required to wire monies: Restrictions will be placed on any account with a balance due.
Pay to: Berklee College of Music The restriction will prohibit access to grades, transcripts,
Berklee Account #: 00533-37159 degrees, diplomas, and participation in any future term at the
SWIFT #: BOFAUS3N College. The restriction will remain in force until the account
OR is paid in full.
Tested Telex #: 996527
Bank of America In the rare event that an account must be pursued in a court
Berklee offers 100 Federal Street of law, Berklee College of Music reserves the right to legally
several pay- Boston, Massachusetts 02110 pursue that account. All associated costs, including
ment options. reasonable attorney fees, are also the responsibility of
Please contact If the transfer is being directed through a correspondent the student.
the Bursar’s bank, the fed wire number is 026009593.
office for more
Please note: Your bank must also fax a copy of the wire
transfer to Berklee. Make sure that your name and student
information.
number appears on the wire. The Bursar’s fax number is
617-747-2065.
Returned Checks
Please be advised that if you choose to pay your fees with a
personal check and this check is returned, Berklee will charge
you a $50 processing fee. Notice of the returned check will
be sent to the student. If the return payment creates a debit
balance on the account, a hold will be placed on the account,
which blocks academic schedule changes, access to grades
and transcripts, and future registrations until complete
restitution of funds is made. The college reserves the right to
demand future payments in the form of a certified check,
money order, cash, or credit card at this point, and you will
no longer be able to use personal checks as a form of
payment. Berklee will not redeposit personal checks that have
been returned and requires that these checks be replaced
within five business days.
Collection Policy
Students are required to pay tuition and fees at the beginning
of any given semester. If a student adds additional courses or
ensembles during the add/drop period, they must pay the
additional fee(s) at the time of enrollment. The student will be
notified via the student mailbox and the home mailing
address of any unpaid balance that appears on the account.
12
Summer/Fall 2008
Financial Aid
Financial Aid
13
Policies and Procedures
Summer/Fall 2008
l
Policies and Procedures During a vacation semester: Students who meet
For further information on policy and procedures, DHS vacation semester guidelines and Berklee’s
please refer to the College Bulletin. part-time criteria may enroll in less than 12 credits
during a DHS-approved vacation semester with
authorization from the Counseling and Advising Center.
a Full and Part-Time Policy l To complete course of study in current term:
Students may be permitted to enroll in less than 12
The college’s primary commitment is to full-time study. The credit hours during their final semester of study before
maximum full-time credit load in each program is: graduation from Berklee, if they have fewer than 12
l Degree: 16 credits credits remaining and will satisfy all graduation
l
requirements during that semester.
Diploma: 13 credits
l Documented Illness or Medical Condition: A student
If you exceed your maximum credit load you must pay for may be allowed to enroll in less than 12 credit hours
each additional credit on a per credit basis ($975 per credit). if sufficient medical documentation from a licensed
medical doctor (Doctor of Osteopathy, Doctor of
Part-time status may be granted under the following Medicine, or Doctor of Psychology) is submitted to the
circumstances: Counseling and Advising Center. This basis for part-time
l A student who has completed at least one full-time authorization must be reestablished each semester that
To request part-time is granted. Documentation requirements and
semester at Berklee may study part-time during the
approval for more information may be obtained at the Counseling
summer semester.
part-time and Advising Center.
l A student who has fewer than 12 credits required
status, you
for graduation.
should submit Students must obtain authorization from the
l A student who has fewer than 24 credits required for Counseling and Advising Center prior to enrolling in
a Change of
graduation including sequential courses that require the less than 12 credit hours. If students fall below 12 credits
Enrollment student to enroll for at least one semester beyond the without prior approval, under SEVIS requirements this is
Status Form at semester for which part-time status is being requested. considered a “reportable event” and the college is required
the Counseling l A student with a documented disability for which the to report it to the DHS within twenty-one days. If the reason
and Advising college determines that part-time enrollment is a for less than full-time attendance is not among those
Center. reasonable accommodation. In the case of learning listed above, the college is required to report the
disabilities, documentation from at least high school student’s F-1 status to DHS as “terminated”.
level must be submitted to the Special Services
Coordinator in the Counseling and Advising Center. SEVIS reporting requirements necessitate that international
The definition of disability is outlined in the Americans students enroll in at least 12 credit hours every semester.
with Disabilities Act of 1990. Students in their first or second semester of study in the
United States may be permitted to complete less than
l A student whose only registered course for a term is an
12 credits, if they are having initial difficulties with the
approved internship. English language or reading requirements, or unfamiliarity
l A Berklee graduate. with American teaching methods. Students must receive
authorization from their International Advisor prior to going
To be authorized for part-time status, you need to submit a below 12 credits and resume full-time attendance at the next
Change of Enrollment Status Form at the Counseling and available semester. When a student does not have 12 required
Advising Center. For Summer 2008, part-time approval can credits remaining but cannot complete their program in the
be authorized any time between Registration Advising Week current semester due to prerequisites, he/she will need to
and June 6, 2008. For Fall 2008, part-time approval can be enroll in classes not required for their program in order to
authorized any time between Registration Advising Week maintain F-1 status. Students are responsible for their
and September 19, 2008. academic decisions. Therefore, Berklee strongly encourages
students to plan their coursework with an academic and
Once you have been authorized for part-time status, you international student advisor each semester to develop an
will be charged on a per-credit basis. immediate and a long-term study plan that will maximize their
meeting DHS enrollment requirements during their course of
a Part-Time Attendance Policy for study at Berklee.
F-1 Visa Holders
Any international student wanting part-time attendance
The Student and Exchange Visitor Information System (SEVIS) MUST see a counselor in the Counseling and Advising Center.
requires schools to electronically report the number of credits Failure to maintain full-time status has serious implications,
F-1 students enroll in each semester. The Department of such as inability to have I-20 signed, loss of work permission,
Homeland Security (DHS) regulations require students in F-1 and/or being required to leave the U.S. It is your responsibility
non-immigrant status to attend college on a full-time basis to maintain status.
and define full-time as at least 12 credit hours per semester.
Only the following exceptions are allowed: Students authorized for part-time status will be charged on
a per credit basis
14
Summer/Fall 2008
Summer/Fall 2008
Students withdrawing by the end of the fourth week of the Note: Some of these courses have prerequisites. Be sure
fall or spring semester are entitled to a credit of part of their to check the course description for details.
tuition on the basis of assessing 20% of the semester’s tuition Major Entry Courses(s)
per week of attendance. After the fourth week no credit will Contemporary Arranging 2 (AR-112)
be made. Students withdrawing by the end of the third week Writing & Prod
of classes in the summer semester are entitled to a credit of
part of their tuition on the basis of assessing 25% of the Composition Tonal Harmony and Composition 1
semester’s tuition per week of attendance. After the third (CM-211)
week, no credit will be made. No deduction is made for Film Scoring History of Film Music (FS-131)
temporary absence, nor is any credit granted if you are Intro to Film Scoring (FS-221)
suspended, dismissed or leave the college without formally Jazz Composition Arranging 2 (AR-112)
withdrawing. Survey of Jazz Composition and
Arranging (AR-228)
Financial aid awards may be prorated upon withdrawal from Music Business Intro to the Music Business (MB-101)
the college. Contact the Office of Financial Aid for more Legal Aspects of the Music Industry
information. (MB-211)
Concepts of Mathematics
International students in F-1 status should consult their (LMSC-230)
international advisor in the Counseling and Advising Center
To declare Music Education Intro to Music Education (ME-111)
prior to submitting a Withdrawal from the College Form,
your major as it will affect their immigration status. Music Production Intro to MP&E (MP-110)
you will need & Engineering Principles of Music Acoustics
Medical Withdrawals (LMSC-208) or
to apply by
Applications of Music Acoustics
filling out a (See tuition insurance policy, page 11.) (LMSC-209)
Declaration of
Music Synthesis Musical Applications of Synthesis
Major Form at Repeated Courses (MS-210)
your major’s Students may register into a course for a second or subsequent Principles of Music Acoustics
departmental time. The cumulative grade point average (CGPA) and (LMSC-208) or
office. concentrate cumulative grade point average (CCGPA) will be Applications of Music Acoustics
determined by using the highest grade received for the course. (LMSC-209)
Student transcripts and the term grade point average will Music Therapy Intro to International Music Therapy
reflect each time a course was taken and the grade received. (MTH-201)
The additional credits earned from repeating a course cannot Psychology of Music (MTH-311)
be counted toward graduation. (Please note: this policy does Songwriting Lyric Writing 1 (SW-221)
not apply to ensembles, instrumental labs, and non-leveled Songwriting 1 (SW-211)
private instruction, which may be repeated and counted each Essentials of Songwriting (SW-111)
time in your CGPA, CCGPA and will count toward graduation.)
Both the Performance and Professional Music majors
Declaration of Major do not have special entry courses. Departmental
All students are required to declare a major field of study by Advisors and the Counseling and Advising Center may
their third semester credit standing. Students who have not be able to suggest ways to explore these majors.
declared a major and are currently in their second semester
credit standing or higher, will need to declare a major prior
to registering.
Important Dates for MP&E Applicants: The dates listed above are subject to change.
Note: Summer and Fall enrollment share a single application
deadline in the Spring. Declaration of Performance Major
For Admission into: Deadline (by 4:00 PM EST) Students may declare the Performance major during the
Summer or Fall 2008 February 29, 2008 second semester or by their third semester credit standing.
Spring 2009 October 17, 2008 It is highly recommended that students do so during their
second semester of study. Students who intend to declare
Summer or Fall 2009 February 27, 2009
the Performance major must visit their instrumental/voice
Music Synthesis: department chair and request an Intent to Declare
Performance Major Application Form. It is strongly
Students desiring to declare a major in Music Synthesis must recommended that students have a CGPA of 2.7 or higher
obtain the written approval of the Chair of the Music Synthesis in private instruction, ear training and ensemble/lab in order
Department on the Declaration of Major Form prior to to declare a major in Performance.
declaring Music Synthesis as a major or changing to Music
Synthesis from another major. Before the Chair’s written Important Dates for Performance Major Applicants:
approval is granted, students must complete the Music
l Application deadline for Summer or Fall 2008
Synthesis application process and be accepted into the major.
Complete information about applying is available at the Music start in major: April 4, 2008
Synthesis office, room B10, 150 Massachusetts Ave. l Application deadline for Spring 2009 start
in major: November 14, 2008
If accepted into the Music Synthesis major, you will be required
to purchase the Music Synthesis Major Bundle. The Music New Dual Piano/Voice Principal Emphasis in
Synthesis Major Bundle will be ordered and reserved for you.
However, you must be prepared to purchase and pick up the the Performance Major
Music Synthesis Major Bundle during the second week of
The Piano Department is pleased to offer this new Performance
classes. For further information, please contact the Music
major option, which services students interested in a career as
Synthesis office. Also, as students advance through the cur-
a Pianist/Vocalist. An eight-semester program, it includes private
riculum, the major may require additional hardware and/or
lessons and labs in both piano and voice. Accompanying skills
software purchases for specific courses.
in diverse styles include improvisational arranging, transposition
and rhythmic support. For more information, please contact
Tony Germain, Assistant Chair, Piano Department.
17
Policies and Procedures
Summer/Fall 2008
Catalog Year Policy – Your catalog year for this academic program
– The anticipated completion date for your
Berklee College of Music features a dynamic curriculum that
academic program
balances traditional musical education with the very newest in
contemporary musical studies. As such, the curricula of all the – Your student type for this term (Degree program
majors are constantly evolving as new courses are developed full-time = BM, Diploma program full-time = PDM,
and added to the curriculum. Each academic year these Part-time degree or diploma = PT, etc.)
curricular changes are captured in a new set of requirements
for each major and become that year’s academic catalog.
a My Degree Audit
Students are assigned to the catalog that is in effect at the
My degree audit is a very useful tool to help you determine
time they matriculate. The assigned catalog year is a listing of
exactly how the courses you have taken or are currently
the full set of academic requirements which students must
enrolled in will count toward graduation. It will also show you
complete in order to graduate. The academic requirements of
which courses remain to be taken, and other graduation
that catalog will remain constant for the students throughout
requirements. Using My Degree Audit, you can now review
their Berklee career despite any curricular changes that may
your academic progress by yourself on your own computer
occur throughout that time.
while still being able to consult academic advisors as needed.
Students may opt to change their catalog year assignment
Catalog year An additional feature of My Degree Audit is the ability to
to a more recent catalog if they prefer to graduate under
check out different majors and see how your academic work
determines a newer set of curriculum requirements. Students who
to date will count toward graduating in that major(s), a sort of
the set of discontinue study at Berklee for more than four years and
“shop around” feature. The Office of the Registrar is available
academic then return, will be automatically assigned to the catalog that
to advise students with any questions regarding the use of My
requirements is current at the time of their return. Students cannot change
Degree Audit or interpretation of a Degree Audit report.
their catalog year assignment to an earlier catalog. However,
which must
they are encouraged to meet with the chair of their major to
be fulfilled To use Degree Audit (EVAL):
discuss the applicability of past course work to their existing
for graduation. catalog assignment. 1. Log onto my.berklee.net.
2. Click on Student Services
a Online Grids and Registration Profile
3. Select "My Degree Audit (EVAL)" on the left.
The requirements for all majors and dual majors, degree
4. Then select either:
and diploma, can be downloaded from my.berklee.net by
(a) your active academic program (major), or:
choosing the Student Services tab, and clicking on Academic
Requirements on the left. These pdf grids are extremely (b) choose a major from "What if I changed my
helpful in choosing courses for each semester. Courses are program of study?” (You need to know your
displayed in a semester by semester series that take into catalog year for this choice - please find your
account prerequisites and semester credit maximums. catalog year from your Registration Profile Screen)
5. For the question, “What Work Do You Want To
Before you download any academic requirements (grids), Include?”, select either:
you should first verify your catalog year on your Registration (a) ”C” for just your completed courses, or:
Profile. Under the Student Services tab, click on Registration, (b) “A” for all courses including those that are
then click on your Registration Profile on the left. Your in-progress and any courses that you have
Registration Profile provides you with the following preregistered for.
important registration information:
l Your registration appointment time Note: To obtain the most accurate GPA for a major, you
should select “C” for complete coursework only.
l Your matriculation semester
l Your semester level Students who are undeclared or have a new major going into
l Your overall academic standing effect at the start of summer or fall semester should use the
“What if I changed my program of study?” option.
l Any restrictions that would prevent you from
registering (library fine, etc.) Professional Music majors need to build their curriculum
l Term specific Registration information, including: on Colleague by meeting with the Professional Music
– Your registration status Department. If you have not already done so, your degree
audit will not be complete.
– Your check-in status
– Your principal instrument If you have any feedback about My Degree Audit (EVAL) you
wish to share, you can send an email to registrar@berklee.edu.
– Your instrument ratings
– Your academic program/major
18
Summer/Fall 2008
Curriculum Information
Curriculum Information Semester Level Calculation
Your semester level is determined by your program of study
First Semester Testing and Placement (Degree or Diploma) and the total number of credits you have
completed. It is not determined by the number of semesters
First-semester placement in Arranging, Harmony, and Ear in which you have been enrolled. Following is a chart of
Training courses is determined by a student's score on the semester level by credits.
Music Placement Test, taken during the Check-In period. Semester Credits earned Credits earned
Students placing in advanced levels of Arranging, Harmony, Level Diploma Degree
or Ear Training will earn credit for each preceding course as 1 0-11 0-14
well (except for Writing Skills, PW-110). Students who earn 2 12-23 15-29
more credit than is needed to meet Core Music requirements 3 24-35 30-44
may apply the additional credit earned to other graduation 4 36-47 45-59
requirements, either in the concentrate (where appropriate) or 5 48-59 60-74
as general elective credit. Regardless of advanced placement, 6 60-71 75-89
all students are required to enroll in and satisfactorily 7 72-83 90-104
complete at least one Arranging and one Harmony course in 8 84-95 105-119
their first semester at Berklee. Students who are enrolled in 9 96-107 120-134
Writing Skills, PW-110, in their first semester will still be 10 108+ 135+
required to enroll in and satisfactorily complete Arranging 1, Your semester
AR-111, in order to graduate, and are strongly recommended Additional Graduation Requirements level is deter-
to do so during their second semester of study. mined by your
l Completion of the specified total credits required program of
Instrumental Labs for graduation. study (Degree
l Completion of your principal instrument proficiency or Diploma)
Students should complete their instrumental labs by taking
the next sequential lab in each area until all requirements level specified by major. and the total
are met. Please note that instrumental lab requirements may l Completion of a final project as required by your number of
be waived through the audition process. Course credit is specific major. credits you have
not granted for advance placement out of labs. For more l Minimum cumulative grade point average of 2.00 accumulated.
information, consult either your instrumental instructor or plus minimum grade point average of 2.70 in It is not
your instrumental department. concentrate courses. determined by
the number of
Ensemble Information
Restrictions for General Elective Credit semesters in
Unlike most courses, scheduling ensembles involves many l A maximum of eight additional private instruction which you have
variables and precise instrumental and rating balancing. Every credits, beyond the amount required within each major, been enrolled.
effort will be made to accommodate students requesting may be applied to the general elective credit requirements.
ensembles. However, the Ensemble Department is not (Professional Music majors may apply up to an additional
obligated to provide ensemble instruction to students who four private instruction credits.)
have already completed ensemble requirements, but will l A maximum of eight additional ensemble and/or lab credits
do so if space is available.
beyond the amount required for each major may be
applied to the general elective credit requirements.
Students are limited to the number of ensembles that can
(Professional Music majors can only apply up to an
be registered for during the registration period according to
additional six ensemble/lab credits.)
instrument. Additional ensembles can be added beginning
Tuesday, April 22, 2008. For further information about l A maximum of six additional liberal arts credits beyond
ensembles, please contact the Ensemble Office, Room B11, the standard requirement may be applied to the general
150 Massachusetts Avenue. elective requirements for students in the degree program.
A maximum of twelve additional liberal arts credits beyond
Please refer to the chart below: the standard requirement may be applied to the general
elective requirements for students in the diploma program.
Instrument Limit
l Courses taken through the ProArts Consortium that meet
Bass 2
Brass 3 the standards of Berklee’s transfer credit policy for liberal
Guitar 1 art or music history requirements or electives will be
Percussion 1 accepted as appropriate. For ProArts courses that fall
Piano 1 outside of the transfer credit standards, a maximum of
Strings 3 four ProArts Consortium credits may be applied to the
Voice 2 general elective requirements.
Woodwinds 3 * Please note: As a student, it is your responsibility to keep
accurate records of completed courses, grades received, and
other academic documents. You can check and verify your
online transcript and other academic information anytime
through my.berklee.net 19
Special Opportunities
Summer/Fall 2008
l
Special Opportunities Select courses from the ProArts Combined Course
Offerings booklet and complete a Cross Registration
Form. Both the booklet and forms are available at the
MBA Opportunity with Suffolk University Office of the Registrar and can be found online at:
http://www.proarts.org.
Students who successfully complete the Music Business/
Management program and earn a Bachelor of Music degree l Check to make sure you have all necessary prerequisites.
from Berklee College of Music may apply for acceptance to If not, be sure to obtain the necessary approval form(s)
the Suffolk University Accelerated MBA Program for before trying to register for the class.
Berklee students. l Have your cross registration form authorized at the
Office of the Registrar first, and then bring it to the
Through a special arrangement, you may receive credit for
host college on that college's designated cross
your Berklee course work in the Music Business/Management
registration dates. These dates are listed in the
major towards an MBA from Suffolk. Nearly a semester of the
ProArts booklet, and on the ProArts website.
four-semester Suffolk program is eligible for course waiver
consideration, saving you considerable time and cost in l Once you have cross-registered at the host college, you
earning this valuable degree. then must bring the signed cross-registration form back
to the Office of the Registrar at Berklee.
Acceptance to the MBA program and course waiver
For more l Remember to add the ProArts course to your Berklee
considerations are based on (1) the achievement of a 3.00
information GPA or above, (2) a minimum grade of B in required courses, schedule. Please see the table below to determine the
on the ProArts (3) a GMAT score of at least 450, and (4) any additional course number and section for adding a ProArts course
requirements necessary for admission to Suffolk University. to your Berklee schedule. The course number you
Consortium,
choose must equal the same amount of credits that the
visit the site
This "fast track" program is intended to support your chosen course is worth at the host college. Adding a ProArts
online at course to your Berklee schedule does not guarantee
career path in the music industry—whether entrepreneurial,
www.proarts.org music products, or management—and put you in the job a space in the host college course. However, it will,
market as well prepared and quickly as possible. save space on your Berklee schedule and increase your
term credit load, which is important for financial aid
If you would like further information on the MBA program concerns, and SEVIS concerns for international
at Suffolk, or on the Music Business/Management major students.
at Berklee, please visit the Music Business/Management Please use the following course numbering system
Department, Room F4, 22 The Fenway or call 617-747-2152. when registering for a ProArts course:
You will also find information on www.berklee.edu, under
Music Business/Management, Graduate Programs. Course Number Section
PA-005 = 0.5 credit course 001 = Boston Architectural
a ProArts Consortium PA-001 = 1 credit course College
Berklee College of Music is a member of the ProArts PA-015 = 1.5 credit course 002 = Boston Conservatory
Consortium. ProArts is an association of six performing PA-002 = 2 credit course 003 = Emerson College
and visual arts schools: Boston Architectural College, PA-025 = 2.5 credit course 004 = Mass. College of Art
Berklee College of Music, the Boston Conservatory, Emerson PA-003 = 3 credit course and Design
College, Massachusetts College of Art and Design, and the PA-004 = 4 credit course 005 = School of the Museum
School of the Museum of Fine Arts, Boston. As members of of Fine Arts, Boston
the consortium, Berklee students, faculty, and staff are eligible
to take courses at these schools as well as use the facilities. Ex.: A 4-credit course at Emerson would be PA-004-003.
Participation in the ProArts program is open only during the Additional Information
Fall and Spring semesters. You may register for courses during l ProArts courses are only counted as general elective
both a pre-registration as well as the drop/add each semester. credit toward graduation. If you wish to have a ProArts
Please see www.proarts.org or the Office of the Registrar for course count differently than general elective credit,
the specific dates. If you are interested in taking courses at you must first obtain approval from the chair of your
one of the consortium colleges, the following procedures major before the start of the course.
should guide you through the process:
l A maximum of four ProArts credits may be applied to
the general elective requirements of your major.
20
Summer/Fall 2008
Special Opportunities
International Study Abroad Programs
Berklee graduates are entering a musical world that is
increasingly international. In an effort to help our students
develop skills, understandings and attitudes to succeed in this
international arena of music, Berklee is excited to offer an
International Study Abroad program. Currently there are
programs in at the Phillipos Nakas Conservatory in Athens,
Greece and the Jazz & Rock Schüle in Freiburg, Germany.
21
Private Instruction and Recital Preparation
Summer/Fall 2008
Private Instruction and Recital The following chart lists the course numbers that should be
used to register for lessons:
Preparation
Instrument Private Recital
Instruction Preparation
Private Instruction
BASS PIBS-XXX RPBS-XXX
Students wishing to register for Private Instruction should BRASS PIBR-XXX RPBR-XXX
follow the steps outlined below: GUITAR PIGT-XXX RPGT-XXX
PERCUSSION PIPC-XXX RPPC-XXX
l Select an instructor from the lists on pages 24-25 in this PIANO PIPN-XXX RPPN-XXX
manual. If you need assistance in selecting an instructor,
STRINGS PIST-XXX RPST-XXX
you can speak with the appropriate instrumental
department chair or advisor, or research instructors WOODWIND PIWD-XXX RPWD-XXX
online at http://www.berklee.edu/faculty/default.html. VOICE PIVC-XXX RPVC-XXX
l Register for a section of Private Instruction with the The sequence and prerequisite structure of Principal
instructor you have selected that includes a specific Instrument courses are summarized below:
day and time.
PIXX 111 Private Instruction 1
l Private Instruction (and for Performance majors, Recital 2 credits Electable by: All
Preparation) will appear on your schedule with XXX as Prerequisite: None
the course number. After final grades for the preceding
semester have been submitted, a process will delete the PIXX-112 Private Instruction 2
XXX and assign a new course number based on the 2 credits Electable by: All
highest level of Private Instruction and/or Recital Prerequisite: PIXX-111
Preparation that has been satisfactorily completed.
l The first meeting time for a Private Instruction (PI) and/or PIXX-211 Private Instruction 3
2 credits Electable by: All
Recital Preparation (RP) that has been added or changed
Prerequisite: PIXX-112
during the add/drop period (first two weeks of classes)
You can only will be for the week after the change has been made
PIXX-212 Private Instruction 4
register for on Colleague. Therefore:
2 credits Electable by: All
one Private – Students making changes during the first week Prerequisite: PIXX-211
Instruction of classes will have their first PI and/or RP during
(and for the second week of classes. PIXX-311 Private Instruction 5
Performance – Students making changes during the second 2 credits Electable by: All
majors, week of classes will have their first PI and/or RP Prerequisite: PIXX-212
one Recital during the third week of classes.
l
PIXX-312 Private Instruction 6
Preparation) In order to register for Private Instruction that is outside
2 credits Electable by: All
per semester of your principal instrument department, you must
Prerequisite: PIXX-311
without a
request a waiver from the instrumental department
chair of the lesson to be taken.
waiver from PIXX-411 Private Instruction 7
your instru- l You can only register for one Private Instruction (and 2 credits Electable by: All
mental chair. for Performance majors, one Recital Preparation) per Prerequisite: PIXX-312
semester without a waiver from your instrumental
chair. If you add a second private instruction or recital PIXX-412 Private Instruction 8
preparation within a semester an extra Private 2 credits Electable by: All
Instruction fee will be assessed. Prerequisite: PIXX-411
22
Summer/Fall 2008
23
Private Lesson Roster
Summer/Fall 2008
24
Summer/Fall 2008
Summer/Fall 2008
a The following courses have no prerequisites and are electable by all students. If you have room in your schedule for an elective,
you might want to consider these possibilities. For more information on course content, please check the course descriptions.
26
Summer/Fall 2008
27
Prototype Courses
Summer/Fall 2008
For more details on the prototype courses please see course descriptions. Please note that these prototypes may or may not be
offered during Summer/Fall 2008. Please consult the sponsoring department for more information.
28
Summer/Fall 2008
Prototype Courses
LHUM-P373 Japanese III 3 credits Fall New
LHUM-P387 African American Children’s Literature and Culture 3 credits Fall New
LHUM-P431 Creative Writing: Poetry II 3 credits Fall New
LHUM-P450 Poetry Jam and Slam 3 credits Fall New
LHUM-P453 French IV 3 credits Spring New
LHUM-P463 Spanish IV 3 credits Spring New
LHUM-P473 Japanese IV 3 credits Spring New
LSOC-P310 Group Dynamics 3 credits Fall New
MB-P213 Marketing Issues in the Music Industry 2 credits Spring, Fall
MB-P389 Managing Technology-Driven Business 2 credits Fall
MB-P435 The New Music Company 2 credits Fall New
MB-P493 Entrepreneurial Practicum 2 credits Spring, Fall
ME-P327 Suzuki, Gordon, and Dalcroze: Approaches to Music Education 2 credits Spring, Fall
ME-P328 Music, the Brain, and Learning 2 credits Spring
ME-P387 Instrument Repair 1 credit Spring, Fall
MP-P351 Microphone Theory and Applications 2 credits Spring, Fall
MP-P363 Guerilla Production Techniques 2 credits Spring, Fall
MP-P455 Hip-Hop Production for Records 2 credits Spring, Fall
MP-P456 Analog Recording Techniques and Applications 2 credits Spring, Summer, Fall
MP-P457 Ensemble Recording Techniques 2 credits Spring, Summer, Fall
MP-P458 Live Concert Recording and Mixing Techniques 2 credits Spring, Summer, Fall
MS-P261 Musical Devices for Music Technologists 2 credits Spring, Fall
MS-P331 Applications of Indian Music Concepts in Contemporary
Synthesis Production 2 credits Spring, Fall
MS-P333 Sound Design for Animation 2 credits Fall
MS-P353 Audio Programming in C, C++, and ObjC 2 credits Spring, Fall
MTEC-P321 Music and Sound Production for Games 2 credits Spring, Fall
MTEC-P383 Studio Maintenance & Trouble Shooting 2 credits Spring, Fall
MTH-P211 Mind/Body Disciplines for Musicians 1 credit Spring
PFSS-P352 Survey of Piano/Vocalist Styles 2 credits Spring, Fall
PM-P325 Managerial Finance 2 credits Spring, Fall
PSBS-P345 Latin Jazz Masters 2 credits Spring, Fall
PSH-P261 Playing in the Key of Chi: Chi Gung for Musicians 2 credits Spring, Summer, Fall
PSH-P281 Somatic Breathwork for Vocalists 1 credit Spring, Fall
PSIJ-P426 Jazz Rhythm Section Accompaniment Skills 2 credits Spring, Summer, Fall
PS-P218 Interdisciplinary Collaborations in Creative Arts 2 credits Fall New
PS-P265 The Music of Kenny “Babyface” Edmonds 2 credits Fall New
PW-P261 Basic Recording/Production Techniques 2 credits Fall
SW-P235 Writing the Jazz Song 2 credits Spring, Fall
SW-P236 Guitar Techniques for Songwriting 2 credits Spring, Fall
SW-P245 Rock Songwriting Workshop 2 credits Spring, Fall
SW-P336 Songwriting Collaboration 2 credits Spring, Fall, New
SW-P350 Songwriting and Social Change 2 credits Fall New
SW-P445 Musical Theater Writing 2 2 credits Spring, Fall
29
New Courses and Prototypes
Summer/Fall 2008
For more details on the courses below, please see the course descriptions.
New Courses
Course Number Course Title Credits Offered
ILGT-238 The Music of Kenny Burrell and Grant Green 1 Credit Spring, Fall
ILGT-253 Groove Concepts for Funk Guitar Performance 1 Credit Spring, Fall
ILGT-236 Music of the Allman Brothers Band 1 Credit Spring, Fall
New Prototypes
Please note that these prototype courses may or may not be offered during Summer/Fall 2008. Please consult
the sponsoring department for more information.
Spring 2009
30
Summer/Fall 2008
Course Descriptions
Arranging AR-203
Music Preparation 1
AR-111 2 credits
Arranging 1 Course Chair: K. Pullig
2 credits Required of: None
Course Chair: M. Nicholl Electable by: All
Required of: All Offered: Spring, Summer, Fall
Electable by: All Prerequisites: AR-111
Offered: Spring, Summer, Fall
Skills, tools, and techniques used in handwritten notation,
Prerequisites: PW-110 or satisfactory placement
including score layout and part design and layout as used
score, and HR-111
in the professional music environment. Special problems,
A study of the musical concepts of melody, rhythm, harmony, including divisi parts, vocal parts, multistave parts, master
and form as applied to the principles and techniques of rhythm parts, and copying from a sketch. Use of a calligraphy
writing and arranging for the rhythm section (drums, bass, pen and other specialized equipment and supplies used by
guitar, keyboards, basic percussion) and a lead-line for a professional music copyists.
solo instrument, two horns (trumpet plus alto or tenor
saxophone), or voice. Focus on the conceptual process of AR-228
combining individual components to create a musically A Survey of Jazz Composition and Arranging
satisfying arrangement. Exploration of the use and integration 2 credits
of MIDI technology and sequencing as they relate to rhythm Course Chair: K. Pullig
section and lead-line writing. Study of various contemporary Required of: JCMP majors
musical styles and musical concepts that comprise them, Electable by: All
including writing from the “bottom up” (groove-driven) and Offered: Spring, Summer, Fall
“top down” (working with a melody in a lead instrument or Prerequisites: None
voice). Writing assignments will incorporate combinations of
acoustic, electronic, and MIDI instruments. A comprehensive study of the evolution of jazz arranging and
composition from the 1920s to the present. Score analysis of
AR-112 representative works by Fletcher Henderson, Duke Ellington,
Gil Evans, Thad Jones, and others. Extensive listening. Written
Arranging 2
arrangements not required.
2 credits
Course Chair: M. Nicholl
Required of: CWPR and JCMP majors
AR-313
Electable by: All Scoring for Instrumental Ensembles in
Offered: Spring, Summer, Fall the Secondary School
Prerequisites: AR-111 and HR-112 2 credits
Course Chair: C. Adderley
Study of the properties of the trumpet, alto saxophone, Required of: None
tenor saxophone, trombone, and baritone saxophone, and Electable by: All
the writing/arranging processes of standard and spread Offered: Fall semester in odd-numbered years
voicings, approach techniques, melodic embellishment, and Prerequisites: CM-212 or both CM-252 and CP-212
guide tone backgrounds. Focus is on applying the writing
processes to soli and background writing for two-, three-, Orchestration for wind, string, and percussion groups as
four-, and five-part combinations of these instruments. It is used at the secondary school level. Principles of score
recommended that CW-171 be taken by CWPR majors prior layout/arranging for concert band and high school orchestra.
to enrolling in AR-112.
AR-314
AR-201 Arranging for Secondary Vocal Ensemble
Chord Scale Voicings for Arranging 2 credits
2 credits Course Chair: C. Adderley
Course Chair: K. Pullig Required of: None
Required of: JCMP majors Electable by: All
Electable by: All Offered: Spring semester in odd-numbered years
Offered: Spring, Summer, Fall Prerequisites: CM-212 or CM-252
Prerequisites: AR-112 and HR-211
Arranging for high school vocal groups. Principles of part-
Five- and six-part writing for instruments. Application of writing for various combinations of voices. Writing piano
voicings in seconds, thirds, and fourths. Upper-structure tri- accompaniments. End-of-semester arranging project required.
ads, clusters, and other nonmechanical voicings derived from
chord scales. Extensive score analysis.
31
Course Descriptions
Summer/Fall 2008
AR-316 AR-340
Arranging for High School Jazz Ensemble Jazz Arranging for Small Ensemble
2 credits 2 credits
Course Chair: C. Adderley Course Chair: K. Pullig
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring semester in even-numbered years Offered: Spring, Fall
Prerequisites: AR-112 Prerequisites: AR-201
Principles of writing for high school jazz ensembles with Jazz arranging techniques for the rhythm section and various
standard and mixed instrumentation. Range problems, rhythm small-group instrumental combinations of up to three horns
section parts, special considerations for high school musicians. (melodic voices). Emphasis on developing complete rhythm
Examination of published scores. section sound (with or without winds) and advanced voicing
techniques (including interval-based voicings, linear approach
AR-321 techniques, and constant structure).
Contemporary Arranging and Composition
2 credits AR-407
Course Chair: K. Pullig Advanced Jazz Arranging for Large Ensemble
Required of: None 2 credits
Electable by: All Course Chair: K. Pullig
Offered: Spring Required of: None
Prerequisites: CM-371 Electable by: All
Offered: Spring, Fall
Development of individual writing creativity. Emphasis on the Prerequisites: Written approval of course chair
building of confidence in writing clear, memorable lead lines
based on standard song forms. Discussions on the relationship Extended applications of standard big band scoring
of speech patterns to melody. Individual conferences with the techniques. Analysis of devices found in the compositions
instructor when necessary. Written projects required. of major jazz writers.
AR-328
Arranging for Contemporary Jazz Ensemble Composition
2 credits
Course Chair: K. Pullig CM-211
Required of: None Tonal Harmony and Composition 1
Electable by: All 2 credits
Offered: Fall Course Chair: G. Fritze
Prerequisites: AR-201 and HR-212 Required of: Degree – all majors, except COMP
and MUED majors; Diploma – FILM majors
The arranging of original tunes combining both traditional Electable by: All
jazz techniques and contemporary compositional concepts. Offered: Spring, Summer, Fall
Analysis of taped examples. Prerequisites: HR-111 and either AR-111 or PW-110
32
Summer/Fall 2008
Course Descriptions
CM-221 CM-231
Techniques of Tonal Writing Instrumentation and Score Preparation
2 credits 2 credits
Course Chair: G. Fritze Course Chair: G. Fritze
Required of: COMP and FILM majors Required of: COMP and FILM majors
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: CM-212 and CP-212 Prerequisites: CM-212
Specific techniques of traditional tonal composition. Conclusive The technical aspects involved in creating finished,
and nonconclusive phrases; antecedent-consequent phrase professional scores. Score layout; instrumental/vocal ranges
relationships; open-ended phrase relationships; sequencing; and performance characteristics; special playing techniques
modulation; large-scale tonal relationships; thematic variation and limitations; breath and bowing considerations; choice
and development. Application of these techniques in writing, of key, meter, beat, and subdivision values; use of slurs,
using models from the classical period. articulation marks, dynamics, tempo variation, and other
devices for indicating expressive nuance; proper underlaying
CM-P225 of vocal text; calligraphy; creating a practical piano reduction;
Guitar Composition Techniques for extracting parts.
Performers-Composers
When a
2 credits CM-251
prerequisite
Course Chair: G. Fritze Prototype Traditional Materials and Structure of Music 1
Required of: None 2 credits waiver is
Electable by: All Course Chair: G. Fritze needed, please
Offered: Spring, Fall Required of: MUED majors contact the
Prerequisites: CM-211 Electable by: MUED majors Department
Offered: Spring, Summer, Fall Chair for
Intermediate and advanced approach to Guitar Composition Prerequisites: HR-111 and either AR-111 or PW-110
the course.
Techniques. The course is designed for performers-composers
and provides a comprehensive demonstration of the capabilities Diatonic harmonic analysis in various musical textures. Melody
of the instrument and the most successful ways to compose writing. Harmonization of melodies in various musical textures.
efficient for it through analysis, live performances, improvisa-
tion, and mostly elementary and advanced compositional CM-252
techniques. Also covers performance techniques, extended Traditional Materials and Structure of Music 2
compositional approaches (guitar and other instruments), 2 credits
resources and technologies of basic composition techniques Course Chair: G. Fritze
and mainly guitar music of the twentieth century and beyond. Required of: MUED majors
Electable by: MUED majors
CM-P227 Offered: Spring, Summer, Fall
The Art of Modulation Prerequisites: CM-251 and CP-211
2 credits
Course Chair: G. Fritze Prototype Continuation of CM-251. Advanced traditional harmony and
Required of: All intermediate compositional procedures. Seventh chords,
Electable by: All altered chords, modulation.
Offered: Spring, Fall
Prerequisites: CM-212, CP-212 CM-311
Contemporary Techniques in Composition 1
Students will explore and master the technique of modulation 2 credits
to the keys both closely related and distant. Using the Course Chair: G. Fritze
concepts of “three degrees of kinship between keys” and the Required of: COMP and FILM majors
major-minor (minor-major) systems, the students will acquire Electable by: All
the skill of gradual modulation as well as sudden modulation, Offered: Spring, Summer, Fall
as it was taught in the great Russian tradition. Prerequisites: CM-221 and either COND-211
or COND-221
This practical and theoretical approach will both contrast and
compliment current methods of handling this more advanced Specific techniques of traditional twentieth-century
area of harmony, and will thus bring about for the student composition. Technical devices such as quartal harmony,
additional practical applications of these concepts. serial writing, polytonality, and contrapuntal techniques.
Assignments are directly related to each of these aspects of
composition and are performed in class.
33
Course Descriptions
Summer/Fall 2008
CM-312 CM-351
Contemporary Techniques in Composition 2 Choral Composition
2 credits 2 credits
Course Chair: G. Fritze Course Chair: G. Fritze
Required of: COMP majors Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: CM-311 and COND-211 Prerequisites: CM-212
The continuation of CM-311 with concentration on the Traditional scoring techniques for full chorus with and
employment of serial approaches to composition. Various without instrumental accompaniment. A choral composition
composition assignments and a final project are required. in a traditional style is required as a final project.
CM-318 CM-P353
New Music Composition and Introduction to Contemporary Composition
Performance Workshop 2 credits
2 credits Course Chair: G. Fritze Prototype
Course Chair: G. Fritze Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring
Offered: Spring Prerequisites: CM-212 and CP-212
Prerequisites: ET-111 and HR-111
Introduction to compositional concepts from the late
The workshop provides opportunities for student composers 20th century with emphasis on students writing
to hear performances of their own work, and for student original compositions.
performers to gain public performing experience of original
student works and works written within the last 60 years. CM-355
Important works of the twentieth century are explored. It Principles and Techniques of Writing
is advisable, but not required, for students to have taken for the Voice
LHAN-261 prior to enrolling in this course. This course can 2 credits
be repeated for credit. Course Chair: G. Fritze
Required of: None
CM-345 Electable by: All
Jazz Fusion Composition and Arranging Offered: Spring, Summer, Fall
for Small Ensemble Prerequisites: CM-212 and CP-212
2 credits
Course Chair: K. Pullig Examination of representative solo vocal works from the
Required of: None nineteenth and twentieth centuries (including works requiring
Electable by: All nontraditional vocal techniques), with emphasis on dramatic
Offered: Spring, Fall organization, relationship of music to text, and appropriateness
Prerequisites: HR-212 to the capacity of the trained singing voice. Special attention
given to principles of vocal technique and speech articulation
Through the study of major artists and recordings, the student as they apply to composition, principles of vocal notation, and
will identify the compositional and instrumental practices of considerations of opera and musical theater. Students will be
the jazz-fusion idiom and apply those to writing assignments expected to write specified vocal passages based on assigned
and projects. Jazz-fusion is looked at broadly and may include texts as well as participate in some improvisation and dramatic
a variety of idiomatic 20th century, world music, and popular reading of texts in class.
music techniques. The course does not follow a particular
methodology, but rather encourages the student to find
his/her own voice within the genre. The class begins with a
historical survey of the jazz-fusion idiom starting with Miles
Davis’ landmark, Bitches Brew recording, and continues with
the music of the alumni of Davis’ influential bands, up to
today. As students apply techniques and ideas learned, they
will gain perspective as to how jazz-fusion is part of music as
a whole, and examine some of the underlying principles that
make for good composition.
34
Summer/Fall 2008
Course Descriptions
CM-P357 CM-373
Introduction to Electro-acoustic and Jazz Composition 2
Computer Music for Composers 2 credits
2 credits Course Chair: K. Pullig
Course Chair: G. Fritze Prototype Required of: JCMP majors
Required of: None Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring Prerequisites: CM-371
Prerequisites: CM-212 and CP-212
Composition of non-song-form jazz pieces based on motivic
Introduction to electro-acoustic/computer music for composers development. Discussion of form and content as it applies to
is a survey course in electronic and computer music episodic composition in jazz. Examination of representative
composition designed especially for the students on Berklee works by various jazz composers. Various assignments and
composition tracts. This course is designed to provide the the composition of an episodic five-minute piece are required.
opportunity for Berklee composers to both develop technical
skills and sharpen aesthetic sensibilities by studying the CM-375
history and social conditions which influence the techniques Jazz Composition 3
of electroacoustic and computer music in a more or less 2 credits
chronological context of the classic studio model: From Music Course Chair: K. Pullig
Concrete, to additive and subtractive synthesis to modular Required of: JCMP majors
concepts to CSound and the personal computer music Electable by: All
explosion. The students also have the opportunity to develop Offered: Spring, Summer, Fall
digital editing skills that can be used in crafting better Prerequisites: AR-331 and CM-373
portfolio recordings. Special topics will also be explored as
mandated by the class. Composition of multisection extended jazz compositions.
Discussion of form and orchestration as it applies to extended
CM-361 composition in jazz. Examination of representative works by
World Music Resources in Composition various jazz composers. Composition of a short chamber
2 credits piece without rhythm section and a large-scale 10-minute
Course Chair: G. Fritze piece is required.
Required of: None
Electable by: All CM-385
Offered: Spring, Fall Postbebop Harmonic Innovations
Prerequisites: AR-111, HR-211, and one of the 2 credits
following: CM-311, ILPH-351, ILPH-357, Course Chair: K. Pullig
LHAN-345, LHAN-346, or PSW-351 Required of: None
Electable by: All
Approaches to composition using ideas and aesthetic Offered: Spring, Fall
principles from a variety of non-Western musical traditions. Prerequisites: HR-325
Explorations of diverse concepts of rhythm, melody, timbre,
and form as heard in the music of Africa, Asia, India, and Survey and analysis of music growing out of the bebop jazz
South America. Assignments will include a substantial era. Extensive study of John Coltrane, Miles Davis, Wayne
composition illustrating these principles. Shorter, and Thelonious Monk. Discussion of blues forms and
modal harmony used in the 1960s. Application of concepts
CM-371 through composition of original music.
Jazz Composition I
2 credits CM-398
Course Chair: K. Pullig Directed Study in Composition of Small Forms
Required of: JCMP majors 2 credits
Electable by: All Course Chair: G. Fritze
Offered: Spring, Summer, Fall Required of: COMP majors
Prerequisites: AR-201 Electable by: COMP majors
Offered: Spring, Summer, Fall
A systematic approach to the art of composing in the jazz Prerequisites: CM-311
idiom. Exploration of melodic, harmonic, and rhythmic
principles. Standard jazz song form. Analysis of jazz standards. Individualized instruction in composing small forms (i.e., short
Arranging considerations applied as a means of enhancing a instrumental pieces, themes and variations, art songs, single
composition. Projects for small jazz group required. movements of larger works, etc.). Emphasis on developing
stylistic diversity and gaining experience in writing for various
musical textures and ensemble combinations.
35
Course Descriptions
Summer/Fall 2008
CM-434 CM-499
Serial Techniques as Applied to Directed Study in Jazz Composition
Jazz Composition 2 credits
2 credits Course Chair: K. Pullig
Course Chair: K. Pullig Required of: JCMP majors
Required of: None Electable by: JCMP majors
Electable by: All Offered: Spring, Fall
Offered: Spring Prerequisites: CM-375
Prerequisites: AR-201 and written approval of
course chair Individualized instruction designed to guide students
majoring in Jazz Composition in the preparation of their
Utilization of 12-tone methodology in creating a one- graduation projects.
movement concert jazz piece.
JC-495
CM-495 Jazz Composition Internship
Composition Internship 2 credits
2 credits Course Chair: K. Pullig
Course Chair: G. Fritze Required of: None
Required of: None Electable by: JCMP majors
Electable by: COMP majors Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Sixth-semester standing and
Prerequisites: Sixth-semester standing and written approval of course chair
written approval of course chair
Monitored and evaluated professional work experience in an
Monitored and evaluated professional work experience in an environment related to the jazz composition major. Placement
environment related to the composition major. Placement is is limited to situations available from or approved by the Office
limited to situations available from or approved by the Office of Experiential Learning and the Jazz Composition Department
of Experiential Learning and the Composition Department chair or designee. To apply for an internship, students must see
chair or designee. To apply for an internship, students must the internship coordinator in the Office of Experiential Learning
see the internship coordinator in the Office of Experiential prior to registering. Note: Equivalent credit for prior experience
Learning prior to registering. Note: Equivalent credit for is not available due to the requirement of concurrent contract
prior experience is not available due to the requirement of between the employer/supervisor and the college.
concurrent contract between the employer/supervisor and
the college. International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
International students in F-1 status must obtain authorization prior to beginning and internship.
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
Conducting
CM-497
Directed Study in Sonata Composition COND-211
2 credits Conducting 1
Course Chair: G. Fritze 1 credit
Required of: COMP majors Course Chair: G. Fritze/G. Monseur
Electable by: All Required of: Degree – all except MUED majors;
Offered: Spring, Summer, Fall Diploma – CWPR, COMP, FILM, and JCMP majors
Prerequisites: CM-312 and CM-398 Electable by: All
Offered: Spring, Summer, Fall
Sonata form. The composition of an extended three-movement Prerequisites: ET-211 or ET-231
sonata for piano or for solo instrument and piano.
Techniques of conducting vocal and instrumental music.
CM-498 Fundamental beat patterns. Discussion and study of
Directed Study in Orchestral Composition terminology, problems of tempo, phrasing, and articulation.
2 credits
Course Chair: G. Fritze
Required of: COMP majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CM-497
Course Descriptions
COND-212 COND-222
Conducting 2 Instrumental Conducting for Music
1 credit Education Majors
Course Chair: G. Fritze/G. Monseur 2 credits
Required of: Degree – all except MUED majors; Course Chair: C. Adderley
Diploma – CWPR, COMP, FILM, and JCMP majors Required of: MUED majors; MTHE majors not
Electable by: All taking COND-221
Offered: Spring, Summer, Fall Electable by: MUED and MTHE majors
Prerequisites: COND-211 Offered: Spring, Summer, Fall
Prerequisites: COND-221 or written approval
The course assumes basic beat pattern knowledge and covers of course chair
three areas: (1) symphonic conducting with an instrumental
soloist (concerto), (2) symphonic conducting with a vocal Fundamental beat patterns, basic conducting technique,
soloist (operatic aria), and (3) symphonic conducting of a phrasing and articulation, problems of tempo. Discussion
major modern work involving complete meter changes. and study of score analysis. Lab sessions for instrumental
Works used include a romantic piano or violin concerto, an application of classroom skills. Geared to the needs of public
operatic excerpt, and a piece such as Petrouchka, The Rite school music educators. NOTE: Performance on secondary
of Spring, or Symphonies of Wind Instruments. instrument(s) is required.
COND-216 COND-311
Conducting 1 with Live Keyboard Ensemble Advanced Conducting Seminar with
1 credit Live Orchestra
Course Chair: G. Fritze 2 credits
Required of: None Course Chair: G. Fritze/G. Monseur
Electable by: COMP and FILM majors Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: ET-211 or ET-231 Offered: Spring, Fall
Prerequisites: Written approval of instructor and
This course emphasizes in-depth score study and elements course chair, and either COND-351 or COND-498
involved with the formulation of musical ideas, the role of
the conductor, and the proper kind of relationship between This course is designed for the student who wishes to
the conductor and the orchestra. Students gain valuable further abilities in conducting. Emphasis is on rehearsal
experience rehearsing and conducting an ensemble. The techniques and interpretation, while working with a live
course utilizes eight keyboards, allowing the formation of an orchestral ensemble.
in-class live keyboard ensemble creating a virtual orchestral
sound. Each of eight performers plays their own individual COND-P316
lines from the score while one person conducts and rehearses Conducting 2 with Live Keyboard Ensemble
the ensemble. Each conductor will be videotaped while in 1 credit
front of the ensemble for further study. Course Chair: G. Fritze Prototype
Required of: None
COND-221 Electable by: All
Vocal Conducting for Music Education Majors Offered: Spring, Fall
2 credits Prerequisites: Written approval of instructor
Course Chair: C. Adderley and course chair
Required of: MUED majors; MTHE majors not
taking COND-222 This course allows students to gain hands-on experience
Electable by: MUED and MTHE majors in the advanced elements of the conductor's art, while
Offered: Spring, Summer, Fall solidifying those that have been established already. Students
Prerequisites: None function as an in-class piano keyboard ensemble, creating
an in-class virtual orchestra for conducting exercises. Each
Fundamental beat patterns, basic conducting technique, student is videotaped and coached by the instructor during,
phrasing and articulation, problems of tempo. Discussion and and if necessary, outside of class. Prior completion of
study of terminology. Lab sessions for choral application of COND-216 is strongly recommended.
classroom skills. Geared to the needs of public school music
educators. Emphasis on secondary school repertoire.
37
Course Descriptions
Summer/Fall 2008
COND-321 COND-361
Vocal Rehearsal Techniques for Music Conducting for Film and TV Production
Education Majors 2 credits
2 credits Course Chair: G. Fritze/G. Monseur
Course Chair: C. Adderley Required of: None
Required of: MUED majors Electable by: All
Electable by: MUED majors Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: COND-351 and written approval
Prerequisites: COND-222 of course chair
Detailed attention to typical vocal repertoire with extensive Rehearsing and recording to picture with live performers
analysis and application of rehearsal techniques as they apply under studio conditions. Focus on preparation, efficiency, and
to specific public school groups. More advanced lab sessions accurate synchronization.
for application of classroom principles.
COND-421
COND-322 Advanced Rehearsal Techniques
Instrumental Rehearsal Techniques for 2 credits
Music Education Majors Course Chair: G. Fritze
2 credits Required of: None
Course Chair: C. Adderley Electable by: All
Required of: MUED majors Offered: Spring, Fall
Electable by: MUED majors Prerequisites: COND-311 or COND-351
Offered: Spring, Summer, Fall
Prerequisites: COND-222 An advanced course for conductors in the development of
effective technical, musical, and psychological skills, including
Detailed attention to typical instrumental repertoire with planning (choice of literature, aesthetic and practical
extensive analysis and application of rehearsal techniques as considerations, allotment of rehearsal time); musical
they apply to specific public school groups. More advanced preparation (development of interpretation, choice of tempi,
lab sessions for application of classroom principles. NOTE: stylistic factors, identifying difficult or tricky passages, editing
Performance on secondary instrument(s) is required. parts for bowing and breathing); rehearsal (pacing, including
alternating woodshedding with play-through; balancing
COND-351 dynamics; using effective gestures with the baton, face,
Advanced Conducting Workshop with left hand, and body; giving effective verbal instructions;
Live Keyboard Ensemble intonation; listening and prioritizing; stopping and starting,
2 credits knowing when to be satisfied); and human factors (mutual
Course Chair: G. Fritze/G. Monseur respect and honesty, shared responsibility, ensemble esprit de
Required of: None corps, and psychological momentum).
Electable by: All
Offered: Spring, Summer, Fall COND-498
Prerequisites: COND-211 and COND-212 Directed Study in Conducting
2 credits
A practical course for conductors and music directors in Course Chair: G. Fritze/G. Monseur
preparation, organization, rehearsal, and recording under studio Required of: None
conditions. Emphasis on establishing fluency in conducting and Electable by: All
rehearsal techniques to maximize efficiency in the session. Offered: Spring, Summer, Fall
Prerequisites: COND-212 and written approval
COND-P355 of instructor and course chair
Conducting Instrumental Ensembles
2 credits Supervised preparation and performance of an approved
Course Chair: G. Fritze Prototype conducting project. Projects may originate with recitalists or
Required of: None from various departments such as Film Scoring, Contemporary
Electable by: All Writing and Production, and Music Production and Engineering.
Offered: Fall The student will conduct at least one project from the following
Prerequisites: COND-212 categories: studio recording, recital or live concert requiring a
conductor, or preparing and conducting a work with the
This course is designed to give students practical experience in Berklee Wind Ensemble.
conducting rehearsals of small instrumental groups. Students
will expand their conducting technique and deepen their score
preparation skills in class meetings with their colleagues playing
keyboards, in preparation for sessions with small ensembles (i.e.
brass quintet, wind quintet, string quartet, sax quartet, flute
choir) at which they will be introduced to problems of balance,
intonation, rehearsal skills, conductor-performer relations).
38
Summer/Fall 2008
Course Descriptions
Contemporary Writing and CW-205
Music Preparation 2
Production 2 credits
Course Chair: M. Nicholl
CW-141 Required of: None
Hip-Hop Writing and Production 1 Electable by: All
2 credits Offered: Spring
Course Chair: M. Nicholl/J. Perricone Prerequisites: AR-203 and PW-161
Required of: None
Electable by: All Building on the content of AR-203, this course provides in-
Offered: Spring, Fall depth study of the capabilities of the software program Finale.
Prerequisites: MTEC-111 Course content includes using Metatools, Hyperscribe, Shape
Designer, a broader range of editing tools, and practical
An introduction to writing and production techniques in hip- shortcuts to efficiently create scores and parts of professional
hop styles. Topics include the social and cultural aspects of quality. Instruction and project work is accomplished in the
hip-hop music as it pertains to the music’s origins and early Professional Writing Division MIDI Lab.
pioneers, the analysis of stylistic and musical characteristics, as
well as instruction in the use of sequencing software in hip- CW-211
hop production. Writing for Small Ensemble
The first day
2 credits
CW-151 Course Chair: M. Nicholl of class for
Survey of Pop/Rock Styles Required of: CWP majors Summer 2008
2 credits Electable by: All is Tuesday,
Course Chair: M. Nicholl Offered: Spring, Summer, Fall May 27, 2008.
Required of: None Prerequisites: AR-112, CW-171, and CW-261
Electable by: All
Offered: Spring, Summer, Fall Instruction in advanced small group writing concepts that
Prerequisites: AR-111 and HR-112 encompasses sophisticated rhythm section scoring and
groove writing, including writing for auxiliary percussion; an
A study of major pop and rock styles and the writers, introduction to writing for voices and strings; background
producers, and artists who shaped the music, with a focus writing for horns, strings, and voices; manipulation of elements
on the writers and artists inducted into the Rock and Roll Hall of large-scale form and structure; creation of complex, layered
of Fame. textures; and hybrid writing techniques involving sequencing
and live players. In addition, the course will focus heavily on
CW-171 score and part preparation.
Groove Writing
2 credits CW-216
Course Chair: M. Nicholl Vocal Writing
Required of: CWPR majors 2 credits
Electable by: All Course Chair: M. Nicholl
Offered: Spring, Summer, Fall Required of: CWPR majors
Prerequisites: AR-111, ET-112, HR-112, Electable by: All
and MTEC-111 Offered: Spring, Summer, Fall
Prerequisites: AR-112, HR-211, and either ET-211
Expanding on the material introduced in AR-111, this course or ET-231
focuses on creating and writing grooves for the rhythm section
(guitar, keyboard, bass, percussion, and drums) and the ways in Conceptualizing, writing, and producing vocals; contemporary
which different grooves work together. Original techniques and writing and production techniques for vocal groups of
practical approaches to creating grooves will be presented, as different sizes; working with vocals in live situations versus
well as methods to refine and create variations in grooves and the recording studio environment; writing background vocals
scoring with production goals in mind. Styles studied include above a band versus a cappella vocal writing. Creating
funk, hip-hop, rock, reggae, and ska; Latin styles, including vocal band effects will also be explored. Range considerations,
bossa, samba, salsa, cha-cha-cha, songo, and baion; shuffle, timbre, vocal production, and notation for various size vocal
as used in rock, blues, and funk; generic dance grooves such groups, writing and production techniques and considerations
as techno; and pop and Euro-pop. Projects will include for recording studio situations. Some classes meet in the
transcription, sequencing, and live performance of grooves. recording studio and include demonstration of vocal
production and recording techniques.
39
Course Descriptions
Summer/Fall 2008
CW-P217 CW-225
Writing in Folkloric Latin Styles Writing in Salsa Styles
2 credits 2 credits
Course Chair: M. Nicholl Prototype Course Chair: M. Nicholl
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: AR-111, ET-112, and HR-112 Prerequisites: AR-112
This course examines the folkloric music from Latin America A study of rhythmic styles of contemporary salsa music,
that informs today’s contemporary music. Topics include including characteristics of instrumentation and the unique
traditional musical styles, forms, instrumentation, arranging clave rhythmic pattern. Specific rhythmic styles analyzed will
techniques, melody, and harmony. Folkloric music from the include mambo, son montuno, guajiro, bomba, merengue,
following countries is studied: Argentina, Brazil, Chile, and songo, among others. Musical scores of Eddie Palmieri,
Colombia, the Dominican Republic, Mexico, Peru, Puerto Rico, Juan Luis Guerra, Oscar D’Leon, Arturo Sandoval, Paquito
and Venezuela. The course focuses on applications of these D’Rivera, and many others will be analyzed. Students will
styles in contemporary arranging and composition. create melodies as well as piano, guitar, bass, and percussion
rhythmic patterns; they will write brass instrumental sections
CW-218 using the clave rhythmic pattern.
Jingle Writing
2 credits CW-237
Course Chair: M. Nicholl Scoring for Percussion
Required of: None 2 credits
Electable by: All Course Chair: M. Nicholl
Offered: Spring, Summer, Fall Required of: None
Prerequisites: AR-111 and HR-211 Electable by: All
Offered: Spring, Fall
Composition of music for radio and television commercials. Prerequisites: AR-112
Emphasis on means of creating suitable product image.
Working with, and alteration of, given lyrics. Some lyric writing. Survey of the mallet, membrane, and accessory groups of the
Determining proper instrumentations. Timing considerations. percussion instrument family. Demonstration and discussion of
notation, range, techniques, and effects. Scores from Broadway
CW-221 shows, and studio, orchestral, chamber, and solo pieces.
Writing and Production Techniques in
the Pop/Rock Idiom CW-P241
2 credits Hip-Hop Writing and Production 2
Course Chair: M. Nicholl 2 credits
Required of: None Course Chair: M. Nicholl Prototype
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: AR-112 and HR-211 Offered: Spring, Fall
Prerequisites: CW-141
Techniques of instrumental and vocal writing, arranging, and
production in the pop/rock idiom. Includes extensive score A continuation of Hip-Hop Writing and Production I. This
analysis of major composers and performers, discussion of course will further examine the social and cultural aspects
stylistic techniques and orchestrations, historical perspective, of hip-hop, concentrating on the writing and production
problem solving, and basic production and programming techniques of the most popular and influential artists and
concerns. The course is designed to guide the student in producers from approximately 1995 to the present. Advanced
developing an original pop/rock writing style. production techniques will be examined.
CW-222
Introduction to Writing and Production
for the Recording Studio
2 credits
Course Chair: M. Nicholl
Required of: CWPR majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CW-261 or SW-361
Course Descriptions
CW-247 CW-275
Writing for Woodwinds Music Production Techniques for Writers
2 credits 2 credits
Course Chair: M. Nicholl Course Chair: M. Nicholl
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: AR-112 Prerequisites: AR-111, HR-211, and either CW-261
or MTEC-221
A study of the flute, clarinet, and double reed families based
on intensive listening, transcription, live demonstration, and Viewing music production from the writer’s perspective, this
composition. Compositions will include: visual imagery, course explores how knowledge of compositional elements
storytelling, non-Western based concepts and forms, sound including melody, harmony, arranging, and orchestration
exchange, layering sound, and techniques for composition help provide the foundation and focus of contemporary
that includes improvisation. production styles and techniques. Study and analysis of great
producer/musicians will include George Martin, Quincy Jones,
CW-255 Phil Spector, Daniel Lanois, Peter Gabriel, Prince, Don Was,
Applications of 12-Tone Concepts in Jeff “Mutt” Lange, and others. Focus will be on how
Contemporary Composition and Arranging producers utilize their background as accomplished musicians
2 credits to create the “aural landscape” of the artists they produce.
Course Chair: M. Nicholl Course projects will include analysis papers on different
Required of: None producers in a variety of styles, and one recording project.
Electable by: All
Offered: Spring, Summer, Fall CW-P285
Prerequisites: ET-212, HR-212, and either AR-201 Influential Female Songwriters of
or CP-211 the 20th Century
2 credits
Alternative approaches and concepts to writing that can be Course Chair: M. Nicholl Prototype
used in various aspects of songwriting, arranging, and Required of: None
composing for contemporary broadcast media, such as film Electable by: All
and TV scores, that will supplement other writing approaches. Offered: Spring
Using compositional concepts pioneered by George Tremblay Prerequisites: AR-111, HR-112
and Jack Smalley, the course explores writing techniques based
on the use of the 12-tone row concept and the process of The course encompasses the study of influential female
extracting consonant melodic components from the rows composers of the 20th century, including Dorothy Fields, Betty
which are then applied to writing for contemporary musical Comden, Peggy Lee, Laura Nyro, Joni Mitchell, and Carole
styles and forms and commercial clients. Some writing projects King, and will address various aspects of their lives that directly
will be realized through sequencing and live performance. affected their writing, such as political and cultural climates,
influences, contemporaries, and experiences with co-writers, as
CW-261 well as personal life experiences. Content focus will include the
MIDI Applications for the Writer musical elements that made each of these writers so unique,
2 credits including the instrumentation, arrangements, and production,
Course Chair: M. Nicholl as well as melodic, harmonic, and lyrical content. Assignments
Required of: CWPR majors and presentations will often be done as collaborations and
Electable by: All with permission of chair involve musical analysis of the songs and research into the
Offered: Spring, Summer, Fall influences and process of creating them. Towards the end
Prerequisites: ISKB-212 (except piano principals) of the course, assignments will incorporate a study of
and either MTEC-221 or PW-161 contemporary writers and musicians, both men and women,
influenced by these women and the particular musical practices
The student will learn to utilize digital technology and MIDI to they share. The mid-term and final assignments will involve
create musical arrangements of both original and existing each student writing a song in the style of two of the subject
material using a computer-based music workstation. Projects songwriters that will be presented to the class with a lead sheet
are designed to simulate real-world writing assignments. and performance or recording of the material.
Building on skills learned in PW-161, Technology Tools for the
Writer, this course will focus on the musical use of technology
and basic production aspects of a project, including MIDI and
audio signal flow within the hardware of the workstation;
virtual signal flow within the software environment; recording,
editing, and processing digital audio; advanced sequencing and
sequence editing techniques; and file management. In addition
to using their own laptops in the Professional Writing technolo-
gy lab, students are expected to have the CWP major bundle.
41
Course Descriptions
Summer/Fall 2008
CW-311 CW-341
Writing for Large Ensemble 1 Scoring for Strings
2 credits 2 credits
Course Chair: M. Nicholl Course Chair: G. Fritze
Required of: CWPR majors Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: CW-211 Prerequisites: CM-212
An orchestration/arranging course that focuses on the Discussion of string instruments, their special effects, and
techniques and concepts of writing for large ensemble. proper notation. Principles of string orchestration and
Content also includes the arranging process and how to voicing techniques.
adapt and modify the musical elements of a composition into
an effective arrangement. The course deals with notation, CW-343
voicings, and combinations of the various sections comprising Contemporary Arranging for Strings
the large ensemble: trumpets, trombones, saxophones, 2 credits
selected woodwinds, and rhythm section. Extensive use of Course Chair: M. Nicholl
taped examples and extracts from scores. Required of: None
Electable by: All
CW-P313 Offered: Spring, Summer, Fall
Advanced Writing in Latin Styles Prerequisites: HR-212 and either AR-201
2 credits or CW-211
Course Chair: M. Nicholl Prototype
Required of: None Arranging for strings behind a vocalist or lead instrument.
Electable by: All Emphasis is on contemporary string writing approaches in the
Offered: Spring, Fall styles of rock, Latin, funk, ballads, and jazz, and the feels of
Prerequisites: AR-112, CW-255 even and shuffled eighths and sixteenths for string sections
(with rhythm section accompaniment) using specific arranging
An advanced study of writing in a variety of Latin styles, techniques of closed and open voicings, clusters, three- to
including modern and traditional orchestration concepts, six-part writing, use of primary melody and countermelody,
style-specific aspects of form and structure, score analysis, score and guide tone lines. Production approaches from the writer’s
and part preparation, and production tips that will give the perspective are also covered. Projects may include arrange-
composer, arranger, or orchestrator the proper tools to get the ments for live performances, recordings, or commercials.
best results either in the studio or in a live performance. Styles
covered include mambo, guaguancó, bomba, timba, bolero, CW-361
danzón, tango, reggae, samba, and partido alto. Students will Sound Processing Applications for Writers
create arrangements of existing works and original pieces for a 2 credits
variety of ensembles of different sizes and instrumentation. Course Chair: M. Nicholl
Required of: CWPR majors
CW-P316 Electable by: CWPR majors
Advanced Vocal Writing Offered: Spring, Summer, Fall
2 credits Prerequisites: CW-261
Course Chair: M. Nicholl Prototype
Required of: None This course focuses on the use of sound-processing equipment
Electable by: All as it pertains to the writer who engineers and produces his or
Offered: Spring, Fall her own pieces. Through the use of software plug-ins, this
Prerequisites: CW-216 course examines the artistic application of ambient devices such
as reverbs, delays, flangers, harmonizers, and choruses, and
This course presents an expanded development of material dynamic processing units such as compressors, noise gates,
introduced in CW-216. Important concepts include: outboard equalization, and limiters. The course also explores
production and direction of vocal rehearsals and recording how writing can be enhanced in recording and mixing through
sessions; advanced production techniques including layering, the effective use of sound-processing equipment. Students
stacking, compressing and mixing vocal tracks; study of will have the opportunity to understand how to enhance their
diverse song styles and musical concepts that comprise them; recordings with these effects through in-class demonstration,
observation of text/language and cultural influence in listening analysis, and assigned projects. In addition to using
relation to vocal writing; further development of multi-part their own laptop in the Professional Writing technology lab,
background writing; more refined utilization of harmonic students are expected to have the CWP major bundle.
tensions and reharmonization. Rubato and groove-oriented
a cappella techniques will also be explored.
42
Summer/Fall 2008
Course Descriptions
CW-P365 CW-422
Contemporary Songwriting Production Advanced Production for Writers
Techniques 2 credits
2 credits Course Chair: M. Nicholl
Course Chair: J. Perricone Prototype Required of: CWPR majors
Required of: None Electable by: CWPR majors
Electable by: All; Recommended to CWPR, MSYN, Offered: Spring, Summer, Fall
and SONG majors Prerequisites: CW-222, CW-311, and CW-361
Offered: Spring, Fall
Prerequisites: CW-261, MTEC-222, MTEC-223, A project-driven course that focuses on production from the
SW-361, or permission of instructor writer’s perspective. The content includes more advanced
creative and production projects, incorporating MIDI sequences
A study of the current trends in pop/rock song production using sampled sounds and synth modules with live overdubbing
and the impact of electronic dance production styles on of acoustic instruments, more refined utilization of sound-
contemporary songwriting. Using detailed song analysis processing equipment, and conceptualizing with sound-
and innovative programming techniques, course focuses on processing ideas in mind. In addition to class meetings, each
discovering what makes a successful song production work, student will be assigned recording studio time to be used for
and why. By combining creative technical production with overdubs, sweetening, and/or mixing. Students will use their
hands-on musical assignments, students will learn how to own laptop in the Professional Writing technology lab and
adapt modern electronic rhythms and styles in the production are expected to have the CWP major bundle.
of their own songs.
CW-441
CW-410 Scoring for Full Orchestra
Advanced Writing Techniques and Concepts 2 2 credits
– Small Ensemble and Studio Production Course Chair: G. Fritze
2 credits Required of: COMP majors
Course Chair: M. Nicholl Electable by: All
Required of: CWPR majors Offered: Spring, Summer, Fall
Electable by: All Prerequisites: CM-231
Offered: Spring, Summer, Fall
Prerequisites: CW-310 Orchestration techniques for full symphony orchestra.
43
Course Descriptions
Summer/Fall 2008
CW-450 CW-498
Scoring to Visuals Directed Study in Contemporary Writing
2 credits 2 credits
Course Chair: M. Nicholl Course Chair: M. Nicholl
Required of: CWPR majors Required of: CWPR majors
Electable by: All Electable by: CWPR majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: CW-261, MS-322, or SW-361 Prerequisites: CW-311
A study of the creative, technical, production, and business Individualized instruction designed to guide students majoring
aspects of writing music for visual media, primarily television in contemporary writing and production in the preparation
commercials. Content includes the creative process: reacting of their graduation projects. Students will be allowed to
to emotion and mood of visuals, supporting the picture schedule time in the Professional Writing Division MIDI lab
with appropriate music, stylistic considerations, compressing/ to meet the portfolio requirements.
expanding musical ideas, and hitting visual cues. Production
aspects include various approaches to shaping the musical
product to support the creative direction that has been chosen Counterpoint
or provided. Exploration of sound design (incorporation of
sound effects into music tracks) and technical aspects of CP-211
timings, film editing influences, frame counting, and Tonal Counterpoint 1
synchronization. Business aspects: working with producers 2 credits
and directors, taking direction, selling ideas, and general Course Chair: G. Fritze
and contractual obligations that modify the creative process. Required of: Degree – all; Diploma – COMP
Various projects and assignments in writing music in different and FILM majors
moods, styles, and lengths that support and enhance visuals. Electable by: All
Most creative work will be realized at MIDI workstations using Offered: Spring, Summer, Fall
a MIDI sequencing program and video software; students Prerequisites: HR-111 and either AR-111 or PW-110
must have a strong working knowledge of MIDI systems
and sequencing programs. Free counterpoint within a functional tonal context. Emphasis
on two-voice writing, binary, and melodic phrase forms.
CW-495
Contemporary Writing and Production CP-212
Internship Tonal Two-Part Canon and Invention
2 credits 2 credits
Course Chair: M. Nicholl Course Chair: G. Fritze
Required of: None Required of: Degree – all; Diploma – COMP
Electable by: CWPR majors and FILM majors
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Written approval of course chair Offered: Spring, Summer, Fall
Prerequisites: CP-211 and either CM-211
Monitored and evaluated professional work experience in or CM-251
an environment related to the contemporary writing and
production major. Placement is limited to situations available Continuation of CP-211. A thorough study of canon and
from or approved by the Office of Experiential Learning and two-part invention through analysis and composition within
the Contemporary Writing and Production Department chair a functional tonal language.
or designee. To apply for an internship, students must see the
internship coordinator in the Office of Experiential Learning CP-213
prior to registering. Note: Equivalent credit for prior experience Advanced Counterpoint
is not available due to the requirement of concurrent contract 2 credits
between the employer/supervisor and the college. Course Chair: G. Fritze
Required of: COMP and FILM majors
International students in F-1 status must obtain authorization Electable by: All
on their Form I-20 from the Counseling and Advising Center Offered: Spring, Summer, Fall
prior to beginning an internship. Prerequisites: CM-212 and CP-212
44
Summer/Fall 2008
Course Descriptions
CP-P350 ET-112
Twentieth Century Counterpoint Ear Training 2
2 credits 3 credits
Course Chair: G. Fritze Prototype Course Chair: S. Prosser
Required of: None Required of: All
Electable by: All Electable by: All
Offered: Spring Offered: Spring, Summer, Fall
Prerequisites: CP-213 Prerequisites: ET-111
The course is based on the examination of different realms Continuation of ET-111. Development of basic ear training
of 20th century counterpoint through the detailed analysis of skills through singing and dictation studies. Study of diatonic
counterpuntal styles and techniques of leading innovative materials including jazz standards, bass lines, melodic sequence,
composers such as Ravel, Stravinsky, Shostakovich, Hindemith, intervals, triads, seventh chords, and common harmonic
Bartok, Messiaen, Honegger, Barber, and composers of New progressions. Rhythmic study will derive from patterns
Vienna School. More recent stages in the evolution of occurring in classical and contemporary music.
counterpoint will be studied in examples by: Ligeti, Lutoslavsky,
Penderezki, Schnittke, Gubaidulina, as well as contemporary ET-211
American composers (including Berklee composers). Ear Training 3
2 credits
The first day
CP-361 Course Chair: S. Prosser
of class for
Jazz Counterpoint 1 Required of: All students not taking ET-231
2 credits Electable by: All Fall 2008
Course Chair: K. Pullig Offered: Spring, Summer, Fall is Monday,
Required of: JCMP majors Prerequisites: ET-112 Sept. 8, 2008.
Electable by: All
Offered: Spring, Summer, Fall Continuation of ET-112. Ear training skills developed through
Prerequisites: AR-112 and HR-211 singing and dictation drills. Selected chromatic syllables are
presented through core melodic motives, forming the basis
Study of the process for creating multiline textures in a given of melodic reading, melodic dictation, and the study and
melodic and/or harmonic situation. Voice-leading, melodic recognition of common harmonic models. Rhythm studies
analysis and embellishment, rhythm, and form. Assigned will be similarly presented through rhythmic core motives.
written projects to emphasize the role of contrapuntal
practices in arranging. ET-212
Ear Training 4
CP-362 2 credits
Jazz Counterpoint 2 Course Chair: S. Prosser
2 credits Required of: All students not taking ET-232
Course Chair: K. Pullig Electable by: All
Required of: JCMP majors Offered: Spring, Summer, Fall
Electable by: All Prerequisites: ET-211
Offered: Spring, Summer, Fall
Prerequisites: CP-361 Continuation of ET-211. Modal singing and dictation studies.
Interval studies, two- and three-part dictation. Basic atonal
Continuation of CP-361. Emphasis on the role that melodic studies.
counterpoint plays in jazz composition.
ET-231
Solfege 1
Ear Training 2 credits
Course Chair: S. Prosser
ET-111 Required of: All students not taking ET-211
Ear Training 1 Electable by: All
3 credits Offered: Spring, Summer, Fall
Course Chair: S. Prosser Prerequisites: ET-112
Required of: All
Electable by: All Development of sight-singing skills using the traditional
Offered: Spring, Summer, Fall movable “do” method. Drills in rhythm, interval, and pitch.
Prerequisites: None Singing exercises in major keys through four sharps and four
flats in G and F clefs. Some studies in minor keys. Harmonic
Development of basic ear training skills through singing and studies. Part singing. Contrapuntal and harmonic dictation.
dictation studies. Study of songs, intervals, and exercises in
the major scales. Study of basic rhythm patterns.
45
Course Descriptions
Summer/Fall 2008
ET-232 ET-332
Solfege 2 Harmonic Ear Training 2
2 credits 2 credits
Course Chair: S. Prosser Course Chair: S. Prosser
Required of: All students not taking ET-212 Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ET-231 Prerequisites: ET-331
Continuation of ET-231. Sight-singing and harmonic studies This course is the continuation of ET331. Chord progressions
in all major and minor keys. C clef drills. Rhythm patterns of will be more intermediate to complex in nature. The concepts
increased complexity. of modal interchange harmony, substitute dominants, and
modulation will be introduced. Voicings containing multiple
ET-321 tensions and upper structure triads will also be covered.
World Music Ear Training More extensive transcription work of “real music” will
2 credits be incorporated.
Course Chair: S. Prosser
Required of: None ET-341
Electable by: All Rhythmic Ear Training
Offered: Spring, Summer, Fall 2 credits
Prerequisites: ET-112 Course Chair: S. Prosser
Required of: None
This course focuses on a variety of rhythmic patterns, percussive Electable by: All
ostinatos, and melodic repertoire from around the world, Offered: Spring, Summer, Fall
with an emphasis on African, Caribbean, and South American Prerequisites: ET-112
traditional and popular music, as well as South Indian classical,
Balkan, and Middle Eastern genres. In-class activity includes Designed to improve the ability to sight-read and notate
vocalization and rhythmic externalization exercises based on rhythms. Begins with recognition of simple common rhythmic
particular musical examples, general listening and aural analysis, phrases, and progresses to complete transcription of rhythms
and transcription of selected elements of a musical texture. in recorded materials (baroque, Latin, disco, jazz).
Students examine music from the perspective of musical
cognition, including the potential impact of cultural back- ET-351
ground on the formation of one's mental representation and Fundamentals of Transcription
the analysis of “ambiguous” musical structures. Homework 2 credits
assignments entail full or partial transcriptions of rhythmic and Course Chair: S. Prosser
melodic elements, as well as exercises involving melodic solfege Required of: None
and rhythmic recitation designed to enhance a student's Electable by: All
internal sense of time, pitch, and physical independence Offered: Spring, Summer, Fall
through singing or speaking of melody and rhythm in the Prerequisites: ET-211 or ET-231
context of its underlying essential metrical structure.
A course designed to teach the student how to transcribe
ET-331 instrumental and vocal recorded material as found in jazz,
Harmonic Ear Training 1 pop, and rock. Techniques for transcribing melody, harmony,
2 credits and bass lines. This course is especially recommended for
Course Chair: S. Prosser those students wishing to extend their skills in identifying
Required of: None chord progressions and rhythms.
Electable by: All
Offered: Spring, Summer, Fall ET-411
Prerequisites: HR-112 and ET-112 Advanced Ear Training 1
2 credits
This course will work within the limited scope of progressions Course Chair: S. Prosser
including simple root position diatonic harmony, inversions, Required of: None
secondary and extended dominants, II-V patterns and passing Electable by: All
diminished chords. Chord voicings containing one tension will Offered: Spring, Summer, Fall
also be covered. This course will include several activities that Prerequisites: ET-212 or ET-232
address application to “real music” situations.
Singing and aurally identifying intervals in tonal and nontonal
situations. Intended to bridge the gap between relative
pitch and hearing by interval alone. Preparation for singing
atonal music.
46
Summer/Fall 2008
Course Descriptions
ET-412 ET-P461
Advanced Ear Training 2 Advanced Modal Ear Training
2 credits 2 credits
Course Chair: S. Prosser Course Chair: S. Prosser Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ET-411 Prerequisites: ET-212, HR-211
Continuation of ET-411. Traditional modes will briefly be reviewed and the basic
techniques of practice and performance will be learned.
ET-421 Students will then learn and perform non-traditional/hybrid
Atonal Solfege 1 modes. Examples of modes (please note that each example
2 credits has alternate names) to be studied include Hungarian Major,
Course Chair: S. Prosser Spanish Phrygian, Octatonic, Arabic, Whole Tone, Hindu,
Required of: None Super Locrian, Lydian b7, Japanese, and Hungarian Minor.
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: ET-212 or ET-232 Ensemble
A continuation of solfege that concentrates on atonal music. ENBR-321
Sol fa syllables are not used. Please note that this course is Brass Quintet
recommended for students who have a high potential in 1 credit
nontonal intervallic solfege. Course Chair: T. Plsek
Required of: None
ET-422 Electable by: All
Atonal Solfege 2 Offered: Spring, Fall
2 credits Prerequisites: Written approval of course chair
Course Chair: S. Prosser
Required of: None A brass quintet that performs a mixture of traditional and
Electable by: All twentieth-century music. Instrumentation: two trumpets,
Offered: Spring horn, trombone, tuba.
Prerequisites: ET-421
ENGT-111
Continuation of ET-421, including the choral works of Webern. Guitar Performance Ensembles
1 credit
ET-441 Course Chair: L. Baione
Popular Song Transcription Required of: All first-semester guitar principals who
2 credits are enrolled in neither ENSB-111 nor ENSB-121
Course Chair: S. Prosser Electable by: All
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: Overall ensemble rating 1 through 4
Offered: Spring, Summer, Fall
Prerequisites: ET-212, ET-232, or ET-351 Development of ensemble group-playing skills, focusing on
the roles of the guitarist. Development of melodic performance,
Designed to teach the student how to transcribe songs and rhythm guitar/accompaniment techniques, and improvisation
arrangements in current popular music. Most projects are in an ensemble setting. Material will be learned through use
chosen by the student in his/her area of musical interest. of recordings and call-and-response techniques as well as
Project presentation in class. written music materials. Instrumentation: six electric guitars,
bass, and drums.
ET-451
Jazz Solo Transcription
2 credits
Course Chair: S. Prosser
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: ET-212, ET-232, or ET-351
47
Course Descriptions
Summer/Fall 2008
ENLB-246 ENLB-P300
World Music Ensemble Berklee Contemporary Symphony Orchestra
1 credit 1 credit
Course Chair: R. Savage Course Chair: R. Savage Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3 Prerequisites: By audition
Adaptation of compositional and improvisational techniques of The Berklee Contemporary Symphony Orchestra features
non-Western music and culture to contemporary formats and Berklee’s student performers, composers, and conductors
instrumentation. Originals and arrangements of traditional art through the use of standard repertoire, film, multi-media,
and folk musics will be written and performed by the students and sound. Works of major 20th century composers, as well
as well as the instructor, who will guide the students’ projects. as Berklee students and faculty, will be programmed. Student
performers will gain experience in orchestral auditions and
ENLB-251 have the opportunity to be featured as soloists. Auditions
African-Pop Ensemble are conducted in late April for the following season.
1 credit
Course Chair: R. Savage ENLB-321
Required of: None Big Band Ensemble
Electable by: All 1 credit
Offered: Spring, Fall Course Chair: R. Savage
Prerequisites: Overall ensemble rating 4 or Required of: None
by audition Electable by: All
Offered: Spring, Summer, Fall
A large rhythm ensemble modeled after popular bands of Prerequisites: Groups will be scheduled for
Africa but integrated with contemporary American dance levels 3 through 7.
and pop styles. The music includes covers and original
compositions by students and faculty. The focus is on solo Large ensembles that perform arrangements associated
and group improvisation skills. Instrumentation: vocals, piano, with, but not limited to, jazz legends such as Count Basie,
bass, drums, and a mixture of African drums. Woody Herman, and Buddy Rich. In addition, arrangements
encompassing the contemporary genre may be included.
ENLB-271
Contemporary Wind Orchestra ENLB-325
1 credit Back Bay Brass
Course Chair: R. Savage 1 credit
Required of: None Course Chair: R. Savage
Electable by: All Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: Overall ensemble rating 5 or written Offered: Spring, Summer, Fall
approval of instructor and course chair Prerequisites: Overall ensemble rating 6
A large ensemble that focuses on the great traditional works A jazz ensemble featuring arrangements and originals by
for winds, percussion, and strings, new works for wind composers/arrangers such as Rob McConnell, Bill Holman,
orchestra, and new works by faculty and students. and Sammy Nestico. A library of arrangements not used
Performances utilize the newest technologies in multiscreen by other groups. Instrumentation: four trumpets, three
projections, film, and dance. trombones, two alto saxophones, two tenor saxophones,
one baritone saxophone, piano, guitar, bass, and drums.
ENLB-328
Berklee Salsa Ensemble
1 credit
Course Chair: R. Savage
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of instructor
and course chair
48
Summer/Fall 2008
Course Descriptions
ENLB-351 ENLB-451
Chord Scale Madness Ensemble Jazz Composition Ensemble
1 credit 1 credit
Course Chair: R. Savage Course Chair: R. Savage
Required of: None All Required of: None
Offered: Spring Electable by: All
Prerequisites: Overall ensemble rating 6 Offered: Spring, Fall
Prerequisites: Overall ensemble rating 7
An ensemble that performs outstanding student works
written in AR-201 in an annual concert entitled Chord Scale An ensemble that performs student compositions in the jazz
Madness. Instrumentation: two trumpets, alto saxophone, idiom. The repertory includes blues, ballads, contemporary
tenor saxophone, baritone saxophone, trombone, piano, post-bebop, and avant-garde works. Instrumentation: two
guitar, bass, drums, and percussion. trumpets, one trombone, alto saxophone, tenor saxophone,
baritone saxophone, piano, guitar, bass, and drums.
ENLB-371
Recording Studio Ensemble ENLB-461
1 credit Avant-Garde Ensemble
Course Chair: R. Savage 1 credit
Required of: None Course Chair: R. Savage
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Overall ensemble rating 5 Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 7
Training in the recording of band tracks for a variety of
musical styles. Recording of student compositions and writing Designed to cover free or atonal playing using a wide
projects. Instrumentation: bass, bongos, congas, piano, male variety of sounds inside and outside the normal range of the
and female vocal. instruments. Instrumentation: mixed winds, piano, guitar,
bass, and drums.
ENLB-421
Rainbow Big Band Ensemble ENLB-471
1 credit Berklee Concert Jazz Orchestra
Course Chair: R. Savage 2 credits
Required of: None Course Chair: R. Savage
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Written approval of instructor Offered: Spring, Fall
and course chair Prerequisites: By audition
A group that primarily performs music created by members of A big band ensemble that plays original compositions by
the ensemble. Improvisational and ensemble skills are blended student writers as well as select repertoire of the great big
to allow for individual musical growth. Instrumentation: five band leaders such as Duke Ellington, Gil Evans, Woody
reeds, four trumpets, four trombones, piano, guitar, bass, Herman, Count Basie, Stan Kenton, and others. An end-of-
and drums. semester concert is usually scheduled.
ENLB-431 ENPC-211
Advanced Repertoire Big Band Ensemble Beginning Percussion Ensemble
1 credit 0.5 credit
Course Chair: R. Savage Required of: MUED drum set and MUED total
Required of: None percussion principals
Electable by: All Electable by: All percussion principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 7 or Prerequisites: None
by audition
For beginning percussion players. Covers the use of snare
A large ensemble dedicated to the study and performance of drum, bass drum, cymbals, tambourine, triangle, simple
the more difficult repertoire of the great big band masters mallet music, and timpani in an ensemble setting.
including Duke Ellington, Count Basie, Stan Kenton, Thad
Jones-Mel Lewis, Woody Herman, Buddy Rich, and others.
Utilization of Berklee ensemble library materials and the
diverse expertise of faculty who have performed professionally
with these artists.
49
Summer/Fall 2008
Course Descriptions
ENPC-215 ENPC-363
Contemporary Mallet Percussion Ensemble Marimba in Mixed Chamber Music Ensemble
1 credit 1 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring Offered: Spring, Fall
Prerequisites: ILPM-121 or by audition Prerequisites: Overall ensemble rating 4 or written
approval of instructor and course chair
This nontraditional percussion ensemble consists of mallet
instruments with a rhythm section performing original An ensemble for advanced marimbists, instrumentalists, and
compositions. Emphasis is placed upon rhythmic accuracy vocalists dedicated to the performance of compositions and
and creating spontaneous compositions. No previous arrangements that include the marimba. Music performed
improvisational skills are necessary. will be drawn from classical and contemporary styles. An
end-of-semester recital is scheduled.
ENPC-221
World Percussion Ensemble ENPC-374
1 credit West African Drum and Dance Ensemble
Course Chair: D. Anderson 1 credit
Required of: None Course Chair: D. Anderson
Electable by: All percussion principals Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: ILPD-112 and overall ensemble Offered: Spring, Fall
rating 4 Prerequisites: ILPH-351 or written approval of
instructor and course chair
An ensemble utilizing transcriptions and adaptations of the
repertoire of percussion groups throughout the world. Drum A performance-based ensemble utilizing the music and
set, marching, and orchestral percussion instruments will be rhythms from traditional West African genres. Emphasis will
combined in performance with African, Indian, Brazilian, and be placed upon dialogue between drum calls and dance
Latin instruments. Through demonstration and study of movement along with cultural songs of historical content.
recorded audio and video sources, students will develop Students will perform at least once as a full ensemble at the
performance skills on a wide variety of percussion instruments. end of each semester.
ENPC-321 ENPC-385
Mixed World Ensemble Berklee Drum Line
1 credit 1 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Overall ensemble rating 7 or written Prerequisites: ILPD-111 or by audition
approval of instructor and course chair
A percussion ensemble designed to develop playing skills in
Development of repertoire and performance skills in an the drum line idiom. Instrumentation includes snare drums,
ensemble consisting of both Western and non-Western or multi-toms, mixed percussion, tuned bass drums, and mallet
“world” instruments. Integration of non-Western ideas and keyboards. Practice materials and routines designed to
techniques; listening and improvising outside of standard jazz develop strength, control, and endurance will be included.
and pop forms; spontaneous composition as opposed to loose An end-of-semester performance will be prepared.
improvisation; strengthening of individual musical aesthetic.
ENPC-359
Advanced Bata Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPH-354
Course Descriptions
ENPC-431 ENPM-332
Berklee Percussion Ensemble Marimba Ensemble 2
1 credit 1 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: PERF percussion principals Required of: None
Electable by: All percussion principals Electable by: All percussion principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ENPC-211, overall ensemble rating 4, Prerequisites: ENPM-331 or written approval of
or by audition course chair
Advanced performance lab for percussion principals empha- An ensemble for intermediate percussionists specializing in
sizing group performance of contemporary percussion litera- interpretations and transcriptions of baroque, classical, and
ture. Students enrolled in the fall semester are expected to contemporary literature.
reregister in this course for credit for the Offered: Spring
semester. Offered: Spring concert material will be rehearsed ENPM-333
and prepared during both fall and Offered: Spring semesters. Marimba Ensemble 3
1 credit
ENPH-291 Course Chair: D. Anderson
Steelpan Ensemble Required of: None
Ensemble
1 credit Electable by: All percussion principals
limits for each
Course Chair: D. Anderson Offered: Spring, Fall
Required of: None Prerequisites: ENPM-332 or written approval of instrument
Electable by: All percussion principals course chair can be found
Offered: Spring, Fall on page 19
Prerequisites: ILPH-391 An ensemble for advanced percussionists specializing in in this manual.
interpretations and transcriptions of baroque, classical, and
This ensemble will perform a range of music specifically contemporary literature.
written and arranged for the steelpan instrument. Repertoire
will be drawn from “Panorama” arrangements adapted for ENPN-311
small ensemble, original arrangements by the director, and Piano Trio
adaptations from the European classical repertoire. Styles 1 credit
will include pop, calypso, and contemporary jazz. Desired Course Chair: R. Savage
instrumentation is: four tenors (leads), two double seconds, Required of: First-semester piano principals
one guitar pan, two triple cellos, one tenor bass, two bass, with ensemble ratings of 4 to 6
and assorted engine room percussion instruments (drum set Electable by: None (audition only)
and hand percussion). This ensemble will perform a recital at Offered: Spring, Fall
the end of the semester, and possibly at other special events. Prerequisites: By audition
51
Course Descriptions
Summer/Fall 2008
ENSB-121 ENSB-231
Contemporary Styles Ensemble Keyboard Improvisation Ensembles
1 credit 1 credit
Course Chair: R. Savage Course Chair: R. Savage
Required of: All first-semester students who are Required of: None
enrolled in neither ENGT-111 nor ENSB-111 Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Overall ensemble rating 3 through 5
Prerequisites: ENSB-111 or overall ensemble
rating 2 Discussion and playing of contemporary, bebop, and
other styles of music for keyboards and rhythm section.
This ensemble focuses on performance in a variety of musical Improvisation and comping in piano trio styles; use of
styles. Classes will cover performance techniques utilized in original materials as well as standard jazz compositions.
contemporary idioms including pop/rock, r&b, jazz, Latin, and Instrumentation: four pianos, bass, and drums.
world music styles. Instrumentation: all instruments.
ENSB-311
ENSB-211 Small Band Ensemble 4
Small Band Ensemble 3 1 credit
1 credit Course Chair: R. Savage
Course Chair: R. Savage Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Overall ensemble rating 4
Prerequisites: Overall ensemble rating 3
A variety of small band ensembles that focus on performance
A variety of small band ensembles that focus on performance techniques in particular styles including pop/rock, funk, r&b,
techniques in particular styles. Classes include mixed styles, Afro-Cuban, Brazilian, jazz, African pop, and mixed styles.
rock, r&b, jazz, Brazilian, Afro-Cuban, funk, blues, and Instrumentation: all instruments.
smooth jazz. Instrumentation: all instruments.
ENSB-P315
ENSB-215 Ensemble Master Class
Blues/Rock Ensemble 1 credit
1 credit Course Chair: R. Savage Prototype
Course Chair: R. Savage Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: Permission of instructor; overall
Prerequisites: Overall ensemble rating 3 ensemble rating 5 recommended
Style characteristics, performance requirements, rehearsal, This master class will be comprised of students who will
and performance of rock music. Students will be asked to participate as performers and as group leaders. A maximum
write music in various rock styles. Repertoire will draw from of nine students will be accepted into this course. Each
the fifties, sixties, and seventies. Classes will present an student will perform several times with his/her own group
end-of-semester final performance. and will be critiqued by the course instructor. Students will
have the opportunity to experiment with a variety of
ENSB-216 conventional and non-conventional instrumentation formats.
Classic Rock Ensemble
1 credit
Course Chair: R. Savage
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
52
Summer/Fall 2008
Course Descriptions
ENSB-P321 ENSB-329
Funk and Soul Review Country Music Ensemble
1 credit 1 credit
Course Chair: R. Savage Prototype Course Chair: R. Savage
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: Instrumentation: Rhythm section, Prerequisites: By audition
winds, strings and vocals-overall rating 4
This ensemble will specialize in playing various styles of
Repertoire class that will feature music of the classic funk, country music. It will be of particular interest to all vocalists,
R&B and soul groups of the 1970's. Class emphasis will violinists, and rhythm section players. Materials will cover
include understanding the rhythmic and improvisational bluegrass, southern rock, rock-a-billy, Texas swing, and country
devices born of that era that continue to resonate and and western music (the Nashville sound). Instrumentation: bass,
influence contemporary music styles. Students will also study drums, two acoustic guitars, two electric guitars, fiddle, four to
the nuances that differentiated the genres within the era six singers, acoustic piano, and synthesizer.
(e.g. the difference between Motown, Philly Soul, Muscle
Shoals and James Brown). Some historical and cultural ENSB-345
references will be included. Funk Bands
1 credit
ENSB-325 Course Chair: R. Savage
Small Bebop Jazz Ensemble Required of: None
1 credit Electable by: All
Course Chair: R. Savage Offered: Spring, Summer, Fall
Required of: None Prerequisites: Overall ensemble rating 5 through 7
Electable by: All or by audition
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 6 Several small band ensembles that focus on performing
contemporary r&b and funk classics in different styles and
An ensemble that performs jazz arrangements in the bebop approaches. Bands include the music of James Brown,
idiom. Emphasis on both reading skills and improvisation. Parliament Funkadelic and seventies r&b, the Meters, Tower of
Instrumentation: trumpet, alto saxophone, trombone, piano, Power, and jazz/hip-hop. Instrumentation: all instruments.
bass, and drums.
ENSB-346
ENSB-327 Contemporary Fusion Ensembles
Techno/Rave Ensemble 1 credit
1 credit Course Chair: R. Savage
Course Chair: R. Savage Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Overall ensemble rating 5 through 8
Prerequisites: MS-225, either MTEC-222 or or by audition
MS-223, and written approval of instructor
and course chair A variety of small group ensembles that focus on performing
fusion from a wide range of stylistic approaches. Styles
A multi-instrumental controller ensemble consisting of all include the music of Pat Metheny; the music of Stern, Steps
synthesized sound equipment. and Scofield; the music of Oregon; and student performances
of original material. Instrumentation: all instruments.
ENSB-328
Latin Ensembles ENSB-351
1 credit Eight-Piece Jazz Ensemble
Course Chair: R. Savage 1 credit
Required of: None Course Chair: R. Savage
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Overall ensemble rating 5 through 7 Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 5
Ensembles that perform Latin American musical styles and
explore different Latin American rhythms. Instrumentation: Medium-sized ensembles that perform arrangements in a
mixed winds, piano, guitar, bass, drums, and percussion. variety of contemporary jazz styles. Instrumentation: trumpet,
trombone, alto saxophone, tenor saxophone, piano, guitar,
bass, drums, and vibes.
53
Course Descriptions
Summer/Fall 2008
ENSB-355 ENSB-371
Improvisational String Ensemble Recording Rhythm Section
1 credit 1 credit
Course Chair: M. Glaser Course Chair: R. Savage
Required of: None Required of: None
Offered: Spring, Fall Electable by: All
Electable by: Violin, viola, cello, guitar, Offered: Spring, Summer, Fall
bass, and hand percussion principals Prerequisites: Overall ensemble rating 5 through 7
Prerequisites: By audition or by audition
An ensemble consisting of a string quartet plus rhythm An ensemble that emphasizes the development of recording
section. Emphasis will be on ensemble playing skills and studio skills for rhythm section. Instrumentation: piano, guitar,
improvisational vocabulary in diverse contemporary idioms. bass, drums, and synthesizer.
Incorporation of standard jazz vocabulary with that of other
common improvisational string idioms, such as world/fusion, ENSB-372
western swing, and various traditional styles such as Rhythm Track for Songwriters
Appalachian and Texas-style fiddling, Celtic music, and 1 credit
bluegrass. Instrumentation: violins, viola, cello, acoustic guitar, Course Chair: R. Savage
acoustic bass, plus optional rhythm section instruments such Required of: None
as hand percussion, mandolin, banjo, etc. Electable by: All
Offered: Spring, Summer, Fall
ENSB-361 Prerequisites: Overall ensemble rating 5 or
Advanced Woodwind Chamber Music by audition
1 credit
Course Chair: W. Pierce An ensemble that serves as a rhythm track base for songwriters
Required of: None who would be able to utilize the tracks from these sessions to
Electable by: Woodwind and French horn principals overdub their vocals. Instrumentation: synthesizer, piano, guitar,
Offered: Spring, Fall bass, and drums.
Prerequisites: Overall ensemble rating 4 or
written approval of course chair ENSB-381
Berklee Wes Montgomery Ensemble
Woodwind ensembles for advanced players (flute, clarinet, 1 credit
oboe, bassoon, and French horn) emphasizing the development Course Chair: R. Savage
of classical chamber music performance skills. Required of: None
Electable by: All
ENSB-365 Offered: Spring, Summer, Fall
Contemporary Chamber Music Ensemble Prerequisites: Overall ensemble rating 6
1 credit
Course Chair: R. Savage A small-group ensemble performing material composed or
Required of: None arranged by, or otherwise associated with, Wes Montgomery.
Electable by: All Emphasis will be placed on accurate performance of
Offered: Spring, Fall transcribed written parts and improvisation in the bop idiom.
Prerequisites: By audition Instrumentation: tenor saxophone, piano, guitar, bass,
and drums.
Mixed instrumental and vocal ensembles are formed to study
and perform chamber music by twentieth-century composers ENSB-382
including Luciano Berio, John Corigliano, Aaron Copland, Berklee Wayne Shorter Ensemble
Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, and 1 credit
others. Using their own parts from the preselected repertoire, Course Chair: R. Savage
students will individually practice and master performance Required of: None
skills and musicianship, then rehearse in the larger group in Electable by: All
preparation for an end-of-semester recital. Instrumentation: Offered: Spring, Fall
traditional classical instruments (winds, strings, guitar, Prerequisites: Overall ensemble rating 6
percussion, and piano) and voice.
A jazz ensemble that plays the music of Wayne Shorter.
Concentration on Shorter’s later work in the fusion style
(e.g., with Weather Report) plus selected earlier works (e.g.,
with Blue Note and the Miles Davis Quintet). Instrumentation:
trumpet, alto saxophone, tenor saxophone, piano, guitar,
bass, and drums.
54
Summer/Fall 2008
Course Descriptions
ENSB-383 ENSB-411
Berklee Yellowjackets Ensemble Advanced Small Band Ensemble
1 credit 1 credit
Course Chair: R. Savage Course Chair: R. Savage
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 6 Prerequisites: Groups will be scheduled for
levels 5 through 8
A small jazz fusion ensemble performing music recorded by
the Yellowjackets. Musical scores include original performance A variety of small band ensembles that focus on refining
materials as well as published and unpublished transcriptions. previously learned skills in particular styles. Ensemble styles
Emphasis will be placed on stylistic integrity, rhythmic accuracy, include mixed styles, klezmer, Afro-Cuban, Brazilian, progressive
and memorization of material assigned weekly. rock, calypso, reggae, smooth jazz, and jazz standards, as
well as the music of Miles Davis, Charles Mingus, ECM, Dave
ENSB-384 Holland, Ornette Coleman, Charlie Parker, Cedar Walton, and
Berklee Horace Silver Ensemble Chet Baker. Instrumentation: all instruments.
1 credit
Course Chair: R. Savage ENSB-421
Required of: None Small Concert Jazz Ensemble
Electable by: All 1 credit
Offered: Spring, Summer, Fall Course Chair: R. Savage
Prerequisites: Overall ensemble rating 6 Required of: None
Electable by: All
A small-group ensemble performing two-horn arrangements Offered: Spring, Summer, Fall
of originals and standards by Horace Silver. Instrumentation: Prerequisites: By audition
trumpet, tenor saxophone, piano, bass, and drums.
A group that primarily performs music created by members of
ENSB-388 the ensemble. Improvisational and ensemble skills are blended
Improvisation on Twenty-First Century to allow for individual musical growth. Instrumentation: mixed
Grooves Ensemble winds, piano, guitar, bass, and drums.
1 credit
Course Chair: R. Savage ENSB-425
Required of: None Advanced Repertory Workshops
Electable by: All 1 credit
Offered: Spring, Fall Course Chair: R. Savage
Prerequisites: Groups will be scheduled for Required of: None
levels 4 through 7 Electable by: All
Offered: Spring, Fall
Performance and analysis of the jazz-rock/fusion idiom for Prerequisites: Overall ensemble rating 7
the twenty-first century. Improvisational and compositional
techniques will be discussed with an emphasis on employing Harmonic analysis and performance of contemporary standard
a variety of new and current grooves (bounce/timbaland, jazz repertoire. Instrumentation: mixed winds, piano, guitar,
32nd-note R&B grooves, hip-hop, drum 'n' bass, as well as bass, and drums.
funk, jazz-hop, house, ska, reggae, go go, etc.) and an easy
introduction to odd time rhythms. Some of the major players ENSB-451
and groups to be analyzed may be Mahavishnu Orchestra, Nine-piece Jazz Ensemble
Weather Report, and Steve Coleman. Original material and 1 credit
writing are welcomed. Course Chair: R. Savage
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 7 through 8
55
Course Descriptions
Summer/Fall 2008
ENSB-482 A lab for vocalists that will focus on the basic functions of
Berklee Art Blakey Ensemble the rhythm section and how to communicate with a rhythm
1 credit section in a variety of musical styles. Instruments discussed
Course Chair: R. Savage will include electric and acoustic bass, drums, keyboard, and
Required of: None guitar as well as musical elements of various time-feels and
Electable by: All grooves. Class members will have the opportunity to work
Offered: Spring, Summer, Fall with a rhythm section.
Prerequisites: Overall ensemble rating 7 through 8
ENVC-121
A small-group ensemble performing jazz compositions and Contemporary Styles Ensemble with Vocals
arrangements of standards used by Art Blakey and the Jazz 1 credit
Messengers. Instrumentation: trumpet, alto saxophone, tenor Course Chair: R. Savage
saxophone, piano, bass, and drums. Required of: None
Electable by: All
ENST-151 Offered: Spring, Summer, Fall
String Chamber Orchestra Prerequisites: ENSB-111 or overall ensemble
1 credit rating 2
Course Chair: M. Glaser
Required of: String principals Ensembles will cover techniques used in a variety of
Electable by: See department chair contemporary music styles featuring vocals, such as pop/rock,
Offered: Spring, Fall r&b, country, and jazz standards. Students will contribute to
Prerequisites: None material. Instrumentation: all instruments/vocalists.
56
Summer/Fall 2008
Course Descriptions
ENVC-P221 ENVC-311
Historic Vocal Ensemble Small Band with Vocals Ensemble 4
1 credits 1 credit
Course Chair: J. Shapiro Prototype Course Chair: R. Savage
Required of: None Required of: None
Electable by: Voice principals by audition Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: By audition Prerequisites: Overall ensemble rating 4
Vocal ensemble experience that will cover the song materials Ensembles will cover techniques used in a variety of
and styles of vocal groups from the Boswell Sisters through the contemporary music styles featuring vocals. Students will
Manhattan Transfer. This course will include listening assign- contribute material. Styles include pop/rock, r&b, smooth
ments, oral and written transcriptions, and a performance. jazz, gospel, funk, the music of Joni Mitchell, and the music
of the Beatles.
ENVC-231
Music Theater Workshop ENVC-321
1 credit Piano Trio with Vocalists
Course Chair: J. Shapiro 1 credit
Required of: None Course Chair: R. Savage
The last day
Electable by: Voice principals Required of: None
to Check-in for
Offered: Spring, Fall Electable by: All
Prerequisites: By audition and concurrent Offered: Spring, Fall Summer 2008
enrollment in ILVC-371 Prerequisites: Overall ensemble rating 5 through 7 is Friday,
May 23, 2008.
An ensemble designed to provide singers with an Ensemble that focuses on the use of a trio in a supportive
understanding of repertoire, styles, and basic stagecraft. role. Styles include r&b, jazz standards, and smooth jazz.
In conjunction with ILVC-371, an end-of-semester musical/
dramatic presentation will be scheduled. Note: Students must ENVC-361
enroll in both ENVC-231 and ILVC-371. Music Education Concert Choir
1 credit
ENVC-P235 Course Chair: C. Adderley
A Cappella Ensemble Required of: MUED majors
1 credit Electable by: MUED majors
Course Chair: R. Savage Prototype Offered: Spring, Fall
Required of: None Prerequisites: None
Electable by: By audition
Offered: Spring, Fall Concert choir experience with the materials and literature of
Prerequisites: By audition secondary school music.
57
Course Descriptions
Summer/Fall 2008
ENVC-411 FS-221
Advanced Small Band with Vocals Ensemble Introduction to Film Scoring
1 credit 2 credits
Course Chair: R. Savage Course Chair: D. Carlin
Required of: None Required of: FILM majors
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 5 through 7 Prerequisites: None
Ensembles will cover techniques used in a wide variety of Investigation of the aesthetic relationship between film and
contemporary music styles that feature vocals, such as r&b, music. Discussion of the many functions of film music with
pop/rock, gospel, smooth jazz, and jazz standards. Students analysis of its most effective application to dramatic situations.
will contribute material. Exploration of career opportunities in film and television music.
ENVC-482 FS-241
Concert Choir Analysis of Dramatic Scoring
1 credit 2 credits
Course Chair: R. Savage Course Chair: D. Carlin
Required of: None Required of: FILM
Electable by: All Electable by: FILM majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: By audition Prerequisites: FS-221, CM-221, CM-231, CP-213,
ISKB-212 (or piano proficiency level 2), either
A mixed choir performing a wide variety of repertory from COND-211 or COND-221 or COND-216, HR-212
baroque to contemporary with twentieth-century music and ET-212 or ET-232. FS-241 must be taken
stressed. An end-of-semester concert is usually scheduled. concurrently with FS-361.
58
Summer/Fall 2008
Course Descriptions
FS-311 FS-P343
Film Music Composition Seminar Seminal Film Composers
1 credit 2 credits
Course Chair: D. Carlin Course Chair: D. Carlin Prototype
Required of: None Required of: None
Electable by: FILM majors Electable by: FILM majors, or chair approval for
Offered: Spring, Fall those outside of FILM
Prerequisites: CM-221, CP-213, and FS-221 Offered: Spring, Fall
Prerequisites: FS-340, FS-341, FS-361 or similar
Intended as a complement to FS-341 and/or FS-441, this level per Chair approval
course is designed to provide a link between composition
and scoring techniques by addressing specific challenges of Throughout the history of film, a handful of composers have
dramatic music composition. Application of compositional had an extraordinary and formative impact on the art of
devices intended to help advance the drama; exploration of film scoring. Composers such as Bernard Herrmann, Jerry
different concepts and methods as creative music resources Goldsmith, and more recently, Thomas Newman, have
for current and future scoring assignments. invented, extended, or defined the grammar and vocabulary
of film music. This course will take a full semester to closely
FS-340 examine the work and career of one composer, in a rotating
Dramatic Orchestration for Film set of seminal figures in film scoring history. By studying their
2 credits work, their impact on film music language, and by seeing how
Course Chair: D. Carlin their careers developed, students will gain valuable lessons in
Required of: FILM majors the art and profession of film scoring.
Electable by: FILM majors
Offered: Spring, Summer, Fall FS-361
Prerequisites: FS-241, FS-361, and either Computer/Synthesis Applications
COND-212 or COND-222; FS-341 must be for Film Scoring
taken concurrently with FS-340. 2 credits
Course Chair: D. Carlin
This course focuses on the exploration and application of Required of: FILM majors
traditional and contemporary orchestration techniques to Electable by: FILM majors
support and achieve intended dramatic effect. Regular Offered: Spring, Summer, Fall
assignments involve the use of orchestration as an important Prerequisites: FS-221, CM-221, CM-231, CP-213,
compositional tool to successfully meet the emotional ISKB-212, HR-212, ET-212 or ET-232, and either
requirements of a wide variety of dramatic situations. COND-211 or COND-221 or COND-216; FS-361
must be taken concurrently with FS-241.
FS-341
Scoring Techniques for Film and Video The use of MIDI/Audio sequencing in scoring to picture, in
2 credits conjunction with sample playback and synthesis software.
Course Chair: D. Carlin Special attention is paid to the Film Scoring capabilities of
Required of: FILM majors MacIntosh sequencing application(s) using: QuickTime, tempo,
Electable by: FILM majors meter, and synchronization, in the process of scoring music
Offered: Spring, Summer, Fall to picture. Emphasis is also placed on maximizing dramatic
Prerequisites: FS-241, FS-361, and either expression through use of the available software tools.
COND-212 or COND-222; FS-340 must be
taken concurrently with FS-341. FS-375
Film Music Editing 1
The technical and aesthetic aspects of composing and 2 credits
recording music for picture using various synchronization Course Chair: D. Carlin
methods: to a click provided by a MIDI sequencer, and Required of: FILM majors
to a studio clock or stopwatch. Film and Video formats, Electable by: FILM majors
measurements, and conversions as well as scoring procedures Offered: Spring, Summer, Fall
and rehearsal techniques covered. Students compose and Prerequisites: CM-311, FS-340, and FS-341; FS-375
record three projects: sequenced, sequenced combined must be taken concurrently with FS-441.
with live players, and a free timed to clock project using
a live ensemble. A technical course designed to give composers practical
experience in the area of music editing for a scored film
and temp tracked film project. Class instruction and weekly
private lab work will include the preparation of all documents
involved in music post-production, as well as various
techniques used when synchronizing and editing music to
picture on a digital audio workstation.
59
Course Descriptions
Summer/Fall 2008
FS-391 FS-461
Survey of Film Scoring Techniques Advanced Computer Applications for
and Procedures Film/Video Scoring
2 credits 2 credits
Course Chair: D. Carlin Course Chair: D. Carlin
Required of: None Required of: None
Electable by: All except FILM majors Electable by: FILM majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: COND-211, FS-221, and either Prerequisites: FS-361 and FS-241.
AR-201 or CM-221
An examination of advanced Film Scoring functions available
This course is intended to give non–film scoring majors an in various software applications: MacIntosh applications
overview of the mechanics of synchronization and the include Digital Performer, Logic Pro, Kontakt, and Reason.
psychological implications of applying music to film. Analysis of The use of multi computer workstation setups: Macintosh for
special dramatic situations will be followed by demonstrations sequencing, PC for sample or software synthesis playback,
of scoring techniques such as click tracks and picture recording, using Kontakt or GigaStudio for various sample libraries, as
in addition to discussions of procedures for composing and well as V-STack as a host for VST instruments. Scoring projects
recording film music. include a cartoon, TV commercial, and videogame footage.
FS-433 FS-468
Stylistic Adaptation in Film Scoring Contemporary Techniques in Film Scoring
2 credits 2 credits
Course Chair: D. Carlin Course Chair: D. Carlin
Required of: None Required of: None
Electable by: FILM majors Electable by: FILM majors
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: FS-441 and FS-375. Prerequisites: CM-311, FS-340, and FS-341.
This course will address the prevalent and recurrent need in This course focuses on the new musical and technological
films to emulate a wide variety of stylistic scoring approaches techniques and aesthetics of contemporary film composing.
appropriate to the period setting and/or specific ethnic locale The use of synthesizers and sound design, computers and
of a screenplay. Approaches to research and adaptation of advanced sequencing techniques, rock, pop, and other
authentic musical styles will be discussed. (Such styles include, nontraditional music in the film scoring process, and the
for example, seventeenth-century European, African, American contemporary aesthetics of modern filmmakers and audiences
in the 1920s, etc.) Careful attention to instrumentation, will be investigated.
arranging, orchestration, and dramatic theme development will
be stressed. Assignments representing realistic situations will be FS-475
recorded synchronously to the specific needs of film scenes. Advanced Film Music Editing
2 credits
FS-441 Course Chair: D. Carlin
Scoring Applications for Film and Video Required of: None
2 credits Electable by: FILM majors
Course Chair: D. Carlin Offered: Spring, Summer, Fall
Required of: FILM majors Prerequisites: FS-361 and FS-375
Electable by: FILM majors
Offered: Spring, Summer, Fall An advanced music editing course dealing with standard film
Prerequisites: CM-311, FS-340, and FS-341; FS-375 and television industry procedures. Intended for the student
must be taken concurrently with FS-441. who demonstrates technical fluidity with editing equipment
and who intends to pursue a career in this field. Emphasis is
This course will provide opportunities for scoring scenes on the responsibilities of a music editor for the “scored” film,
with a wide range of dramatic and technical requirements. from temp tracks and spotting through dubbing. Instruction
A combination of material from FS-341, combined with will include digital editing techniques on a multitrack digital
advanced techniques from the course (scoring to picture, audio workstation, as well as the necessary preparations for
special and variable clicks, segue/overlays/sweeteners), will be delivering music to the dubbing stage in various surround
employed in the scoring assignments. All recorded projects sound formats.
will be conducted by the composers and screened for faculty
evaluation. These assignments will also form the basis of a
portfolio, which will be compiled and submitted in FS-487
as partial requirements for graduation.
60
Summer/Fall 2008
Course Descriptions
FS-487 Harmony
Directed Study in Film Scoring
2 credits HR-111
Course Chair: D. Carlin Harmony 1
Required of: FILM majors 2 credits
Electable by: FILM majors Course Chair: J. Mulholland
Offered: Spring, Summer, Fall Required of: All
Prerequisites: FS-441 and FS-375 Electable by: All
Offered: Spring, Summer, Fall
This course guides the student in the preparation and assembly
Prerequisites: None
of a portfolio. This collection will consist of representative
material chosen from the student’s output to date. Under Basic harmonic theory. Note identification, scale and mode
instructor supervision and guidance, new projects will also be construction, key signatures, interval recognition, chord
scored for the purpose of completing and/or enhancing the construction, available tensions. Principles of diatonic chord
portfolio. Career planning, relevant business aspects, and progressions and analysis.
the film and television industry’s expectations of the film
composer/music editor will be discussed.
HR-112
Harmony 2
FS-488 2 credits
Directed Study in Film Scoring - Advanced Course Chair: J. Mulholland
Sequencing Required of: All
2 credits Electable by: All
Course Chair: D. Carlin Offered: Spring, Summer, Fall
Required of: None; but may fulfill FILM Directed Prerequisites: HR-111
Study concentrate requirement in place of FS-487
Electable by: FILM majors Continued exploration of major key harmony: secondary
Offered: Spring, Summer, Fall and extended dominant relationships. Continued study of
Prerequisites: FS-375, FS-441, and either FS-461 melodic construction and motif development. Principles of
or FS-468. linear harmonic continuity and guide tone lines. Minor key
harmony; introduction to subdominant minor. Blues theory
An advanced projects course for video scoring with emphasis and chord progressions. Melodic rhythm, form, and
on using the technology of computer and synthesis hardware melody/harmony relationship.
and software to realize original music. Students may elect this
course as their final requirement (as an alternative to taking
HR-211
FS-487) if they plan to pursue a career scoring music in a
Harmony 3
project studio environment. Course content emphasizes skills
2 credits
necessary to score industrial/corporate films and documentaries.
Course Chair: J. Mulholland
Required of: All
FS-495 Electable by: All
Film Scoring Internship Offered: Spring, Summer, Fall
2 credits Prerequisites: HR-112
Course Chair: D. Carlin
Required of: None Continued analysis and application of major and minor key
Electable by: FILM majors harmony; continued elaboration of subdominant minor and
Offered: Spring, Summer, Fall modal interchange; chord scale theory. Review of melodic
Prerequisites: Sixth-semester standing and written construction and melody/harmony relationship; individual
approval of the course chair. note analysis of melodies. Substitute dominant and related
II-7 chords; diminished chord patterns; modulation.
May not be elected in a student’s final semester of enrollment
at the college. Monitored and evaluated professional work
experience in an environment related to the film scoring major.
Placement is limited to situations available from or approved
by the Office of Experiential Learning and the Film Scoring
Department chair or designee. To apply for an internship,
students must see the internship coordinator in the Office of
Experiential Learning prior to registering. Note: Equivalent credit
for prior experience is not available due to the requirement
of concurrent contract between the employer/supervisor and
the college.
Summer/Fall 2008
HR-212 HR-P261
Harmony 4 The Music of the Beatles
2 credits 2 credits
Course Chair: J. Mulholland Course Chair: J. Mulholland Prototype
Required of: All Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: HR-211 Prerequisites: HR-212
Continuation of principles of modern chord progression: Songs written and recorded by the Beatles, as well as songs
deceptive resolutions of secondary dominants; dominant written by the Beatles and recorded by other artists, will be
seventh chords without dominant function; contiguous analyzed for their harmonic content, melodic construction,
dominant motion. Review of melodic construction, form, modal focus, rhythmic phrasing, and lyrical construction. The
and melody/harmony relationship; modal interchange; pedal course will be structured around the 10-year rule for composers
point and ostinato; modal harmony and modal composition; and the three stages they move through in their career, from
compound chords; constant structures. being engaged in others' music, to development of the current
style, to innovation. In addition, an understanding of each
HR-231 member's personal history will be presented as a means of
Harmonic Analysis of Rock Music understanding the group's music. Also addressed will be the
2 credits social environment from which the group emerged and
Course Chair: J. Mulholland developed and consideration given to its effect on their musical
Required of: None development and progress.
Electable by: All
Offered: Spring, Summer, Fall HR-325
Prerequisites: HR-211 Reharmonization Techniques
2 credits
Identification and analysis of rock harmonies and melodies. Course Chair: J. Mulholland
Examples from the mid-1950s to the present day will be Required of: JCMP majors
studied. Pentatonic and diatonic harmony, linear/open harmony, Electable by: All
modulation, and classic rock chord patterns will be included. Offered: Spring, Summer, Fall
Emphasis will be placed on harmonic dictation. Prerequisites: HR-212
62
Summer/Fall 2008
Course Descriptions
HR-345 Instrumental Labs
Advanced Modal Harmony
2 credits ILBR-111
Course Chair: J. Mulholland Brass Lab – Reading 1
Required of: None 0.5 credit
Electable by: All Course Chair: T. Plsek
Offered: Spring, Summer, Fall Required of: Brass principals
Prerequisites: HR-212 Electable by: Brass principals
Offered: Spring, Summer, Fall
Modal chord progression and melody using traditional,
Prerequisites: None
synthetic, and other modes. Analysis of modal jazz
compositions. Modal voicings using characteristic tones The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare
and spacing considerations. Use of polytonal and polymodal the entering brass student for the college ensemble program.
relationships in original compositions. Emphasis on reading studies in a variety of styles.
HR-355 ILBR-112
Music of Yellowjackets Brass Lab – Reading 2
2 credits 0.5 credit
Course Chair: J. Mulholland Course Chair: T. Plsek The last day
Required of: None Required of: Brass principals to Check-in
Electable by: All Electable by: Brass principals
Offered: Spring, Fall for Fall 2008
Offered: Spring, Summer, Fall
Prerequisites: HR-212 is Friday,
Prerequisites: ILBR-111
Sept. 5, 2008.
A study of the music of this popular jazz fusion ensemble. The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare
Students will analyze original manuscripts and transcribed the entering brass student for the college ensemble program.
scores to discover the variety of harmonic, melodic, and Emphasis on reading studies in a variety of styles.
rhythmic concepts used that make the music unique, and
will write tunes that demonstrate their understanding of
ILBR-121
these elements. Selected compositions will be performed by
Brass Improvisation Lab1
the Berklee Yellowjackets Ensemble ENSB-383.
0.5 credit
Course Chair: T. Plsek
HR-361 Required of: Brass principals
World Music Elements for the Electable by: Brass principals
Contemporary Musician Offered: Spring, Summer, Fall
2 credits Prerequisites: None
Course Chair: J. Mulholland
Required of: None This course presents the basics of jazz improvisation on blues
Electable by: All forms in easy keys. In addition to learning to improvise on
Offered: Spring, Fall these sets of changes, the student will also memorize a basic
Prerequisites: HR-212 set of appropriate tunes.
An introduction to the musical elements of several non-
ILBR-122
Western musical systems will provide alternative approaches
Brass Improvisation Lab 2
to contemporary composition and improvisation. Topics
0.5 credit
explored will include melody, mode, improvisation, form,
Required of: Brass principals
rhythmic organization, and preferences of timbre in the music
Electable by: Brass principals
of India, Africa, the Middle East, Latin America, and Japan.
Offered: Spring, Summer, Fall
Contemporary world beat styles from these regions will be
Prerequisites: ILBR-121 or written approval of
discussed in relation to underlying traditional genres.
instructor and course chair
63
Course Descriptions
Summer/Fall 2008
ILBR-211 ILBR-335
Brass Lab – Reading 3 Exploring Technology for Brass Players
0.5 credit 0.5 credit
Course Chair: T. Plsek Course Chair: T. Plsek
Required of: Brass principals Required of: None
Electable by: Brass principals Electable by: Brass principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ILBR-112 Prerequisites: Written approval of instructor
and course chair
The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare
the entering brass student for the college ensemble program. Students will be introduced to technology applications
Emphasis on reading studies in a variety of styles. available for use by brass players in real-time performance
situations. Emphasis will be on the use of technology as an
ILBR-212 extension of the instruments.
Advanced Brass Reading Lab
0.5 credit ILBR-P336
Course Chair: T. Plsek Singing For Brass Players
Required of: None 0.5 credit
Electable by: Brass principals Course Chair: T. Plsek Prototype
Offered: Spring, Summer, Fall Required of: None
Prerequisites: ILBR-211 or overall ensemble rating 4 Electable by: Brass principals
Offered: Fall
Advanced Brass Reading Lab is designed for those brass Prerequisites: None
students who have an overall ensemble rating of 4, and new
students who demonstrate moderate-to-advanced reading This course is designed to focus on vocal performance for
skills. The material covered is a continuation of ILBR-111, students with a brass principal. Students may or may not
ILBR-112, and ILBR-211, and focuses on developing the have experience as vocalists. All classes will be geared towards
advanced reading skills required in contemporary music. the styles the individuals are interested in, emphasizing both
singing and playing. Students will be asked to learn and
ILBR-221 perform new songs each week with the main emphasis being
Brass Improvisation Lab 3 on the selection of correct keys, tempos, and styles. There
0.5 credit will be a comparative analysis between vocal and instrumental
Course Chair: T. Plsek phrasing, improvisation where relevant, and physiology.
Required of: None Students will also be exposed to performers who have been
Electable by: Brass principals recognized and respected as both singers and horn players.
Offered: Spring, Summer, Fall
Prerequisites: ILBR-122 or written approval of ILBS-111
instructor and course chair Bass Lab – Reading 1
0.5 credit
This course continues the materials presented in ILBR-121 Course Chair: R. Appleman
and ILBR-122, and applies them to improvising on blues forms Required of: Bass principals
and diatonic song forms in more advanced keys. In addition Electable by: All
to learning to improvise on these sets of changes, the student Offered: Spring, Summer, Fall
will also memorize a basic set of appropriate tunes. Prerequisites: None
64
Summer/Fall 2008
Course Descriptions
ILBS-115 ILBS-211
Bass Fundamentals Bass Lab – Reading 3
0.5 credit 0.5 credit
Course Chair: R. Appleman Course Chair: R. Appleman
Required of: None Required of: None
Electable by: Bass principals Electable by: All
Offered: Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: IBLS-112 or written approval of
instructor and course chair
General physical and mechanical aspects of playing the
double bass and electric bass (four-, five-, and six-string) A continuation of ILBS-111 and ILBS-112. Material presented
will be covered in depth, along with proper performance will advance the concepts taught in those labs. The focus will
practices. Topics will include instrument construction, repair, be on out-of-class preparation of written examples as well as
and maintenance; proper body posture for effective bass in-class sight reading at an advanced level.
playing; physical problems associated with performance;
theoretical make-up of the fingerboard; and proper fingering ILBS-215
concepts of both hands. This course is meant to be a basics Bass Lines From Motown/Atlantic
manual for the bassist. Student participation via performance 0.5 credit
in class will be required. Course Chair: R. Appleman
Required of: None
ILBS-121 Electable by: Bass principals (electric bass
Bass Lab – Lines 1 recommended)
0.5 credit Offered: Spring, Fall
Course Chair: R. Appleman Prerequisites: ILBS-112 or overall ensemble rating 2
Required of: Bass principals
Electable by: All This course will examine the bass styles of James Jamerson,
Offered: Spring, Summer, Fall Carol Kaye, Jerry Jemmott, Chuck Rainey, Willie Weeks,
Prerequisites: None Tommy Cogbill, Bob Babbitt, and David Hood, the bassists for
Motown and Atlantic records during the 1960s and 1970s.
Instrumental lab for bass principals emphasizing the Students will learn to play the original bass parts to hit songs
construction and performance of bass lines through chord from this music period. Students will then learn to create and
changes in standard, popular, and jazz tunes. play bass parts using this stylistic vocabulary/rhythm section
technique over chord progressions in this style. Emphasis on
ILBS-141 tone and rhythmic feel will also be covered.
Rock Bass Lab
0.5 credit ILBS-221
Course Chair: R. Appleman Bass Lab-Lines 2
Required of: None 0.5 credit
Electable by: Bass principals Course Chair: R. Appleman
Offered: Spring, Fall Required of: Bass principals
Prerequisites: Private instruction level 1 completed Electable by: All
Offered: Spring, Summer, Fall
Study, through performance, of a wide variety of rock bass Prerequisites: ILBS-121
playing techniques from the sixties through the nineties.
Students will perform transcriptions, read and sight read typical Continuation of ILBS-121. Instrumental lab for bass principals
bass lines, and demonstrate general and specific aspects of a emphasizing the construction and performance of bass lines
particular rock bass style. through standard chord progressions, using more demanding
styles and approaches.
ILBS-181
Elementary Double Bass Lab ILBS-222
0.5 credit Bass Lab – Lines 3
Course Chair: R. Appleman 0.5 credit
Required of: None Course Chair: R. Appleman
Electable by: Bass principals Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: ILBS-221
Intended primarily for electric bass players, this lab focuses
on basic concepts of double bass playing: fingering, bowing, Continuation of ILBS-221. Instrumental lab for bass principals
sound production. Students are required to have access to a emphasizing the construction and performance of bass lines
double bass and a bow for use in class and practice. through standard chord progressions, using more demanding
styles and approaches.
65
Course Descriptions
Summer/Fall 2008
ILBS-225 ILBS-251
Bass Lab – Basic Timekeeping Basic Slap Techniques for Electric Bass
0.5 credit 0.5 credit
Course Chair: R. Appleman Course Chair: R. Appleman
Required of: None Required of: None
Electable by: Bass principals Electable by: Bass principals or with
Offered: Spring, Summer, Fall department recommendation
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: None
Development of the ability to grasp and maintain a tempo.
Exercises including metronome games to improve accuracy Alternately called slap bass, funk bass, or thumb and snap bass,
and steady time while developing suppleness and flexibility this technique will be approached in class on a beginner’s basis.
to meet the wide array of rhythm section challenges found Emphasis will be placed on fundamentals. Developing a
in contemporary, live, and studio environments. technical foundation through progressive exercises, students
will learn to read and interpret basic slap notation. Creativity is
ILBS-241 encouraged through use of combining basic slap ideas (thumb,
Electric Bass Pop Repertoire snap, muted notes, slides, hammer-ons, and pull-offs).
0.5 credit
Course Chair: R. Appleman ILBS-254
Required of: None Finger Style R&B and Fusion Lab
Electable by: Bass principals 0.5 credit
Offered: Spring, Fall Course Chair: R. Appleman
Prerequisites: LHAN-237 or PFSS-311 Required of: None
Electable by: Bass principals
A bass lab designed to develop familiarity and performance Offered: Spring, Summer, Fall
skills in the pop repertoire. Bass lines to a number of classic Prerequisites: Overall ensemble rating 3
pop tunes will be learned, and the ability to transpose these
lines to several other keys will be developed. Students will learn Development of playing skills in this style through study of
harmonic sequences that are frequently used in pop music the repertoire from the 1960s to the present. Chronological
styles, and will also develop interactive and communication history of the style; development of technique, sound, and
skills by teaching new songs to the class. overall feel; performance of bass lines with backing tracks;
appreciation of lesser-known players in this style.
ILBS-244
Five- and Six-String Electric Bass Lab ILBS-255
0.5 credit The Evolution of Hip-Hop Bass
Course Chair: R. Appleman 0.5 credit
Required of: None Course Chair: R. Appleman
Electable by: Bass principals Required of: None
Offered: Spring, Fall Electable by: Bass principals
Prerequisites: None Offered: Spring, Fall
Prerequisites: Overall ensemble rating 2
A general overview and application of different types of
knowledge applied to five- and six-string bass, including but This lab focuses on the techniques required to perform in the
not limited to different muting techniques, two- and three- hip-hop style. Recordings and transcriptions will be presented,
octave scales, arpeggios, intervals, reading in positions, and and students will be required to perform the bass parts and
also discussions on various neck widths, string closeness, lines. Content covers the beginnings of hip-hop (rap) in
pick-up placement, bolt-on necks versus neck-through basses. New York in the late 1970s, focusing on groups such as
Grandmaster Flash and others. The gospel influence of Ce Ce
ILBS-247 Winans and more contemporary hip-hop artists such as
Funk/Fusion Styles for Bass D’Angelo, the Roots, Steve Coleman, Jill Scott, and others will
0.5 credit be presented. Drum and bass grooves will also be explored.
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Fall
Prerequisites: Private instruction level 3 or
ensemble rating 3433
Course Descriptions
ILBS-257 ILBS-271
Bass Performance Group Blues Bass Lab
0.5 credit 0.5 credit
Course Chair: R. Appleman Course Chair: R. Appleman
Required of: None Required of: None
Electable by: Bass principals Electable by: Bass principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ILBS-112 or private instruction level 3 Prerequisites: ILBS-121
An instrumental lab for bass players focusing on the musical An instrumental lab for bass players that concentrates on
relationship between performers in an ensemble. Rehearsal blues forms and the various musical styles (r&b, jazz, rock,
and performance of music arranged for this class will facilitate Dixieland, pop, etc.) in which they are performed.
the learning process.
ILBS-274
ILBS-261 Bass Lab – Singing and Playing
Introduction to Latin Jazz Playing 0.5 credit
0.5 credit Course Chair: R. Appleman
Course Chair: R. Appleman Required of: None
Required of: None Electable by: Bass principals
Electable by: Bass principals Offered: Spring, Summer, Fall
Offered: Fall Prerequisites: ET-111 or written approval of
Prerequisites: Private instruction level 1 instructor and course chair
Students will learn the basics of Latin jazz bass playing. A lab for bass principals wishing to begin coordinating their
Emphasis on Cuban and Brazilian music and rhythms from playing with singing, or to further develop their skills playing
the twenties through the sixties. while singing. In addition to opening a new range of working
possibilities, this study will significantly expand students’
ILBS-262 musicianship levels by developing musical independence and
Brazilian Bass Lab multitasking skills.
0.5 credit
Course Chair: R. Appleman ILBS-281
Required of: None Arco Workshop
Electable by: Bass principals 0.5 credit
Offered: Spring Course Chair: R. Appleman
Prerequisites: Overall ensemble rating 3 Required of: None
Electable by: Bass principals or with
This is an instrumental lab for bassists that focuses on the departmental recommendation
Brazilian styles of bossa nova, samba, partido alto, chorinho, Offered: Spring, Fall
and afoxe. Weekly assignments will cover a wide range of Prerequisites: ILBS-181 or by audition
Brazilian music repertoire, including bass lines and melodies.
Students will be exposed to reading in 2/4, 4/4, and cut-time This course will introduce the double bass student to
meters, as well as Brazilian percussion instruments and orchestral performance. Basic bowing techniques will be
their patterns. covered and suitable etudes will be presented for practice.
ILBS-P263 ILBS-284
Bass Lab - Playing in Odd Meters Orchestral Repertoire Workshop for
0.5 credit Double Bass
Course Chair: R. Appleman Prototype 0.5 credit
Required of: None Course Chair: R. Appleman
Electable by: Bass principals Required of: None
Offered: Spring, Fall Electable by: Bass principals or with
Prerequisites: Overall ensemble rating 3 departmental recommendation
Offered: Spring, Fall
This lab serves an introduction to improvising and playing Prerequisites: ILBS-281 or by audition
music in odd and unusual meters in various styles of jazz,
rock, funk, world music, etc. Students will be exposed to This course will introduce the double bass student to
a variety of bass lines transcribed from masters of different orchestral playing. Suitable orchestral literature will be
styles, and receive guidance on how to invent suitable bass presented for practice.
lines for various odd meter styles.
67
Course Descriptions
Summer/Fall 2008
ILBS-321 ILBS-334
Reading Contemporary Bass Rhythms Bass Guitar MIDI Controller Lab
0.5 credit 0.5 credit
Course Chair: R. Appleman Course Chair: R. Appleman
Required of: None Required of: None
Electable by: All Electable by: Bass principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILBS-211 or written approval of Prerequisites: PIBS-112 or overall ensemble rating 3
instructor and course chair
Study of the MIDI bass guitar controller as a doubling
A continuation of ILBS-211. Study of contemporary written instrument. Aspects of setting up a system, necessary
bass parts as encountered in shows and recording sessions, adaptations of technique, and necessary expansion of musical
principally in soul, funk, and r&b styles featuring challenging horizons will be explored using Berklee-supplied MIDI
notated beat subdivisions. equipment and playing representative repertoire.
ILBS-324 ILBS-344
Bass Lab – Advanced Rhythmic Language Five- and Six-String Electric Bass Chord Lab
0.5 credit 0.5 credit
Course Chair: R. Appleman Course Chair: R. Appleman
Required of: None Required of: None
Electable by: All Electable by: Bass principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: Ensemble rating 4444 or private Prerequisites: Private instruction level 4 and
instruction level 4 ensemble rating 4444
Development of rhythmic language ability through study of A study of various approaches and voicings that are possible
principles of temporal articulation and elaboration: creation on the five- and six-string bass as well as inversions, octave
of polymeter and polyrhythm via grouping of subdivisions of displacements, playing changes through a tune, and playing
the basic meter. Use of subtle tempo change (rubato) within melodies with chord sound accompanying.
established rhythmic and harmonic contexts for expressive
purposes in live performance as well as automated recording ILBS-351
environments. Note: Performance majors are given preference Slap Techniques for Electric Bass 2
in enrollment. 0.5 credit
Course Chair: R. Appleman
ILBS-327 Required of: None
John Coltrane Bass Lines Electable by: Bass principals
0.5 credit Offered: Spring, Fall
Course Chair: R. Appleman Prerequisites: ILBS-251
Required of: None
Electable by: Bass principals Students will learn how to incorporate advanced slapping
Offered: Spring, Fall techniques in order to construct effective lines and solos.
Prerequisites: Ensemble rating 5555 Emphasis will be on solid groove playing between drums and
bass, with special stress on consistency. Students will study
Study of the music of John Coltrane from the perspective of and perform transcriptions of classic funk bass lines as an aid
developing bass lines. Particularities of harmony and rhythm to learning proper integration of technique, sound, and feel.
in interpretation of both original and standard tunes.
ILBS-361
ILBS-331 Latin Bass Lines
Arco Bass in the Jazz Idiom 0.5 credit
0.5 credit Course Chair: R. Appleman
Course Chair: R. Appleman Required of: None
Required of: None Electable by: Bass principals
Electable by: Bass principals Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: ILBS-364 or PIBS-212, or ensemble
Prerequisites: Private instruction level 3 and rating 5 in reading (first digit of rating)
ensemble rating 4 in improvisation (third digit
of rating) A performance lab focusing on the development,
interpretation, and performance of bass lines in the Latin
A lab offering various applications for the bowed bass in jazz, jazz ensemble setting. Includes the study of characteristic
for bass principals who have acquired basic arco technique melodies in this style.
and possess some knowledge of improvisation. Bowing skills
learned will be applicable to melody playing, soloing, and
accompaniment.
68
Summer/Fall 2008
Course Descriptions
ILBS-364 ILGT-115
Bass Lab – Sight-reading Latin Rhythms Guitar Performance Skills for the
0.5 credit Nonguitar Principal
Course Chair: R. Appleman 0.5 credit
Required of: None Course Chair: L. Baione
Electable by: Bass principals Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Ensemble rating 5 in reading Offered: Spring, Summer, Fall
(first digit of rating) Prerequisites: None
Development of effective ability to sight-read typical bass A lab for the nonguitar principal focusing on technique for
parts in Latin styles. Patterns derived using actual recordings the development of basic lead, comping, and soloing skills
in specific idioms, including son, songo, cha-cha-cha, bolero, for effective performance. Students are required to provide
merengue, and salsa. their own acoustic or electric guitar.
ILBS-421 ILGT-117
Bass Lab – Advanced Reading Guitar Performance Skills
0.5 credit 1 credit
Course Chair: R. Appleman Course Chair: L. Baione
The last day
Required of: None Required of: Guitar principals
to withdraw
Electable by: Bass principals Electable by: Entering guitar principals
Offered: Spring, Fall Offered: Spring, Summer, Fall from a class for
Prerequisites: Ensemble rating 4444 or private Prerequisites: None Summer 2008 is
instruction level 4 July 18, 2008.
Instrumental lab for first-semester guitar principals emphasizing
Methods of approach to, and practice in, reading examples of performance of written chordal and melodic materials. Note:
high difficulty in various music styles including classical, jazz, Nonguitar principals need department chair’s permission to
and rock. enroll in this course.
ILBS-481 ILGT-119
Bach Cello Suites for the Bowed Double Bass Guitar Styles Skills Labs
0.5 credit 1 credit
Course Chair: R. Appleman Course Chair: L. Baione
Required of: None Required of: None
Electable by: Bass principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILBS-284, ILBS-331, or written Prerequisites: ILGT-117
approval of instructor and course chair
Instrumental labs for guitar principals with a minimum of
A lab for bass principals that uses the cello suites of J.S. Bach second-semester standing. Offered in stylistically delineated
to develop arco performance skills. The goals of the course sections (jazz, rock, funk, fusion, blues), these labs develop
are to build technique using the bow and musicality through performance skills in the specified style.
the study of masterpieces. Students will be assigned individual
movements of a suite and perform in a master-class setting. ILGT-211
Ensemble Preparation Lab – Guitar
ILEN-P211 0.5 credit
Turntable Technique Course Chair: L. Baione
1 credit Required of: None
Course Chair: R. Savage Prototype Electable by: Guitar principals
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: ILGT-117
Offered: Spring, Fall
Prerequisites: None A lab focusing on the development of lead, comping, and
soloing skills necessary for effective performance in an
Students will develop basic skills using the turntable both a ensemble. Aids to skills development include a graphic/
means of live expression and performance, and as a production electronic repertoire of rhythm tracks that provides effective
tool. Weekly hands-on exercises will be emphasized. The course ensemble environments. Planned outcomes include successful
traces the historical development of the turntable from its transition into the college ensemble program.
origins in Jamaican music, through its importance as a major
expression of hip hop culture, and to the turntable’s
prominence in contemporary music. Artistic, ethical and legal
issues surrounding the use of the turntable will be examined.
For students with little or no prior experience.
69
Course Descriptions
Summer/Fall 2008
ILGT-213 ILGT-223
Guitar Comping and Soloing in Odd Meters Guitarmony 1
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: One semester per year (see chair Offered: Spring, Fall
for information) Prerequisites: ILGT-119
Prerequisites: ILGT-117
Complete enharmonic examination of four-note structures
A course developed to aid guitarists in negotiating odd and beginning with “drop 2” type voicings and including various
compound meters. The student will explore meters based on tension additions and substitutions. Different voice-leading
groupings of 5, 7, 9, and 11 through a graduated series of concepts will be introduced resulting in an enriched vertical
exercises, etudes, class demonstration, and participation. Some and horizontal harmonic awareness by students.
knowledge of chord voicings and the ability to solo over chord
changes is strongly recommended, but not essential. ILGT-225
Guitar Chart Reading and Performance
ILGT-215 0.5 credit
Bottleneck Blues Lab Course Chair: L. Baione
0.5 credit Required of: None
Course Chair: L. Baione Electable by: Guitar principals
Required of: None Offered: Spring, Summer, Fall
Electable by: Guitar principals Prerequisites: ILGT-117
Offered: One semester per year (see chair
for information) Development of reading skills focusing on interpretation
Prerequisites: ILGT-117 of lead sheets as well as performance of guitar parts. Blend,
balance, and accurate performance of intermediate to
A weekly one-hour departmental lab to develop skills and advanced rhythmic materials are to be addressed.
repertoire in the traditional bottleneck blues guitar style.
ILGT-227
ILGT-217 Guitar Chord Soloing
Creative Applications for Proficiency Materials 1 credit
1 credit Course Chair: L. Baione
Course Chair: L. Baione Required of: None
Required of: None Electable by: Guitar principals
Electable by: Guitar principals Offered: Spring, Summer, Fall
Offered: Spring, Fall Prerequisites: ILGT-119
Prerequisites: ILGT-119
Immediately accessible mechanical and nonmechanical
This lab will explore creative applications for Guitar Department techniques for the development of arrangements for
final exam materials with emphasis on improvisation, solo guitar. Each week a step-by-step approach will be
accompaniment, and composition in nonjazz contexts, demonstrated and discussed. During the semester, students will
including use of triadic and drone-based modal vamps to produce a tape of four chord solos (two original arrangements
assist utilizing the less familiar modes in melodic minor, and two from department files).
harmonic minor, and harmonic major; improvisation over
common and “nonfunctional” harmony; and comping, voice ILGT-228
leading, and voicing creation. Fingerpicking Blues Guitar
0.5 credit
ILGT-221 Course Chair: L. Baione
Standard Tune Workshop for the Guitarist Required of: None
0.5 credit Electable by: Guitar principals
Course Chair: L. Baione Offered: Spring, Fall
Required of: None Prerequisites: ILGT-119
Electable by: Guitar principals
Offered: Spring, Fall Study of technique, repertoire, and improvisational approaches
Prerequisites: ILGT-119 in the fingerstyle of playing blues guitar.
70
Summer/Fall 2008
Course Descriptions
ILGT-230 ILGT-235
Performing Solo Guitarist Jimmy Page Lab
1 credit 1 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Summer, Fall Offered: One semester per year (see chair
Prerequisites: ILGT-119 for information)
Prerequisites: ILGT-119
This lab offers students the opportunity to perform solo
guitar pieces in any style, to develop solo guitar arrangements A concentrated course of study for guitarists based on the
or compositions for performance, and to exploit the harmonic/ music of Jimmy Page. Topics will include early blues and rock
melodic capabilities of the guitar. Essential elements of solo influences, detailed analysis of solos and compositions, and
guitar will be discussed, demonstrated, and applied to student use of open tunings.
performances. Students will learn and perform original arrange-
ments or transcriptions of pieces by artists or composers of any ILGT-237
genre for midterm and final projects. Jazz, pop, blues, classical, Hard Rock/Metal Lab
funk, and folk styles will be among the idioms to be addressed. 1 credit
Course Chair: L. Baione
ILGT-231 Required of: None
Jazz/Blues Guitar Electable by: Guitar principals
0.5 credit Offered: One semester per year (see chair
Course Chair: L. Baione for information)
Required of: None Prerequisites: ILGT-119
Electable by: Guitar principals
Offered: Spring, Summer, Fall Exploration of technical innovations provided by three decades
Prerequisites: ILGT-119 of classically influenced, hard-rock players. In-depth study of
the early pioneers of the style (Ritchie Blackmore, Uli-Jon Roth,
This lab focuses on basic to intermediate jazz blues techniques Michael Schenker) and the more recent guitarists (Yngwie
including single-note blues heads, solos, and standard Malmsteen, Jason Becker, Joe Stump) who helped to redefine
dominant-seventh, minor-seventh, and major-seventh blues the genre known most commonly as shred.
progressions. Weekly playing assignments; analysis of
recordings by various blues artists. ILGT-238
The Music of Kenny Burrell and Grant Green
ILGT-233 1 credit
Jazz Guitar Trio Seminar Course Chair: L. Baione
1 credit Required of: None
Course Chair: L. Baione Electable by: Guitar principals
Required of: None Offered: Spring, Fall
Electable by: Guitar principals Prerequisites: ILGT-119
Offered: One semester per year (see chair
for information) Students will listen, analyze, transcribe, and perform solos by
Prerequisites: ILGT-119 guitarists Kenny Burrell and Grant Green. Material covered will
include instruction on the performance styles and techniques of
A concentrated course of study that will aid the student in these artists and their approach to improvisation, with attention
performing in a jazz trio setting of guitar, acoustic bass, to fingerings, phrasing, articulation, and harmonic structures.
and drum set. Topics will range from idiomatic introductions
and endings; challenging standard tunes/melodies; single ILGT-239
note, octave, and chord soloing; soloing in double stops; Improvisation Styles of Peter Bernstein
solo introductions (rubato and in tempo); trading fours; and Kurt Rosenwinkel
comping for bass solos; reharmonization considerations; 1 credit
modulation/ transposition for variation of color; Course Chair: L. Baione
fingerstyle/pick considerations; and attaining a good sound. Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-119
Summer/Fall 2008
ILGT-241 ILGT-249
Jazz/Rock Improvisation for Guitar Slide Guitar Lab
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILGT-119 Prerequisites: ILGT-117
Study and application of scales and harmony in this style of Study of technique, repertoire, and improvisational approaches
improvisation and their application to the guitar, including with regard to contemporary slide-guitar performance.
fingering and guitaristic devices (string bending, slides, etc.).
Presentation is through written and recorded examples of ILGT-251
contemporary artists (including nonguitarists), instructor Advanced Blues/Rock Guitar Techniques
demonstration, and student performance with taped 1 credit
rhythm section. Course Chair: L. Baione
Required of: None
ILGT-243 Electable by: Guitar principals
Jazz/Rock Rhythm Guitar Playing Offered: Spring, Summer, Fall
0.5 credit Prerequisites: ILGT-119
Course Chair: L. Baione
Required of: None Study of advanced rock and blues guitar techniques: string
Electable by: Guitar principals bending, chromatic harmony in the idiom, tone production,
Offered: Spring, Summer, Fall and repertoire. This will be accomplished through analysis
Prerequisites: ILGT-119 of tune melodies and solo transcriptions prepared by the
instructor and transcriptions completed by each student.
The application of harmony as it occurs in popular music. Emphasis will be placed on jazz improvisation approaches
Rhythm guitar parts presented through tapes, transcriptions, and their application to rock and blues soloing.
and demonstrations of jazz, rock, funk, and fusion records.
Included are adaptations of keyboard parts to guitar and ILGT-253
discussion and demonstration of various rhythm guitar Groove Concepts for Funk Guitar Performance
techniques (two- and three-note voicings, mutings, etc.). 1 credit
Course Chair: L. Baione
ILGT-245 Required of: None
Rock Guitar Lab Electable by: Guitar principals
0.5 credit Offered: Spring, Fall
Course Chair: L. Baione Prerequisites: ILGT-119
Required of: None
Electable by: Guitar principals This lab will break down all aspects of funk guitar styles.
Offered: Spring, Summer, Fall Students will familiarize themselves with salient concepts
Prerequisites: ILGT-119 including phrasing, time, rhythm playing, “playing the pocket,”
harmonics possibilities, and understanding the many roles that
Performance of material from Rock Guitar Styles including the guitar can play in funk settings. Funk is a dialect in the
extensive lead and rhythm examples in all idioms of rock musical language. As is the case with any language, students
music from the 1950s to the present day. will focus on understanding and communicating in this dialect,
listening to pronunciation and how sentences are phrased,
ILGT-247 and building a strong vocabulary.
Steel Guitar Lab
0.5 credit ILGT-261
Course Chair: L. Baione Guitar Lab – Developmental Arpeggios
Required of: None 0.5 credit
Electable by: Guitar principals Course Chair: L. Baione
Offered: Spring, Summer, Fall Required of: None
Prerequisites: None Electable by: Guitar principals
Offered: Spring, Summer, Fall
Aspects of steel guitar performances in exemplary styles Prerequisites: ILGT-117
including Hawaiian, western swing, country, blues, and
jazz. Extensive listening and study of transcribed examples. Instrumental lab for guitar principals dealing with two-octave,
Students use their own guitars with an inexpensive accessory three- and four-part arpeggios across the guitar. Included in
to learn bar control and picking methods. Exploration of weekly assignments will be exercises and drill studies.
alternative open tunings.
72
Summer/Fall 2008
Course Descriptions
ILGT-263 ILGT-271
Reading Contemporary Guitar Rhythms Linear Approach Concepts
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ILGT-119 Prerequisites: ILGT-119
This lab is designed for the student to experience the rhythmic A lab for guitar principals that develops approach patterns
challenges (from simple to very complex) encountered in and trains the ear for improvisation in all idioms.
contemporary music. Pop, rock, jazz, fusion, and country music
styles will be covered in harmonic settings. ILGT-275
Recording/Practice Techniques for
ILGT-265 the Performing Guitarist
Guitar Lab – Performance Techniques 1 credit
and Comping Course Chair: L. Baione
0.5 credit Required of: None
Course Chair: L. Baione Electable by: Guitar principals
Required of: None Offered: Spring, Fall
Electable by: Guitar principals Prerequisites: ILGT-119
Offered: Spring, Fall
Prerequisites: ILGT-119 A course exploring a wide range of creative, aesthetic,
conceptual, and technical aspects of recording electric and
A performance lab for guitarists focusing on combining jazz acoustic guitar. Topics will include the creation of overdubbed
style harmonic techniques with the development of rhythmic parts in a recording session and related aspects of tone;
flexibility. This course is for students who wish to develop orchestration and concept; recording media; direct recording
these skills in an interactive setting. of electric guitar; microphone use and theory applied to
electric and acoustic guitar; use of equalization; compression
ILGT-267 and other effects in a recording environment; and mixing
Guitarist Approaches to Vocal Accompaniment and production concepts.
0.5 credit
Course Chair: L. Baione ILGT-280
Required of: None Classical Guitar Repertoire and
Electable by: Guitar principals Performance Class
Offered: Spring, Fall 1 credit
Prerequisites: ILGT-117 Course Chair: L. Baione
Required of: None
A Guitar Department course in which students will study Electable by: Guitar principals
methods and techniques specifically related to the Offered: Spring, Fall
accompaniment of vocalists in a variety of styles and settings. Prerequisites: ILGT-117
Students will learn appropriate repertoire; chord and melodic
techniques, including drop two and three, voicings, walking A workshop class for aspiring classical guitarists of all levels,
bass techniques, chord soloing techniques, and finger- and based on the traditional repertoire class, where standard
pick-style playing; and techniques for working with male and lesser known works of guitar literature are performed,
and female vocalists in solo, duo, trio, or larger settings. coached, and discussed. Students will regularly perform
level-appropriate pieces agreed upon with the instructor, and
ILGT-269 through these performances, the class will provide a survey
Polyrhythms for Guitar 1 of guitar literature. Coaching will cover issues of classical
0.5 credit guitar performance such as tone, technique, musicality,
Course Chair: L. Baione interpretation, and style. The course will also include study
Required of: None of major classical guitarists and their recordings.
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
73
Course Descriptions
Summer/Fall 2008
ILGT-281 ILGT-323
Classical Guitar Chamber Music 1 Guitarmony 2
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILGT-117 Prerequisites: ILGT-223
An intermediate-level lab focusing on the rehearsal and A lab for guitar principals continuing the development of
recording of literature written or transcribed for classical guitar. harmonic and voice-leading concepts introduced in ILGT-223.
Various string combinations and voicing sizes will be
ILGT-285 introduced, and a more in-depth examination of modal
Country Guitar Lab harmonies and upper-structure triads will be developed.
0.5 credit
Course Chair: L. Baione ILGT-325
Required of: None Walking Bass Line and Chords for Guitar
Electable by: Guitar principals 0.5 credit
Offered: Spring, Summer, Fall Course Chair: L. Baione
Prerequisites: ILGT-119 Required of: None
Electable by: Guitar principals
Performance of material from Country Guitar Styles, including Offered: Spring, Summer, Fall
single-note solos, pedal steel style, folk finger picking, and Prerequisites: ILGT-119
western swing.
A systematic technique developing a complete rhythm
ILGT-319 section style of accompaniment playing, ideal for duo
Guitar Styles of the Beatles and trio situations. Class participation involves weekly
0.5 credit performance of standard, jazz, blues, or Latin tunes.
Course Chair: L. Baione
Required of: None ILGT-327
Electable by: All Advanced Chord Soloing
Offered: Spring, Fall 1 credit
Prerequisites: ILGT-117, ILGT-119, and Course Chair: L. Baione
ensemble rating 3333 Required of: None
Electable by: Guitar principals
Study and performance of guitar riffs, leads, and grooves as Offered: Spring, Summer, Fall
recorded by Harrison, Lennon, and McCartney. Role of the Prerequisites: ILGT-227
guitar in pop/rock recording and production, including triads,
four-note voicings, characteristic rhythms, phrasing, effects, Students will record solo guitar pieces of their choice, which
layering, and the mini-orchestra concept. Developing typical may include original arrangements, transcriptions, adaptations
accompaniment patterns for contemporary songs. in various genres, and Guitar Department–produced handouts.
Recordings may also include chord soloing with rhythm section.
ILGT-321
Advanced Standard Workshop for the Guitarist ILGT-329
0.5 credit The Complete Rhythm Guitarist
Course Chair: L. Baione 0.5 credit
Required of: None Course Chair: L. Baione
Electable by: Guitar principals Required of: None
Offered: Spring, Fall Electable by: Guitar principals
Prerequisites: ILGT-221 and ensemble rating 4444 Offered: Spring, Fall
Prerequisites: ILGT-119
A continuation of ILGT-221 using standards that present
greater challenges. Tunes are prepared (melody, chords, A systematic group approach designed to expose students
bass line, and improvisation) for critiqued performance on a to the correct interpretation and techniques necessary to
weekly basis. Techniques for and approaches to improvisation, perform all styles of rhythm guitar playing. A taped rhythm
including the application of melodic and harmonic minor section is used for students to play along, which enhances
scales and diminished and whole tone scales. their musical experience in this very important area of
guitar performance.
74
Summer/Fall 2008
Course Descriptions
ILGT-331 ILGT-342
Guitar Synthesizer Lab George Van Eps Lab
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ILGT-117 Prerequisites: ILGT-119
Applications, scope, and limitations of guitar synthesizers. Study and performance of the chord solos of George Van Eps
Understanding the operating principles of guitar synthesizers through recordings and transcriptions. Students will focus on
as they have evolved with developments in technology. fingerings, phrasing, and harmonic voicings of the George
Discussion of appropriate performance techniques and Van Eps style.
related problems.
ILGT-343
ILGT-333 Jeff Beck Lab
Electronic Effects for Guitar 0.5 credit
0.5 credit Course Chair: L. Baione
Course Chair: L. Baione Required of: None
The last day
Required of: None Electable by: Guitar principals
to withdraw
Electable by: Guitar principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: ILGT-119 from a class
Prerequisites: None for Fall 2008 is
Study of guitar performance skills based on the music of Nov. 7, 2008.
Hands-on training with current digital equipment and Jeff Beck. Concentration on intonation, tone production,
electronic devices. Approaches to effective performance transcription skills, and a variety of techniques both
using various signal-processing equipment. conventional and unorthodox.
ILGT-340 ILGT-344
George Benson Lab Jim Hall Lab
1 credit 1 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ILGT-119 Prerequisites: ILGT-119
Study and performance of the guitar playing style of George Study and performance of the guitar playing style of Jim Hall
Benson through recordings and transcriptions. Students will through recordings and transcriptions. Students will explore Jim
focus on the artist’s harmonic, melodic, and rhythmic styles. Hall’s conceptual approaches to rhythm, melody, and harmony.
ILGT-341 ILGT-345
Jazz/Rock Improvisation for Guitar 2 Advanced Rock Guitar Performance Techniques
0.5 credit 1 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILGT-241 Prerequisites: ILGT-119
A continuation of ILGT-241, with more advanced theory Instrumental lab for guitar principals with third-semester
and techniques. Analysis becomes secondary, and in-class or higher standing. Emphasis on application of theory
performance is emphasized. Instructor demonstration and musicianship concepts presented in core music
is continued. studies (harmony and ear training) to modern rock
guitar improvisation.
75
Course Descriptions
Summer/Fall 2008
ILGT-346 ILGT-360
Music of the Allman Brothers Band Advanced Brazilian Guitar Styles
1 credit 1 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILGT-117 Prerequisites: ILGT-119
This course teaches guitarists the music of the Allman Brothers A study and performance of the Brazilian guitar tradition.
band. Students will be given transcriptions and learn to play the This course will look into the solo style of Baden Powell, teach
music of the Allman Brothers, which will include analysis and some of the chorihnos, and continue to expand upon the
improvisation pertaining to the harmonic structure of the tunes. repertoire of Antonio Carlos Jobim and more contemporary
Slide technique, pentatonic and modal scale applications, chord Brazilian composers.
forms, and arpeggios will also be incorporated into the class.
ILGT-363
ILGT-347 Advanced Reading
Jimi Hendrix Lab 0.5 credit
1 credit Course Chair: L. Baione
Course Chair: L. Baione Required of: None
Required of: None Electable by: Guitar principals
Electable by: Guitar principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: ILGT-119
Prerequisites: ILGT-119
Performance lab for guitar principals focusing on development
Study of guitar performance skills based on the music of of advanced reading skills. Each session will be thorough and
Jimi Hendrix. Concentration on intonation, tone production, challenging. Individual solos as well as group arrangements
transcription skills, and a variety of techniques both will be played.
conventional and unorthodox.
ILGT-365
ILGT-349 Advanced Guitar Performance Lab
Solo Jazz Guitar 1 credit
0.5 credit Course Chair: L. Baione
Course Chair: L. Baione Required of: None
Required of: None Electable by: Guitar principals
Electable by: Guitar principals Offered: Spring, Fall
Offered: Spring, Summer, Fall Prerequisites: By audition
Prerequisites: ILGT-119
For advanced guitar principals, continued development
This lab offers an in-depth analysis of complex harmonic of skills and techniques with emphasis on reading and
situations in the creation and performance of chord solos, group performance.
involving mechanical voicings derived from chord scales and
various reharmonization techniques. ILGT-367
Building Guitar Technique through Triads
ILGT-351 0.5 credit
Motivic Basis for Jazz Guitar Improvisation Course Chair: L. Baione
1 credit Required of: None
Course Chair: L. Baione Electable by: Guitar principals
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: ILGT-119
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 5555 This lab uses the original George Van Eps method for guitar.
The student is rigorously involved in developing a triad-oriented
Improvisation lab focusing more on melodic and motivic approach to the finger board. Topics covered include
resources and less on chord scales as basis for soloing in jazz harmonized scales and scale patterns, melodized triads, and
styles. Study of essential bop motives from Charlie Parker free improvisations. Strong emphasis on correct technique for
solos and their application to basic jazz forms including blues both right and left hands.
and rhythm changes.
76
Summer/Fall 2008
Course Descriptions
ILGT-369 ILGT-381
Polyrhythms for Guitar 2 Classical Guitar Chamber Music 2
0.5 credit 0.5 credit
Course Chair: L. Baione Course Chair: L. Baione
Required of: None Required of: None
Electable by: Guitar principals Electable by: Guitar principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILGT-269 Prerequisites: ILGT-281
This is a continuation of ILGT-269 (rhythmic displacement Sight-reading more advanced literature written or transcribed
in comping and soloing by the use of polyrhythms for classical guitar.
and polymeters).
ILGT-385
ILGT-371 Show/Theater Guitar Lab
Professional Guitar Styles 0.5 credit
0.5 credit Course Chair: L. Baione
Course Chair: L. Baione Required of: None
Required of: None Electable by: Guitar principals
Electable by: Guitar principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: ILGT-119
Prerequisites: ILGT-119
Performance and study of guitar books from Broadway
Designed to prepare guitarists for professional general shows, night clubs, and recording sessions.
business engagements, this lab will cover correct rhythm and
lead styles for all types of music commonly played on such ILGT-386
engagements. Other topics will include: hearing common Contemporary Sight-Reading Skills
chord progressions, forming a band, utilizing booking agents, for Guitarists
and running an engagement. 1 credit
Course Chair: L. Baione
ILGT-373 Required of: None
Linear Style of Pat Martino: Approaches to Electable by: Guitar principals
Jazz Improvisation Offered: Spring, Fall
0.5 credit Prerequisites: ILGT-117
Course Chair: L. Baione
Required of: None A sight-reading class for guitarists utilizing modern music
Electable by: Guitar principals in funk and jazz styles. The class will be based on a working
Offered: Spring, Fall guitarist's skills necessary to function in practical playing
Prerequisites: ILGT-119 situations. Drills will utilize play-along recordings where class
members will have to add parts on the spot. Guitar ensemble
Instrumental lab for guitar principals emphasizing performance material will also be used to gain ensemble, phrasing, and
in the style of Pat Martino. Study of etudes and line studies intonation skills, as well as big band charts reading lines,
as preparation for performing transcribed solos. Application comping chords, and improvising.
of linear concepts to improvisation.
ILPC-281
ILGT-375 Introduction to Timpani
Wes Montgomery Lab 0.5 credit
1 credit Course Chair: D. Anderson
Course Chair: L. Baione Required of: PERF and MUED total percussion
Required of: None principals, and PERF hand percussion principals
Electable by: Guitar principals Electable by: All percussion principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: None
Study and performance of the guitar playing style of Wes Emphasis on intervallic recognition, setting the pitch, tone
Montgomery through recordings and transcribed solos concepts, rolls, dynamics, and sticking. Performance of two
featuring Montgomery’s own fingerings, phrasing, etc. timpani etudes.
Focus on the artist’s blues and swing feel, spontaneous
improvisation, and individuality.
77
Course Descriptions
Summer/Fall 2008
ILPC-315 ILPD-111
Concert Snare Drum Techniques Drum Lab 1
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: PERF total percussion principals Required of: All drum set and total percussion
Electable by: All percussion principals principals, and PERF hand percussion principals
Offered: Spring Electable by: All percussion principals
Prerequisites: ILPD-211 and ILPD-235 Offered: Spring, Summer, Fall
Prerequisites: None
Technique, interpretation, and practical use of the snare drum
in a solo context. Development of basic snare drum grip and sticking
techniques, including reading studies, stick control, hand
ILPC-319 exercises, and basic rudiment studies.
Advanced Drum Rudiments 1
0.5 credit ILPD-112
Course Chair: D. Anderson Drum Lab 2
Required of: None 0.5 credit
Electable by: Drum set and total percussion principals Course Chair: D. Anderson
Offered: Spring, Fall Required of: All drum set and total percussion
Prerequisites: ILPD-112 principals, and PERF hand percussion principals
Electable by: All percussion principals
A study of the 26 American rudiments, the Swiss rudiments, Offered: Spring, Summer, Fall
and their variations. Application of rudimental vocabulary to Prerequisites: ILPD-111
successful performance of solo etudes, including Wilcoxon’s
Modern Swing Solos. Continued orchestral and rudimental snare drum studies
along with drum set time and improvisational skills utilizing
ILPC-419 12- and 32-measure tune forms primarily in the jazz context,
Advanced Drum Rudiments 2 including the use of brushes.
0.5 credit
Course Chair: D. Anderson ILPD-125
Required of: None Snare Drum Techniques for the
Electable by: All percussion principals Drum Set Principal
Offered: Spring, Fall 0.5 credit
Prerequisites: ILPC-319 Course Chair: D. Anderson
Required of: None
A continuation of ILPC-319. Additional learning resources will Electable by: All percussion principals
include the Percussive Arts Society’s Rudiments and Variations. Offered: Spring, Summer, Fall
Emphasis on application of rudimental vocabulary to effective Prerequisites: ILPD-111
performance of solo material.
Study of snare drum performance techniques and reading of
ILPD-110 constant odd meters, changing meters, polyrhythms over one
Drum Set for the Nonpercussionist and two beats, and metric modulation.
0.5 credit
Course Chair: D. Anderson ILPD-150
Required of: None Keyboard Musicianship for Percussionists
Electable by: All 0.5 credit
Offered: Spring, Summer, Fall Course Chair: D. Anderson
Prerequisites: None Required of: Drum set, hand percussion, marimba,
and total percussion principals
This course will provide an opportunity for nonpercussionists Electable by: Vibraphone principals
to develop entry-level performance abilities on the drum set. Offered: Spring, Summer, Fall
Emphasis will be placed upon teaching nonpercussionists to Prerequisites: None
become better rhythmists.
This is functional keyboard class that is required of drum set,
hand percussion, and total percussion principals (with no or
minimum keyboard skills) to assist with the assimilation of
concepts and skills taught in first-semester ear training,
harmony, and writing skills/arranging. An important aspect of
this class is the performance of musical concepts from the
workbooks of those respective classes. In addition, basic
technical issues are addressed including scale fingering,
independence of hands, specific exercises, and drills. Piano
playing concepts such as rotation, finger versus arm weight,
and wrist flexibility are also covered.
78
Summer/Fall 2008
Course Descriptions
ILPD-211 ILPD-225
Drum Lab 3 Jazz Repertoire Development and Application
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: Drum set principals Required of: None
Electable by: All percussion principals Electable by: All percussion principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: ILPD-112 Prerequisites: ILPD-112
Development of fluency and effectiveness with Afro-Cuban This course will enhance the learning and playing of standard
and Brazilian rhythms applied to drum set with an emphasis repertoire for drum set in various jazz styles. Approximately fifty
on form. Continued brush, orchestral, and rudimental snare songs will be analyzed, studied, and memorized. This course is
drum studies. designed to allow the student to gain a working knowledge of
the standard repertoire. This course is designed to expand upon
ILPD-212 the repertoire that currently is studied in the department’s drum
Drum Lab 4 lab program, elective labs, and core curriculum.
0.5 credit
Course Chair: D. Anderson ILPD-P228
Required of: PERF drum set principals Drumming Styles of Contemporary Pop/R&B
Electable by: All percussion principals and Hip/Hop
Offered: Spring, Summer, Fall 0.5 credit
Prerequisites: ILPD-211 Course Chair: D. Anderson Prototype
Required of: None
Intermediate-to-advanced drum set chart reading and Electable by: Drum set principals
improvisation studies, notation, and repertoire. Continued Offered: Spring, Fall
orchestral and rudimental snare drum studies. Prerequisites: ILPD-112
79
Course Descriptions
Summer/Fall 2008
ILPD-233 ILPD-P250
Funk Repertoire Development and Application Global Sight-Reading and Advanced
0.5 credit Rhythmic Solfege
Course Chair: D. Anderson 0.5 credit
Required of: None Course Chair: D. Anderson Prototype
Electable by: All percussion principals Required of: None
Offered: Spring, Summer, Fall Electable by: All percussion principals
Prerequisites: ILPD-112 Offered: Spring, Fall
Prerequisites: ILPD-221
Funk Drumming Lab is a study of various bands and individual
artists who played a prominent role in the development of This performance-oriented lab draws on sources from a
funk, soul, and r&b music in the mid- to late-twentieth variety of musical traditions from around the globe, utilizing
century. There will also be studies of pertinent grooves and them as foundations for advanced sight-reading and recita-
the techniques necessary to execute them. Studies will include tion exercises. Through application of Indian, Middle Eastern,
sticking patterns, phrasing, and coordination techniques. Latin-American, Balkan, and African rhythmic structures to
the playing, reciting, or singing of complex rhythmic
ILPD-235 structures, students are familiarized with odd time meters
Polyrhythms 1 and other challenging time concepts, as well as the rhythmic
0.5 credit vocabularies characteristic of the aforementioned regions.
Course Chair: D. Anderson
Required of: PERF total percussion principals ILPD-261
Electable by: All percussion principals Jazz Drum Styles
Offered: Spring, Summer, Fall 0.5 credit
Prerequisites: ILPD-112 Course Chair: D. Anderson
Required of: None
Rhythm and meter studies including basic figures, metric Electable by: All
modulation, and superimposition. Offered: Spring, Summer, Fall
Prerequisites: None
ILPD-237
Acoustic Characteristics of the Drum Set A study of drummers in the jazz idiom. Resources include
0.5 credit audio and video examples, articles, transcriptions, and
Course Chair: D. Anderson demonstrations. Artists covered will include Joey Baron,
Required of: None Brian Blade, Art Blakey, Larry Bunker, Jon Christensen, Jimmy
Electable by: All percussion principals Cobb, Troy Davis, Alan Dawson, Jack DeJohnette, Al Foster,
Offered: Spring, Summer, Fall Steve Gadd, Billy Hart, Roy Haynes, Billy Higgins, Elvin Jones,
Prerequisites: None Lewis Nash, Bill Stewart, and Jeff Watts.
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Summer/Fall 2008
Course Descriptions
ILPD-263 ILPD-317
Rock Drum Styles Advanced Brush Lab
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: None
Electable by: All Electable by: All percussion principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: ILPD-217
A study of drummers in the rock idiom. Resources include Building on ILPD-217, this course offers students the
audio and video examples, articles, transcriptions, and opportunity to improve basic skills. Studies include ballad
demonstrations. Artists covered will include Gregg Bissonette, and swing patterns, odd meters, Latin, solo, and ensemble
Cindy Blackman, Terry Bozzio, Phil Collins, Will Calhoun, playing. Various contemporary brush stylists will be examined.
Stewart Copeland, Steve Ferrone, Greg Errico, Steve Jordan, In addition, continued repertoire study is included.
Manu Katche, Vinnie Paul, Simon Phillips, Jeff Porcaro, Mike
Portnoy, J.R. Robinson, Chad Smith, and Steve Smith. ILPD-331
Contemporary Electronic Percussion
ILPD-264 0.5 credit
Funk Drum Styles Course Chair: D. Anderson
The last day
0.5 credit Required of: None
to add or drop
Course Chair: D. Anderson Electable by: All percussion principals
Required of: None Offered: Spring, Fall a course for
Electable by: All Prerequisites: ILPD-211 Summer 2008
Offered: Spring, Summer, Fall is June 6, 2008.
Prerequisites: None A comprehensive course on functioning in today’s music world
with the latest electronic instruments in modern percussion.
A study of drummers in the funk idiom. Resources include The program includes hands-on work with electronic drum
audio and video examples, articles, transcriptions, and kits, drum machines, and the programming, triggering, and
demonstrations. Artists covered will include Dennis Chambers, interfacing of the same.
David Garibaldi, Roger Hawkins, Harvey Mason, Zigaboo
Modeliste, Bernard Purdie, Jabbo Starks, Clyde Stubblefield, ILPD-332
and others. Techno Drum Set Performance
1 credit
ILPD-265 Course Chair: D. Anderson
World Drum Styles Required of: None
0.5 credit Electable by: Drum set, total percussion, and
Course Chair: D. Anderson hand percussion principals
Required of: None Offered: Spring, Fall
Electable by: All Prerequisites: ILPD-211
Offered: Spring, Summer, Fall
Prerequisites: None This course responds to the work of DJs and programmers
who have opened up new ground in the world of drumming
A study of percussionists and drummers in various world with their samples, loops, and innovative programming.
music idioms. Resources include audio and video examples, This course will present ways in which these same samples,
articles, transcriptions, and demonstrations. Artists covered loops, and programs can be applied to the drum set. Focusing
will include Alex Acuna, Luis Conte, Daduka de Fonseca, on the work of artists such as Underworld, DJ Shadow,
Trilok Gurtu, Horacio Hernandez, Giovanni Hidalgo, Zakir Aphex Twin, Squarepusher, and others, students will
Hussain, Airto Moreira, and others. transcribe and orchestrate the rhythms and beats of these
artists and then perform these transcriptions in solo, duo,
ILPD-271 and trio drum set contexts.
Lead Sheet Interpretation
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: ILPD-211
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Course Descriptions
Summer/Fall 2008
ILPD-333 ILPD-341
Advanced Drum Chart Reading Contemporary Electronic Percussion 2
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: None
Electable by: All percussion principals Electable by: All
Offered: Spring, Fall Percussion Department principals
Prerequisites: ILPD-212 Offered: Spring, Fall
Prerequisites: ILPD-331
Musical applications of skills associated with reading in
professional performance situations: drum parts, lead sheets, This course is a follow-up to Contemporary Electronic
sight-reading, song forms, soloing, playing with brushes, Percussion Lab. It delves into three new primary areas:
show charts, shifting time-feels, and changes of meter. 1) Laptop/computer software applications of electronic
Extensive use of prerecorded materials in both large and percussion. The course begins with programming drum
small ensemble configurations. grooves in Propellerhead’s Reason. Students learn to trigger
sounds and samples in Reason (and other applications)
ILPD-335 with electronic percussion controllers.
Polyrhythms 2 2) Electronic drum kit (i.e., modular kits such as the Roland
0.5 credit V-Drums) applications of electronic percussion.
Course Chair: D. Anderson 3) Exploring electronic percussion options within as well as
Required of: None outside the realm of MIDI. By demonstrating the ways and
Electable by: All percussion principals means of processing acoustic drums and percussion sounds
Offered: Spring, Summer, Fall via the laptop, the course looks at audio and DSP options
Prerequisites: ILPD-235 for electronic percussionists.
82
Summer/Fall 2008
Course Descriptions
ILPD-355 ILPD-363
African Rhythms for Drum Set World Beat Pop Lab
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: All percussion principals
Electable by: Drum set, total percussion, and Electable by: All percussion principals
hand percussion principals Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: ILPD-211
Prerequisites: ILPD-211 and ILPH-351
Study of drum grooves found in contemporary pop music
This course is a practical application of traditional African around the world, such as Nigerian ju-ju, Brazilian tropicalissimo,
rhythms and their application to drum set performance and Latin hip-hop, and others. Students will recreate beats through
their use in contemporary Afro-pop music. This course will study of transcriptions, recordings, and performances with
examine many of the commonly used rhythmic concepts, tapes and sequences.
metric meters, and an analysis of important Afro-pop artists
such as Salif Keita (Mali), Baaba Maal (Senegal), Angelique ILPD-367
Kidjo (Benin), King Sunny Ade (Nigeria), and Tabu Ley Rhythmic Concepts: Broken Eighth-Note Feels
Rochereau (Zaire). 0.5 credit
Course Chair: D. Anderson
ILPD-357 Required of: None
South American Rhythms for Drum Set Electable by: Drum set principals
0.5 credit Offered: Spring, Summer, Fall
Course Chair: D. Anderson Prerequisites: ILPD-211 or by audition
Required of: None
Electable by: Drum set, hand percussion, and This course is an in-depth exploration of the rhythmic jazz feel
total percussion principals of straight note jazz, also known as the broken eighth-note
Offered: Spring, Fall jazz feel. The class will center on playing and performance
Prerequisites: ILPD-211 or by audition by the participants in the class. The course material will be
presented through demonstrations, recordings, videos,
This course develops integrated applications of all South transcriptions, and handouts generated specifically for
American percussion concepts for the drum set. Topics include the course.
identification of various Brazilian, Venezuelan, Uruguayan,
Peruvian, Colombian, and Argentinean musical instruments ILPD-369
and drum set applications of all rhythms (both with and Double Bass Drum Studies
without a percussionist). Topics are examined from both 0.5 credit
traditional and nontraditional perspectives. Course Chair: D. Anderson
Required of: None
ILPD-361 Electable by: All percussion principals
Understanding Grooves Offered: Spring, Summer, Fall
0.5 credit Prerequisites: None
Course Chair: D. Anderson
Required of: None This lab explores the application of two bass drums (and
Electable by: Drum set and total percussion principals double pedal) in the rock, jazz/rock, and funk/fusion styles.
Offered: Spring, Summer, Fall Technical coordination studies include feet positioning,
Prerequisites: ILPD-112 continuous and noncontinuous grooves, and double bass
fill/solo concepts.
A drum lab which takes “groove” back to its roots through
the music of New Orleans. Listening, analysis, and performance
of many grooves from the New Orleans style will be followed
with discussion of their influence on today’s music. Students
will learn to play a variety of grooves, as well as how to
incorporate a sense of “feel” into playing.
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Course Descriptions
Summer/Fall 2008
ILPD-373 ILPD-424
Afro-Cuban and Brazilian Rhythms for Caribbean Rhythms for Drum Set
the Drum Set 0.5 credit
1 credit Course Chair: D. Anderson
Course Chair: D. Anderson Required of: None
Required of: None Electable by: Drum set, hand percussion,
Electable by: Drum set and total percussion principals and total percussion principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILPH-357, ILPH-359, or by audition Prerequisites: ILPD-112
Intended for students who have completed ILPH-371, this Building on the foundation of ILPD-373, this lab will develop
course will develop integrated applications of all Latin integrated applications of Caribbean percussion concepts
percussion concepts for the drum set. Topics include drum for the drum set. Topics will include identification of various
set performance with no percussionist and with one or more musical styles from Trinidad, Martinique, Guadeloupe, Haiti,
percussionists, physical integration of percussion instruments Jamaica, Puerto Rico, Curacao, Cuba, and the Dominican
into the drum set for simultaneous performance by one player, Republic. Basic techniques and patterns for traditional
and creation of custom sets and set-ups for specific musical percussion instruments and drum set applications of all
situations. Topics will be examined from both traditional and rhythms (both with and without a percussionist) will be
nontraditional perspectives. discussed. All topics will be examined from both a traditional
and nontraditional perspective.
ILPD-381
Singing and Drumming Coordination Lab ILPD-431
0.5 credit Solo Construction for Drum Set
Course Chair: D. Anderson 0.5 credit
Required of: None Course Chair: D. Anderson
Electable by: All percussion principals, or others Required of: None
by permission of instructor Electable by: Vibraphone, drum set, hand
Offered: Spring, Fall percussion, and total percussion principals
Prerequisites: ET-212 and HR-212 Offered: Spring, Fall
Prerequisites: ILPD-211
This course will help students improve the rhythmic aspect
of singing as well as the singing aspect of drumming. It is The drum set as a solo instrument. Analysis and concepts of
especially suited to drummers and percussionists who wish to fours, eights, and full-chorus drum set solos. Concepts for
develop their craft by singing and drumming simultaneously. open drum solos, soloing over vamps, groove solos, in-time
It is also good for vocalists who wish to better understand solos, and out-of-time solos. All styles will be covered.
rhythm and rhythm styles.
ILPD-433
ILPD-419 Advanced Jazz Drumming
Rudimental Applications for Drum Set 0.5 credit
0.5 credit Course Chair: D. Anderson
Course Chair: D. Anderson Required of: None
Required of: None Electable by: Drum set principals
Electable by: All percussion principals Offered: Spring
Offered: Spring, Fall Prerequisites: ILPD-225 and ILPD-235
Prerequisites: ILPC-419
This lab emphasizes post-bop and modern jazz techniques.
A study of the traditional drum rudiments, including the Topics include advanced repertoire development, technique/
26 American rudiments and the Swiss rudiments, and their coordination development, polyrhythmic application, and
application to drum set performance. The study will include conceptual approaches along with transcription, listening,
application of polyrhythmic principles and nontraditional and analysis of a number of master drummers, such as
integration of the foot pedals. Roy Haynes, Jack DeJohnette, and Tony Williams.
84
Summer/Fall 2008
Course Descriptions
ILPD-439 ILPH-353
Advanced Fusion Drumming Native American Drumming Lab
0.5 credit 0.5 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: None
Electable by: All percussion principals Electable by: All
Offered: Spring Offered: Spring, Fall
Prerequisites: ILPD-339 Prerequisites: None
Advanced analysis and use of rhythms of other cultures, Study of various techniques and tribal styles of American Indian
including odd time signatures. Incorporation of these rhythms drumming using traditional songs as the repertoire for learning.
into jazz and rock music for drum set. Teaching style will be hands-on: students will perform on
traditional Native American drums and percussion instruments.
ILPH-293
Afro-Cuban Rhythms and Percussion ILPH-354
for Nonpercussionists Bata Rhythms/Afro-Cuban Ceremonial
1 credit Drumming Lab
Course Chair: D. Anderson Prototype 1 credit
Required of: None Course Chair: D. Anderson
Electable by: All nonpercussion principals Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: None Offered: Spring, Fall
Prerequisites: ILPH-293, ILPH-357, or by audition
Rhythms, song styles, and percussion instruments of Cuba and
other Afro-Caribbean regions. Development of performance Study of the spiritually based drumming of the Lucumi people
skills in various rhythm styles through study of basic techniques of Cuba. Development of performance skills through the
of characteristic percussion instruments. study of recordings, transcriptions, and videos. Involves
singing, chanting, and group performance.
ILPH-P297
Chart Reading for the Hand Percussionist ILPH-357
0.5 credit Afro-Cuban Rhythms and Percussion
Course Chair: D. Anderson Prototype 1 credit
Required of: Hand percussion principals Course Chair: D. Anderson
Electable by: Percussion principals Required of: ILPH-357 or ILPH-359 is required of
Offered: Spring, Fall hand percussion and drum set principals, PERF
Prerequisites: ILPH-111, ILPH-351, ILPH-357, total percussion principals, and PROM total
ILPH-359, and PSW-235 percussion principals. This course is not required
if ILPH-359 is taken.
This course will give hand percussion students practical Electable by: All percussion principals
reading experiences akin to contemporary musical settings. Offered: Spring, Summer, Fall
Students will read and perform charts, lead sheets and scores Prerequisites: None
written in western notation. They will develop performance
skills through the study of these varied musical examples. A lab for Percussion Department principals focusing on
rhythmic techniques and song styles of Cuban and other
ILPH-351 Afro-Antillean music and their related percussion instruments.
Drumming Styles of Ghana Development of performance skills through study of recordings,
1 credit transcriptions, and supervised ensemble playing. Note: ILPH-359
Course Chair: D. Anderson may be taken instead of this course.
Required of: Hand percussion principals
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
85
Course Descriptions
Summer/Fall 2008
ILPH-359 ILPH-391
Brazilian Rhythms and Percussion Steelpan Techniques for Percussionists
1 credit 1 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: ILPH-357 or ILPH-359 is required of Required of: None
hand percussion and drum set principals, PERF Electable by: All percussion principals
total percussion principals, and PROM total Offered: Spring, Summer, Fall
percussion principals. This course is not required Prerequisites: None
if ILPH-357 is taken.
Electable by: All A study of steelpan performance techniques designed for
Offered: Spring, Summer, Fall Percussion Department principals. Skills development will
Prerequisites: None include the sticking techniques required for steelpan players,
rhythmic patterns, scale-learning methods on the instrument,
A lab for Percussion Department principals focusing on and general performance techniques.
rhythmic techniques and song styles of Brazilian music and their
related percussion instruments. Development of performance ILPH-429
skills through study of recordings, transcriptions, and supervised Contemporary Techniques for Pop Percussion
ensemble playing. Note: ILPH-357 may be taken instead of 0.5 credit
this course. Course Chair: D. Anderson
Required of: None
ILPH-369 Electable by: Drum set, hand percussion,
World Percussion 2 and total percussion principals
1 credit Offered: Spring, Fall
Course Chair: D. Anderson Prerequisites: ILPH-351, ILPH-357, or ILPH-359
Required of: None
Electable by: All With emphasis on r&b, rock/funk, swing, motown, and pop
Offered: Spring, Summer, Fall styles, this course explores the study of small hand percussion:
Prerequisites: PSW-335 tambourine, shakers, cowbells, and cabasa, as well as congas,
bongos, and timbales, individually as well as in combination
This course will allow students who have taken PSW-335 to with each other to form multiple percussion setups. Transitions,
expand their techniques and knowledge of various world groove building, and coordination techniques will be analyzed
music styles. Spoken rhythms, hand and finger techniques, in class. Chart reading and interpretation, as well as some
frame drums, clay drums, tambourines, and any percussive transcription techniques, will be covered throughout
surface instrument will be covered. the semester. Knowledge of basic conga techniques is
strongly recommended.
ILPH-371
Advanced Afro-Cuban Rhythms and Percussion ILPH-451
1 credit Drumming Styles of Guinea
Course Chair: D. Anderson 1 credit
Required of: PERF hand percussion principals Course Chair: D. Anderson
Electable by: All Required of: PERF hand percussion principals
Offered: Spring, Fall Electable by: All percussion principals
Prerequisites: ILPH-293 or ILPH-357 Offered: Spring, Fall
Prerequisites: ILPH-351
Continuation of ILPH-357 and ILPH-359. Development of
more advanced techniques and concepts through deeper An intensive study of West African drumming styles from the
examination of evolution and derivations of the rhythmic Susu, Malinke, and Bagba people of Guinea, West Africa. Class
styles. Intended course outcomes include performance-level format will include hand drumming techniques for the djembe
group playing and improvisation as well as soloing. and stick patterns on the dununs (bass drums). All material
covered will be taught orally by the instructor along with video
ILPH-375 presentations. Repertoire will include Yankadi, Makuru, Kuku,
Practical Application of Afro-Latin Rhythms and Sinte. Authentic instruments will be provided.
1 credit
Course Chair: D. Anderson
Required of: Hand percussion principals
Electable by: All percussion principals
Offered: Fall
Prerequisites: ILPH-357
Course Descriptions
ILPH-459 ILPM-341
Brazilian Rhythms and Percussion 2 Marimba Transcriptions and Repertoire
1 credit 1 credit
Course Chair: D. Anderson Course Chair: D. Anderson
Required of: None Required of: All MUED, PERF, and PROM
Electable by: All marimba principals
Offered: Spring, Fall Electable by: Marimba, total percussion, and
Prerequisites: None vibraphone principals
Offered: Spring, Fall
A continuation of ILPH-359, with emphasis on the drumming Prerequisites: Written approval of instructor
styles of northeastern Brazil. Development of performance
skills through study of recordings, transcriptions, and A lab emphasizing skills essential for marimbists and
supervised ensemble playing. percussionists to develop a personalized repertoire and
contribute to performance literature for the marimba.
ILPM-121 Students will learn to adapt music for the marimba from
Mallet Lab 1 sources such as lead sheets; music for violin, guitar, and
0.5 credit harp; and transcribed recordings. Works composed for the
Course Chair: D. Anderson marimba will also be studied and performed.
Required of: PERF hand percussion principals
The last day
Electable by: All percussion principals ILPN-111
to add or drop
Offered: Spring, Summer, Fall Keyboard Lab – Reading 1
Prerequisites: None 0.5 credit a course for
Course Chair: S. Tiernan Fall 2008 is
A mallet-keyboard lab for Percussion Department principals Required of: Piano principals Sept. 19, 2008
with no prior mallet experience. Development of basic skills Electable by: Piano principals
required including grips, stroke, pedaling, dampening, sight- Offered: Spring, Summer, Fall
reading, basic four-mallet technique, and scales/arpeggios. Required of: None
Prerequisites: None
ILPM-221
Mallet Lab 2 Instrumental laboratory for piano principals emphasizing
0.5 credit reading studies in a variety of idioms.
Course Chair: D. Anderson
Required of: All non-PERF vibraphone principals ILPN-112
Electable by: All percussion principals Keyboard Lab – Reading 2
Offered: Spring, Summer, Fall 0.5 credit
Prerequisites: ILPM-121 or by audition Course Chair: S. Tiernan
Required of: Piano principals
A mallet-keyboard performance lab for Percussion Department Electable by: Piano principals
principals with some basic grounding in mallet work, including Offered: Spring, Summer, Fall
grips, scales, and reading experience. In this lab, the student Prerequisites: ILPN-111
will begin to address broader melodic, harmonic, and technical
issues involved in mallet playing, including the continuation of Continuation of ILPN-111. Reading studies in a variety
four-mallet technique applied to basic harmonic progressions. of idioms.
ILPM-231 ILPN-113
Mallet Keyboard Musicianship Keyboard Lab – Reading 3
1 credit 0.5 credit
Course Chair: D. Anderson Course Chair: S. Tiernan
Required of: PERF marimba and PERF total Required of: Piano principals
percussion principals Electable by: Piano principals
Electable by: Hand percussion, vibraphone, Offered: Spring, Summer, Fall
and total percussion principals Prerequisites: ILPN-112
Offered: Fall
Prerequisites: HR-112 and ILPM-121 Continuation of ILPN-112. Reading studies in a variety
of idioms.
This class is designed for the nonimprovising player to develop
musicianship skills by concentrating on the integration of
harmony, melody, rhythm, and dynamics through the analysis
and performance of music ranging from Bach to the present.
87
Course Descriptions
Summer/Fall 2008
ILPN-121 ILPN-213
Keyboard Lab – Comping 1 Keyboard Lab – Chart Reading
0.5 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: Piano principals Required of: None
Electable by: Piano principals Electable by: Piano principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: ILPN-113 and ILPN-123
Instrumental laboratory for piano principals emphasizing Practical training in the kind of reading and comping skills
comping studies and the application of these techniques to a necessary for successful ensemble participation. Recorded
variety of idioms. Recorded material for play-along purposes. material for play-along purposes.
ILPN-122 ILPN-214
Keyboard Lab – Comping 2 Keyboard Lab – Advanced Reading
0.5 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: Piano principals Required of: None
Electable by: Piano principals Electable by: Piano principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ILPN-121 Prerequisites: ILPN-113 and ILPN-122
Instrumental laboratory for piano principals emphasizing Continuation of ILPN-113. This course increases sight reading
comping studies and the application of these techniques to a abilities in more challenging musical contexts. Through study
variety of idioms. Recorded material for play-along purposes. of tactile, sensorial exercises students gain intuitive knowledge
of the piano without having to look directly at the keyboard.
ILPN-123 Additional exercises improve the ability to maintain a steady
Keyboard Lab – Comping 3 pulse. Solo piano and two-piano repertoire from classical and
0.5 credit contemporary literature is performed weekly.
Course Chair: S. Tiernan
Required of: Piano principals ILPN-224
Electable by: Piano principals Keyboard Lab – Advanced Comping
Offered: Spring, Summer, Fall 0.5 credit
Prerequisites: ILPN-122 or ILPN-131 Course Chair: S. Tiernan
Required of: None
Instrumental laboratory for piano principals emphasizing Electable by: Piano principals
comping studies and the application of these techniques to a Offered: Spring, Summer, Fall
variety of idioms. Recorded material for play-along purposes. Prerequisites: ILPN-123
88
Summer/Fall 2008
Course Descriptions
ILPN-229 ILPN-241
Keyboard Lab - Improvisation for Advanced Stylistic Comping – Pop
Entering Students 0.5 credit
0.5 credit Course Chair: S. Tiernan
Course Chair: S. Tiernan Required of: None
Required of: None Electable by: Piano principals
Electable by: Entering student Piano principals Offered: Spring, Summer, Fall
Offered: Spring, Fall Prerequisites: ILPN-123
Prerequisites: Written approval of course chair
Instrumental laboratory for piano principals emphasizing
An improvisation course for entering piano principals who comping studies and the application of these techniques to
have limited improvisation experience. a variety of pop music styles. There will be use of recorded
material for play-along purposes.
ILPN-235
Upper Structure Triad Applications ILPN-242
0.5 credit Advanced Stylistic Comping – Funk/Fusion
Course Chair: S. Tiernan 0.5 credit
Required of: None Course Chair: S. Tiernan
Electable by: Piano principals Required of: None
Offered: Spring, Fall Electable by: Piano principals
Prerequisites: ILPN-123 Offered: Spring, Summer, Fall
Prerequisites: ILPN-113 and ILPN-123
This course involves the in-depth study of upper structure
triads (UST) in all chord types and triad combinations. Content Instrumental laboratory for piano principals emphasizing
and exercises focus on identification of triads for specific comping studies and their application to the funk/fusion
tension combinations, the study of techniques for comping idiom. Recorded material for play-along purposes.
in a group using a variety of USTs, and application of the
knowledge of USTs in a linear fashion for jazz improvisation, ILPN-243
and applying USTs as a technique for harmonizing melodies Advanced Stylistic Comping – Latin
in a solo piano format. 0.5 credit
Course Chair: S. Tiernan
ILPN-P237 Required of: None
Advanced Rhythmic Lab for the Keyboardist Electable by: Piano principals
0.5 credit Offered: Spring, Summer, Fall
Course Chair: S. Tiernan Prototype Prerequisites: ILPN-123
Required of: None
Electable by: Piano principals Instrumental laboratory for piano principals emphasizing the
Offered: Spring, Fall application of comping techniques to a variety of Latin and
Prerequisites: ILPN-113, ILPN-123 Latin-influenced jazz and pop music styles. Use of recorded
material for play-along purposes as well as transcriptions of
A lab workshop specifically designed to improve the key- comping of major Latin piano players.
boardist’s understanding and mastery of different rhythmic
concepts and their application on the keyboard into various ILPN-244
musical contexts. Students will learn percussion and speaking Advanced Stylistic Comping – Roots/Rock
rhythms, which they will apply on the keyboard. The course 0.5 credit
material will be based on different rhythmic approaches of Course Chair: S. Tiernan
jazz performers such as Jelly Roll Morton, Thelonious Monk, Required of: None
Danilo Perez, McCoy Tyner and others; 20th century Electable by: Piano principals
composers, including compositions by Oliver Messiaen, Gyorgy Offered: Spring, Fall
Ligeti, and Ginastera; and a variety of world music styles. Prerequisites: ILPN-112 and ILPN-123
89
Course Descriptions
Summer/Fall 2008
ILPN-245 ILPN-251
Advanced Stylistic Comping – World Music Keyboard Lab – Repertoire
0.5 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: None Required of: None
Electable by: Piano principals Electable by: Piano principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILPN-123 Prerequisites: ILPN-113 and ILPN-123
Instrumental laboratory for piano principals providing the Course focuses on memorizing tunes drawn from the jazz
opportunity to learn rhythmic, harmonic, and melodic comping standard repertoire. Techniques that enhance aural and
patterns and repertory in a variety of popular world music intellectual memory are studied, including harmonic and
styles. Focus is on artists and styles that are readily available, melodic analysis, cross-association of commonly used chord
including Afro-pop, reggae, Afro-funk, Middle Eastern rai, progressions, and frequently used melodic patterns. During
Greek, Balkan, and Indian popular music, and selected jazz and weekly performances in a two-piano setting, students learn
Latin American styles. Students will play written transcriptions how to arrange and transpose tunes, play bass line
along with sequenced rhythm patterns. accompaniment, and apply jazz improvisation techniques.
ILPN-246 ILPN-253
Afro-Cuban Piano Montunos Keyboard Lab – Improvisation
1 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: None Required of: None
Electable by: Piano principals Electable by: Piano principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILPN-113 and ILPN-122 Prerequisites: ILPN-122
This course emphasizes rhythmic aspects and the historical A performance lab intended for keyboardists with little
context of Afro-Cuban piano montunos. Harmonic vocabulary or no experience in improvisation. Instructional focus is
includes triads and sixth chords in inversions, and “A” and on understanding of materials of improvisation both
“B” standard jazz voicings for major, minor, and dominant theoretically and aurally, and assimilating these materials
seventh chords. Harmonic contexts used in class encompass into established musical forms and styles. Learning methods
one chord, I-IV-V-VI-I progression and variations, and standard include playing with tapes and MIDI sequences, various
jazz tunes. All examples are in duple meter. call-and-response activities, and writing, performing, and
analyzing improvisations.
ILPN-P247
Improvisation in Afro-Cuban Piano ILPN-261
0.5 credit Synth Techniques for Live Performance
Course Chair: S. Tiernan Prototype 1 credit
Required of: None Course Chair: S. Tiernan
Electable by: Piano principals Required of: None
Offered: Spring, Fall Electable by: Piano principals
Prerequisites: ILPN-246 Offered: Spring, Summer, Fall
Prerequisites: ILPN-123
The course explores the rhythmic and harmonic/melodic
vocabulary in Afro-Cuban piano improvisation. Phrasing with A performance-oriented lab designed for piano principals
the clave is a main focus of the course. Percussion instrument emphasizing basic synthesizer programming and performance
patterns are explored in depth as they relate to the clave and in a live situation. Focuses on orchestration, patch choices,
influence the role of the piano. Percussion (“quinto”) solos and playing multiple timbres simultaneously in any
are analyzed and compared to piano solos. Broad exposure to synthesizer setup.
a variety of piano solos will reveal typical elements of the
idiom. There will be more emphasis on 6/8 meter than in the
prerequisite course, ILPN-246.
90
Summer/Fall 2008
Course Descriptions
ILPN-266 ILPN-273
Gospel Keyboard Techniques Jazz Harmonic Applications
1 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: None Required of: None
Electable by: Piano principals Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILPN-123 Prerequisites: ILPN-272 or written approval of
instructor and course chair
This lab will expose the pianist to the stylistic diversity among
gospel keyboard performers. Through analysis, transcriptions, An organized approach to develop a thorough knowledge
and performance, students will gain practical performance of common harmonic vocabulary used in contemporary jazz
experience in playing hymns, traditional gospel pieces, and harmony, arranging, and composition. Foundation materials
contemporary gospel music. Focus will be on learning gospel established in ILPN-271 and ILPN-272 are applied to one-
music in the traditional way and will include learning by ear. handed and two-handed voicings through construction
The student will be exposed to the historical development of and supportive exercises. Designed for pianists and other
this spiritual music. instrumentalists who want to further develop keyboard skills.
ILPN-271 ILPN-P274
Jazz Harmonic Techniques for Piano 1 Jazz Harmonic Applications for Piano, Level 2
0.5 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: ILPH-273
Material to be covered includes scales, scale patterns, diatonic The course offers an organized approach to develop a
chords, available tensions, triads, seventh chords, guide tones, thorough knowledge of common harmonic vocabulary
simple voicing techniques and sight-reading lead sheets used in contemporary jazz established in ILPN-271, ILPN-272
(melody/chord symbols) of chord symbol. and ILPN-273 (Jazz Harmonic Techniques for Piano 1, Jazz
Harmonic Techniques for Piano 2 and Jazz Harmonic
ILPN-272 Applications 1) as applied to one-handed and two-handed
Jazz Harmonic Techniques for Piano 2 voicings through construction and supportive exercises.
0.5 credit Designed for pianists and other instrumentalists who want
Course Chair: S. Tiernan to further develop keyboard skills.
Required of: None
Electable by: All ILPN-P279
Offered: Spring, Fall Accompanying Techniques for the
Prerequisites: ILPN-271 Piano/Vocalist
1 credit
An organized approach to establishing a thorough foundation Course Chair: S. Tiernan Prototype
of knowledge and proficiency in keyboard for the study of Required of: Piano/Vocal Dual Instrumental Majors
jazz harmony, improvisation, and composition. A continuation Electable by: Piano principals
of ILPN-271. Material to be covered: additional exercises in Offered: Spring, Fall
scale patterns, diatonic sevenths in inversions, seventh chord Prerequisites: ILPN-122
inversions, harmonic tensions, voice leading, and sight-reading
of lead sheets (melody/chord symbols). Designed for pianists An instrumental laboratory for piano principals focusing on
and other instrumentalists who want to develop keyboard skills. tunes in various jazz, pop/rock and R&B styles. Students will
enhance technical skills, such as creating effective intros and
endings and performing in several rhythmic styles and feels,
as well as learning traits and requirements for being effective
accompanists. The course focuses on self-accompanying for
students who both play and sing.
91
Course Descriptions
Summer/Fall 2008
ILPN-335 ILPN-353
Hammond Organ Techniques Piano Style of Thelonious Monk
0.5 credit 1 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: None Required of: None
Electable by: Piano principals Electable by: Piano principals
Offered: Spring, Summer, Fall Offered: Fall
Prerequisites: ILPN-123 Prerequisites: Ensemble rating 5555
Instrumental lab for piano principals emphasizing fundamental A lab for piano principals emphasizing the melodic, harmonic,
techniques and skills involved in playing the Hammond organ rhythmic, and compositional innovations of Thelonious Monk.
in predominant contemporary styles, including jazz, r&b, blues, Studies will include listening and analysis of recordings;
rock, and funk. Study of recorded examples and transcriptions performance of transcriptions; and detailed analysis of
of influential performers. Monk’s compositional and improvisational techniques,
including his harmonic/rhythmic innovations and treatment
ILPN-337 of standard tunes.
Blues Styles for Hammond Organ
0.5 credit ILPN-365
Course Chair: S. Tiernan Rehearsal Techniques for the
Required of: None Pianist/Band Leader
Electable by: Piano principals 1 credit
Offered: Spring, Fall Course Chair: S. Tiernan
Prerequisites: ILPN-123 Required of: None
Electable by: Piano PERF majors
Instrumental lab for piano principals emphasizing techniques Offered: Spring, Fall
of playing the Hammond B3 organ in blues styles. Analysis Prerequisites: Overall ensemble rating 5
and performance of blues and blues-related music including
gospel, jazz blues, and soul. A two-hour lab for piano performance majors that focuses on
practical rehearsal techniques. The student applies rehearsal
ILPN-339 techniques to duos, trios, and larger ensembles with one or
Rock Styles for Hammond Organ more horns. Focus is on creating arrangements for the band,
0.5 credit understanding the role of the bass player and drummer,
Course Chair: S. Tiernan cueing, conducting, and playing and rehearsing with the
Required of: None band/singer.
Electable by: Piano principals
Offered: Spring, Fall ILPN-371
Prerequisites: ILPN-123 New Music Improvisation
1 credit
Instrumental lab for piano principals emphasizing techniques Course Chair: S. Tiernan
of playing the Hammond organ in rock styles. Study of Required of: None
recorded material and transcriptions of influential players; Electable by: Piano principals
in-class recording. Offered: Spring, Fall
Prerequisites: ILPN-113 and ILPN-121
ILPN-345
Hammond Organ Techniques 2 A lab for pianists to study improvisational systems and
0.5 credit structures using both traditional notation and other methods
Course Chair: S. Tiernan such as graphic, visual, or written instructions. Topics include
Required of: None motivic development; varied scales and harmonic materials;
Electable by: Piano principals dynamic registral and spatial contrasts; and repetition and
Offered: Spring, Fall variation of patterns with an emphasis on listening and group
Prerequisites: ILPN-335 interaction. Students are encouraged to develop their own
compositions for performance in class.
Continued study of specific techniques for Hammond organ
learned in ILPN-335, Hammond Organ Techniques 1. Greater
emphasis on left-hand bass and foot-pedal bass. Exploration
of the role of organ in a variety of settings, including jazz
organ trio, rock band, acid jam band, gospel choir, and
recording studio.
92
Summer/Fall 2008
Course Descriptions
ILPN-381 ILST-110
Classical Repertory for Two Pianos Cello Reading Lab 1
0.5 credit 0.5 credit
Course Chair: S. Tiernan Course Chair: M. Glaser
Required of: None Required of: First-semester cello principals
Electable by: Piano principals (other than those placing into Cello Reading
Offered: Spring, Summer, Fall Lab 2 through entrance audition)
Prerequisites: ILPN-113 and completion of Electable by: Cello principals
private instruction level 3 Offered: Spring, Fall
Prerequisites: None
An advanced instrumental lab for pianists that focuses on
traditional and twentieth-century literature for two pianos, This class will teach cellists how to be fluent and expressive
four hands. readers of standard music notation. It involves learning how
to process both the quantitative aspect (pitch, rhythm, and
ILPN-385 form) and the qualitative properties (phrasing, dynamics,
Classical Accompanying articulation, etc.) of written music. Using a variety of styles,
0.5 credit students in this class will work on recognizing common pitch
Course Chair: S. Tiernan patterns and rhythmic motives, “road maps” (repeats, da
Required of: None capos, codas, parallel and contrast phrase structures, and
Online Check-
Electable by: Piano principals typical harmonic progressions). Ear training skills will be
emphasized to develop the strong inner hearing crucial in for Summer
Offered: Spring, Summer, Fall
Prerequisites: PIPN-211 or written approval for good reading. 2008 begins
of instructor and course chair May 21, 2008.
ILST-111
The study and performance of traditionally notated accompani- Violin/Viola Reading Lab 1
ments for music in a wide variety of styles serving to enhance 0.5 credit
performances and rehearsal skills, as well as broaden Course Chair: M. Glaser
professional opportunities. Styles include opera, art songs, choral Required of: First-semester violin and viola
compositions and arrangements, and Broadway musicals. principals (other than those placing into ILST-211
through entrance audition)
ILPN-461 Electable by: Violin and viola principals
Jazz Piano Master Class Offered: Spring, Fall
1 credit Prerequisites: None
Course Chair: S. Tiernan
Required of: None This class will teach violinists/violists how to be fluent and
Electable by: Piano principals expressive readers of standard music notation. It involves
Offered: Spring, Summer, Fall learning how to process both the quantitative aspects (pitch,
Prerequisites: Ensemble rating 4444 rhythm, and form) and the qualitative properties (phrasing,
dynamics, articulation, etc.) of written music. Using a variety
An advanced performance lab for piano principals providing of styles, students in this class will work on recognizing
the opportunity to study, analyze, and perform the music of common pitch patterns, rhythmic motives, and “road maps”
selected jazz pianists in a master-class setting. Transcriptions of (repeats, da capos, codas, parallel and contrast phrase
materials to be studied will be distributed to provide the basis structures, and typical harmonic progressions). Ear training
for faculty-led analytical discussions. The addition of bass and skills will be emphasized to develop the strong inner hearing
drums will allow for performance in a complete group setting. crucial for good reading. Upon completion of this course
students will have improved their ability to read standard
ILRE-375 music notation fluently and musically in a variety of styles.
Recital Workshop for Performance Majors
0.5 credit ILST-121
Course Chair: M. Marvuglio Jazz Violin Lab
Required of: All fifth-semester PERF majors 0.5 credit
enrolled in Recital Preparation 1 Course Chair: M. Glaser
Electable by: Fifth-semester PERF majors Required of: None
Offered: Spring, Summer, Fall Electable by: String principals
Prerequisites: Private instruction level 4, Offered: Spring, Summer, Fall
performance track, and current enrollment Prerequisites: None
in RPXX-311
Advanced improvisational concepts and their application in
Required for all fifth-semester performance majors. Each strings. Reading charts with jazz phrasing, higher-level bowing,
student will perform three times during the semester. and left-hand development. Instrumentation: violin, viola.
Students will critique one another’s performances. Topics
to be discussed will include repertoire, stage presence,
constructive criticism, and mental preparation.
93
Course Descriptions
Summer/Fall 2008
ILST-131 ILST-141
Improvisational String Performance Lab Free Improvisation for Strings
0.5 credit 0.5 credit
Course Chair: M. Glaser Course Chair: M. Glaser
Required of: None Required of: None
Electable by: All Electable by: String principals
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: None
This is an improvisational lab designed to strengthen the This lab provides students with the opportunity to develop
basic skills needed for improvisation, including jazz harmony, improvisational skills through free improvisation. Players are
phrasing, melodic development, reading chord charts, and encouraged to create dynamic and rhythmic pieces using
technical aspects of playing jazz on string instruments. existing musical skills. Skills are expanded through the study
of the musical elements, complex time signatures, form, and
ILST-132 musical roles. Students learn to trust their instincts for the ebb
Improvisational String Performance Lab 2 and flow of music as they create satisfying ensemble pieces
0.5 credit with no prior plan or discussion.
Course Chair: M. Glaser
Required of: None ILST-210
Electable by: String principals Cello Reading Lab 2
Offered: Spring, Summer, Fall 0.5 credit
Prerequisites: ILST-131 Course Chair: M. Glaser
Required of: Cello principals
This improvisational lab is designed to continue to strengthen Electable by: Cello principals
the basic skills needed for improvisation, including jazz Offered: Spring, Fall
harmony, phrasing, melodic development, reading chord charts, Prerequisites: ILST-110
and technical aspects of playing jazz on string instruments.
This class will teach cellists how to be fluent and expressive
ILST-P135 readers of standard music notation. It involves learning how to
Rhythmic and Harmonic Approaches process both the quantitative aspect (pitch, rhythm, and form)
for Strings and the qualitative properties (phrasing, dynamics, articulation,
0.5 credit etc.) of written music. Using a variety of styles, students in this
Course Chair: M. Glaser Prototype class will work on recognizing common pitch patterns and
Required of: None rhythmic motives, “road maps” (repeats, da capos, codas,
Electable by: String principals parallel and contrast phrase structures, and typical harmonic
Offered: Spring progressions.) Ear training skills will be emphasized to develop
Prerequisites: HR-111 the strong inner hearing crucial for good reading.
Course Descriptions
ILST-240 ILST-290
Sound Reinforcement Techniques for Strings Rock Violin Lab
0.5 credit 0.5 credit
Course Chair: M. Glaser Course Chair: M. Glaser
Required of: None Required of: None
Electable by: String principals Electable by: String principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: ILST-240
This course provides an understanding of the technology This lab offers string players the opportunity to study and
available for effective performances in nonacoustic situations. play past and current rock violin styles, including the music of
Topics covered include pickups, microphones, electric Jerry Goodman, Sugar Cane Harris, Jean-Luc Ponty, and Boyd
instruments, amplifiers, effects, stage sound/monitors, mixers, Tinsley. Students will listen, transcribe, and perform weekly in
recording acoustic instruments, recording electric instruments, a variety of rock violin styles, including specific use of effects.
and how to take care of your acoustic instrument. We will also use the work of great rock guitarists, such as
Jimi Hendrix and Eric Clapton, as templates.
ILST-250
Recording Techniques for String Players ILVC-110
1 credit Vocal Lab: Elements Of Vocal Technique
Course Chair: M. Glaser 1 credit
Required of: None Course Chair: J. Shapiro
Electable by: String principals Required of: Voice principals
Offered: Spring, Fall Electable by: Voice principals
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: None
This is an interdivisional course that offers students in the
String Department, Professional Writing Division, and Music Introductory fundamentals lab designed to address the
Production and Engineering Department insight into how basic elements of singing (e.g., breath management,
to operate most efficiently in the recording studio. The intonation, tone quality, phrasing). Song materials will be
course will be divided into three or four sections of three selected in consultation with the private instructor. Students
weeks each. In each section, all participants will meet in the will participate in periodic self-assessment and videotaped
recording studio to record one or more works written by a in-class performance.
Writing Division student for strings, or strings with other
tracks previously recorded. ILVC-111
Vocal Sight-reading Techniques 1
ILST-271 0.5 credit
World Fiddle Group Course Chair: J. Shapiro
0.5 credit Required of: Voice principals
Course Chair: M. Glaser Electable by: Voice principals
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: ET-111
Offered: Spring, Summer, Fall
Prerequisites: None Introductory lab for singers to further develop listening skills,
reading notation, concepts of rhythm, intervals, chord
This lab will examine the way string instruments and changes, time-feels, and grooves applied to singing lyrics and
improvisation are used in a variety of musical cultures pitches simultaneously; sight-reading will include lead sheets,
including Indian, Middle Eastern, Eastern European, bluegrass, sheet music, and specific vocal arrangements.
New England contradance, and Texas swing.
ILVC-115
Musical Independence Skills for Singers
0.5 credit
Course Chair: J. Shapiro
Required of: None
Electable by: Voice principals
Offered: Spring, Summer, Fall
Prerequisites: None
Summer/Fall 2008
ILVC-121 ILVC-141
Vocal Pop/Rock/Country Styles Lab Beginning Improvisation for Singers
0.5 credit 0.5 credit
Course Chair: J. Shapiro Course Chair: J. Shapiro
Required of: Voice principals Required of: None
Electable by: Voice principals Electable by: Voice principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: None
Introductory pop/rock/country performance lab for voice A lab for vocalists focusing on basic skills in improvisation
principals designed to prepare students for solo performance in in a variety of styles. Melodic and rhythmic phrasing,
ensembles and other performing venues within a specific song embellishments, using tone colors, and hearing basic blues
style. Vocalists will learn how to count off tempos of songs, patterns in vocal styles including pop, rock, r&b, and jazz.
microphone technique, song style and groove, communication
with the accompanist, and lead sheet preparation. ILVC-151
Acting Skills for the Vocalist
ILVC-122 0.5 credit
Vocal Jazz/Blues Styles Lab Course Chair: J. Shapiro
0.5 credit Required of: None
Course Chair: J. Shapiro Electable by: Voice principals
Required of: Voice principals Offered: Spring, Fall
Electable by: Voice principals Prerequisites: None
Offered: Spring, Summer, Fall
Prerequisites: None This lab is designed to increase body awareness and develop
the stage presence and performance skills of vocalists through
Introductory jazz/blues performance lab for voice principals the use of acting techniques. Improvisational acting methods
designed to prepare students for solo performance in will be utilized in song performances.
ensembles and other performing venues within a specific song
style. Vocalists will learn how to count off tempos of songs, ILVC-P161
microphone technique, song style and groove, communication The Professional Vocalist Audition Workshop
with the accompanist, and lead sheet preparation. 1 credit
Course Chair: J. Shapiro Prototype
ILVC-123 Required of: None
Vocal R&B Styles Lab Electable by: Voice principals
0.5 credit Offered: Spring, Fall
Course Chair: J. Shapiro Prerequisites: None
Required of: Voice principals
Electable by: Voice principals A workshop setting for vocalists that will focus on preparing
Offered: Spring, Summer, Fall for an audition, creating a portfolio of audition pieces useful
Prerequisites: None in the present music industry. This course will help empower
students with his or her choice of song materials, as well as
Introductory r&b performance lab for voice principals designed develop each singer's individual-centered self-image. Students
to prepare students for solo performance in ensembles and will learn how to use the audition process to showcase
other performing venues within a specific song style. Vocalists individual artistry and gain a better understanding of the
will learn how to count off tempos of songs, microphone dynamics involved in the audition/interview process.
technique, song style and groove, communication with the
accompanist, and lead sheet preparation. ILVC-210
Elements of Vocal Technique for
ILVC-131 Nonvoice Principals
American Diction for Singers 1 credit
1 credit Course Chair: J. Shapiro
Course Chair: J. Shapiro Required of: MTHE majors
Required of: None Electable by: Nonvoice principals
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Fall Prerequisites: None
Prerequisites: None
A lab for nonvoice principals designed to address the basic
Improvement of English language pronunciation and elements of singing: breath management, intonation, tone
articulation through the application of English language quality, and phrasing. Students will participate in periodic
phonetics in pop, rock, and jazz vocal styles. Song delivery self-assessment, including videotaping of in-class performance.
and stylistic interpretation; weekly listening examples;
specific assignments in diction and lyrical interpretation;
weekly class performance.
96
Summer/Fall 2008
Course Descriptions
ILVC-211 Swingle Singers; Take 6; and Manhattan Transfer. Students
Vocal Sight-Reading Techniques 2 will strive for authentic performances through listening,
0.5 credit studying printed transcriptions, emulating tone, articulation,
Course Chair: J. Shapiro diction, and phrasing of specific vocal arrangements.
Required of: Voice principals Materials covered vary according to the starting level of
Electable by: Voice principals the student group. A final performance is required.
Offered: Spring, Summer, Fall
Prerequisites: ILVC-111 ILVC-P223
Flo-ology: Spoken Word and Improvisation
A continuation of ILVC-111. Additional concentration on 1 credit
singing lyrics on chord tones, seventh chords, minor chords, Course Chair: J. Shapiro Prototype
and modes in different time-feels and grooves. Required of: None
Electable by: Voice principals
ILVC-P213 Offered: Spring, Fall
Performance Practice: Inspiration, Wellness Prerequisites: ILVC-141
and Demystifying Improvisation
0.5 credit A performance lab that reviews styles of spoken word and
Course Chair: J. Shapiro Prototype improvisation, utilizing cultural and literary art forms of
Required of: None expression in America. Students will have the opportunity to
Electable by: All learn the primary influences of African Americans in the
Offered: Spring, Fall shaping of particular genres. Topics include literary works
Prerequisites: None from historical periods ranging from the Harlem Renaissance
and early street poetry to present day hip-hop, spoken word,
This course is open to all vocalists and instrumentalists, and free style, using the blues and other musical formats with
offering a unique concept of musicianship beyond basic accompaniment. Some research and a written paper are
practice of scales and song-learning. Students will learn skills required at the end of the semester.
and techniques including relaxation exercises, chant, working
with overtones and timbre, and movement to help in ILVC-P231
overall performance. Acapella Workshop
1 credit
ILVC-P218 Course Chair: J. Shapiro Prototype
Eastern Vocal Styles Required of: None
1 credit Electable by: Voice principals
Course Chair: J. Shapiro Prototype Offered: Spring, Fall
Required of: None Prerequisites: By audition
Electable by: Voice principals
Offered: Fall Vocal lab that concentrates on small group singing without
Prerequisites: None instrumental accompaniment. Content will focus on
developing musical independence and ear training within the
An interactive music survey course that will focus on vocal context of popular and jazz vocal styles. Vocal styles and song
styles of the Middle East, Eastern Europe, and India through selections that may be included will be music from Take Six,
listening, transcription and performance. Artists covered will Singers Unlimited, Manhattan Transfer, The Bobs, Impact,
include Um Kulthum (Egypt), Bulgarian Women's Choir, New York Voices, and The King Singers, as well as original
Cheb Mami (Algeria), Nusrat Fateh Ali Khan (Pakistan), and compositions and arrangements.
Taraf de Haidouks (Romania), as well as popular cross-over
artists, such as Ofra Haza, Sussan Deyhim, Natacha Atlas, and ILVC-241
Sheila Chandra. Students will also experiment with microtonal Vocal Lab – Jazz Fundamentals
modes and scales and learn to hear and execute them. 0.5 credit
Course Chair: J. Shapiro
ILVC-221 Required of: None
Vocal Jazz History Lab Electable by: Voice principals
1 credit Offered: Spring, Fall
Course Chair: J. Shapiro Prerequisites: None
Required of: None
Electable by: All An introductory lab for aspiring jazz vocalists. Study of
Offered: Spring, Fall American composers and repertoire including Porter,
Prerequisites: By audition and written approval Gershwin, Rodgers and Hart. Emphasis on sight-reading,
of instructor analysis, elements of swing, bebop and vocalese, rhythmic
figures, scales, and melodic embellishments.
Vocalists are immersed in the jazz music of important and
influential vocal groups from 1930 to present. Vocal groups
covered include the Boswell Sisters; the Mills Brothers; Mel
Torme and the Mel-Tones; Lambert, Hendricks, and Ross;
97
Course Descriptions
Summer/Fall 2008
ILVC-P243 ILVC-271
Instrumental Vocal Singing Microphones, PA Systems, and the Singer
1 credit 0.5 credit
Course Chair: J. Shapiro Prototype Course Chair: J. Shapiro
Required of: None Required of: PERF voice majors
Electable by: Voice principals Electable by: Voice principals
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: Written approval of instructor Prerequisites: None
and course chair
A lab for vocalists providing an overview of sound-
This course provides vocal students with the opportunity to reinforcement equipment currently used in live performance
explore improvised vocal expression. Students learn to and how to use it effectively. Topics will include basic system
recognize the function of musical instruments within a specific hookup, kinds of microphones, PA mixers, and speakers,
style and how to apply these concepts in an ensemble. Content how to EQ individual vocal channels, adding effects,
also explores utilizing software applications, Reason, and Finale use of monitors, and communicating effectively with the
for vocal chart arrangements. sound person.
ILVC-251 ILVC-281
Rehearsal Techniques for Vocalists Performance Skills for the Background Singer
1 credit 0.5 credit
Course Chair: J. Shapiro Course Chair: J. Shapiro
Required of: None Prerequisites: None
Electable by: Voice principals Electable by: Voice principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ENVC-111 Prerequisites: None
A lab designed to prepare singers for performance with Vocal lab concentrating on techniques and performance skills
accompanying instrumentalists. Students will conduct open necessary for background singing in live performance venues.
rehearsals of their own basic arrangements of pop, rock, jazz, Topics include intonation, blend, rhythmic phrasing, riffs and
and r&b tunes. Emphasis on communication skills, effective embellishments, entrances and cutoffs, voicings, written
rehearsal procedures, and the independent and collective role versus head arrangements, stage presence, microphone
of each rhythm section member. Intended to increase the settings, and microphone technique.
singer’s aptitude for participation in college ensemble offerings.
ILVC-311
ILVC-261 Vocal Sight-Reading Techniques 3
Vocal Skills for the Self-Accompanying Singer 0.5 credit
0.5 credit Course Chair: J. Shapiro
Course Chair: J. Shapiro Required of: None
Required of: None Electable by:
Electable by: Voice principals Voice principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ISKB-212, piano private instruction Prerequisites: ILVC-211 or ensemble rating 4
level 2, or guitar private instruction level 2 in reading (first digit of rating)
A lab for singers who accompany themselves and wish to A continuation of ILVC-211. Additional concentration on
develop vocal performing skills. Topics will include basic singing lyrics on various chords, modes, and pentatonic scales
singing techniques, tone quality, diction, projection, stylistic in different time-feels and grooves.
vocal delivery and approaches, stage presence, and effective
utilization of microphones and PA systems.
98
Summer/Fall 2008
Course Descriptions
ILVC-321 ILVC-371
Vocal Pedagogy Musical Theater Vocal Lab
1 credit 1 credit
Course Chair: J. Shapiro Course Chair: J. Shapiro
Required of: None Required of: None
Electable by: Voice principals or MUED majors Electable by: Voice principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILVC-110 and written approval of Prerequisites: By audition and concurrent
instructor and course chair enrollment in ENVC-231
This course is an introductory class designed to guide Performance workshop designed to provide singers with an
advanced upper-semester voice students interested in learning understanding of repertoire, styles, and basic stagecraft. In
effective teaching skills as a private voice teacher. Students conjunction with ENVC-231, an end-of-semester musical/
will be directed in vocal technique and how to structure a dramatic presentation will be scheduled. Note: Students must
lesson. As part of the class, students will work individually enroll in both ENVC-231 and ILVC-371.
with a private student under the direction of the course
instructor. Basic keyboard skills are recommended. ILVC-375
Advanced Performance Skills for
ILVC-331 the Background Singer
Online Check-
Advanced Vocal Performance Lab 1 0.5 credit
in for Fall
1 credit Course Chair: J. Shapiro
Course Chair: J. Shapiro Required of: None 2008 begins
Required of: None Electable by: Voice principals Sept. 1, 2008.
Electable by: Voice principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Ensemble rating 5555 or by audition
Prerequisites: One of the following: ILVC-121,
ILVC-122, ILVC-123, or overall ensemble rating 4 A continuation of ILVC-281 concentrating on more difficult
vocal arrangements in live performance venues.
A continuation of vocal styles study with emphasis on song
interpretation, elements of style, microphone technique, stage ILVC-381
presence, and rehearsing with a rhythm section. Studio Techniques for the Lead and
Background Singer
ILVC-333 0.5 credit
Foundations of Singing with Soul Course Chair: J. Shapiro
1 credit Required of: None
Course Chair: J. Shapiro Electable by: Voice principals
Required of: None Offered: Spring, Summer, Fall
Electable by: Voice principals Prerequisites: Private instruction level 3 and
Offered: Spring, Fall ensemble rating 3333
Prerequisites: ILVC-121, ILVC-122, or ILVC-123
A lab to introduce singers to the performance techniques
An introductory survey course that will offer students a historic and listening skills necessary for working in the recording
overview of the architects and pioneers of soul singing. studio. Topics will include overdubbing onto prerecorded
Students will study performance and vocal techniques, as well tracks, use of headphones, optimum headphone mix,
as be assigned listening examples required to successfully sing microphone technique, sight-reading versus head or ear
and perform rhythmic phrasing and nuances indicative of arrangements, and communication with the engineer,
soul, blues, rhythm & blues, gospel, and hip hop. In addition, producer, and music director. Performance considerations will
students will perform some music of great artists, such as Ray include live microphone technique, monitor systems and mix,
Charles, Minnie Ripperton, Fats Domino, Jean Carne, Sam stage presence, vocal intonation and blending, and vocal
Cooke, Jackie Wilson, Laverne Baker, Peabo Bryson, Wilson deliveries to suit specific musical styles.
Pickett, Mavis Staples, Donny Hathaway, Gladys Knight,
Sylvester, Glen Jones, Shirley Caesar, Mahalia Jackson, The
Clarke Sisters, Diana Ross and the Supremes, Martha Reeves
and the Vandellas, Tata Vega, Jeffrey Osbourne, George
Benson, Natalie Cole, Karen Wheeler, Lauren Hill, Luther
Vandross, Patti Labelle, and a host of others.
99
Course Descriptions
Summer/Fall 2008
ILVC-411 ILVC-481
Advanced Vocal Sight-Reading Skills Practice Skills for the Studio Singer
0.5 credit 1 credit
Course Chair: J. Shapiro Course Chair: J. Shapiro
Required of: None Required of: None
Electable by: All Electable by: Voice principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: ILVC-311 Prerequisites: ILVC-381
An advanced vocal lab developing the singer’s skills in reading Vocal lab intended to be taken following ILVC-381. Further
notation with lyrics in lead sheets. Topics include rhythmic development of performance skills necessary for effective
concepts, listening skills, and time-feels and grooves relevant functioning in the recording studio. Students will have
to contemporary song styles. Specific concentration on the opportunity to perform in the studio as soloists and
singing lyrics and reading notation on chord tones, diatonic background singers.
and pentatonic scales, minor chords, and modes over
contemporary grooves. ILWD-111
Woodwind Lab – Techniques 1
ILVC-431 0.5 credit
Advanced Vocal Performance Lab 2 Course Chair: W. Pierce
1 credit Required of: Woodwind principals
Course Chair: J. Shapiro Electable by: Woodwind principals
Required of: None Offered: Spring, Summer, Fall
Electable by: Voice principals Prerequisites: None
Offered: Spring, Summer, Fall
Prerequisites: ILVC-331, ensemble rating 6666, Reading studies, improvisational techniques, and practice
or by audition routines in a variety of styles. Lab content is musically related
to ensemble and private instrumental instruction materials.
A continuation of ILVC-331 with emphasis on song
interpretation, elements of style, microphone technique, ILWD-112
stage presence, and rehearsal techniques. Woodwind Lab – Techniques 2
0.5 credit
ILVC-433 Course Chair: W. Pierce
Advanced Latin and Jazz Vocal Required of: Woodwind principals
Performance Lab Electable by: Woodwind principals
1 credit Offered: Spring, Summer, Fall
Course Chair: J. Shapiro Prerequisites: ILWD-111
Required of: None
Electable by: Voice principals Reading studies, improvisational techniques, and practice
Offered: Spring, Fall routines in a variety of styles. Lab content is musically related
Prerequisites: By audition and written approval to ensemble and private instrumental instruction materials.
of instructor
ILWD-113
A performance lab designed for vocalists wishing to develop Woodwind Lab – Techniques 3
skills in the performance of Latin jazz and traditional jazz 0.5 credit
idioms. Students work with a rhythm section and perform Course Chair: W. Pierce
a concert towards the end of the semester. Vocalists will Required of: Woodwind principals
learn how to effectively interact with the rhythm section and Electable by: Woodwind principals
develop interpretative and musicianship skills necessary for Offered: Spring, Summer, Fall
performance. Topics covered include vocal improvisation as Prerequisites: ILWD-112
appropriate to song style, arrangement, tempos, grooves and
rhythms, key, and stage presence. Reading studies, improvisational techniques, and practice
routines in a variety of styles. Lab content is musically related
to ensemble and private instrumental instruction materials.
100
Summer/Fall 2008
Course Descriptions
ILWD-211 ILWD-311
Woodwind Improvisational Lab 1 Woodwind Improvisational Lab 2
0.5 credit 0.5 credit
Course Chair: W. Pierce Course Chair: W. Pierce
Required of: None Required of: None
Electable by: Woodwind principals Electable by: Woodwind principals
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: ILWD-113 Prerequisites: ILWD-113 or ILWD-211
A lab designed to give beginning and intermediate woodwind A continuation of ILWD-211, designed for the intermediate
students hands-on experience with jazz nomenclature, chord woodwind principal. Continued work with chord scales,
scale relationships, basic woodwind jazz articulation, jazz jazz articulation, and standard jazz repertoire; study and
vocabulary, and standard jazz repertoire. In-class playing performance of jazz solo transcriptions.
assignments will give students practice in the application of
theoretical, technical, and stylistic improvisational skills. The ILWD-321
study and performance of selected transcribed solos will Woodwind Doubling Lab – Flute
support learning of specific stylistic woodwind concepts. 0.5 credit
Course Chair: W. Pierce
ILWD-221 Required of: None
Practice Routines for Flute Electable by: All
0.5 credit Offered: Spring, Summer, Fall
Course Chair: W. Pierce Prerequisites: None
Required of: None
Electable by: All The study of the flute as a doubling instrument for the
Offered: Spring woodwind principal. Fundamentals of embouchure, breathing,
Prerequisites: None and technique are presented using representative methods,
etudes, and solos. Emphasis is placed on doubling situations.
A lab focusing on efficient and effective practice to develop
sound, technique, articulation, and other fundamentals. ILWD-322
Approaches to difficult passages; customization and Woodwind Doubling Lab – Clarinet
personalization of practice routines; how to avoid common 0.5 credit
mistakes in practicing. Scales, arpeggios, and chromatic Course Chair: W. Pierce
exercises are approached combining classical and jazz Required of: None
performance orientations. Consideration of flute players in Electable by: All
both fields and the application of color, dynamic range, Offered: Spring, Summer, Fall
vibrato, articulation, breathing, and tone development. In Prerequisites: None
addition to the material provided by the instructor, students
will bring their own choice of jazz and/or classical pieces to The study of the clarinet as a doubling instrument for the
perform in class. Basic and advanced material will be covered. woodwind principal. Fundamentals of embouchure, breathing,
and technique are presented using representative methods,
ILWD-241 etudes, and solos. Emphasis is placed on doubling situations.
Jazz Flute Lab
0.5 credit ILWD-323
Course Chair: W. Pierce Woodwind Doubling Lab-Saxophone &
Required of: None Theater Doubling
Electable by: All 0.5 credit
Offered: Spring Course Chair: W. Pierce
Prerequisites: ILWD-113 Required of: None
Electable by: All
This course is designed to help the flutist develop a jazz style Offered: Spring, Summer, Fall
of playing through the study of various practice routines and Prerequisites: None
the performance of standard jazz repertory. Students will
perform on a weekly basis with sequenced practice routines Performance experience taught by using solos and materials
and rhythm tracks of standard jazz tunes. from Broadway shows, such as, The Producers, Chicago, Beauty
and the Beast, Peter Pan, Into the Woods, and Porgy and Bess.
The class focuses on doubling situations using flute/piccolo,
piccolo/soprano/bass/contrabass clarinets, oboe/English horn,
soprano/alto/ tenor/baritone saxophones, and bassoon. Course
also explores other aspects, such as set-up (arrangement) of
instruments, reeds, and performance situations.
101
Course Descriptions
Summer/Fall 2008
ILWD-331 ILWD-351
Woodwind Doubling Lab – MIDI Wind Clarinet Choir
Controller 1 1 credit
0.5 credit Course Chair: W. Pierce
Course Chair: W. Pierce Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Fall
Offered: Spring, Summer, Fall Prerequisites: Ensemble rating 4434
Prerequisites: ILWD-113
Rehearsal and performance of traditional literature for
The study of the MIDI wind controller as a doubling instrument. clarinets with an emphasis on reading and interpretation.
Fundamentals of technique are presented with representative Includes clarinet choir materials in three, four, and five parts.
literature and MIDI sequences using various kinds of
synthesized voices. Students must own a MIDI wind controller. ILWD-355
Advanced Woodwind Sight-Reading Lab
ILWD-341 0.5 credit
Survey of Classical Flute Repertoire Course Chair: W. Pierce
1 credit Required of: None
Course Chair: W. Pierce Electable by: Woodwind principals
Required of: None Offered: Spring, Fall
Electable by: Woodwind principals Prerequisites: ILWD-113 and ensemble rating 4
Offered: Spring in reading (first digit of rating)
Prerequisites: ILWD-113
A course for advanced woodwind students wishing to
A study of the standard classical works essential for any improve their sight-reading skills. Reading exercises will cover
professional flutist’s repertoire. Through an interactive master- a wide range of styles including swing, bebop, funk, Latin,
class setting, students will learn performance practices in odd-meter jazz, and various studio styles. The course will
the baroque, classical, and nineteenth-century styles, as well as draw heavily from the required text Creative Reading Studies
various explorations of extended and experimental techniques by Joseph Viola. Other materials to be used include selected
found in twentieth-century compositions for the flute. Students études, transcribed solos, and exercises designed by the
will work with their own accompanists and perform frequently, instructor(s). The course will focus primarily on line reading,
including an end-of-semester public concert. although exercises that target chord-change reading may also
be included.
ILWD-343
Flute Choir ILWD-361
1 credit Saxophone Quartet
Course Chair: W. Pierce 1 credit
Required of: None Course Chair: W. Pierce
Electable by: All Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: Ensemble rating 4434 Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 4434
Rehearsal and performance of traditional literature for flutes
with an emphasis on reading and interpretation including A saxophone ensemble performing a mixture of traditional
flute choir materials for three, four, and five parts. and twentieth-century music for soprano, alto, tenor, and
baritone saxophone.
ILWD-345
Brazilian and Latin Flute Lab ILWD-365
1 credit Saxophone Section Playing
Course Chair: W. Pierce 0.5 credit
Required of: None Course Chair: W. Pierce
Electable by: Woodwind principals Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: ILWD-113
Study of characteristic rhythms, articulation, phrasing, and
improvisation techniques necessary to perform and interpret Aspects and techniques of playing in a saxophone section
music in various Latin styles. Creative and effective use of within the big band context: lead playing, blending with the
these skills in the student’s own improvisational style. lead and with the brass section, and section soli playing.
102
Summer/Fall 2008
Course Descriptions
ILWD-375 ISGT-231
Advanced Performance Saxophone Quartet Guitar Class for Music Therapists 1
1 credit 1 credit
Course Chair: W. Pierce Course Chair: L. Baione
Required of: None Required of: MTHE majors
Electable by: Saxophone principals, other Electable by: MTHE majors
woodwinds with level 5 ratings and saxophone Offered: Spring, Fall
doubling abilities, and written approval of Prerequisites: None
course chair
Offered: Spring, Fall Introduction to guitar performance skills with emphasis on
Prerequisites: Overall ensemble rating 5 applications in music therapy environments.
103
Course Descriptions
Summer/Fall 2008
ISKB-215 ISKB-322
Keyboard Skills for the Writer Keyboard Class 4 for Music Education Majors
1 credit 1 credit
Course Chair: S. Tiernan Course Chair: S. Tiernan
Required of: None Required of: MUED majors
Electable by: COMP, CWPR, FILM, JCMP, Electable by: MUED majors
and SONG majors Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: ISKB-321
Prerequisites: ISKB-212 or PIPN-111
Continued use of chorale style materials including some
A course designed to provide the Professional Writing Division standard public school literature. Further use of simple
students with the specialized keyboard skills necessary to melodies with rhythmicized chordal patterns in minor keys.
develop their composition abilities. This course will focus on Sight-reading of open score vocal arrangements. A complete,
developing sight-reading skills applicable to score-reading, simplified supplement for pop music, including melody with
lead-sheet reading, transposition, etc. Open to piano principals chordal accompaniment or chordal progressions with bass
or those who have completed basic keyboard classes. line. Standard progression studies.
ISKB-221 ISPC-221
Keyboard Class 1 for Music Education Majors Percussion Class for Music Education Majors
1 credit 1 credit
Course Chair: S. Tiernan Course Chair: D. Anderson
Required of: MUED and MTHE majors Required of: None
Electable by: MUED and MTHE majors Electable by: MUED and MTHE majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: None
For majors in music education. A graduated piano study for Functional study of percussion instruments. Technical
beginning students dealing with note reading, rhythm, and fundamentals of class instruction in music education. Use
technique. Materials range from separate hand studies to of representative elementary/secondary school methods
simple two-voice pieces and simple melodies with chordal and materials.
accompaniment. Technique involves scales and coordination
studies with fingering for various two-hand patterns. ISPC-231
Introduction to harmonization. Percussion for Music Therapy
1 credit
ISKB-222 Course Chair: D. Anderson
Keyboard Class 2 for Music Education Majors Required of: MTHE majors
1 credit Electable by: All
Course Chair: S. Tiernan Offered: Spring, Fall
Required of: MUED and MTHE majors Prerequisites: None
Electable by: MUED and MTHE majors
Offered: Spring, Summer, Fall Introduction to various percussion instruments, rhythms, and
Prerequisites: ISKB-221 techniques that can be used to facilitate drum circles and
interactive percussive events for the music therapy
Coordination studies leading to a simple chorale style. patient/client.
Introduction to transposition of simple melodies with
accompaniment (major keys). Continuation of scale studies ISST-221
and chordal patterns relating to harmonization. String Class for Music Education Majors
1 credit
ISKB-321 Course Chair: M. Glaser
Keyboard Class 3 for Music Education Majors Required of: None
1 credit Electable by: MUED majors
Course Chair: S. Tiernan Offered: Spring, Summer, Fall
Required of: MUED majors Prerequisites: None
Electable by: MUED majors
Offered: Spring, Summer, Fall Functional study of string instruments. Technical fundamentals
Prerequisites: ISKB-222 of class instruction in music education. Use of representative
elementary/secondary school methods and materials.
Further development of techniques necessary for functional
piano playing in public school teaching. Full chorale style
with the aid of graduated coordination studies. Emphasis on
rhythmicized accompaniment patterns and transposition of
material based on standard school music (major keys with
secondary dominants). Chorale-type accompaniments based
on various styles.
104
Summer/Fall 2008
Course Descriptions
ISVC-111 ISWD-223
Guitar Accompanying Skills for the Vocalist Double Reed/Saxophone Class for
0.5 credit Music Education Majors
Course Chair: J. Shapiro 1 credit
Required of: None Course Chair: W. Pierce
Electable by: Voice principals Required of: None
Offered: Spring, Summer, Fall Electable by: MUED majors
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: None
A lab for singers wishing to develop self-accompanying skills
on the guitar: chord forms, rhythmic patterns, etc. Functional study of the oboe and saxophone. Technical
fundamentals of classroom instruction in music education.
ISVC-112 Use of representative elementary/secondary school methods
Guitar Accompanying Skills for the Vocalist 2 and materials.
0.5 credit
Course Chair: J. Shapiro
Required of: None Internships
Electable by: Voice principals
Offered: Spring CM-495
For more
Prerequisites: ISVC-111 Composition Internship
information
2 credits
A continuation of ISVC-111 for singers wishing to further Course Chair: G. Fritze on internship
develop self-accompanying skills on the guitar. Course will Required of: None programs,
focus on the successful combination of guitar techniques (bar Electable by: COMP majors contact the
chords, power chords, elementary finger-picking styles, and Offered: Spring, Summer, Fall Office of
elementary lead guitar work) with a vocal selection suited to Prerequisites: Sixth-semester standing and Experiential
the student’s ability. written approval of course chair
Learning at
105
Course Descriptions
Summer/Fall 2008
106
Summer/Fall 2008
Course Descriptions
IN-497 IN-P498
Los Angeles Internship Program London Summer Internship Program
6 credits 6 credits
Course Chair: D. Gelinas, Course Chair: J. Kennedy Course Chair: D. Gelinas, J. Kennedy Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Summer
Prerequisites: 6th semester standing, satisfactory Prerequisites: 6th semester standing, satisfactory
completion of 50 credits by the start of the completion of 50 credits by the start of the
internship, minimum of 3.00 CCumGPA internship, minimum of 3.00 CCumGPA
(concentrate GPA) and 2.50 CumGPA (concentrate GPA) and 2.50 CumGPA
(overall GPA), and permission of Office of (overall GPA), permission of the Office of
Experiential Learning Experiential Learning.
Monitored and evaluated professional work experience in a Monitored and evaluated professional work experience in a
field related to student's course of study. All internships take field related to student’s course of study. All internships take
place in the Los Angeles area. The L.A. Internship Program place in London, England. Interns will be required to work at
involves a substantial workload commitment, comparable to the internship site four days per week for approximately 10
full-time study. Interns must work at the internship site weeks. Students will be required to attend a pre-departure
approximately 25 hours each week for approximately 12 orientation session in Boston and a second orientation upon
weeks. This program includes several workshops presented arrival in London. Housing for interns is secured by the
by Berklee alumni and prominent members working in the college. To apply for the London Summer Internship Program,
L.A. music industry and two required orientation sessions see the Office of Experiential Learning for application
(one at Berklee prior to internship and the other in Los materials. Enrollment in the Summer Internship Program is
Angeles at start of internship). Housing for interns is secured limited to situations approved by the Office of Experiential
by the college. For more information and to apply for the L.A. Learning. Note: Credit for prior experience is not available
Internship Program, see the Office of Experiential Learning due to the requirement of concurrent contract between the
to obtain materials. Enrollment in the L.A. Internship Program employer/supervisor and the college.
is limited. Internship site placement is limited to situations
approved by the Office of Experiential Learning. Students JC-495
enrolled in the L.A. Internship Program will be charged a Jazz Composition Internship
program participation fee instead of per-credit tuition charge. 2 credits
Note: Equivalent credit for prior experience is not available Course Chair: K. Pullig
due to the requirement of concurrent contract between the Required of: None
employer/supervisor and the college. Electable by: JCMP majors
Offered: Spring, Summer, Fall
International students in F-1 status must obtain authorization Prerequisites: Sixth-semester standing and
on their Form I-20 from the Counseling and Advising Center written approval of course chair
prior to beginning an internship.
Monitored and evaluated professional work experience in an
environment related to the jazz composition major. Placement
is limited to situations available from or approved by the
Office of Experiential Learning and the Jazz Composition
Department chair or designee. To apply for an internship,
students must see the internship coordinator in the Office of
Experiential Learning prior to registering. Note: Equivalent
credit for prior experience is not available due to the
requirement of concurrent contract between the
employer/supervisor and the college.
107
Course Descriptions
Summer/Fall 2008
MB-495 MS-495
Internship in Music Business/Management Music Synthesis Internship
2 credits 2 credits
Course Chair: D. Gorder Course Chair: K. Biederwolf
Required of: MBUS majors in music products Required of: None
industry track; MBUS students not taking Electable by: MSYN majors
MB-490/491 Offered: Spring, Summer, Fall
Electable by: MBUS majors Prerequisites: Written approval of course chair
Offered: Spring, Summer, Fall and MS-223
Prerequisites: Written approval of course chair,
MB-201, MB-225, MB-275, MB-351, either Monitored and evaluated professional work experience in an
MB-255 or MB-355, and one of the following: environment related to the music synthesis major. Placement
MB-331, MB-335, MB-337, MB-339, MB-340, is limited to situations available from or approved by the
or MB-341 Office of Experiential Learning and the Music Synthesis
Department chair or designee. To apply for an internship,
Monitored and evaluated professional work experience in students must see the internship coordinator in the Office of
an environment related to the music business/management Experiential Learning prior to registering. Note: Equivalent
major. Placement is limited to situations available from or credit for prior experience is not available due to the
approved by the Office of Experiential Learning and the Music requirement of concurrent contract between the
Business/Management Department chair or designee. To employer/supervisor and the college.
apply for an internship, students must see the internship
coordinator in the Office of Experiential Learning prior to International students in F-1 status must obtain authorization
registering. Note: Students in the music products industry on their Form I-20 from the Counseling and Advising Center
track are required to take MB-495. Credit for prior experience prior to beginning an internship.
is not available due to the requirement of concurrent contract
between the employer/supervisor and the college. MTH-495
Music Therapy Internship
International students in F-1 status must obtain authorization 6 credits
on their Form I-20 from the Counseling and Advising Center Course Chair: S. Hanser
prior to beginning an internship. Required of: MTHE majors
Electable by: MTHE majors
MP-495 Offered: Spring, Fall
Music Production and Engineering Internship Prerequisites: MTH-432 and written approval
2 credits of course chair
Course Chair: R. Jaczko
Required of: None This course involves 1,040 hours of full-time music therapy
Electable by: MPED majors experience at a clinical internship site approved by the
Offered: Spring, Summer, Fall American Music Therapy Association. Enrollment is permitted
Prerequisites: MP-340 and written approval after the completion of all course work and after the student
of course chair applies and is accepted to a site. Successful completion of the
internship is required before receiving the degree or sitting for
Monitored and evaluated professional work experience in an the Music Therapy Board Certification Examination.
environment related to the music production and engineering
major. Placement is limited to situations available from or International students in F-1 status must obtain authorization
approved by the Office of Experiential Learning and the Music on their Form I-20 from the Counseling and Advising Center
Production and Engineering Department chair or designee. prior to beginning an internship.
To apply for an internship, students must see the internship
coordinator in the Office of Experiential Learning prior to
registering. Note: Equivalent credit for prior experience is not
available due to the requirement of concurrent contract
between the employer/supervisor and the college.
108
Summer/Fall 2008
Course Descriptions
PM-495 LCOR-105
Professional Music Internship English as a Second Language 2
2 credits 3 credits
Course Chair: K. Brass Course Chair: C. Colatosti
Required of: None Required of: Nonnative English-speaking degree
Electable by: PROM majors students scoring below a designated point on
Offered: Spring, Summer, Fall the English Proficiency Exam
Prerequisites: PM-375 and written approval Electable by: Students meeting scoring criteria
of course chair Offered: Spring, Summer, Fall
Prerequisites: LCOR-104 or sufficient test score
Monitored and evaluated professional work experience in
a retail, entrepreneurial, or corporate environment matched A continuation of LCOR-104, this course will help speakers
to the student’s individual career goals. Placement is limited of other languages improve their ability to speak English
to situations available from or approved by the Office of effectively, listen with understanding, read with comprehension,
Experiential Learning and the Professional Music Department and write with clarity. Students will read college-level materials
chair or a designee. To apply for an internship, students must (articles, essays, short stories, a novel); write narrative,
see the internship coordinator in the Office of Experiential expository, and persuasive essays; expand their vocabulary;
Learning prior to registering. Note: Equivalent credit for and review advanced grammar structures.
prior experience is not available due to the requirement of
concurrent contract between the employer/supervisor and LCOR-110
the college. English Skills
3 credits
International students in F-1 status must obtain authorization Course Chair: C. Colatosti
on their Form I-20 from the Counseling and Advising Center Required of: Degree students failing to test
prior to beginning an internship. into LCOR-111
Electable by: All
Offered: Spring, Summer, Fall
Liberal Arts Prerequisites: English Proficiency Exam or LCOR-105
Summer/Fall 2008
LCOR-112 LCOR-P213
College Writing 2: Literary Themes History of the Americas 1
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti Prototype
Prerequisites: Degree students Required of: This class is one of several classes that
Electable by: All will satisfy part of the Liberal Arts requirement
Offered: Spring, Summer, Fall in history for degree students.
Prerequisites: LCOR-111 Electable by: All
Offered: Spring, Fall
This course reinforces the principles and practices of LCOR-111 Prerequisites: LCOR-111 or LCOR-112
College Writing 1: Structure and Styles, emphasizing critical
and creative thinking through literary analysis and creative This survey course in the comparative history of North and
writing projects. Students will apply the skills of synthesis, South America begins with pre-Columbian civilization and
interpretation, and evaluation in writing and speaking about examines the relationship between Amerindian, African, and
fiction, drama, poetry, and creative nonfiction. Basic concepts European cultures during the colonization of the New World.
of literary analysis will be introduced (e.g., plot, point of view, Why did the Spanish and British empires create different
character, tone, and style). Students will demonstrate an economic worlds in the Americas? How did Native American
understanding of these concepts in frequent and substantial cultures resist and influence the development of European
writing assignments. Individual sections of LCOR-112 have political and legal systems? Course topics include the
titles that indicate the emphasis of that section. Titles and development of New York as a financial powerhouse under
descriptions are available at the Office of the Registrar and the Dutch, the emergence of a French empire in North
online at http://classes.berklee.edu/libarts/courses. America, Spanish expansion into North America, and the
comparative histories of slavery in Brazil, the Caribbean, and
LCOR-211 the United States. Finally, the course examines the American
History of Western Civilization 1 Revolution, the intellectual foundations of Latin American
3 credits independence movements, and the global impact of
Course Chair: C. Colatosti economic and cultural change in the Americas.
Required of: Degree students not taking LCOR-221
Electable by: All LCOR-P214
Offered: Spring, Summer, Fall History of the Americas 2
Prerequisites: LCOR-111 or LCOR-112 3 credits
Course Chair: C. Colatosti Prototype
Western civilization is the result of the blending of earlier Required of: This class is one of several classes that
cultures: the Greco-Roman, the Judeo-Christian, and the will satisfy part of the Liberal Arts requirement
Germanic. This course is a survey of that process through in history for degree students.
which our civilization acquired its distinctive characteristics. Its Electable by: All
historical scope extends from the ancient mideast civilizations Offered: Spring, Fall
through the Renaissance/Reformation era (circa 1600). Note: Prerequisites: LCOR-111 or LCOR-112
This course may be taken in lieu of LCOR-221 to fulfill the
first-semester history requirement. This survey course in the comparative history of modern North
and South America focuses on constitutional and cultural
LCOR-212 nationalisms in a hemisphere of increasing immigration and
History of Western Civilization 2 diversity. Topics include revolutionary movements in the
3 credits Americas from Mexican Independence and the American Civil
Course Chair: C. Colatosti War to twentieth-century Latin American political organizations
Required of: Degree students not taking LCOR-222 and utopian separatist movements in Canada and the United
Electable by: All States. The course examines the comparative histories of
Offered: Spring, Summer, Fall frontiers, both natural and cultural, in North and South
Prerequisites: LCOR-111 or LCOR-112 America, and the emergence of the United States as the
dominant economic and political power in the hemisphere.
This is a survey of Western history from the seventeenth
century to the present. Principal topics include the
Enlightenment, the American and French revolutions, the
industrial revolution, imperialism and colonialism, the world
wars, and postwar international developments. Note: This
course may be taken in lieu of LCOR-222 to fulfill the
second-semester history requirement.
110
Summer/Fall 2008
Course Descriptions
LCOR-P215 LCOR-222
History of Modern East Asia World Civilizations since 1500
3 credits 3 credits
Course Chair: C. Colatosti Prototype Course Chair: C. Colatosti
Required of: This class is one of several classes that Required of: Degree students not taking LCOR-212
will satisfy part of the Liberal Arts requirement Electable by: All
in history for degree students. Offered: Spring, Fall
Electable by: All Prerequisites: LCOR-111 or LCOR-112
Offered: Spring, Fall
Prerequisites: LCOR-211 or LCOR-212 This course is a topical survey of world civilizations from 1500
to the present. The approach is chronological and comparative,
This survey course provides an introduction to the history of with students reading and analyzing, in discussion and papers,
East Asia during the 19th and 20th centuries. Paying particular material from Africa, the Americas, Asia, and Europe. Broad
attention to the formation of East Asian modernity, the course topic areas will include the individual and society, race and
will examine how the encounter between East Asia and racism, politics and culture, the economy and society, ecology
Western Europe during this period informs current realities. We and energy, and the nation and the world. Note: This course
will look at the role of economic expansion, cultural difference, may be taken in lieu of LCOR-212 to fulfill the second-semester
and scientific discovery in modern East Asian history. The course history requirement.
will cover Ethnic nationalism and revolution in China, Japan's
The Registration
emergence as a colonial power, and democratization on LCOR-223
Taiwan. Finally we will ask how current East Asian realities may Manual can be
World Civilizations Topics
challenge conventional understandings of development. 3 credits accessed online
Course Chair: C. Colatosti by clicking on
LCOR-216 Required of: None the Student
History of the Middle East Electable by: All Services tab
3 credits Offered: Spring, Summer, Fall and then the
Course Chair: C. Colatosti Prerequisites: LCOR-111 or LCOR-112
Registration
Required of: None
Electable by: All Specific course descriptions for each course are available at tab at the top
Offered: Spring the Office of the Registrar, the Liberal Arts Department, and of the page.
Prerequisites: LCOR-112 online at: http://classes.berklee.edu/libarts/courses. The link to
the Current
This survey course uses history to illuminate current conflicts The various sections of World Civilizations Topics focus on Registration
in the Middle East. It asks who the people of the Middle different and more narrowly defined themes, rather than a
Manual can
East are--including Arabs, Turks, Persians, Jews, Christians, broad historical survey. Topics may include History and Film,
be found on
Muslims, Druzes, and Kurds--and how their multiple religious, World Religions, Mythology and Folklore, and others.
political, ethnic, gender, and national identities intertwine to Periodically, a visiting scholar may teach a section on the the left.
create complex and changing relationships with one another history of culture, such as that of Central and South America,
and with the rest of the world. We will examine women’s the indigenous peoples of North America, and the societies of
roles, the relationship of religion and state, and the spread of Africa, Asia, or the Middle East. The focus of these special
militant Islam, all of which present challenges to Middle sections would include the historical documentation,
Eastern societies and to the world today. interpretations, debates, and methodological approaches to
these cultures and societies. Note: This course may be taken in
LCOR-221 lieu of either LCOR-211, LCOR-212, LCOR-221, or LCOR-222.
World Civilizations before 1500
3 credits
Course Chair: C. Colatosti
Required of: Degree students not taking LCOR-211
Electable by: All
Offered: Spring, Fall
Prerequisites: LCOR-111 or LCOR-112
111
Course Descriptions
Summer/Fall 2008
LCOR-224 LCOR-226
Africana Studies: The Sociology of Black Music Africana Studies: Biographies in Black
in American Culture (Music, Lives, and Meanings)
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring
Prerequisites: LCOR-111 or LCOR-112 Prerequisites: LCOR-111 or LCOR-112
This survey course examines the culture of black American This course explores the lives and works of great black
music (West African griot music, spirituals, blues, jazz, black musical artists. Through a view into the music and the lives of
symphonic and concert music, gospel, r&b, soul, free jazz, these artists and of certain meanings, themes, artists’ intent,
funk, and hip-hop) through an exploration of music, artistry, and experiences, we gain insight into some very specific
and the social dynamics of American society. This course historical, cultural, and social windows. We will view black
provides a critical examination of the impact this music has musicians’ work that cuts across the entire musical/artistic
had upon creativity in the modern world. It also develops a spectrum, giving us perspective into the development of the
critical line of thinking, discussion, and debate about the various musical genres, styles, and movements that make up
implications, effects, and meanings of cultural expression and American music, from blues to rock and roll and song classics
phenomena, and what the development of black music tells to American art/classical music. Studying the lives of these
us about American society, socially, spiritually, politically, and greats allows an insider’s look into extraordinary career
culturally. An important aspect of this exploration is the development and industry business practices. In an artistry
consideration of the aesthetic and cultural dimensions of shaped and forged by racial and social ”outcasting” comes
black life and culture, western conceptions of art, and the a very unique kind of narrative, sound, perspective, and
social and political contexts that shape the music. Critical insight, which is inextricably bound to hearing, understanding,
discussion will be a crucial part of the classroom experience. and appreciating this unique American artistry. Note: This
Students are expected to attend class sessions prepared to course may be taken in lieu of either LCOR-211, LCOR-212,
discuss at length and in depth the selected musical works, LCOR-221, or LCOR-222.
transcriptions, lyric/text analysis, daily reading assignments,
and issues related to course materials. Note: This course may LCOR-231
be taken in lieu of either LCOR-211, LCOR-212, LCOR-221, History of Art 1
or LCOR-222. 3 credits
Course Chair: C. Colatosti
LCOR-225 Required of: Degree students
Africana Studies: The Theology of Electable by: All
American Popular Music Offered: Spring, Summer, Fall
3 credits Prerequisites: LCOR-111 or LCOR-112
Course Chair: C. Colatosti
Required of: None This course covers the prehistoric to the Gothic period. It is a
Electable by: All survey of painting, sculpture, and architecture from prehistory,
Offered: Fall the ancient Near East, Egypt, Greece, Rome, Byzantium, the
Prerequisites: LCOR-111 or LCOR-112 early Middle Ages, and the Romanesque and Gothic periods.
Slide lectures are supplemented by works viewed at the
This course explores the social-political, cultural spiritual, and Museum of Fine Arts, Boston.
theological significance of popular music in American society.
We will highlight the perspectives, insights, and work of creative LCOR-232
artists who are committed to art and social engagement. This History of Art 2
course operates upon the premise that making music is not 3 credits
merely a “pastime but a priesthood.” We will explore selected Course Chair: C. Colatosti
artists’ music through lyrical analysis, musical forms, and Prerequisites: Degree students
performance practices in order to examine what artists say they Electable by: All
are doing with their art. We will also examine selected critical Offered: Spring, Summer, Fall
writings and articles that discuss the function of creative Prerequisites: LCOR-111 or LCOR-112
construction using varying aesthetic theories. This course
expands exposure to artists and their music as it relates to This course covers the late Gothic period to the early
the notion of artistic expression tied to spiritual yearning or twentieth-century. It is a survey of European art from the end
definition. Major music and social themes to be explored of the Middle Ages through the Renaissance, mannerism,
include: community, identity, social activism, sexuality, theodicy the baroque, rococo, neoclassicism, romanticism, realism,
(the questions of a good God in the face of evil), spirituality, impressionism, postimpressionism, and early abstraction; also
love, social justice, the blues, gospel, Utopianism, and religious American art from the colonial period to the early twentieth
exploration. Additionally, the class will view selected video and century. Slide lectures are supplemented by works viewed at
film documentaries. Note: This course may be taken in lieu of the Museum of Fine Arts, Boston and the Isabella Stewart
either LCOR-211, LCOR-212, LCOR-221, or LCOR-222. Gardner Museum.
112
Summer/Fall 2008
Course Descriptions
LCOR-233 LHUM-161
Art History Topics Spanish I
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Fall
Prerequisites: LCOR-111 or LCOR-112 Required of: None
Prerequisites: None
Specific course descriptions for each course are available at
the Office of the Registrar, the Liberal Arts Department, and This course covers basic grammar, composition, and cultural
online at: http://classes.berklee.edu/libarts/courses. reading selections. The emphasis is on pronunciation and
conversational Spanish. Note: This course is not available for
The various sections of Art History Topics focus on different and credit to students for whom this is a first language.
more narrowly defined themes, rather than a broad historical
survey. Topics may include the Art of Egypt, the meeting of LHUM-162
Eastern and Western Art, Twentieth-Century American and Spanish II
European Art, and others. Periodically, a visiting scholar may 3 credits
teach a section on the art, architecture, and archeology of Course Chair: C. Colatosti
cultures such as those of pre-Columbian Central and South Required of: None
America, the indigenous peoples of North America, the various Electable by: All
societies of Africa, Asia, or the Middle East. The focus of these Offered: Spring
special sections would include the material artifacts and the Prerequisites: LHUM-161
interpretations, debates, and methodological approaches to
these objects within the literature of the field. All sections of A continuation of LHUM-161, this course covers more
this course present individual topics. Note: This course may be advanced grammar, composition, and reading selections.
taken in lieu of either LCOR-231 or LCOR-232. Emphasis continues on pronunciation and conversational
Spanish. Note: This course is not available for credit to
LHUM-151 students for whom this is a first language.
French I
3 credits LHUM-171
Course Chair: C. Colatosti Japanese I
Required of: None 3 credits
Electable by: All Course Chair: C. Colatosti
Offered: Fall Required of: None
Prerequisites: None Electable by: All
Offered: Fall
The emphasis of this course is on language acquisition, Prerequisites: None
that is, on developing a basic level of oral and written
comprehension and a certain degree of self-expression. Note: This course is a study of the Japanese language focusing on
This course is not available for credit to students for whom spoken Japanese and everyday conversation techniques.
this is a first language. The areas covered include reading and pronunciation of the
written language as well as study of Japanese traditions,
LHUM-152 customs, and literature. This course will focus primarily on
French II speaking and conversation. Note: This course is not available
3 credits for credit to students for whom this is a first language.
Course Chair: C. Colatosti
Required of: None LHUM-172
Electable by: All Japanese II
Offered: Spring 3 credits
Prerequisites: LHUM-151 Course Chair: C. Colatosti
Required of: None
This course is a continuation of LHUM-151. The emphasis of Electable by: All
the course is on continued language acquisition, that is, on Offered: Spring
developing more advanced oral and written comprehension Prerequisites: LHUM-171
and self-expression. Note: This course is not available for
credit to students for whom this is a first language. LHUM-172 is a study of the Japanese language focusing on
spoken Japanese and everyday conversational techniques.
The course covers reading and pronunciation of the written
language, and a continued study of Japanese traditions,
customs, and literature. The emphasis will continue to be on
speaking and conversation. Note: This course is not available
for credit to students for whom this is a first language.
113
Course Descriptions
Summer/Fall 2008
LHUM-211 LHUM-P285
Effective Communication Creative Non-fiction
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Fall
Prerequisites: LCOR-111 or LCOR-112 Prerequisites: None
This course is designed to improve the student’s performance in This course focuses on connecting creative writing to our
public speaking. Emphasis will be placed on the development understanding of our place in the world. There will be ample
of personal style, confidence, and security; the construction, opportunity for developing and improvising personal narratives
and delivery of various forms of speeches; and on the and attaching them to the convictions and affiliations that
acceptance and use of evaluative, constructive criticism. make up our identity. We will read and analyze essays written
by others while writing our personal responses to each topic.
LHUM-221 We will discuss the ways that fictionalized essays may reveal
Preparing for the Massachusetts the truth better than objective reporting can, as well as the
Communications Skills Licensing Exam ways that memory works on our experiences. Students will
3 credits write personal essays, literary journalism, traveling writing,
Course Chair: C. Colatosti memoir, and more. Classes will include extensive writing,
Required of: Third- and fourth-semester analytical reading of texts, careful reading of our peers’ work,
MUED majors and constructive feedback.
Electable by: MUED majors third semester
and above LHUM-318
Offered: Spring, Fall Studies in Poetry
Prerequisites: LCOR-112 3 credits
Course Chair: C. Colatosti
This course is designed to address the reading and writing Required of: None
skills necessary to prepare for the Massachusetts State Electable by: All
Teacher’s Test on Communications Skills and Literacy. It will Offered: Fall
further address techniques developed in LCOR-111 and Prerequisites: LCOR-112
LCOR-112.
This course will focus on the elements of poetry: the
LHUM-P231 relationship between meaning and rhythm, meaning and
Culture, Diversity & Artistry sound, and meaning and form. These topics are explored in the
3 credits context of a survey of poetry, both traditional and modern.
Course Chair: C. Colatosti Prototype
Required of: None LHUM-319
Electable by: All Fiction and Film
Offered: Spring, Fall 3 credits
Prerequisites: None Course Chair: C. Colatosti
Required of: None
This course provides students with an interdisciplinary inquiry Electable by: All
into how culture works with a focus on issues of diversity, Offered: Fall
power, creativity, identity, citizenship, globalization, media Prerequisites: LCOR-112
culture, leadership, and the role of the artist in society. Students
will explore how to pose questions, find answers, and form This course focuses on film adaptations of novels and short
opinions using the tools of critical thinking, reading, writing, stories, paying special attention to similarities and differences
speaking, listening, and viewing. Readings include fiction, in narrative technique. Students view various types of film
poetry, autobiography, and essays on key concepts of diversity, adaptations and consider reasons for changes from the works
culture, and artistry. Coursework will combine critical and of fiction. The course emphasizes the challenges in adapting
creative work in images, music, and words in a series of a work of literature to the screen, the limits and possibilities
individual and group projects that foster an active learning of both art forms, and the techniques writers and filmmakers
environment. Many class meetings will involve guest speakers use to express their ideas. In addition to discussing works of
or panels of diverse Berklee faculty from across the College. fiction, film adaptations, and the roles of the film director,
screenwriter, and film scorer, students will have the
opportunity to work on their own cinematic adaptation of a
novel or short story, including writing original music for the
screen. Such authors as George Orwell, Mary Shelley, Ernest
Hemingway, Ayn Rand, Toni Morrison, and Kurt Vonnegut
will be considered, as well as such film directors as Stanley
Kubrick, Alfred Hitchcock, Francois Truffaut, John Huston,
Francis Ford Coppola, and Akira Kurosawa.
114
Summer/Fall 2008
Course Descriptions
LHUM-321 LHUM-333
Modern Drama and Film Approaches to Visual Culture
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring Offered: Spring, Fall
Prerequisites: LCOR-112 Prerequisites: LCOR-112 (LCOR-231 or LCOR-232
also recommended but not required)
Students will explore the creative forces that go into making
films and film adaptations of plays. Movies by directors such This course explores the critical and theoretical approaches to
as Francis Ford Coppola, Orson Welles, Ang Lee, Steven understanding the meanings we make of images, icons, and
Soderbergh, David Lynch, Neil Jordan, and Sam Mendes will be visual representations. Visual culture refers to what has
explored. Film adaptations of plays by such dramatists as Anton traditionally been thought of as the fine arts as well as more
Chekov, Sam Shepard, Harold Pinter, Beth Henley, and David popular forms of visible media such as comics, advertising,
Mamet will also be investigated. Discussions of the elements of television, film, decorative arts, video, installations, performance
drama and film will focus on topics such as dramatic structure, art, and digital and new media art. Assignments will be both
film scoring, screenwriting, directing, acting, and the use of analytical and creative, incorporating writing, drawing, and
myth and archetype in contemporary films. As a way of collage. Readings and classroom discussions will be supple-
understanding the dramatic techniques and approaches used mented by viewings of Boston art collections. *Note: LCOR-231
by playwrights and screenwriters, students will have the or LCOR-232 are also recommended but not required.
opportunity to write original dramatic scenes. Scenes by writers
such as Shakespeare, Pinter, and Stoppard will be read aloud in LHUM-335
order to hear a drama’s phrasing, cadences, and architecture. Creative Writing: Fiction
This is a writing-intensive course. 3 credits
Course Chair: C. Colatosti
LHUM-325 Required of: None
Theater Workshop Electable by: All
3 credits Offered: Spring
Course Chair: C. Colatosti Prerequisites: LCOR-112
Required of: None
Electable by: All This workshop focuses on the craft of creating fiction, including
Offered: Spring narrative design from the traditional to the experimental, point
Prerequisites: LCOR-112 of view, voice, tension and resolution, character construction,
and dialogue. We will also discover how student and
In a workshop setting, students will participate in acting professional writers catch and sustain their readers’ attention.
exercises and theater games as well as perform character As models for creative writing, we will choose a small number
monologues and improvisational scenes. Then, from the of works by such authors as Jhumpa Lahiri, Raymond Carver,
point of view of the actor, they will study several play scripts. Alice Munro, Tim O’Brien, Amy Tan, and Milan Kundera.
The final demonstration of their understanding of the play Thinking as writers, not critics, we will read these stories as
scripts and characters will be the performance of a scene from we read our own: with an eye and an ear tuned to the
the play. construction of imaginative stories people enjoy reading.
However, the primary emphasis of this writers' workshop will
LHUM-331 be on shaping students' original short stories--or chapters
Creative Writing: Poetry from a novel. The sessions will be highly interactive, including
3 credits peer editing and regular small-group work. We will also explore
Course Chair: C. Colatosti the possibility of students publishing their stories in small
Required of: None literary journals and eZines.
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-112
115
Course Descriptions
Summer/Fall 2008
LHUM-336 LHUM-352
Creative Writing: Drama Music and Literature for Children
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: LCOR-112 Prerequisites: LCOR-112
This course is a workshop for those interested in writing for Utilizing interdisciplinary approaches to interpretation,
stage and screen. Students will work together on shaping composition, and music education, this course offers critical
dramatic structure, characters, conflict, and dialog. One- and creative approaches to understanding and articulating
man/woman shows (dramatic monologs) will also be characteristics of exemplary musical and literary works for
considered. Students will be given the opportunity to children and adolescents. This course explores the connections
incorporate music into their dramatic writing or to write the between children’s music and children’s literature through
“book” for a musical theater piece. First-hand experience in literary and musical analysis, as well as composition in both
dramatic writing will also benefit composers who plan on music and English. In the vast children’s music market, some
writing music for theater, film, or television. Several plays and compositions exhibit very high quality, while others seem to be
films will be examined as models for writing, but the focus of market-driven drivel. What distinguishes the good from the
this workshop will be on original scripts. bad, the meaningful from the fluff? How do we account for
the progression from Prokofiev to Barney the Dinosaur? This
LHUM-341 course tries to answer these questions and more by positing
Studies in Irish Culture that quality music for children can and should be both
3 credits aesthetically interesting and intellectually engaging. We will
Course Chair: C. Colatosti look at music for children and explore the connections between
Required of: None children’s music and children’s literature. The course will focus
Electable by: All on different genres of music and literature, from classical and
Offered: Fall folk to film scores and pop covers. We will also be reading and
Prerequisites: LCOR-112 discussing the source material that inspired the music, including
folk tales, nursery rhymes, and works by Lewis Carroll, Edward
This interdisciplinary course is a study of how artists, political Gorey, Christina Rossetti, Shel Silverstein, and Lemony Snicket,
figures, and everyday citizens continue to grapple with the among others. Particular attention will be paid to the nature of
diversity and tensions of Irish identity. The focus of the course the diverse child audience that educators and performers will
will vary from semester to semester to include a broad range encounter in front of a classroom and an audience. As a
of topics centered on the fusion in Irish life of politics, history, capstone, there will be a music project component (that
and the arts. Literature study will include writers of the literary involves sequencing software), so that students can apply their
revival such as Joyce and Yeats; J.M. Synge, Eugene O’Neill, musical and critical acumen to music composition for children.
and other Irish-American writers; and contemporary authors
such as Edna O’Brien, Seamus Heaney, and Roddy Doyle. LHUM-P353
Additional topics for each year’s course will be chosen from French III
the following: the Great Famine; the resistance to British rule; 3 credits
the Irish Civil War; Michael Collins, the IRA, and Sinn Fein; the Course Chair: C. Colatosti Prototype
“troubles” in Northern Ireland and the peace process; films by Required of: None
Jim Sheridan, Neil Jordan, and others; and contemporary Electable by: All
Celtic music, from Altan to Sinead O’Connor. Offered: Fall
Prerequisites: LHUM-152
LHUM-351
Music Criticism and Reviewing This course enables students to acquire oral and written
3 credits communication skills. The topics presented are representative
Course Chair: C. Colatosti of French society and the francophone world, and the
Required of: None communicative tasks are taught within the framework of
Electable by: All authentic situations. Students learn to speak, listen, and write
Offered: Spring, Fall in personal, public, professional, and educational situations that
Prerequisites: LCOR-112 simulate real life. Observation and reflection are at the core of
the learning process. Students observe linguistic phenomena in
Students will learn the fundamentals of music criticism and the material provided and learn to deduct grammar rules from
apply those principles in writing reviews both of recordings it. The true appropriation of language emanates from the
and live performances. Music reviews will focus on writing students themselves. This class takes a hands-on and real-life
both for professional musicians and for the general public. approach to language acquisition.
116
Summer/Fall 2008
Course Descriptions
LHUM-361 LHUM-P373
Philosophy of Religion Japanese III
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring Offered: Fall
Prerequisites: LCOR-112 Prerequisites: LHUM-172
This course is an examination of the philosophical arguments This course builds on the Japanese language skills students
for the existence of God—cosmological, ontological, developed in Japanese II. Students continue developing four
teleological, moral, and experiential or mystical—as found in language skills (speaking, listening, reading, and writing)
the work of such philosophers as Plato, Anselm, Aquinas, through pattern drills and communicative activities. Students
Descartes, Leibniz, Kant, Paley, Kierkegaard, and Buber. The will learn additional sentence structures, functions, and
historical development of these various “proofs” will be grammatical patterns. 50 Kanji characters will be introduced as
studied, including Hume’s skeptical arguments against them students build their overall Japanese language communicative
as well as what has existentially come to be called the I-Thou skills. Students are expected to fully master Hiragana, Katakana
encounter and its relevance for the modern “eclipse of God.” and the 50 Kanji. Upon the satisfactory completion of the
course, students will be able to discuss their daily routines
For Department
LHUM-P363 in Japanese.
Chair names
Spanish III
3 credits LHUM-375 and office
Course Chair: C. Colatosti Prototype Mythology and Folklore locations, refer
Required of: None 3 credits to page 9 in
Electable by: All Course Chair: C. Colatosti this manual.
Offered: Fall Required of: None
Prerequisites: LHUM-162 Electable by: All
Offered: Spring
Spanish III develops the language skills built in Spanish I and II. Prerequisites: LCOR-112
Students learn Latin American and Spanish culture, including
music and literature. Exploring a variety of texts and disciplines, This course focuses on defining different types of cultural or
and focusing on conversation, students deepen their mythical “models” for society and individuals; how they are
language skills. Grammar lessons are embedded in reading formed; how they help shape beliefs, worldviews, and historical
and writing assignments. events; and how they still inform our lives today. The thematic
approach of mythology and folklore will draw on documents
LHUM-365 from the fields of history (especially the timeframe from Ancient
Ethics Greece to the late Middle Ages), linguistics, law, music, theatre,
3 credits literature, art, and film.
Course Chair: C. Colatosti
Required of: None LHUM-381
Electable by: All Introduction to Western Philosophy
Offered: Fall 3 credits
Prerequisites: LCOR-112 Course Chair: C. Colatosti
Required of: None
Conducted as a basic introduction to ethics and its place in Electable by: All
philosophy, this course explores the roots of Western values in Offered: Fall
the life and thought of Socrates as presented by Plato and in Prerequisites: LCOR-112
the comprehensive analysis of Aristotle. Also examined will be
the existential relevance of ethics for modern life and thought. This course is an introduction to the vast history of Western
philosophy and necessarily entails a close and careful
LHUM-371 consideration of its origins in ancient Greece. Such an
Introduction to Logic examination of Socrates and Plato will enable the student
3 credits to understand not only the meaning of philosophy as “the
Course Chair: C. Colatosti love of wisdom” but also the complexities involved in the
Required of: None subsequent development of ideas in various schools of
Electable by: All thought. Another philosopher or two (such as Descartes
Offered: Fall or Nietzsche) will be closely examined to compare and
Prerequisites: LCOR-112 contrast with the Greeks. The existential significance of
the root meaning of philosophical thinking is crucial to an
This course is an examination of the nature of thinking and appreciation of what has been alternately lost and retrieved
rational discourse, especially as these are found in actual throughout the course of Western thought.
philosophical texts. Deductive and inductive reasoning,
definition, propositions, syllogisms, contradiction, and
paradox, as well as various logical fallacies, will be studied.
117
Course Descriptions
Summer/Fall 2008
LHUM-382 LHUM-P387
Introduction to Eastern Philosophy African-American Children’s Literature
3 credits and Culture
Course Chair: C. Colatosti 3 credits
Required of: None Course Chair: C. Colatosti Prototype
Electable by: All Required of: None
Offered: Spring Electable by: All
Prerequisites: LCOR-112 Offered: Fall
Prerequisites: None
This course is an examination of ideas and traditions in the
philosophical thinking and spiritual experience of the East, with This course is designed to provide critical and creative
special emphasis on Hinduism, Buddhism, Confucianism, approaches to one of the most neglected, yet rich areas of
Taoism, and Zen. Such concepts as Yoga, Atman, Brahman, African-American studies: children's literature and culture.
Nirvana, Karma Dharma, Avatar, Bodhisattva, Satori, Jen, Wen, Students will explore the artistic, cultural, political, and social
Li, Tao, and Yin-Yang will be analyzed in select ancient texts. significance of past and present African-American children's
Other notions having to do with incarnation and reincarnation, literature, beginning with folktales from Africa and African
with the sage and the saint, with ethics and judgment, with Americans, moving through the Harlem Renaissance and Civil
the soul and religion generally will also be studied. Rights Era, and ending with present day material. This class
will also focus on some of the contemporary issues, including
LHUM-383 the importance of physical appearance-and particularly hair-in
Aesthetics the black community, the portrayal of slavery, and of course,
3 credits the expression and exploration of black musical heritage. As
Course Chair: C. Colatosti a capstone, the final project will be a research paper so that
Required of: None students can make their own discoveries about this emerging
Electable by: All field of study.
Offered: Spring
Prerequisites: LCOR-111 or LCOR-112 LHUM-391
Children’s Literature: Multicultural Perspectives
This course will examine the nature of art and aesthetics as 3 credits
presented in the German Idealist Georg Wilhelm Friedrich Course Chair: C. Colatosti
Hegel, one of the major philosophers instrumental in the Required of: None
formation of modern aesthetic thinking, and as applied to Electable by: All
music in particular. The role of the mind and intelligence not Offered: Fall
only in aesthetic appreciation, evaluation, and judgment, Prerequisites: LCOR-112
but also in the act of creation itself will be emphasized. The
significance of critical interpretation, rational argumentation, This course explores the diversity of children’s literature both
and intellectual contemplation for the understanding of inside and outside our country, illustrating common social
beauty and the sublime generally, and for the experiencing themes as well as multicultural perspectives. Content covers
of individual works of art, in classical sacred music particularly, Western and non-Western folktales and fairy tales, along
will also be studied and analyzed. In the process of evaluat- with vibrant representations of multicultural and non-Western
ing, analyzing, and discussing both philosophical texts children’s literature, including texts from African American
and musical compositions, we will explore various theories (Carolivia Herron and Christopher Paul Curtis), Indian (Ruskin
of art—representational, expressivist, formalist, moral, and Bond and Anushka Ravishankar), Jewish (I.B. Singer and
inspirational—as well as distinguish various substitutes for David Wisniewski), and Finnish writers (Tove Jansson). The
or counterfeits of art, including entertainment, propaganda, class, through discussion and reading of primary texts and
fashion, sensationalism, and kitsch. Other distinctions secondary critical sources, will learn to approach children’s
between and questions about subjective tastes and objective literature with particular attention to historical, multicultural,
standards, aestheticism and philistinism, talent and genius, and social contexts. Other topics examined include the
fancy and imagination, reason and intellection are to come definition of children’s literature, some of the many possible
under philosophical scrutiny. The approach or method in this theoretical approaches to it, and the significant role it plays
course to the assigned material is text-centered discussion. in our lives and our cultures.
118
Summer/Fall 2008
Course Descriptions
LHUM-P431 LHUM-P463
Creative Writing: Poetry II Spanish IV
3 credits 3 credits
Course Chair: C. Colatosti Prototype Course Chair: C. Colatosti Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: LHUM-331 Prerequisites: LHUM-P363
This course enables students to continue to develop and Spanish IV is a continuation of Spanish III as students develop
explore their poetry skills at a high level. It is of special value advanced language skills through readings and analyses of
to students interested in songwriting and composition. The literature and cinema. This course focuses on representations
course provides an opportunity to delve deeply into both of Latin American and Spanish culture including music,
poetic form and content. Students develop their language poetry, and fiction. Students explore a variety of texts as a
skills as they explore fixed forms and free verse. The course means of deepening language skills through an integrated
also provides students an opportunity to develop further their curriculum. Grammar lessons will be embedded in reading
love of and appreciation for poetry as an art form. and writing assignments.
LHUM-P450 LHUM-P473
Poetry Jam and Slam Japanese IV
3 credits 3 credits
Course Chair: C. Colatosti Prototype Course Chair: C. Colatosti Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: None Prerequisites: LHUM-P373
This course builds poetry composition and performance skills. In This course builds on the Japanese language skills developed
a workshop setting, students participate in performance poetry in Japanese III. In this course students continue developing the
exercises and theater games, as well as poetry analysis and four language skills (speaking, listening, reading, and writing)
interpretation. Students analyze their own and each other’s through pattern drills, communicative activities, and tasks.
poetry, as well as poetry by prominent performance poets. Students learn 50 additional Kanji characters. Students develop
Students will work individually and in groups to perform their skills to learn to use complex sentences. Upon the satisfactory
poetry and their final projects. Students will learn performance completion of the course, students will be able to speak, read,
skills that transcend the traditional and foster theatrical and and write paragraphs on topics such as personal history,
poetry performance techniques. It is expected that members of personal experiences, and familiar people and places.
the class will participate in Berklee’s Poetry Slam student club.
The club will be involved in performances and, when possible, LHUM-475
poetry slams (competitions). Philosophy of Education
3 credits
LHUM-P453 Course Chair: C. Colatosti
French IV Required of: MUED majors
3 credits Electable by: All
Course Chair: C. Colatosti Prototype Offered: Spring, Summer, Fall
Required of: None Prerequisites: LCOR-112
Electable by: All
Offered: Spring This course is an introduction to the method and spirit of
Prerequisites: LHUM-P353 philosophical inquiry involving the exploration of idealism,
realism, pragmatism, and existentialism, and the application
This course enables students to acquire advanced oral and of such inquiry to selected educational theories and practices.
written communication skills. The topics presented are
representative of French society and the francophone world,
and the communicative tasks are taught within the framework
of authentic situations. Students learn to speak, listen, and
write in personal, public, professional, and educational
situations that simulate real life. Students learn to speak about
people and events, to write on a website, to read authentic
French texts and more. Observation and reflection are at the
core of the learning process. Students observe linguistic
phenomena in the material provided and learn to deduct
grammar rules from it. The true appropriation of language
emanates from the students themselves. This class takes a
hands-on and real-life approach to language acquisition.
119
Course Descriptions
Summer/Fall 2008
LMSC-208 LMSC-230
Principles of Music Acoustics Concepts of Mathematics
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: MPED and MSYN majors not Required of: None
taking LMSC-209 Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: None
Prerequisites: Passing score on the Math Proficiency
Exam or passing grade in LMSC-230 or equivalent This course is designed to develop student skills in quantitative
and visual reasoning. Students gain proficiency in problem
This course is a survey of acoustical phenomena relating to solving through an appreciation of mathematics and its role
music. The course includes an overview of the nature of in the arts, including finance. Interaction with computer
sound waves and vibration, sound propagation and room technology is discussed to better communicate present
acoustics, sound level and its measurement, the human ear mathematical practice and use of graphic displays. Topics
and perception, and tuning systems. Course material is covered are algebra, geometry, mathematical modeling, and
directed toward the contemporary musician’s need to statistics. Note: his course may not be used to fulfill the natural
understand acoustical phenomena in various contexts, science requirement.
including performance, writing, and music technology
applications. Note: This course may be used to fulfill the LMSC-306
physical science requirement. For MSYN and MPED majors, Principles of Physics
LMSC-208 can be used to fulfill both the natural science 3 credits
requirement for degree students and the acoustics Course Chair: C. Colatosti
requirement in the major concentrate. Required of: None
Electable by: All
LMSC-209 Offered: Spring, Fall
Applications of Music Acoustics Prerequisites: None
3 credits
Course Chair: C. Colatosti This course is an introduction to the world of physical
Required of: MPED and MSYN majors not phenomena, including the following topics: mechanics, heat,
taking LMSC-208 electricity, and sound. Note: This course may be used to fulfill
Electable by: All the natural science requirement.
Offered: Spring, Fall
Prerequisites: Passing score on the Math Proficiency LMSC-318
Exam or passing grade in LMSC-230 or equivalent Environmental Science
3 credits
This course includes the study of basic vibrating systems and Course Chair: C. Colatosti
sound sources; sound outdoors and indoors (waves, echoes, Required of: None
and reverberation); sound transmission and noise reduction; Electable by: All
sound reinforcement systems; room acoustics and vibration Offered: Spring, Summer, Fall
isolation; hearing and psychoacoustics; and acoustics of Prerequisites: None
musical instruments. Math proficiency at the basic college
level of LMSC-230 strongly recommended. Note: This course This is an introductory course that covers such topics as
may be used to fulfill the physical science requirement. For hydrology, water quality, solid waste management, hazardous
MSYN and MPED majors, LMSC-209 can be used to fulfill waste, air pollution, the greenhouse effect, acid rain, the
both the natural science requirement for degree students ozone layer, energy sources, environmental modeling,
and the acoustics requirement in the major concentrate. environmental problems, and societal priorities. Note: This
course may be used to fulfill the natural science requirement.
LMSC-221
Health and Wellness
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111 or LCOR-112
Course Descriptions
LMSC-424 LSOC-220
Human Anatomy and Physiology Music, Gender, and Society
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: MTHE majors Required of: None
Electable by: MTHE majors or with permission Electable by: All
of course chair Offered: Fall
Offered: Spring, Fall Prerequisites: LCOR-111 or LCOR-112
Prerequisites: LCOR-112
This course introduces musical genres, repertoire, composers,
This course covers basic knowledge of the human body, its and performers that reflect or inspire various gender
structure and function. Each of the bodily systems will be images and identities in society. Drawing on interdisciplinary
dealt with as a separate entity, and then as an integrated discourse, this course provides a variety of sources regarding
part of the whole. This course is distinct from LMSC-221 music and gender in society and facilitates discussion of these
in that it details more technical material for use in clinical topics. Students will complete journal entries, essays, peer
settings at a level necessary to meet music therapy curricular review editing, and group discussions.
competencies. Note: This course may be used to fulfill the
natural science requirement. LSOC-301
Behavioral Assessment and Observation
LSOC-211 3 credits
General Psychology Course Chair: C. Colatosti
3 credits Required of: MTHE majors
Course Chair: C. Colatosti Electable by: All with permission of instructor
Required of: MUED majors Offered: Spring, Fall
Electable by: All Prerequisites: LCOR-112 and MTH-201
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111, LCOR-112, or written This course is an introduction to observation and assessment.
approval of instructor and course chair The role of assessment and accountability in therapeutic
intervention will be discussed, specific assessment protocols
This course is a survey of the history, theory, and applications reviewed, and assessment and observation techniques
of general psychology, including the study of human behavior, practiced. Assessment procedures will be considered relative to
factors in psychological development, methods of measure- goal setting, treatment implementation, and client evaluation.
ment, and the brain. Note: This course may be used to fulfill
the social science requirement. LSOC-P310
Group Dynamics
LSOC-213 3 credits
Music and Peace Course Chair: C. Colatosti Prototype
3 credits Required of: None
Course Chair: C. Colatosti Electable by: All
Required of: None Offered: Fall
Electable by: All Prerequisites: LSOC-211
Offered: Spring
Prerequisites: LCOR-112 Understanding group dynamics and how to build positive
and effective group interactions are key for any musician who
This course explores the ways music and musicians affect will ever perform or work with others. This course explores
social change and peace. It is a laboratory for both study and the direct application of group interactions in personal and
action and intellectual and experiential learning that operates professional settings. Students learn roles of individuals within
on four levels: (1) studying conflict and peacemaking from the groups, including leadership and membership roles. Students
interdisciplinary perspectives of international relations, political also learn about the formation and termination of groups,
science, psychology, religion and spirituality, and the arts; as well as positive group dynamics and ways to build, lead,
(2) learning from artists, activists, and academics who will foster, and participate in groups. In addition, students learn
visit the course to share their projects and perspectives; about potentially dysfunctional group behaviors, ways to
(3) researching the ways music and peace intersect in history resolve conflicts, and how healthy group dynamics can
and society; and (4) creating a music and peace project facilitate their personal and professional growth.
individually and/or as a group. Contemporary music can be a
powerful vehicle for expressing and transcending pain caused
by violence, racism, poverty, war, and injustice. The course
deepens understanding of political, ethnic, racial, national,
and religious differences in our own lives and society, while
experimenting with ways to respond.
121
Course Descriptions
Summer/Fall 2008
LSOC-321 LSOC-355
Introduction to American History Urban Sociology
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: LCOR-112 Prerequisites: LCOR-112
This course is an introduction to U.S. social history that This is a survey of American sociology that uses urban materials
focuses on key periods of conflict in the nineteenth and to encourage students to explore their own surroundings while
twentieth centuries, including the industrial revolution, employing the tools of sociological analysis. This course will
slavery and abolition, the Depression, and post-World War II emphasize three subject areas within the field of sociology:
America. Note: This course may be used to fulfill the social the sociology of work, the sociology of family life, and the
science requirement. sociology of popular culture (particularly music and film), all
within an urban context. Note: This course may be used to
LSOC-331 fulfill the social science requirement.
History of Political Thought
3 credits LSOC-363
Course Chair: C. Colatosti Gender and Power in History
Required of: None 3 credits
Electable by: All Course Chair: C. Colatosti
Offered: Fall Required of: None
Prerequisites: LCOR-112 Electable by: All
Offered: Fall
This course surveys the history of political thought from the Prerequisites: LCOR-112
time of ancient Greece to the modern era. Students will read
selections from the major philosophers and examine how The meaning of one’s sexual identity has changed dramatically
their ideas contributed to the development of contemporary from one period of history to another, and from one culture
democracy. Note: This course may be used to fulfill the social to another. This course examines the changing roles of men
science requirement. and women and their power relationships throughout
history. By studying gender in religion, politics, family, and
LSOC-334 the arts, students gain perspectives on their own roles and
Contemporary History relations. Note: This course may be used to fulfill the social
3 credits science requirement.
Course Chair: C. Colatosti
Required of: None LSOC-365
Electable by: All Intercultural Communication
Offered: Fall 3 credits
Prerequisites: LCOR-112 Course Chair: C. Colatosti
Required of: None
Students will read and discuss articles by respected scholars Electable by: All
and commentators on critical issues facing the world today. Offered: Spring
Discussions will focus on topics of historic significance in the Prerequisites: LCOR-112
last quarter of the twentieth century. Note: This course may
be used to fulfill the social science requirement. This course is an introduction to major principles of intercultural
communication. It will focus on similarities and differences in
LSOC-335 cultural patterns around the world: values, beliefs, customs,
Modern Political Thought verbal and nonverbal messages, ways of perceiving reality, types
3 credits of social organizations, and world-views. This course explores
Course Chair: C. Colatosti the process of intercultural conflict and interaction and the
Required of: None ways in which social and cultural forces influence people’s lives.
Electable by: All Emphasis is placed on obstacles to effective communication
Offered: Spring among people of different cultures and on ways to reduce
Prerequisites: LCOR-112 these barriers. The course stresses intercultural communication
skills, cultural self-awareness, and such issues as ethnocentrism,
This course surveys the major ideological movements of stereotyping, cultural adjustment, gender roles, health care, and
our time. Students will understand the principal ideas and family and educational structures around the world. Note: This
practices of nationalism, fascism, communism, and course may be used to fulfill the social science requirement.
democracy. Note: This course may be used to fulfill the
social science requirement.
122
Summer/Fall 2008
Course Descriptions
LSOC-371 LSOC-431
Identity Psychology of Aging
3 credits 3 credits
Course Chair: C. Colatosti Course Chair: C. Colatosti
Required of: None Required of: MTHE majors
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: LCOR-112 Prerequisites: LCOR-112 and LSOC-211
This interdisciplinary course examines ideas of identity This course focuses on the psychological, relational, and
through frameworks offered by the disciplines of anthropology, biological issues of aging and is designed for music therapy
biology, Western and Eastern philosophy and psychology, majors and other students interested in the human aging
sociology, gender studies, cross-cultural studies, literature, process. Attention is paid to both normal and abnormal
and art. Note: This course may be used to fulfill the social development, and encompasses the personal and professional
science requirement. application of the material to the students’ lives.
LSOC-411 LSOC-441
Child and Adolescent Psychology The Psychiatric Setting
3 credits 3 credits
Web
Course Chair: C. Colatosti Course Chair: C. Colatosti
Registration
Required of: MUED majors Required of: None
Electable by: All Electable by: All is closed each
Offered: Spring, Summer, Fall Offered: Spring night from
Prerequisites: LCOR-112 and LSOC-211 Prerequisites: LCOR-111 and LSOC-211 12:00 AM
through
This course is an opportunity for students to learn more about Students will learn how to function in a variety of clinical and
6:00 AM
their own personal development and evolution up to this service related settings: hospitals, clinics, hospices, nursing
from Sunday
point, by examining theories and research regarding child and homes, and educational and recreational centers. Factors to
adolescent development, and by examining their own families be studied include the principles of group dynamics, the through
of origin. Note: This course may be used to fulfill the social presentation of cases, conflict resolution among ward teams, Saturday.
science requirement. the nature of therapeutic relating, effective non-drug and
drug-oriented treatment modalities, and the specific role of
LSOC-421 music therapy in relation to other modalities.
Abnormal Psychology
3 credits
Course Chair: C. Colatosti Literature, History, and Analysis
Required of: MTHE majors
Electable by: MTHE majors or with permission LHAN-211
of course chair History of Western Music 1
Offered: Spring 2 credits
Prerequisites: LCOR-112 and LSOC-211 Course Chair: G. Fritze
Required of: Degree – all, except COMP and
Using the classification of psychopathology contained in the MUED majors; Diploma – FILM majors
current edition of the American Psychiatric Association’s Electable by: All
Diagnostic and Statistical Manual of Mental Disorders Offered: Spring, Summer, Fall
(DSM-IV) as a guide, this course will explore the major Prerequisites: CM-211 and CP-211
psychopathology of childhood, adolescence, and adulthood.
This exploration will involve examining the etiology of each A survey of the major styles in Western music from about
disorder, its symptomatology, and different treatment A.D. 600 to the conclusion of the baroque. This includes a
approaches. Note: This course may be used to fulfill the summary of ancient music. Audiovisual examples of scores
social science requirement. and photographs of related art works.
123
Course Descriptions
Summer/Fall 2008
LHAN-212 LHAN-233
History of Western Music 2 Classic Rock Guitar Players
2 credits 2 credits
Course Chair: G. Fritze Course Chair: L. Baione
Required of: Degree – all, except COMP and Required of: None
MUED majors; Diploma – FILM majors Electable by: All
Electable by: All Offered: Spring, Fall
Offered: Spring, Summer, Fall Prerequisites: None
Prerequisites: CM-212 and CP-212
An in-depth look at some of rock’s most influential guitar
A survey of the major styles in Western music from the players. The importance of their contributions and innovations
early classical period to the present. Audiovisual examples; will be discussed through the use of videos, transcriptions,
correlation of characteristics of each period with activities in and recordings, along with instructor’s demonstrations. Some
related arts. of the players to be discussed are Jimi Hendrix, B.B. King,
Eric Clapton, and Steve Lukather. Students will receive
LHAN-221 transcriptions as well as a clear understanding of the
History of Jazz development of rock guitar playing.
2 credits
Course Chair: M. Marvuglio/J. Odgren LHAN-241
Required of: None A History of the Music of Black America
Electable by: All 2 credits
Offered: Spring, Summer, Fall Course Chair: M. Marvuglio/J. Odgren
Prerequisites: None Required of: None
Electable by: All
A survey of music in the jazz idiom from its origin to the Offered: Fall
present. Chronological examination of the principal musicians Prerequisites: None
and composers. Analysis of the more influential soloists,
groups, and composers through the use of tapes and films. A study of the historical attributes and positive contributions of
Students will develop a knowledge of the periods, styles, and the development of black American music: African influences
forms of this music, and will have access to extensive research and the early slave music of the South; northern and southern
materials outside of the classroom. influences through the black church; composers and
songwriters in and after the Civil War; ragtime and blues, early
LHAN-222 jazz, the jazz age, and the black renaissance; composers and
History of Rock Music performers up to the present; black concert-music composers.
2 credits Research, homework, listening, lecture/demonstrations, and
Course Chair: M. Marvuglio/J. Odgren required attendance at performances.
Required of: None
Electable by: All LHAN-P243
Offered: Spring, Summer, Fall Japanese Music and Instruments
Prerequisites: None 2 credits
Course Chair: G. Fritze Prototype
A survey of rock music from its origins to the present. Lectures Required of: None
will focus on musical distinctions among the substyles present Electable by: All
in the genre, and will include audio and video clips of major Offered: Spring
artists and style-setters. Literary, sociological, and other cultural Prerequisites: A non-Western music performance,
aspects of this music will also be discussed. Students will be writing, or history course is recommended as
able to take advantage of access to extensive research materials a prerequisite.
available outside the classroom.
A study of Japan's musical history and life. This course
explores the music of Shinto and Buddhism; music of the
court and theater: Gagaku, Nogaku, Kabuki; music of Japan's
instruments: biwa, shakuhachi, koto, and shamisen; and folk
and popular music. Additionally, there will be a demonstration
of selected Japanese instruments and an introduction to
Japanese notation systems. The class will also examine
Chinese and other Asian influences on traditional Japanese
music, as well as Japanese influence on music in the United
States and Europe.
124
Summer/Fall 2008
Course Descriptions
LHAN-245 LHAN-P253
Women in Music African-American Composers
2 credits 2 credits
Course Chair: M. Marvuglio/J. Odgren Course Chair: G. Fritze Prototype
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring
Prerequisites: None Prerequisites: CM-211
An examination of women’s contributions to jazz and classical This course will discuss the contributions that African-
music in twentieth-century America and the factors that American composers have made to classical music from the
influenced their careers. Students will study individual late 19th century to the 21st century We will explore the
performers, composers, and all-women groups using audio extra-musical influences affecting black composers past and
and visual resources and critically evaluate the sociopolitical present - such as the Harlem Renaissance, the civil rights
factors that affected their careers through lecture, discussion, movement, and the influence of jazz and other black music -
and research. and examine whether or not these influences play a role in
music of these composers. We will also try to discover the
LHAN-P247 characteristics that may exist distinguishing the music of black
Music of Women Composers composers from those of non-black composers.
2 credits
Course Chair: G. Fritze Prototype LHAN-261
Required of: None Concert Music after 1945
Electable by: All 2 credits
Offered: Spring Course Chair: G. Fritze
Prerequisites: None Required of: None
Electable by: All
A survey course on the female contribution to the art of Offered: Spring, Summer
music from the Middle Ages to the present. Emphasis will Prerequisites: ET-111 and HR-111
be placed on the changing roles of, and attitudes towards,
women as composers, performers, teachers, writers, A survey course offering an overview of musical trends
instrument-builders, patrons, etc. More specifically, this class that have dominated concert music since World War II,
will be conducted within a historical framework of contexts with emphasis on symphonic and chamber music. Recent
and perspectives; thus we will examine the achievements of trends including minimalism, post-Webern serialism,
women musicians in the light of societal expectations, chance and indeterminacy, electronic music, world music,
impositions, limitations and attitudes. neoromanticism, avant-garde experimentalism, multimedia,
and others will be discussed. Pieces by composers John
LHAN-251 Adams, Takemitsu, Stockhausen, Penderecki, Schnittke, Torke,
General Music History 1 Cage, Feldman, Harbison, Zenakis, Reich, and others will be
2 credits studied and analyzed.
Course Chair: G. Fritze
Required of: COMP majors and MUED majors LHAN-266
Electable by: COMP majors and MUED majors Dmitri Shostakovich: His Music and Life
Offered: Spring, Summer, Fall 2 credits
Prerequisites: CP-211 and either CM-211 Course Chair: G. Fritze
or CM-251 Required of: None
Electable by: All
A survey of the major styles in Western music from about Offered: Summer, Fall
A.D. 600 to the conclusion of the baroque period. Prerequisites: CM-212 and CP-212
125
Course Descriptions
Summer/Fall 2008
LHAN-P288 LHAN-316
Music of Olivier Messiaen Traditional Forms in the Twentieth Century 2
2 credits 2 credits
Course Chair: G. Fritze Prototype Course Chair: G. Fritze
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring
Prerequisites: CM-212, CP-212, and LHAN-211 Prerequisites: LHAN-315
Course Descriptions
LHAN-342 LHAN-346
Contemporary South American Music Music and Cultures of India, the Far East,
2 credits and Eastern Europe
Course Chair: M. Marvuglio 2 credits
Required of: None Course Chair: M. Marvuglio/M. Glaser
Electable by: All Required of: None
Offered: Spring, Fall Electable by: All
Prerequisites: Overall ensemble rating 3 Offered: Spring, Summer
(Intermediate level in reading and rhythmic skills Prerequisites: None
are necessary.)
A study of the music of North India and musics and cultures
A course for all instrumentalists and vocalists that focuses on of the Near East and Far East, including Japan, Indonesia,
the performance and analysis of music by many of the most and Turkey, as well as Eastern Europe, including Greece,
important contemporary recording/performing artists and Bulgaria, and Russian Georgia. Focus will be on the interaction
composers in South America. Recordings, scores, literature, and of cultures to produce new musical forms. Other topics will
videos will be used to explain how these genres have evolved include: issues of race, gender, ethnicity, and identity, placing
from their traditional styles by absorbing the influences of music in its cultural and historical context, music as a
modern musical forms, including jazz, rock, pop, flamenco, and representative of cultural values, aesthetics, cultural
African music. We will discuss the historical, cultural, and social transmission, orality and literacy, and individualism versus
implications of this process of absorption and adaptation to group involvement.
form a comprehensive understanding of the multi-cultural and
multi-racial roots of contemporary South American music. LHAN-351
Through analysis and performance, students will learn to Music of Miles Davis
extract elements of South American music and use it in other 2 credits
styles, including their own compositions and arrangements. Course Chair: Course Chair: T. Plsek
Required of: None
LHAN-345 Electable by: All
Music and Cultures of Africa, Latin America, Offered: Spring, Fall
and South America Prerequisites: None
2 credits
Course Chair: M. Marvuglio/M. Glaser A course tracing the development of the music of Miles Davis.
Required of: None Examination and discussion of the evolution of his playing
Electable by: All and writing styles. Concentration on the listening and analysis
Offered: Summer, Fall of improvised solos, tunes, forms, harmonic practice, and his
Prerequisites: None influence on other performers.
LHAN-353
Music of Charles Mingus
2 credits
Course Chair: K. Pullig
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-212
Summer/Fall 2008
LHAN-371 LHAN-375
Beethoven String Quartets Music of Igor Stravinsky
2 credits 2 credits
Course Chair: G. Fritze Course Chair: G. Fritze
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring, Summer
Prerequisites: CM-212 Prerequisites: CM-212, CP-212, and LHAN-211
Comparative study and analysis of the principal Beethoven An in-depth examination of representative works spanning
quartets. Relationship of the quartets to his work as a whole. Stravinsky’s total creative output. Concentration on listening
Examination of the outstanding compositional characteristics and analysis of representative works.
of this important body of literature.
LHAN-376
LHAN-372 Symphonies of Jean Sibelius
Bartok’s Chamber Music 2 credits
2 credits Course Chair: G. Fritze
Course Chair: G. Fritze Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring
Offered: Spring, Fall Prerequisites: CM-212 and CP-212
Prerequisites: CM-212
Analysis of the development of the Sibelius style from the
Score analysis, discussion, and study of Bartok’s principal first through the seventh symphonies. Methods by which the
chamber works. Comparison of formal characteristics, scoring, Finnish master utilized tone color, motive development, beat
and compositional practices. modulation, and modal counterpoint. In addition, concepts of
orchestration will be discussed and analyzed in selected tone
LHAN-373 poems as well as the symphonies.
Early Chamber Music of Arnold Schoenberg
2 credits LHAN-381
Course Chair: G. Fritze Seminal Composers of the Twentieth Century
Required of: None 2 credits
Electable by: All Course Chair: G. Fritze
Offered: Summer, Fall Required of: None
Prerequisites: CM-212 Electable by: All
Offered: Fall
Analysis of the early tonal and free atonal techniques in Prerequisites: CM-212, CP-212, and LHAN-211
Schoenberg’s pre-1923 compositions. Examinations of
the causes and effects of preserial techniques in twentieth- An in-depth examination of composers whose work has
century composition. proven of lasting importance, not only in and of itself, but
also because of its influence on contemporary compositional
LHAN-374 styles. A different composer will be covered each semester;
Music of J.S. Bach the current selection will be posted on student bulletin boards
2 credits and in the Composition Department during registration and
Course Chair: G. Fritze check-in periods. Composers covered include Claude Debussy,
Required of: None Maurice Ravel, Paul Hindemith, Aaron Copland, Charles Ives,
Electable by: All and music theater crossovers including George Gershwin and
Offered: Summer, Fall Leonard Bernstein.
Prerequisites: CM-212, CP-212, and LHAN-211
LHAN-385
A study of the aesthetic and compositional bases of Analysis of Sonata Forms
representative works of J.S. Bach, placing the music in a 2 credits
cultural, biographical, and musicological context. Through Course Chair: G. Fritze
lecture, listening, analysis, and discussion, the student will Required of: None
consider the distinctions, as well as the continuities, between Electable by: All
the practical composer of weekly cantatas and the Offered: Summer, Fall
abstractionist composer of the Art of the Fugue. Prerequisites: LHAN-311
Course Descriptions
Music Business/Management MB-211
Legal Aspects of the Music Industry
MB-101 2 credits
Introduction to the Music Business Course Chair: D. Gorder
2 credits Required of: MBUS majors
Course Chair: D. Gorder Electable by: All
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: None
Offered: Spring, Summer, Fall
An overview of business and legal issues of special concern
Prerequisites: None
to musicians and songwriters, with special emphasis on
This course will provide a survey of the music industry, copyright law, recording and music publishing agreements,
highlighting those areas where music and business intersect. and relationships between artists and other parties, including
The focus will be on career possibilities in the music industry, managers, producers, and investors.
the development of business-related knowledge and skills
necessary for effectively maintaining a professional music MB-P213
career, the vocabulary and terminology of the music industry, Marketing Issues in the Music Industry
and the distinction between music and business at the 2 credits
corporate level. The course will serve both the student wishing Course Chair: D. Gorder Prototype
Room numbers
to increase his/her understanding of common business practices Required of: None
for classes will
related to the music industry, and the student who is Electable by: MBUS majors
Offered: Spring, Fall be available
considering further study of music business/management.
Prerequisites: MB-401 at the time
MB-131 you Check-in.
The course stresses the application of marketing concepts and
Taxation in the Music Business
principles through case analysis and class discussion of cases,
2 credits
problems, and current marketing readings. Emphasis is
Course Chair: D. Gorder
placed on identifying and evaluating marketing strategies
Required of: None
and problems in the music business and on developing
Electable by: All
explicit recommendations for action. Specific topics include
Offered: Spring, Summer, Fall
strategic planning, customer decision making, life cycle,
Prerequisites: None
segmentation, product positioning, competitive behavior,
A specialized study for musicians of local, state, and federal new product development, branding, distribution strategy,
tax systems in the United States. Topics include personal, and the marketing plan, as well as social, legal, and ethical
self-employed, corporate, and partnership taxation issues, with factors that affect marketing decisions.
emphasis on effective record-keeping, filing requirements,
taxable income determination, and allowable deductions. MB-225
International Economics and Finance
MB-201 3 credits
Principles of Business Management Course Chair: D. Gorder
2 credits Required of: MBUS majors
Course Chair: D. Gorder Electable by: MBUS majors
Required of: MBUS majors Offered: Spring, Summer, Fall
Electable by: MBUS and MPED majors Prerequisites: Passing score on the Math Proficiency
Offered: Spring, Summer, Fall Exam or passing grade in GMSC-230
Prerequisites: None
An analysis of supply and demand in the international music
An overview of the activities involved in managing a business, marketplace, as affecting issues of pricing, employment, the
including marketing, accounting, finance, and the production output of goods and services, and competition. Emphasis is
of goods and services. The course focuses on the ability of the also placed on the techniques of financial management found
music business executive to analyze, plan, coordinate, and set within a music-oriented business, including planning and
objectives for these activities, through the presentation of forecasting, allocation of resources, and profit analysis, as
business theory and problem solving. well as the monetary transmission mechanisms found in
international business.
129
Course Descriptions
Summer/Fall 2008
MB-255 MB-301
Computer Applications in the Music Industry Business Leadership and Ethics
2 credits 2 credits
Course Chair: D. Gorder Course Chair: D. Gorder
Required of: MBUS majors Required of: MBUS majors
Electable by: MBUS majors Electable by: MBUS majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: MB-201 Prerequisites: MB-201
A hands-on approach to the important role of computers The application of theories of organizational behavior and
in the music industry. Students work with the applications structure to managerial processes, and the overriding influence
typically found in music business operations, including word of ethics in decision making. Through case study analysis,
processing, spreadsheets, databases, graphics, and visual students enhance their leadership abilities while developing
displays. Emphasis is on the presentation and analysis of skills in organizational efficiency, managerial effectiveness,
financial data. Particular attention is given to the use of the adaptability, and values clarification.
Internet for communication and the location and retrieval
of business-related data. MB-305
Music in the International Marketplace
MB-275 2 credits
Principles of Financial Accounting Course Chair: D. Gorder
2 credits Required of: None
Course Chair: D. Gorder Electable by: MBUS majors
Required of: MBUS majors Offered: Fall
Electable by: MBUS majors Prerequisites: MB-201, MB-211, and MB-225
Offered: Spring, Summer, Fall
Prerequisites: MB-201 Study of current issues affecting the international music
marketplace with emphasis on understanding the international
An introduction to the fundamental principles of accounting record business and international music publishing. Study of
and record keeping in business operations. Emphasis is the major geographical areas where music is traded; discussion
placed on the theory of debit and credit, the recording of of music market activities in individual countries.
business transactions, the preparation of basic financial
statements, and the use of accounting information within MB-331
music business organizations. International Industry Operations:
Record Companies
MB-287 2 credits
Business Communications Course Chair: D. Gorder
2 credits Required of: MBUS majors in management track
Course Chair: D. Gorder Electable by: MBUS majors
Required of: None Offered: Spring, Summer, Fall
Electable by: MBUS majors Prerequisites: MB-201, MB-211, and MB-225
Offered: Spring, Fall
Prerequisites: MB-201 and either MB-255 A critical analysis of the anatomy of domestic and international
or MB-355 record companies, focusing on the role of each department
within the structure. Students become intricately acquainted
A detailed study of the categories of correspondence and with such areas of activity as artists and repertoire (A&R),
presentation most relevant to the music business. These promotions, marketing, distribution, product management,
include: (1) effective techniques of business writing, and business affairs. Special attention is given to contractual
including letters, memos, reports, proposals, and electronic relationships with artists and producers as well as domestic
communications; (2) oral presentations, including the use of and international licensing of masters.
visual aids and multimedia; (3) planning and running meetings;
and (4) supervising team projects.
130
Summer/Fall 2008
Course Descriptions
MB-335 MB-340
International Industry Operations: Business Startups
Music Publishing 2 credits
2 credits Course Chair: D. Gorder
Course Chair: D. Gorder Required of: MBUS majors in the
Required of: MBUS majors in management track entrepreneurial track
Electable by: MBUS majors Electable by: MBUS majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-211, and MB-225 Prerequisites: MB-201, MB-275, and either
MB-255 or MB-355
A detailed analysis of the inner workings of music publishing
companies, with emphasis on the role of the publisher in the This course will introduce students to the concepts and
acquisition, market development, and administration of requirements that must be considered and implemented during
copyrighted musical compositions. Topics include copyright the critical planning stages of a business startup. Students will
registration and renewal, contractual relationships with learn the basic concepts, including market research, submission
composers, and an analysis of domestic and international of business licensing applications, regulatory filings, first contact
licensing of the publisher’s catalog, through recordings, motion with the IRS and state departments of revenue, location,
pictures, print, and performance rights. Relationships with organizational structure, financing, employee issues, and many
foreign affiliates and subpublishers are also covered. other considerations. Guest speakers will be invited to speak on
selected topics. NOTE: As of fall 2004, Business Startups is a
MB-337 required course in the entrepreneurial track of the MBUS major,
Music Products in Commerce replacing PM-340 Entrepreneurship.
2 credits
Course Chair: D. Gorder MB-341
Required of: MBUS majors in music products Creative Promotion in New Media
industry track 2 credits
Electable by: MBUS and MSYN majors Course Chair: D. Gorder
Offered: Fall Required of: MBUS majors in the
Prerequisites: None entrepreneurial track
Electable by: MBUS majors
An in-depth survey of the business mechanisms found in Offered: Spring, Summer, Fall
the international commerce of music products, from the Prerequisites: MB-201, MB-211, and MB-225
manufacturer to the wholesaler/distributor to the retailer.
Topics include the mechanical and economic considerations A comprehensive study of the mass communication options
involved in moving products through the stream of commerce available for the implementation of creative ideas involving
to the point of purchase, as well as marketing, product artist and product development. The course is useful for the
development, distribution, sales, effective advertising, entrepreneur, corporate executive, creative production person,
promotion, and product representation. and business strategy person focusing on consumer research,
business relationships, and the effect media has on creativity
MB-339 and results. It also assists students in preparing for extended
Music Technology in the Marketplace career/graduate study options.
2 credits
Course Chair: D. Gorder MB-345
Required of: MBUS majors in music products Advanced Management Techniques
industry track 2 credits
Electable by: MBUS and MPED majors Course Chair: D. Gorder
Offered: Spring, Summer Required of: None
Prerequisites: MB-201 Electable by: MBUS majors
Offered: Spring, Fall
A course that presents the essential elements of technology Prerequisites: MB-201, MB-275, and MB-301
used for making music, including a brief history of music
technology, a discussion of the physical and mathematical An in-depth study of important management techniques
natures of various systems, a presentation of the various and approaches. Subject areas include strategic planning,
families of music technology devices, in both hardware and employee development, managing change, decision making,
software realms and in both analog and digital realms. small business start-up and management, organizational
Principles of development, manufacturing, ergonomics, structuring, labor relations, and business negotiating. The
and artistic validity will be considered, along with underlying course will focus on the practical applications of the subject
principles of acoustics, electronics, and electroacoustics. matter to the music industry through case studies, role
playing, and simulations.
131
Course Descriptions
Summer/Fall 2008
MB-351 MB-387
Data Management and Statistics Web Site Design and Management
2 credits 2 credits
Course Chair: D. Gorder Course Chair: D. Gorder
Required of: MBUS majors Required of: None
Electable by: MBUS majors Electable by: MBUS majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: MB-225, MB-275, and either Prerequisites: MB-201 and either MB-255
MB-255 or MB-355 or MB-355
The development of quantitative, graphic, and verbal skills in This course focuses on web site design and maintenance with
the analysis of data, emphasizing the ability to reduce data to HTML and JavaScript. Students will learn the basics of web
its simplest and most representative expression, as necessary site planning and design using HTML, Photoshop, sound/video
for music business operations. A focus of the course will be editing tools, JavaScript, open source code, and online tools
the familiarization of the student with the economic statistics and services. Particulars on how to set up a new web
of the music industry in the United States and abroad. presence, site testing, search engine optimization, web site
Additionally, students’ communication skills are developed management, and basic marketing will also be covered.
through effective, computer-enhanced data presentation.
MB-P389
MB-355 Managing Technology-Driven Business
Advanced Computer Applications 2 credits
2 credits Course Chair: D. Gorder Prototype
Course Chair: D. Gorder Required of: None
Required of: MBUS majors who do not Electable by: MBUS majors
take MB-255 Offered: Fall
Electable by: MBUS majors Prerequisites: MB-387
Offered: Spring, Summer, Fall
Prerequisites: MB-201 and either MB-255 or This course will explore the underlying technology and
written approval of course chair terminology required to effectively communicate and conduct
business in the technology-driven marketplace. In today's
This course builds on the fundamental computer concepts business environment, it is essential for managers and
taught in MB-255, and includes database development and executives to understand the basic concepts behind
design using Microsoft Excel and 4th Dimension database contemporary information systems and how they can be used
software. Emphasis is on normalization and functional effectively in business. Topics include hardware, software,
dependencies, relationships, and optimization in database network architecture, information security, data warehousing,
design to help students design, create, and interact in a customer interfaces, and online marketing opportunities.
relational database environment. Note: MBUS majors are Students will have the opportunity to work with common
required to take MB-255 or MB-355. MBUS majors may skip open source applications used for content management,
MB-255 and enroll in MB-355 by achieving a satisfactory customer relationship management, online purchasing and
score on the MBUS Computer Placement Exam and receiving payment systems, and more.
a waiver from the department chair. A passing score on the
MBUS Computer Placement Exam does not constitute test-out MB-391
of MB-255 or MB-355. Concert and Tour Promotion
2 credits
MB-375 Course Chair: D. Gorder
Music Intermediaries: Agents, Managers, Required of: None
and Attorneys Electable by: MBUS majors
2 credits Offered: Spring, Summer, Fall
Course Chair: D. Gorder Prerequisites: MB-201, MB-211, and MB-275
Required of: None
Electable by: MBUS majors Business aspects of producing and promoting successful
Offered: Spring, Summer, Fall tours and shows. Emphases include: (1) the promoter’s ability
Prerequisites: MB-201 and MB-211 to purchase talent and produce successful shows, taking
into consideration such matters as competition, population,
The role of the intermediary in advising, representing, and guarantees and percentage splits, ticket pricing and
furthering the careers of artists, focusing on the establishment distribution, advertising budgets, production costs,
of mutually beneficial working relationships. Topics include sponsorships, rental agreements, labor, security, concessions,
the mechanics of talent booking and contracting, union and tour packages, and promoter-owned venues; and (2) managing
government regulations, fee/commission structures, contractual and producing a successful tour, focusing on a tour theme
considerations, fiduciary duties, budgeting, the development and marketing plan, routing, itineraries, riders, offers, contracts,
of a client base, and finding success through honesty and subcontractors, show and tour personnel, merchandising,
fair dealing. sponsorships, day-of-show and show settlements.
132
Summer/Fall 2008
Course Descriptions
MB-397 between independent and major record companies,
Web Site Development for E-Business copublishing and administration deals, producers and
2 credits production deals, touring and merchandising, trademark
Course Chair: D. Gorder and copyright disputes, group break-ups, and disputes
Required of: None between artists and managers. Intensive preparation and
Electable by: MBUS majors class participation by students is expected.
Offered: Spring
Prerequisites: MB-201, MB-387, and either MB-433
MB-255 or MB-355 Current Issues in the Music Industry
2 credits
As the follow-up to MB-387, this course focuses on the actual Course Chair: D. Gorder
use of web sites in business. Technologies used in today’s Required of: None
business sites will be presented, such as cascading style sheets, Electable by: MBUS majors
Flash, PHP scripting, and online databases. Students will Offered: Fall
develop workable sites with consideration of content, Prerequisites: MB-201, MB-225, MB-275, MB-301,
demographics, management and leadership strategies, user and either MB-255 or MB-355
experience, accessibility, legal issues, and site support services.
Existing web sites will be viewed and critiqued for effectiveness, Students research topics of current importance in the music
and aspects of online business models, business-to-business, industry and participate in moderated panel discussions. The
and business-to-consumer will be explored. Emphasis will be course emphasizes thorough preparation, extemporaneous
given to both corporate and entrepreneurial web environments. speaking, and critical listening. Through the discussions,
students gain skills in issue analysis, debate, evaluation, and
MB-401 professional dialogue. Students are assigned weekly
Principles of Marketing responsibilities as panelists, moderators, critics, and scribes.
3 credits
Course Chair: D. Gorder MB-P435
Required of: MBUS majors The New Music Company
Electable by: MBUS majors 2 credits
Offered: Spring, Summer, Fall Course Chair: D. Gorder Prototype
Prerequisites: MB-201, MB-225, MB-275, MB-351, Required of: None
either MB-255 or MB-355, and one of the Electable by: MBUS majors
following: MB-331, MB-335, MB-337, MB-339, Offered: Fall
MB-340, or MB-341 Prerequisites: MB-331, MB-375, and MB-387
This course examines the practice of marketing as both an art A critical discussion of the future of the music business,
and a science, and provides students with an understanding focusing on the merging of record labels, management
of the role of marketing within an organization as well as its companies, agents, and do-it-yourself tools for the branding
impact on consumers and society in general. The course and promotion of musicians and music. Students will analyze
consists of the study of various web sites, the discussion of the changing music industry and create a "company" which
case studies, and creative exercises, as well as the step-by-step capitalizes on our convergence culture. The course will provide
preparation of a marketing plan requiring significant Internet an overview of the many different do-it-yourself options now
and other research. It is intended that students will emerge available, how to maximize a return on those tools, and outside
with a full appreciation of both the wisdom and folly of consultants used to promote music.
marketing as it is currently practiced by individuals and
organizations within the music industry and without. MB-490
Senior Practicum 1 (Heavy Rotation Records)
MB-405 1 credit
Advanced Legal Issues and Contract Course Chair: D. Gorder
Negotiation Required of: MBUS majors not taking MB-495
2 credits Electable by: MBUS majors
Course Chair: D. Gorder Offered: Spring, Summer, Fall
Required of: None Prerequisites: MB-201, MB-225, MB-275, MB-301,
Electable by: MBUS and MPED majors either MB-255 or MB-355, and one of the
Offered: Spring, Fall following: MB-331, MB-375, or MB-391
Prerequisites: MB-211
Heavy Rotation Records was developed for students to receive
Combines an examination of advanced legal topics relating hands-on experience in record company operations. HRR
to the music business with a workshop approach to the students oversee A&R, marketing, sales, publicity, publishing,
development of negotiating skills. Students will negotiate promotion, artist development, concert promotion, and web
various agreements based on actual cases and work to settle design in the production and sale of recorded music. Students
disputes arising from the breaching and termination of are assisted by faculty, guest producers, engineers, and major
agreements. Topics to be covered include record deals label personnel.
between artists and record companies, distribution deals
133
Course Descriptions
Summer/Fall 2008
Course Descriptions
ME-211 ME-325
Elementary Classroom Methods Orff and Kodaly: Approaches to
3 credits Music Education
Course Chair: C. Adderley 2 credits
Required of: MUED majors Course Chair: C. Adderley
Electable by: MUED majors Required of: MUED majors not enrolled in ME-P327
Offered: Spring, Fall Electable by: MTHE majors and MUED majors
Prerequisites: ME-111 Offered: Spring, Fall
Prerequisites: ME-211 or MTH-201
Methods and materials for the instruction of general music in
the elementary school are addressed in this class. This course This course will present the educational philosophies,
will present a survey of the educational philosophies, objectives, objectives, teaching methods, and musical materials of the
teaching methods, and musical materials of the Orff, Kodaly, Orff and Kodaly methods of music education. The course
Suzuki, Gordon, and Dalcroze methods of music education. will focus on techniques for developing music reading skills
Preparation of lesson plans, selection of music for the child through a repertoire of songs and singing games from which
voice, directed listening, notation of rhythm and melody, as these musical concepts can be taught. Directed listening,
well as formulation of principles for planning an entire musical improvisation, movement, Orff instruments, and melodic
curriculum are addressed. Minimum of 15 hours assigned hand signs will also be important topics.
observation in elementary schools is required.
For assistance
ME-326
ME-311 with logins
Multimedia for the Educator
Secondary Classroom Methods 2 credits or passwords,
3 credits Course Chair: C. Adderley contact the
Course Chair: C. Adderley Required of: MUED majors Student
Required of: MUED majors Electable by: All Computer
Electable by: MUED majors Offered: Spring, Summer, Fall Support
Offered: Spring, Fall Prerequisites: ME-152
Center at
Prerequisites: ME-211
The purpose of this class is to address the basic concepts of (617) 747-8800.
An overview of music education in the secondary schools. word processing, database, spreadsheet, and presentation
Concepts and approaches to the organization and development software, with particular emphasis on their practical application
of a music curriculum as applied to general music, instrumental, to music teaching and music program administration, as well
and choral programs. Special attention focused on the as the use of digital media (multimedia) in music education.
adolescent. Motivational concepts, administrative organization,
student/instructor relationship, community involvement, the ME-P327
special student, cultural backgrounds, and evaluational Suzuki, Gordon, and Dalcroze: Approaches
procedures. Minimum of 15 hours assigned observation in to Music Education
secondary schools in the Greater Boston area. 2 credits
Course Chair: C. Adderley Prototype
ME-321 Required of: MUED majors not enrolled in ME-325.
Vocal Methods and Materials Electable by: MTHE and MUED majors
1 credit Offered: Spring, Fall
Course Chair: C. Adderley Prerequisites: ME-211 or MTH-201
Required of: MUED majors
Electable by: MUED majors This course will present the educational philosophies,
Offered: Spring, Fall objectives, teaching methods, and musical materials of the
Prerequisites: None Suzuki, Gordon, and Dalcroze methods of music education.
The course will focus on techniques for developing music
For majors in music education. Performance of vocal and skills through select approaches unique to each philosophy.
instrumental works suitable for public school music. Students Directed listening, improvisation, and performance in various
participate in the conducting of selected works. Basic principles tonalities will be incorporated into the course topics.
of singing: breathing, tone production, fundamentals of
articulation, and diction.
135
Course Descriptions
Summer/Fall 2008
ME-P328 ME-381
Music, the Brain, and Learning Survey of Instrumental Literature
2 credits 1 credit
Course Chair: C. Adderley Prototype Course Chair: C. Adderley
Required of: None Required of: MUED majors
Electable by: MTHE and MUED majors Electable by: MUED majors
Offered: Spring Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: None
This course introduces students to the function and structure A survey for music education majors of literature written
of the brain and its application to their own study of music. for, and/or performed by, bands and orchestras in the
The course includes practical applications of theory in musical elementary and secondary public schools. Note: This course is
learning and teaching, and culminates in a short observational recommended to be taken concurrently with ME-431.
research project on brain function in music.
ME-383
ME-341 Survey of Vocal Music Literature
Teaching with a Multicultural Perspective 1 credit
2 credits Course Chair: C. Adderley
Course Chair: C. Adderley Required of: MUED majors
Required of: MUED majors Electable by: MTH majors
Electable by: MUED and MTHE majors Offered: Spring, Summer, Fall
Offered: Spring, Fall Prerequisites: None
Prerequisites: None
A survey for music education majors of vocal literature for,
This course will enable students to experience music of and/or performed by solo, small, and large ensembles in
diverse cultures and give them skills for developing their the elementary and secondary public schools. This course is
own resources. Characteristics of art and folk music, recommended to be taken concurrently with ME-321.
instrumentation, the cultural setting, and resources for
classroom and performing ensembles. The sounds of the ME-385
culture, including language, will be explored. Methods and Materials for Marching Band
2 credits
ME-352 Course Chair: C. Adderley
Preparing for the Music Licensing Exam Required of: None
2 credits Electable by: MUED majors
Course Chair: C. Adderley Offered: Fall
Required of: None Prerequisites: None
Electable by: MUED majors
Offered: Spring, Fall An overview of basic marching band techniques. Emphasis
Prerequisites: CM-251, CM-252, LHAN-251, on the study of commands and maneuvers, color guard
LHAN-252, ME-325 or ME-P327, and ME-341; techniques, and charting procedures necessary for the
or written approval of course chair development of half-time shows.
This course will include suggestions for test taking, memorizing ME-P387
material, organizing time, creating calendars, working on Instrument Repair
personal motivation techniques, taking multiple choice tests, 1 credit
and writing short essays. Course Chair: C. Adderley Prototype
Required of: None
ME-355 Electable by: All
Music Education Orff Ensemble Offered: Spring, Fall
2 credits Prerequisites: None
Course Chair: C. Adderley
Required of: None This course will address the problems of repair with respect
Electable by: MUED majors to brass, woodwind, string and percussion instruments used
Offered: Spring in the traditional ensembles.
Prerequisites: ME-325
Course Descriptions
ME-431 Music Production and Engineering
Instrumental Methods and Materials
1 credit MP-110
Course Chair: C. Adderley Introduction to Music Production
Required of: MUED majors and Engineering
Electable by: MUED majors 2 credits
Offered: Spring, Summer, Fall Course Chair: R. Jaczko
Prerequisites: None Required of: None
Electable by: All
An overview of the instrumental instruction program in the
Offered: Spring, Summer, Fall
K–12 schools. Detailed examination of teaching techniques
Prerequisites: None
for beginning instrumental students. Survey of appropriate
methods books for instrumental instruction. Roles and responsibilities of music producers and engineers
from idea inception to finished product. An overview of
ME-475 studio technologies and basic recording procedures.
Prepracticum Apprenticeship/Seminar Recommended for students considering the music production
1 credit and engineering major or anyone desiring a broad overview
Course Chair: C. Adderley of the field.
Required of: MUED majors
Electable by: MUED majors MP-210
Offered: Spring, Fall Principles of Record Production for Musicians
Prerequisites: ISKB-322, ME-211, ME-311, 2 credits
and written approval of course chair. NOTE: Course Chair: R. Jaczko
Passing scores on MUED proficiency and MTEL Required of: None
Communications Skills are required. All except MPED majors
Offered: Spring, Summer, Fall
Assigned practical experience in elementary and secondary
Required of: None
schools of the Greater Boston area. Minimum of 45 hours field
Prerequisites: None
work at the site. Evaluation of teaching experiences through
group discussion at seminar meetings. Guest lecturers from the With the proliferation of low-cost, high-quality music
teaching profession. Final written report required. technology, most musicians now have the means to make
a commercial album without the support of a record label,
ME-495 and often are required to fill the role of producer and possibly
Practice Teaching/Seminar engineer. This course surveys the general production process
6 credits from concept through mastering, with an emphasis on
Course Chair: C. Adderley self-produced independent projects. Although there is no
Required of: MUED majors hands-on coursework, students will develop detailed plans
Electable by: MUED majors for a legitimate recording project of their choice.
Offered: Spring, Fall
Prerequisites: ME-475 and written approval MP-211
of course chair. NOTE: Passing scores on both Audio Technology 1
MTEL Communications Skills, and Music exams 2 credits
are required. Course Chair: R. Jaczko
Required of: MPED majors
Student teaching experience in elementary or secondary
Electable by: MPED majors
schools. A minimum of 450 clock hours practice teaching in
Offered: Spring, Summer, Fall
kindergarten to grade 12 is required. Critique and evaluation
Prerequisites: MTEC-111 and either LMSC-208
of problems encountered in student teaching certification
or LMSC-209.
assignments in the public schools. Weekly seminar meetings
are supervised by the Music Education Department chair. This course will explore the fundamentals of analog and
digital audio, including recording consoles: design, function,
and signal flow; principles of signal processing: reverberation,
delay, equalization, compression, and other effects; introduction
to microphone and loudspeaker technology; and introduction
to music production and recording techniques in both analog
and digital media. Class meetings are principally lecture sessions
combined with in-class demonstration and some student
hands-on training. Assignment-based lab time required.
137
Course Descriptions
Summer/Fall 2008
Course Descriptions
MP-309 MP-320
Technical Characteristics of Audio Systems Music Production for Records
2 credits 2 credits
Course Chair: R. Jaczko Course Chair: R. Jaczko
Required of: None Required of: MPED majors
Electable by: MPED majors Electable by: MPED majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: MP-340 Prerequisites: MP-318; MP-385 must also be
taken concurrently with MP-320
Technical aspects of recording studio setup and operation.
Interconnection of professional analog and digital equipment A study of the creative and business aspects of producing
in properly functioning studio systems. DC and AC records. Emphasis is placed on the creative and aesthetic
measurements, audio signal levels, transmission systems, techniques of production. Lecture topics may include, but are
professional and consumer equipment standards, reference not limited to: song choice; song analysis; lyrics analysis; artist
levels, and optimization of dynamic range. Hands-on tape development and creative vision; scheduling, budgeting, and
machine alignment will be assigned. prioritization of tasks; communication issues; compromise
and flexibility with regard to a producer’s vision; servicing
MP-310 the artist’s and the record company’s needs; and tracking the
Sound Reinforcement for Musicians development of the production process from demo to master.
2 credits Two multi-track projects are required.
Course Chair: R. Jaczko
Required of: None MP-322
Electable by: All except MPED majors Sound Reinforcement Systems
Offered: Spring, Summer, Fall 2 credits
Prerequisites: None Course Chair: R. Jaczko
Required of: None
For non-MPED majors who wish to learn the principles of Electable by: MPED majors
sound reinforcement encountered in clubs or recital halls. Offered: Spring, Summer, Fall
Emphasis on effective interaction with engineers in concerts, Prerequisites: MP-241
in large halls, and in recording studios.
Techniques for recording and reinforcing music on location.
MP-318 Commonly encountered acoustical problems and an
Creative Production Skills investigation of equipment and techniques used to
2 credits overcome them.
Course Chair: R. Jaczko
Required of: MPED majors MP-325
Electable by: MPED majors Sound Reinforcement Lab
Offered: Spring, Summer, Fall 2 credits
Prerequisites: MP-215, MP-241, and MP-247; Course Chair: R. Jaczko
MP-340 and MP-341 must also be taken Required of: None
concurrently with MP-318. Electable by: MPED majors
Offered: Spring, Summer, Fall
Defining the goal of a recording project with the artist or Prerequisites: MP-322
client. Selecting composers, arrangers, players, and singers.
Choosing the appropriate technical resources to fit the Students will practice setup and mixing of live ensembles,
budget and goals. Working with vocalists and other soloists. and assist the audio staff at Berklee concerts and rehearsals
Orchestrating and motivating all the participants and in the Berklee Performance Center.
resources from rehearsal to recording to final mix. Three
production projects required on 2-track and 8-track formats.
139
Course Descriptions
Summer/Fall 2008
MP-340 MP-P363
Multitrack Recording Techniques Guerilla Production Techniques
2 credits 2 credits
Course Chair: R. Jaczko Course Chair: R. Jaczko Prototype
Required of: MPED majors Required of: None
Electable by: MPED majors Electable by: MPED majors
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: MP-212 and MP-241; MP-318 Prerequisites: MP-318, MP-340, and MP-341
and MP-341 must also be taken concurrently
with MP-340. The era of unlimited budgets for making records is largely
over, yet labels expect producers to deliver high-quality
Emphasis on recording techniques including microphone products at low costs. For some, a desktop production
placement, console and signal flow, editing, and live recording. environment provides sufficient tools to do professional work,
Discussion and utilization of limiters, compressors, noise gates, but what if ensemble performance is key to a project? In this
digital delay, and other signal processing equipment used in course, students will be challenged to base their work in part
the multitrack recording process. Recording projects will be or whole on making quality recordings of live performances
required. Audio ear training will be available outside of class. outside of the traditional studio setting. All live recording
will involve the use of a small mobile recording rig that will
MP-341 supplement the students' laptops.
Mix Techniques 2
2 credits MP-385
Course Chair: R. Jaczko Advanced Recording Techniques
Required of: MPED majors 2 credits
Electable by: MPED majors Course Chair: R. Jaczko
Offered: Spring, Summer, Fall Required of: MPED majors
Prerequisites: MP-241; MP-340 must also be Electable by: MPED majors
taken concurrently with MP-341. Offered: Spring, Summer, Fall
Prerequisites: MP-340; MP-320 must also be
A study of the functional operation of equipment used in taken concurrently with MP-385.
multi-track mix-down of digital master recordings in a digital
audio workstation environment. There will be an emphasis on This advanced recording class analyzes SSL console signal
critical listening and aesthetic consideration. Topics covered flow; demonstrates sophisticated ensemble mic techniques
will include common DAW procedures and protocol, data and applications; compares digital and analog multitrack
management, use of a virtual console, use of a control formats, and reinforces professional session protocols. Drum
surface, signal flow, editing, and digital signal processing micing, session flow, documentation and microphone choice
(plug-ins). Mixing exercises of prerecorded multi-track files. and comparisons will all be demonstrated.
MP-P351 MP-421
Microphone Theory and Applications Music Production for Visual Media
2 credits 2 credits
Course Chair: R. Jaczko Prototype Course Chair: R. Jaczko
Required of: None Required of: MPED majors
Electable by: MPED and MSYN majors Electable by: MPED majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: MP-340 or MS-320 Prerequisites: MP-320 and MP-341
This course will discuss design theory of recording studio A hybrid production/engineering course dealing with the
microphones. Hands on applications will include modification technical and creative issues surrounding soundtracks for
of microphone designs and acoustic testing of various design feature film, episodic television, commercials, and documen-
concepts and techniques. taries. Exercises and quizzes dealing with synchronization,
SMPTE time code, Word Clock, and other technical issues will
combine with aesthetic considerations to complete projects
dealing with music production for visual media, Foley, sound
design, and ADR. A survey of careers in postproduction will
culminate in students working together in teams, mirroring
their real-world counterparts.
140
Summer/Fall 2008
Course Descriptions
MP-431 MP-P456
Vocal Production Analog Recording Techniques and Applications
2 credits 2 credits
Course Chair: R. Jaczko Course Chair: R. Jaczko Prototype
Required of: None Required of: None
Electable by: MPED majors Electable by: MPED majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: MP-320 Prerequisites: MP-385
A hands-on study of the production of vocalists in the This class will provide an in-depth study of the professional
recording studio. Emphasis on techniques and strategies for practices and techniques used in analog tape-based recordings.
obtaining the best possible vocal performance, in terms of Historical context and modern practical applications will be
both emotional impact and technical accuracy. Topics include explored. Format comparisons, tape machine alignment, razor
analysis of commercially recorded vocals, discovering a blade editing, noise reduction, level management and
vocalist’s identity, psychological and technical limitations, documentation standards will all be discussed. Students will
preproduction with vocalists (with emphasis on the apply these skills in the studio using 2” and 1/4” analog tape.
song/vocalist relationship), establishing producer/vocalist
rapport, working sympathetically and effectively in the studio MP-P457
environment, conducting a vocal session, vocal compilation, Ensemble Recording Techniques
For information
and background vocals. Technical topics include microphone 2 credits
choice and associated signal processing and mixing for on Web
Course Chair: R. Jaczko Prototype
vocals. In-class sessions are conducted and produced by Required of: None Registration,
both instructor and students. Students will also be required Electable by: MPED majors please refer
to sing and thus “be produced.” Students will produce two Offered: Spring, Summer, Fall to page 5 in
multitrack projects incorporating rerecording and compiling Prerequisites: MP-385 this manual.
of vocal tracks using previous projects.
This class will focus on the skills necessary for recording live
MP-441 ensembles of musicians. Students will work as engineers,
Advanced Mix Lab assistants, and Pro Tools operators with faculty supervision
2 credits and guidance in the context of weekly recording sessions.
Course Chair: R. Jaczko This class will work in collaboration with regularly scheduled
Required of: MPED majors daytime recording ensembles, covering a variety of styles
Electable by: MPED majors and instrumental groupings.
Offered: Spring, Summer, Fall
Prerequisites: MP-340 and MP-341 MP-P458
Live Concert Recording and Mixing Techniques
Advanced mixing techniques via in-class faculty demonstrations 2 credits
and student participation emphasizing professional industry Course Chair: R. Jaczko Prototype
standards, including an introduction to automation and Required of: None
sophisticated digital reverberation devices. Mixing of 24-track Electable by: MPED majors
library tapes and production of students’ projects. Offered: Spring, Summer, Fall
Prerequisites: MP-385
MP-P455
Hip Hop Production for Records This class will focus on the techniques and applications
2 credits employed in live concert recording. Students will regularly
Course Chair: R. Jaczko Prototype record concerts held in the Berklee Performance Center to
Required of: None 48 track, multi-track and two track formats. Topics include
Electable by: MPED majors systems integration of live sound reinforcement, live recording
Offered: Spring, Fall and video capture, microphone choice and placement, scene
Prerequisites: MP-320 storage and documentation strategies and audience/ambience
recording techniques.
This course is designed to focus on the musical, vocal and
technical production skills in hip hop record production.
Advancing the basic concepts of music production techniques
introduced in Music Production for Records, the course
embraces the professional practices of record production in
the hip hop genre. Students will be required to showcase
their skills in two demo-to-master projects.
141
Course Descriptions
Summer/Fall 2008
MP-461 MP-495
Advanced Production Projects Music Production and Engineering Internship
2 credits 2 credits
Course Chair: R. Jaczko Course Chair: R. Jaczko
Required of: MPED majors Required of: None
Electable by: MPED majors Electable by: MPED majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: MP-421 Prerequisites: MP-340 and written approval
of course chair
Instructor and classmates will review and advise each class
member at every step during the planning and production of Monitored and evaluated professional work experience in an
two or more fully professional multi-track recordings. Criteria environment related to the music production and engineering
will include song selection or scoring, demoing, arranging, major. Placement is limited to situations available from or
session planning, rehearsals, recording, and finished mixing. approved by the Office of Experiential Learning and the Music
The instructor may select individual projects-in-progress to Production and Engineering Department chair or designee.
demonstrate creative or technical aspects of quality in To apply for an internship, students must see the internship
production and market targeting. coordinator in the Office of Experiential Learning prior to
registering. Note: Equivalent credit for prior experience is not
MP-471 available due to the requirement of concurrent contract
Postproduction and Remixing of Records between the employer/supervisor and the college.
2 credits
Course Chair: R. Jaczko International students in F-1 status must obtain authorization
Required of: None on their Form I-20 from the Counseling and Advising Center
Electable by: MPED majors prior to beginning an internship.
Offered: Spring, Fall
Prerequisites: MP-320 and MP-441
Music Synthesis
A project-oriented class dealing with creating stereo remixes for
specific markets (including radio, club, and dance formats) and MS-210
remixing in 5.1 multichannel surround. Using musicianship and Survey of Electroacoustic Music
appropriate technology to strengthen the arrangement, beat, 2 credits
and sonic impact of a recording with focus on the technical, Course Chair: K. Biederwolf
practical, and artistic applications of mixing in multichannel Required of: None
surround formats. Electable by: All
Offered: Spring, Summer, Fall
MP-475 Prerequisites: None
Masters Engineering Lab
2 credits A musical survey of the performers, composers, and producers
Course Chair: R. Jaczko whose influences have shaped and defined the present and
Required of: None past of electro-acoustic music.
Electable by: MPED majors
Offered: Spring, Summer, Fall MS-220
Prerequisites: MP-385 and MP-441 Studio Technologies
2 credits
Combining previously learned recording and miking techniques, Course Chair: K. Biederwolf
including automation and signal processing. Emphasis is on Required of: MSYN majors
meeting professional standards in the final mix. Mixing and/or Electable by: MSYN majors
recording projects required. Offered: Spring, Summer, Fall
Prerequisites: MTEC-111, either LMSC-208 or
LMSC-209, and written approval of course chair
142
Summer/Fall 2008
Course Descriptions
MS-223 MS-P261
Modular Functions and Signal Flow Musical Devices for Music Technologists
2 credits 2 credits
Course Chair: K. Biederwolf Course Chair: K. Biederwolf Prototype
Required of: MSYN majors Required of: None
Electable by: MSYN majors Electable by: MSYN, MPED
Offered: Spring, Summer, Fall Offered: Spring, Fall
Prerequisites: MTEC-111 and either LMSC-208 Prerequisites: MS-223 and MS-225 (MSYN),
or LMSC-209 MP-225 (MPE)
Principles of modules such as oscillators, filters, and amplifiers A study of musical devices, including hemiola, stretto,
in virtual synthesizers used to create sound. Focus on observing polymeter, canon, augmentation and diminution, antiphony,
signal characteristics at outputs, and defining signal functions used in successful productions by music technologists and
(e.g. timing, audio, logic, and control) solely via connection(s) composers. Harmony and its devices are not considered.
to inputs. Study of various types of input response curves and Definitions in The New Harvard Dictionary of Music act as
attenuator calibrations. points of departure, from which students will be challenged
to illustrate how classic devices of music composition can be
MS-225 extended using electronic tools, such as the classic concept of
MIDI Systems retrograde being extended through electronic technology to
2 credits produce "reversed audio." Also, the music technologist can
Course Chair: K. Biederwolf repurpose “augmentation and diminution” of a theme using
Required of: MSYN majors ratios not playable or even notable using acoustic means.
Electable by: All Students will create three brief productions, and one
Offered: Spring, Summer, Fall extended production that apply musical devices illustrated in
Prerequisites: MTEC-111 and either LMSC-208 class and use brief recorded excerpts of contemporary and
or LMSC-209 canonical popular music. Students will also submit their own
brief excerpts of recordings that utilize classic musical devices,
A comprehensive study of the Musical Instrument Digital gleaned from the most current contemporary music contexts
Interface (MIDI) and its many musical applications with an that feature electronic means.
emphasis on sequencing. Working at computer-based
workstations, students will apply in-depth knowledge and MS-320
comprehension of the MIDI specification to a wide variety of Digital Mix Techniques
musical projects. 2 credits
Course Chair: K. Biederwolf
MS-250 Required of: MSYN majors
Survey of Electronics in the Film Score Electable by: MSYN majors
2 credits Offered: Spring, Summer, Fall
Course Chair: K. Biederwolf Prerequisites: MS-220, MS-223, and MS-225
Required of: None
Electable by: All Based on theory and skills learned in Studio Technologies,
Offered: Spring, Fall this course places a primary emphasis on the improvement
Prerequisites: None of student productions through effective mixing techniques.
Mixing, processing, equalization, dynamics, working in stereo
A survey of electronic musical instruments, computer and surround, and other techniques will be explored and
technology, and other electronic techniques used to create applied to a series of projects. Genre-specific techniques
film scores, illustrated with film clips and recordings, from the will be discussed, in addition to mix-for-picture and sound
coming of sound (circa 1927) through the modern era. Practical design scenarios.
demonstrations of contemporary techniques (sampling, DSP,
filtering, vocoding, etc.) will be presented in class, both live and
using film clips. Techniques for editing and integration of music,
Foley, and FX will be discussed. Orientation revolves around
the evolution of specific electronic musical instruments and/or
techniques, rather than traditional film genres such as drama,
science fiction, comedy, thriller, action, and documentary.
143
Course Descriptions
Summer/Fall 2008
MS-321 MS-330
Advanced MIDI Systems Indian Music Concepts in Contemporary
2 credits Synthesis Production
Course Chair: K. Biederwolf 2 credits
Required of: MSYN majors Course Chair: K. Biederwolf
Electable by: MSYN majors Required of: None
Offered: Spring, Summer, Fall Electable by: MSYN majors
Prerequisites: MS-220, MS-223, and MS-225 Offered: Spring, Fall
Prerequisites: MS-223
A project-oriented course focused on mastery of a complex
MIDI production environment. Students address the technical A creative study of the technical and musical aesthetics involved
challenges of configuring and integrating a wide variety of with producing and arranging in a wide range of popular
hardware and software into a working MIDI and digital audio Indian musical styles, including pop songs, remix hits, and
system. Emphasis is placed on advanced sequencing techniques classical forms. Utilizing contemporary synthesis programming
and innovative MIDI applications using hardware and software and production techniques, students will complete a variety
instruments in a sequencer-based production environment. of projects and assignments that effectively demonstrate the
contemporary synthesis application of Indian ragas, musical
MS-322 instrumentation, and popular stylistic repertoire.
Advanced Programmable Synthesis
2 credits MS-P331
Course Chair: K. Biederwolf Applications of Indian Music Concepts in
Required of: MSYN majors Contemporary Synthesis Production
Electable by: MSYN majors 2 credits
Offered: Spring, Summer, Fall Course Chair: K. Biederwolf Prototype
Prerequisites: MS-220, MS-223, and MS-225 Required of: None
Electable by: All
A continuation of MS-223, this course provides various Offered: Spring, Fall
approaches to original sound design. Students will be shown Prerequisites: MTEC-222 or MTEC-223 or
how to assimilate a wide variety of synthesizer architecture permission of instructor
and identify their unique or common elements. Students
will learn to correlate the parameters of synthesis with the A creative study of the technical and musical aesthetics involved
parameters of sound. with producing and arranging in a wide range of popular
Indian musical styles, including Bollywood pop songs, remix
MS-326 hits, and classical forms. Utilizing contemporary synthesis
Multimedia Portfolio Workshop programming and production techniques, students will
2 credits complete a variety of projects and assignments that effectively
Course Chair: K. Biederwolf demonstrate the contemporary synthesis application of Indian
Required of: MSYN majors ragas, musical instrumentation and popular stylistic repertoire.
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-320, MS-321, and MS-322
144
Summer/Fall 2008
Course Descriptions
MS-P333 MS-339
Sound Design for Animation Synthesis in Composition and Orchestration
2 credits for Commercial Production
Course Chair: K. Biederwolf Prototype 2 credits
Required of: None Course Chair: K. Biederwolf
Electable by: MSYN majors Required of: None
Offered: Fall Electable by: MSYN majors
Prerequisites: MS-321 and MS-322, or written Offered: Spring, Summer, Fall
approval of chair Prerequisites: MS-223
A project-based course covering basic design principles and This course will provide the opportunity for students to gain
production techniques used in producing sound for animation. experience working in situations, which typify the demands
Students will work in collaboration with senior animation of a commercial production environment. This will include:
students at the Massachusetts College of Art to produce three composing in a wide variety of idioms, to specific stylistic
short animation projects. Animation is a part of practically every direction, and under common constraints that affect
form of entertainment that uses visual elements, from feature commercial music composition. The emulation of these styles
films and television programs to video games and web sites. will require drawing upon the skills of a synthesist, engineer,
Most, if not all, musicians will work with this medium at some and producer as well as those of composer and orchestrator.
point in their career. Class meetings will explore the historical This course will confront the student with the issues and
roots of sound and music for animation through screenings, problems common to the working composer, music producer,
case studies, and assigned readings. From this, students will and small studio owner.
develop the skills necessary to analyze an animation and
create a variety sound elements: music, sound effects and MS-340
vocal elements. At various times throughout the semester, Speech and Vocal Synthesis
the class will meet at Mass Art in joint meetings with student 2 credits
animators for directed review of their work. Course Chair: K. Biederwolf
Required of: None
MS-335 Electable by: MSYN majors
Advanced Modular Synthesis Techniques Offered: Summer, Fall
2 credits Prerequisites: MS-223
Course Chair: K. Biederwolf
Required of: None An overview of the electronically produced/processed
Electable by: MSYN majors voice, with exploration of human speech/singing formants;
Offered: Spring, Summer, Fall time-stretching and granular speech techniques; human singing
Prerequisites: MS-223 voice-synthesis software; and introduction to convolution of
the human voice; introduction to the mechanics of human
A continued study of subtractive synthesis techniques used voice sound production. Formant synthesis: singing and speech
in designing sounds for hybrid analog/digital sound engines. synthesis based on frequency domain techniques such as
Advanced studies in performance- and production-oriented vocoding, parametric EQ, and use of formant filters. In addition
programming techniques used in sophisticated systems. In to classroom time, students will be supervised in weekly hands-
addition to classroom time, students will be supervised in on practice in this synthesis lab. The course requires production
weekly hands-on practice in this synthesis lab. of a composition, soundscape, etc.
MS-337 MS-341
Sound Design and Composition in Csound MIDI, Audio, and Video Programming
2 credits in Max/MSP
Course Chair: K. Biederwolf 2 credits
Required of: None Course Chair: K. Biederwolf
Electable by: MSYN majors Required of: None
Offered: Spring, Summer, Fall Electable by: MSYN majors
Prerequisites: MS-223 Offered: Spring, Summer, Fall
Prerequisites: MS-321
Exploration of the theory and practice of digital signal
processing, sound design, and music synthesis utilizing the full The musical exploration of a powerful cross-platform tool
power of the personal computer as a virtual synthesizer. The kit for multimedia software development, Max/MSP/Jitter. In
student will employ a wide variety of approaches to sound this class, students will learn how to create/program their
and musical design: from classical techniques such as additive own virtual music boxes, groove boxes, audio and MIDI
and subtractive synthesis, ring modulation, FM, waveshaping, remixers, softsynths, effects processors, and interactive video
and sampling, to the most powerful new approaches such as synthesizers/mixers/processors, and to control their original
granular synthesis and physical modeling; and will discover software with alternate (nonkeyboard) controllers.
ways in which the full potential of software synthesis can be
applied in hard-disk–based composition and production.
145
Course Descriptions
Summer/Fall 2008
MS-351 MS-381
Advanced Studies in Digital Sampling Contemporary Applications of Digital Audio
Techniques 2 credits
2 credits Course Chair: K. Biederwolf
Course Chair: K. Biederwolf Required of: MSYN majors
Required of: None Electable by: MSYN majors
Electable by: MSYN majors Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: MS-320, MS-321, and MS-322
Prerequisites: MS-322
MS-381 will challenge music synthesis students to produce
Using a variety of sampling synthesizers and related signal content in many of the diverse professional applications of
processing devices, the student will learn techniques employed multi-track audio and MIDI software and hardware, and the
in the creation of a variety of contemporary user-sampled digital project studio. Class time will be used to present
sounds. Topics covered include studio sampling applications relevant production techniques and review and critique
with regard to acoustic, electronic, and environmental sounds; student work, both finished and in progress.
computer manipulation of complex waveforms; and various
digital processing techniques. In addition to classroom time, MS-391
students will be supervised in hands-on labs. Designing and Programming Interactive
Performance Systems
MS-P353 2 credits
Audio Programming in C, C++ and ObjC Course Chair: K. Biederwolf
2 credits Required of: None
Course Chair: K. Biederwolf Prototype Electable by: MSYN majors
Required of: None Offered: Spring, Summer, Fall
Electable by: MSYN majors Prerequisites: MS-321
Offered: Spring, Fall
Prerequisites: MS-337 or MS-341 Focusing on expanded synthesizer control and expressive
musical performance, students will study, program, practice,
This class focuses on programming computers through learning and play using nonkeyboard controllers such as MIDI guitars,
how to read, write and modify software synthesis and signal woodwinds, drums, and innovative “virtual” controllers such
processing software using Xcode - Apple Computer's as the Buchla Lightning and the Mathews Radio Baton.
integrated development environment for Mac OS X In the
process, the student will come to understand, at the most MS-401
fundamental level, how synthesizers, samplers, modulators, Music Synthesis Advanced Seminar
filters, reverbs, mixers, and other popular effects processors and 2 credits
plug-ins make and transform sounds at the algorithm level. Course Chair: K. Biederwolf
From this understanding and expertise, the student will modify, Required of: MSYN majors
extend, build and use innovative tools of their own design to Electable by: MSYN majors
create an original, personal, and unique music and sound. Offered: Spring, Summer, Fall
Prerequisites: MS-326 and MS-381
MS-371
Composition Workshop for Music Synthesis Advanced Seminar combines master class and private lesson
2 credits settings for the music synthesis major. Master class topics
Course Chair: K. Biederwolf include group assessment of each student's portfolio work,
Required of: None as well as the existing work of other professional musicians.
Electable by: MSYN majors Assessment and analysis represent creative, compositional,
Offered: Spring, Summer, Fall artistic, aesthetic, and production viewpoints. Business and
Prerequisites: MS-223 career preparation will also be discussed. The private lesson
component allows each student to develop his/her skills and
This class provides the student with an opportunity to create musicianship with direct mentoring from the instructor.
portfolio pieces of original compositions using software and
hardware tools. We will study a variety of approaches to
composing and realizing works with an emphasis on
developing the use of line, rhythm, harmony, orchestration,
and form. Weekly assignments include MIDI realization of
music excerpts, readings by composers, and listening.
Technical topics will be explored by the group as needed.
146
Summer/Fall 2008
Course Descriptions
MS-413 MS-431
Digital Signal Processing: Theory Physical Modeling and Additive Synthesis
and Composition 2 credits
2 credits Course Chair: K. Biederwolf
Course Chair: K. Biederwolf Required of: None
Required of: None Electable by: MSYN majors
Electable by: MSYN majors Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: MS-322
Prerequisites: MS-322
An exploration of excitation/resonance models of sound
A theoretical and practical exploration of digital signal production: Karplus-Strong (string), brass, and woodwind
processing software. Student projects will focus on the modeling using digital signal processing in a dedicated
compositional use of DSP: pitch shifting, time scaling, hardware environment; use of software-based modeling
chorusing, delay, reverberation, spatialization, channel and for pedagogical purposes; exploration of Fourier or additive
phase vocoding, spectral filtering, FFT-based noise removal, synthesis and formant theory in a hardware environment.
and software-based cross-synthesis. The musical focus is
innovative sound design and audio-art composition. MS-461
Computer Music Composition and Analysis
MS-414 2 credits
To declare
Digital Signal Processing for Music Production Course Chair: K. Biederwolf
your major,
and Postproduction Required of: None
2 credits Electable by: MSYN majors you will need
Course Chair: K. Biederwolf Offered: Spring, Summer, Fall to apply by
Required of: None Prerequisites: MS-322 filling out a
Electable by: MSYN majors Declaration of
Offered: Spring, Summer, Fall This course explores a wide variety of avant-garde and
Major Form at
Prerequisites: MS-381 alternative approaches to composition. Students analyze and
your major’s
discuss acousmatic computer music in a wide variety of genres
A practical exploration of digital signal processing for student such as ambient, minimal, glitch, sound object, soundscape, departmental
music projects, mixing, and mastering, with emphasis on sound collage, algorithmic, etc. Students compose a series of office.
key techniques of digital audio production. Exploration and portfolio pieces that are critiqued in class and then featured in
application of both black-box technologies and software a public concert at the end of the semester.
applications to assignments that reflect standard digital studio
approaches and practice. MS-491
Advanced Projects in Synthesis
MS-426 2 credits
Live Video with Jitter Course Chair: K. Biederwolf
2 credits Required of: MSYN majors
Course Chair: K. Biederwolf Electable by: MSYN majors
Required of: None Offered: Spring, Summer, Fall
Electable by: MSYN majors Prerequisites: MS-401, completion of 8 credits
Offered: Spring, Summer, Fall of MSYN electives, and written approval of
Prerequisites: MS-326 and MS-341 instructor and course chair
This class provides students with an opportunity to create visual This course focuses on the production of the capstone
projections for their original compositions using MAX/MSP with music synthesis graduation project and provides for individual
Jitter, Motion, and other applications as needed. Students will attention within a small group setting. The specific nature of
study a variety of approaches to creating live graphics for music the project will be determined by written agreement between
and sonic art works, then create their own live videos for public student and instructor. Each student will also be required to
presentation. Weekly assignments will include reading, realizing participate in the jury process as well as the Senior Showcase
one minute pilot pieces, and then proposing, researching, and at the end of the semester.
realizing the final project.
147
Course Descriptions
Summer/Fall 2008
Course Descriptions
MTEC-P321 MTEC-420
Music and Sound Production for Games Advanced Digital Mastering, Editing,
2 credits and Delivery
Course Chair: R. Jaczko Prototype 2 credits
Required of: None Course Chair: R. Jaczko
Electable by: MPED and MSYN majors Required of: None
Offered: Spring, Fall Electable by: MPED and MSYN majors
Prerequisites: MP-318 or MS-320 Offered: Spring, Fall
Prerequisites: MP-341 or MS-381
As an introduction to game sound, this course provides a
general overview of the stages involved in producing sound An in-depth, project-oriented class designed to give the
for games. It begins with an examination of the role of sound student intensive exposure to the creative and technical
designer and composer, including the responsibilities associated issues involved in advanced music editing and CD (and DVD)
with each. At the end of this course, the student will have mastering, including multichannel audio formats (5.1) and
completed full audio including sound design, dialogue and Internet audio. Students will enhance their technical
music for a short game or portion of a game via readily knowledge of advanced digital audio concepts and digital
available audio production, scripting, and MOD (wrapped studio techniques while developing their ability to listen
MIDI/sample file format) tools. critically and creatively. Through hands-on projects, students
will learn the standards and practices of digital audio
MTEC-360 production, mastering, and professional delivery formats.
Architecture and Acoustics of Critical Further areas of exploration include, but are not limited to,
Listening Environments audio restoration and forensic audio.
2 credits
Course Chair: S. Croes
Required of: None Music Therapy
Electable by: MPED and MSYN majors
Offered: Spring MTH-201
Prerequisites: MP-341 or MS-381 or MTEC-381, Introduction to International Music Therapy
either LMSC-208 or LMSC-209, and written 3 credits
approval of course chair Course Chair: S. Hanser
Required of: MTHE majors
This course will provide advanced information and training Electable by: All
in the science of acoustics. It will examine advanced Offered: Spring, Summer, Fall
methodologies for the testing of acoustic spaces and properties Prerequisites: None
and lead to strategies for acoustic manipulation and design.
Using existing and past projects as source material, world- This course covers the theories and processes of music therapy,
renowned acoustician John Storyk will take students through the history of the profession, and a survey of basic principles,
the acoustical design process, including both acoustical and methods, techniques, and applications. Students will visit
programmatic considerations. He will draw on pictures, charts, facilities where music therapy is practiced, observe music
graphs, and recorded examples taken from real-world therapists in action, and discuss the role of music in therapy
projects, both completed and in process, to highlight the within a wide variety of clinical and community settings. In
challenges encountered and solutions devised for creating addition, they will be introduced to music therapy practices in
program-satisfying and acoustically correct facilities. These different countries through published literature.
facilities encompass both world-class multi-room studio facilities
as well as smaller-budget project and home studios. This is an MTH-P211
applications-oriented follow-up to our existing required Mind Body Disciplines for Musicians
acoustics class and would be an upper-semester elective. 1 credit
Course Chair: S. Hanser Prototype
MTEC-P383 Required of: None
Studio Maintenance & Trouble Shooting Electable by: All
2 credits Offered: Spring
Course Chair: R. Jaczko Prototype Prerequisites: None
Required of: None
Electable by: MPED and MSYN majors This introductory course is designed to bring self-care
Offered: Spring, Fall awareness and skills for the musician. The demands and
Prerequisites: MP-212 or MS-320 pressures of the music industry are discussed while exploring
ways to enhance overall wellness, creativity, and performance,
The course focuses on signal flow, patchbay design, headphone utilizing concepts of holism, energy, balance, and quality of life.
and cable repair, soldering, an introduction to more detailed Related goals, strategies, and skills, such as self-assessment;
electrical systems schematics, simple circuit design and how stress management; prevention; lifestyle enhancements; and
to build a simple circuit. The course also includes the process integrative therapies (including music therapy, meditation,
of technical audio testing completed using Audio Precision yoga, and visualization) are learned. A self-care model will be
test equipment. provided for students to adapt to their own needs.
149
Course Descriptions
Summer/Fall 2008
MTH-231 MTH-311
Music in Special Education Psychology of Music
2 credits 2 credits
Course Chair: S. Hanser Course Chair: S. Hanser
Required of: MTHE majors Required of: MTHE majors
Electable by: MTHE majors or with permission Electable by: MTHE majors or with permission
of course chair of course chair
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: None
This course allows students to learn and demonstrate skills in This course will examine the psychological, physiological,
music therapy group leading. It also teaches students how to and sociological foundations of music and music therapy.
teach music to exceptional children and how to help them Students will learn aspects of musical behavior and processing
reach nonmusical goals and objectives. Upon completion of including the influence of music upon behavior, physiological
this course, students will demonstrate proficiency on modified and affective responses to music, perception and cognition of
guitar technique, omnichord, and rhythmic instruments in music, psychomotor components of music behavior, learning
addition to songwriting and improvising skills. and development, and preference and creativity.
MTH-232 MTH-312
Music Therapy Practicum 1 Music Therapy Practicum 2
2 credits 2 credits
Course Chair: S. Hanser Course Chair: S. Hanser
Required of: MTHE majors Required of: MTHE majors
Electable by: MTHE majors Electable by: MTHE majors
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Declaration of music therapy major Prerequisites: Concurrent enrollment in MTH-311
and concurrent enrollment in MTH-231
This course is the concurrent clinical music therapy practicum
This course is the concurrent clinical music therapy practicum that accompanies MTH-311. Students are assigned to a
that accompanies MTH-231. Students are assigned to a facility or agency in the community and apply the skills they
facility or agency in the community and apply the skills they are learning in the classroom to this clinical placement.
are learning in the classroom to this clinical placement.
MTH-331
MTH-281 Research in Music Therapy
Technology for Music Therapists 2 credits
2 credits Course Chair: S. Hanser
Course Chair: S. Hanser Required of: MTHE majors
Required of: MTHE majors Electable by: MTHE majors or with permission
Electable by: MTHE majors or with permission of course chair
of course chair Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: None
Prerequisites: MTEC-111
This course will examine how music therapists document the
A hands-on course designed to provide practical skills for processes and products of what they do. After covering
incorporating technology into the practice of music therapy. assessment and data-gathering techniques, it offers a survey
Topics will include MIDI, digital sound, adaptive technology, of research methodology, ways to analyze data, and ethical
music composition/performance software, and the Internet. considerations in music therapy practice. Students participate
Students will use technology to develop original music in designing, implementing, and analyzing the results of a
activities and present them to the class. music therapy experiment.
MTH-332
Music Therapy Practicum 3
2 credits
Course Chair: S. Hanser
Required of: MTHE majors
Electable by: MTHE majors
Offered: Spring
Prerequisites: Concurrent enrollment in MTH-331
150
Summer/Fall 2008
Course Descriptions
MTH-351 MTH-432
Exceptional Children Music Therapy Practicum 5
3 credits 2 credits
Course Chair: S. Hanser Course Chair: S. Hanser
Required of: MTHE majors Required of: MTHE majors
Electable by: All Electable by: MTHE majors
Offered: Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: MTH-331, MTH-332, and
concurrent enrollment in MTH-431
This course will provide students with a sensitization and
awareness in dealing with a mixed school population. This course is the concurrent clinical music therapy practicum
Mainstreaming requires an expanded responsibility and familiar- that accompanies MTH-431. Students are assigned to a
ization toward students with educational exceptionalities. facility or agency in the community and apply the skills they
are learning in the classroom to this clinical placement.
MTH-411
Music in Psychotherapy MTH-495
2 credits Music Therapy Internship
Course Chair: S. Hanser 6 credits
Required of: MTHE majors Course Chair: S. Hanser
Electable by: MTHE majors or with permission Required of: MTHE majors
of course chair Electable by: MTHE majors
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: MTH-331 and MTH-332 Prerequisites: MTH-432 and written approval
of course chair
This course will engage students in a group therapy experience
in which they will apply music to the psychotherapeutic This course involves 1,040 hours of full-time music therapy
process. Students will learn a variety of approaches to experience at a clinical internship site approved by the
psychotherapy and develop an individual philosophy of music American Music Therapy Association. Enrollment is permitted
therapy as it applies to adult psychotherapy. after the completion of all course work and after the student
applies and is accepted to a site. Successful completion of the
MTH-412 internship is required before receiving the degree or sitting for
Music Therapy Practicum 4 the Music Therapy Board Certification Examination.
2 credits
Course Chair: S. Hanser International students in F-1 status must obtain authorization
Required of: MTHE majors on their Form I-20 from the Counseling and Advising Center
Electable by: MTHE majors prior to beginning an internship.
Offered: Spring, Fall
Prerequisites: MTH-331, MTH-332, and
concurrent enrollment in MTH-411 Performance Ear Training
This course is the concurrent clinical music therapy practicum PFET-361
that accompanies MTH-411. Students are assigned to a facility Performance Ear Training for Woodwinds,
or agency in the community and apply the skills they are Brass, Strings, and Vibes 1
learning in the classroom to this clinical placement. 1 credit
Course Chair: S. Prosser
MTH-431 Required of: None; Approved specified elective
Music Therapy and Medicine for PERF major brass, wind, string, and
2 credits vibraphone principals
Course Chair: S. Hanser Electable by: Brass, wind, string, and
Required of: MTHE majors mallet principals
Electable by: MTHE majors or with permission Offered: Spring, Summer, Fall
of course chair Prerequisites: Ensemble rating 3444 and ET-112
Offered: Spring, Summer, Fall
Prerequisites: MTH-331 and MTH-332 Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
This course will examine how music and other creative arts by ear and responding on the student’s instrument in class.
contribute to the therapeutic process. Students will participate Some dictation. Some nonsyllabic sight-singing.
in a creative arts group and demonstrate a variety of nonverbal
therapeutic techniques.
151
Course Descriptions
Summer/Fall 2008
PFET-362 PFET-368
Performance Ear Training for Woodwinds, Performance Ear Training for Guitar 2
Brass, Strings, and Vibes 2 1 credit
1 credit Course Chair: S. Prosser
Course Chair: S. Prosser Required of: None; Approved specified elective
Required of: None; Approved specified elective for PERF major guitar principals
for PERF major brass, wind, string, and Electable by: Guitar principals
vibraphone principals Offered: Spring, Summer, Fall
Electable by: Brass, wind, string, and Prerequisites: PFET-367
mallet principals
Offered: Spring, Summer, Fall Continuation of PFET-367.
Prerequisites: PFET-361
PFET-370
Continuation of PFET-361. Performance Ear Training for Percussion 1
1 credit
PFET-364 Course Chair: S. Prosser
Performance Ear Training for Keyboards 1 Required of: None; Approved specified elective
1 credit for PERF major drum set, hand percussion,
Course Chair: S. Prosser and total percussion principals
Required of: None; Approved specified elective Electable by: Drum set, hand percussion,
for PERF major piano principals and percussion principals
Electable by: Piano principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: Ensemble rating 3444 and ET-112
Prerequisites: Ensemble rating 3444 and ET-112
Ear training with an emphasis on practical performance
Ear training with an emphasis on practical performance experience. Recognizing pitch, rhythm, harmony, and timbre
experience. Recognizing pitch, rhythm, harmony, and timbre by ear and responding on the student’s instrument in class.
by ear and responding on the student’s instrument in class. Some dictation. Some nonsyllabic sight-singing.
Some dictation. Some nonsyllabic sight-singing.
PFET-371
PFET-365 Performance Ear Training for Percussion 2
Performance Ear Training for Keyboards 2 1 credit
1 credit Course Chair: S. Prosser
Course Chair: S. Prosser Required of: None; Approved specified elective
Required of: None; Approved specified elective for PERF major drum set, hand percussion,
for PERF major piano principals and total percussion principals
Electable by: Piano principals Electable by: Drum set, hand percussion, and
Offered: Spring, Summer, Fall percussion principals
Prerequisites: PFET-364 Offered: Spring, Summer, Fall
Prerequisites: PFET-370
Continuation of PFET-364.
Continuation of PFET-370.
PFET-367 PFET-373
Performance Ear Training for Guitar 1 Performance Ear Training for Voice 1
1 credit 1 credit
Course Chair: S. Prosser Course Chair: S. Prosser
Required of: None; Approved specified elective Required of: None; Approved specified elective
for PERF major guitar principals for PERF major voice principals
Electable by: Guitar principals Electable by: Voice principals
Offered: Spring, Summer, Fall Offered: Fall
Prerequisites: Ensemble rating 3444 and ET-112 Prerequisites: Ensemble rating 4434 and ET-112
Ear training with an emphasis on practical performance Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre experience. Recognizing pitch, rhythm, harmony, and timbre
by ear and responding on the student’s instrument in class. by ear. Emphasis on sight-reading. Some dictation. Some
Some dictation. Some nonsyllabic sight-singing. nonsyllabic sight-reading.
152
Summer/Fall 2008
Course Descriptions
PFET-374 PS-190
Performance Ear Training for Voice 2 Improvisation Concepts Workshop 1
1 credit 2 credits
Course Chair: S. Prosser Course Chair: M. Marvuglio
Required of: None; Approved specified elective Required of: None
for PERF major voice principals Electable by: All
Electable by: Voice principals Offered: Spring, Fall
Offered: Spring Prerequisites: Written approval of instructor
Prerequisites: PFET-373 and course chair
PS-180
The Music and Life of Bob Marley
2 credits
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of instructor
and course chair
153
Course Descriptions
Summer/Fall 2008
Course Descriptions
PSBS-331 PSBS-425
Electric Bass Performance Styles Advanced Improvisational Techniques for Bass
2 credits 2 credits Course Chair: R. Appleman
Course Chair: R. Appleman Required of: None
Required of: None Electable by: Bass principals
Electable by: Bass principals Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: Overall ensemble rating 5
Prerequisites: ET-211 or ET-231 and private
instruction level 3 (Performance majors) or Application of modern and traditional techniques of
private instruction level 4 (other majors) improvisation for bass. Creating melodic and harmonic
concepts through the tools of scales, arpeggios, modal
A performance history of the electric bass from the 1950s to harmony, reharmonization, and rhythmic interpretation.
the present. This survey will include a detailed study of selected Analysis and application of the principles of harmonic
electric bass masters including Monk Montgomery, James progression in improvisation.
Jamerson, Stanley Clarke, Marcus Miller, and Will Lee. Students
will transcribe and analyze selected bass parts and present PSGT-211
their findings. Improvisation for Guitar 1
2 credits
PSBS-341 Course Chair: L. Baione
Jazz Masters of the Bass Required of: None
2 credits Electable by: Guitar principals
Course Chair: R. Appleman Offered: Spring, Summer, Fall
Required of: PERF bass principals Prerequisites: ILGT-119 or by audition
Electable by: Bass principals
Offered: Spring, Fall Application of modes and pentatonic scales in performance
Prerequisites: ET-211 or ET-231, and bass private with prerecorded rhythm section tapes. Comping and melodic
instruction level 4 embellishment techniques in a variety of settings (Latin/rock,
jazz/rock, fusion, bossa nova, and blues). Midterm and final
Students will transcribe and perform solos and lines of major exams: student performance of solo with accompanying
bass players in jazz. Projects chosen to reflect many different comping or rhythm part.
styles found throughout the history of jazz. Emphasis on
major innovators including Pops Foster, Walter Page, Slam PSGT-212
Stewart, Jimmy Blanton, Charles Mingus, Oscar Pettiford, Paul Improvisation for Guitar 2
Chambers, and Scott LaFaro. 2 credits
Course Chair: L. Baione
PSBS-P345 Required of: None
Latin Jazz Masters Electable by: Guitar principals
2 credits Offered: Spring, Fall
Course Chair: R. Appleman Prototype Prerequisites: PSGT-211 or by audition
Required of: None
Electable by: All Continuation of PSGT-211. Application of altered scales
Offered: Spring, Fall derived from melodic and harmonic minor in performance
Prerequisites: PIBS-112 with prerecorded rhythm section tapes. Melodic embellishment
and phrasing, comping, and rhythm techniques relevant to
Chronological study of Bass Performance and styles in rock/flamenco, fusion, Latin/rock, samba, and jazz waltz.
Latin America. Midterm and final projects: student performance of solo with
accompanying comping or rhythm part.
PSBS-375
Bass in the Free Improvisation Idiom PSGT-221
2 credits Guitar Performance Styles
Course Chair: R. Appleman 2 credits
Required of: None Course Chair: L. Baione
Electable by: Bass principals Required of: None
Offered: Spring, Fall Electable by: Guitar principals
Prerequisites: Overall ensemble rating 4 or Offered: Spring, Fall
private instruction level 4 Prerequisites: None
Development of a personal approach to improvisation through Analysis of contemporary guitar styles and effects. Lectures
application of motivic development, harmolodic phrasing, and by professionals in various styles. Focus on jazz, rock, and
descriptive imagery through musical expression: dynamics, country, as well as styles of specific artists. Emphasis on
emotions, colors, shapes, and textures. Study of techniques performance. Assigned student projects.
found in the music of Ornette Coleman, Eric Dolphy, Lester
Bowie, Charlie Haden, Cecil McBee, Sun Ra, Cecil Taylor, John
Scofield, Dave Holland, and other improvisers.
155
Course Descriptions
Summer/Fall 2008
PSGT-225 PSH-250
Essentials of Solo and Rhythm Guitar 1 Yoga for Musicians 1
2 credits 1 credit
Course Chair: L. Baione Course Chair: M. Marvuglio
Required of: None Required of: None
Electable by: Guitar principals Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Guitar private instruction level 2 Prerequisites: None
Instrumental class for the guitar principals emphasizing The musician’s environment, with its continual pressures and
chord solo guitar styles, traditional guitar literature employing workload demands, is frequently intense. Through a regular
right-hand pick techniques, and rhythm guitar styles applicable practice of yoga, you will be better able to deal with pressures
to small group and orchestral performance. and stress. Yoga means union. It is the union of mind, body,
and spirit. This course will lead you through a series of
PSGT-311 breathing exercises, meditations, warm-ups, and postures that
Improvisation for Guitar 3 will help integrate the mind, body, and spirit of your being.
2 credits Practicing yoga will enable you to be more aware and focused
Course Chair: L. Baione in all aspects of your life.
Required of: None
Electable by: Guitar principals PSH-252
Offered: Spring, Fall Yoga for Musicians 2
Prerequisites: PSGT-212 or by audition 1 credit
Course Chair: M. Marvuglio
Continuation of PSGT-212. Symmetric scales and additional Required of: None
altered modes; chord scale possibilities explored through Electable by: All
harmonic analysis. Chord voicings and comping techniques Offered: Spring, Fall
in jazz, Latin, funk, and ballad styles. Midterm and final Prerequisites: PSH-250
projects: student performance of solo and comping part with
prerecorded tape. With a firm foundation of the principles of yoga learned and
practiced in Yoga for Musicians 1, this course goes deeper
PSH-238 into the practice and its benefits. Students more fully explore
Awareness Training for Musicians many techniques including meditation, breathing, and
1 credit advanced postures. Students will learn about the different
Course Chair: M. Marvuglio/J. Odgren energy channels in the body and how to regulate them to
Required of: None improve a sense of well-being.
Electable by: All
Offered: Spring, Summer, Fall PSH-P261
Prerequisites: None Playing in the Key of Chi: Chi Gung
for Musicians
This lab will explore posture, movement, and breathing as 2 credits
they relate to the act of musical production. Students will Course Chair: M. Marvuglio Prototype
explore how they experience themselves making music and Required of: None
learn how to modify their own actions to play more efficiently Electable by: All
with less effort. Self-awareness exercises will be used to Offered: Spring, Summer, Fall
improve the kinesthetic sense—one’s sense of oneself in Prerequisites: None
movement—enabling the instrumentalist to avoid injuries
due to overuse and/or misuse, as well as helping to develop This course will explore the fundamentals of chi gung and
sensitivity, clarity, and power in musical production. Through how students can employ these practices in both their musical
increased awareness, students will acquire the ability to and daily lives. Students will learn a variety of exercises as well
regulate or modify their actions to meet varying demands of as breathing and awareness techniques to increase the flow
practice and performance. of chi throughout one's system. These exercises promote
emotional balance, mental clarity and an optimum physical
state. Students will learn about the unique physiological
benefits as well as how to apply these exercises to their
instrument, daily activities and creative endeavors. n addition,
students will learn how chi gung can act as a catalyst for
healing or preventing an overuse injury and other health
maladies. By the end of the course, students will be more
able to conduct the inner orchestra of their mind, body, heart
and spirit through a state of relaxed awareness.
156
Summer/Fall 2008
Course Descriptions
PSH-271 PSHR-321
Wellness and Inspiration in Harmonic Considerations in Improvisation 1
Performance Practice 2 credits
1 credit Course Chair: M. Marvuglio/J. Odgren
Course Chair: J. Shapiro Required of: PERF bass, brass, guitar, piano,
Required of: None string, vibraphone, woodwind
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: Written approval of instructor Prerequisites: HR-212
Open to all vocalists and instrumentalists, this course offers a Exploration of the relationship between improvisation and
unique concept of musicianship beyond basic practice of scales harmonic context. Analysis of harmonically sophisticated
and song-learning. Students will learn skill and techniques music using analytical techniques from HR-212. The use of
including relaxation exercises, chant, working with overtones chord scales in improvisation and analysis of recorded jazz
and timbre, and movement to help in overall performance. solos. Discussion of specific harmonic idioms and their related
improvising styles. Solos of John Coltrane, Herbie Hancock,
PSH-P281 Woody Shaw, and other influential soloists.
Somatic Breathwork for Vocalists
1 credit PSHR-322
Course Chair: J. Shapiro Prototype Harmonic Considerations in Improvisation 2
Required of: None 2 credits
Electable by: All Course Chair: M. Marvuglio/J. Odgren
Offered: Spring, Fall Required of: None
Prerequisites: None Electable by: All
Offered: Spring, Fall
Using experiential exercises, anatomical studies and journal Prerequisites: PSHR-321
processes, this course will improve students’ kinesthetic
awareness and conceptual understanding of the process of Continued exploration of the relationship between
respiration as it relates to movement and vocal production. improvisation and harmonic context. Analysis of contemporary
Through experiential explorations of breathing, students will compositions and their harmonic implications applied to the
learn to sense, feel, and differentiate the physical components craft of improvisation. Symmetrical scales, two- and three-tonic
of respiration. These various techniques will give students a systems, and rhythm devices. Repertoire studied will include
better understanding of utilizing breathing with the singing solos by John Coltrane, Dave Liebman, Ornette Coleman,
voice. As a result students will develop the ability to use Steve Grossman, and Herbie Hancock.
breathing responsively and appropriately for vocalization.
PSIJ-211
PSH-338 Jazz Improvisational Techniques
Awareness Training for Musicians 2 2 credits
1 credit Course Chair: M. Marvuglio/J. Odgren
Course Chair: M. Marvuglio Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Fall Prerequisites: None
Prerequisites: PSH-238
A lecture class with discussion, illustration, and demonstration
Continuing with the themes introduced in PSH-238, this class of the various techniques used in jazz improvisation. Each
further explores posture, movement, and breathing as it relates class will introduce specific practice techniques that can be
to music production. With a more developed sense of self in used to develop the craft of jazz improvisation. Included will
movement, students can focus their skill toward individual be discussion of different jazz styles along with recordings
needs. Half of the class will be devoted to more challenging and transcriptions of major jazz figures. This course is highly
Awareness Through Movement lessons, with each student recommended for students considering any of the jazz
meeting privately with the instructor over the course of the improvisation classes or who would like to begin to develop
semester. Students will design a personal program for self- the language used in jazz improvisation.
improvement and maintenance of comfortable and easy
movement while practicing and performing. In addition to
injury prevention, the course will aid students in developing
their sensitivity, clarity, and power in music production.
157
Course Descriptions
Summer/Fall 2008
PSIJ-215 PSIJ-255
Standard Jazz Repertoire 1 Music of Wayne Shorter
2 credits 2 credits
Course Chair: R. Savage/J. Odgren Course Chair: W. Pierce
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3 Prerequisites: HR-112 and overall ensemble rating 4
Building and retaining a functional repertoire of approximately Historic, stylistic, and performance-based overview of the
30 selected standards and jazz standards that form a compositions and improvisations of Wayne Shorter, covering
common vocabulary and basis for study among jazz the period from the late 1950s to the present. Basis of study
musicians. Development of skills to effectively memorize will include solo transcriptions, scores, videos, and extensive
the melody, harmony, and rhythm of selected repertoire. listening. Also covered will be Shorter’s extramusical interests,
Recommended for students who plan to take jazz improvisation including art and sci-fi movies, and their influence on, and
techniques courses. integration into, his music. The student will transcribe solos and
analyze compositions, and perform or present them in class.
PSIJ-216
Standard Jazz Repertoire 2 PSIJ-271
2 credits Ready, Aim, Improvise!
Course Chair: R. Savage/J. Odgren 2 credits
Required of: None Course Chair: M. Marvuglio/J. Odgren
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Overall ensemble rating 3 Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
A sequel to PSIJ-215, this course continues the process of
building and retaining a functional repertoire of jazz Using the lecture/demonstration format, this course explores in
standards in bebop, Latin, ballad, and contemporary styles. detail the critical areas involved in learning how to improvise
Continued development of memorization skills applied to in the jazz idiom. Topics discussed are: listening skills (learning
learning to play and improvise on approximately 30 tunes. how to divide your attention between the solo and the
Recommended for students who plan to take jazz improvisation accompaniment while playing), jazz ear training (learning how
techniques courses. to hear ahead on chord progressions), jazz execution (rhythmic
feel, accents, ghost notes, articulation, natural dynamics),
PSIJ-221 building jazz vocabulary (chord tone and chord scale soloing),
Jazz Improvisation Techniques 1 the role of ego in improvisation, self-recording, self-critiquing,
2 credits designing topic-specific exercises for improvisation, and
Course Chair: R. Savage/J. Odgren developing improvisation practice routines. This course is
Required of: None recommended for serious, career-minded students of jazz
Electable by: All improvisation at beginning, intermediate, and advanced
Offered: Spring, Summer, Fall levels, especially those who take the Jazz Improvisation
Prerequisites: Overall ensemble rating 3 1–6 course series.
158
Summer/Fall 2008
Course Descriptions
PSIJ-311 PSIJ-322
Chord Scale Theory in Improvisation Jazz Improvisation Techniques 3
2 credits 2 credits
Course Chair: M. Marvuglio/J. Odgren Course Chair: R. Savage/J. Odgren
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring
Prerequisites: HR-211 Prerequisites: PSIJ-321 or overall ensemble rating 6
Designed for performers, this course will examine the An intermediate-level course introducing approaches to
application of chord scales to harmonic progression. Chord improvisation that require a solid background in harmonic and
scale/chord symbol relationships will be covered within the tonal concepts. Techniques covered include rhythmic activity,
context of improvisation. Melodic content in improvisation chord tone soloing, articulation, upper structure triads,
that involves sequences in fourths, upper-structure triads, dynamics, and soloing with full and partial rhythmic section
and other techniques will be discussed and analyzed using accompaniment and also with hi-hat only. Development of
recordings and transcribed solos. effective practice skills. Music from various periods of jazz
(swing, bop, postbop, and contemporary) will be used for
PSIJ-315 demonstration, practice, and performance activities. Classes are
Improvisation on Standard Songs leveled and instrumentally balanced; students perform weekly.
To find courses
2 credits
PSIJ-325 that have no
Course Chair: M. Marvuglio/J. Odgren
Required of: None Jazz Interpretation prerequisites,
Electable by: All 2 credits refer to pages
Offered: Fall Course Chair: R. Savage 26 and 27 in
Prerequisites: PSIJ-321 Required of: None this manual.
Electable by: All
Performance and analysis of standard songs used in jazz Offered: Summer, Fall
repertoire and the traditional forms and techniques used in Prerequisites: Overall ensemble rating 3
creating them. Emphasis on repertoire, intros and endings,
and tunes in different keys. Use of melodically based Development of a personal and individual jazz style through
improvisation and paraphrased melodic interpretation. emphasis on reading, improvisation, and interpretative
Improvisational principles using chord scales, guide tones, techniques. Hearing, analyzing, and playing selected
and other techniques. Some of the composers covered are transcribed pieces of well-known jazz artists; individual and
Duke Ellington, Cole Porter, and Joe Henderson. The class group improvisation.
will perform a recital at the end of the semester. This class is
recommended for students considering taking PSIJ-322. PSIJ-331
The Jazz Line
PSIJ-321 2 credits
Jazz Improvisation Techniques 2 Course Chair: M. Marvuglio/J. Odgren
2 credits Required of: None
Course Chair: R. Savage/J. Odgren Electable by: All
Required of: None Offered: Spring, Fall
Electable by: All Prerequisites: Overall ensemble rating 4
Offered: Spring, Summer, Fall
Prerequisites: PSIJ-221, PSIM-231, or overall A performance-centered class covering jazz vocabulary and
ensemble rating 6 the construction of jazz melodies based on the traditions of
players including Charlie Parker, John Coltrane, Sonny Rollins,
An expansion of the fundamental improvisational skills Sonny Stitt, Kenny Dorham, and others. Students will be
developed in PSIJ-221, with the introduction of techniques given vocabulary models focusing on the ability to start a line
that will further enhance the student’s personal improvisational on any scale degree and mastery of voice leading in all keys.
style. Techniques covered include rhythmic feels, accents and Topics covered will include bebop scales, approach systems,
ghost notes, rhythmic syncopation, lower structure triads, rhythms, and articulation.
phrase lengths, and soloing with full and partial rhythm section
accompaniment. Development of effective practice skills.
Music from various periods of jazz (swing, bop, postbop, and
contemporary) will be used for demonstration, practice, and
performance activities. Classes are leveled and instrumentally
balanced; students perform weekly.
159
Course Descriptions
Summer/Fall 2008
PSIJ-335 PSIJ-371
Melodic Structures in Improvisation Performing Harmony Workshop 1
2 credits 2 credits
Course Chair: M. Marvuglio/J. Odgren Course Chair: M. Marvuglio/J. Odgren
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4 Prerequisites: HR-211 and either ET-211 or ET-231
A performance-centered class covering melodic cells and their The performance of music (melody, bass line, harmony, and
permutations applied to improvising in a variety of settings. rhythm) by ear. Classes will be instrumentally balanced so
Study of multitonic systems (Coltrane changes) and their students can gain a practical knowledge of “playing by ear”
application as either primary harmony or substitutions. in a traditional group setting. The study of chord qualities,
chord progressions, and tensions through improvisation.
PSIJ-341 Exploration of rhythm through the study of combinations of
Pentatonics in Improvisation 2 and 3. Primary focus on creating grooves by tapping even
2 credits combinations. Over-the-barline phrasing through 3/8 and 7/8
Course Chair: M. Marvuglio/J. Odgren over 4/4. Evolves into linear, harmonic, and compositional
Required of: None concepts. This course is recommended for performers
Electable by: All interested in developing their musical ear.
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4 PSIJ-421
Jazz Improvisation Techniques 4
A performance-centered class covering minor seventh-, 2 credits
minor sixth-, minor seventh b5-, major b6- and all diminished- Course Chair: R. Savage/J. Odgren
related pentatonics and their application to improvisation and Required of: None
the creation of melodies and usage charts. Voice leading and Electable by: All
approach systems as used by master improvisers including Offered: Spring, Summer, Fall
Wayne Shorter, John Coltrane, Joe Henderson, and others. Prerequisites: PSIJ-322 or overall ensemble rating 6
PSIJ-351
Performance and Analysis of Bebop Music
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: HR-212; see schedule listing for
rating prerequisite by section
160
Summer/Fall 2008
Course Descriptions
PSIJ-422 PSIJ-P426
Jazz Improvisation Techniques 5 Jazz Rhythm Section Accompaniment Skills
2 credits 2 credits
Course Chair: R. Savage/J. Odgren Course Chair: M. Marvuglio Prototype
Required of: None Required of: None
Electable by: All Electable by: Acoustic bass, drum set, guitar,
Offered: Spring, Fall piano principals
Prerequisites: PSIJ-421 or overall ensemble rating 6 Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 5
An advanced course recommended for students who have
already begun to develop their own personal musical styles. This course is for intermediate to advanced level rhythm
Challenging rhythmic topics are featured as aspects of section players who seek to improve their accompaniment
performance of improved solos. Techniques covered include skills by studying and playing transcriptions of recordings by
preparation exercises for rhythmic displacement: symmetrical classic jazz master rhythm sections from the 1950s and
and asymmetrical, pentatonic and tritonic scales applied to 1960s. The course will focus on the rhythm section styles
conventional chord scales, motive development (augmentation played by the bands of Miles Davis, John Coltrane,
and diminution), soloing rubato on song’s chord progression, Cannonball Adderley, and various Blue Note artists.
and soloing with full/partial rhythm section accompaniment
and also with no accompaniment. Development of effective PSIM-221
practice skills. Music from various periods of jazz (swing, bop, Improvisation Techniques for the Blues Player
postbop, and contemporary) will be used for demonstration, 2 credits
practice, and performance activities. Classes are leveled and Course Chair: M. Marvuglio/J. Odgren
instrumentally balanced; students perform weekly. Required of: None
Electable by: All
PSIJ-423 Offered: Spring, Summer, Fall
Jazz Improvisation Techniques 6 Prerequisites: Overall ensemble rating 3
2 credits
Course Chair: R. Savage/J. Odgren Performance-based class in blues improvisation using recordings
Required of: None and transcriptions of traditional and Chicago blues, swing and
Electable by: All bop blues, gospel, funk, and rock styles as principal resources.
Offered: Spring, Summer, Fall Emphasis on adapting those techniques to develop a personal
Prerequisites: Overall ensemble rating 7 or PSIJ-422 style. Weekly assignments include practicing blues-based
exercises and learning solo transcriptions. Other performance
An advanced course offering sophisticated approaches and skills covered include turnarounds, pacing of solos, and
concepts. Techniques covered include metric modulation, implying reharmonizations in improvisation.
melodic curve, continuous motive development, nonharmonic
triads, alternate tempos, extreme tempos with rhythmic PSIM-231
syncopation, and soloing with full, partial, and no rhythm Rock Improvisational Techniques 1
section accompaniment. Music from various periods of jazz 2 credits
(swing, bop, postbop, and contemporary) will be used for Course Chair: M. Marvuglio/J. Odgren
demonstration, practice, and performance activities. Classes are Required of: None
leveled and instrumentally balanced; students perform weekly. Electable by: All
Offered: Spring, Summer, Fall
PSIJ-425 Prerequisites: Overall ensemble rating 3
Advanced Jazz Improvisational Techniques
2 credits The four-course sequence in rock improvisation is designed to
Course Chair: M. Marvuglio/J. Odgren cover all skills relevant to creative performance in that idiom.
Required of: None Major techniques discussed in this course include pacing,
Electable by: All rhythmic density, melodic and rhythmic embellishment, chord
Offered: Spring, Summer, Fall scale practice, and nonharmonic melody notes. Students will
Prerequisites: Overall ensemble rating 6 learn what and how to practice and will develop the skills
necessary for individual and group improvisation. Various
Performance and analysis of original jazz tunes. Discussion, styles of rock (progressive, blues, classic, contemporary) will
demonstration, and performance of advanced jazz be used for demonstration, practice, and performance
improvisational techniques. Use of three tonics, pentatonics, activities. Classes will be instrumentally balanced with
composite scales, and other harmonic devices, along with students of similar improvisational backgrounds. Students
practice techniques. Students will be expected to create their will be required to perform each week.
own compositions, which will be included in a class recital at
the end of the semester. Note: This class is recommended for
students who have already taken PSIJ-421 or have an ensemble
rating of 6666.
161
Course Descriptions
Summer/Fall 2008
PSIM-235 PSIM-341
Improvisation in the Rock–R&B Idiom Improvisation in the Latin/Jazz Idiom
2 credits 2 credits
Course Chair: M. Marvuglio/J. Odgren Course Chair: M. Marvuglio/J. Odgren
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Fall Offered: Spring, Fall
Prerequisites: PSIJ-221 or PSIM-231 Prerequisites: Overall ensemble rating 4
A study of basic blues playing in the rock and r&b blues idiom. Performance and analysis of Latin/jazz music and related song
The 8-, 12-, 16-, and 24-bar blues forms; improvisational forms. The class will include analysis of source music and its
techniques applied to inner form, solo analysis of leading and influence on contemporary composers and performers in
legendary blues players; weekly performances and written the idiom. Concentration on samba, calypso, bossa, and
homework; weekly solo playing. Recommended for the contemporary Latin grooves. Some of the musicians discussed
beginning-to-intermediate improviser interested in this idiom. are Claudio Roditi, Clare Fischer, Chick Corea, and Paquito
D’Rivera. The class will include a rhythm section plus varied
PSIM-327 instrumentation and will perform in a recital at the end of
Improvisation in the Jazz/Blues Idiom the semester.
2 credits
Course Chair: M. Marvuglio/J. Odgren PSIM-351
Required of: None Composing Performer Ensemble
Electable by: All 2 credits
Offered: Spring, Fall Course Chair: M. Marvuglio/J. Odgren
Prerequisites: PSIJ-221 or PSIM-231 Required of: None
Electable by: All
A study of basic blues playing in the jazz idiom. The 8-, 12-, Offered: Spring, Fall
16-, and 24-bar blues forms; improvisational techniques Prerequisites: Overall ensemble rating 6
applied to inner form; solo analysis of leading and legendary
blues players; weekly performed and written homework; An ensemble/class for the performer who also composes. A
weekly solo playing. Recommended for the beginning to survey of compositions/concepts will be introduced; weekly
intermediate improviser interested in this idiom. composition assignments will be performed by the class and
critiqued by the instructor. The purpose of this course is to
PSIM-335 develop originality through experimentation over a broad
Improvisation in the Jazz-Rock/Fusion Idioms stylistic base.
2 credits
Course Chair: M. Marvuglio/J. Odgren PSME-311
Required of: None Recital Class for Music Education Majors
Electable by: All 1 credit
Offered: Spring, Summer, Fall Course Chair: C. Adderley
Prerequisites: Overall ensemble rating 4 Required of: MUED majors
Electable by: MUED majors
Performance and analysis of jazz-rock/fusion music. Offered: Spring, Summer, Fall
Improvisational and compositional techniques will be Prerequisites: None
discussed. Some of the major players and groups analyzed
will be the Yellowjackets, Michael Brecker, David Sanborn, A performance class for music education majors. Students
and Chick Corea. This class will perform original compositions prepare for solo and ensemble presentations intended to
in an end-of-the-semester final performance. demonstrate satisfactory proficiency on their principal
instrument.
PSPC-231
Fundamentals of Improvisation for Percussion
2 credits
Course Chair: D. Anderson
Required of: None
Electable by: Drum set, vibraphone, hand
percussion, and total percussion principals
Offered: Spring, Fall
Prerequisites: None
162
Summer/Fall 2008
Course Descriptions
PSPC-341 PSPR-345
Studio Drumming Techniques and Applications Country Music
2 credits 2 credits
Course Chair: D. Anderson Course Chair: M. Marvuglio/M. Glaser
Required of: All percussion principals Required of: None
Electable by: All percussion principals Electable by: All
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: ILPD-212 Prerequisites: HR-211
Application of drum set and percussion techniques to the This class will be geared toward rhythm section players and
studio recording environment. Analysis of today’s top studio singers, and will cover all aspects of country music. Analysis
recording drummers and producers; study of drum looping of major instrumentalists and styles of playing, including Chet
and sampling techniques and their application to drum set Atkins, Floyd Cramer, Ricky Skaggs, Doc Watson, and the
recording; study of jingle, television, and motion picture Lynrd Skynrd Band. The class will also take an in-depth look at
soundtrack recording techniques. Application of skills the making of country music (Nashville number system, etc.).
including tuning the instrument, using a click track, drum Discussion of the styles of music as well as the different
chart reading, electronic percussion, and auxiliary percussion instruments (Dobro, steel guitar, lap guitar, fiddle, etc.), and
parts to studio performance. the difference between singing bluegrass and singing country
music (phrasing as well as timbre of the voice). Also included
PSPN-335 is an overview of the Nashville scene.
Contrapuntal Jazz Improvisation for Pianists
2 credits PSPR-361
Course Chair: S. Tiernan Motown
Required of: None 2 credits
Electable by: All Course Chair: J. Shapiro/J. Odgren
Offered: Spring, Fall Required of: None
Prerequisites: HR-212 and piano private instruction Electable by: All
level 2 Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
This course offers a step-by-step approach to improvising
contrapuntally in a solo piano context. Emphasis on walking A performance-based study of the musical style originated
bass lines through a series of rhythmic/melodic motives gives by Motown Records, which, under the leadership of founder/
the pianist a basis for gaining the independence required to president Berry Gordy, musically bridged racial lines during the
simultaneously improvise in a linear or chordal manner in the highly sensitive period of the civil rights movement. Analysis
right hand. This eventually leads to multi-voice improvisation. and performance of music by such artists as Stevie Wonder,
Artists studied and transcribed include Lennie Tristano, Dave Martha Reeves and the Vandellas, Smokey Robinson, Marvin
McKenna, Bill Evans, Brad Meldhau, Oscar Peterson and Gaye, Diana Ross and the Supremes, the Temptations, and
Diana Krall. Weekly class performance includes repertoire Gladys Knight and the Pips. An end-of-semester public
of the jazz standard literature. performance is normally scheduled.
PSPN-345 PSPR-363
Piano Accompaniment Techniques Progressive Rock Performance
2 credits 2 credits
Course Chair: S. Tiernan Course Chair: M. Marvuglio/J. Odgren
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4 Prerequisites: Overall ensemble rating 3
Discussion and implementation of techniques for A study integrating performance of the progressive rock style
accompanying a vocalist or instrumentalist. Students will play of the seventies: repertoire, instrumentation, forms, sound,
with invited performers, along with prerecorded tapes, or with and other musical elements leading to emulation and creative
a second pianist. Use of stylistically appropriate rhythm and reproduction of this musical genre.
voicing techniques in a supportive role. Introductions, endings,
modulations, and transposition.
163
Course Descriptions
Summer/Fall 2008
PSPR-365 PST-385
The Pop/Rock Player/Vocalist Elements of Theater Production
2 credits 2 credits
Course Chair: R. Savage Course Chair: J. Shapiro
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3 Prerequisites: None
Designed for the pop/rock rhythm section player or Staging and directing musical productions; acquisition of
instrumentalists, this course develops the skill of singing and materials; budgeting; organization of production staff.
playing simultaneously. All class members will be expected to How to audition; responsibilities of production departments;
sing and will learn to sing lead as well as background vocals conducting rehearsals and performances. General study of
while playing. Analysis of influential performers, including dramatic styles and history of theater styles.
Elton John, Ray Charles, Phil Collins, Sting, and Bruce Offered:
Springsteen; in-class and end-of-semester performances. PST-451
The Musical Director
PSPR-381 2 credits
Commercial Band Workshop Course Chair: M. Marvuglio/J. Odgren
2 credits Required of: None
Course Chair: M. Marvuglio/J. Odgren Electable by: All
Required of: None Offered: Fall
Electable by: All Prerequisites: CW-221 or SW-231
Offered: Spring, Summer, Fall
Prerequisites: None This course will cover all aspects of being a musical director of
a live concert presentation involving vocal music. Each student
Performance of music in various styles appropriate to general will be assigned to a specific faculty-directed concert (Jazz-
business jobs. Emphasis will be on learning and developing a Rock Ensemble, Singers Showcase, Recording Ensemble, etc.)
varied repertoire (different jobs call for different music), and as a production assistant to the concert and will write and
playing dinner music sets, dance sets, and different ceremonial conduct some of the music. May be of special interest to
music (weddings, etc.). The how-tos of handling the many pianists and guitarists who have arranging skills.
different types of general business jobs: weddings, bar/bat
mitzvahs, proms, banquets, etc. Music for the course will PST-471
include songs from the twenties through the nineties. Stage Performance Workshop 1 – Rock
and Pop Idiom
PST-351 2 credits
Stage Performance Techniques Course Chair: J. Shapiro/J. Odgren
2 credits Required of: None
Course Chair: M. Marvuglio/J. Odgren Electable by: All
Required of: None Offered: Spring, Summer, Fall
Electable by: All Prerequisites: Overall ensemble rating 3
Offered: Spring, Fall
Prerequisites: None A performance class for vocalists and instrumentalists interested
in developing skills involved in live performance. In-class
A lecture/demonstration course designed to provide knowledge performances will be videotaped and critiqued for effectiveness
and skills necessary for effective performance presentation: in movement and presentation. All performances will be in
movement, microphone technique, stage dress, in-depth a rock/pop band format; topics to be discussed include
examination of causes and controls of stage fright, rhythm microphone and rehearsal techniques, lead sheet preparation,
development and internalization, and professional attitude stage presence, and other activities necessary for effective
and development. Recommended for instrumentalists and live performance. Classes will present an end-of-semester
vocalists interested in developing on-stage performance final performance.
presentation skills.
164
Summer/Fall 2008
Course Descriptions
PST-472 PSVC-325
Stage Performance Workshop 2 – Rock Vocal Improvisation in the Jazz Idiom
and Pop Idiom 2 credits
2 credits Course Chair: J. Shapiro
Course Chair: J. Shapiro Required of: None
Required of: None Electable by: All
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Fall Prerequisites: ET-112
Prerequisites: PST-471
Syllabic pitch and rhythmic exercises for the voice and
Continuation of PST-471. In-class performances will be application to a variety of styles. Analysis of various recording
videotaped and critiqued for effectiveness in movement artists, including Ella Fitzgerald, Sarah Vaughan, Al Jarreau,
and presentation. Topics to be discussed will include stage Mark Murphy, and others. Assigned student projects.
dress, emcee techniques, stage setups, music and show
programming, and other activities necessary for effective PSVC-365
live performance. Classes will present an end-of-semester Stage Performance Workshop – Jazz Standards
final performance. 2 credits
Course Chair: J. Shapiro
PSVC-231 Required of: None
For questions
Voice Class for Instrumentalists 1 Electable by: Voice principals
regarding
2 credits Offered: Spring, Fall
Course Chair: J. Shapiro Prerequisites: PST-351 and overall ensemble student health
Required of: None rating 3 insurance,
Electable by: All except voice principals you may call
Offered: Spring, Summer, Fall A performance class for voice principals concentrating on vocal Gallagher Koster
Prerequisites: None jazz performance with rhythm section. In-class performances
Insurance at
are videotaped and evaluated for stage presence, microphone
800-457-5599.
Instruction and practice in vocal production for the nonvoice technique, music arrangements (including song introductions
principal. Designed to acquaint instrumentalists with the and endings), song selection and appropriate style, and vocal
basics of singing and to improve their arranging/composition delivery and interpretation. Emphasis will focus on live club
skills when writing for voice. Class participation with emphasis and concert performance, and interaction between the
on fundamentals of breathing, resonance, and vowel sounds. vocalist and rhythm section, the vocalist and audience, and
If enrollment permits, the class will be sectioned as to the song program.
background and ability.
PSVC-425
PSVC-232 Advanced Vocal Improvisation Techniques
Voice Class for Instrumentalists 2 2 credits
2 credits Course Chair: J. Shapiro
Course Chair: J. Shapiro Required of: PERF voice majors
Required of: None Electable by: All
Electable by: All except voice principals Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: HR-212 or PSVC-325
Prerequisites: PSVC-231
An advanced level course for vocalists designed to improve
A continuation of PSVC-231 Voice Class for Instrumentalists improvisation skills through application of ear training and
1. Within the class, students will be encouraged to work on harmonic concepts including intervals, scales and chord
individual vocal styles, which may include performing original patterns. Students will study standard vocabulary of
material and self-accompanied song materials while prescribed melodic patterns and rhythmic grooves played by
incorporating learned vocal techniques as assigned by the instrumentalists, transcribe a variety of solos and write original
instructor. There will be periodic directed study for students to solo assignments. Note: Two sections are offered. Section 001
work on individualized vocal work. Final performance at the is primarily for jazz vocalists; section 002 is primarily for pop,
end of each semester. rock, and r&b vocalists.
165
Course Descriptions
Summer/Fall 2008
PSVC-435 PSW-341
Advanced Techniques of Voice Production The Music of Ghana
2 credits 2 credits
Course Chair: J. Shapiro Course Chair: D. Anderson
Required of: None Required of: None
Electable by: Voice principals Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: None Prerequisites: None
A systematic integration of vocal body awareness and A comprehensive study of music from Ghana, West Africa
presentation skills applied to vocal performance. Through for nonpercussionists. Study concepts integral to African
relaxation, breathing techniques, and body alignment, students performance traditions include polyrhythms, polymeters, and
learn to identify and balance vocal registers and improve vocal part-playing. Emphasis will be on the relationship between
resonance and flexibility. Instruction includes the Alexander song, drumming, and dance in African culture. Musical
technique and emphasis on lyrical interpretation. genres of study are selected from the Ewe, Ga, and
Dagbamba ethnic groups. Authentic instruments will be
PSW-235 provided for in-class performance.
World Percussion 1A
2 credits PSW-342
Course Chair: D. Anderson The Music of Guinea
Required of: None 2 credits
Electable by: Bass, brass, guitar, piano, string, Course Chair: D. Anderson
voice, and woodwind principals Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: None Offered: Fall
Prerequisites: None
A course for nonpercussion principals focusing on the
development of basic techniques and sound production for A comprehensive study of the music from Guinea, West
various frame drums. Music styles from around the world will Africa for nonpercussionists. Study concepts integral to
be studied. Class meetings are split weekly into lecture and African performance traditions include polyrhythms,
playing sections. polymeters, and part-playing. Emphasis on the relationship
between song, drumming, and dance in African culture.
PSW-335 Musical genres of study are selected from the Susu, Malinke,
World Percussion 1B and Baga ethnic groups. Authentic instruments will be
2 credits provided for in-class performance.
Course Chair: D. Anderson
Required of: MUED hand percussion, PERF hand PSW-345
percussion, and total percussion principals Seminar on Latin American Music
Electable by: Vibraphone, drum set, and hand 2 credits
percussion principals Course Chair: J. Shapiro
Offered: Spring, Summer, Fall Required of: None
Prerequisites: None Electable by: All
Offered: Spring, Fall
A course for Percussion Department principals focusing on Prerequisites: Overall ensemble rating 2
abilities and techniques used to produce a wide variety of
sounds from any hand drum (frame drum, dumbek, etc.). A study of Latin American vocal styles and rhythms that
Emphasis on rhythms of North Africa, the Middle East, and includes Brazil, Argentina, Cuba, Mexico, and Puerto Rico.
Turkey, and how to apply them to contemporary American Students will learn the history and culture of Latin American
music. Class meetings are split weekly into lecture and styles and rhythms through listening and analysis, transcribing,
playing sections. and video performances.
166
Summer/Fall 2008
Course Descriptions
PSW-350 Performance Styles/Surveys
South Indian Rhythmic Solfege and
Jazz/World Music PFSS-311
2 credits Survey of Bass Styles
Course Chair: M. Marvuglio 2 credits
Required of: None Course Chair: R. Appleman
Electable by: All Required of: PERF bass principals
Offered: Spring, Fall Electable by: All
Prerequisites: Overall ensemble rating 4 Offered: Spring, Fall
Prerequisites: None
Focused on South Indian rhythmic solfege, this course explores
both North and South Indian melodic concepts, the raga The study of the bass in the styles of Dixieland, swing, bebop,
system and tala system. Basic pulse is strengthened, and cool, experimental, fusion, and others. In-depth analysis of
complex polyrhythms are learned by vocal recitations and the function of the bass as part of the rhythm section and as
hand-clapping patterns. These exercises and patterns are then a solo voice. Some of the players heard and discussed are Pop
applied to the student’s instrument and used in improvisation. Foster, Walter Page, Jimmy Blanton, Oscar Pettiford, Slam
Emphasis is placed upon superimposing different groupings Stewart, Paul Chambers, Charles Mingus, Ron Carter, Richard
over various meters, thus creating interesting phrasings and Davis, Eddie Gomez, and Jaco Pastorius
broadening rhythmic vocabulary. In addition to Indian rhythms,
some West African and Brazilian rhythms will be covered.
PFSS-321
Play-along recordings with different harmonic progressions will
Survey of Brass Styles
be used. Improving swing feel will also be emphasized. Solo
2 credits
transcriptions of jazz and classical Indian music will be used
Course Chair: T. Plsek
as examples of superimposed rhythmic groupings and
Required of: PERF brass principals
subdivisions. The students are expected to invent their own
Electable by: All
exercises and be able to perform them in class. Examples of
Offered: Spring, Summer, Fall
these rhythmic concepts in composition will be discussed and
Prerequisites: None
played in class.
A study of the history of brass instruments (trumpet, trombone,
PSW-361 French horn, euphonium, and tuba) in American music.
Brazilian Musical Styles Emphasis is on the performance styles of major players,
2 credits including Herbert L. Clarke, Arthur Pryor, Louis Armstrong, Bix
Course Chair: M. Marvuglio/J. Odgren Beiderbecke, Jack Teagarden, Clifford Brown, Dizzy Gillespie,
Required of: None Miles Davis, J.J. Johnson, Harry James, Julius Watkins, Rich
Electable by: All Matteson, and Harvey Phillips. Study will include articles as
Offered: Spring, Fall well as recorded and transcribed musical examples.
Prerequisites: None
PFSS-331
A study of the evolution of Brazilian popular music and its social
Survey of Guitar Styles
and musical history. Analysis and discussion of the rhythmic,
2 credits
melodic, and harmonic aspects of several contemporary
Course Chair: L. Baione
Brazilian musical styles and their origins. Recordings of various
Required of: PERF guitar principals
arrangements will be presented in traditional and contemporary
Electable by: All
versions. Analysis, through transcriptions and performance, of
Offered: Spring, Fall
the role each instrument performs in an ensemble.
Prerequisites: None
PFSS-341
Survey of Drum Styles to the Sixties
2 credits
Course Chair: D. Anderson
Required of: PERF drum set principals
Electable by: All
Offered: Spring, Fall
Prerequisites: None
Summer/Fall 2008
PFSS-342 PFSS-351
Survey of Drum Styles since the Sixties Survey of Piano Styles
2 credits 2 credits
Course Chair: D. Anderson Course Chair: S. Tiernan
Required of: None Required of: PERF piano and vibraphone principals
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: None
A survey of the development of contemporary drumming A study of the history and development of the art of jazz
styles. This course is a historical and stylistic continuation piano and the lives and times of the artists themselves.
of PFSS-341. The basis for study will be the principal artists Through listening of archival and contemporary recordings
who have emerged during and since the mid-1960s, and the and analysis and discussions, the rich diversity of the different
musical styles in which they have performed. Also covered will jazz styles will be examined, along with the artists associated
be the development of the instrument itself as its role has with certain styles. Solo piano and group playing from
evolved in various styles. Ragtime to Contemporary will be addressed.
PFSS-345 PFSS-P352
Survey of Percussion Styles Survey of the Piano/Vocalist Styles
2 credits 2 credits
Course Chair: D. Anderson Course Chair: S. Tiernan Prototype
Required of: PERF total percussion principals Required of: Piano/Vocal Performance Majors
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: None Prerequisites: None
Historical survey of musical development and usage of An overview of artists that practice and perform as
percussion instruments, including timpani, snare drum, Piano/Vocalists. Prominent figures will be examined, tracing
marimba, xylophone, glockenspiel, vibraphone, multiple their careers, influences and role models.
percussion, and accessories. Studies will include solo percussion
in orchestral, theatrical, and various studio environments. PFSS-361
Survey of Contemporary String Styles
PFSS-347 2 credits
Survey of Latin American Hand Course Chair: M. Glaser
Percussion Styles Required of: PERF string principals
2 credits Electable by: All
Course Chair: D. Anderson Offered: Spring
Required of: PERF hand percussion principals Prerequisites: None
Electable by: All
Offered: Fall An overview of the history of contemporary string playing,
Prerequisites: None with special emphasis on the work of major innovators:
Joe Venuti, Stephane Grappelli, Jean-Luc Ponty, and others.
A study of the history and development of the music of Latin Recordings and transcriptions used to analyze technique
America and the Caribbean, with particular focus on hand and improvisational skills.
percussion playing. Emphasis will be on the music of Cuba and
Brazil, and on the development of Latin American music in New PFSS-371
York from the 1920s to the present. Musical relationships to Survey of Vocal Styles
the European and African traditions will be studied as well as 2 credits
specific instruments, song styles and rhythms, composing and Course Chair: J. Shapiro
arranging styles, and significant artists in the idiom. Required of: PERF voice principals
Electable by: All
Offered: Spring, Fall
Prerequisites: None
168
Summer/Fall 2008
Course Descriptions
PFSS-381 PIXX-211
Survey of Woodwind Styles Private Instruction 3
2 credits 2 credits
Course Chair: W. Pierce Bass, brass, guitar, percussion, piano, string,
Required of: PERF woodwind principals woodwind, or voice chair
Electable by: All Required of: All
Offered: Spring, Fall Electable by: All
Prerequisites: None Offered: Spring, Summer, Fall
Prerequisites: PIXX-112
The analysis of the history of woodwind instruments
(saxophone, flute, clarinet) in jazz. Emphasis is placed on the Principal instrument study level 3 (bass, brass, guitar,
various styles of major players. The study of woodwind players percussion, piano, string, woodwind, or voice).
including Johnny Hodges, Charlie Parker, Cannonball Adderley,
Lester Young, John Coltrane, Eric Dolphy, Frank Wess, Andy PIXX-212
Kirk, Benny Goodman, John LaPorta, Gerry Mulligan, and Private Instruction 4
others, through tapes, articles, and transcriptions. 2 credits
Course Chair: Bass, brass, guitar, percussion,
PFSS-385 piano, string, woodwind, or voice chair
R&B, Funk, and Smooth Jazz Saxophone Styles Required of: All
2 credits Electable by: All
Course Chair: W. Pierce Offered: Spring, Summer, Fall
Required of: None Prerequisites: PIXX-211
Electable by: All
Offered: Spring, Fall Principal instrument study level 4 (bass, brass, guitar,
Prerequisites: None percussion, piano, string, woodwind, or voice).
The analysis of saxophone styles in the r&b lineage. This includes PIXX-311
players associated with funk, soul, jazz, r&b, smooth jazz, pop, Private Instruction 5
fusion, and related styles. Emphasis is placed on the styles of 2 credits
major players including Earl Bostic, Kirk Whalum, Louis Jordan, Course Chair: Bass, brass, guitar, percussion,
Tom Scott, Red Prysock, Michael Brecker, Grover Washington, Jr., piano, string, woodwind, or voice chair
Hank Crawford, Maceo Parker, King Curtis, David Sanborn, Required of: MUED, PROM, and PERF majors
Junior Walker, Ed Calle, and Gerald Albright, among others, Electable by: All
through in-class playing, recordings, and transcriptions. Offered: Spring, Summer, Fall
Prerequisites: PIXX-212
Private Instruction and Recital Principal instrument study level 5 (bass, brass, guitar,
Preparation percussion, piano, string, woodwind, or voice).
PIXX-111 PIXX-312
Private Instruction 6
Private Instruction 1
2 credits
2 credits
Course Chair: Bass, brass, guitar, percussion,
Course Chair: Bass, brass, guitar, percussion,
piano, string, woodwind, or voice chair
piano, string, woodwind, or voice chair
Required of: MUED, PROM, and PERF majors
Required of: All
Electable by: All
Electable by: All
Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall
Prerequisites: PIXX-311
Prerequisites: None
Principal instrument study level 6 (bass, brass, guitar,
Principal instrument study level 1 (bass, brass, guitar,
percussion, piano, string, woodwind, or voice).
percussion, piano, string, woodwind, or voice).
PIXX-112 PIXX-411
Private Instruction 7
Private Instruction 2
2 credits
2 credits
Course Chair: Bass, brass, guitar, percussion,
Course Chair: Bass, brass, guitar, percussion,
piano, string, woodwind, or voice chair
piano, string, woodwind, or voice chair
Required of: PERF majors
Required of: All
Electable by: All
Electable by: All
Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall
Prerequisites: PIXX-312
Prerequisites: PIXX-111
Principal instrument study level 7 (bass, brass, guitar,
Principal instrument study level 2 (bass, brass, guitar,
percussion, piano, string, woodwind, or voice). 169
percussion, piano, string, woodwind, or voice).
Course Descriptions
Summer/Fall 2008
PIXX-412 PFBS-231
Private Instruction 8 Performance Major Private Instruction 3
2 credits 1 credit
Course Chair: Bass, brass, guitar, percussion, Course Chair: R. Appleman
piano, string, woodwind, or voice chair Required of: Third-semester PERF major
Required of: PERF majors bass principals
Electable by: All Electable by: PERF major bass principals
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: PIXX-411 Prerequisites: PIBS-112
Principal instrument study level 8 (bass, brass, guitar, Performance Major Private Instruction 3 is required of all
percussion, piano, string, woodwind, or voice). third-semester performance majors. This course, combined
with PIBS-211, is a college hour (50-minute) private lesson
PFBR-231 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 3 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: T. Plsek guidance in developing performance technique, learning
Required of: Third-semester PERF major repertoire, ear training and transcription, and strengthening
brass principals a sense of musical direction in preparing for performance of
Electable by: PERF major brass principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIBR-112 will enroll in both PIBS-XXX and PFBS-231. PIBS-XXX will be
converted to PIBS-211 once a passing for PIBS-112 has been
Performance Major Private Instruction 3 is required of all officially submitted.
third-semester performance majors. This course, combined
with PIBR-211, is a college hour (50-minute) private lesson PFBS-232
that meets on a weekly basis. The longer format allows more Performance Major Private Instruction 4
time for detailed instruction and learning required for the 1 credit
performance major. Course instruction provides individual Course Chair: R. Appleman
guidance in developing performance technique, learning Required of: Fourth-semester PERF major
repertoire, ear training and transcription, and strengthening bass principals
a sense of musical direction in preparing for performance of Electable by: PERF major bass principals
music. The instrumental department final exam is a major Offered: Spring, Summer, Fall
component of the final grade determination. Note: Students Prerequisites: PIBS-211 or PFBS-231
will enroll in both PIBR-XXX and PFBR-231. PIBR-XXX will be
converted to PIBR-211 once a passing for PIBR-112 has been Performance Major Private Instruction 4 is required of all
officially submitted. fourth-semester performance majors. This course, combined
with PIBS-212, is a college hour (50-minute) private lesson
PFBR-232 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 4 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: T. Plsek guidance in developing performance technique, learning
Required of: Fourth-semester PERF major repertoire, ear training and transcription, and strengthening
brass principals a sense of musical direction in preparing for performance of
Electable by: PERF major brass principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIBR-211 or PFBR-231 will enroll in both PIBS-XXX and PFBS-232. PIBS-XXX will be
converted to PIBS-212 once a passing for PIBS-212 has been
Performance Major Private Instruction 4 is required of all officially submitted.
fourth-semester performance majors. This course, combined
with PIBR-212, is a college hour (50-minute) private lesson
that meets on a weekly basis. The longer format allows more
time for detailed instruction and learning required for the
performance major. Course instruction provides individual
guidance in developing performance technique, learning
repertoire, ear training and transcription, and strengthening
a sense of musical direction in preparing for performance of
music. The instrumental department final exam is a major
component of the final grade determination. Note: Students
will enroll in both PIBR-XXX and PFBR-232. PIBR-XXX will be
converted to PIBR-212 once a passing for PIBR-212 has been
officially submitted.
170
Summer/Fall 2008
Course Descriptions
PFGT-231 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 3 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: L. Baione guidance in developing performance technique, learning
Required of: Third-semester PERF major repertoire, ear training and transcription, and strengthening
guitar principals a sense of musical direction in preparing for performance of
Electable by: PERF major guitar principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIGT-112 will enroll in both PIPC-XXX and PFPC-231. PIPC-XXX will be
converted to PIPC-211 once a passing for PIPC-112 has been
Performance Major Private Instruction 3 is required of all officially submitted.
third-semester performance majors. This course, combined
with PIGT-211, is a college hour (50-minute) private lesson PFPC-232
that meets on a weekly basis. The longer format allows more Performance Major Private Instruction 4
time for detailed instruction and learning required for the 1 credit
performance major. Course instruction provides individual Course Chair: D. Anderson
guidance in developing performance technique, learning Required of: Fourth-semester PERF major
repertoire, ear training and transcription, and strengthening percussion principals
a sense of musical direction in preparing for performance of Electable by: PERF major percussion principals
Students may
music. The instrumental department final exam is a major Offered: Spring, Summer, Fall
component of the final grade determination. Note: Students Prerequisites: PIPC-211 or PFPC-231 declare the
will enroll in both PIGT-XXX and PFGT-231. PIGT-XXX will be Performance
converted to PIGT-211 once a passing for PIGT-112 has been Performance Major Private Instruction 4 is required of all major during
officially submitted. fourth-semester performance majors. This course, combined their second
with PIPC-212, is a college hour (50-minute) private lesson
semester or
PFGT-232 that meets on a weekly basis. The longer format allows more
by their third
Performance Major Private Instruction 4 time for detailed instruction and learning required for the
performance major. Course instruction provides individual semester credit
1 credit
Course Chair: L. Baione guidance in developing performance technique, learning standing.
Required of: Fourth-semester PERF major repertoire, ear training and transcription, and strengthening
guitar principals a sense of musical direction in preparing for performance of
Electable by: PERF major guitar principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIGT-211 or PFGT-231 will enroll in both PIPC-XXX and PFPC-232. PIPC-XXX will be
converted to PIPC-212 once a passing for PIPC-212 has been
Performance Major Private Instruction 4 is required of all officially submitted.
fourth-semester performance majors. This course, combined
with PIGT-212, is a college hour (50-minute) private lesson PFPN-231
that meets on a weekly basis. The longer format allows more Performance Major Private Instruction 3
time for detailed instruction and learning required for the 1 credit
performance major. Course instruction provides individual Course Chair: S. Tiernan
guidance in developing performance technique, learning Required of: Third-semester PERF major
repertoire, ear training and transcription, and strengthening piano principals
a sense of musical direction in preparing for performance of Electable by: PERF major piano principals
music. The instrumental department final exam is a major Offered: Spring, Summer, Fall
component of the final grade determination. Note: Students Prerequisites: PIPN-112
will enroll in both PIGT-XXX and PFGT-232. PIGT-XXX will be
converted to PIGT-212 once a passing for PIGT-212 has been Performance Major Private Instruction 3 is required of all
officially submitted. third-semester performance majors. This course, combined
with PIPN-211, is a college hour (50-minute) private lesson
PFPC-231 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 3 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: D. Anderson guidance in developing performance technique, learning
Required of: Third-semester PERF major repertoire, ear training and transcription, and strengthening
percussion principals a sense of musical direction in preparing for performance of
Electable by: PERF major percussion principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIPC-112 will enroll in both PIPN-XXX and PFPN-231. PIPN-XXX will be
converted to PIPN-211 once a passing for PIPN-112 has been
Performance Major Private Instruction 3 is required of all officially submitted.
third-semester performance majors. This course, combined
with PIPC-211, is a college hour (50-minute) private lesson
171
Course Descriptions
Summer/Fall 2008
PFPN-232 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 4 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: S. Tiernan guidance in developing performance technique, learning
Required of: Fourth-semester PERF major repertoire, ear training and transcription, and strengthening
piano principals a sense of musical direction in preparing for performance of
Electable by: PERF major piano principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIPN-211 or PFPN-231 will enroll in both PIST-XXX and PFST-232. PIST-XXX will be
converted to PIST-212 once a passing for PIST-212 has been
Performance Major Private Instruction 4 is required of all officially submitted.
fourth-semester performance majors. This course, combined
with PIPN-212, is a college hour (50-minute) private lesson PFVC-231
that meets on a weekly basis. The longer format allows more Performance Major Private Instruction 3
time for detailed instruction and learning required for the 1 credit
performance major. Course instruction provides individual Course Chair: J. Shapiro
guidance in developing performance technique, learning Required of: Third-semester PERF major
repertoire, ear training and transcription, and strengthening voice principals
a sense of musical direction in preparing for performance of Electable by: PERF major voice principals
music. The instrumental department final exam is a major Offered: Spring, Summer, Fall
component of the final grade determination. Note: Students Prerequisites: PIVC-112
will enroll in both PIPN-XXX and PFPN-232. PIPN-XXX will be
converted to PIPN-212 once a passing for PIPN-212 has been Performance Major Private Instruction 3 is required of all
officially submitted. third-semester performance majors. This course, combined
with PIVC-211, is a college hour (50-minute) private lesson
PFST-231 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 3 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: M. Glaser guidance in developing performance technique, learning
Required of: Third-semester PERF major repertoire, ear training and transcription, and strengthening
string principals a sense of musical direction in preparing for performance of
Electable by: PERF major string principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIST-112 will enroll in both PIVC-XXX and PFVC-231. PIVC-XXX will be
converted to PIVC-211 once a passing for PIVC-112 has been
Performance Major Private Instruction 3 is required of all officially submitted.
third-semester performance majors. This course, combined
with PIST-211, is a college hour (50-minute) private lesson PFVC-232
that meets on a weekly basis. The longer format allows more Performance Major Private Instruction 4
time for detailed instruction and learning required for the 1 credit
performance major. Course instruction provides individual Course Chair: J. Shapiro
guidance in developing performance technique, learning Required of: Fourth-semester PERF major
repertoire, ear training and transcription, and strengthening voice principals
a sense of musical direction in preparing for performance of Electable by: PERF major voice principals
music. The instrumental department final exam is a major Offered: Spring, Summer, Fall
component of the final grade determination. Note: Students Prerequisites: PIVC-211 or PFVC-231
will enroll in both PIST-XXX and PFST-231. PIST-XXX will be
converted to PIST-211 once a passing for PIST-112 has been Performance Major Private Instruction 4 is required of all
officially submitted. fourth-semester performance majors. This course, combined
with PIVC-212, is a college hour (50-minute) private lesson
PFST-232 that meets on a weekly basis. The longer format allows more
Performance Major Private Instruction 4 time for detailed instruction and learning required for the
1 credit performance major. Course instruction provides individual
Course Chair: M. Glaser guidance in developing performance technique, learning
Required of: Fourth-semester PERF major repertoire, ear training and transcription, and strengthening
string principals a sense of musical direction in preparing for performance of
Electable by: PERF major string principals music. The instrumental department final exam is a major
Offered: Spring, Summer, Fall component of the final grade determination. Note: Students
Prerequisites: PIST-211 or PFST-231 will enroll in both PIVC-XXX and PFVC-232. PIVC-XXX will be
converted to PIVC-212 once a passing for PIVC-212 has been
Performance Major Private Instruction 4 is required of all officially submitted.
fourth-semester performance majors. This course, combined
with PIST-212, is a college hour (50-minute) private lesson
172
Summer/Fall 2008
Course Descriptions
PFWD-231 RPXX-311
Performance Major Private Instruction 3 Recital Preparation 1
1 credit 2 credits
Course Chair: W. Pierce Course Chair: Bass, brass, guitar, percussion,
Required of: Third-semester PERF major piano, strings, woodwind, or voice chair
woodwind principals Required of: PERF majors
Electable by: PERF major woodwind principals Electable by: PERF majors
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: PIWD-112 Prerequisites: PIXX-212 and concurrent enrollment
in both ILRE-375 and PIXX-311
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined Taken in conjunction with ILRE-375. Includes preparation of
with PIWD-211, is a college hour (50-minute) private lesson repertoire for performances in the recital workshop.
that meets on a weekly basis. The longer format allows more
time for detailed instruction and learning required for the RPXX-312
performance major. Course instruction provides individual Recital Preparation 2
guidance in developing performance technique, learning 2 credits
repertoire, ear training and transcription, and strengthening Course Chair: Bass, brass, guitar, percussion,
a sense of musical direction in preparing for performance of piano, strings, woodwind, or voice chair
music. The instrumental department final exam is a major Required of: PERF majors
component of the final grade determination. Note: Students Electable by: PERF major
will enroll in both PIWD-XXX and PFWD-231. PIWD-XXX will Offered: Spring, Summer, Fall
be converted to PIWD-211 once a passing for PIWD-112 has Prerequisites: ILRE-375, PIXX-311, and RPXX-311
been officially submitted.
Includes preparation of repertoire for a public performance
PFWD-232 as leader.
Performance Major Private Instruction 4
1 credit RPXX-411
Course Chair: W. Pierce Recital Preparation 3
Required of: Fourth-semester PERF major 2 credits
woodwind principals Course Chair: Bass, brass, guitar, percussion,
Electable by: PERF major woodwind principals piano, strings, woodwind, or voice chair
Offered: Spring, Summer, Fall Required of: PERF majors
Prerequisites: PIWD-211 or PFWD-231 Electable by: PERF majors
Offered: Spring, Summer, Fall
Performance Major Private Instruction 4 is required of all Prerequisites: PIXX-312 and RPXX-312
fourth-semester performance majors. This course, combined
with PIWD-212, is a college hour (50-minute) private lesson Includes preparation of repertoire for the jury, which must be
that meets on a weekly basis. The longer format allows more presented successfully in order to schedule the senior recital.
time for detailed instruction and learning required for the
performance major. Course instruction provides individual RPXX-412
guidance in developing performance technique, learning Recital Preparation 4
repertoire, ear training and transcription, and strengthening 2 credits
a sense of musical direction in preparing for performance of Course Chair: Bass, brass, guitar, percussion,
music. The instrumental department final exam is a major piano, strings, woodwind, or voice chair
component of the final grade determination. Note: Students Required of: PERF majors
will enroll in both PIWD-XXX and PFWD-232. PIWD-XXX will Electable by: PERF majors
be converted to PIWD-212 once a passing for PIWD-212 has Offered: Spring, Summer, Fall
been officially submitted. Prerequisites: PIXX-411 and RPXX-411
173
Course Descriptions
Summer/Fall 2008
A course designed to familiarize professional music majors This course provides an introduction to the fundamental
with the fundamentals of computer theory and operation, concepts of finance. Various techniques of analysis that reveal
using the Apple Macintosh platform. Hands-on instruction the relationships of risk, return and value are demonstrated.
will include word processing, spreadsheet, graphics, and Topics include financial analysis, reporting and planning,
database applications. Students will have access to the long and short-term forecasting, the time value of money,
Professional Education Division technology facility for class managing working capital, capital budgeting, and the nature
and individual practice. of corporate securities and capital structure.
PM-310 PM-330
Financial Management for Musicians The Private Studio Teacher
2 credits 2 credits
Course Chair: K. Brass Course Chair: K. Brass
Required of: None Required of: None
Electable by: All Electable by: All
Offered: Spring, Fall Offered: Spring, Fall
Prerequisites: LCOR-112 Prerequisites: Private instruction level 4
Overview of the financial planning process, including Aspects of private studio teaching including pedagogy,
budgeting, risk management, taxes, retirement planning, literature, technology, and business considerations. Philosophy
estate planning, and investments. and attitudes essential to the successful private instructor.
Choosing appropriate methods and materials. Overview of
new technological resources for the private teacher.
174
Summer/Fall 2008
Course Descriptions
PM-340 concurrent contract between the employer/supervisor and
Entrepreneurship the college.
2 credits
Course Chair: K. Brass International students in F-1 status must obtain authorization
Required of: None on their Form I-20 from the Counseling and Advising Center
Electable by: All prior to beginning an internship.
Offered: Spring, Summer, Fall
Prerequisites: Fifth-semester standing minimum
Professional Writing
A study of the concepts, skills, and practices of entrepreneur- PW-110
ship with the goal of preparing the student to realistically Writing Skills
deal with the essentials of setting up a business in the music 2 credits
industry in which he/she is in total control of profit and Course Chair: M. Nicholl
earnings. Case studies and guest lecturers present a broad Required of: All entering students testing
range of experiential wisdom. into this course
Electable by: All
PM-375 Offered: Spring, Summer, Fall
Music Career Planning Seminar Prerequisites: None
2 credits
Course Chair: K. Brass Exploration of the elements and concepts of music and
Required of: PROM majors how they combine and interact to create compositions and
Electable by: All arrangements as applied to the rhythm section (guitar,
Offered: Spring, Summer, Fall keyboard, bass, and drums). Assignments will include creating
Prerequisites: Fifth-semester standing minimum and developing musical projects for the rhythm section based
on the course topics.
Development of career goals from musical interests and
aspirations, and behaviors that will foster and enable the PW-161
transition from student to professional. Development of Technology Tools for the Writer
career-oriented communication and presentational skills. 2 credits
Course Chair: M. Nicholl
PM-475 Required of: CWPR and SONG majors
Final Project Seminar Electable by: Majors other than CWPR, FILM,
2 credits and SONG with permission of chair
Course Chair: K. Brass Offered: Spring, Summer, Fall
Required of: PROM majors Prerequisites: AR-111 and MTEC-111
Electable by: All
Offered: Spring, Summer, Fall Development of skills and concepts necessary for effective
Prerequisites: PM-375 or minimum of operation of a computer-based music writing workstation.
sixth-semester standing Topics include usage of the computer, music software,
synthesizers, and MIDI, as well as basic audio theory,
A seminar in which students receive individualized guidance in equipment, and techniques. Emphasis is on technological
the preparation and completion of their graduation project. needs of the contemporary writer. Students are required to
have Digital Performer sequencing/digital audio software
PM-495 on their laptop. Students must use their own laptop in the
Professional Music Internship Professional Writing technology lab. Writing majors are
2 credits expected to also use the components of their major bundle,
Course Chair: K. Brass and are required to own Mark of the Unicorn’s Digital
Required of: None Performer sequencing/digital audio software.
Electable by: PROM majors
Offered: Spring, Summer, Fall
Prerequisites: PM-375 and written approval of
course chair
Summer/Fall 2008
PW-165 PW-365
The Creative Flame Orchestral Mock-Up Production
2 credits 2 credits
Course Chair: J. Mulholland Course Chair: K. Biederwolf
Required of: None All Required of: None
Offered: Spring, Fall Electable by: CWPR, FILM, MSYN majors
Prerequisites: AR-111, ET-112, and HR-112 Offered: Spring, Summer, Fall
Prerequisites: CW-311; or FS-340, FS-341,
This course looks at proven methods that help individuals and FS-361; or MS-321
chisel out their own system in order to ignite their creative
flame and sustain their creativity. It examines some of the In parallel with a student's development as a modern
commonalities, both good and bad, that occur for artists composer, arranger, and orchestrator, this course will develop
while they’re engaged in their creative process. Through his/her skills in emulating a live orchestra through effective
experimentation with various creative approaches and tools, use of software technologies. These skill areas include
as well as reflective practice, students will learn to apply these performance techniques (tracking), editing, automation
methods to musical composition and performance. As the (real-time and edited), mixing, production, and the creation
course is process-oriented, the experiences and knowledge of work templates.
gained can be transferred into other classroom settings, as
well as other aspects of students’ lives. PW-468
Professional Writing Seminar
PW-P261 1 credit
Basic Recording/Production Techniques Course Chair: M. Nicholl
2 credits Required of: None
Course Chair: J. Perricone Prototype Electable by: All
Required of: None Offered: Spring, Summer, Fall
Electable by: CWPR, FILM, SONG, MPED, MSYN Prerequisites: Written approval of instructor
Offered: Fall and course chair
Prerequisites: PW -161 or FS-361
A course to be offered only when a resident artist joins the
This course is a hands-on recording course using the Mac Professional Writing Division. Details including seminar title,
lap-top computer; audio interface in tandem with a rack of resident artist instructor, class schedule, and enrollment
gear consisting of microphones, a compressor, a small mixer, approval procedures will be posted by the Professional
(etc.-to be determined by the teacher) that will be borrowed Writing Division during the appropriate registration and
or “checked out” by the students in a similar way that check-in period.
synthesizers and other recording gear are made available
and borrowed from both the Music Synthesis and MP&E
departments. The recordings would be made in whatever Songwriting
rooms would make it possible to record live instruments and
voices. (On campus ensemble rooms and practice rooms, but SW-111
not the Berklee recording studios) Essentials of Songwriting
1 credit
PW-361 Course Chair: J. Perricone
Multimedia for the Writer Required of: None
2 credits Electable by: All
Course Chair: K. Biederwolf Offered: Spring, Summer, Fall
Required of: None Prerequisites: None
Electable by: All
Offered: Spring, Summer, Fall Designed to give an overview of the subject to the student
Prerequisites: PW-161 or written approval contemplating a career as a songwriter or a career in music
of course chair in which songwriting plays a major role. Topics include the
importance of the song in the music industry, making a living
A hands-on introduction to multimedia and a survey of as a songwriter, the relationship of words to music, song
available applications. Students will complete assignments structure, and song demo production. This course should help
in the integration of original music, voice-overs, and sound some students decide whether Songwriting is the right major
effects with supplied graphics and video examples. Examination for them and also help music business/management majors
of software applications in desktop synchronization for A/V, and music production and engineering majors understand
editing, and multimedia authoring. Study of media formats, how to listen critically to songs as well as help prepare them
storage, and archiving and retrieval techniques; the musician’s to be more knowledgeable in music publishing, A&R, and
role in collaborative multimedia projects; managing large other song-related fields.
volumes of data and compression strategies; and
considerations of interactive aesthetics, consumer
technologies, and industrial technologies.
176
Summer/Fall 2008
Course Descriptions
SW-211 SW-231
Songwriting 1 Arranging for Songwriters
2 credits 2 credits
Course Chair: J. Perricone Course Chair: J. Perricone
Required of: SONG majors Required of: SONG majors
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: HR-112 Prerequisites: AR-111, HR-211, and PW-161
Basic songwriting techniques. Students will develop a strong Building on skills acquired in AR-111, this course focuses on
sense of form, melody, harmony, bass line development, writing effective arrangements built around a lead vocal with a
and rhythm. Introduction to lyric considerations. Projects, contemporary rhythm section including percussion, background
in lead sheet format, will cover a variety of styles. Note: It is vocals, and synthesizer(s). Topics include conceptualizing and
recommended that students take SW-221 in conjunction establishing a groove, writing effective introductions and fills,
with this course. and supporting the style and structure of the song with
appropriate instruments.
SW-212
Songwriting 2 SW-P235
2 credits Writing the Jazz Song
The last day to
Course Chair: J. Perricone 2 credits
change a grade
Required of: SONG majors Course Chair: J. Perricone Prototype
Electable by: All Required of: None of “I” awarded
Offered: Spring, Summer, Fall Electable by: All for Fall 2008
Prerequisites: ISKB-211 (or piano private instruction Offered: Spring, Fall is May 9, 2008
level 2), SW-211, and SW-221 Prerequisites: HR-211 and Spring and
Summer 2008 is
Continuation of SW-211. Proper integration of lyrics and This course centers on writing contemporary jazz songs. It
Dec. 19, 2008.
melody. Expansion of tonal materials used in songwriting includes extensive analysis of jazz standards —both music
including modulation and modality. Further study of form and lyrics—of songwriters such as Ellington, Waller, Razaf,
including the transitional bridge and the primary bridge. Gershwin, Arlen, Carmichael, and Mercer, as well as current
Student projects include setting lyrics in various styles and songwriters such as Donald Fagan, Walter Becker, Dr. John,
forms. Note: It is recommended that students take SW-222 Joni Mitchell, Jon Hendricks, Johnny Mandel and Dave
in conjunction with this course. Frishberg. Students will apply the melodic, harmonic, and lyric
writing concepts through composition of original songs.
SW-221
Lyric Writing 1 SW-P236
2 credits Guitar Techniques for Songwriting
Course Chair: J. Perricone 2 credits
Required of: SONG majors Course Chair: J. Perricone Prototype
Electable by: All Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: English competency and concurrent Offered: Spring, Fall
enrollment in SW-211 are highly recommended. Prerequisites: HR-111 and written approval of
instructor or course chair; basic guitar
This course will focus on the structural aspects of lyric writing, proficiency necessary
especially the use of rhythm, rhyme, and form. Emphasis will
be placed on compositional decisions and choices available to This class offers a foundation in guitar playing specifically for
the lyricist. Weekly writing exercises from the workbook. songwriters. The class will integrate progress on guitar tech-
nique, specifically knowledge of theory as applied to a fuller
SW-222 understanding of the guitar fingerboard and
Lyric Writing 2 songwriting/composition processes and skills. Each session will
2 credits introduce technical work on guitar skills development, evalu-
Course Chair: J. Perricone ated in class, along with small composition exercises, per-
Required of: SONG majors formed and evaluated by the class as a whole (reading from
Electable by: All chord charts provided by students), and further critiqued by
Offered: Spring, Summer, Fall the instructor. Although in format this class will resemble a
Prerequisites: SW-211 and SW-221 lab, the combination of technical and writing assignments
presented will require delivery as a full 2-hour class session.
Composition of lyrics using techniques gained in SW-221.
Student projects will cover various uses of form, approaches
to “hooks,” use of thesaurus and rhyming dictionary, writing
to existing melody, collaboration with composers (lyrics first),
and work sheets on form/function relationships.
177
Course Descriptions
Summer/Fall 2008
SW-241 SW-321
Survey of Popular Song Styles Advanced Lyric Writing
2 credits 2 credits
Course Chair: J. Perricone Course Chair: J. Perricone
Required of: SONG majors Required of: None
Electable by: All Electable by: All
Offered: Spring, Summer, Fall Offered: Spring, Summer, Fall
Prerequisites: SW-211 and SW-221 Prerequisites: SW-222
The purpose of this course is to provide the student with an A course in workshop format designed to help the student
overview of the contributions that songwriters have made to develop individual style and technique in lyric writing.
twentieth-century American culture. Included will be a history The course will focus on prosody of form and content,
of the sources of, and the trends in, various popular American setting lyric to music and vice versa, and on the integration
styles, including the blues, standards, show country music, of techniques learned in SW-221 and SW-222.
and the more contemporary and progressive styles of rock,
pop, and new wave. This course will use the basic technical SW-325
and analytical tools taught in SW-221 and SW-211 to study Music of John Lennon
and analyze significant popular songs and song styles. 2 credits
Course Chair: J. Perricone
SW-P245 Required of: None
Rock Songwriting Workshop Electable by: All
2 credits Offered: Spring, Summer, Fall
Course Chair: J. Perricone Prototype Prerequisites: None
Required of: None
Electable by: All A study of the work of John Lennon, including musical
Offered: Spring, Fall analysis, lyric analysis, survey of his poetry and art, transitional
Prerequisites: SW-211 and SW-220 periods, and the influence of his interest in surrealist and
nonmusical events. Influences of Paul McCartney and Yoko
A workshop for songwriters interested and involved in Ono. Class presentations include audio and video clips.
writing for a rock band. The workshop will focus on various
techniques and characteristics utilized in the composition and SW-335
arrangement of songs meant to be performed by a singer The Business of Songwriting
or singers in a rock setting. The workshop will incorporate 2 credits
playing and singing in class using rock instrumentation. Rock Course Chair: J. Perricone
styles from the 1960s to present day will be explored and Required of: SONG majors
students will be encouraged to write in a variety of styles Electable by: All
from mainstream pop rock and heavy metal to alternative Offered: Spring, Summer, Fall
rock and rap. Students will be required to present both Prerequisites: SW-212 and SW-222
original rock song compositions as well as a full arrangement
for the songs. A practical business course for the songwriter. Topics covered
will include making and marketing demos, copyright law,
SW-311 publishing contracts, sources of royalty income, performance
Advanced Songwriting societies, and collection agencies.
2 credits
Course Chair: J. Perricone
Required of: SONG majors who do not choose
to take SW-371
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: SW-212 and SW-222
178
Summer/Fall 2008
Course Descriptions
SW-P336 SW-361
Songwriting Collaboration Song Demo Production Techniques
2 credits 2 credits
Course Chair: J. Perricone Prototype Course Chair: J. Perricone
Required of: None Required of: SONG majors
Electable by: All Electable by: SONG majors
Offered: Spring, Fall Offered: Spring, Summer, Fall
Prerequisites: SW-212 and SW-222 Prerequisites: ISKB-212 or piano private instruction
level 3, PW-161, SW-212, and SW-222
This project-oriented, workshop-style class will present in-depth
varied models for songwriting collaboration, including strictly The songwriting major will learn the necessary techniques to
differentiated roles for lyricist and composer (typical in earlier utilize current MIDI and audio technology in the production
musical theater writing), the “co-writing” model prevalent in of professional-quality song demos, including intermediate-to-
current Nashville-centered country songwriting, and emerging advanced skills and concepts of MIDI, synthesis, multitrack
collaborative roles in more production-driven contemporary recording, mixing, and sound processing. Building on
genres such as pop, r&b and hip hop. Industry needs and technology skills learned in PW-161, this course will focus on
realities will be reflected in class projects. Students will play musical approaches to the effective assembly and arranging of
varied roles in collaborations, including writing to theme and sound materials using a music-writing workstation. In addition
on deadline and for specific industry artists and/or selected to class meetings, students will be expected to schedule
student vocalists. In-class, co-writing sessions, partner projects, weekly supervised individual hands-on time for practice and
and technology-supported “virtual” collaboration will be assignments in the Professional Writing MIDI lab.
explored. The class will also cover a number of pragmatic
issues essential in professional co-writing, including co-writer SW-362
selection, decision-making and consensus, and contractual and Advanced Song Production Seminar
business issues of co-authorship and co-publishing. 2 credits
Course Chair: J. Perricone
SW-345 Required of: None
Musical Theater Writing Electable by: All
2 credits Offered: Spring, Fall
Course Chair: J. Perricone Prerequisites: PW-161, SW-212, and SW-222
Required of: None
Electable by: All This course provides detailed study of professional song
Offered: Spring, Summer, Fall production in a range of popular styles, allowing students
Prerequisites: SW-211, SW-221, or written to understand what makes a successful track work. Using
approval of instructor and course chair successful tracks as standards for artistic and musical reference,
students, by means of a hands-on approach, will develop and
An opportunity for student composers, lyricists, and playwrights integrate a variety of synthesis techniques and DSP applications
to collaborate in adapting dramatic scenes into songs for the to creatively enhance their original song productions.
musical stage. Students write and perform their original work
in a class setting and critique the work of their peers with SW-365
supervision from the instructor. Students also discuss and Song Demo in the Recording Studio
analyze major works from the musical theater and opera 1 credit
repertoire. The class emphasizes storytelling and dramatic Course Chair: J. Perricone
writing through song, promotes innovation, and is open to Required of: None
writers of diverse musical styles. Electable by: SONG majors
Offered: Spring, Summer, Fall
SW-P350 Prerequisites: SW-212 and SW-222
Songwriting and Social Change
2 credits This course allows songwriters to record and produce their
Course Chair: J. Perricone Prototype demos, to interact with live musicians and a recording engineer
Required of: None under the guidance of the instructor, and to find the best
Electable by: All working methods to get their songs recorded professionally.
Offered: Fall Class members will either sing their original songs themselves
Prerequisites: SW-211, SW-221 (required of singer/songwriters) or provide a suitable vocalist.
During the semester, each songwriter will record/have recorded
A hands-on songwriting class that will allow students to put two of his/her songs, and will be present to observe and learn
their social change ideas into their own original songs, while from recordings of other class members. In addition to
also surveying significant socially relevant songs in different eras registering for this course, the student must also attend
and cultures throughout the 20th and 21rst centuries. Benefit meetings of ENSB-372.
concert events like Live Aid and the Concert for Bangladesh,
important songs which had impact on social change will be
analyzed (e.g., Imagine, Get Up, Stand Up, and Strange Fruit)
and prominent activist songwriters (e.g., Bob Dylan, Bono, Bob
Marley, Michael Franti, Bob Geldof ) will be profiled.
179
Course Descriptions
Summer/Fall 2008
SW-371 SW-498
Singer/Songwriter Workshop Directed Study in Songwriting
2 credits 2 credits
Course Chair: J. Perricone Course Chair: J. Perricone
Required of: SONG majors who do not choose Required of: SONG majors
to take SW-311 Electable by: SONG majors
Electable by: All Offered: Spring, Summer, Fall
Offered: Spring, Summer, Fall Prerequisites: SW-311 or SW-371
Prerequisites: SW-212 and SW-222
Individualized instruction designed to guide students majoring
A workshop for singer/songwriters in which students write in songwriting in the preparation of their graduation projects.
and perform their own material. Emphasis is placed on the
song as the vehicle through which the singer/songwriter
expresses his or her persona to the audience. Performances
are videotaped, and songs and performances are critiqued.
SW-P445
Musical Theater Writing 2
2 credits
Course Chair: J. Perricone Prototype
Required of: None
Offered: Spring, Fall
Prerequisites: SW-335
SW-495
Songwriting Internship
2 credits
Course Chair: J. Perricone
Required of: None
Electable by: SONG majors
Offered: Spring, Summer, Fall
Prerequisites: Sixth-semester standing and
written approval of course chair
180
Summer/Fall 2008
AR-112 CM-221
Arranging 2 Techniques of Tonal Writing
001 TH 4-6 W. Dahlgren 001 W 2-4 F. Trester
002 TH 11-1 B. Elkins 002 M 11-1 A. Paraskevas
003 W 2-4 J. Kocandrle 003 W 9-11 B. Denisch
004 TH 11-1 TBA
005 TH 2-4 B. Elkins CM-231
Instrumentation & Score Prep
AR-201 001 T 4-6 C. Witmyer
Chord Scale Vcings for Arng 002 TH 4-6 S. Fessler
001 TH 2-4 W. Schultz 003 T 4-6 J. Holland
002 TH 4-6 W. Schultz
CM-251
AR-203 Trad Materials & Structure 1
Music Preparation 1 001 W 1-2,T 11-1 C. Witmyer
001 T 4-6 R. Grudzinski
CM-252
AR-228 Trad Materials & Structure 2
Survey of Jazz Cmp & Arranging 001 W 4-5,T 2-4 C. Witmyer
001 T 2-4 W. Scism
CM-311
AR-321 Cont Techs in Composition 1
Cont Arranging and Composition 001 W 2-4 T. McGah
001 M 11-1 P. Wilson 002 T 2-4 A. Welwood
AR-331 CM-312
Big Band Arrnging & Score Anal Cont Techs in Composition 2
001 T 4-6 W. Scism 001 W 2-4 A. Qualliotine
CM-355
Composition Principals/Tech of Vocal Wrtng
001 T 2-4 K. Wright
CM-211
Tonal Harmony & Composition 1 CM-371
001 M 2-4 D. Hurst Jazz Composition 1
002 M 11-1 I. Lisak 001 W 2-4 C. Free
003 T 9-11 A. Friedman
004 T 4-6 A. Paraskevas CM-373
005 M 4-6 A. Welwood Jazz Composition 2
006 M 2-4 A. Qualliotine 001 TH 2-4 R. Pilkington
007 TH 4-6 A. Friedman
008 T 9-11 B. Denisch CM-375
009 W 4-6 S. Fessler Jazz Composition 3
010 M 4-6 J. Holland 001 W 11-1 C. Free
011 TH 2-4 M. Weinstein
181
Schedule of Courses - Summer
Summer/Fall 2008
CM-398 COND-221
Dir Study in Comp of Sm Forms Vocal Conducting: Mus Ed Major
001 W 4-6 V. Kulenovic 001 M 9-10,W 9-11 W. Ward
002 W 4-6 J. Holland
003 W 4-6 F. Trester COND-222
Instr. Conducting, Mus Ed Maj
CM-495 001 T 9-10,TH 9-11 P. Cokkinias
Composition Internship
001 G. Fritze COND-321
See the Office of Experiential Learning if interested Vocal Rehearsal Techs Mus Ed
001 M 10-11,W 9-11 W. Ward
CM-497
Directed Study Sonata Comp COND-322
001 W 4-6 Y. Gubanov Instr Rehearsal Techs Music Ed
002 W 4-6 J. Smith 001 T 10-11,TH 9-11 P. Cokkinias
CM-498 COND-351
Dir Study in Orchestral Comp Adv Cond Wkshp, Live Kbd Ens
001 W 4-6 V. Kulenovic 001 T 9-11 G. Monseur
002 W 4-6 T. McGah
003 W 4-6 J. Williams COND-361
Conducting for Film and TV
CM-499 001 T 11-1 G. Monseur
Dir Study in Jazz Composition
001 - R. Lowell COND-498
002 - R. Lowell Directed Study in Conducting
NOTE: (all sections) See instructor in first week 001 W 4-6 T. Pusztai
to establish meeting times
Counterpoint
Conducting
CP-211
COND-211 Tonal Counterpoint 1
Conducting 1 001 TH 2-4 D. McDonnell
001 M 9-11 G. Monseur 002 T 2-4 A. Qualliotine
002 W 2-4 T. Pusztai 003 W 2-4 Y. Gubanov
003 W 4-6 V. Taylor 004 M 11-1 J. Holland
004 M 11-1 D. Callahan 005 W 2-4 S. Fessler
005 T 9-11 D. Callahan 006 M 4-6 D. Hurst
006 T 4-6 F. Noya 007 T 2-4 A. Paraskevas
007 T 11-1 F. Noya 008 TH 11-1 D. McDonnell
008 W 9-11 G. Monseur 009 M 4-6 I. Lisak
009 T 2-4 V. Taylor 010 TH 4-6 M. Weinstein
010 TH 4-6 V. Taylor 011 T 2-4 B. Denisch
011 T 4-6 D. Callahan
012 T 2-4 F. Noya CP-212
Tonal Two-Part Canon & Invent
COND-212 001 M 4-6 C. Witmyer
Conducting 2 002 W 2-4 A. Welwood
001 M 4-6 F. Noya 003 TH 2-4 S. Fessler
002 M 9-11 J. Williams 004 F 9-11 D. McDonnell
003 M 2-4 D. Callahan 005 T 11-1 B. Denisch
004 M 2-4 F. Noya 006 M 4-6 Y. Gubanov
005 M 11-1 G. Monseur 007 M 4-6 V. Kulenovic
006 W 11-1 G. Monseur 008 M 2-4 A. Paraskevas
007 M 4-6 D. Callahan 009 M 11-1 A. Qualliotine
008 TH 2-4 V. Taylor 010 F 11-1 D. McDonnell
009 TH 11-1 V. Taylor
010 W 9-11 T. Pusztai CP-213
011 W 11-1 T. Pusztai
Advanced Counterpoint
012 W 2-4 V. Taylor
001 T 2-4 A. Friedman
002 M 2-4 Y. Gubanov
182 003 M 2-4 A. Welwood
Summer/Fall 2008
CP-361 CW-310
Jazz Counterpoint 1 Adv Wrt Tech & Cpts 1 - Stu Orc
001 TH 4-6 R. Pilkington Not offered Summer 2008
CP-362 CW-311
Jazz Counterpoint 2 Writing for Large Ensemble I
001 T 2-4 C. Free 001 M 9-11 G. Gates
CW-341
Contemporary Writing and Scoring for Strings
Production 001 T 2-4 D. Callahan
CW-151 CW-343
Survey of Pop/Rock Styles Cont Arranging for Strings
001 W 4-6 J. Kocandrle Not offered Summer 2008
When a
CW-171 CW-361 prerequisite
Groove Writing Sound Processing Apps/Writers waiver is
001 TH 11-1 D. Moretti 001 W 11-1 D. Moretti needed, please
002 T 4-6 D. Moretti 002 T 9-11 M. Farquharson
contact the
003 TH 4-6 D. Moretti Department
CW-410
Chair for
CW-211 Adv Wrt Tech & Cpts 2 - Ens
Not offered Summer 2008 the course.
Writing for Small Ensemble
001 TH 9-11 G. Gates
002 TH 11-1 G. Gates CW-411
Writing for Large Ensemble 2
CW-216 001 M 11-1 G. Gates
Vocal Writing
001 T 11-1 S. Broadley-Martin CW-422
Advanced Production for Wrters
CW-218 001 M 9-11 M. Farquharson
Jingle Writing 002 T 11-1 M. Farquharson
001 TH 4-6 J. Aldrich
002 T 11-1 J. Aldrich CW-441
Scoring for Full Orchestra
CW-221 001 M 6-8 V. Kulenovic
Wrtng/Prod Techs - Pop/Rock 002 T 11-1 A. Qualliotine
Not offered Summer 2008
CW-445
CW-222 Contemporary Orchestration
Intro to Wrting/Prod -Studio Not offered Summer 2008
001 M 11-1 M. Farquharson
CW-450
CW-225 Scoring to Visuals
Writing in Salsa Styles 001 T 2-4 A. Pejrolo
Not offered Summer 2008
CW-495
CW-255 CWP Internship
Application of 12-TONE Concpts 001 M. Nicholl
Not offered Summer 2008 See the Office of Experiential Learning if interested
CW-261
Midi Applications for Writer
001 W 4-6 R. Grudzinski
002 T 4-6 A. Pejrolo
183
Schedule of Courses - Summer
Summer/Fall 2008
Summer/Fall 2008
ENSB-372 ENVC-111
Rhythm Track for Songwriters Rhythm Section Grooves for Vce
001 TH 9-11 D. Cecere 001 T 2-4 A. Christian
Rating: 5 002 M 4-6 J. Blake
Original music, any style 004 TH 11-1 J. Jenkins
005 T 9-11 A. Christian
ENSB-381 006 T 4-6 J. Blake
Wes Montgomery Ensemble
Not offered Summer 2008 ENVC-121
Contemp Styles Ens With Vocals
ENSB-384 001 M 4-6 D. Montgomery III
Berklee Horace Silver Ens Rating: 2
Not offered Summer 2008 Mixed: Jazz, Pop/Rock, R&B
187
Schedule of Courses - Summer
Summer/Fall 2008
ILBR-111 ILBS-222
Brass Lab - Reading 1 Bass Lab - Lines 3
See Chair, Tom Plsek, if Interested 001 W 12-1 B. Gertz The first day
of class for
ILBR-112 ILBS-225 Summer 2008
Brass Lab - Reading 2 Bass Lab - Basic Timekeeping is Tuesday,
See Chair, Tom Plsek, if Interested 001 W 5-6 D. Clark
May 27, 2008.
ILBR-121 ILBS-251
Brass Improvisation Lab 1 Basic Slap Technique
Not offered Summer 2008 001 F 3-4 A. Vitti
ILBR-122 ILBS-254
Brass Improvisation Lab 2 Finger Style R&B/Fusion Lab
See Chair, Tom Plsek, if Interested 001 F 2-3 A. Vitti
ILBR-211 ILBS-255
Brass Lab - Reading 3 The Evolution of Hip Hop Bass
See Chair, Tom Plsek, if Interested 001 F 12-1 A. Vitti
ILBR-212 ILBS-257
Advanced Brass Reading Lab Bass Performance Group
001 M 5-6 C. Lewis Not offered Summer 2008
ILBR-221 ILBS-274
Brass Improvisation Lab 3 Bass Lab - Singing and Playing
See Chair, Tom Plsek, if Interested 001 W 3-4 D. Clark
ILBR-222 ILBS-324
Advanced Brass Improvisation Advanced Rhythmic Language
001 M 4-5 J. Stout 001 W 4-5 D. Clark
ILBS-111 ILBS-334
Bass Lab - Reading 1 Bass Guit MIDI Controller Lab
001 M 12-1 J. Stinnett Not offered Summer 2008
002 M 7-8 D. Buda
ILBS-364
ILBS-112 Sight Reading Latin Rhythms
Bass Lab - Reading 2 Not offered Summer 2008
001 M 3-4 J. Stinnett
ILEN-P211
ILBS-121 Turntable Technique
Bass Lab - Lines 1 001 T 4-6 S. Webber
001 M 6-7 D. Buda 002 W 4-6 S. Webber
002 W 2-3 B. Gertz
189
Schedule of Courses - Summer
Summer/Fall 2008
ILGT-115 ILGT-227
Guit Perf Skills/Non Guitarist Guitar Chord Soloing
001 T 12-1 M. Ihde 001 T 3-4 J. Marasco
002 T 10-11 K. Taft
003 W 3-4 J. Miller ILGT-228
Fingerpicking Blues Guitar
ILGT-119 001 T 3-4 D. Bowden
Guitar Styles Skills Labs
001 W 11-1 K. Taft ILGT-230
Style: Funk Performing Solo Guitarist
Not offered Summer 2008
002 M 11-1 J. McGann
Style: Django Reinhardt ILGT-231
Jazz/Blues Guitar
003 T 4-6 A. Gaboury 001 W 10-11 K. Taft
Style: Jazz/Fusion
ILGT-233
004 W 11-1 G. Van Duser
Jazz Guitar Trio Seminar
Style: Chet Atkins
001 TH 2-4 J. Wheatley
005 TH 11-1 B. Bartlett
Style: Funk
ILGT-241
Jazz-Rock Improv for Guitar
006 M 11-1 R. Hart 001 W 11-12 J. Kelly
Style: Jazz
ILGT-243
007 W 9-11 T. Miller Jazz/Rock Rhythm Guit Playing
Style: Contemporary Jazz 001 W 12-1 J. Kelly
ILGT-281 ILGT-371
Classical Guitar Chamber Mus 1 Professional Guitar Styles
001 M 11-1 D. Newsam Not offered Summer 2008
ILGT-285 ILGT-385
Country Guitar Lab Show/Theater Guitar Lab
001 M 2-3 M. Ihde Not offered Summer 2008
ILGT-323 ILPD-110
Guitarmony 2 Drumset for Non-Percussionists
001 W 3-4 B. Willmott 001 F 10-11 A. Smith
002 F 1-2 A. Smith
ILGT-325
Walking Bass Lines/Chords ILPD-111
001 TH 11-12 J. Marasco Drum Lab 1
001 M 3-4 B. Lehmann
ILGT-327 002 M 4-5 B. Lehmann
Advanced Chord Soloing 003 M 5-6 B. Lehmann
Not offered Summer 2008
ILPD-112
ILGT-331 Drum Lab 2
Guitar Synthesizer Lab 001 T 11-12 R. Tamagni
001 M 3-4 M. Ihde 002 W 5-6 R. Considine
002 T 12-1 D. Bowden
ILPD-125
ILGT-333 Snare Drum Techs Drumset Princ
Electronic Effects for Guitar Not offered Summer 2008
001 T 11-12 K. Taft
ILPD-211
ILGT-340 Drum Lab 3
The George Benson Lab 001 W 1-2 R. Monzon
001 M 4-6 R. Hart 002 W 2-3 R. Monzon
ILGT-343 ILPD-212
Jeff Beck Lab Drum Lab 4
Not offered Summer 2008 001 T 10-11 R. Tamagni
ILGT-347 ILPD-217
Jimi Hendrix Lab Brush Techniques
001 T 6-8 J. Kasper 001 W 6-7 R. Considine
ILGT-349 ILPD-229
Solo Jazz Guitar Hip-Hop Drum Devel, Rept & App
001 T 2-3 J. Pezanelli 001 M 12-1 S. Skeete
ILGT-351 ILPD-231
Motivic Basis/Jazz Guitar V Basic Time and Pulse
Not offered Summer 2008 001 M 11-12 D. Hadden
ILGT-363 ILPD-233
Advanced Reading Funk Repertoire Devel & Appl
Not offered Summer 2008 001 F 2-3 A. Smith
002 M 11-12 K. Dennard
ILGT-365
Advanced Guitar Perf Lab ILPD-235
001 W 2-4 G. Van Duser Polyrhythms 1
Stride Guitar 001 M 12-1 K. Dennard
191
Schedule of Courses - Summer
Summer/Fall 2008
ILPD-237 ILPH-357
Acoustic Char of the Drumset Afro-Cuban Rhythms and Perc
001 T 2-3 D. Hadden 001 M 2-4 M. Castrillo
ILPD-261 ILPH-359
Jazz Drum Styles Brazilian Rhythms & Percussion
001 T 11-12 D. Hadden 001 M 4-6 M. Walker
002 M 2-4 M. Walker
ILPD-262
Fusion Drum Styles ILPH-369
001 M 12-1 D. Hadden World Percussion 2
Not offered Summer 2008
ILPD-263
Rock Drum Styles ILPM-121
001 T 3-4 D. Hadden Mallet Lab 1
Not offered Summer 2008
ILPD-264
Funk Drum Styles ILPM-221
001 M 2-3 D. Hadden Mallet Lab 2
Not offered Summer 2008
ILPD-265
World Drum Styles ILPN-111
001 T 12-1 D. Hadden Keyboard Lab - Reading 1
001 TH 3-4 J. Mulroy
ILPD-271
Lead Sheet Interpretation ILPN-112
Not offered Summer 2008 Keyboard Lab - Reading 2
001 T 5-6 R. Hoffmann
ILPD-337 002 W 3-4 J. Mulroy
Linear Time Feels and Phrasing
001 M 3-4 D. Hadden ILPN-113
Keyboard Lab - Reading 3
ILPD-339 001 W 4-5 B. Thomas
Fusion Repertoire Devel & Appl 002 M 3-4 N. Olmstead
001 M 2-3 K. Plainfield
ILPN-121
ILPD-361 Keyboard Lab - Comping 1
Understanding Grooves 001 T 1-2 R. Hoffmann
001 T 3-4 R. Tamagni 002 M 11-12 J. Ramsay
ILPD-367 ILPN-122
Rhy Concept:broken Eighth Note Keyboard Lab - Comping 2
001 T 4-5 D. Hadden 001 W 11-12 J. Mulroy
002 M 12-1 J. Ramsay
ILPD-369 003 T 3-4 G. Wardson
Double Bass Drum Studies
001 M 5-6 D. DiCenso ILPN-123
Keyboard Lab - Comping 3
ILPD-431 001 T 5-6 B. Thomas
Solo Construction for Drumset 002 W 3-4 B. Thomas
Not offered Summer 2008
ILPN-131
ILPH-293 Elements of Jazz Piano
Afro-Cuban/Non-Percussionists Not offered Summer 2008
001 W 9-11 M. Castrillo
002 W 11-1 M. Castrillo ILPN-214
003 T 11-1 E. Diaz Keyboard Lab - Adv Reading
004 F 11-1 E. Diaz Not offered Summer 2008
ILPH-351 ILPN-224
Drumming Styles of Ghana Keyboard Lab - Adv Comping
Not offered Summer 2008 001 T 12-1 R. Hoffmann
192
002 T 4-5 B. Thomas
Summer/Fall 2008
ILPN-241 ILRE-375
Adv Stylistic Comping - Pop Recital Workshop: Perf Majors
001 W 12-1 R. Hoffmann 001 TH 12-1 J. Galindo
002 T 1-2 K. Cervenka
ILPN-242
Adv Stylistic Comp-Funk/Fusion ILST-121
Not offered Summer 2008 Jazz Violin Lab
See Chair, Matt Glaser, if Interested
ILPN-243
Adv Stylistic Comping - Latin ILST-131
001 W 11-12 M. Rossi Improv String Performance Lab
Not offered Summer 2008
ILPN-251
Keyboard Lab - Repertoire ILST-132
001 M 1-2 N. Olmstead Improv String Perf Lab 2
See Chair, Matt Glaser, if Interested
ILPN-253
Keyboard Lab - Improvisation ILST-211
001 TH 10-11 R. Hoffmann Violin/Viola Reading Lab 2
See Chair, Matt Glaser, if Interested
ILPN-261
Synth Techniques for Live Perf ILST-221
001 T 11-1 J. Ramsay String Performance Group
See Chair, Matt Glaser, if Interested
ILPN-266
Gospel Keyboard Techniques ILST-271
001 T 2-4 D. Montgomery III World Fiddle Group
See Chair, Matt Glaser, if Interested
ILPN-271
Jazz Harmonic Techs for Pno 1 ILVC-110
001 M 2-3 J. Covell Elements of Vocal Technique
002 M 3-4 J. Covell 001 T 11-1 D. Moody
003 T 2-3 J. Covell 002 TH 2-4 S. Brown
004 T 3-4 J. Covell 003 W 11-1 S. Brown
ILPN-273 ILVC-111
Jazz Harmonic Applications Vocal Sight Reading Techs 1
Not offered Summer 2008 001 TH 4-5 S. Brown
002 M 4-5 D. Scott
ILPN-P279
Accomp Tech for Piano/Vocalist ILVC-115
001 TH 11-1 G. Wardson Musical Independence/Singers
Not offered Summer 2008
ILPN-335
Hammond Organ Techniques ILVC-121
001 TH 2-3 D. Cecere Styles Lab-Pop/Rock/Country
001 TH 5-6 S. Kowalczyk
ILPN-381 002 T 2-3 K. Carr
Classical Repertory/Two Pianos 003 T 4-5 J. Barnett
Not offered Summer 2008 004 T 1-2 J. Barnett
ILPN-385 ILVC-122
Classical Accompanying Styles Lab-Jazz/Blues
Not offered Summer 2008 001 M 2-3 A. Capozzoli
002 M 3-4 D. Scott
003 W 9-10 J. Jenkins
004 T 4-5 G. Goodman
193
Schedule of Courses - Summer
Summer/Fall 2008
ILVC-123 ILVC-375
Styles Lab-R&B Adv Perf Skills Bckgrnd Singer
001 T 1-2 G. Goodman Not offered Summer 2008
002 T 11-12 A. Christian
003 M 2-3 J. Kyles ILVC-381
004 M 3-4 R. Reeder Studio Tech:lead/Bckgrnd Sngr
001 TH 4-5 S. Kowalczyk
ILVC-141
Beginning Improv for Singer ILVC-411
001 T 3-4 G. Goodman Advanced Vocal Sight Reading
002 M 12-1 R. Reeder Not offered Summer 2008
003 T 12-1 A. Christian
ILVC-431
ILVC-151 Advanced Vocal Perf Lab 2
Acting Skills for the Vocalist Not offered Summer 2008
001 TH 12-1 R. Perricone
ILVC-481
ILVC-210 Practice Skills: Studio Singer
Elements Vocal Tech/Non Voice 001 TH 2-4 S. Kowalczyk
001 W 9-10 S. Brown
002 T 1-2 D. Moody ILWD-111
003 W 10-11 S. Brown Woodwind Lab - Techniques 1
004 TH 5-6 S. Brown Not offered Summer 2008
ILVC-211 ILWD-112
Vocal Sight Reading Techs 2 Woodwind Lab - Techniques 2
001 T 3-4 J. Barnett 001 M,W 1-2 P. Wagner
ILVC-P223 ILWD-113
Flo-ology: Spoken Word & Improv Woodwind Lab - Techniques 3
001 T 4-6 A. Christian 001 M,W 9-10 P. Wagner
ILVC-P243 ILWD-321
Instrumental Vocal Singing Woodwind Doubling Lab - Flute
001 M 2-4 J. Blake Not offered Summer 2008
ILVC-251 ILWD-322
Rehearsal Techniques/Vocalists Woodwind Doubling Lab - Clarinet
001 F 11-1 J. Gagne Not offered Summer 2008
ILVC-261 ILWD-323
Vocal Skills: Self Accomp Sngr Wwnd Doubling Lab - Sax & Theatr
Not offered Summer 2008 See Chair, William Pierce, if Interested
ILVC-271 ILWD-331
Mics, PAs and the Singer Doubling/MIDI Wind Controller
001 T 3-4 K. Carr 001 W 10-11 P. Wagner
ILVC-281 ILWD-361
Perf Skills/Background Singer Saxophone Quartet
001 M 4-5 J. Kyles Not offered Summer 2008
002 TH 9-10 J. Jenkins
003 T 2-3 G. Goodman ILWD-365
004 M 2-3 R. Reeder
Saxophone Section Playing
Not offered Summer 2008
ILVC-311
Vocal Sight Reading Techs 3
Not offered Summer 2008
ILVC-331
Advanced Vocal Perf Lab 1
001 TH 11-1 K. Kai-Regalot
194
Summer/Fall 2008
Summer/Fall 2008
LCOR-111 LCOR-233
College Wrtng 1: Struct/Style Art History Topics
001 M,W,F 1-2 D. Kohn 001 W 10-1 H. Tate
002 M,W,F 2-3 D. Kohn 17th Century Spanish Art
003 M,W,F 4-5 D. Kohn 002 W 6-9 N. Seaman
Gender and Visual Arts
LCOR-112
College Writing 2: Lit Themes LHAN-211
001 M,W,F 10-11 S. Blazar History of Western Music 1
Exploring Fiction, Poetry, and Drama 001 T 11-1 D. Leclaire
002 TH 9-11 D. Leclaire
002 M,W,F 11-12 S. Blazar
Exploring, Fiction, Poetry, and Drama LHAN-212
History of Western Music 2
003 M,W,F 2-3 J. Rold 001 F 11-1 D. Leclaire
Literature as Creative Writing 002 W 9-11 T. McGah
LCOR-211 LHAN-221
History of Western Civ. 1 History of Jazz
001 T 2-4,W 4-5 S. Katz 001 M 2-4 J. Stout
002 T 4-6,TH 2-3 S. Katz
LHAN-222
LCOR-212 History of Rock Music
History of Western Civ. 2 001 T 11-1 K. Zambello
001 M 2-4,T 2-3 P. Peknik
002 M 2-4,W 3-4 G. Miller LHAN-251
General Music History 1
LCOR-P214 001 T 10-11,TH 11-1 D. Leclaire
History of the Americas 2
001 M 5-6,T 11-1 P. Peknik LHAN-252
General Music History 2
LCOR-221 001 T 9-10,W 9-11 D. Leclaire
World Civ. Before 1500
001 W 9-11,TH 3-4 D. Abraham LHAN-261
Concert Music After 1945
LCOR-222 001 T 4-6 A. Friedman
World Civilizations Since 1500
001 M 4-5,W 4-6 G. Miller LHAN-266
002 M 4-5,T 9-11 P. Peknik D Shostakovich:His Music/Life
001 T 4-6 Y. Gubanov
LCOR-223
World Civilization Topics LHAN-311
001 W 11-12,TH 9-11D. Abraham Style Anal: Classical/Romantic
World Revolutions 001 W 11-1 S. Fessler
LCOR-231 LHAN-345
History of Art 1 Mus & Cult Africa, Latin, S Am
001 M 6-9 A. Arzigian 001 T 4-6 J. Kachulis
002 F 10-1 M. Jones
LHAN-346
LCOR-232 Mus & Cult India, East, E Eurp
History of Art 2 001 T 2-4 J. Kachulis
001 T 10-1 H. Tate
196 002 T 2-5 M. Wood
Summer/Fall 2008
LHAN-373 LHUM-475
Early Music of Schoenberg Philosophy of Education
001 T 2-4 T. McGah 001 T 9-11,TH 11-12 G. Eastman
LHAN-374 LMSC-208
The Music of J.S. Bach Principles of Music Acoustics
Not offered Summer 2008 001 T 2-3,TH 9-11 T. Rhea
LHAN-375 LMSC-221
The Music of Igor Stravinsky Health and Wellness
001 W 2-4 D. Leclaire 001 M 9-11,W 12-1 E. McGrath
002 M 2-4,W 2-3 E. McGrath
LHAN-381
20th Century Seminal Composers LMSC-230
Not offered Summer 2008 Concepts of Mathematics
001 M 2-3,W 2-4 K. Block-Schwenk
LHAN-385
Analysis of Sonata Forms LMSC-424
001 W 11-1 A. Qualliotine Human Anatomy & Physiology
001 T 3-5,TH 4-5 S. Foster
LHUM-161
Spanish 1 LSOC-211
001 T 1-3,TH 2-3 D. Bennett General Psychology
001 M 11-1,W 11-12 E. McGrath
LHUM-162 002 M 4-5,W 9-11 E. McGrath
Spanish 2 003 T 2-3,TH 2-4 S. Foster
001 T 3-4,TH 3-5 D. Bennett
LSOC-355
LHUM-171 Urban Sociology
Japanese 1 001 T 11-1,W 1-2 S. Reich
001 T 9-10,TH 9-11 S. Passaretti
LSOC-411
LHUM-172 Child & Adolescent Psychology
Japanese 2 001 T 11-12,TH 9-11 G. Eastman
001 T 10-11,TH 11-1 S. Passaretti
LHUM-361 MB-225
Philosophy of Religion International Economics/Financ
197
001 T 2-4,TH 2-3 P. Guay 001 M 11-1,T 4-5 K. Block-Schwenk
002 T 2-4,W 5-6 K. Block-Schwenk
Schedule of Courses - Summer
Summer/Fall 2008
MB-255 MB-401
Computer Apps Music Industry Principles of Marketing
001 TH 2-4 P. Kerensky 001 M 10-11,M 11-1 S. Kellarr
002 T 2-4 P. Kerensky 002 M 2-3,M 3-5 S. Kellar
MB-275 MB-405
Principles Financial Account Adv Legal Issues/Contract Neg
001 W 11-1 M. Dennehy 001 TH 6-8 J. Fialkov
002 W 2-4 M. Dennehy
MB-490
MB-301 Sr. Practicum 1 (Hvy Rttn Rec)
Business Leadership and Ethics 001 W 4-5 J. Dorenfeld
001 TH 9-11 J. Miglio
002 TH 11-1 J. Miglio MB-491
Sr. Practicum 2 (Hvy Rttn Rec)
MB-331 001 W 5-6 J. Dorenfeld
Int'l Industry Ops: Record Co.
001 TH 2-4 S. Traughber MB-495
002 T 11-1 A. Johnson Internship in Music Business
001 J. Kellogg
MB-335 See the Office of Experiential Learning if interested
Int'l Industry Ops: Mus Pub
001 M 4-6 E. Blomquist
002 M 11-1 E. Blomquist Music Education
MB-339 ME-111
Music Tech in the Marketplace Introduction to Music Ed
001 M 2-4 E. Blomquist 001 TH 2-3 D. Ferrara
MB-340 ME-152
Business Startups Computer Applications Mus Ed
001 W 4-6 M. Dennehy 001 W 9-11 S. Langol
002 W 2-4 S. Langol
MB-341
Creative Promo in New Media ME-325
001 TH 11-1 S. Traughber Orff & Kodaly Approaches
001 W 11-1 E. Allison
MB-345
Advanced Management Techniques ME-326
001 TH 2-4 J. Miglio Multimedia for the Educator
001 W 11-1 S. Langol
MB-351 002 W 4-6 S. Langol
Data Management and Statistics
001 T 11-1 K. Block-Schwenk ME-341
002 M 4-6 K. Block-Schwenk Teaching/Multicultural Perspec
001 W 9-11 E. Allison
MB-355
Advanced Computer Applications ME-381
Not offered Summer 2008 Survey of Instrumental Lit
001 T 11-12 P. Cokkinias
MB-375
Music Intermediaries ME-P383
001 TH 2-4 J. Dorenfeld Survey of Vocal Musical Lit
Not offered Summer 2008
MB-387
Website Design and Management ME-431
001 TH 11-1 P. Kerensky Instrumental Methods/Materials
001 M 11-12 P. Cokkinias
MB-391
Concert Promo/Venue Management
001 W 2-4 J. Dorenfeld
198
Summer/Fall 2008
MP-212 MP-385
Audio Technology II Advanced Recording Techniques
001 TH 11-1 M. Abraham 001 TH 2-6 A. Rodriguez
002 T 2-4 A. Rodriguez 002 W 2-6 M. Wessel
003 M 9-1 R. Mendelson
NOTE: This course (all sections) meets every
MP-214
other week for four hours
Critical Listening Lab
001 W 11-1 M. Wessel
002 T 4-6 R. Mendelson
MP-421
Music Production/Visual Media
001 T 4-6 J. Largent
MP-215
002 W 11-1 J. Largent
Production Analysis Lab
003 W 4-6 J. Largent
001 M 4-6 A. Carbone
002 M 11-1 A. Carbone
MP-431
Vocal Production
MP-225
001 T 2-4 M. Benoff
MIDI System for Music Tech
002 W 11-1 M. Benoff
001 F 9-11 W. Moss
002 F 11-1 W. Moss
MP-441
Advanced Mix Lab
MP-241
001 T 9-11 M. Wessel
Mix Techniques Lab
002 M 4-6 R. Mendelson
001 T 11-1,W 2-3 J. Largent
003 T 11-1 A. Rodriguez
002 T 2-4,W 3-4 J. Largent
MP-P456
MP-247
Analog Record Tech & Appl
Business of Music Production
Not offered Summer 2008
001 T 9-11 M. Benoff
MP-P457
MP-310
Ensemble Recording Techniques
Sound Reinforcement/Musicians
Not offered Summer 2008
001 M 11-1 B. Berger
MP-P458
MP-318
Live Concert Record & Mix Tech
Creative Production Skills
Not offered Summer 2008
001 M 2-4 A. Carbone
002 W 2-4 A. Edelstein
MP-461
Advanced Production Projects
MP-320
001 T 2-4 S. Webber
Music Production for Records
002 TH 11-1 M. Benoff
001 W 11-1 S. Webber
003 W 4-6 M. Benoff
002 W 9-11 A. Edelstein
004 W 2-4 S. Webber
003 TH 9-11 M. Benoff
MP-471
MP-322
Postprod,remixing,mastering
Sound Reinforcement Systems
001 M 2-4 R. Mendelson
001 T 11-1 B. Berger 199
Schedule of Courses - Summer
Summer/Fall 2008
MP-475 MS-337
Masters Engineering Lab Sound Design/Comp in Csound
001 T 2-6 M. Wessel 001 W 11-1 R. Boulanger
002 T 2-6 M. Wessel
NOTE: This course (all sections) meets every MS-339
other week for four hours Synth in Comp/Orch Comm Prod
001 W 4-6 J. Baust
MP-495
MP&E Internship MS-340
001 R. Jaczko Speech and Vocal Synthesis
See the Office of Experiential Learning if interested 001 TH 4-6 T. Rhea
MS-341
Music Synthesis MIDI, Audio & Vid Programming
001 M 4-6 R. Boulanger
MS-210
Srvy of Electroacoustic Music MS-351
001 TH 2-4 T. Rhea Adv Studies: Digital Sampling
001 M 2-4 M. Brigida
MS-220
Studio Technologies MS-371
001 T 2-4,T 2-4 J. Baust Comp Workshop for Music Synth
002 M 4-6,M 4-6 D. Doms Not offered Summer 2008
MS-223 MS-372
Modular Functions/Signal Flow Adv Real-Time Perf Synthesis
001 T 9-11 T. Rhea Not offered Summer 2008
002 M 4-6 M. Brigida
MS-381
MS-225 Contemp Appl of Digital Audion
MIDI Systems 001 T 11-1 J. Baust
001 F 2-4 D. Doms 002 M 2-4 D. Doms
002 T 2-4 J. Williams
MS-391
MS-250 Design/Prog Intractiv Perf Sys
Survey of Electronics in FS 001 W 9-11 R. Boulanger
001 TH 11-1 T. Rhea
MS-401
MS-320 Music Synthesis Adv Seminar
Digital Mix Techniques 001 T 4-6 J. Baust
001 T 9-11 J. Baust 002 W 11-1 S. MacLean
002 TH 9-11 M. Bierylo 003 TH 2-4 M. Bierylo
MS-321 MS-413
Advanced MIDI Systems Digital Sig Proc: Theory/Comp
001 W 11-1 M. Bierylo 001 M 2-4 R. Boulanger
002 F 11-1 D. Doms
MS-414
MS-322 Dgtl Signl Proc/Prod/Post-Prod
Advanced Programmable Synth 001 W 11-1 J. Baust
001 M 11-1 M. Brigida
MS-426
MS-326 Live Video with Jitter
Multimedia Portfolio Workshop Not offered Summer 2008
001 T 9-11 J. Rinaldi
002 W 2-4 J. Rinaldi MS-431
Physical Modeling/Additive Syn
MS-335 001 W 2-4 J. Moorhead
Advanced Modular Synthesis
001 T 11-1 T. Rhea MS-461
Computer Music Comp & Analysis
200 001 W 2-4 R. Boulanger
Summer/Fall 2008
MTH-431
Music Therapy and Medicine
001 M 11-1 K. Wacks
201
Schedule of Courses - Summer
Summer/Fall 2008
202
Summer/Fall 2008
PSIJ-341 PSVC-425
Pentatonics in Improvisation Adv Vocal Improv Techniques
001 W 11-1 D. Santoro Not offered Summer 2008
PSIJ-421 PSVC-435
Jazz Improvisation Techs 4 Adv Techs of Voice Production
Not offered Summer 2008 001 TH 9-11 A. Dolan
PSIJ-423 PSW-235
Jazz Improvisation Techs 6 World Percussion 1A
Not offered Summer 2008 Not offered Summer 2008
PSIJ-425 PSW-341
Adv Jazz Improvisation Techs The Music of Ghana
001 W 6-8 D. Santoro Not offered Summer 2008
Rating: 6
See Course Description PSW-342
The Music of Guinea
PSIJ-P426 001 T 11-1 M. Camara
Jazz Rhythm Sect Accomp Skills
Not offered Summer 2008 PSW-361
Brazilian Musical Styles
PSIM-221 001 M 4-6 F. Brandao
Improv Techs for Blues Player
Not offered Summer 2008
Professional Writing
PSIM-231
Rock Improvisation Techs 1 PW-110
Not offered Summer 2008 Writing Skills
1A T,TH 2-3 K. Bleau
PSIM-335 1B T,TH 2-3 S. Clark
Improv: Jazz/Rock/Fusion Idiom 1C T,TH 2-3 W. Silvio
Not offered Summer 2008 1D T,TH 2-3 J. Stinnett
1E T,TH 2-3 J. Moorhead
PSME-311 1F T,TH 2-3 G. McArthur-Browne
Recital Class: Mus Ed Majors 2A T,TH 3-4 K. Bleau
001 M 10-11 P. Cokkinias 2B T,TH 3-4 G. McArthur-Browne
2C T,TH 3-4 W. Silvio
PSPR-381 2D T,TH 3-4 J. Stinnett
2E T,TH 3-4 J. Moorhead
Commercial Band Workshop
Not offered Summer 2008
PW-161
PST-471 Tech Tools for the Writer
001 W 11-1 R. Grudzinski
Stage Perf Wkshp 1 - Rock & Pop
002 W 2-4 R. Grudzinski
Not offered Summer 2008
003 TH 2-4 D. Moretti
004 T 11-1 D. Moretti
PSVC-231
Voice Class Instrumentalists 1
PW-361
Not offered Summer 2008
Multimedia for the Writer
Not offered Summer 2008
PSVC-232
Voice Class Instrumentalists 2
PW-365
Not offered Summer 2008
Orchestral Mock-Up Production
Not offered Summer 2008
PSVC-325
Vocal Improv in Jazz Idiom
Not offered Summer 2008
203
Schedule of Courses - Summer
Summer/Fall 2008
Songwriting SW-371
Singer/Songwriter Workshop
SW-111 001 T 2-4 J. Aldrich
Essentials of Songwriting
001 T 10-11 J. Aldrich SW-495
Songwriting Internship
SW-211 001 J. Perricone
Songwriting 1 See the Office of Experiential Learning if interested
001 W 11-1 J. Stevens
002 T 11-1 J. Kachulis SW-498
Directed Study in Songwriting
SW-212 001 - J. Aldrich
Songwriting 2 002 - J. Aldrich
001 W 2-4 J. Stevens 003 - H. Gaffney
NOTE: (all sections) See instructor in first week
to establish meeting times
SW-221
Lyric Writing 1
001 TH 6:30-8:30 H. Gaffney
002 F 11-1 H. Gaffney
SW-222
Lyric Writing 2
001 F 9-11 H. Gaffney
SW-231
Arranging for Songwriters
001 T 2-4 M. Farquharson
SW-241
Survey of Popular Song Styles
001 TH 2-4 H. Gaffney
SW-311
Advanced Songwriting
001 M 2-4 J. Perricone
SW-321
Advanced Lyric Writing
001 TH 11-1 H. Gaffney
SW-325
The Music of John Lennon
001 W 4-6 J. Stevens
SW-335
The Business of Songwriting
001 TH 2-4 J. Aldrich
SW-345
Musical Theater Writing
Not offered Summer 2008
SW-361
Song Demo Production Technique
001 TH 4-6 H. Gaffney
SW-365
Song Demo in the Rec Studio
001 TH 11-1 D. Cecere
204
Summer/Fall 2008
205
Schedule of Courses - Fall
Summer/Fall 2008
207
Schedule of Courses - Fall
Summer/Fall 2008
Counterpoint CP-213
Advanced Counterpoint
CP-211 001 TH 4-6 C. Witmyer
Tonal Counterpoint 1 002 TH 2-4 T. McGah
001 T 6-8 M. Weinstein 003 F 2-4 D. McDonnell
002 TH 9-11 M. McAllister 004 T 6-8 Y. Gubanov
003 T 9-11 J. Holland 005 T 11-1 R. Applin
004 TH 11-1 S. Fessler
005 M 4-6 J. Holland CP-361
006 M 11-1 F. Trester Jazz Counterpoint 1
007 W 4-6 Y. Gubanov 001 T 9-11 R. Lowell
008 T 9-11 T. LeVines 002 W 2-4 C. Free
009 T 6-8 R. Castillo 003 F 2-4 C. Free
010 M 9-11 I. Lisak
011 W 4-6 D. Hurst CP-362
012 W 4-6 E. Lucas Jazz Counterpoint 2
013 M 2-4 E. Lucas 001 T 11-1 C. Free
014 TH 4-6 D. Hurst 002 T 9-11 K. Pullig
015 TH 4-6 M. McAllister
016 M 2-4 F. Trester
017 M 2-4 Y. Gubanov Contemporary Writing and
018 F 9-11 D. McDonnell Production
019 TH 9-11 J. Smith
020 T 11-1 A. Qualliotine
CW-141
021 T 2-4 L. Bell
Hip-Hop Writing & Production 1
022 T 11-1 A. Kalogeras
001 W 6-8 D. Scott
023 M 2-4 A. Paraskevas
002 T 6-8 D. Scott
024 TH 11-1 A. Friedman
025 M 2-4 M. Epstein
026 TH 2-4 A. Cohen CW-151
027 TH 4-6 L. Bell Survey of Pop/Rock Styles
028 M 4-6 R. Applin 001 M 2-4 J. Kocandrle
029 T 9-11 D. McDonnell
030 TH 11-1 R. Castillo CW-171
Groove Writing
CP-212 001 TH 4-6 R. Doezema
Tonal Two-Part Canon & Invent 002 T 2-4 D. Moretti
001 M 11-1 A. Qualliotine 003 M 4-6 D. Moretti
002 TH 11-1 A. Cohen 004 TH 11-1 G. Wardson
003 M 9-11 D. McDonnell 005 F 2-4 J. Perry
004 T 4-6 T. LeVines 006 T 11-1 J. Perry
005 M 4-6 V. Kulenovic 007 F 11-1 G. Gates
006 M 4-6 A. Welwood 008 M 11-1 G. Gates
007 M 2-4 A. Welwood
008 W 4-6 F. Trester CW-211
009 TH 4-6 R. Castillo Writing for Small Ensemble
010 TH 9-11 R. Applin 001 M 9-11 G. Gates
011 T 4-6 L. Bell 002 T 9-11 G. Gates
012 T 11-1 C. Witmyer 003 T 9-11 A. Yeshaya
013 M 4-6 A. Paraskevas 004 T 11-1 A. Yeshaya
014 TH 2-4 C. Witmyer
015 W 2-4 A. Qualliotine CW-216
016 M 4-6 A. Friedman Vocal Writing
017 M 4-6 B. Denisch 001 T 11-1 S. Broadley-Martin
018 M 6-8 V. Kulenovic 002 F 2-4 W. Elliott
019 T 9-11 F. Trester 003 M 4-6 J. Smith
020 TH 11-1 A. List 004 TH 11-1 S. Broadley-Martin
021 T 2-4 I. Lisak
022 TH 2-4 S. Fessler CW-P217
023 M 4-6 Y. Gubanov Writing in Folkloric Ltin Styl
024 T 2-4 E. Lucas Not offered Fall 2008
025 M 2-4 I. Lisak
026 W 6-8 D. Hurst
208 027 T 4-6 Y. Gubanov
Summer/Fall 2008
209
Schedule of Courses - Fall
Summer/Fall 2008
CW-498 ENLB-271
Directed Study in Cont Writing Contemporary Wind Orchestra
001 F 4-6 M. Farquharson 001 W 2-4 P. Cokkinias
002 F 4-6 W. Elliott Rating: 5
003 F 4-6 M. Nicholl See Course Description
004 F 4-6 G. Gates
005 F 4-6 A. Yeshaya ENLB-P300
006 F 4-6 TBA Berklee Contemp Symphony Orch
007 F 4-6 TBA 001 F 10-12 M. Howe
NOTE: (all sections) See instructor in first week Rating: See Course Description
to establish meeting times
ENLB-321
CW-499 Big Band Ensemble
CWP Portfolio Completion 001 M 4-6 L. Cecco
Not offered Fall 2008 Rating: 3
Jazz
Ensemble ENLB-325
Back Bay Brass
ENBR-321 Not offered Fall 2008
Brass Quintet
001 T 4-6 C. Lewis ENLB-328
002 M 4-6 C. Lewis Berklee Salsa Ensemble
001 M 2-4 J. Hernandez
ENGT-111 Rating: By Audition
Guitar Performance Ensemble Latin: Salsa
001 W 4-6 C. Shumate
RnB Masters Guitar Band ENLB-371
Recording Studio Ensemble
002 TH 4-6 K. Belz 001 TH 2-4 J. Hernandez
Blues Masters Guitar Band Rating: 5
Mixed: See Course Description
003 W 9-11 S. DiFusco
Mike Stern ENLB-421
Rainbow Big Band Ensemble
004 M 6-8 C. Buono
001 M 2-4 P. Wilson
Contemporary Rock Masters Guitar Band
Rating: Teacher Authorization
Jazz
005 F 11-1 N. Zocher
Scofield Guitar Band
ENLB-431
006 W 11-1 A. Gaboury Advanced Rep Big Band Ens
Pat Metheny Masters Guitar Band Not offered Fall 2008
ENLB-246 ENLB-461
World Music Ensemble The Avant-Garde Ensemble
Not offered Fall 2008 001 T 11-1 G. Garzone
Rating: 7
ENLB-251 Jazz: Avant Garde
The African-Pop Ensemble
001 W 11-1 R. Reid ENLB-471
Rating: 4 Berklee Concert Jazz Orchestra
World: Afro-Pop 001 T,TH 2-4 G. Hopkins
Rating: Teacher Authorization
Jazz
210
Summer/Fall 2008
211
Schedule of Courses - Fall
Summer/Fall 2008
212
Summer/Fall 2008
213
Schedule of Courses - Fall
Summer/Fall 2008
214
Summer/Fall 2008
Summer/Fall 2008
Summer/Fall 2008
Summer/Fall 2008
221
Schedule of Courses - Fall
Summer/Fall 2008
ET-441 FS-375
Popular Song Transcription Film Music Editing 1
001 M 2-4 J. Potter 001 M 11-1 E. Reasoner
002 M 2-4 E. Reasoner
ET-451 003 T 2-4 E. Reasoner
Jazz Solo Transcription 004 W 11-1 E. Reasoner
001 M 11-1 D. Lowery 005 W 4-6 A. Bjorck
ET-P461 FS-391
Advanced Modal Ear Training Survey of Film Tech & Proc
001 TH 2-4 S. Prosser Not offered Fall 2008
FS-433
Film Scoring Stylistic Adapt. in Flm Scring
001 W 4-6 R. Davis
FS-131
History of Film Music FS-441
001 F 11-1 J. Freeman Scoring Apps for Film & Video
001 T 2-4 R. Davis
FS-221 002 W 2-4 R. Davis
Introduction to Film Scoring
001 M 2-4 J. Smith FS-461
002 T 11-1 E. Reasoner Ad Comp Apps for Flm/Video Scr
003 W 2-4 E. Reasoner 001 W 9-11 J. Klein
004 TH 2-4 R. Davis 002 TH 11-1 J. Klein
FS-241 FS-468
Analysis of Dramatic Scoring Contemp Tech in Film Scoring
001 TH 11-1 J. Smith 001 W 11-1 S. Mirowitz
002 T 2-4 R. Davis 002 TH 2-4 S. Mirowitz
003 F 11-1 J. Klein
FS-475
FS-251 Advanced Film Music Editing
The Language of Film 001 M 4-6 E. Reasoner
001 T 4-6,TH 10-11 J. Coroniti
FS-487
FS-311 Directed Study in Film Scoring
Film Music Composition Seminar 001 T 2-4,W 6-8 D. Wilkins
001 M 4-5 D. Wilkins/D. Carlin 002 W 11-1,W 6-8 J. Smith
003 W 2-4,W 6-8 R. Mendelson
FS-340 004 W 4-6,W 6-8 R. Mendelson
Dramatic Orch for Film 005 W 4-6,W 6-8 S. Mirowitz
001 M 11-1 J. Smith
002 T 2-4 W. Elliott FS-488
Dir Study in Film Scoring
001 W 2-4,W 6-8 S. Mirowitz
002 F 9-11,W 6-8 S. Mirowitz 223
Schedule of Courses - Fall
Summer/Fall 2008
HR-241 ILBR-122
Harmony in Brazilian Song Brass Improvisation Lab 2
001 F 2-4 J. Mulholland 001 TH 12-1 C. Fawson
HR-251 ILBR-211
Blues: Analysis & Application Brass Lab - Reading 3
001 T 6-8 B. Katz 001 T 2-3 C. Lewis
002 M 2-3 R. Amy
HR-P261
The Music of the Beatles ILBR-212
001 W 11-1 S. Clark Advanced Brass Reading Lab
001 M 1-2 C. Lewis
HR-325 002 M 3-4 C. Fawson
003 TH 5-6 C. Fawson
Reharmonization Techniques
004 T 1-2 R. Amy
001 T,TH 11-12 R. Felts
002 T,TH 12-1 M. Scott
003 W,F 11-12 D. Johnson ILBR-221
004 T,TH 2-3 D. Smith Brass Improvisation Lab 3
005 T,TH 11-12 C. Cassara 001 W 10-11 J. Stout
002 T 3-4 J. Stout
HR-335
Advanced Harmonic Concepts ILBR-222
001 M 4-6 D. Johnson Advanced Brass Improvisation
002 TH 2-4 S. Rochinski 001 M 12-1 J. Stout
003 F 1-3 D. Smith 002 M 11-12 C. Fawson
003 TH 11-12 C. Fawson
HR-345
Advanced Modal Harmony ILBR-335
001 TH 2-4 D. Katz Exploring Tech - Brass Players
002 TH 9-11 S. Rochinski 001 W 4-5 T. Plsek
003 T 11-1 R. Kress
ILBR-P336
Singing for Brass Players
001 M 10-11 C. Fawson
225
Schedule of Courses - Fall
Summer/Fall 2008
ILBS-215 ILBS-262
Bass Lines From Motwn/Atlantic Brazilian Bass Lab
001 F 11-12 D. Morris 001 W 5-6 O. Stagnaro
002 F 12-1 D. Morris
ILBS-P263
ILBS-221 Bass Lab - Playing in Odd Meters
Bass Lab - Lines 2 001 T 1-2 J. Funkhouser
001 M 11-12 F. Huergo
002 T 12-1 J. Santerre
226
Summer/Fall 2008
ILBS-274 ILGT-115
Bass Lab - Singing and Playing Guit Perf Skills/Non Guitarist
001 F 10-11 D. Clark 001 T 11-12 G. Maness
002 M 10-11 M. French
ILBS-281 003 T 12-1 G. Maness
Arco Workshop 004 M 11-12 M. French
001 T 10-11 G. Mooter 005 M 2-3 J. Miller
006 M 3-4 M. French
ILBS-284 007 T 1-2 K. Taft
Orchestral Rep Wkshp Dbl Bass 008 W 3-4 K. Taft
001 T 12-1 G. Mooter 009 M 9-10 M. French
ILBS-321 ILGT-119
Reading Contemp Bass Rhythms Guitar Styles Skills Labs
001 M 10-11 G. Mooter 001 M,W 12-1 C. Hlady
Jazz Improv Techniques for the
ILBS-324 ContemporaryGuitar
Advanced Rhythmic Language
002 M 4-6 J. Stump
001 F 11-12 D. Clark
Style: Heavy Metal
ILBS-327 003 M 2-4 B. Sher
John Coltrane Bass Lines Style: Brazilian
001 W 11-12 B. Gertz
004 W 4-6 J. Wheatley
ILBS-331 Style: Jazz - Mainstream
Arco Bass in the Jazz Idiom
Not offered Fall 2008 005 TH 4-6 J. Thomas
Style: Coltrane Jazz
ILBS-334
Bass Guit MIDI Controller Lab 006 M 9-11 C. Shumate
001 F 12-1 D. Clark Style: Blues
Summer/Fall 2008
ILGT-211 ILGT-237
Ensemble Prep Lab - Guitar Hard Rock/Metal Lab
Not offered Fall 2008 001 M 12-2 J. Stump
ILGT-213 ILGT-238
Guit Comp/Soloing Odd Meters The Music of Burrell & Green
001 W 12-1 B. Saunders 001 T 11-1 A. Fewell
ILGT-215 ILGT-239
Bottleneck Blues Lab Imp Sty of Bernstn & Rosenwnkl
001 TH 2-3 D. Bowden 001 T 11-1 B. Saunders
ILGT-217 ILGT-241
Creative Apps for Proficiency Jazz-Rock Improv for Guitar
001 TH 12-2 J. Kasper 001 M 10-11 J. Kelly
002 W 10-11 J. Kelly
ILGT-221
Standard Tunes for Guitarists ILGT-243
001 T 2-3 A. Fewell Jazz/Rock Rhythm Guit Playing
001 M 11-12 J. Kelly
ILGT-223
Guitarmony 1 ILGT-245
001 F 3-4 B. Willmott Rock Guitar Lab
002 TH 3-4 J. Marasco 001 TH 2-3 M. Ihde
228 003 W 11-12 B. Saunders
Summer/Fall 2008
ILGT-249 ILGT-319
Slide Guitar Lab Guitar Styles of the Beatles
001 M 12-1 D. Bowden 001 T 3-4 L. Passarelli
002 TH 5-6 D. Bowden
003 TH 2-3 D. Tronzo ILGT-321
Adv Standards for Guitar
ILGT-251 Not offered Fall 2008
Advanced Blues/Rock Guit Techs
001 T 12-2 J. Kasper ILGT-323
Guitarmony 2
ILGT-253 001 M 1-2 B. Willmott
Groove Concept for Funk Guitar
001 TH 11-1 J. Peterson ILGT-325
002 TH 9-11 J. Peterson Walking Bass Lines/Chords
001 T 10-11 R. Harrigan
ILGT-261 002 T 1-2 R. Harrigan
Gtr Lab-Developmental Arpeggio
001 W 2-3 K. Taft ILGT-327
002 TH 10-11 K. Taft Advanced Chord Soloing
Not offered Fall 2008
ILGT-263
Reading Cont Guitar Rhythms ILGT-329
Not offered Fall 2008 The Complete Rhythm Guitarist
Not offered Fall 2008
ILGT-265
Guitar Lab - Perf Tech & Comp ILGT-331
001 M 1-2 J. Pezanelli Guitar Synthesizer Lab
001 TH 11-12 D. Bowden
ILGT-267 002 T 2-3 M. Ihde
Guitar Approaches/Vocal Accomp
001 TH 2-3 J. Baboian ILGT-333
Electronic Effects for Guitar
ILGT-269 001 T 3-4 K. Taft
Polyrhythms for Guitar 1 002 T 5-6 N. Zocher
001 F 2-3 B. Willmott 003 T 4-5 C. Buono
002 M 11-12 B. Willmott 004 W 10-11 K. Taft
005 W 12-1 R. Roos
ILGT-271 006 M 1-2 C. Buono
Linear Approach Concepts 007 M 12-1 C. Buono
001 W 3-4 J. Rogers
002 F 11-12 J. Rogers ILGT-340
The George Benson Lab
ILGT-275 001 M 9-11 R. Hart
Recording Tech for Perf Guitar
001 W 2-4 R. Roos ILGT-341
002 W 4-6 R. Roos Jazz-Rock Improv for Guitar 2
Not offered Fall 2008
ILGT-280
Classical Guitar Rep and Perf ILGT-342
001 T 11-1 A. Paraskevas The George Van Eps Lab
002 W 11-1 A. Aronson Zocher Not offered Fall 2008
ILGT-281 ILGT-343
Classical Guitar Chamber Mus 1 Jeff Beck Lab
001 TH 11-1 D. Newsam 001 TH 4-5 J. Kasper
229
Schedule of Courses - Fall
Summer/Fall 2008
ILGT-344 ILGT-367
The Jim Hall Lab Building Guit Tech Thru Triads
001 M 2-4 A. Fewell 001 W 2-3 J. Rogers
002 TH 2-3 J. Rogers
ILGT-345
Advanced Rock Guit Perf Techs ILGT-369
001 TH 2-4 J. Finn Polyrhythms for Guitar 2
001 M 12-1 B. Willmott
ILGT-P346
The Music of the Allman Bros ILGT-371
001 M 11-1 R. Stone Professional Guitar Styles
Not offered Fall 2008
ILGT-347
Jimi Hendrix Lab ILGT-373
001 TH 10-12 J. Kasper Linear Style of Pat Martino
001 T 3-4 A. Fewell
ILGT-349 002 M 11-12 A. Fewell
Solo Jazz Guitar
001 M 12-1 J. Pezanelli ILGT-375
002 W 12-1 J. Pezanelli Wes Montgomery Lab
001 M 11-1 R. Hart
ILGT-351
Motivic Basis/Jazz Guitar V ILGT-381
Not offered Fall 2008 Classical Guitar Chamber Mus 2
001 F 11-1 D. Newsam
ILGT-360
Adv Brazilian Guitar Styles ILGT-385
001 T 12-2 B. Sher Show/Theater Guitar Lab
001 TH 10-11 S. Johnson
ILGT-363
Advanced Reading ILGT-386
001 T 9-10 R. Harrigan Cntmp Sight-Read Skills Guitr
001 F 10-12 M. White
ILGT-365
Advanced Guitar Perf Lab ILPC-281
001 T 10-12 M. Gilmore Introduction to Timpani
Advanced Rhythmic Concepts 001 F 12-1 R. Flanagan
231
Schedule of Courses - Fall
Summer/Fall 2008
ILPD-264 ILPD-361
Funk Drum Styles Understanding Grooves
001 T 12-1 D. Hadden 001 M 12-1 R. Tamagni
002 T 5-6 R. Tamagni
ILPD-265
World Drum Styles ILPD-363
001 W 11-12 D. Hadden World Beat Pop Lab
001 TH 2-3 S. Wilkes
ILPD-271
Lead Sheet Interpretation ILPD-367
001 T 11-12 D. Hadden Rhy Concept:broken Eighth Note
001 M 2-3 D. Hadden
ILPD-317
Advanced Brush Lab ILPD-369
001 T 9-10 J. Hazilla Double Bass Drum Studies
002 TH 3-4 Y. Israel 001 TH 12-1 D. DiCenso
002 M 3-4 D. DiCenso
ILPD-331 003 W 12-1 R. Morgenstein
Contemporary Electronic Perc 004 M 2-3 M. Mangini
001 T 11-12 S. Wilkes 005 T 2-3 M. Mangini
002 T 12-1 S. Wilkes
ILPD-373
ILPD-332 Afro-Cuban/Braz Rhytms Drumset
Techno Drumset Performance 001 F 11-1 J. Ramsay
001 T 3-4 S. Wilkes
ILPD-381
ILPD-333 Singing & Drumming Coord Lab
Advanced Drum Chart Reading 001 M 12-1 K. Dennard
001 T 2-3 T. Carrington
002 W 3-4 C. Scheuerell ILPD-419
Rudimental Applications Drmset
ILPD-335 001 T 1-2 J. Hazilla
Polyrhythms 2
001 M 11-12 K. Dennard ILPD-424
Caribbean Rhythms for Drum Set
ILPD-337 001 M 4-5 M. Walker
Linear Time Feels and Phrasing
001 T 3-4 D. Hadden ILPD-431
Solo Construction for Drumset
ILPD-339 001 M 10-11 R. Kaufman
Fusion Repertoire Devel & Appl
001 M 5-6 K. Plainfield ILPD-433
Advanced Jazz Drumming
ILPD-341 001 W 4-5 Y. Israel
Contemporary Electronic Perc 2
001 T 10-11 S. Wilkes ILPD-439
Advanced Fusion Drumming
ILPD-351 001 M 6-7 K. Plainfield
Alt Setups for Drumset/Perc
001 TH 2-4 J. Haddad ILPH-293
Afro-Cuban/Non-Percussionists
ILPD-P353 001 TH 6-8 V. Davis
Composing for Drummers 002 M 4-6 M. Castrillo
Not offered Fall 2008 003 T 6-8 V. Davis
004 W 2-4 M. Castrillo
ILPD-355 005 TH 9-11 M. Castrillo
African Rhythms for Drumset 006 T 2-4 E. Diaz
001 W 11-12 J. Galeota 007 W 9-11 M. Ringquist
008 F 9-11 M. Ringquist
ILPD-357
South American Rhythms Drumset
232 001 M 2-3 M. Walker
Summer/Fall 2008
ILPH-351 ILPM-221
Drumming Styles of Ghana Mallet Lab 2
001 W 4-6 J. Galeota 001 T 2-3 E. Saindon
002 TH 2-4 J. Galeota
ILPM-231
ILPH-353 Mallet Keyboard Musicianship
Native American Drumming Lab 001 W 2-4 D. Samuels
001 TH 3-4 S. Wilkes
ILPM-341
ILPH-354 Marimba Transcription & Rep
Bata Rhythms: Afro Cuban Drmng 001 F 4-6 N. Zeltsman
001 TH 4-6 M. Ringquist
ILPN-111
ILPH-357 Keyboard Lab - Reading 1
Afro-Cuban Rhythms and Perc 001 T 5-6 B. Katz
001 TH 11-1 M. Castrillo 002 T 1-2 G. Heck
002 W 11-1 M. Castrillo 003 F 11-12 S. Davis
003 M 11-1 E. Diaz 004 TH 1-2 J. Mulroy
ILPH-359 ILPN-112
Brazilian Rhythms & Percussion Keyboard Lab - Reading 2
001 T 2-4 M. Walker 001 W 12-1 J. Mulroy
002 W 11-1 M. Ringquist 002 F 10-11 M. Rossi
003 F 11-1 M. Ringquist 003 M 3-4 J. Ramsay
004 TH 4-6 J. Galeota 004 TH 3-4 B. Thomas
005 T 11-1 M. Walker 005 T 9-10 S. Davis
006 F 1-2 R. Christopherson
ILPH-369
World Percussion 2 ILPN-113
001 W 6-8 J. Haddad Keyboard Lab - Reading 3
001 TH 12-1 G. Heck
ILPH-371 002 TH 10-11 R. Christopherson
Adv Afro-Cuban Rhythms/Perc 003 M 11-12 J. Arcaro
001 TH 2-4 M. Castrillo 004 M 12-1 F. Tanksley
002 M 2-4 M. Castrillo 005 F 11-12 R. Christopherson
006 T 4-5 D. Johnson
ILPH-375 007 M 2-3 J. Mulroy
Practical App Afro/Latin Rhth
001 W 6-8 V. Davis ILPN-121
Keyboard Lab - Comping 1
ILPH-391 001 F 3-4 R. Christopherson
Steelpan Techs/Percussionists 002 TH 9-10 S. Davis
001 W 9-11 R. Reid 003 TH 9-10 J. Rosen
004 F 10-11 R. Christopherson
ILPH-429
Contemporary Tech for Pop Perc ILPN-122
001 F 4-5 R. Monzon Keyboard Lab - Comping 2
001 M 10-11 G. Heck
ILPH-451 002 TH 10-11 G. Heck
003 M 11-12 J. Mulroy
Drumming Styles of Guinea
004 W 9-10 B. Katz
Not offered Fall 2008
005 F 11-12 M. Rossi
006 M 3-4 C. Staaf
ILPH-459 007 TH 10-11 J. Rosen
Brazilian Rhythms/Percussion 2
001 TH 2-4 M. Ringquist
233
Schedule of Courses - Fall
Summer/Fall 2008
ILPN-123 ILPN-245
Keyboard Lab - Comping 3 Adv Stylistic Comp-World Music
001 TH 4-5 B. Thomas Not offered Fall 2008
002 TH 12-1 R. Christopherson
003 F 12-1 M. Rossi ILPN-246
004 W 6-7 J. Ramsay Afro-Cuban Piano Montunos
005 M 10-11 J. Arcaro 001 M 11-1 R. Cline
006 W 12-1 D. Johnson
007 M 4-5 J. Ramsay ILPN-P247
008 T 5-6 D. Johnson Improv in Afro-Cuban Piano
009 TH 2-3 J. Rosen 001 W 11-12 R. Cline
ILPN-213 ILPN-251
Keyboard Lab - Chart Reading Keyboard Lab - Repertoire
001 M 12-1 J. Arcaro 001 T 1-2 J. Arcaro
002 TH 10-11 N. Olmstead
ILPN-214
Keyboard Lab - Adv Reading ILPN-253
001 M 1-2 N. Olmstead Keyboard Lab - Improvisation
001 T 12-1 R. Hoffmann
ILPN-224 002 TH 11-12 R. Christopherson
Keyboard Lab - Adv Comping 003 F 12-1 S. Davis
001 M 1-2 J. Mulroy 004 T 9-10 C. Staaf
002 M 1-2 J. Arcaro
003 F 12-1 R. Christopherson ILPN-261
Synth Techniques for Live Perf
ILPN-227 001 T 2-4 J. Ramsay
Accomp Tech for Singer/Pianist
001 M 9-10 G. Heck ILPN-P265
002 TH 11-12 G. Heck Tech of Vocal Accompanying
Not offered Fall 2008
ILPN-229
Keybrd Lab-Improv Enter Stds ILPN-266
001 M 4-5 F. Tanksley Gospel Keyboard Techniques
001 TH 4-6 D. Montgomery III
ILPN-235 002 T 2-4 D. Montgomery III
Upper Structure Triad Apps
001 W 4-5 J. Arcaro ILPN-271
Jazz Harmonic Techs for Pno 1
ILPN-P237 001 M 10-11 J. Covell
Adv Rhythmic Lab for Keyboard 002 M 12-1 J. Covell
001 M 12-1 L. Blanco 003 T 11-12 J. Covell
004 T 4-5 J. Covell
ILPN-241 005 T 12-1 J. Covell
Adv Stylistic Comping - Pop
001 T 11-12 R. Hoffmann ILPN-272
002 T 1-2 D. Limina Jazz Harmonic Tech for Pno 2
001 M 11-12 J. Covell
ILPN-242
Adv Stylistic Comp-Funk/Fusion ILPN-273
001 T 1-2 B. Thomas Jazz Harmonic Applications
001 T 10-11 J. Covell
ILPN-243
Adv Stylistic Comping - Latin ILPN-P274
001 W 11-12 M. Rossi Jazz Harm Appl Piano, Lvl 2
002 T 2-3 M. Jenson 001 T 3-4 J. Covell
ILPN-244 ILPN-P279
Adv Stylistic Comp -Roots/Rock Accomp Tech for Piano/Vocalst
001 T 3-4 D. Limina 001 TH 2-4 G. Wardson
002 TH 4-6 G. Wardson
234
Summer/Fall 2008
ILPN-353 ILST-132
Piano Style of Thelonious Monk Improv String Perf Lab 2
001 T 2-4 F. Carlberg 001 TH 10-11 M. Rabson
ILPN-365 ILST-140
Rehearsal Techs/Pianist/Leader Grooves/Horn Lines for String
001 W 6:30-8:30 A. Mallet 001 T 1-2 M. Rabson
ILPN-371 ILST-141
New Music Improvisation Free Improv for Strings
001 TH 4-6 J. Rosen 001 T 11-12 E. Friesen
ILPN-381 ILST-210
Classical Repertory/Two Pianos Cello Reading Lab 2
001 F 2-3 J. Elowsky-Fox Not offered Fall 2008
ILPN-385 ILST-211
Classical Accompanying Violin/Viola Reading Lab 2
001 F 3-4 J. Elowsky-Fox 001 TH 12-1 M. Howe
ILPN-461 ILST-221
Jazz Piano Master Class String Performance Lab
001 W 4-6 J. Brackeen 001 F 12-2 S. Kott
002 T 4-6 F. Carlberg 002 W 12-2 J. McGann
003 M 2-4 F. Tanksley
ILST-240
ILRE-375 Sound Reinforcement Techs Strg
Recital Workshop: Perf Majors 001 TH 12-1 M. Rabson
001 TH 5-6 K. Cervenka
002 M 10-11 L. Baione ILST-250
003 TH 5-6 S. Tarulli Recording Techs String Players
004 TH 12-1 J. Repucci 001 TH 2-4 M. Rabson
005 TH 4-5 T. Okoshi
006 W 10-11 J. Beard ILST-271
007 F 10-11 M. Bermejo-Greenspan World Fiddle Group
008 M 3-4 R. Amy 001 TH 11-12 M. Rabson
009 T 10-11 S. Johnson
010 M 1-2 R. Kaufman ILST-290
Rock Violin Lab
ILST-110 001 W 4-5 R. Thomas
Cello Reading Lab 1
001 M 4-5 E. Friesen
235
Schedule of Courses - Fall
Summer/Fall 2008
ILVC-110 ILVC-123
Elements of Vocal Technique Styles Lab-R&B
001 F 9-11 A. Peckham 001 W 5-6 R. Reeder
002 T 1-3 A. Peckham 002 TH 10-11 J. Blake
003 T 10-12 A. Peckham 003 W 12-1 L. Watson
004 F 11-1 D. Pfeiffer 004 W 11-12 L. Watson
005 W 2-4 S. Brown 005 F 3-4 TBA
006 T 9-11 S. Brown 006 T 5-6 C. Leonhart-Escoffery
007 TH 9-11 D. Pfeiffer 007 TH 5-6 J. Ramsey
008 TH 11-1 K. Wright 009 T 10-11 J. Jenkins
009 M 9-11 D. Pfeiffer 010 TH 9-10 J. Blake
011 F 3-4 J. Kyles
ILVC-111 012 TH 6-7 R. Reeder
Vocal Sight Reading Techs 1
001 F 10-11 A. Dolan ILVC-131
002 M 1-2 D. Scott American Diction for Singers
003 M 4-5 A. Capozzoli 001 W 2-4 TBA
004 TH 4-5 K. Wright
005 M 2-3 J. Barnett ILVC-141
006 TH 11-12 D. Scott Beginning Improv for Singer
007 F 9-10 A. Capozzoli 001 F 1-2 J. Ramsey
008 M 1-2 J. Barnett 002 T 4-5 R. Reeder
009 W 9-10 A. Capozzoli 003 TH 10-11 L. Thorson
004 T 2-3 J. Ramsey
ILVC-115 005 T 12-1 G. Leathers
Musical Independence/Singers 006 W 2-3 G. Leathers
001 F 9-10 S. Strickland 007 T 12-1 D. Richardson
002 W 10-11 S. Strickland 008 M 6-7 C. Leonhart-Escoffery
ILVC-121 ILVC-151
Styles Lab-Pop/Rock/Country Acting Skills for the Vocalist
001 T 4-5 D. Stewart 001 TH 2-3 R. Perricone
002 T 12-1 K. Carr 002 T 3-4 R. Perricone
003 W 12-1 K. Carr
004 F 12-1 D. Stewart ILVC-P161
005 F 1-2 D. Stewart The Prof Vocal Audtion Wrkshp
006 F 3-4 D. Stewart 001 TH 11-1 R. Perricone
007 F 2-3 D. Stewart 002 T 4-6 R. Perricone
008 T 9-10 J. Jenkins
009 T 5-6 D. Stewart ILVC-210
010 F 4-5 J. Ramsey Elements Vocal Tech/Non Voice
011 W 9-10 P. Pampinella 001 F 1-2 D. Pfeiffer
012 TH 5-6 J. Gagne 002 W 4-5 S. Brown
013 W 4-5 D. Stewart 003 M 10-11 A. Peckham
014 T 3-4 K. Carr 004 M 4-5 D. Pfeiffer
015 M 4-5 J. Pendarvis 005 M 11-12 A. Peckham
006 F 11-12 S. Brown
ILVC-122 007 M 2-3 C. Sorrento
Styles Lab-Jazz/Blues 008 M 3-4 C. Sorrento
001 TH 3-4 M. Scott 009 TH 10-11 K. Wright
002 M 11-12 L. Thorson 010 M 1-2 C. Sorrento
003 M 10-11 L. Thorson
004 M 3-4 M. Scott ILVC-211
005 TH 2-3 M. Scott Vocal Sight Reading Techs 2
006 T 9-10 D. Richardson 001 T 2-3 J. Barnett
007 M 12-1 L. Thorson 002 W 9-10 S. Strickland
008 T 3-4 L. Thorson 003 F 12-1 S. Brown
009 M 11-12 M. Scott 004 W 10-11 A. Capozzoli
010 M 12-1 M. Scott 005 TH 3-4 K. Wright
011 T 10-11 D. Richardson 006 TH 2-3 K. Wright
012 T 1-2 D. Richardson 007 TH 11-12 C. Karam
013 M 11-12 D. Scott
236
Summer/Fall 2008
237
Schedule of Courses - Fall
Summer/Fall 2008
ILWD-113 ILWD-361
Woodwind Lab - Techniques 3 Saxophone Quartet
001 W,F 12-1 P. Wagner 001 T 4-6 F. Lipsius
002 M,W 4-5 F. Lipsius 002 F 2-4 P. Wagner
003 W,F 9-10 P. Wagner
ILWD-365
ILWD-211 Saxophone Section Playing
Woodwind Improvisation Lab 1 001 W 11-12 P. Wagner
001 M 11-12 F. Lipsius
002 M 3-4 F. Lipsius ILWD-375
003 F 11-12 S. LeClaire Adv Perform Saxophone Quartet
001 W 2-4 S. LeClaire
ILWD-221
Practice Routines for Flute
001 F 11-12 F. Brandao Instrumental Studies
ILWD-241 ISBR-221
Jazz Flute Lab Trumpet Class for Mus Ed
001 TH 4-5 M. Olson 001 T 9-10 D. Ferrara
ILWD-311 ISBR-231
Woodwind Improvisation Lab 2 Trombone Class for Mus Ed
001 TH 2-3 S. LeClaire 001 T 10-11 D. Ferrara
002 TH 3-4 S. LeClaire
003 M 12-1 F. Lipsius ISGT-221
Guitar Class for Mus Ed Majors
ILWD-321 001 TH 11-12 G. Maness
Woodwind Doubling Lab - Flute
001 W 10-11 W. Rolfe ISGT-231
002 TH 11-12 W. Rolfe Guitar Class for Mus Therapy 1
001 TH 12-1 D. Bowden
ILWD-322 002 M 3-4 J. Miller
Woodwind Doubling Lab-Clarinet
001 F 1-2 H. Skoler ISGT-232
Guitar Class for Mus Therapy 2
ILWD-323 001 W 11-12 K. Khare
Wwnd Doubling Lab-Sax & Theatr
001 M 9-10 P. Cokkinias ISKB-211
Basic Keyboard Techniques 1
ILWD-331 001 T 11-1 J. Mulroy
Doubling/MIDI Wind Controller 002 F 12-2 A. Lissance
001 T 10-11 P. Wagner 003 W 11-1 S. Davis
004 T 2-4 S. Davis
ILWD-341 005 M 11-1 J. Ramsay
Survey of Classical Flute Rep 006 T 11-1 G. Wardson
001 T 4-6 W. Rolfe 007 TH 11-1 J. Mulroy
008 M 4-6 B. Thomas
ILWD-343 009 W 4-6 R. Cline
Flute Choir 010 T 9-11 D. Cecere
001 TH 2-4 W. Rolfe 011 W 9-11 J. Mulroy
012 TH 2-4 D. Johnson
ILWD-345 013 M 9-11 J. Mulroy
014 TH 9-11 D. Cecere
Brazilian and Latin Flute Lab
015 M 4-6 J. Elowsky-Fox
001 F 10-11 F. Brandao
016 T 10-11 M. Olson
Blended in class/on line course
ILWD-351 017 W 12-1 M. Rossi
Clarinet Choir Blended in class/on line course
001 M 1-3 P. Cokkinias 018 W 5-6 J. Ramsay
Blended in class/on line course
ILWD-355
Adv Woodwind Sightreading Lab
001 TH 5-6 S. LeClaire
238
Summer/Fall 2008
Summer/Fall 2008
LCOR-232 LHAN-241
History of Art 2 History of Music of Black Amer
001 T 4-5,W 2-4 H. Tate 001 W 4-6 L. Watson
002 T 2-4,TH 12-1 H. Tate
003 M 2-4,W 4-5 TBA LHAN-245
004 T 10-12,TH 2-3 R. Bresler Composing for Drummers
005 TH 3-4,F 10-12 R. Bresler Not offered Fall 2008
006 M 10-12,TH 9-10 N. Seaman
007 M 4-7 M. Wood LHAN-251
Women in Music
LCOR-233 001 T 1-2,M 9-11 D. Leclaire
Art History Topics
001 W 4-6,TH 11-12 H. Tate LHAN-252
300 Years of American Art
General Music History 2
001 M 12-1,T 9-11 D. Leclaire
002 T 5-6,W 11-1 H. Tate
Celtic Inheritance
LHAN-261
003 T 5-6,TH 4-6 B. Thomas Concert Music After 1945
Great Discoveries 001 T 2-4 A. Kalogeras
LHAN-312
Literature, History and Analysis Style Anal of 20th C Music
001 M 2-4 D. McDonnell
LHAN-211
History of Western Music 1 LHAN-315
001 TH 11-1 R. Applin Trad Forms in the 20th C - 1
002 TH 9-11 T. McGah 001 M 2-4 D. Leclaire
003 T 11-1 A. List
004 F 9-11 D. Leclaire
241
Schedule of Courses - Fall
Summer/Fall 2008
LHAN-331 LHUM-161
The Bop Masters Spanish 1
001 T 4-6 J. Stout 001 M 3-4,W 4-6 D. Bennett
002 M 4-6,W 3-4 D. Bennett
LHAN-335
Analysis of Prog Rock LHUM-171
001 W 2-4 K. Zambello Japanese 1
001 T 9-11,TH 2-3 S. Passaretti
LHAN-342 002 T 11-12,TH 9-11 S. Passaretti
Contemp South American Music
001 M 6:30-8:30 L. Blanco LHUM-211
Effective Communication
LHAN-345 001 W 1-2,TH 4-6 R. Perricone
Mus & Cult Africa, Latin, S Am
001 T 11-1 J. Kachulis LHUM-221
002 T 4-6 L. Blanco Preparing for Mass Comm Exam
001 M,W,F 11-12 S. Blazar
LHAN-351
The Music of Miles Davis LHUM-P231
001 TH 11-1 K. Cervenka Culture, Diversity & Artistry
002 F 11-1 K. Cervenka 001 W 9-11,TH 4-5 H. Lorrey
LHAN-352 LHUM-P285
The Music of Duke Ellington Creative Non-Fiction
001 W 2-4 J. Friedman 001 M,W,F 1-2 D. Kohn
LHAN-353 LHUM-318
The Music of Charles Mingus Studies in Poetry
001 TH 9-11 K. Pullig 001 T 3-4,TH 2-4 M. Heyman
LHAN-371 LHUM-319
The Beethoven String Quartets Fiction and Film
001 W 11-1 J. Bavicchi 001 T 10-12,F 10-11 P. Gardner
LHAN-372 LHUM-325
Bartok’s Chamber Music Theater Workshop
Not offered Fall 2008 001 W 3-6 R. Perricone
LHAN-373 LHUM-331
Early Music of Schoenberg Creative Writing: Poetry
001 T 11-1 T. McGah 001 T 2-4,W 1-2 C. Pattison
LHAN-374 LHUM-333
The Music of J.S. Bach Approaches to Visual Culture
001 M 11-1 R. Applin 001 W 11-12,TH 9-11D. Hatfield
LHAN-375 LHUM-336
The Music of Igor Stravinsky Creative Writing: Drama
001 F 2-4 D. Leclaire 001 T 11-1,TH 2-3 J. Coroniti
LHAN-381 LHUM-341
20th Century Seminal Composers Studies in Irish Culture
001 M 4-6 J. Williams 001 T 2-4,TH 3-4 J. Coroniti
LHAN-385 LHUM-351
Analysis of Sonata Forms Music Criticism & Reviewing
001 T 2-4 A. Qualliotine 001 T 9-10,TH 9-11 F. Bouchard
LHUM-151 LHUM-P353
French 1 French III
001 M,W,F 2-3 A. Squire 001 M,W,F 1-2 A. Squire
242 002 M,W,F 3-4 A. Squire
Summer/Fall 2008
LMSC-209 LSOC-334
Apps of Music Acoustic Contemporary History
001 W 9-11,F 9-10 E. Reuter/A. Carballeira 001 T 11-1,TH 11-12 V. Wallis
002 W 9-11,F 10-11 E. Reuter/A. Carballeira
003 W 9-11,F 11-12 E. Reuter/A. Carballeira LSOC-355
004 W 9-11,F 12-1 E. Reuter/A. Carballeira Urban Sociology
001 M 11-1,W 12-1 S. Reich
LMSC-221
Health and Wellness LSOC-363
001 M 4-5,W 9-11 E. McGrath Gender and Power in History
002 M 2-4,W 2-3 E. McGrath 001 T 2-4,TH 4-5 S. Katz
003 T 11-1,TH 2-3 G. Eastman
LSOC-371
Identity
001 M 2-4,W 2-3 S. Blazar
243
Schedule of Courses - Fall
Summer/Fall 2008
LSOC-411 MB-287
Child & Adolescent Psychology Business Communications
001 T 10-11,TH 11-1 G. Eastman 001 W 2-4 S. Kellar
MB-301
Music Business/Management Business Leadership and Ethics
001 M 9-11 J. Miglio
MB-101 002 F 9-11 S. Kellar
Intro to the Music Business 003 M 11-1 J. Miglio
001 W 11-1 J. Dorenfeld 004 M 4-6 J. Miglio
002 T 6-8 J. Kellogg 005 W 9-11 C. Bargfrede
MB-131 MB-305
Taxation in the Music Business Mus in the Int'l Marketplace
001 M 11-1 M. Dennehy 001 TH 2-4 P. Alhadeff
002 T 6-8 M. Dennehy
MB-331
MB-201 Int'l Industry Ops: Record Co.
Princ of Business Management 001 W 11-1 C. Bargfrede
001 TH 11-1 S. Traughber 002 T 11-1 A. Johnson
002 W 9-11 A. Johnson 003 TH 9-11 C. Bargfrede
003 TH 11-1 L. Fabrizio
004 TH 2-4 S. Traughber MB-335
005 M 9-11 A. Johnson Int'l Industry Ops: Mus Pub
006 TH 9-11 L. Fabrizio 001 M 2-4 E. Blomquist
002 M 11-1 E. Blomquist
MB-211
Legal Aspects: Music Industry MB-337
001 T 4-6 M. Lange Music Products in Commerce
002 TH 4-6 J. Fialkov 001 T 9-11 S. Kellar
003 M 4-6 E. Blomquist
MB-340
MB-P213 Business Startups
Marketing Issues in Music Ind 001 M 4-6 M. Dennehy
Not offered Fall 2008 002 TH 2-4 M. Dennehy
MB-225 MB-341
International Economics/Financ Creative Promo in New Media
001 M 9-11,W 11-12 P. Alhadeff 001 TH 11-1 C. Bargfrede
002 TH 9-11,W 12-1 P. Alhadeff 002 W 4-6 C. Bargfrede
003 T 12-1,F 1-3 K. Block-Schwenk
MB-345
MB-255 Advanced Management Techniques
Computer Apps Music Industry 001 M 2-4 J. Miglio
001 M 6-8 M. Moniz
002 TH 4-6 M. Moniz MB-351
003 TH 2-4 M. Moniz Data Management and Statistics
004 F 2-4 P. Kerensky 001 W 9-11 P. Alhadeff
002 W 4-6 P. Alhadeff
MB-275 003 TH 11-1 P. Alhadeff
Principles Financial Account 004 F 4-6 K. Block-Schwenk
001 T 4-6 J. O'Brien
002 TH 4-6 M. Dennehy MB-355
003 M 2-4 M. Dennehy Advanced Computer Applications
004 T 11-1 J. O'Brien 001 F 12-2 P. Kerensky
005 T 9-11 J. O'Brien
MB-375
Music Intermediaries
001 TH 2-4 J. Dorenfeld
244
Summer/Fall 2008
MB-P389 ME-311
Managing Tech-Driven Businesses Secondary Classroom Methods
001 M 4-6 P. Kerensky 001 T 9-10,TH 9-11 C. Cassara
002 T 2-4,F 2-3 E. Allison
MB-391
Concert Promo/Venue Management ME-321
001 F 11-1 J. Dorenfeld Vocal Methods and Materials
002 F 3-5 J. Dorenfeld 001 W 1-2 W. Ward
002 T 3-4 C. Ryan
MB-401
Principles of Marketing ME-325
001 M 11-1,W 1-2 A. Johnson Orff & Kodaly Approaches
002 M 1-2,F 11-1 S. Kellar 001 W,F 12-1 S. McCormick
003 M 9-11,W 12-1 S. Kellar
004 T 4-6,T 6-7 A. Johnson ME-326
Multimedia for the Educator
MB-405 001 M 11-1 S. Langol
Adv Legal Issues/Contract Neg 002 T 2-4 S. Langol
001 TH 6-8 J. Fialkov 003 F 9-11 S. Langol
002 TH 4-6 J. Kellogg
ME-P327
MB-433 Suzki, Gordon and Dalcroze
Current Events Music Industry 001 M 9-11 E. Allison
001 T 11-1 D. Gorder
ME-341
MB-P435 Teaching/Multicultural Perspec
The New Music Company 001 TH 2-4 F. Lueth
001 T 9-11 C. Bargfrede
ME-352
MB-490 Prep for Music Licensing Exam
Sr. Practicum 1 (Hvy Rttn Rec) 001 T 4-6 N. Steele
001 W 4-5 J. Dorenfeld
ME-381
MB-491 Survey of Instrumental Lit
Sr. Practicum 2 (Hvy Rttn Rec) 001 W 1-2 D. Ferrara
001 W 5-6 J. Dorenfeld
ME-383
MB-P493 Survey of Vocal Musical Lit
Entrepreneurial Practicum 001 W 3-4 W. Ward
001 T 4-6 M. Dennehy
ME-385
MB-495 Methods/Mats Marching Band
Internship in Music Business 001 T 12-1,T 1-2 D. Vose
001 F 4-6 D. Gorder
See the Office of Experiential Learning if interested ME-P387
Instrument Repair
001 TH 12-1 F. Schmidt
Music Education
ME-431
ME-111 Instrumental Methods/Materials
Introduction to Music Ed 001 TH 11-12 P. Cokkinias
001 M 1-2 C. Ryan 002 F 10-11 D. Ferrara
002 W 2-3 D. Ferrara
ME-475
ME-152 Pre-Practicum Apprenticeship
Computer Applications Mus Ed 001 W 4-5 C. Adderley
001 W,F 11-12 D. Lowery
002 M 9-11 S. Langol 245
003 T 4-6 S. Langol
Schedule of Courses - Fall
Summer/Fall 2008
ME-495 MP-247
Practice Teaching/Seminar Business of Music Production
001 TH 4-6 C. Adderley 001 T 9-11 M. Benoff
See the Office of Experiential Learning if interested
MP-309
Tech Characteristics/Audio Sys
Music Production and Engineering 001 F 11-1 TBA
MP-110 MP-310
Introduction to MP&E Sound Reinforcement/Musicians
001 TH 11-1 S. Webber 001 T 11-1 B. Berger
MP-210 MP-318
Princ of Record Production Creative Production Skills
001 M 9-11 A. Edelstein 001 M 11-1 TBA
002 TH 11-1 L. Ungar
MP-211 003 T 2-4 M. Benoff
Audio Technology I 004 T 4-6 S. Webber
001 W 4-6 E. Reuter
002 TH 9-11 A. Rodriguez MP-320
003 TH 4-6 M. Abraham Music Production for Records
004 T 11-1 E. Reuter 001 TH 11-1 M. Benoff
005 TH 2-4 M. Abraham 002 T 4-6 M. Benoff
003 TH 9-11 C. Alexander
MP-212 004 W 4-6 S. Webber
Audio Technology II 005 F 11-1 M. Walsh
001 T 9-11 E. Reuter
002 W 11-1 E. Reuter MP-322
003 T 4-6 A. Rodriguez Sound Reinforcement Systems
004 TH 9-11 M. Abraham 001 T 2-4 B. Berger
MP-214 MP-325
Critical Listening Lab Sound Reinforcement Lab
001 W 9-11 M. Wessel 002 M 2-4 B. Berger
002 W 2-4 L. Ungar
003 W 4-6 R. Mendelson MP-340
004 TH 4-6 TBA Multitrack Recording Techs
005 W 11-1 A. Rodriguez 001 W 2-4 R. Mendelson
002 M 9-11 E. Paduck
MP-215 003 T 2-4 J. Largent
Production Analysis Lab 004 M 2-4 T. Carr
001 F 9-11 TBA
002 T 2-4 S. Webber MP-341
003 M 2-4 A. Edelstein Mix Techniques II
004 W 11-1 A. Carbone 001 F 11-1 C. Alexander
005 W 9-11 A. Carbone 002 M 4-6 T. Carr
003 W 4-6 A. Rodriguez
MP-225 004 TH 11-1 M. Wessel
MIDI System for Music Tech 005 T 2-4 R. Mendelson
001 TH 4-6 W. Moss 006 W 11-1 L. Ungar
002 F 9-11 W. Moss 007 T 11-1 A. Edelstein
003 T 11-1 C. Alexander
004 TH 2-4 W. Moss MP-P351
005 T 9-11 C. Alexander Microphone Theory & Applicants
001 F 11-1 M. Abraham
MP-241
Mix Techniques Lab MP-P363
001 M 11-12,T 11-1 E. Paduck Guerilla Production Techniques
002 M 12-1,T 9-11 E. Paduck 001 T 9-11 A. Edelstein
003 T 4-5,W 2-4 J. Largent
004 T 5-6,TH 11-1 J. Largent
246
Summer/Fall 2008
Summer/Fall 2008
MS-326 MS-391
Multimedia Portfolio Workshop Design/Prog Intractiv Perf Sys
001 TH 11-1 TBA 001 W 11-1 R. Boulanger
002 F 9-11 TBA
003 F 11-1 TBA MS-401
Music Synthesis Adv Seminar
MS-330 001 T 2-4 J. Baust
Indian Music Concpts in Synth 002 M 11-1 M. Bierylo
001 W 11-1 K. Turnbull 003 W 9-11 D. Doms
004 F 2-4 N. Leonard III
MS-P331 005 W 11-1 S. MacLean
Appl of Indian Music Concepts
Not offered Fall 2008 MS-413
Digital Sig Proc: Theory/Comp
MS-P333 001 F 9-11 R. Boulanger
Sound Design for Animation
001 TH 11-1 M. Bierylo MS-414
Dgtl Signl Proc/Prod/Post-Prod
MS-335 001 TH 4-6 J. Baust
Advanced Modular Synthesis
Not offered Fall 2008 MS-426
Live Video with Jitter
MS-337 Not offered Fall 2008
Sound Design/Comp in Csound
001 W 9-11 R. Boulanger MS-431
Physical Modeling/Additive Syn
MS-339 001 W 2-4 J. Moorhead
Synth in Comp/Orch Comm Prod
001 T 4-6 J. Baust MS-461
Computer Music Comp & Analysis
MS-340 001 F 11-1 R. Boulanger
Speech and Vocal Synthesis
001 F 11-1 T. Rhea MS-491
Advanced Projects in Synthesis
MS-341 001 TH 2-4 J. Baust
MIDI, Audio & Vid Programming 002 F 11-1 N. Leonard III
001 M 9-11 R. Boulanger 003 M 2-4 R. Boulanger
MS-351 MS-495
Adv Studies: Digital Sampling Music Synthesis Internship
001 M 11-1 M. Brigida 001 K. Biederwolf
002 M 2-4 M. Brigida See the Office of Experiential Learning if interested
MS-P353
Audio Progrm in C, C++ & ObjC
Music Technology
001 F 2-4 R. Boulanger
MTEC-111
MS-371 Introduction to Music Tech
Comp Workshop for Music Synth 1A T 6-8 J. Williams
001 W 4-6 N. Leonard III 1B M 4-6 S. MacLean
1C F 2-4 S. MacLean
MS-372 1D T 9-11 C. Noyes
1E T 11-1 K. Turnbull
Adv Real-Time Perf Synthesis
2A F 9-11 D. Doms
Not offered Fall 2008
2B T 4-6 J. Williams
2C W 2-4 J. Williams
MS-381 2D TH 9-11 C. Noyes
Contemp Appl of Digital Audion 2E T 2-4 G. Wardson
001 T 4-6 K. Turnbull 3A M 11-1 K. Turnbull
002 W 11-1 C. Noyes 3B M 2-4 S. MacLean
003 W 4-6 J. Baust 3C W 2-4 A. Pejrolo
3D F 2-4 W. Moss
248 4A M 9-11 D. Doms
Summer/Fall 2008
Summer/Fall 2008
PFET-362 PFSS-345
Perf Ear Train Ww/Br/Stg/Vbs 2 Survey of Percussion Styles
001 TH 10-12 T. deOgburn 001 M 4-6 R. Flanagan
PFET-364 PFSS-347
Perf Ear Training for Keys 1 Survey of Latin Am Hand Prc
001 TH 2-4 T. deOgburn 001 T 4-6 E. Diaz
PFET-365 PFSS-351
Perf Ear Training for Keys 2 Survey of Piano Styles
001 F 2-4 T. deOgburn 001 M 11-1 R. Germain
PFET-367 PFSS-P352
Perf Ear Training for Guitar 1 Survey Piano/Vocalist Styles
001 TH 4-6 J. Marasco 001 W 2-4 R. Christopherson
PFET-368 PFSS-371
Perf Ear Training for Guitar 2 Survey of Vocal Styles
Not offered Fall 2008 001 TH 11-1 L. Thorson/J. Shapiro
PFET-370 PFSS-381
Perf Ear Training for Perc 1 Survey of Woodwind Styles
001 W 11-1 R. Tamagni 001 W 4-6 J. Harrington
PFET-371 PFSS-385
Perf Ear Training for Perc 2 R&b, Funk & Smooth Jazz Sax
001 W 9-11 R. Kaufman 001 T 4-6 J. Harrington
PFET-373
Perf Ear Training for Voice 1 Professional Music
Not offered Fall 2008
PM-111
PFET-376 Essentials of Success
Perf Ear Training for Bass 1 001 M 5-6 E. McGrath
001 W 11-1 P. Del Nero 002 M 6-7 R. Mulvey
003 M 7-8 R. Mulvey
PFET-377
Perf Ear Training for Bass 2 PM-230
001 TH 2-4 P. Del Nero Computer Lit for Pro Musician
001 W 2-4 R. Patton
002 M 2-4 R. Patton
Performance Styles - Survey Courses
PM-310
PFSS-311 Financial Management/Musicians
Survey of Bass Styles 001 T 9-11 L. Gorham
001 TH 2-4 D. Morris 002 TH 9-11 L. Gorham
003 T 11-1 L. Gorham
PFSS-321
Survey of Brass Styles PM-320
001 W 11-1 J. Stout Investment Princ Pro Musician
001 TH 11-1 L. Gorham
PFSS-331
Survey of Guitar Styles PM-P325
001 M 4-6 C. Shumate Managerial Finance
Not offered Fall 2008
PFSS-341
Survey of Drum Styles to 60s PM-330
001 T 9-11 R. Kaufman The Private Studio Teacher
001 TH 11-1 D. Vose
PFSS-342 002 F 9-11 D. Newsam
Survey of Drum Styles Post 60S 003 F 2-4 D. Newsam
001 M 11-1 D. Hadden 004 TH 9-11 F. Schmidt
250
Summer/Fall 2008
PSBS-225
Fundamentals/Improv for Bass
001 W 11-1 W. Browne
002 F 11-1 W. Browne 251
Schedule of Courses - Fall
Summer/Fall 2008
PSH-252 PSIJ-221
Yoga for Musicans 2 Jazz Improvisation Techs 1
001 W 4-6 M. Olson 001 TH 11-1 A. Lada
Rating: 3
PSH-P261 See Course Description
Playing in the Key of Chi:
001 TH 9-11 S. Clark 002 T 11-1 R. Doezema
Rating: 3
PSH-271 See Course Description
Wellness & Inspiration in Perf
001 F 4-6 J. Gagne 003 TH 4-6 J. Galindo
002 F 4-6 S. Strickland Rating: 3
See Course Description
PSH-P281
004 T 11-1 E. Saindon
Somatic Breathwork for Vocalst
Rating: 3
001 T 6-7 R. Ehrman
See Course Description
002 TH 6-7 R. Ehrman
005 M 2-4 E. Saindon
PSH-338 Rating: 3
Awarenss Train for Musicians 2 See Course Description
001 M 6-8 R. Ehrman
006 T 4-6 D. Barrett
PSHR-321 Rating: 3
Harmonic Consider. in Improv 1 See Course Description
001 F 2-4 K. Cervenka
002 M 11-1 A. Lada 007 W 11-1 J. Wheatley
003 T 2-4 A. Lada Rating: 3
004 M 9-11 E. Tomassi See Course Description
005 W 11-1 J. Galindo
006 T 9-11 M. Williams 008 M 4-6 D. Barrett
007 W 2-4 E. Tomassi Rating: 3
See Course Description
PSHR-322
Harmonic Consider. in Improv 2 009 TH 2-4 C. Candelaria
001 W 11-1 E. Tomassi Rating: 3
See Course Description
PSIJ-211
Jazz Improvisational Techs PSIJ-255
001 M 11-1 J. Beard The Music of Wayne Shorter
001 M 2-4 B. Raberg
PSIJ-215
Standard Jazz Repertoire 1 PSIJ-271
001 T 2-4 V. Mendoza Ready, Aim, Improvise!
Rating: 3 Not offered Fall 2008
See Course Description
PSIJ-280
002 F 2-4 G. Wardson The Jazz Language
Rating: 3 001 M 4-6 D. Santoro
See Course Description
PSIJ-311
003 W 2-4 R. Cline Chord Scale Theory in Improv
Rating: 3 001 M 2-4 A. Lada
See Course Description 002 T 11-1 A. Lada
PSIJ-216 PSIJ-315
Standard Jazz Repertoire 2 Improvisation: Standard Songs
002 W 11-1 D. Samuels Not offered Fall 2008
Rating: 3
See Course Description
252
Summer/Fall 2008
PSIJ-322 PSIJ-P426
Jazz Improvisation Techs 3 Jazz Rhythm Sect Accomp Skills
001 W 4-6 E. Tomassi 001 M 2-4 D. Santoro
Rating: 3
See Course Description PSIM-221
Improv Techs for Blues Player
002 W 4-6 A. Mallet
001 W 9-11 M. Williams
Rating: 3
Rating: 3
See Course Description
PSIJ-346 PSPC-231
Thematic Devl in Improv & Comp Fundamentals/Improv for Perc
001 M 4-6 R. DiMuzio 001 M 7-9 C. Scheuerell
002 TH 2-4 R. DiMuzio
PSPC-341
PSIJ-351 Studio Drumming Techs & Apps
Perf and Analysis of Bebop 001 T 5-6,TH 9-1 S. Wilkes
001 T 4-6 G. Hopkins 002 T 4-5,TH 9-1 S. Wilkes
Rating: 6 003 W 10-11,TH 9-1 S. Wilkes
004 W 11-12,TH 9-1 S. Wilkes
NOTE: This course (all sections) meets every
PSIJ-371
other week for four hours
Performing Harmony Workshop 1
Not offered Fall 2008
PSPN-335
Contrapuntal Jazz Improv/Piano
PSIJ-421
001 TH 11-1 N. Olmstead
Jazz Improvisation Techs 4
001 TH 2-4 J. Galindo
Rating: 3 253
See Course Description
Schedule of Courses - Fall
Summer/Fall 2008
PSPR-345 PSVC-425
Country Music Adv Vocal Improv Techniques
001 M 11-1 M. Ihde 001 TH 2-4 M. Bermejo-Greenspan
002 M 5-7 D. McElroy
PSPR-361 Section 001 primarily for jazz vocalists;
Motown Section 002 primarily for pop, rock, R&B vocalists.
001 T 2-4 L. Watson
PSVC-435
PSPR-363 Adv Techs of Voice Production
Progressive Rock Performance 001 F 11-1 A. Dolan
Not offered Fall 2008
PSW-235
PSPR-365 World Percussion 1A
The Pop/Rock Player/Vocalist 001 W 12-1,TH 12-1 J. Haddad
001 W 4-6 N. Morris
002 M 4-6 N. Morris PSW-335
World Percussion 1B
PSPR-381 001 W 4-5,TH 9-10 J. Haddad
Commercial Band Workshop
Not offered Fall 2008 PSW-341
The Music of Ghana
PST-351 001 M 4-6 J. Galeota
Stage Performance Techniques
001 T 2-4 L. Taylor PSW-342
002 T 11-1 L. Taylor The Music of Guinea
001 F 2-4 M. Camara
PST-385
Elements of Theatre Production PSW-345
001 T 9-11 W. Ward Seminar: Latin American Music
001 F 2-4 M. Bermejo-Greenspan
PST-451
The Musical Director PSW-350
Not offered Fall 2008 S. Indian Rhythmic Solfege
001 F 9-11 B. Raberg
PST-471 002 M 9-11 B. Raberg
Stage Perf Wkshp 1-Rock & Pop
001 T 11-1 L. Watson PSW-361
Rating: 3 Brazilian Musical Styles
001 W 2-4 F. Brandao
PST-472
Stage Perf Wrkshp 2 Rock & Pop
001 T 9-11 L. Watson Professional Writing
PSVC-231 PW-110
Voice Class Instrumentalists 1 Writing Skills
Not offered Fall 2008 1A T,TH 2-3 S. Brindell
1B T,TH 2-3 J. Moorhead
PSVC-232 1C T,TH 2-3 J. Sykes
Voice Class Instrumentalists 2 1D T,TH 2-3 G. McArthur-Browne
Not offered Fall 2008 1E T,TH 2-3 A. Friedman
1F T,TH 2-3 J. Stinnett
PSVC-325 1G T,TH 2-3 W. Silvio
1H T,TH 3-4 R. Grudzinski
Vocal Improv in Jazz Idiom
2A T,TH 12-1 W. Klein
001 TH 4-6 D. Scott
2B T,TH 12-1 G. McArthur-Browne
002 M 2-4 R. Stoloff
2C T,TH 12-1 L. Chase
2D T,TH 12-1 B. Denisch
PSVC-365 2E T,TH 12-1 J. Moorhead
Stage Pfm Wkshp-Jazz Standards 2F T,TH 12-1 J. Sykes
001 T 11-1 M. Scott 2G T,TH 12-1 M. Poniatowski
2H T,TH 12-1 D. Howard
3A T,TH 3-4 J. Harris
254
Summer/Fall 2008
255
Schedule of Courses - Fall
Summer/Fall 2008
SW-P245 SW-498
Rock Songwriting Workshop Directed Study in Songwriting
Not offered Fall 2008 001 - H. Gaffney
002 - J. Aldrich
SW-311 003 - H. Gaffney
Advanced Songwriting 004 - M. Simos
001 M 11-1 J. Perricone 005 - J. Kachulis
NOTE: (all sections) See instructor in first week
SW-321 to establish meeting times
Advanced Lyric Writing
001 W 6-8 C. Pattison
SW-325
The Music of John Lennon
001 TH 4-6 J. Stevens
SW-335
The Business of Songwriting
001 TH 9-11 J. Aldrich
SW-P336
Songwriting Collaboration
Not offered Fall 2008
SW-345
Musical Theater Writing
001 F 11-1 M. Wartofsky
SW-P350
Songwriting and Social Change
001 TH 4-6 C. Karam
SW-361
Song Demo Production Technique
001 F 9-11 H. Gaffney
002 F 11-1 H. Gaffney
SW-362
Adv Song Production Seminar
001 W 4-6 K. Turnbull
SW-365
Song Demo in the Rec Studio
001 TH 11-1 D. Cecere
Ensemble attendance TH 2-4 required.
SW-371
Singer/Songwriter Workshop
001 TH 2-4 J. Aldrich
002 T 2-4 J. Aldrich
SW-P445
Musical Theater Writing 2
001 TH 9-11 M. Wartofsky
SW-495
Songwriting Internship
001 - J. Perricone
See the Office of Experiential Learning if interested
256
Summer/Fall 2008
Campus Map
257
Class Planning Worksheet
Summer/Fall 2008
9-10
10-11
11-12
12-1
1-2
2-3
3-4
4-5
5-6
6-7
7-8
258
Summer/Fall 2008
9-10
10-11
11-12
12-1
1-2
2-3
3-4
4-5
5-6
6-7
7-8
259
Class Planning Worksheet
Summer/Fall 2008
9-10
10-11
11-12
12-1
1-2
2-3
3-4
4-5
5-6
6-7
7-8
260