2008 RegistrationManual

Course Master Schedule

Summer/Fall 2008
 Academic Calendar
Academic Calendar: Summer/Fall 2008

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

July 4* Independence Day (no classes)

July 18 Last day to request an advance grade of W for Summer 2008

August 11-15 Final Exam Week/Audition Week

August 16 Residence Halls close at 12:00 p.m.
August 22 Summer 2008 grades available on my.berklee.net
August 28 Last day to make changes to your Fall 2008 Registration schedule until check-in

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

October 13* Columbus Day (no classes)

October 17 Last day to file for May 2009 graduation
October 27-31 Mid-Term Week/Audition Week

November 7 Last day to request an advance grade of W for Fall 2008

Spring 2009 Registration Manual available
November 11* Veteran’s Day Observed (no classes)
November 10—November 14 Academic advising period for Spring 2009 Registration
November 17—December 4 Spring 2009 Registration appointments
November 27—November 30 Thanksgiving Recess

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.

There are a few policies that I wish to highlight 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.

Best wishes for a successful registration,

Michael Hagerty
Registrar

2
Summer/Fall 2008
Introduction
The purpose of this manual is to provide you with the
information and procedures you will need to register for
the 2008 Summer and Fall semesters. Although we have
tried to be as thorough as possible, you may find that further
assistance is necessary. The information center for registration
advising is the Counseling and Advising Center, located on
the second floor of 939 Boylston Street. Counselors are there
to help your registration go as smoothly as possible, and
they encourage you to visit them and ask any questions that
you may have. In addition, Faculty Departmental Advisors
are available to assist you with specific concerns about their
departments or majors.
Please note that the provisions of this manual do not
constitute a contract between the student and Berklee
College of Music. The sole purpose of this manual is to
provide regulations and curricular information that were in
effect at the time of publication. Berklee College of Music
reserves the right to change course content, fees, program
requirements, plans of study, schedules and the academic
calendar, or to make other changes deemed necessary or
desirable. The college also reserves the right to cancel course
sections in which enrollment is not sufficient. Excessive
offering of underpopulated course sections will eventually
lead to higher tuition costs to students. By combining or
eliminating sections of courses, the college is better able to
control tuition increases.
Important: Please carefully review the tuition deposit
information on page 4 before registering. It is
particularly important to review this information if
you do not plan on attending the Fall 2008 semester.
Completing Your Registration
For Summer and/or Fall 2008
Be sure to review the registration checklist below.
l Check and confirm your registration apppointment
time, which can be found at my.berklee.net. Once you
are logged in, select the Student Services tab and
Registration subtab, and open your Registration Profile
to view the initial date and time that you may register.
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
your major/instrumental departmental advisor. The
registration advising period begins March 31, 2008
and extends through the end of the registration
appointment windows, which is April 18, 2008.
Students at 6th semester standing and higher are
encouraged to come in early for advising.
Introduction
l
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
registration appointment window. He/She will assist
you in choosing classes and registering for classes
online. Your assigned Faculty Advisor or mentor
will also be available to you for a one on one
meeting if so needed.
l Check course descriptions to ensure you have
the proper prerequisites, corequisites, ensemble
ratings, and whether you are eligible to elect
the course (Electable by:). You must have a passing
grade, transfer credit or credit by exam in the computer
system to satisfy course prerequisites. It is assumed
that courses in which you are currently enrolled will be
passed and can, therefore, be used as prerequisites. If
there is any reason that you are ineligible for registering
for a course, the course chair may, at his or her
discretion, approve a prerequisite waiver. The chair The information
must enter that waiver onto Colleague before you center for
attempt to register for the course online. Prerequisite registration
waivers remain valid for one semester only.
advising is the
l Private Instruction registration requires special Counseling and
course coding. Please see instructions on page 22. Advising Center,
Students have the opportunity to register for a private located at 939
instruction with a predetermined instructor and time. Boylston Street
l Performance majors registering for their third and (access through
fourth level private instruction must register for an 3rd floor of 921
hour-long Private Instruction with their instrumental Uchida building).
department. See page 23 for more details.
l Students who will have a semester level status of
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
status online on your Registration Profile screen.
l See web registration instructions on page 5.
Students are expected to register online for
courses using the instructions printed in this
manual. Should you need any assistance with learning
to register online, you can get help at the Office of
the Registrar (Uchida, Suite 120).
l Add or drop courses if necessary.
Please note: Your appointment time is merely the
earliest time you can register. You can register at
any time following your appointment time through
Friday, May 2, 2008.
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.

Please note: Students who fail to check-in by the

due date(s) will have their registration schedules
cancelled. Schedules can be rebuilt for students
who check-in late according to space availability
in each class.

4
Summer/Fall 2008

Instructions for Web Registration

Instructions for Web Registration
a IMPORTANT NOTE: Some students have been confused when they see inaccurate course listings on the Course
Companion site within my.berklee.net. Course Companion does not record all registration changes as they occur, and
is only periodically refreshed with up-to-date information. Also, private lessons are excluded from Course Companion.
Therefore, please do not rely on the Course Companion site for an accurate listing of your registered classes. To obtain
an accurate up-to-the-moment listing of your registered classes, click first on the “Student Services” tab, then click on
“Registration”, then click on “View/Edit Schedule” (on the left).

Before You Register

Access http://my.berklee.net
Access to registration options and resources require you to log in to my.berklee.net. Before your registration
appointment time, please visit the website and verify that you can log in. If you have any difficulty accessing
my.berklee.net, 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.

Review Registration Manual and Online Resources

The printed Registration Manual and the Student Services section of my.berklee.net contain useful information
regarding online registration. Please review this information before your appointment time.
Seek advising as needed
It will be easier and take less time for you to complete your online registration if you research the classes you want
to take in advance of your appointment time. This will also allow you to seek any advising you require, request waivers,
or perform other registration-related activities.

Registering for Classes

Go to http://my.berklee.net

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

Select the Student Services Tab

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:

Registration Profile – contains information about your academic standing at Berklee.

Express Register

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

Instructions for Web Registration

Search and Register

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.

FOR MORE INFORMATION REGARDING ONLINE REGISTRATION, PLEASE

VISIT THE STUDENT SERVICES TAB AT MY.BERKLEE.NET

8
Summer/Fall 2008

Student Participation in Educational Decisions

Student Participation in Liberal Arts
Camille Colatosti, Chair, 617-747-2421
Educational Decisions Room F32, 22 The Fenway

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.

Contemporary Writing & Production Performance Studies

Matthew Nicholl, Chair, 617-747-8456 Matt Marvuglio, Dean, 617-747-2025
George Hargan, Assistant Chair, 617-747-2327 Room 5H, 1140 Boylston St. For office
Professional Writing Center, 2nd Floor, 150 Massachusetts Ave. James Odgren, Assistant to the Dean, 617-747-2563 hours during
Room 5Z1, 1140 Boylston St. registration
Ear Training period, please
Steve Prosser, Chair, 617-747-2248 Piano
Stephany Tiernan, Chair, 617-747-2108 contact your
Roberta Radley, Assistant Chair, 617-747-8326
2nd Floor, 899 Boylston St. Room 4H, 1140 Boylston St. chair.
Tony Germain, Assistant Chair, 617-747-8189
Ensemble Room 4K, 1140 Boylston St.
Ronald Savage, Chair, 617-747-8416
Room 108, 130 Massachusetts Ave. Professional Music
Bruce Nifong, Assistant Chair, 617-747-2491 Kenn Brass, Chair, 617-747-2416
Room 104, 130 Massachusetts Ave. Chair Room F50, 22 The Fenway.

Film Scoring Songwriting

Dan Carlin, Chair, 617-747-2444 Jack Perricone, Chair, 617-747-2385
Room 261, 150 Massachusetts Ave. Professional Writing Center, 2nd Floor, 150 Massachusetts Ave.

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

Tuition and Fees a Student Health Insurance

Massachusetts state law (QSHIP) requires that students
Summer 2008 enrolled in colleges located within the state must have health
Summer 2008 Tuition insurance at or above the QSHIP level. Colleges may only
enroll students who either participate in a college sponsored
Tuition: Degree Program $11,775 qualifying health insurance program, or who verify (through
Tuition: Diploma Program $10,150 a waiver process) that they are enrolled in a health insurance
program that meets or exceeds the minimum QSHIP benefit
Residence Hall Fee (includes 19 meal plan) $6,103
requirements. Berklee has arranged for both a qualifying
accident and health insurance policy through the Gallagher
Koster Insurance Agency. Berklee requires all students to
Fall 2008 purchase the basic accident insurance plan.
Fall 2008 Tuition
Health Insurance Information for Summer
Tuition: Degree Program $13,750 2008 Students (Who Were Not Enrolled Fall
Tuition: Diploma Program $11,850 2007 or Spring 2008)
Residence Hall Fee (includes 19 meal plan) $7,180
What if I have insurance and wish to waive the health
If you have insurance fee for Summer 2008?
signed up for Individual Fees* Submit a waiver online no later than May 16, 2008 by logging
student health into my.berklee.net, selecting the Student Services tab, and
insurance at Comprehensive Fee $350
clicking on Waive My Health Insurance. You can also submit a
any time during Per Credit Charge $975 waiver form at the Bursar’s Office (Suite 240, Uchida). Waiver
the Fall 2007 – Extra Private Instruction Charge $1,950 forms can be downloaded online at www.berklee.edu/forms
Summer 2008 (per semester) in the Health Related section of the page.
academic year, Tuition Deposit $500
What if I pay for the insurance in May but leave
you are covered Housing Prepayment $300
Berklee before my coverage runs out?
through August Berklee Laptop Purchase (Up to) $2,950
If you have signed up for the insurance at any time during the
31, 2008. (subject to 5% sales tax)
Fall 2007 – Summer 2008 academic year, your insurance covers
you through August 31, 2008. This holds true whether you are
Health Insurance enrolled at Berklee, or have since graduated or left the college.
This coverage extends outside of the United States.
Summer 2008
Health Insurance Information for
Health $477
Fall 2008 Students
Accident (mandatory) $23
What if I have insurance and need to waive the health
Tuition $53
insurance fee for the 2008-2009 academic year?
Fall 2008 Submit a waiver online no later than August 22, 2008 by
logging into my.berklee.net, selecting the Student Services
Health $1,495 (tentative) tab, and clicking on Waive My Health Insurance. You can
Accident (mandatory) $85 (tentative) also submit a waiver form at the Bursar’s Office (Suite 240,
Tuition $65 (tentative) Uchida). Waiver forms can be downloaded online at
www.berklee.edu/forms in the Health Related section of
the page.
*Please note that all fees are subject to change.
What if I pay for the insurance in September but leave
Berklee before my coverage runs out?
If you have signed up for the insurance at anytime during
the Fall 2008 – Summer 2009 academic year, your insurance
covers you through August 31, 2009. This holds true whether
you are enrolled at Berklee, or have since graduated or left the
college. This coverage extends outside of the United States.

10
Summer/Fall 2008
Health Insurance Information For All Students
What if I waive the health insurance plan but my
alternative insurance plan unexpectedly terminates
before August 31, 2009?
Students who waive the Gallagher Koster health insurance plan
and later find that their alternative insurance plan will end,
may enroll late for Berklee’s plan through the following steps:
1. Complete a Late Add of Student Health Insurance
Form at the Office of the Registrar.
2. Obtain a letter from your previous insurance carrier
verifying the date your insurance coverage ended and
the reason why.
3. Gallagher Koster Insurance Agency must approve
the change.
4. Pay a $50 late insurance application fee to Gallagher
Koster Insurance Agency.
5. Pay the health insurance fee to the Bursar’s Office.
All steps must be completed within one month of your
previous insurance terminating. Students who request (and are
approved) to add the health insurance plan more than one
month after termination of their alternative health insurance
plan will be required to pay the full year rate. Your effective
date of coverage will be the day all five steps are completed.
What if I have questions regarding what is covered
under the college sponsored insurance plan?
If you still have questions after reading the Summary of Benefits
and FAQs (see web brochure address below), you may call
Gallagher Koster Insurance Agency at 800-457-5599.
http://www.berklee.edu/services/insurance.html
Tuition Insurance
Low-cost tuition insurance is provided to all enrolled students
through A.W.G. Dewar, Inc. If illness or injury causes students
to withdraw from a semester, they are insured for 100
percent of tuition and, if living in a Berklee residence, for
housing costs. Students who withdraw for mental health
reasons are reimbursed for 75 percent of tuition and Berklee
residence expenses. In both circumstances, a licensed U.S.
physician must verify to A.W.G. Dewar, Inc. that the student’s
medical condition prevents semester completion. Berklee
policy regarding withdrawing from the college and financial
aid may affect the refund amount. Berklee scholarship funds
are repaid first before a final amount is paid to the student.
Berklee’s standard tuition refund policy covering the first four
weeks of the fall and spring semesters, and the first three
weeks of the summer semester is applied first. Berklee pays
one portion of the refund. The remaining amount is paid
by A.W.G. Dewar, Inc. Details of this plan appear at:
http://www.berklee.edu/services/insurance.html
Tuition and Fees
Payment Options
Tuition Payment Plan
The college has an agreement with Tuition Management
Systems (TMS) to provide an installment payment plan for
the fall and spring semesters only. To utilize this service,
divide your semester fees (excluding health, accident and
laptop charges) by five and pay this figure monthly
beginning on June 1 (for Fall) or November 1 (for Spring).
Please be advised, this plan requires that monthly payments
be in a current status or you will be required to make up any
back payments prior to check-in. Contact TMS at 800-722-
4867 for specific deadlines and further information.
Credit Card Payments
Berklee has contracted with Official Payments Corp. (OPC) to
process MasterCard, Discover, and American Express credit
card payments online, or by calling 866-661-9951. Visa cards For questions
will not be accepted. OPC will charge a convenience fee of regarding
2.5% of the payment amount for this service. Two line student health
items will appear on your credit card statement. Your tuition
insurance,
payment will appear as “Berklee College of Music” and the
you may call
convenience fee will appear as “Tuition Convenience Fee”.
Online payments can be made at my.berklee.net. Gallagher Koster
Insurance at
Students can still pay Berklee tuition and fees with no 800-457-5599.
additional fee by using the following payment methods:
l Online by E-Check
l Mailing a check or money order to:
Berklee College of Music
P.O. Box 3618
Boston, MA 02241-3618
Do not mail overnight express mail to this address.
Overnight express mail should be mailed to:
Berklee College of Music
Office of the Bursar
MS 921-BUR
1140 Boylston Street
Boston, MA 02215-3693
l In person by check, cash, or money order at:
Bursar’s Office
Uchida Building, Suite 240
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.

Bursar’s mailing address and phone number:

Berklee College of Music
Office of the Bursar
MS 921-BUR
1140 Boylston Street
Boston, MA 02215-3693
617-747-2610 or 617-747-2165

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

All aid applicants should know the following:

l Your award(s) may be reduced or cancelled if you take
fewer than 12 credits. For details, read “Part-time
Enrollment and Financial Aid” at www.berklee.edu/forms.
If you have questions, see your assigned Assistant
Director of Financial Aid before the end of Add/Drop.
l If you are not maintaining a 2.0 CGPA and completing
the required number of credits for your program each
semester (read “Satisfactory Academic Progress and
Stafford Loan Amounts” at www.berklee.edu/forms),
you may be ineligible for aid for the upcoming
semester(s). Consult with your assigned Assistant
Director of Financial Aid for advice.
l Federal regulations require exit interviews for students
with loans and who: enroll for less than six credits; If you are not
withdraw from the college during the semester; or maintaining a
who do not plan to return to school. Please see your 2.0 CGPA and
assigned Assistant Director of Financial Aid for completing
important information about loan repayment. the required
l At my.berklee.net/Student Services, you should use: number of
– MyAid to confirm that aid is verified. If not credits for
verified, check your program
– My Documents for missing information. Go each semester,
to My Documents “Forms for Download” to
you may be
review the Miscellaneous Documents PDF for
restricted from
additional information.
receiving
l For more information, including dates for refund aid for the
checks, see the PDF “Everything Financial Aid” at
upcoming
www.berklee.edu/forms.
semester(s).
For official policies regarding any of the above topics, please
see The Bulletin for the current year.
.

13
Policies and Procedures
Summer/Fall 2008
Policies and Procedures
For further information on policy and procedures,
please refer to the College Bulletin.
a Full and Part-Time Policy
The college’s primary commitment is to full-time study. The
maximum full-time credit load in each program is:
l Degree: 16 credits
l
Diploma: 13 credits
If you exceed your maximum credit load you must pay for
each additional credit on a per credit basis ($975 per credit).
Part-time status may be granted under the following
circumstances:
l A student who has completed at least one full-time
To request
semester at Berklee may study part-time during the
approval for
summer semester.
part-time
l A student who has fewer than 12 credits required
status, you
for graduation.
should submit
l A student who has fewer than 24 credits required for
a Change of
graduation including sequential courses that require the
Enrollment student to enroll for at least one semester beyond the
Status Form at semester for which part-time status is being requested.
the Counseling l A student with a documented disability for which the
and Advising college determines that part-time enrollment is a
Center. reasonable accommodation. In the case of learning
disabilities, documentation from at least high school
level must be submitted to the Special Services
Coordinator in the Counseling and Advising Center.
The definition of disability is outlined in the Americans
with Disabilities Act of 1990.
l A student whose only registered course for a term is an
approved internship.
l A Berklee graduate.
To be authorized for part-time status, you need to submit a
Change of Enrollment Status Form at the Counseling and
Advising Center. For Summer 2008, part-time approval can
be authorized any time between Registration Advising Week
and June 6, 2008. For Fall 2008, part-time approval can be
authorized any time between Registration Advising Week
and September 19, 2008.
Once you have been authorized for part-time status, you
will be charged on a per-credit basis.
a Part-Time Attendance Policy for
F-1 Visa Holders
The Student and Exchange Visitor Information System (SEVIS)
requires schools to electronically report the number of credits
F-1 students enroll in each semester. The Department of
Homeland Security (DHS) regulations require students in F-1
non-immigrant status to attend college on a full-time basis
and define full-time as at least 12 credit hours per semester.
Only the following exceptions are allowed:
14
l
During a vacation semester: Students who meet
DHS vacation semester guidelines and Berklee’s
part-time criteria may enroll in less than 12 credits
during a DHS-approved vacation semester with
authorization from the Counseling and Advising Center.
l To complete course of study in current term:
Students may be permitted to enroll in less than 12
credit hours during their final semester of study before
graduation from Berklee, if they have fewer than 12
credits remaining and will satisfy all graduation
requirements during that semester.
l Documented Illness or Medical Condition: A student
may be allowed to enroll in less than 12 credit hours
if sufficient medical documentation from a licensed
medical doctor (Doctor of Osteopathy, Doctor of
Medicine, or Doctor of Psychology) is submitted to the
Counseling and Advising Center. This basis for part-time
authorization must be reestablished each semester that
part-time is granted. Documentation requirements and
more information may be obtained at the Counseling
and Advising Center.
Students must obtain authorization from the
Counseling and Advising Center prior to enrolling in
less than 12 credit hours. If students fall below 12 credits
without prior approval, under SEVIS requirements this is
considered a “reportable event” and the college is required
to report it to the DHS within twenty-one days. If the reason
for less than full-time attendance is not among those
listed above, the college is required to report the
student’s F-1 status to DHS as “terminated”.
SEVIS reporting requirements necessitate that international
students enroll in at least 12 credit hours every semester.
Students in their first or second semester of study in the
United States may be permitted to complete less than
12 credits, if they are having initial difficulties with the
English language or reading requirements, or unfamiliarity
with American teaching methods. Students must receive
authorization from their International Advisor prior to going
below 12 credits and resume full-time attendance at the next
available semester. When a student does not have 12 required
credits remaining but cannot complete their program in the
current semester due to prerequisites, he/she will need to
enroll in classes not required for their program in order to
maintain F-1 status. Students are responsible for their
academic decisions. Therefore, Berklee strongly encourages
students to plan their coursework with an academic and
international student advisor each semester to develop an
immediate and a long-term study plan that will maximize their
meeting DHS enrollment requirements during their course of
study at Berklee.
Any international student wanting part-time attendance
MUST see a counselor in the Counseling and Advising Center.
Failure to maintain full-time status has serious implications,
such as inability to have I-20 signed, loss of work permission,
and/or being required to leave the U.S. It is your responsibility
to maintain status.
Students authorized for part-time status will be charged on
a per credit basis
Summer/Fall 2008
Credit By Exam
Students seeking Credit By Exam (CBX) for a course should
apply to the appropriate Course Chair. The following
limitations and stipulations apply:
l
In order to graduate, participation is required in a
minimum of 60 credits (degree), or 48 credits (diploma).
l CBX is not available for courses in which both
proficiency and participation are the criteria for credit.
l A minimum grade of B must be earned in the exam
and/or project assignments for CBX to be awarded.
l CBX is not available for courses in which a student
has received a grade of I, F, or IF.
l Any necessary adding or dropping of courses due to
obtaining CBX must be completed by the add/drop
deadline.
Ear Training Credit by Exam Policy
1. Credit By Exam (CBX) is not given for ear training
elective courses.
2. Core Ear Training courses (Ear Training 2, 3, and 4,
and Solfege 1 and 2) may still be tested. The standard
passing grade is B = Good, using the following
criteria:
l Rhythm: Time is steady (minimal slowing down
and/or speeding up; minimal stopping and starting)
l Durations: Mostly correct in length with minimal
note clipping and/or over-extension
l Articulations: Mostly precise with very few late or
early attacks; mostly follows markings
l Syllables: Solfege is mostly correct with very
few mistakes, notes match solfege syllables
with few mistakes
l Intonation: Stays in key with only a few
flat/sharp pitches
l Conducting: Mostly precise as to pattern
and tempo
l Overall: Solid, mostly precise and somewhat
musical performance
3. The Core Ear Training CBX test will consist of any
material from the book being tested, plus a singing
final test composed of rhythm, melody and harmony.
4. A student who has an incomplete, an IF, or an F may
not take a CBX for that course.
5. A CBX may only be taken once for a course. If a
student fails to pass a CBX, he or she must take that
class in order to receive credit.
6. The Core CBX will be given every semester on the last
Wednesday of Add/Drop period (Wednesday of the
second week of classes) at 1:00 PM in the Ear Training
Department office.
Policies and Procedures
Policy on Grades of Incomplete
If you are not able to complete the required work for a course
by the end of the term, you may request a grade of
Incomplete (I) from your instructor. When doing so, please
keep the following in mind:
l You must be passing the course and have satisfactory
attendance.
l The request may be made during the final two weeks
of the semester.
l A grade of “I” will not count against your GPA.
l You will not receive credit for the class, nor may you
enroll in a subsequent class where the incomplete
course is a prerequisite until a passing grade is
submitted for the course.
l Grades of “I” are not available for ensembles.
l The time limit for completing the work for a course
The last day to
after receiving a grade of “I” is the last day of your
next semester of attendance. If you are not enrolled in change a grade
the semester following your incomplete, you are of “I” awarded
permitted one calendar year to resolve the grade. for Fall 2008
l Incomplete grades that are not changed by the second is May 9, 2008;
week of classes of the following term will prevent you Spring and
from qualifying for the Dean’s List for that term. Summer 2008
l Please keep in mind, one or more grades of “I” can is Dec. 19, 2008
significantly add to your workload in your next semester.
l A grade of “I” that is not resolved within the stated
time period will automatically change to a grade
of IF. This will be averaged into your GPA
as an F. A grade of IF cannot be changed.
l Last day to change a grade of “I” awarded for Fall
2007: May 9, 2008. For Spring or Summer 2008:
December 19, 2008.
Withdrawals
Withdrawing from Classes
After the second week of classes, you may no longer drop a
course from your schedule. However, you may withdraw from
a class by completing a Student Initiated Withdrawal from a
Class Form at the Counseling and Advising Center. You will
receive a grade of “W” for that class. You continue to be
financially responsible for that class and are not eligible for a
tuition refund or replacement course. Please be aware that
withdrawing from classes may affect your scholarship,
financial aid and/or international student visa status. If you
receive financial aid or veterans’ benefits, you may reduce
your eligibility for aid by withdrawing. If you are an
international student, you may jeopardize your F-1 Visa
status. The deadline for withdrawing is July 18, 2008 for
Summer 2008 and November 7, 2008 for Fall 2008.
Withdrawal from the College
If you are a citizen of the United States (or permanent
resident) and wish to withdraw from the college for any
reason other than a mental health issue, you must complete
a Withdrawal from the College Form at the Office of the
Registrar. All international students and any student
withdrawing from the college for mental health reasons
must complete a Withdrawal from the College Form at
15
the Counseling and Advising Center.
Policies and Procedures

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.

To begin the process of declaring a major, students should

visit the departmental office of the appropriate major.
(Performance majors should begin with their instrumental
department.) A Declaration of Major form must be completed
there and submitted to the Office of the Registrar.

Declaring for most majors must be done on or before the

Tuesday of the second week of classes and, if approved, will
be effective for that semester. Declarations of Major forms
received after this date will be effective, if approved, for the
following semester. Please check with major departments for
possible earlier deadlines.

Following is a list of majors and suggested entry courses. The

entry courses provide an overview of the respective majors
and begin to build a foundation for courses that follow in
the major.
16
Summer/Fall 2008
Declaration of Major for Music Production
and Engineering or Music Synthesis
In order to ensure the proper amount of lab/studio project
time and hands-on experience necessary in the curriculum of
the Music Production and Engineering (MP&E) major and the
Music Synthesis major, enrollment in both of these programs
is limited. Students interested in MP&E or Music Synthesis as
a major must follow special application procedures.
Music Production and Engineering:
Information about applying to the MP&E major is available at
mpe.berklee.edu. Acceptance to the MP&E major is not
guaranteed and is extremely competitive. The current rate
of acceptance for students applying to the Music Production
and Engineering major is approximately 35%.
If you are accepted to the Music Production and Engineering
major, you must sign the Student Recording Rights Agreement
(SRRA) at the MP&E office and submit a completed Declaration
of Major Form to the Office of the Registrar, before enrolling in
any restricted MP&E classes.
You will also be required to purchase the Music Production
& Engineering Major Hardware and Software Bundle, which
will be ordered and reserved for you during the second and
third week of classes. Specific information on the pickup
schedule and payment process will be provided upon
completion of your Declaration of Major Form and posted
at mpe.berklee.edu.
Important Dates for MP&E Applicants:
Note: Summer and Fall enrollment share a single application
deadline in the Spring.
For Admission into: Deadline (by 4:00 PM EST)
Summer or Fall 2008 February 29, 2008
Spring 2009 October 17, 2008
Summer or Fall 2009 February 27, 2009
Music Synthesis:
Students desiring to declare a major in Music Synthesis must
obtain the written approval of the Chair of the Music Synthesis
Department on the Declaration of Major Form prior to
declaring Music Synthesis as a major or changing to Music
Synthesis from another major. Before the Chair’s written
approval is granted, students must complete the Music
Synthesis application process and be accepted into the major.
Complete information about applying is available at the Music
Synthesis office, room B10, 150 Massachusetts Ave.
If accepted into the Music Synthesis major, you will be required
to purchase the Music Synthesis Major Bundle. The Music
Synthesis Major Bundle will be ordered and reserved for you.
However, you must be prepared to purchase and pick up the
Music Synthesis Major Bundle during the second week of
classes. For further information, please contact the Music
Synthesis office. Also, as students advance through the cur-
riculum, the major may require additional hardware and/or
software purchases for specific courses.
Policies and Procedures
Important Dates for Music Synthesis Applicants:
l Applications accepted for Summer or Fall 2008 start
in major: January 28, 2008.
l Application deadline for Summer or Fall 2008 start
in major: March 3, 2008.
l Notification of acceptance to program for Summer
or Fall 2008: May 21, 2008.
l Applications accepted for Spring 2009 start
in major: September 15, 2008.
l Application deadline for Spring 2009 start in
major: October 20, 2008.
l Notification of acceptance to program for Spring
2009: January 2, 2009.
Additional Information for MP&E and Music Synthesis
Applicants:
Due to current facility limitations, simultaneous enrollment in Students may
or attendance of multiple sections of any MP, MS, or MTEC declare the
course is not permitted. A student may only enroll in or Performance
attend one section of a given MP, MS, or MTEC course. major during
the second
Music Technology Division majors may not enroll in a MP,
semester or
MS, or MTEC course that they have previously taken without
written permission from the chair of their department. by their third
semester credit
As students advance through the curriculum, each major standing.
may require additional hardware and/or software purchases
for specific courses.
The dates listed above are subject to change.
Declaration of Performance Major
Students may declare the Performance major during the
second semester or by their third semester credit standing.
It is highly recommended that students do so during their
second semester of study. Students who intend to declare
the Performance major must visit their instrumental/voice
department chair and request an Intent to Declare
Performance Major Application Form. It is strongly
recommended that students have a CGPA of 2.7 or higher
in private instruction, ear training and ensemble/lab in order
to declare a major in Performance.
Important Dates for Performance Major Applicants:
l Application deadline for Summer or Fall 2008
start in major: April 4, 2008
l Application deadline for Spring 2009 start
in major: November 14, 2008
New Dual Piano/Voice Principal Emphasis in
the Performance Major
The Piano Department is pleased to offer this new Performance
major option, which services students interested in a career as
a Pianist/Vocalist. An eight-semester program, it includes private
lessons and labs in both piano and voice. Accompanying skills
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
Special Opportunities
MBA Opportunity with Suffolk University
Students who successfully complete the Music Business/
Management program and earn a Bachelor of Music degree
from Berklee College of Music may apply for acceptance to
the Suffolk University Accelerated MBA Program for
Berklee students.
Through a special arrangement, you may receive credit for
your Berklee course work in the Music Business/Management
major towards an MBA from Suffolk. Nearly a semester of the
four-semester Suffolk program is eligible for course waiver
consideration, saving you considerable time and cost in
earning this valuable degree.
Acceptance to the MBA program and course waiver
For more
considerations are based on (1) the achievement of a 3.00
information GPA or above, (2) a minimum grade of B in required courses,
on the ProArts (3) a GMAT score of at least 450, and (4) any additional
requirements necessary for admission to Suffolk University.
Consortium,
visit the site
This "fast track" program is intended to support your chosen
online at
career path in the music industry—whether entrepreneurial,
www.proarts.org music products, or management—and put you in the job
market as well prepared and quickly as possible.
If you would like further information on the MBA program
at Suffolk, or on the Music Business/Management major
at Berklee, please visit the Music Business/Management
Department, Room F4, 22 The Fenway or call 617-747-2152.
You will also find information on www.berklee.edu, under
Music Business/Management, Graduate Programs.
a ProArts Consortium
Berklee College of Music is a member of the ProArts
Consortium. ProArts is an association of six performing
and visual arts schools: Boston Architectural College,
Berklee College of Music, the Boston Conservatory, Emerson
College, Massachusetts College of Art and Design, and the
School of the Museum of Fine Arts, Boston. As members of
the consortium, Berklee students, faculty, and staff are eligible
to take courses at these schools as well as use the facilities.
Participation in the ProArts program is open only during the
Fall and Spring semesters. You may register for courses during
both a pre-registration as well as the drop/add each semester.
Please see www.proarts.org or the Office of the Registrar for
the specific dates. If you are interested in taking courses at
one of the consortium colleges, the following procedures
should guide you through the process:
20
l
Select courses from the ProArts Combined Course
Offerings booklet and complete a Cross Registration
Form. Both the booklet and forms are available at the
Office of the Registrar and can be found online at:
http://www.proarts.org.
l Check to make sure you have all necessary prerequisites.
If not, be sure to obtain the necessary approval form(s)
before trying to register for the class.
l Have your cross registration form authorized at the
Office of the Registrar first, and then bring it to the
host college on that college's designated cross
registration dates. These dates are listed in the
ProArts booklet, and on the ProArts website.
l Once you have cross-registered at the host college, you
then must bring the signed cross-registration form back
to the Office of the Registrar at Berklee.
l Remember to add the ProArts course to your Berklee
schedule. Please see the table below to determine the
course number and section for adding a ProArts course
to your Berklee schedule. The course number you
choose must equal the same amount of credits that the
course is worth at the host college. Adding a ProArts
course to your Berklee schedule does not guarantee
a space in the host college course. However, it will,
save space on your Berklee schedule and increase your
term credit load, which is important for financial aid
concerns, and SEVIS concerns for international
students.
Please use the following course numbering system
when registering for a ProArts course:
Course Number Section
PA-005 = 0.5 credit course 001 = Boston Architectural
PA-001 = 1 credit course College
PA-015 = 1.5 credit course 002 = Boston Conservatory
PA-002 = 2 credit course 003 = Emerson College
PA-025 = 2.5 credit course 004 = Mass. College of Art
PA-003 = 3 credit course and Design
PA-004 = 4 credit course 005 = School of the Museum
of Fine Arts, Boston
Ex.: A 4-credit course at Emerson would be PA-004-003.
Additional Information
l ProArts courses are only counted as general elective
credit toward graduation. If you wish to have a ProArts
course count differently than general elective credit,
you must first obtain approval from the chair of your
major before the start of the course.
l A maximum of four ProArts credits may be applied to
the general elective requirements of your major.
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.

An opportunity for a semester abroad will afford students

the chance to enhance their understanding of another
culture, to gain a new perspective on their own culture, and
to earn credits toward the completion of their degree or
diploma at Berklee. In addition to earning credits in Harmony,
Ear Training, and other core courses, ISA students must also
enroll in a culture block of three classes at two credits each.
Students in Athens take Greek Civilization, Modern Greek
Language, and Greek Crossroads in Rhythm and Sound.
Freiburg students have a culture block of German Language, Currently there
Art History, and Music History. are international
study abroad
Students participating in the Semester in Athens live at programs at the
the Golden Age Hotel, while students participating in the Phillipos Nakas
Semester in Freiburg live at the InterCity Hotel. The program’s
Conservatory in
housing fee covers the cost of the room and a meal plan.
Each study abroad program also has field trips that are built Athens, Greece
into the stay. Students in Greece take trips to ancient locales and the Jazz &
like Delphi and Olympia, while students in Germany travel to Rock Schüle
neighboring cities like Strasbourg, France and Basel, in Freiburg,
Switzerland. Germany.

More details about the International Study Abroad programs

can be found at http://www.berklee.net/ip/studyabroad.html.

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
For Performance Majors only
Performance Majors taking their third and fourth levels of
Private Instruction are required to enroll in fifty-minute
Private Instructions for 3 credits. Registration for these courses
takes place in the instrumental department. It is strongly
recommended that Performance majors visit their instrumental
department before their registration appointment time to
register for their Private Instruction.
Recital Preparation (for Performance
Majors only)
Performance majors are required to take levels 1-4 of
Recital Preparation (RP) simultaneously with levels 5-8
of Private Instruction (PI). These courses consist of additional
private study designed to develop repertoire and other skills
for various classes and activities required of Performance
Majors. In order to register for the first Recital Preparation,
the fourth level of Private Instruction must be passed or in
progress. RP courses are numbered similarly to PI courses –
the third and fourth letters of the course number indicate the
principal instrument. As an example, a Performance Major
whose principal instrument is piano would take the following
sequence of PI and RP courses beginning in the fifth
semester: PIPN-311/RPPN-311; PIPN-312/RPPN-312;
PIPN-411/RPPN-411; PIPN-412/RPPN-412. RP courses are
described below:
RPXX-311 Recital Preparation 1
2 credits Prerequisite: PIXX-212 & concurrent
enrollment in both ILRE-375 Recital
Workshop for Performance Majors
and PIXX-311.
Taken in conjunction with ILRE-375 Recital Workshop for
Performance Majors. Includes preparation of repertoire
for performances in the Recital Workshop.
RPXX-312 Recital Preparation 2
2 credits Prerequisite: RPXX-311, PIXX-311
& ILRE-375
Includes preparation of repertoire for a public performance
as leader.
RPXX-411 Recital Preparation 3
2 credits Prerequisite: RPXX-312 and PIXX-312
Includes preparation of repertoire for the jury, which
must be presented successfully in order to schedule the
Senior Recital.
RPXX-412 Recital Preparation 4
2 credits Prerequisite: RPXX-411 and PIXX-411
Includes preparation of repertoire for the Senior Recital,
which is the final project for the Performance Majors.
Private Instruction and Recital Preparation
Policy Information
l Private Instruction courses are included in full-time tuition
up through the minimum required for graduation in each
major. Private Instruction (PI) and Recital Preparation (RP)
courses in which nonpassing grades are earned (“W”,
“F”, “IF”) are counted toward the maximum allowed
within full-time tuition. Students will be charged for any
additional PI or RP courses that exceed the number
required for their major. (See fees on page 10).
l Following are the PI and RP requirements for each major:
l Performance: 8 levels of PI, and 4 levels of RP
l Music Education: 6 levels of PI
l Professional Music: 6 levels of PI
l All other majors: 4 levels of PI
l Songwriting majors may choose to take two additional
private instructions (six levels total). If these are taken on
a student’s principal instrument, the private instruction is
counted as private instruction levels five and six. Students
have the choice to take these addition private instructions
on the following secondary instruments (Guitar, Piano,
and Voice). When these private instructions are taken on
a secondary instrument, they will be counted as unleveled
private instruction.
l Private Instruction taken while enrolled on a part-time
basis is charged on a per-credit basis, and does not
count toward the maximum PI courses allowed within
full-time tuition.
To register
for Private
Instruction,
Performance
majors need
to visit their
instrumental
department
before their
registration
appointment.
23
Private Lesson Roster

Summer/Fall 2008

Bass Galindo, Jeff Hlady, Craig Candelaria, Consuelo

Hopkins, Greg Hogarth, Thaddeus Carlberg, Frank
Lewis, Charles Ihde, Mike Christopherson, Bob
Summer
Lada, Tony Johnson, Scott Cline, Rebecca
Repucci, John
Okoshi, Tiger Kasper, Julien Covell, Jeff
Buda, Dave
Plsek, Tom Kelly, James Davis, Suzanne
Clark, Dave
Stout, Jeff Lappin, Don Elowsky-Fox, Jennifer
Clark. Suzanne
Weinstein, Michael Maness, Andrew Gardony, Laszlo
Del Nero, Paul
Wilson, Phil Marasco, John Germain, Tony (Prior
Gertz, Bruce
Michaud, Shaun Written Approval)
Lockwood, John
Mahdi, Ron Guitar Miller, Jane Heck, Steve
Miller, Tim Hoffmann, Russ
Mooter, Greg
Summer Musella, Joe Hunt, Steve
Morris, Danny
Bartlett, Bruce Newsam, David Jenson, Matt
Smith, Barry
Belz, Kevin Passarelli, Lauren Johnson, Doug
Stinnett, Jim
Bowden, Dan Peckham, Rick (Prior Katz, Bruce
Vitti, Anthony
Difusco, Sal Written Approval) Limina, Dave
Gaboury, Tony Peterson, James Mallet, Alain (Prior
Fall
Hansen, Charles Pezanelli, John Written Approval)
When Repucci, John
Hart, Richie Rogers, Joe Mulroy, John
Browne, Whit
registering Roos, Randy Olmstead, Neil
Buda, Dave Ihde, Michael
for Private Kasper, Julien Saunders, Bruce Perez, Danilo (Prior
Clark, Dave
Instruction Kelly, James Sher, Benjamin Written Approval)
Clark, Suzanne
or Recital Marasco, John Shumate, Curtis Ramsay, Ross
Del Nero, Paul
McGann, John Stone, Robin Rosen, Josh
Preparation, Funkhouser, John
Michaud, Shaun Stump, Joe Rossi, Marc
remember to Garrison, Matt
Miller, Jane Taft, Kenneth Santisi, Ray
use capital Xs Gertz, Bruce
Miller, Tim Tarulli, Scott Staaf, Carmen
Herman Hampton
(XXX) for the
Newsam, David Thomas, John Tanksley, Francesca
Hollender, Dave
course number. Pezanelli, John Tronzo, David Thomas, Bruce
Huergo, Fernando
Rogers, Joe Van Duser, Guy Tiernan, Stephany (Prior
Lockwood, John
Taft, Kenneth Wheatley, Jonathan Written Approval)
Mahdi, Ron
Thomas, John White, Mark Wardson, Greg
Mooter, Greg
Tronzo, David Wilkins, John Winter, Bob
Morris, Danny
Van Duser, Guy Williams, Michael
Raberg, Bruno
Wheatley, Jonathan Willmott, Bret Percussion
Santerre, Joe
Williams, Michael Zocher, Abigail Aronson
Smith, Barry
Willmott, Bret Zocher, Norman
Smith, Skip Summer
Spalding, Esperanza
Stagnaro, Oscar Fall Piano Drumset
Stallworth, Lenny Baboian, John Bellotti, Sergio
Stinnett, Jim Baione, Laurence (Prior Summer Considine, Richard
Vitti, Anthony Written Approval) Bedner, Ed Dave DiCenso
Bailey, Sheryl Brackeen, Joanne Haddad, Jamey
Brass Bartlett, Bruce Covell, Jeff Hadden, Dudley
Belz, Kevin Elowsky-Fox, Jennifer Kaufman, Robert
Bowden, Dan Hoffmann, Russ Lehmann, Bertram
Summer
Buono, Chris Johnson, Doug Mangini, Mike
Cervenka, Ken
Damian, Jon Mulroy, John Monzon, Ricardo
Faieta, John
DiFusco, Sal Olmstead, Neil Netto, Alberto
Fritze, Greg
Fewell, Garrison Ramsay, Ross Plainfield, Kim
Galindo, Jeff
Finn, Jon Rossi, Marc Santos, Jr., Jackie
Lewis, Charles
Fiuczynski, David Santisi, Ray Scheuerell, Casey
Stout, Jeff
French, Mark Tanksley, Francesca Tamagni, Robert
Wilson, Phil
Fujita, Tomo Thomas, Bruce
Gaboury, Tony Wardson, Greg Hand Percussion
Fall
Gilmore, David Castrillo, Eguie
Biviano, Lin
Goodrick, Michael (Prior Fall Diaz, Ernesto
Cervenka, Ken
Written Approval) Arcaro, John
Faieta, John
Hansen, Charles Bedner, Ed
Fawson, Christine
Harrigan, Robert Blanco, Leo
Fritze, Greg
Hart, Richie Brackeen, Joanne

24
Summer/Fall 2008

Private Lesson Roster

Total Percussion & String Kyles Jerome Fall
Marimba Kowalczk Santoro Steve Beard, Jackie
Leathers, Gwen Beasley, Walter
Mendoza, Victor Summer
Moody, Duane Brandao, Fernando
Saindon, Ed
Pampinella, Paul Cokkinias, Peter
Cello Reeder Raymond Garzone, George
Vibraphone Friesen, Eugene Scott, David Govoni, Dino
Mendoza, Victor Thorson, Lisa Harrington, J. Jeff
Saindon, Edgar Harp LaFitte, Barbara
Pomeranz, Felice Fall LeClaire, Shannon
Fall Barnet, Janie Lipsius, Fred
Mandolin Bermejo, Mili Lowery, Daryl
Drumset McGann, John Blake, Joey Marvuglio, Matthew
Bellotti, Sergio Brown, Sharon McGhee, Andrew
Carrington, Terri Lynn Violin Carr, Karen Odgren, James
Considine, Richard Kott, Sandra Christian, Armsted Olson, Mia
Dennard, Kenwood Rabson, Mimi Cifelli, Kristin Phillips, Margaret
DiCenso, David Thomas, Rob Dolan, Ann Pierce, William
Finn, Lawrence Gagne, Jeannie Rolfe, Wendy
Froman, Ian Fall Kai Kudisan Skoler, Harry Private
Joe Galleota Karam Christiane Thompson, William Instruction
Haddad, Jamey Banjo Kowalczyk, Steven Santoro Tiberi, Frank and Recital
Hadden, Dudley Kyles, Jerome Tomassi, Ed
Hollender, Dave Preparation
Hazilla, Jon Leonhart Carolyn Wagner, Paul levels will be
Kaufman, Robert Leathers, Gwen
Lehman, Bertram
Cello assigned prior
Friedman, Arnold McElroy, Donna
Mangini, Mike Morris, Nancy (RP only) to Check-in.
Monzon, Ricardo Friesen, Eugene
Haas, Natalie Moody Duane
Morgenstein, Rod Mungo Nichelle
Netto, Alberto Pampinella, Paul
Ralph Peterson Harp
Peckham, Anne
Plainfield, Kim Pomeranz, Felice
Pendarvis Janice
Ramsay, John Pfeiffer, Dale
Santos, Jr., Jackie Mandolin Ramsey, Jeff
Smith, Tony McGann, John Reeder Raymond
Skeete, Sean Richardson, Diane
Tamagni, Robert Viola Schachter Daniela
Walker, Mark Howe, Melissa Scott, David
Weigert, David Scott, Maggi
Violin Shapiro, Jan
Hand Percussion Trester, Francine Stewart, Didi
Diaz, Ernesto Glaser, Matt Stoloff, Bob
Galeota, Jr., Joseph Howe, Melissa Strickland, Stan
Haddad, Jamey Howes, Christian Thorson, Lisa
Ringquist, Mikael Kott, Sandra Watson, Larry
Rabson, Mimi Wright, Kathryn
Total Percussion & Thomas, Rob
Marimba Woodwind
Anderson, Dean Voice
Flanagan, Richard Summer
Zeltsman, Nancy Summer Brandao, Fernando
Blake, Joey Cokkinias, Peter
Vibraphone Brown, Sharon Garzone, George
Mendoza, Victor Carr, Karen Harrington, J. Jeff
Saindon, Edgar Cappazolli, Andrea LaFitte, Barbara
Samuels, Dave Christian, Armsted LeClaire, Shannon
Cifelli, Kristen Olson, Mia
Dolan, Ann Marvuglio, Matthew
Gagen Jeannie Pierce, William
Goodman, Gabrielle Rolfe, Wendy
Jenkins, Jodi Thompson, William
Karam Christiane Wagner, Paul
Kia, Kudisan
25
Courses Open to All Students

Summer/Fall 2008

Summer/Fall 2008 Courses Open to All

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.

Course Number Course Title Credits Offered

AR-228 A Survey of Jazz Composition and Arranging 2 credits Spring, Summer, Fall
FS-221 Introduction to Film Scoring 2 credits Spring, Summer, Fall
ILBS-111 Bass Lab – Reading 1 0.5 credit Spring, Summer, Fall
ILBS-121 Bass Lab – Lines 1 0.5 credit Spring, Summer, Fall
ILEN-P211 Turntable Technique 1 credit Spring, Fall
ILGT-115 Guitar Performance Skills for the Nonguitar Principal 0.5 credit Spring, Summer, Fall
ILPD-110 Drum Set for the Nonpercussionist 0.5 credit Spring, Summer, Fall
ILPD-261 Jazz Drum Styles 0.5 credit Spring, Summer, Fall
ILPD-262 Fusion Drum Styles 0.5 credit Spring, Summer, Fall
ILPD-263 Rock Drum Styles 0.5 credit Spring, Summer, Fall
ILPD-264 Funk Drum Styles 0.5 credit Spring, Summer, Fall
ILPD-265 World Drum Styles 0.5 credit Spring, Summer, Fall
ILPH-353 Native American Drumming Lab 0.5 credit Spring, Fall
ILPH-359 Brazilian Rhythms and Percussion 1 credit Spring, Summer, Fall
ILPN-271 Jazz Harmonic Techniques for Piano 1 0.5 credit Spring, Summer, Fall
ILST-131 Improvisational String Performance Lab 0.5 credit Spring, Summer, Fall
ILST-271 World Fiddle Group 0.5 credit Spring, Summer, Fall
ILVC-131 American Diction for Singers 1 credit Spring, Fall
If you have ILVC-P213 Performance Practice: Inspiration, Wellness, and
room in your Demystifying Improvisation 0.5 credit Spring, Fall
schedule for ILWD-221 Practice Routines for Flute 0.5 credit Spring
ILWD-321 Woodwind Doubling Lab – Flute 0.5 credit Spring, Summer, Fall
an elective,
ILWD-322 Woodwind Doubling Lab – Clarinet 0.5 credit Spring, Summer, Fall
these courses
ILWD-323 Woodwind Doubling Lab - Saxophone & Theater Doubling 0.5 credit Spring, Summer, Fall
have no ISPC-231 Percussion for Music Therapy 1 credit Spring, Fall
prerequisites LHAN-221 History of Jazz 2 credits Spring, Summer, Fall
and are open LHAN-222 History of Rock Music 2 credits Spring, Summer, Fall
to all students. LHAN-233 Classic Rock Guitar Players 2 credits Spring, Fall
LHAN-241 A History of the Music of Black America 2 credits Fall
LHAN-245 Women in Music 2 credits Spring, Fall
LHAN-315 Traditional Forms in the Twentieth Century 1 2 credits Fall
LHAN-331 Bop Masters 2 credits Spring, Fall
LHAN-341 Black Music, Black Cultures 2 credits Spring
LHAN-345 Music and Cultures of Africa, Latin America, and South America 2 credits Summer, Fall
LHAN-346 Music and Cultures of India, the Far East, and Eastern Europe 2 credits Spring, Summer
LHAN-351 Music of Miles Davis 2 credits Spring, Fall
LHAN-P247 Music of Women Composers 2 credits Spring
LHUM-151 French I 3 credits Fall
LHUM-161 Spanish I 3 credits Fall
LHUM-171 Japanese I 3 credits Fall
LHUM-P231 Culture, Diversity, and Artistry 3 credits Spring, Fall
LHUM-P285 Creative Nonfiction 3 credits Fall
LHUM-P387 African American Children’s Literature and Culture 3 credits Fall
LMSC-230 Concepts of Mathematics 3 credits Spring, Summer, Fall
LMSC-306 Principles of Physics 3 credits Spring, Fall
LMSC-318 Environmental Science 3 credits Spring, Summer, Fall
MB-101 Introduction to the Music Business 2 credits Spring, Summer, Fall
MB-131 Taxation in the Music Business 2 credits Spring, Summer, Fall
MB-211 Legal Aspects of the Music Industry 2 credits Spring, Summer, Fall
ME-111 Introduction to Music Education 1 credit Spring, Fall
ME-P387 Instrument Repair 1 credit Spring, Fall
MP-110 Introduction to Music Production and Engineering 2 credits Spring, Summer, Fall

26
Summer/Fall 2008

Courses Open to All Students

MS-210 Survey of Electroacoustic Music 2 credits Spring, Summer, Fall
MS-250 Survey of Electronics in the Film Score 2 credits Spring, Fall
MTEC-200 Berklee Internet Radio Network Workshop 1 credit Spring, Summer, Fall
MTH-201 Introduction to International Music Therapy 3 credits Spring, Summer, Fall
MTH-351 Exceptional Children 3 credits Summer, Fall
MTH-P211 Mind/Body Disciplines for Musicians 1 credit Spring
PFSS-311 Survey of Bass Styles 2 credits Spring, Fall
PFSS-321 Survey of Brass Styles 2 credits Spring, Summer, Fall
PFSS-331 Survey of Guitar Styles 2 credits Spring, Fall
PFSS-341 Survey of Drum Styles to the Sixties 2 credits Spring, Fall
PFSS-342 Survey of Drum Styles since the Sixties 2 credits Spring, Fall
PFSS-345 Survey of Percussion Styles 2 credits Spring, Fall
PFSS-347 Survey of Latin American Hand Percussion Styles 2 credits Fall
PFSS-351 Survey of Piano Styles 2 credits Spring, Fall
PFSS-361 Survey of Contemporary String Styles 2 credits Spring
PFSS-371 Survey of Vocal Styles 2 credits Spring, Fall
PFSS-381 Survey of Woodwind Styles 2 credits Spring, Fall
PFSS-385 R&B, Funk, and Smooth Jazz Saxophone Styles 2 credits Spring, Fall
PFSS-P352 Survey of Piano/Vocalist Styles 2 credits Spring, Fall
PSH-238 Awareness Training for Musicians 1 credit Spring, Summer, Fall
PSH-250 Yoga for Musicians 1 1 credit 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-211 Jazz Improvisational Techniques 2 credits Spring, Summer, Fall
PSPR-381 Commercial Band Workshop 2 credits Spring, Summer, Fall
PST-351 Stage Performance Techniques 2 credits Spring, Fall
PST-385 Elements of Theater Production 2 credits Spring, Fall
PSW-341 The Music of Ghana 2 credits Spring, Summer, Fall
PSW-342 The Music of Guinea 2 credits Fall
PSW-361 Brazilian Musical Styles 2 credits Spring, Fall
SW-111 Essentials of Songwriting 1 credit Spring, Summer, Fall
SW-325 Music of John Lennon 2 credits Spring, Summer, Fall

27
Prototype Courses

Summer/Fall 2008

Summer/Fall 2008 Prototypes

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.

Course Number Course Title Credits Offered

CM-P225 Guitar Composition Techniques for Performers-Composers 2 credits Spring, Fall
CM-P227 The Art of Modulation 2 credits Spring, Fall
CM-P353 Introduction to Contemporary Composition 2 credits Spring
CM-P357 Introduction to Electroacoustic and Computer Music for Composers 2 credits Spring
COND-P316 Conducting 2 with Live Keyboard Ensemble 1 credit Spring, Fall
COND-P355 Conducting Instrumental Ensembles 2 credits Fall
CP-P350 20th-Century Counterpoint 2 credits Spring
CW-P217 Writing in Folkloric Latin Styles 2 credits Spring, Fall
CW-P241 Hip-Hop Writing and Production 2 2 credits Spring, Fall
CW-P285 Influential Female Songwriters of the 20th Century 2 credits Spring
CW-P313 Advanced Writing in Latin Styles 2 credits Spring, Fall
A Prototype
CW-P316 Advanced Vocal Writing 2 credits Spring, Fall
Course is a CW-P365 Contemporary Songwriting Production Techniques 2 credits Spring, Fall
course that is ENLB-P300 Berklee Contemporary Symphony Orchestra 1 credit Spring, Fall New
in the process ENSB-P315 Ensemble Master Class 1 credit Spring, Fall
of development ENSB-P321 Funk and Soul Review 1 credit Spring, Fall
in preparation ENVC-P215 Singers Night Performance Ensemble 1 credit Spring, Fall
ENVC-P221 Historic Vocal Ensemble 1 credit Spring, Fall
for final
ENVC-P235 A Cappella Ensemble 1 credit Spring, Fall
approval and
ET-P461 Advanced Modal Ear Training 2 credits Spring, Fall New
inclusion into FS-P343 Seminal Film Composers 2 credits Spring, Fall
the College's HR-P261 The Music of the Beatles 2 credits Spring, Fall
formal curricular ILBR-P336 Singing for Brass Players 0.5 credit Fall New
offerings. Credit ILBS-P263 Bass Lab - Playing in Odd Meters 0.5 credit Spring, Fall
is awarded for ILEN-P211 Turntable Technique 1 credit Spring, Fall
ILPD-P228 Drumming Styles of Contemporary Pop, R&B, and Hip-Hop 0.5 credit Spring, Fall
satisfactory
ILPD-P250 Global Sight-Reading and Advanced Rhythmic Solfege 0.5 credit Spring, Fall
completion of
ILPD-P353 Composing for Drummers 0.5 credit Spring, Fall
the course. ILPH-P297 Chart Reading for the Hand Percussionist 0.5 credit Spring, Fall
ILPN-P237 Advanced Rhythmic Lab for the Keyboardist 0.5 credit Spring, Fall
ILPN-P247 Improvisation in Afro-Cuban Piano 0.5 credit Spring, Fall
ILPN-P263 Jazz Vocal Accompanying for Pianists 1 credit Spring, Fall
ILPN-P274 Jazz Harmonic Applications for Piano, Level 2 0.5 credit Spring, Fall
ILPN-P279 Accompanying Techniques for the Piano/Vocalist 1 credit Spring, Fall
ILST-P135 Rhythmic and Harmonic Approaches for Strings 0.5 credit Spring
ILVC-P161 The Professional Vocalist Audition Workshop 1 credit Spring, Fall
ILVC-P213 Performance Practice: Inspiration, Wellness, and
Demystifying Improvisation 0.5 credit Spring, Fall
ILVC-P218 Eastern Vocal Styles 1 credit Fall New
ILVC-P223 Flo’ology: Spoken Word and Improvisation 1 credit Spring, Fall
ILVC-P231 A Cappella Workshop 1 credit Spring, Fall
ILVC-P243 Instrumental Vocal Singing 1 credit Spring, Fall
IN-P498 London Summer Internship Program 6 credits Summer New
LCOR-P213 History of the Americas 1 3 credits Spring, Fall
LCOR-P214 History of the Americas 2 3 credits Spring, Fall
LCOR-P215 History of Modern East Asia 3 credits Spring, Fall
LHAN-P243 Japanese Music and Instruments 2 credits Spring
LHAN-P247 Music of Women Composers 2 credits Spring
LHAN-P253 African American Composers 2 credits Spring
LHAN-P288 Music of Olivier Messiaen 2 credits Fall New
LHUM-P231 Culture, Diversity, and Artistry 3 credits Spring, Fall
LHUM-P285 Creative Nonfiction 3 credits Fall New
LHUM-P353 French III 3 credits Fall New
LHUM-P363 Spanish III 3 credits Fall New

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

Summer/Fall 2008 New Courses and Prototypes

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.

Course Number Course Title Credits Offered

IN-P498 London Summer Internship Program 1 Credit Summer
ENLB-P300 Berklee Contemporary Symphony Orchestra 1 Credit Spring, Fall
ET-P461 Advanced Modal Ear Training 2 Credis Spring, Fall
ILBR-P336 Singing For Brass Players 0.5 Credit Fall
ILVC-P218 Eastern Vocal Styles 1 Credit Fall
LHAN-P288 Music of Olivier Messiaen 2 Credits Fall
LHUM-P285 Creative Non-fiction 3 Credits Fall
LHUM-P353 French III 3 Credits Fall
LHUM-P363 Spanish III 3 Credits Fall
LHUM-P373 Japanese III 3 Credits Fall
LHUM-P387 African-American Children’s Literature and Culture 3 Credits Fall
LHUM-P431 Creative Writing: Poetry II 3 Credits Fall
LHUM-P450 Poetry Jam and Slam 3 Credits Fall
LSOC-P310 Group Dynamics 3 Credits Fall
MB-P435 The New Music Company 2 Credits Fall
PS-P218 Interdisciplinary Collaborations in Creative Arts 2 Credits Fall
PS-P265 The Music of Kenny “Babyface” Edmonds 2 Credits Fall
SW-P336 Songwriting Collaboration 2 Credits Spring, Fall
SW-P350 Songwriting and Social Change 2 Credits Fall

Spring 2009

Spring 2009 Preview of New Prototypes

Course Number Course Title Credits Offered

LHUM-P453 French IV 3 Credits Spring
LHUM-P473 Japanese IV 3 Credits Spring
LHUM-P463 Spanish IV 3 Credits Spring

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
standard and mixed instrumentation. Range problems, rhythm
section parts, special considerations for high school musicians.
Examination of published scores.
AR-321
Contemporary Arranging and Composition
2 credits
Course Chair: K. Pullig
Required of: None
Electable by: All
Offered: Spring
Prerequisites: CM-371
Development of individual writing creativity. Emphasis on the
building of confidence in writing clear, memorable lead lines
based on standard song forms. Discussions on the relationship
of speech patterns to melody. Individual conferences with the
instructor when necessary. Written projects required.
Jazz arranging techniques for the rhythm section and various
small-group instrumental combinations of up to three horns
(melodic voices). Emphasis on developing complete rhythm
section sound (with or without winds) and advanced voicing
techniques (including interval-based voicings, linear approach
techniques, and constant structure).
AR-407
Advanced Jazz Arranging for Large Ensemble
2 credits
Course Chair: K. Pullig
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of course chair
Extended applications of standard big band scoring
techniques. Analysis of devices found in the compositions
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

AR-331 Functional tonal harmony analyzed and composed in various

Big Band Arranging and Score Analysis
2 credits
Course Chair: K. Pullig
Required of: JCMP majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: AR-201, AR-228, and HR-212
Methodology of big band arranging. Analysis of scores
by classic and contemporary big band arrangers. Library
assignments and class discussion. Written arrangements
and score analysis projects required.
musical textures. Emphasis on voice leading, melodic writing,
and figured bass.
CM-212
Tonal Harmony and Composition 2
2 credits
Course Chair: G. Fritze
Required of: Degree – all majors, except COMP
and MUED majors; Diploma – FILM majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CM-211 and CP-211

Continuation of CM-211. Advanced tonal harmony and

intermediate compositional procedures. Emphasis on
harmonies with sevenths, other upper extensions, chromatic
alterations as well as modulation.

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

The composition of an extended work for full contemporary

orchestra. Intended to demonstrate the ability to handle large
orchestral groups in a characteristic and coherent manner.
36
Summer/Fall 2008
COND-212
Conducting 2
1 credit
Course Chair: G. Fritze/G. Monseur
Required of: Degree – all except MUED majors;
Diploma – CWPR, COMP, FILM, and JCMP majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: COND-211
The course assumes basic beat pattern knowledge and covers
three areas: (1) symphonic conducting with an instrumental
soloist (concerto), (2) symphonic conducting with a vocal
soloist (operatic aria), and (3) symphonic conducting of a
major modern work involving complete meter changes.
Works used include a romantic piano or violin concerto, an
operatic excerpt, and a piece such as Petrouchka, The Rite
of Spring, or Symphonies of Wind Instruments.
COND-216
Conducting 1 with Live Keyboard Ensemble
1 credit
Course Chair: G. Fritze
Required of: None
Electable by: COMP and FILM majors
Offered: Spring, Fall
Prerequisites: ET-211 or ET-231
This course emphasizes in-depth score study and elements
involved with the formulation of musical ideas, the role of
the conductor, and the proper kind of relationship between
the conductor and the orchestra. Students gain valuable
experience rehearsing and conducting an ensemble. The
course utilizes eight keyboards, allowing the formation of an
in-class live keyboard ensemble creating a virtual orchestral
sound. Each of eight performers plays their own individual
lines from the score while one person conducts and rehearses
the ensemble. Each conductor will be videotaped while in
front of the ensemble for further study.
COND-221
Vocal Conducting for Music Education Majors
2 credits
Course Chair: C. Adderley
Required of: MUED majors; MTHE majors not
taking COND-222
Electable by: MUED and MTHE majors
Offered: Spring, Summer, Fall
Prerequisites: None
Fundamental beat patterns, basic conducting technique,
phrasing and articulation, problems of tempo. Discussion and
study of terminology. Lab sessions for choral application of
classroom skills. Geared to the needs of public school music
educators. Emphasis on secondary school repertoire.
Course Descriptions
COND-222
Instrumental Conducting for Music
Education Majors
2 credits
Course Chair: C. Adderley
Required of: MUED majors; MTHE majors not
taking COND-221
Electable by: MUED and MTHE majors
Offered: Spring, Summer, Fall
Prerequisites: COND-221 or written approval
of course chair
Fundamental beat patterns, basic conducting technique,
phrasing and articulation, problems of tempo. Discussion
and study of score analysis. Lab sessions for instrumental
application of classroom skills. Geared to the needs of public
school music educators. NOTE: Performance on secondary
instrument(s) is required.
COND-311
Advanced Conducting Seminar with
Live Orchestra
2 credits
Course Chair: G. Fritze/G. Monseur
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of instructor and
course chair, and either COND-351 or COND-498
This course is designed for the student who wishes to
further abilities in conducting. Emphasis is on rehearsal
techniques and interpretation, while working with a live
orchestral ensemble.
COND-P316
Conducting 2 with Live Keyboard Ensemble
1 credit
Course Chair: G. Fritze Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of instructor
and course chair
This course allows students to gain hands-on experience
in the advanced elements of the conductor's art, while
solidifying those that have been established already. Students
function as an in-class piano keyboard ensemble, creating
an in-class virtual orchestra for conducting exercises. Each
student is videotaped and coached by the instructor during,
and if necessary, outside of class. Prior completion of
COND-216 is strongly recommended.
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
Writing in Folkloric Latin Styles
2 credits
Course Chair: M. Nicholl Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: AR-111, ET-112, and HR-112
This course examines the folkloric music from Latin America
that informs today’s contemporary music. Topics include
traditional musical styles, forms, instrumentation, arranging
techniques, melody, and harmony. Folkloric music from the
following countries is studied: Argentina, Brazil, Chile,
Colombia, the Dominican Republic, Mexico, Peru, Puerto Rico,
and Venezuela. The course focuses on applications of these
styles in contemporary arranging and composition.
CW-218
Jingle Writing
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: AR-111 and HR-211
Composition of music for radio and television commercials.
Emphasis on means of creating suitable product image.
Working with, and alteration of, given lyrics. Some lyric writing.
Determining proper instrumentations. Timing considerations.
CW-221
Writing and Production Techniques in
the Pop/Rock Idiom
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: AR-112 and HR-211
Techniques of instrumental and vocal writing, arranging, and
production in the pop/rock idiom. Includes extensive score
analysis of major composers and performers, discussion of
stylistic techniques and orchestrations, historical perspective,
problem solving, and basic production and programming
concerns. The course is designed to guide the student in
developing an original pop/rock writing style.
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
Emphasis on arranging techniques that apply specifically to
recording situations in various contemporary music settings
and idioms. Arranger’s function, current market trends, and
contemporary recording techniques are discussed.
40
CW-225
Writing in Salsa Styles
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: AR-112
A study of rhythmic styles of contemporary salsa music,
including characteristics of instrumentation and the unique
clave rhythmic pattern. Specific rhythmic styles analyzed will
include mambo, son montuno, guajiro, bomba, merengue,
and songo, among others. Musical scores of Eddie Palmieri,
Juan Luis Guerra, Oscar D’Leon, Arturo Sandoval, Paquito
D’Rivera, and many others will be analyzed. Students will
create melodies as well as piano, guitar, bass, and percussion
rhythmic patterns; they will write brass instrumental sections
using the clave rhythmic pattern.
CW-237
Scoring for Percussion
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: AR-112
Survey of the mallet, membrane, and accessory groups of the
percussion instrument family. Demonstration and discussion of
notation, range, techniques, and effects. Scores from Broadway
shows, and studio, orchestral, chamber, and solo pieces.
CW-P241
Hip-Hop Writing and Production 2
2 credits
Course Chair: M. Nicholl Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: CW-141
A continuation of Hip-Hop Writing and Production I. This
course will further examine the social and cultural aspects
of hip-hop, concentrating on the writing and production
techniques of the most popular and influential artists and
producers from approximately 1995 to the present. Advanced
production techniques will be examined.
Summer/Fall 2008
CW-247
Writing for Woodwinds
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: AR-112
A study of the flute, clarinet, and double reed families based
on intensive listening, transcription, live demonstration, and
composition. Compositions will include: visual imagery,
storytelling, non-Western based concepts and forms, sound
exchange, layering sound, and techniques for composition
that includes improvisation.
CW-255
Applications of 12-Tone Concepts in
Contemporary Composition and Arranging
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: ET-212, HR-212, and either AR-201
or CP-211
Alternative approaches and concepts to writing that can be
used in various aspects of songwriting, arranging, and
composing for contemporary broadcast media, such as film
and TV scores, that will supplement other writing approaches.
Using compositional concepts pioneered by George Tremblay
and Jack Smalley, the course explores writing techniques based
on the use of the 12-tone row concept and the process of
extracting consonant melodic components from the rows
which are then applied to writing for contemporary musical
styles and forms and commercial clients. Some writing projects
will be realized through sequencing and live performance.
CW-261
MIDI Applications for the Writer
2 credits
Course Chair: M. Nicholl
Required of: CWPR majors
Electable by: All with permission of chair
Offered: Spring, Summer, Fall
Prerequisites: ISKB-212 (except piano principals)
and either MTEC-221 or PW-161
The student will learn to utilize digital technology and MIDI to
create musical arrangements of both original and existing
material using a computer-based music workstation. Projects
are designed to simulate real-world writing assignments.
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.
Course Descriptions
CW-275
Music Production Techniques for Writers
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: AR-111, HR-211, and either CW-261
or MTEC-221
Viewing music production from the writer’s perspective, this
course explores how knowledge of compositional elements
including melody, harmony, arranging, and orchestration
help provide the foundation and focus of contemporary
production styles and techniques. Study and analysis of great
producer/musicians will include George Martin, Quincy Jones,
Phil Spector, Daniel Lanois, Peter Gabriel, Prince, Don Was,
Jeff “Mutt” Lange, and others. Focus will be on how
producers utilize their background as accomplished musicians
to create the “aural landscape” of the artists they produce.
Course projects will include analysis papers on different
producers in a variety of styles, and one recording project.
CW-P285
Influential Female Songwriters of
the 20th Century
2 credits
Course Chair: M. Nicholl Prototype
Required of: None
Electable by: All
Offered: Spring
Prerequisites: AR-111, HR-112
The course encompasses the study of influential female
composers of the 20th century, including Dorothy Fields, Betty
Comden, Peggy Lee, Laura Nyro, Joni Mitchell, and Carole
King, and will address various aspects of their lives that directly
affected their writing, such as political and cultural climates,
influences, contemporaries, and experiences with co-writers, as
well as personal life experiences. Content focus will include the
musical elements that made each of these writers so unique,
including the instrumentation, arrangements, and production,
as well as melodic, harmonic, and lyrical content. Assignments
and presentations will often be done as collaborations and
involve musical analysis of the songs and research into the
influences and process of creating them. Towards the end
of the course, assignments will incorporate a study of
contemporary writers and musicians, both men and women,
influenced by these women and the particular musical practices
they share. The mid-term and final assignments will involve
each student writing a song in the style of two of the subject
songwriters that will be presented to the class with a lead sheet
and performance or recording of the material.
41
Course Descriptions
Summer/Fall 2008
CW-311
Writing for Large Ensemble 1
2 credits
Course Chair: M. Nicholl
Required of: CWPR majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CW-211
An orchestration/arranging course that focuses on the
techniques and concepts of writing for large ensemble.
Content also includes the arranging process and how to
adapt and modify the musical elements of a composition into
an effective arrangement. The course deals with notation,
voicings, and combinations of the various sections comprising
the large ensemble: trumpets, trombones, saxophones,
selected woodwinds, and rhythm section. Extensive use of
taped examples and extracts from scores.
CW-P313
Advanced Writing in Latin Styles
2 credits
Course Chair: M. Nicholl Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: AR-112, CW-255
An advanced study of writing in a variety of Latin styles,
including modern and traditional orchestration concepts,
style-specific aspects of form and structure, score analysis, score
and part preparation, and production tips that will give the
composer, arranger, or orchestrator the proper tools to get the
best results either in the studio or in a live performance. Styles
covered include mambo, guaguancó, bomba, timba, bolero,
danzón, tango, reggae, samba, and partido alto. Students will
create arrangements of existing works and original pieces for a
variety of ensembles of different sizes and instrumentation.
CW-P316
Advanced Vocal Writing
2 credits
Course Chair: M. Nicholl Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: CW-216
This course presents an expanded development of material
introduced in CW-216. Important concepts include:
production and direction of vocal rehearsals and recording
sessions; advanced production techniques including layering,
stacking, compressing and mixing vocal tracks; study of
diverse song styles and musical concepts that comprise them;
observation of text/language and cultural influence in
relation to vocal writing; further development of multi-part
background writing; more refined utilization of harmonic
tensions and reharmonization. Rubato and groove-oriented
a cappella techniques will also be explored.
42
CW-341
Scoring for Strings
2 credits
Course Chair: G. Fritze
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CM-212
Discussion of string instruments, their special effects, and
proper notation. Principles of string orchestration and
voicing techniques.
CW-343
Contemporary Arranging for Strings
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-212 and either AR-201
or CW-211
Arranging for strings behind a vocalist or lead instrument.
Emphasis is on contemporary string writing approaches in the
styles of rock, Latin, funk, ballads, and jazz, and the feels of
even and shuffled eighths and sixteenths for string sections
(with rhythm section accompaniment) using specific arranging
techniques of closed and open voicings, clusters, three- to
six-part writing, use of primary melody and countermelody,
and guide tone lines. Production approaches from the writer’s
perspective are also covered. Projects may include arrange-
ments for live performances, recordings, or commercials.
CW-361
Sound Processing Applications for Writers
2 credits
Course Chair: M. Nicholl
Required of: CWPR majors
Electable by: CWPR majors
Offered: Spring, Summer, Fall
Prerequisites: CW-261
This course focuses on the use of sound-processing equipment
as it pertains to the writer who engineers and produces his or
her own pieces. Through the use of software plug-ins, this
course examines the artistic application of ambient devices such
as reverbs, delays, flangers, harmonizers, and choruses, and
dynamic processing units such as compressors, noise gates,
outboard equalization, and limiters. The course also explores
how writing can be enhanced in recording and mixing through
the effective use of sound-processing equipment. Students
will have the opportunity to understand how to enhance their
recordings with these effects through in-class demonstration,
listening analysis, and assigned projects. In addition to using
their own laptop in the Professional Writing technology lab,
students are expected to have the CWP major bundle.
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.

An advanced course designed specifically to teach the CW-445

sophisticated techniques and concepts of writing for small
groups of instruments and writing for studio recording.
Nonconventional voicings and approaches to reorchestrating
music that has been written for larger ensembles will be
examined, as well as uses of various instrumental combinations
in diverse situations and effective incorporation of synthesizers
in a small ensemble. This course also stresses arranging and
orchestration techniques used to deal with specific problems
and to fulfill predetermined concepts.
CW-411
Writing for Large Ensemble 2
2 credits
Course Chair: M. Nicholl
Required of: CWPR majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CW-311
An advanced study of the techniques and concepts of
writing/arranging for a studio orchestra. A continuation of
CW-210 with the addition of the string section, French horn,
tuba, percussion, additional woodwinds, harp, and synthesizer.
Emphasis is placed on orchestral combinations, stylistic
factors, techniques of scoring melody and accompaniment,
sophisticated voicings such as ambichords, writing effective
introductions and endings, and routining an arrangement.
Extensive use of taped examples and score extracts.
Contemporary Orchestration
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CM-231 or CW-411
Exploration of techniques of writing for each orchestral
instrument and for various combinations of instruments,
unusual orchestral instruments, and special effects many
instruments can create. Principles of combining and balancing
instruments; comparison between the live orchestral situation
and the recording studio environment. Incorporation of
ethnic instruments into orchestration; application of orchestral
instruments to contemporary settings and styles. Overview of
the development of the modern symphonic orchestra and the
full orchestra as used in film scores. Live demonstrations of
instruments, score listening and analysis.

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

Analysis and writing of three- and four-voice imitative

counterpoint based on traditional models. Models include
fugue, chorale prelude, and passacaglia or chaconne.

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

Transcription of recorded jazz solos from various periods.

Classroom analysis and discussion.

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
for winds, percussion, and strings, new works for wind
orchestra, and new works by faculty and students.
Performances utilize the newest technologies in multiscreen
projections, film, and dance.
A jazz ensemble featuring arrangements and originals by
composers/arrangers such as Rob McConnell, Bill Holman,
and Sammy Nestico. A library of arrangements not used
by other groups. Instrumentation: four trumpets, three
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

Study and performance of traditional and contemporary salsa

compositions and arrangements.

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
the ensemble. Improvisational and ensemble skills are blended
to allow for individual musical growth. Instrumentation: five
reeds, four trumpets, four trombones, piano, guitar, bass,
and drums.
A big band ensemble that plays original compositions by
student writers as well as select repertoire of the great big
band leaders such as Duke Ellington, Gil Evans, Woody
Herman, Count Basie, Stan Kenton, and others. An end-of-
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
Contemporary Mallet Percussion Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring
Prerequisites: ILPM-121 or by audition
This nontraditional percussion ensemble consists of mallet
instruments with a rhythm section performing original
compositions. Emphasis is placed upon rhythmic accuracy
and creating spontaneous compositions. No previous
improvisational skills are necessary.
ENPC-221
World Percussion Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPD-112 and overall ensemble
rating 4
An ensemble utilizing transcriptions and adaptations of the
repertoire of percussion groups throughout the world. Drum
set, marching, and orchestral percussion instruments will be
combined in performance with African, Indian, Brazilian, and
Latin instruments. Through demonstration and study of
recorded audio and video sources, students will develop
performance skills on a wide variety of percussion instruments.
ENPC-363
Marimba in Mixed Chamber Music Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4 or written
approval of instructor and course chair
An ensemble for advanced marimbists, instrumentalists, and
vocalists dedicated to the performance of compositions and
arrangements that include the marimba. Music performed
will be drawn from classical and contemporary styles. An
end-of-semester recital is scheduled.
ENPC-374
West African Drum and Dance Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: ILPH-351 or written approval of
instructor and course chair
A performance-based ensemble utilizing the music and
rhythms from traditional West African genres. Emphasis will
be placed upon dialogue between drum calls and dance
movement along with cultural songs of historical content.
Students will perform at least once as a full ensemble at the
end of each semester.

ENPC-321
Mixed World Ensemble
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 7 or written
approval of instructor and course chair
Development of repertoire and performance skills in an
ensemble consisting of both Western and non-Western or
“world” instruments. Integration of non-Western ideas and
techniques; listening and improvising outside of standard jazz
and pop forms; spontaneous composition as opposed to loose
improvisation; strengthening of individual musical aesthetic.
ENPC-385
Berklee Drum Line
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: ILPD-111 or by audition
A percussion ensemble designed to develop playing skills in
the drum line idiom. Instrumentation includes snare drums,
multi-toms, mixed percussion, tuned bass drums, and mallet
keyboards. Practice materials and routines designed to
develop strength, control, and endurance will be included.
An end-of-semester performance will be prepared.

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

A continuation of ILPH-354. Continued development of

performance skills through study of recordings and
transcriptions, singing and chanting, and group playing.
Application of drumming and singing to other musical forms.
50
Summer/Fall 2008

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

ENPM-331 An ensemble for six entering piano students with an overall

Marimba Ensemble I ensemble rating of 4 to 6 to play with bass and drums in a
1 credit variety of grooves, with primary emphasis on organizing
Course Chair: D. Anderson material for the trio.
Required of: MUED total percussion and
vibraphone principals, PERF total percussion ENSB-111
and vibraphone principals Rhythm Section Ensemble
Electable by: All percussion principals 1 credit
Offered: Spring, Fall Course Chair: R. Savage
Prerequisites: None Required of: All first-semester piano, guitar,
bass, and percussion principals who are enrolled
An ensemble for beginning percussionists specializing in in neither ENGT-111 nor ENSB-121
interpretations and transcriptions of baroque, classical, and Electable by: Piano, guitar, bass, and
contemporary literature. percussion principals
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 1

Instrumental ensembles that focus on rhythm section

performance in a variety of musical styles. Combining piano,
guitar, bass, and drum lab, and ensemble formats, classes
will cover performance techniques utilized in contemporary
musical idioms including jazz, rock, and blues.

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

Ensembles will focus on learning rock performance in a

variety of rock styles and approaches. Styles to include classic
rock of the seventies, eighties, nineties, and the music of
Jimi Hendrix. Instrumentation: all instruments.

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.

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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.

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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

Medium-sized ensembles that perform arrangements in a

variety of contemporary styles. Instrumentation: mixed winds,
piano, guitar, bass, drums, and vibes.

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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.

Classic and contemporary approaches to string ensemble ENVC-211

performance, including groove-based playing and improvisation Small Band with Vocals Ensemble 3
in addition to more traditional repertoire. 1 credit
Course Chair: R. Savage
ENST-251 Required of: None
Classical String Chamber Music Electable by: All
1 credit Offered: Spring, Summer, Fall
Course Chair: M. Glaser Prerequisites: Overall ensemble rating 3
Required of: None
Electable by: Violin, viola, cello, and harp principals Ensembles will cover techniques in a variety of contemporary
Offered: Spring, Fall music styles featuring vocals. Students will contribute music.
Prerequisites: None Styles include pop/rock, acoustic/unplugged, r&b, country,
jazz standards, progressive rock, Lilith Fair, and smooth jazz.
Study and performance of string quartets and trios
from the repertoire of the baroque period through the ENVC-P215
twenty-first century. Singers Night Performance Ensemble
1 credit
ENST-252 Course Chair: J. Shapiro Prototype
Improvisational String Chamber Music Required of: None
1 credit Electable by: Bass, brass, drum set, guitar,
Course Chair: M. Glaser hand percussion, piano, woodwind, and
Required of: None vocal principals
Electable by: String principals Offered: Spring, Fall
Offered: Spring, Fall Prerequisites: By audition
Prerequisites: ILST-110 or ILST-111
Performance ensemble comprised of piano, keyboards, bass,
Strings playing covers of nonstring-based popular music. drums, percussion, horns and vocalists. The focus of this class
Students pick the repertoire. will emphasize the relationship between vocals and band
members as well as the supportive and collaborative role of
ENVC-111 band members. Class meeting times, including rehearsals,
Rhythm Section Grooves for Vocalists may vary according to scheduled final performance. Singers
1 credit Night Concert will occur in the Berklee Performance Center
Course Chair: J. Shapiro each fall and Offered: Spring semester.
Required of: None
Electable by: Voice principals
Offered: Spring, Summer, Fall
Prerequisites: None

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.

This ensemble is available for vocalists. Though participants do ENVC-371

not need to be Voice principals, they should have the vocal and Vocal Recording Ensembles
musicianship training necessary for this type of performance. 1 credit
Students will practice, learn, and perform in one or two Course Chair: R. Savage
concerts per semester. There will be mixed voice and divisi Required of: None
rehearsals as needed. Music will include traditional pieces Electable by: All
from early music through contemporary classical music. This Offered: Spring, Summer, Fall
ensemble will utilize soprano, alto, tenor, bass voices, [four Prerequisites: By audition
voices per part (two voices per part for divisi) for sixteen
vocalists]. This course will also require a piano accompanist. Experience in a variety of vocal techniques necessary in the
recording studio. Solos, background, pop tunes, and jingles.
Audition requirements include singing one classical piece Instrumentation: five voices.
with piano accompaniment, as well as singing in a quartet
performing briefly rehearsed “a capella” music.

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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.

ENVC-485 This course combines analysis and composition elements,

Gospel Choir in order to provide students with the basic musical skills
2 credits necessary for composing music for film. Course work
Course Chair: R. Savage includes in-depth analysis of existing musical examples,
Required of: None which demonstrate the “building blocks” of composition,
Electable by: All including: melody, harmony, rhythm, and form, as applied to
Offered: Spring, Fall specific dramatic situations. Students will compose several
Prerequisites: By audition short original examples, modeled after the various analysis
examples presented.
Large vocal ensemble with emphasis on traditional and
contemporary gospel music. Concert performances during the FS-251
fall and Offered: Spring semesters. Note: A $15 refundable The Language of Film
deposit for the use of a choir robe is required. 3 credits
Course Chair: D. Carlin
Required of: None
Film Scoring Electable by: FILM majors
Offered: Fall, Offered: Spring
FS-131 Prerequisites: FS-221 and LCOR-112
History of Film Music
2 credits This course provides Film Scoring majors with an introduction
Course Chair: D. Carlin to how film makes visual and narrative meaning through
Required of: None the “language of film,” which includes camera, frame
Electable by: FILM majors; all other majors composition, lighting, production design, acting styles, edit-
with chair permission ing, dialogue, plot, genre, themes, sound, and point of view.
Offered: Spring, Summer, Fall Students will learn to “read” and analyze film from a film
Prerequisites: None studies perspective. Written assignments and in-class activities
will reinforce writing, reading, and oral communication
A survey of music in feature-length films from the silent skills, with the goal of strengthening students' abilities to
period to the present day. An overview of stylistic scoring communicate with directors.
approaches that represent the most significant developments
in the field. Discussion of works of composers who have
contributed extensively to the development of film music,
including representatives of newer trends in recent years.
Extensive visual examples will be combined with independent
aural analysis of a wide range of scores.

58
Summer/Fall 2008
FS-311
Film Music Composition Seminar
1 credit
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Fall
Prerequisites: CM-221, CP-213, and FS-221
Intended as a complement to FS-341 and/or FS-441, this
course is designed to provide a link between composition
and scoring techniques by addressing specific challenges of
dramatic music composition. Application of compositional
devices intended to help advance the drama; exploration of
different concepts and methods as creative music resources
for current and future scoring assignments.
FS-340
Dramatic Orchestration for Film
2 credits
Course Chair: D. Carlin
Required of: FILM majors
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-241, FS-361, and either
COND-212 or COND-222; FS-341 must be
taken concurrently with FS-340.
This course focuses on the exploration and application of
traditional and contemporary orchestration techniques to
support and achieve intended dramatic effect. Regular
assignments involve the use of orchestration as an important
compositional tool to successfully meet the emotional
requirements of a wide variety of dramatic situations.
FS-341
Scoring Techniques for Film and Video
2 credits
Course Chair: D. Carlin
Required of: FILM majors
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-241, FS-361, and either
COND-212 or COND-222; FS-340 must be
taken concurrently with FS-341.
The technical and aesthetic aspects of composing and
recording music for picture using various synchronization
methods: to a click provided by a MIDI sequencer, and
to a studio clock or stopwatch. Film and Video formats,
measurements, and conversions as well as scoring procedures
and rehearsal techniques covered. Students compose and
record three projects: sequenced, sequenced combined
with live players, and a free timed to clock project using
a live ensemble.
Course Descriptions
FS-P343
Seminal Film Composers
2 credits
Course Chair: D. Carlin Prototype
Required of: None
Electable by: FILM majors, or chair approval for
those outside of FILM
Offered: Spring, Fall
Prerequisites: FS-340, FS-341, FS-361 or similar
level per Chair approval
Throughout the history of film, a handful of composers have
had an extraordinary and formative impact on the art of
film scoring. Composers such as Bernard Herrmann, Jerry
Goldsmith, and more recently, Thomas Newman, have
invented, extended, or defined the grammar and vocabulary
of film music. This course will take a full semester to closely
examine the work and career of one composer, in a rotating
set of seminal figures in film scoring history. By studying their
work, their impact on film music language, and by seeing how
their careers developed, students will gain valuable lessons in
the art and profession of film scoring.
FS-361
Computer/Synthesis Applications
for Film Scoring
2 credits
Course Chair: D. Carlin
Required of: FILM majors
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-221, CM-221, CM-231, CP-213,
ISKB-212, HR-212, ET-212 or ET-232, and either
COND-211 or COND-221 or COND-216; FS-361
must be taken concurrently with FS-241.
The use of MIDI/Audio sequencing in scoring to picture, in
conjunction with sample playback and synthesis software.
Special attention is paid to the Film Scoring capabilities of
MacIntosh sequencing application(s) using: QuickTime, tempo,
meter, and synchronization, in the process of scoring music
to picture. Emphasis is also placed on maximizing dramatic
expression through use of the available software tools.
FS-375
Film Music Editing 1
2 credits
Course Chair: D. Carlin
Required of: FILM majors
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: CM-311, FS-340, and FS-341; FS-375
must be taken concurrently with FS-441.
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
Survey of Film Scoring Techniques
and Procedures
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: All except FILM majors
Offered: Spring, Fall
Prerequisites: COND-211, FS-221, and either
AR-201 or CM-221
This course is intended to give non–film scoring majors an
overview of the mechanics of synchronization and the
psychological implications of applying music to film. Analysis of
special dramatic situations will be followed by demonstrations
of scoring techniques such as click tracks and picture recording,
in addition to discussions of procedures for composing and
recording film music.
FS-433
Stylistic Adaptation in Film Scoring
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-441 and FS-375.
This course will address the prevalent and recurrent need in
films to emulate a wide variety of stylistic scoring approaches
appropriate to the period setting and/or specific ethnic locale
of a screenplay. Approaches to research and adaptation of
authentic musical styles will be discussed. (Such styles include,
for example, seventeenth-century European, African, American
in the 1920s, etc.) Careful attention to instrumentation,
arranging, orchestration, and dramatic theme development will
be stressed. Assignments representing realistic situations will be
recorded synchronously to the specific needs of film scenes.
FS-441
Scoring Applications for Film and Video
2 credits
Course Chair: D. Carlin
Required of: FILM majors
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: CM-311, FS-340, and FS-341; FS-375
must be taken concurrently with FS-441.
This course will provide opportunities for scoring scenes
with a wide range of dramatic and technical requirements.
A combination of material from FS-341, combined with
advanced techniques from the course (scoring to picture,
special and variable clicks, segue/overlays/sweeteners), will be
employed in the scoring assignments. All recorded projects
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
FS-461
Advanced Computer Applications for
Film/Video Scoring
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-361 and FS-241.
An examination of advanced Film Scoring functions available
in various software applications: MacIntosh applications
include Digital Performer, Logic Pro, Kontakt, and Reason.
The use of multi computer workstation setups: Macintosh for
sequencing, PC for sample or software synthesis playback,
using Kontakt or GigaStudio for various sample libraries, as
well as V-STack as a host for VST instruments. Scoring projects
include a cartoon, TV commercial, and videogame footage.
FS-468
Contemporary Techniques in Film Scoring
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Fall
Prerequisites: CM-311, FS-340, and FS-341.
This course focuses on the new musical and technological
techniques and aesthetics of contemporary film composing.
The use of synthesizers and sound design, computers and
advanced sequencing techniques, rock, pop, and other
nontraditional music in the film scoring process, and the
contemporary aesthetics of modern filmmakers and audiences
will be investigated.
FS-475
Advanced Film Music Editing
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: FS-361 and FS-375
An advanced music editing course dealing with standard film
and television industry procedures. Intended for the student
who demonstrates technical fluidity with editing equipment
and who intends to pursue a career in this field. Emphasis is
on the responsibilities of a music editor for the “scored” film,
from temp tracks and spotting through dubbing. Instruction
will include digital editing techniques on a multitrack digital
audio workstation, as well as the necessary preparations for
delivering music to the dubbing stage in various surround
sound formats.
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.

International students in F-1 status must obtain authorization

on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
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Course Descriptions

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:
deceptive resolutions of secondary dominants; dominant
seventh chords without dominant function; contiguous
dominant motion. Review of melodic construction, form,
and melody/harmony relationship; modal interchange; pedal
point and ostinato; modal harmony and modal composition;
compound chords; constant structures.
HR-231
Harmonic Analysis of Rock Music
2 credits
Course Chair: J. Mulholland
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-211
Identification and analysis of rock harmonies and melodies.
Examples from the mid-1950s to the present day will be
studied. Pentatonic and diatonic harmony, linear/open harmony,
modulation, and classic rock chord patterns will be included.
Emphasis will be placed on harmonic dictation.
Songs written and recorded by the Beatles, as well as songs
written by the Beatles and recorded by other artists, will be
analyzed for their harmonic content, melodic construction,
modal focus, rhythmic phrasing, and lyrical construction. The
course will be structured around the 10-year rule for composers
and the three stages they move through in their career, from
being engaged in others' music, to development of the current
style, to innovation. In addition, an understanding of each
member's personal history will be presented as a means of
understanding the group's music. Also addressed will be the
social environment from which the group emerged and
developed and consideration given to its effect on their musical
development and progress.
HR-325
Reharmonization Techniques
2 credits
Course Chair: J. Mulholland
Required of: JCMP majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-212

HR-241 Functional, extended, and bass line reharmonization.

Harmony in Brazilian Song Incomplete chord structures and reharmonization of
2 credits diminished chords. Application of the above techniques for
Course Chair: J. Mulholland writing turnarounds, introductions, interludes, modulations,
Required of: None and extended endings. Corrections of faulty lead sheets.
Electable by: All
Offered: Spring, Summer, Fall HR-335
Prerequisites: HR-211 Advanced Harmonic Concepts
2 credits
A study of how harmony interacts with melody, lyric, rhythm, Course Chair: J. Mulholland
style, and form in Brazilian popular song, accomplished Required of: None
through examining the works of the principal songwriters of Electable by: All
three major styles of Brazilian popular music: samba, bossa Offered: Spring, Summer, Fall
nova, and MPB (musica popular Brasiliera). Prerequisites: HR-212

HR-251 Emphasis on newer harmonic concepts to enable students

Blues: Analysis and Application to write and analyze tunes in the style of Mike Gibbs, Chick
2 credits Corea, and others. Discussion and use of nonfunctional
Course Chair: J. Mulholland harmonic techniques including multitonic systems, constant
Required of: None cycles, and patterned material. Analysis of representative tunes.
Electable by: All
Offered: Spring, Fall
Prerequisites: HR-211

A study of the evolution of the blues, combined with

compositional application of various blues styles. Historical
study focusing on the blues as a complete and complex form
as well as the basic foundation for other styles. Analysis
includes examination of harmonic movement, rhythmic and
melodic construction, and lyric content.

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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

This course presents the basics of jazz improvisation on simple

diatonic song forms in easy keys. In addition to learning to
improvise on these sets of changes, the student will also
memorize a basic set of appropriate tunes.

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Course Descriptions

Summer/Fall 2008

ILBR-211
Brass Lab – Reading 3
0.5 credit
Course Chair: T. Plsek
Required of: Brass principals
Electable by: Brass principals
Offered: Spring, Summer, Fall
Prerequisites: ILBR-112
The goal of ILBR-111, ILBR-112, and ILBR-211 is to prepare
the entering brass student for the college ensemble program.
Emphasis on reading studies in a variety of styles.
ILBR-212
Advanced Brass Reading Lab
0.5 credit
Course Chair: T. Plsek
Required of: None
Electable by: Brass principals
Offered: Spring, Summer, Fall
Prerequisites: ILBR-211 or overall ensemble rating 4
Advanced Brass Reading Lab is designed for those brass
students who have an overall ensemble rating of 4, and new
students who demonstrate moderate-to-advanced reading
skills. The material covered is a continuation of ILBR-111,
ILBR-112, and ILBR-211, and focuses on developing the
advanced reading skills required in contemporary music.
ILBR-221
Brass Improvisation Lab 3
0.5 credit
Course Chair: T. Plsek
Required of: None
Electable by: Brass principals
Offered: Spring, Summer, Fall
Prerequisites: ILBR-122 or written approval of
instructor and course chair
This course continues the materials presented in ILBR-121
and ILBR-122, and applies them to improvising on blues forms
and diatonic song forms in more advanced keys. In addition
to learning to improvise on these sets of changes, the student
will also memorize a basic set of appropriate tunes.
ILBR-335
Exploring Technology for Brass Players
0.5 credit
Course Chair: T. Plsek
Required of: None
Electable by: Brass principals
Offered: Spring, Fall
Prerequisites: Written approval of instructor
and course chair
Students will be introduced to technology applications
available for use by brass players in real-time performance
situations. Emphasis will be on the use of technology as an
extension of the instruments.
ILBR-P336
Singing For Brass Players
0.5 credit
Course Chair: T. Plsek Prototype
Required of: None
Electable by: Brass principals
Offered: Fall
Prerequisites: None
This course is designed to focus on vocal performance for
students with a brass principal. Students may or may not
have experience as vocalists. All classes will be geared towards
the styles the individuals are interested in, emphasizing both
singing and playing. Students will be asked to learn and
perform new songs each week with the main emphasis being
on the selection of correct keys, tempos, and styles. There
will be a comparative analysis between vocal and instrumental
phrasing, improvisation where relevant, and physiology.
Students will also be exposed to performers who have been
recognized and respected as both singers and horn players.
ILBS-111
Bass Lab – Reading 1
0.5 credit
Course Chair: R. Appleman
Required of: Bass principals
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None

ILBR-222 Instrumental lab for bass principals emphasizing the basic

Advanced Brass Improvisation Lab techniques and styles of bass playing in a variety of idioms.
0.5 credit
Course Chair: T. Plsek ILBS-112
Required of: None Bass Lab – Reading 2
Electable by: Brass principals 0.5 credit
Offered: Spring, Summer, Fall Course Chair: R. Appleman
Prerequisites: Overall ensemble rating 4 Required of: Bass principals
Electable by: All
Advanced Brass Improvisation Lab is designed for those Offered: Spring, Summer, Fall
brass students who have an overall ensemble rating of 4, Prerequisites: ILBS-111
and new students who demonstrate moderate-to-advanced
improvisational skills. The material covered is a continuation Continuation of IBLS-111.
of ILBR-111, ILBR-112, and ILBR-211, and focuses on
developing the advanced improvisational abilities required
in contemporary music.

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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.

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Course Descriptions

Summer/Fall 2008

ILBS-225
Bass Lab – Basic Timekeeping
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Summer, Fall
Prerequisites: None
Development of the ability to grasp and maintain a tempo.
Exercises including metronome games to improve accuracy
and steady time while developing suppleness and flexibility
to meet the wide array of rhythm section challenges found
in contemporary, live, and studio environments.
ILBS-241
Electric Bass Pop Repertoire
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Fall
Prerequisites: LHAN-237 or PFSS-311
A bass lab designed to develop familiarity and performance
skills in the pop repertoire. Bass lines to a number of classic
pop tunes will be learned, and the ability to transpose these
lines to several other keys will be developed. Students will learn
harmonic sequences that are frequently used in pop music
styles, and will also develop interactive and communication
skills by teaching new songs to the class.
ILBS-244
Five- and Six-String Electric Bass Lab
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Fall
Prerequisites: None
A general overview and application of different types of
knowledge applied to five- and six-string bass, including but
not limited to different muting techniques, two- and three-
octave scales, arpeggios, intervals, reading in positions, and
also discussions on various neck widths, string closeness,
pick-up placement, bolt-on necks versus neck-through basses.
ILBS-247
Funk/Fusion Styles for Bass
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Fall
Prerequisites: Private instruction level 3 or
ensemble rating 3433
ILBS-251
Basic Slap Techniques for Electric Bass
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals or with
department recommendation
Offered: Spring, Summer, Fall
Prerequisites: None
Alternately called slap bass, funk bass, or thumb and snap bass,
this technique will be approached in class on a beginner’s basis.
Emphasis will be placed on fundamentals. Developing a
technical foundation through progressive exercises, students
will learn to read and interpret basic slap notation. Creativity is
encouraged through use of combining basic slap ideas (thumb,
snap, muted notes, slides, hammer-ons, and pull-offs).
ILBS-254
Finger Style R&B and Fusion Lab
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
Development of playing skills in this style through study of
the repertoire from the 1960s to the present. Chronological
history of the style; development of technique, sound, and
overall feel; performance of bass lines with backing tracks;
appreciation of lesser-known players in this style.
ILBS-255
The Evolution of Hip-Hop Bass
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 2
This lab focuses on the techniques required to perform in the
hip-hop style. Recordings and transcriptions will be presented,
and students will be required to perform the bass parts and
lines. Content covers the beginnings of hip-hop (rap) in
New York in the late 1970s, focusing on groups such as
Grandmaster Flash and others. The gospel influence of Ce Ce
Winans and more contemporary hip-hop artists such as
D’Angelo, the Roots, Steve Coleman, Jill Scott, and others will
be presented. Drum and bass grooves will also be explored.

Development of working knowledge of funk styles for bass,

including grooves, reading syncopated rhythms, developing
a good sound with thumb slapping and popping, and
importance of drum/bass concept in contemporary rock and
commercial styles.
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Summer/Fall 2008

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.
Emphasis on Cuban and Brazilian music and rhythms from
the twenties through the sixties.
ILBS-262
Brazilian Bass Lab
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals
Offered: Spring
Prerequisites: Overall ensemble rating 3
This is an instrumental lab for bassists that focuses on the
Brazilian styles of bossa nova, samba, partido alto, chorinho,
and afoxe. Weekly assignments will cover a wide range of
Brazilian music repertoire, including bass lines and melodies.
Students will be exposed to reading in 2/4, 4/4, and cut-time
meters, as well as Brazilian percussion instruments and
their patterns.
A lab for bass principals wishing to begin coordinating their
playing with singing, or to further develop their skills playing
while singing. In addition to opening a new range of working
possibilities, this study will significantly expand students’
musicianship levels by developing musical independence and
multitasking skills.
ILBS-281
Arco Workshop
0.5 credit
Course Chair: R. Appleman
Required of: None
Electable by: Bass principals or with
departmental recommendation
Offered: Spring, Fall
Prerequisites: ILBS-181 or by audition
This course will introduce the double bass student to
orchestral performance. Basic bowing techniques will be
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.

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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.
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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.
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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.

Standard tunes are prepared (melody, chords, bass lines, and

improvisation) for critiqued performance on a weekly basis.
Techniques for, and approaches to, improvisation, including
solo transcription and analysis of chord progressions for scale
relationship.

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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

This course will analyze, compare, and contrast the

improvisational styles and techniques of contemporary postbop
jazz guitarists Peter Bernstein and Kurt Rosenwinkel. This
will be accomplished through analysis of solo transcriptions
prepared by the instructor and transcriptions completed by
each student.
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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.

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Summer/Fall 2008
ILGT-263
Reading Contemporary Guitar Rhythms
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
This lab is designed for the student to experience the rhythmic
challenges (from simple to very complex) encountered in
contemporary music. Pop, rock, jazz, fusion, and country music
styles will be covered in harmonic settings.
ILGT-265
Guitar Lab – Performance Techniques
and Comping
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-119
A performance lab for guitarists focusing on combining jazz
style harmonic techniques with the development of rhythmic
flexibility. This course is for students who wish to develop
these skills in an interactive setting.
ILGT-267
Guitarist Approaches to Vocal Accompaniment
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-117
A Guitar Department course in which students will study
methods and techniques specifically related to the
accompaniment of vocalists in a variety of styles and settings.
Students will learn appropriate repertoire; chord and melodic
techniques, including drop two and three, voicings, walking
bass techniques, chord soloing techniques, and finger- and
pick-style playing; and techniques for working with male
and female vocalists in solo, duo, trio, or larger settings.
ILGT-269
Polyrhythms for Guitar 1
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
This lab is an introduction to rhythmic displacement in
comping and soloing by the use of various polyrhythms and
polymeters against a standard 3/4 or 4/4 time signature.
Course Descriptions
ILGT-271
Linear Approach Concepts
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
A lab for guitar principals that develops approach patterns
and trains the ear for improvisation in all idioms.
ILGT-275
Recording/Practice Techniques for
the Performing Guitarist
1 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-119
A course exploring a wide range of creative, aesthetic,
conceptual, and technical aspects of recording electric and
acoustic guitar. Topics will include the creation of overdubbed
parts in a recording session and related aspects of tone;
orchestration and concept; recording media; direct recording
of electric guitar; microphone use and theory applied to
electric and acoustic guitar; use of equalization; compression
and other effects in a recording environment; and mixing
and production concepts.
ILGT-280
Classical Guitar Repertoire and
Performance Class
1 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-117
A workshop class for aspiring classical guitarists of all levels,
based on the traditional repertoire class, where standard
and lesser known works of guitar literature are performed,
coached, and discussed. Students will regularly perform
level-appropriate pieces agreed upon with the instructor, and
through these performances, the class will provide a survey
of guitar literature. Coaching will cover issues of classical
guitar performance such as tone, technique, musicality,
interpretation, and style. The course will also include study
of major classical guitarists and their recordings.
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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
recording of literature written or transcribed for classical guitar.
ILGT-285
Country Guitar Lab
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
Performance of material from Country Guitar Styles, including
single-note solos, pedal steel style, folk finger picking, and
western swing.
ILGT-319
Guitar Styles of the Beatles
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: ILGT-117, ILGT-119, and
ensemble rating 3333
Study and performance of guitar riffs, leads, and grooves as
recorded by Harrison, Lennon, and McCartney. Role of the
guitar in pop/rock recording and production, including triads,
four-note voicings, characteristic rhythms, phrasing, effects,
layering, and the mini-orchestra concept. Developing typical
accompaniment patterns for contemporary songs.
ILGT-321
Advanced Standard Workshop for the Guitarist
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-221 and ensemble rating 4444
A continuation of ILGT-221 using standards that present
greater challenges. Tunes are prepared (melody, chords,
bass line, and improvisation) for critiqued performance on a
weekly basis. Techniques for and approaches to improvisation,
including the application of melodic and harmonic minor
scales and diminished and whole tone scales.
A lab for guitar principals continuing the development of
harmonic and voice-leading concepts introduced in ILGT-223.
Various string combinations and voicing sizes will be
introduced, and a more in-depth examination of modal
harmonies and upper-structure triads will be developed.
ILGT-325
Walking Bass Line and Chords for Guitar
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-119
A systematic technique developing a complete rhythm
section style of accompaniment playing, ideal for duo
and trio situations. Class participation involves weekly
performance of standard, jazz, blues, or Latin tunes.
ILGT-327
Advanced Chord Soloing
1 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: ILGT-227
Students will record solo guitar pieces of their choice, which
may include original arrangements, transcriptions, adaptations
in various genres, and Guitar Department–produced handouts.
Recordings may also include chord soloing with rhythm section.
ILGT-329
The Complete Rhythm Guitarist
0.5 credit
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: ILGT-119
A systematic group approach designed to expose students
to the correct interpretation and techniques necessary to
perform all styles of rhythm guitar playing. A taped rhythm
section is used for students to play along, which enhances
their musical experience in this very important area of
guitar performance.

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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
and techniques. Analysis becomes secondary, and in-class
performance is emphasized. Instructor demonstration
is continued.
Instrumental lab for guitar principals with third-semester
or higher standing. Emphasis on application of theory
and musicianship concepts presented in core music
studies (harmony and ear training) to modern rock
guitar improvisation.

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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.

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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
Montgomery through recordings and transcribed solos
featuring Montgomery’s own fingerings, phrasing, etc.
Focus on the artist’s blues and swing feel, spontaneous
improvisation, and individuality.
Emphasis on intervallic recognition, setting the pitch, tone
concepts, rolls, dynamics, and sticking. Performance of two
timpani etudes.

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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.
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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

ILPD-217 Study and application of drum set performance to pop/R&B

Brush Techniques and hip hop. The course focuses on basic knowledge of the
0.5 credit hip-hop culture and history, the study of the music of the
Course Chair: D. Anderson key figures in the genre, and enhancing ability to play in back
Required of: None beat oriented genres. Technical elements to be addressed
Electable by: Drum set and total percussion principals include single bass drum technique, playing with click or
Offered: Spring, Summer, Fall sequencer, playing funk with a swing feel, and multiple
Prerequisites: ILPD-112 bounce techniques as practiced in hip/hop and R&B.

This lab emphasizes techniques related to traditional wire ILPD-229

brushes and heavier specialty brushes, including conventional Hip-Hop Drumming Development, Repertoire,
sweeping and figure patterns, individualized patterns, and Applications
distribution of rhythm between both hands, reverse functioning 0.5 credit
in the hands, and techniques related to jazz and bossa nova Course Chair: D. Anderson
styles. Repertoire study and brush stylists including Philly Joe Required of: None
Jones, Vernell Fournier, and Ed Thigpen will be investigated. Electable by: All percussion principals
Offered: Spring, Fall
ILPD-221 Prerequisites: ILPD-112
Rock Drumming Repertoire and Applications
0.5 credit This course will enhance the learning and playing of the
Course Chair: D. Anderson standard repertoire for drum set in various hip-hop styles.
Required of: None Course also focuses on the hip-hop culture and history
Electable by: All percussion principals through the study of key musical figures in the genre.
Offered: Spring, Fall
Prerequisites: None ILPD-231
Basic Time and Pulse
This course will enhance the learning and playing of standard 0.5 credit
repertoire for drum set in various rock styles. Approximately Course Chair: D. Anderson
fifty songs will be analyzed, studied, and memorized. This Required of: None
course is designed to allow the student to possess a working Electable by: All percussion principals
knowledge of the standard repertoire. This course is designed Offered: Spring, Summer, Fall
to expand upon the repertoire that currently is studied in Prerequisites: None
the department’s drum lab program, elective labs, and
core curriculum. Application of basic rhythms and techniques to jazz and
avant-garde music.

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Course Descriptions
Summer/Fall 2008
ILPD-233
Funk Repertoire Development and Application
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: ILPD-112
Funk Drumming Lab is a study of various bands and individual
artists who played a prominent role in the development of
funk, soul, and r&b music in the mid- to late-twentieth
century. There will also be studies of pertinent grooves and
the techniques necessary to execute them. Studies will include
sticking patterns, phrasing, and coordination techniques.
ILPD-235
Polyrhythms 1
0.5 credit
Course Chair: D. Anderson
Required of: PERF total percussion principals
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: ILPD-112
Rhythm and meter studies including basic figures, metric
modulation, and superimposition.
ILPD-237
Acoustic Characteristics of the Drum Set
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
This course examines the sonic and acoustic dimensions of
the instruments that make up the drum set. Study of the
history, materials used, manufacturing processes, tuning, and
maintenance of these components through demonstrations
and direct experience. Comparisons of common descriptive
sonic vocabulary with the actual sounds; techniques for
adapting and controlling sound in various styles.
ILPD-239
Country and Western Drumming Styles
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: None
A performance-based historical survey of country and western
drumming styles up to the present day. Development of
performance skills in country and western feels incorporating
both stick and brush techniques. Major drummers in this style
will be studied.
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ILPD-P250
Global Sight-Reading and Advanced
Rhythmic Solfege
0.5 credit
Course Chair: D. Anderson Prototype
Required of: None
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPD-221
This performance-oriented lab draws on sources from a
variety of musical traditions from around the globe, utilizing
them as foundations for advanced sight-reading and recita-
tion exercises. Through application of Indian, Middle Eastern,
Latin-American, Balkan, and African rhythmic structures to
the playing, reciting, or singing of complex rhythmic
structures, students are familiarized with odd time meters
and other challenging time concepts, as well as the rhythmic
vocabularies characteristic of the aforementioned regions.
ILPD-261
Jazz Drum Styles
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A study of drummers in the jazz idiom. Resources include
audio and video examples, articles, transcriptions, and
demonstrations. Artists covered will include Joey Baron,
Brian Blade, Art Blakey, Larry Bunker, Jon Christensen, Jimmy
Cobb, Troy Davis, Alan Dawson, Jack DeJohnette, Al Foster,
Steve Gadd, Billy Hart, Roy Haynes, Billy Higgins, Elvin Jones,
Lewis Nash, Bill Stewart, and Jeff Watts.
ILPD-262
Fusion Drum Styles
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A study of drummers in the jazz fusion idiom. Resources
include audio and video examples, articles, transcriptions,
and demonstrations. Artists covered will include Tom
Brechtlein, Vinnie Colaiuta, Billy Cobham, Mike Clark, Peter
Erskine, Eric Gravatt, Omar Hakim, William Kennedy, Ricky
Lawson, Alphonse Mouzon, Gary Novak, Marvin “Smitty”
Smith, Paco Sery, Chad Wackerman, Michael Narada Walden,
Dave Weckl, Lenny White, and Tony Williams.
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

Development of techniques for effective interpretation of

lead sheet charts at the drum set.

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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.

Further development of polyrhythmic concepts. Drum set ILPD-351

articulation, sticking, phrasing, motion, and styles are related Alternative Setups for Drum Set and Percussion
to concepts presented in ILPD-235. 1 credit
Course Chair: D. Anderson
ILPD-337 Required of: None
Linear Time-Feels and Phrasing Electable by: All percussion principals
0.5 credit Offered: Spring, Fall
Course Chair: D. Anderson Prerequisites: ILPD-211
Required of: None
Electable by: All percussion principals Solutions to practical and logistical problems confronting
Offered: Spring, Summer, Fall the contemporary percussionist/drummer. Experimentation
Prerequisites: ILPD-211 with alternative setups designed to meet the demands of
today’s contemporary music and the student’s own creative
A contemporary approach to today’s music utilizing linear requirements. Topics include new hardware solutions,
time-feels and phrasing to strengthen technique, time, coordination exercises, and practical musical and orchestrational
and ideas. choices. Various world music drumming traditions will be
applied as catalysts in approaching alternative setups.
ILPD-339
Fusion Repertoire Development and Application ILPD-P353
0.5 credit Composing for Drummers
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-211 Offered: Spring, Fall
Prerequisites: HR-211 and ILPD-211
Incorporating the rhythms of other cultures into jazz and rock
music for drum set. Students will review and analyze various compositions ranging
from blues and rhythm changes, 32-bar song forms, and
symmetrical and open forms, and will compose music in these
styles. Using the creative process of composition will provide
understanding of the practical application of rhythmic aspects
and rules of harmony and part writing. Odd meters will also
be explored. Students will develop leadership skills through
rehearsing their music, recording it on their computer using
Garage Band, and burning a CD of the finished project.

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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
course will develop integrated applications of all Latin
percussion concepts for the drum set. Topics include drum
set performance with no percussionist and with one or more
percussionists, physical integration of percussion instruments
into the drum set for simultaneous performance by one player,
and creation of custom sets and set-ups for specific musical
situations. Topics will be examined from both traditional and
nontraditional perspectives.
ILPD-381
Singing and Drumming Coordination Lab
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals, or others
by permission of instructor
Offered: Spring, Fall
Prerequisites: ET-212 and HR-212
This course will help students improve the rhythmic aspect
of singing as well as the singing aspect of drumming. It is
especially suited to drummers and percussionists who wish to
develop their craft by singing and drumming simultaneously.
It is also good for vocalists who wish to better understand
rhythm and rhythm styles.
ILPD-419
Rudimental Applications for Drum Set
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPC-419
A study of the traditional drum rudiments, including the
26 American rudiments and the Swiss rudiments, and their
application to drum set performance. The study will include
application of polyrhythmic principles and nontraditional
integration of the foot pedals.
Building on the foundation of ILPD-373, this lab will develop
integrated applications of Caribbean percussion concepts
for the drum set. Topics will include identification of various
musical styles from Trinidad, Martinique, Guadeloupe, Haiti,
Jamaica, Puerto Rico, Curacao, Cuba, and the Dominican
Republic. Basic techniques and patterns for traditional
percussion instruments and drum set applications of all
rhythms (both with and without a percussionist) will be
discussed. All topics will be examined from both a traditional
and nontraditional perspective.
ILPD-431
Solo Construction for Drum Set
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: Vibraphone, drum set, hand
percussion, and total percussion principals
Offered: Spring, Fall
Prerequisites: ILPD-211
The drum set as a solo instrument. Analysis and concepts of
fours, eights, and full-chorus drum set solos. Concepts for
open drum solos, soloing over vamps, groove solos, in-time
solos, and out-of-time solos. All styles will be covered.
ILPD-433
Advanced Jazz Drumming
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: Drum set principals
Offered: Spring
Prerequisites: ILPD-225 and ILPD-235
This lab emphasizes post-bop and modern jazz techniques.
Topics include advanced repertoire development, technique/
coordination development, polyrhythmic application, and
conceptual approaches along with transcription, listening,
and analysis of a number of master drummers, such as
Roy Haynes, Jack DeJohnette, and Tony Williams.

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Summer/Fall 2008
ILPD-439
Advanced Fusion Drumming
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring
Prerequisites: ILPD-339
Advanced analysis and use of rhythms of other cultures,
including odd time signatures. Incorporation of these rhythms
into jazz and rock music for drum set.
ILPH-293
Afro-Cuban Rhythms and Percussion
for Nonpercussionists
1 credit
Course Chair: D. Anderson Prototype
Required of: None
Electable by: All nonpercussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
Rhythms, song styles, and percussion instruments of Cuba and
other Afro-Caribbean regions. Development of performance
skills in various rhythm styles through study of basic techniques
of characteristic percussion instruments.
ILPH-P297
Chart Reading for the Hand Percussionist
0.5 credit
Course Chair: D. Anderson Prototype
Required of: Hand percussion principals
Electable by: Percussion principals
Offered: Spring, Fall
Prerequisites: ILPH-111, ILPH-351, ILPH-357,
ILPH-359, and PSW-235
This course will give hand percussion students practical
reading experiences akin to contemporary musical settings.
Students will read and perform charts, lead sheets and scores
written in western notation. They will develop performance
skills through the study of these varied musical examples.
ILPH-351
Drumming Styles of Ghana
1 credit
Course Chair: D. Anderson
Required of: Hand percussion principals
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
An intensive study of West African drumming styles from
the Ewe, Ga, and Dagbamba people of Ghana, West Africa.
This course will emphasize three areas of performance
techniques: straight stick, curved stick, and hand drumming
styles. Repertoire studied will include Agbekor, Kpanlogo, and
Damba. Teaching methods will incorporate call-and-response
formats, videos, and transcriptions. Authentic instruments will
be provided.
Course Descriptions
ILPH-353
Native American Drumming Lab
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
Study of various techniques and tribal styles of American Indian
drumming using traditional songs as the repertoire for learning.
Teaching style will be hands-on: students will perform on
traditional Native American drums and percussion instruments.
ILPH-354
Bata Rhythms/Afro-Cuban Ceremonial
Drumming Lab
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: ILPH-293, ILPH-357, or by audition
Study of the spiritually based drumming of the Lucumi people
of Cuba. Development of performance skills through the
study of recordings, transcriptions, and videos. Involves
singing, chanting, and group performance.
ILPH-357
Afro-Cuban Rhythms and Percussion
1 credit
Course Chair: D. Anderson
Required of: ILPH-357 or ILPH-359 is required of
hand percussion and drum set principals, PERF
total percussion principals, and PROM total
percussion principals. This course is not required
if ILPH-359 is taken.
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
A lab for Percussion Department principals focusing on
rhythmic techniques and song styles of Cuban and other
Afro-Antillean music and their related percussion instruments.
Development of performance skills through study of recordings,
transcriptions, and supervised ensemble playing. Note: ILPH-359
may be taken instead of this course.
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Course Descriptions
Summer/Fall 2008
ILPH-359
Brazilian Rhythms and Percussion
1 credit
Course Chair: D. Anderson
Required of: ILPH-357 or ILPH-359 is required of
hand percussion and drum set principals, PERF
total percussion principals, and PROM total
percussion principals. This course is not required
if ILPH-357 is taken.
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A lab for Percussion Department principals focusing on
rhythmic techniques and song styles of Brazilian music and their
related percussion instruments. Development of performance
skills through study of recordings, transcriptions, and supervised
ensemble playing. Note: ILPH-357 may be taken instead of
this course.
ILPH-369
World Percussion 2
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: PSW-335
This course will allow students who have taken PSW-335 to
expand their techniques and knowledge of various world
music styles. Spoken rhythms, hand and finger techniques,
frame drums, clay drums, tambourines, and any percussive
surface instrument will be covered.
ILPH-371
Advanced Afro-Cuban Rhythms and Percussion
1 credit
Course Chair: D. Anderson
Required of: PERF hand percussion principals
Electable by: All
Offered: Spring, Fall
Prerequisites: ILPH-293 or ILPH-357
Continuation of ILPH-357 and ILPH-359. Development of
more advanced techniques and concepts through deeper
examination of evolution and derivations of the rhythmic
styles. Intended course outcomes include performance-level
group playing and improvisation as well as soloing.
ILPH-375
Practical Application of Afro-Latin Rhythms
1 credit
Course Chair: D. Anderson
Required of: Hand percussion principals
Electable by: All percussion principals
Offered: Fall
Prerequisites: ILPH-357
A study of traditional or indigenous Afro/Latin rhythmic
concepts and their application to contemporary musical forms.
Expanded concepts of technique as it relates to this study and to
related instruments. Emphasis on performance with traditional
instruments and rhythmic concepts in nontraditional music.
86
ILPH-391
Steelpan Techniques for Percussionists
1 credit
Course Chair: D. Anderson
Required of: None
Electable by: All percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
A study of steelpan performance techniques designed for
Percussion Department principals. Skills development will
include the sticking techniques required for steelpan players,
rhythmic patterns, scale-learning methods on the instrument,
and general performance techniques.
ILPH-429
Contemporary Techniques for Pop Percussion
0.5 credit
Course Chair: D. Anderson
Required of: None
Electable by: Drum set, hand percussion,
and total percussion principals
Offered: Spring, Fall
Prerequisites: ILPH-351, ILPH-357, or ILPH-359
With emphasis on r&b, rock/funk, swing, motown, and pop
styles, this course explores the study of small hand percussion:
tambourine, shakers, cowbells, and cabasa, as well as congas,
bongos, and timbales, individually as well as in combination
with each other to form multiple percussion setups. Transitions,
groove building, and coordination techniques will be analyzed
in class. Chart reading and interpretation, as well as some
transcription techniques, will be covered throughout
the semester. Knowledge of basic conga techniques is
strongly recommended.
ILPH-451
Drumming Styles of Guinea
1 credit
Course Chair: D. Anderson
Required of: PERF hand percussion principals
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPH-351
An intensive study of West African drumming styles from the
Susu, Malinke, and Bagba people of Guinea, West Africa. Class
format will include hand drumming techniques for the djembe
and stick patterns on the dununs (bass drums). All material
covered will be taught orally by the instructor along with video
presentations. Repertoire will include Yankadi, Makuru, Kuku,
and Sinte. Authentic instruments will be provided.
Summer/Fall 2008

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.

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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

ILPN-131 Continuation of ILPN-123 emphasizing more advanced

Elements of Jazz Piano voicing techniques. Instrumental laboratory for piano
1 credit principals emphasizing comping studies and the application
Course Chair: S. Tiernan of these techniques to the jazz idiom. Recorded material for
Required of: First-semester piano principals play-along purposes.
placed by audition
Electable by: Piano principals ILPN-227
Offered: Spring, Summer, Fall Accompaniment Techniques for the
Prerequisites: None Singer/Pianist
0.5 credit
A piano lab designed for entering students with strong Course Chair: S. Tiernan
classical technique but little background in jazz performance. Required of: None
Focuses on comping, improvisation, and development of jazz Electable by: Voice principals and SONG majors
rhythmic feels. Uses of notated jazz materials for development Offered: Spring, Summer, Fall
of rhythmic, harmonic, and call-and-response skills. Prerequisites: ISKB-212 or piano private instruction
level 2

Practical intermediate keyboard skills for self-accompanying

vocalists and singer/songwriters. Focuses on rhythm, voicing,
registration, and overall arrangement. Enhancement of
individual performance skills and repertory through study
and critiqued performance of musical examples drawn from
appropriate contemporary styles.

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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

Instrumental laboratory for piano principals emphasizing the

application of comping techniques to a variety of “roots of
rock” styles influenced by blues, New Orleans, and gospel
music. Use of recorded material and transcriptions of influential
players. Emphasis on in-class performance and play-along.

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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
opportunity to learn rhythmic, harmonic, and melodic comping
patterns and repertory in a variety of popular world music
styles. Focus is on artists and styles that are readily available,
including Afro-pop, reggae, Afro-funk, Middle Eastern rai,
Greek, Balkan, and Indian popular music, and selected jazz and
Latin American styles. Students will play written transcriptions
along with sequenced rhythm patterns.
Course focuses on memorizing tunes drawn from the jazz
standard repertoire. Techniques that enhance aural and
intellectual memory are studied, including harmonic and
melodic analysis, cross-association of commonly used chord
progressions, and frequently used melodic patterns. During
weekly performances in a two-piano setting, students learn
how to arrange and transpose tunes, play bass line
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
context of Afro-Cuban piano montunos. Harmonic vocabulary
includes triads and sixth chords in inversions, and “A” and
“B” standard jazz voicings for major, minor, and dominant
seventh chords. Harmonic contexts used in class encompass
one chord, I-IV-V-VI-I progression and variations, and standard
jazz tunes. All examples are in duple meter.
ILPN-P247
Improvisation in Afro-Cuban Piano
0.5 credit
Course Chair: S. Tiernan Prototype
Required of: None
Electable by: Piano principals
Offered: Spring, Fall
Prerequisites: ILPN-246
The course explores the rhythmic and harmonic/melodic
vocabulary in Afro-Cuban piano improvisation. Phrasing with
the clave is a main focus of the course. Percussion instrument
patterns are explored in depth as they relate to the clave and
influence the role of the piano. Percussion (“quinto”) solos
are analyzed and compared to piano solos. Broad exposure to
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.
A performance lab intended for keyboardists with little
or no experience in improvisation. Instructional focus is
on understanding of materials of improvisation both
theoretically and aurally, and assimilating these materials
into established musical forms and styles. Learning methods
include playing with tapes and MIDI sequences, various
call-and-response activities, and writing, performing, and
analyzing improvisations.
ILPN-261
Synth Techniques for Live Performance
1 credit
Course Chair: S. Tiernan
Required of: None
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: ILPN-123
A performance-oriented lab designed for piano principals
emphasizing basic synthesizer programming and performance
in a live situation. Focuses on orchestration, patch choices,
and playing multiple timbres simultaneously in any
synthesizer setup.

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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
chords, available tensions, triads, seventh chords, guide tones,
simple voicing techniques and sight-reading lead sheets
(melody/chord symbols) of chord symbol.
ILPN-272
Jazz Harmonic Techniques for Piano 2
0.5 credit
Course Chair: S. Tiernan
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: ILPN-271
An organized approach to establishing a thorough foundation
of knowledge and proficiency in keyboard for the study of
jazz harmony, improvisation, and composition. A continuation
of ILPN-271. Material to be covered: additional exercises in
scale patterns, diatonic sevenths in inversions, seventh chord
inversions, harmonic tensions, voice leading, and sight-reading
of lead sheets (melody/chord symbols). Designed for pianists
and other instrumentalists who want to develop keyboard skills.
The course offers an organized approach to develop a
thorough knowledge of common harmonic vocabulary
used in contemporary jazz established in ILPN-271, ILPN-272
and ILPN-273 (Jazz Harmonic Techniques for Piano 1, Jazz
Harmonic Techniques for Piano 2 and Jazz Harmonic
Applications 1) as applied to one-handed and two-handed
voicings through construction and supportive exercises.
Designed for pianists and other instrumentalists who want
to further develop keyboard skills.
ILPN-P279
Accompanying Techniques for the
Piano/Vocalist
1 credit
Course Chair: S. Tiernan Prototype
Required of: Piano/Vocal Dual Instrumental Majors
Electable by: Piano principals
Offered: Spring, Fall
Prerequisites: ILPN-122
An instrumental laboratory for piano principals focusing on
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.

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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.

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Summer/Fall 2008
ILPN-381
Classical Repertory for Two Pianos
0.5 credit
Course Chair: S. Tiernan
Required of: None
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: ILPN-113 and completion of
private instruction level 3
An advanced instrumental lab for pianists that focuses on
traditional and twentieth-century literature for two pianos,
four hands.
ILPN-385
Classical Accompanying
0.5 credit
Course Chair: S. Tiernan
Required of: None
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: PIPN-211 or written approval
of instructor and course chair
The study and performance of traditionally notated accompani-
ments for music in a wide variety of styles serving to enhance
performances and rehearsal skills, as well as broaden
professional opportunities. Styles include opera, art songs, choral
compositions and arrangements, and Broadway musicals.
ILPN-461
Jazz Piano Master Class
1 credit
Course Chair: S. Tiernan
Required of: None
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 4444
An advanced performance lab for piano principals providing
the opportunity to study, analyze, and perform the music of
selected jazz pianists in a master-class setting. Transcriptions of
materials to be studied will be distributed to provide the basis
for faculty-led analytical discussions. The addition of bass and
drums will allow for performance in a complete group setting.
ILRE-375
Recital Workshop for Performance Majors
0.5 credit
Course Chair: M. Marvuglio
Required of: All fifth-semester PERF majors
enrolled in Recital Preparation 1
Electable by: Fifth-semester PERF majors
Offered: Spring, Summer, Fall
Prerequisites: Private instruction level 4,
performance track, and current enrollment
in RPXX-311
Required for all fifth-semester performance majors. Each
student will perform three times during the semester.
Students will critique one another’s performances. Topics
to be discussed will include repertoire, stage presence,
constructive criticism, and mental preparation.
Course Descriptions
ILST-110
Cello Reading Lab 1
0.5 credit
Course Chair: M. Glaser
Required of: First-semester cello principals
(other than those placing into Cello Reading
Lab 2 through entrance audition)
Electable by: Cello principals
Offered: Spring, Fall
Prerequisites: None
This class will teach cellists how to be fluent and expressive
readers of standard music notation. It involves learning how
to process both the quantitative aspect (pitch, rhythm, and
form) and the qualitative properties (phrasing, dynamics,
articulation, etc.) of written music. Using a variety of styles,
students in this class will work on recognizing common pitch
patterns and rhythmic motives, “road maps” (repeats, da
capos, codas, parallel and contrast phrase structures, and
Online Check-
typical harmonic progressions). Ear training skills will be
emphasized to develop the strong inner hearing crucial in for Summer
for good reading. 2008 begins
May 21, 2008.
ILST-111
Violin/Viola Reading Lab 1
0.5 credit
Course Chair: M. Glaser
Required of: First-semester violin and viola
principals (other than those placing into ILST-211
through entrance audition)
Electable by: Violin and viola principals
Offered: Spring, Fall
Prerequisites: None
This class will teach violinists/violists how to be fluent and
expressive readers of standard music notation. It involves
learning how to process both the quantitative aspects (pitch,
rhythm, and form) and the qualitative properties (phrasing,
dynamics, articulation, etc.) of written music. Using a variety
of styles, students in this class will work on recognizing
common pitch patterns, rhythmic motives, and “road maps”
(repeats, da capos, codas, parallel and contrast phrase
structures, and typical harmonic progressions). Ear training
skills will be emphasized to develop the strong inner hearing
crucial for good reading. Upon completion of this course
students will have improved their ability to read standard
music notation fluently and musically in a variety of styles.
ILST-121
Jazz Violin Lab
0.5 credit
Course Chair: M. Glaser
Required of: None
Electable by: String principals
Offered: Spring, Summer, Fall
Prerequisites: None
Advanced improvisational concepts and their application in
strings. Reading charts with jazz phrasing, higher-level bowing,
and left-hand development. Instrumentation: violin, viola.
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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.

This lab is designed to help students increase their awareness ILST-211

of melodic and harmonic relationships, learn a conceptual Violin/Viola Reading Lab 2
approach to comping behind other instruments and creating 0.5 credit
their own solos, and develop basic skills for accompanying Course Chair: M. Glaser
other instrumentalists in the context of improvisational music. Required of: Violin and viola principals
Electable by: Violin/viola principals (other than
ILST-140 first-semester students)
Grooves and Horn Lines for Strings Offered: Spring, Summer, Fall
0.5 credit Prerequisites: ILST-111 or by audition
Course Chair: M. Glaser
Required of: None This course is a continuation of ILST-111. It will further
Electable by: String principals challenge and develop the reading skills of the students in
Offered: Spring, Fall a variety of styles of standard music notation.
Prerequisites: None
ILST-221
This course will introduce the classically trained string player String Performance Lab
to performance techniques and repertoire of popular music. 0.5 credit
Using standards from the repertoire, students will explore Course Chair: M. Glaser
riffing and playing in dance time, swing time, funk time, in Required of: None
different parts of the beat, and without vibrato, as well as Electable by: All
other techniques that differ from their classical training. The Offered: Spring, Summer, Fall
goal is for the student to be able to play convincingly in Prerequisites: None
several styles of dance music.
Performance lab for string principals. Emphasis on group
performance in a variety of idioms.
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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

Introductory lab for singers focusing on skills necessary for

repertoire development. These include finding the right key
for a song, transposition, development of lead sheets, and
basic self-accompanying skills necessary to learn songs
independently. The goal of the course is to develop
self-sufficiency for vocalists in learning new material.
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Course Descriptions

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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.
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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;
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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
develop vocal performing skills. Topics will include basic
singing techniques, tone quality, diction, projection, stylistic
vocal delivery and approaches, stage presence, and effective
utilization of microphones and PA systems.
A continuation of ILVC-211. Additional concentration on
singing lyrics on various chords, modes, and pentatonic scales
in different time-feels and grooves.

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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.

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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.

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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.

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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.

This course is a lab that will function like an ensemble. ISGT-232

Students in this advanced saxophone quartet will focus Guitar Class for Music Therapists 2
primarily on preparing for performances, not on sight-reading. 1 credit
The quartet will perform pieces in a broad range of styles Course Chair: L. Baione
from jazz to classical to student and faculty originals. Required of: MTHE majors
Electable by: MTHE majors
Offered: Spring, Fall
Instrumental Studies Prerequisites: ISGT-231 or by audition

ISBR-221 Continued development of guitar performance skills with

Trumpet Class for Music Education Majors emphasis on applications in music therapy environments.
1 credit
Course Chair: T. Plsek ISKB-211
Required of: MUED majors not taking ISBR-231 Basic Keyboard Techniques 1
Electable by: MUED majors 1 credit
Offered: Spring, Summer, Fall Course Chair: S. Tiernan
Prerequisites: None Required of: COMP, CWPR, FILM, JCMP,
and SONG majors
Functional study of the trumpet. Technical fundamentals of Electable by: All
class instruction in music education. Use of representative Offered: Spring, Summer, Fall
elementary/secondary school methods and materials. Prerequisites: HR-111

ISBR-231 For nonpiano principals. Comping, harmonic continuity.

Trombone Class for Music Education Majors Triads, seventh chords, melody, and accompaniment.
1 credit Standard song forms, blues.
Course Chair: T. Plsek
Required of: MUED majors not taking ISBR-221 ISKB-212
Electable by: MUED majors Basic Keyboard Techniques 2
Offered: Spring, Summer, Fall 1 credit
Prerequisites: None Course Chair: S. Tiernan
Required of: COMP, CWPR, FILM, JCMP,
Functional study of the trombone. Technical fundamentals and SONG majors
of class instruction in music education. Use of representative Electable by: All
elementary/secondary school methods and materials. Offered: Spring, Summer, Fall
Prerequisites: ISKB-211
ISGT-221
Guitar Class for Music Education Majors Continuation of ISKB-211. Advanced comping, voicings,
1 credit additional melody with accompaniment.
Course Chair: L. Baione
Required of: None
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: None

Functional study of the guitar. Technical fundamentals of

class instruction in music education. Use of representative
elementary/secondary school methods and materials.

103
Course Descriptions

Summer/Fall 2008

ISKB-215
Keyboard Skills for the Writer
1 credit
Course Chair: S. Tiernan
Required of: None
Electable by: COMP, CWPR, FILM, JCMP,
and SONG majors
Offered: Spring, Summer, Fall
Prerequisites: ISKB-212 or PIPN-111
A course designed to provide the Professional Writing Division
students with the specialized keyboard skills necessary to
develop their composition abilities. This course will focus on
developing sight-reading skills applicable to score-reading,
lead-sheet reading, transposition, etc. Open to piano principals
or those who have completed basic keyboard classes.
ISKB-322
Keyboard Class 4 for Music Education Majors
1 credit
Course Chair: S. Tiernan
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: ISKB-321
Continued use of chorale style materials including some
standard public school literature. Further use of simple
melodies with rhythmicized chordal patterns in minor keys.
Sight-reading of open score vocal arrangements. A complete,
simplified supplement for pop music, including melody with
chordal accompaniment or chordal progressions with bass
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

ISWD-221 Monitored and evaluated professional work experience in an 617-747-2180.

Flute Class for Music Education Majors environment related to the composition major. Placement is
1 credit limited to situations available from or approved by the Office
Course Chair: W. Pierce of Experiential Learning and the Composition Department chair
Required of: None or designee. To apply for an internship, students must see the
Electable by: MUED majors internship coordinator in the Office of Experiential Learning
Offered: Spring, Summer, Fall prior to registering. Note: Equivalent credit for prior experience
Prerequisites: None is not available due to the requirement of concurrent contract
between the employer/supervisor and the college.
Functional study of the flute. Technical fundamentals of class
instruction in music education. Use of representative elemen- International students in F-1 status must obtain authorization
tary/secondary school methods and materials. on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
ISWD-222
Clarinet Class for Music Education Majors
1 credit
Course Chair: W. Pierce
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: None

Functional study of the clarinet. Technical fundamentals of

class instruction in music education. Use of representative
elementary/secondary school methods and materials.

105
Course Descriptions
Summer/Fall 2008
CW-495
Contemporary Writing and
Production Internship
2 credits
Course Chair: M. Nicholl
Required of: None
Electable by: CWPR majors
Offered: Spring, Summer, Fall
Prerequisites: Written approval of course chair
Monitored and evaluated professional work experience in
an environment related to the contemporary writing and
production major. Placement is limited to situations available
from or approved by the Office of Experiential Learning and
the Contemporary Writing and Production 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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
FS-495
Film Scoring Internship
2 credits
Course Chair: D. Carlin
Required of: None
Electable by: FILM majors
Offered: Spring, Summer, Fall
Prerequisites: Sixth-semester standing and
written approval of the course chair.
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 require-
ment of 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
prior to beginning an internship.
IN-290
Service Learning: Connecting Music
with Community
2 credits
Course Chair: D. Gelinas, J. Kennedy
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: 4th semester standing or completion
of 36 credits; permission of the Office of
Experiential Learning
106
Monitored and evaluated unpaid service-learning experience,
taking place in the community and relating to the student’s
academic field of study. The student will develop leadership
skills and connections to the community in which they live,
study, and work that will advance their academic studies and
their professional career, while making a positive contribution
to their community. Students will complete 45 hours of service
work, reflective assignments, reading assigned materials, and
participating in online discussions with the Experiential Learning
staff and other classmates. There will be one required class
meeting with the Office of Experiential Learning at the start of
the semester, but more may be added as needed. Placement is
limited to a service project selected by the Office of Experiential
Learning or an alternative site selected by the student and
approved by the Office of Experiential Learning. Students must
see the Office of Experiential Learning before registering for
IN-290. Credit for prior experience is not available due to
requirement of concurrent contract between the community
site and the college.
IN-295
Introductory Internship
2 credits
Course Chair: D. Gelinas, Course Chair: J. Kennedy
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: 4th semester standing, permission
of Office of Experiential Learning
This internship provides an opportunity for students to work
in a professional setting and gain valuable employment
experience and knowledge of that field. This internship is
designed specifically for students in preparation for taking a
departmental internship (xx-495) and/or IN-497 (Los Angeles
Internship Program). All internships will take place in the
Boston area and be in a field related to student's course of
study. Intern will work five to ten hours at the internship
site each week for 10 to 12 weeks. A one-hour weekly class
with interns in IN-295 discusses necessary skills for success in
the workplace and allows the interns to share experiences.
Internship site placement is limited to situations approved by
the Office of Experiential Learning. To be eligible, students
must meet certain requirements, including satisfactory
completion of 36 credits by the start of the internship,
minimum of 2.70 CCumGPA (concentrate GPA) and 2.50
CumGPA (overall GPA), be taking core music courses in
sequence, and be enrolled in at least 12 credits in the
semester of the internship. For more information, see the
Office of Experiential Learning. Note: Equivalent credit for
prior experience is not available due to the requirement
of 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
prior to beginning an internship.
Summer/Fall 2008
IN-497
Los Angeles Internship Program
6 credits
Course Chair: D. Gelinas, Course Chair: J. Kennedy
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: 6th semester standing, satisfactory
completion of 50 credits by the start of the
internship, minimum of 3.00 CCumGPA
(concentrate GPA) and 2.50 CumGPA
(overall GPA), and permission of Office of
Experiential Learning
Monitored and evaluated professional work experience in a
field related to student's course of study. All internships take
place in the Los Angeles area. The L.A. Internship Program
involves a substantial workload commitment, comparable to
full-time study. Interns must work at the internship site
approximately 25 hours each week for approximately 12
weeks. This program includes several workshops presented
by Berklee alumni and prominent members working in the
L.A. music industry and two required orientation sessions
(one at Berklee prior to internship and the other in Los
Angeles at start of internship). Housing for interns is secured
by the college. For more information and to apply for the L.A.
Internship Program, see the Office of Experiential Learning
to obtain materials. Enrollment in the L.A. Internship Program
is limited. Internship site placement is limited to situations
approved by the Office of Experiential Learning. Students
enrolled in the L.A. Internship Program will be charged a
program participation fee instead of per-credit tuition charge.
Note: Equivalent credit for prior experience is not available
due to the requirement of 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
prior to beginning an internship.
Course Descriptions
IN-P498
London Summer Internship Program
6 credits
Course Chair: D. Gelinas, J. Kennedy Prototype
Required of: None
Electable by: All
Offered: Summer
Prerequisites: 6th semester standing, satisfactory
completion of 50 credits by the start of the
internship, minimum of 3.00 CCumGPA
(concentrate GPA) and 2.50 CumGPA
(overall GPA), permission of the Office of
Experiential Learning.
Monitored and evaluated professional work experience in a
field related to student’s course of study. All internships take
place in London, England. Interns will be required to work at
the internship site four days per week for approximately 10
weeks. Students will be required to attend a pre-departure
orientation session in Boston and a second orientation upon
arrival in London. Housing for interns is secured by the
college. To apply for the London Summer Internship Program,
see the Office of Experiential Learning for application
materials. Enrollment in the Summer Internship Program is
limited to situations approved by the Office of Experiential
Learning. Note: Credit for prior experience is not available
due to the requirement of concurrent contract between the
employer/supervisor and the college.
JC-495
Jazz Composition Internship
2 credits
Course Chair: K. Pullig
Required of: None
Electable by: JCMP majors
Offered: Spring, Summer, Fall
Prerequisites: Sixth-semester standing and
written approval of course chair
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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning and internship.
107
Course Descriptions
Summer/Fall 2008
MB-495
Internship in Music Business/Management
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in music products
industry track; MBUS students not taking
MB-490/491
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: Written approval of course chair,
MB-201, MB-225, MB-275, MB-351, either
MB-255 or MB-355, and one of the following:
MB-331, MB-335, MB-337, MB-339, MB-340,
or MB-341
Monitored and evaluated professional work experience in
an environment related to the music business/management
major. Placement is limited to situations available from or
approved by the Office of Experiential Learning and the Music
Business/Management 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: Students in the music products industry
track are required to take MB-495. Credit for prior experience
is not available due to the requirement of 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
prior to beginning an internship.
MP-495
Music Production and Engineering Internship
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-340 and written approval
of course chair
Monitored and evaluated professional work experience in an
environment related to the music production and engineering
major. Placement is limited to situations available from or
approved by the Office of Experiential Learning and the Music
Production and Engineering 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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
108
MS-495
Music Synthesis Internship
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: Written approval of course chair
and MS-223
Monitored and evaluated professional work experience in an
environment related to the music synthesis major. Placement
is limited to situations available from or approved by the
Office of Experiential Learning and the Music Synthesis
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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
MTH-495
Music Therapy Internship
6 credits
Course Chair: S. Hanser
Required of: MTHE majors
Electable by: MTHE majors
Offered: Spring, Fall
Prerequisites: MTH-432 and written approval
of course chair
This course involves 1,040 hours of full-time music therapy
experience at a clinical internship site approved by the
American Music Therapy Association. Enrollment is permitted
after the completion of all course work and after the student
applies and is accepted to a site. Successful completion of the
internship is required before receiving the degree or sitting for
the Music Therapy Board Certification Examination.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
Summer/Fall 2008
PM-495
Professional Music Internship
2 credits
Course Chair: K. Brass
Required of: None
Electable by: PROM majors
Offered: Spring, Summer, Fall
Prerequisites: PM-375 and written approval
of course chair
Monitored and evaluated professional work experience in
a retail, entrepreneurial, or corporate environment matched
to the student’s individual career goals. Placement is limited
to situations available from or approved by the Office of
Experiential Learning and the Professional Music Department
chair or a 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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
Liberal Arts
LCOR-104
English as a Second Language 1
3 credits
Course Chair: C. Colatosti
Required of: Nonnative English-speaking degree
students scoring below a designated point on
the English Proficiency Exam
Electable by: Students meeting scoring criteria
Offered: Spring, Summer, Fall
Prerequisites: English Proficiency Exam
In this course, speakers of other languages will develop the
skills of speaking, listening, reading, and writing in English
necessary for success in all college classes. Students will read
articles, essays, and stories; write short narrative and expository
essays; develop their vocabulary; and review intermediate
grammar structures.
Course Descriptions
LCOR-105
English as a Second Language 2
3 credits
Course Chair: C. Colatosti
Required of: Nonnative English-speaking degree
students scoring below a designated point on
the English Proficiency Exam
Electable by: Students meeting scoring criteria
Offered: Spring, Summer, Fall
Prerequisites: LCOR-104 or sufficient test score
A continuation of LCOR-104, this course will help speakers
of other languages improve their ability to speak English
effectively, listen with understanding, read with comprehension,
and write with clarity. Students will read college-level materials
(articles, essays, short stories, a novel); write narrative,
expository, and persuasive essays; expand their vocabulary;
and review advanced grammar structures.
LCOR-110
English Skills
3 credits
Course Chair: C. Colatosti
Required of: Degree students failing to test
into LCOR-111
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: English Proficiency Exam or LCOR-105
Students develop the skills of reading, writing, and analytical
thinking that are necessary for success in all college courses.
Students are introduced to thought-provoking ideas in reading
from a variety of disciplines that will help them recognize,
define, and evaluate their own beliefs. Students learn to
organize material, analyze ideas, and write clearly in standard
English appropriate for first-year college. Note: Students who
have credit for LCOR-111 may not register for this course.
All students enrolled in LCOR-110 will be expected to meet
with tutors in the Berklee Writing Center at least one time
during the first 6 weeks of the semester. Additional tutoring
or work sessions are encouraged.
LCOR-111
College Writing 1: Structure and Styles
3 credits
Course Chair: C. Colatosti
Required of: Degree students
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: English Proficiency Exam, LCOR-105,
or LCOR-110
In LCOR-111, students will develop techniques for the writing
of concise and lucid themes as a means of developing clarity
and coherence in discussion and essays. Additionally, the analysis
of assigned readings provides an introduction to various
rhetorical forms where emphasis will be placed on effective
communication. The course focuses on effective writing skills
ranging from mechanics (grammar, spelling, and punctuation)
to paragraph structure and organization, to more subtle consid-
erations of style, audience, and tone. It covers the principal
aims of writing: to express, explain, persuade, and create.
109
Course Descriptions
Summer/Fall 2008
LCOR-112
College Writing 2: Literary Themes
3 credits
Course Chair: C. Colatosti
Prerequisites: Degree students
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111
This course reinforces the principles and practices of LCOR-111
College Writing 1: Structure and Styles, emphasizing critical
and creative thinking through literary analysis and creative
writing projects. Students will apply the skills of synthesis,
interpretation, and evaluation in writing and speaking about
fiction, drama, poetry, and creative nonfiction. Basic concepts
of literary analysis will be introduced (e.g., plot, point of view,
character, tone, and style). Students will demonstrate an
understanding of these concepts in frequent and substantial
writing assignments. Individual sections of LCOR-112 have
titles that indicate the emphasis of that section. Titles and
descriptions are available at the Office of the Registrar and
online at http://classes.berklee.edu/libarts/courses.
LCOR-211
History of Western Civilization 1
3 credits
Course Chair: C. Colatosti
Required of: Degree students not taking LCOR-221
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111 or LCOR-112
Western civilization is the result of the blending of earlier
cultures: the Greco-Roman, the Judeo-Christian, and the
Germanic. This course is a survey of that process through
which our civilization acquired its distinctive characteristics. Its
historical scope extends from the ancient mideast civilizations
through the Renaissance/Reformation era (circa 1600). Note:
This course may be taken in lieu of LCOR-221 to fulfill the
first-semester history requirement.
LCOR-212
History of Western Civilization 2
3 credits
Course Chair: C. Colatosti
Required of: Degree students not taking LCOR-222
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111 or LCOR-112
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
LCOR-P213
History of the Americas 1
3 credits
Course Chair: C. Colatosti Prototype
Required of: This class is one of several classes that
will satisfy part of the Liberal Arts requirement
in history for degree students.
Electable by: All
Offered: Spring, Fall
Prerequisites: LCOR-111 or LCOR-112
This survey course in the comparative history of North and
South America begins with pre-Columbian civilization and
examines the relationship between Amerindian, African, and
European cultures during the colonization of the New World.
Why did the Spanish and British empires create different
economic worlds in the Americas? How did Native American
cultures resist and influence the development of European
political and legal systems? Course topics include the
development of New York as a financial powerhouse under
the Dutch, the emergence of a French empire in North
America, Spanish expansion into North America, and the
comparative histories of slavery in Brazil, the Caribbean, and
the United States. Finally, the course examines the American
Revolution, the intellectual foundations of Latin American
independence movements, and the global impact of
economic and cultural change in the Americas.
LCOR-P214
History of the Americas 2
3 credits
Course Chair: C. Colatosti Prototype
Required of: This class is one of several classes that
will satisfy part of the Liberal Arts requirement
in history for degree students.
Electable by: All
Offered: Spring, Fall
Prerequisites: LCOR-111 or LCOR-112
This survey course in the comparative history of modern North
and South America focuses on constitutional and cultural
nationalisms in a hemisphere of increasing immigration and
diversity. Topics include revolutionary movements in the
Americas from Mexican Independence and the American Civil
War to twentieth-century Latin American political organizations
and utopian separatist movements in Canada and the United
States. The course examines the comparative histories of
frontiers, both natural and cultural, in North and South
America, and the emergence of the United States as the
dominant economic and political power in the hemisphere.
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

This course is a topical survey of world civilizations from the

ancient through classical and traditional worlds to 1500.
The approach is chronological and comparative with readings
from Africa, Asia, Europe, and the Americas. Broad topic
areas covered: cities and civilizations, religion and culture,
sexuality and gender, self and society, ecology and conquest,
and war and peace. Note: This course may be taken in lieu of
LCOR-211 to fulfill the first-semester history requirement.

111
Course Descriptions
Summer/Fall 2008
LCOR-224
Africana Studies: The Sociology of Black Music
in American Culture
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: LCOR-111 or LCOR-112
This survey course examines the culture of black American
music (West African griot music, spirituals, blues, jazz, black
symphonic and concert music, gospel, r&b, soul, free jazz,
funk, and hip-hop) through an exploration of music, artistry,
and the social dynamics of American society. This course
provides a critical examination of the impact this music has
had upon creativity in the modern world. It also develops a
critical line of thinking, discussion, and debate about the
implications, effects, and meanings of cultural expression and
phenomena, and what the development of black music tells
us about American society, socially, spiritually, politically, and
culturally. An important aspect of this exploration is the
consideration of the aesthetic and cultural dimensions of
black life and culture, western conceptions of art, and the
social and political contexts that shape the music. Critical
discussion will be a crucial part of the classroom experience.
Students are expected to attend class sessions prepared to
discuss at length and in depth the selected musical works,
transcriptions, lyric/text analysis, daily reading assignments,
and issues related to course materials. Note: This course may
be taken in lieu of either LCOR-211, LCOR-212, LCOR-221,
or LCOR-222.
LCOR-225
Africana Studies: The Theology of
American Popular Music
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-111 or LCOR-112
This course explores the social-political, cultural spiritual, and
theological significance of popular music in American society.
We will highlight the perspectives, insights, and work of creative
artists who are committed to art and social engagement. This
course operates upon the premise that making music is not
merely a “pastime but a priesthood.” We will explore selected
artists’ music through lyrical analysis, musical forms, and
performance practices in order to examine what artists say they
are doing with their art. We will also examine selected critical
writings and articles that discuss the function of creative
construction using varying aesthetic theories. This course
expands exposure to artists and their music as it relates to
the notion of artistic expression tied to spiritual yearning or
definition. Major music and social themes to be explored
include: community, identity, social activism, sexuality, theodicy
(the questions of a good God in the face of evil), spirituality,
love, social justice, the blues, gospel, Utopianism, and religious
exploration. Additionally, the class will view selected video and
film documentaries. Note: This course may be taken in lieu of
either LCOR-211, LCOR-212, LCOR-221, or LCOR-222.
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LCOR-226
Africana Studies: Biographies in Black
(Music, Lives, and Meanings)
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring
Prerequisites: LCOR-111 or LCOR-112
This course explores the lives and works of great black
musical artists. Through a view into the music and the lives of
these artists and of certain meanings, themes, artists’ intent,
and experiences, we gain insight into some very specific
historical, cultural, and social windows. We will view black
musicians’ work that cuts across the entire musical/artistic
spectrum, giving us perspective into the development of the
various musical genres, styles, and movements that make up
American music, from blues to rock and roll and song classics
to American art/classical music. Studying the lives of these
greats allows an insider’s look into extraordinary career
development and industry business practices. In an artistry
shaped and forged by racial and social ”outcasting” comes
a very unique kind of narrative, sound, perspective, and
insight, which is inextricably bound to hearing, understanding,
and appreciating this unique American artistry. Note: This
course may be taken in lieu of either LCOR-211, LCOR-212,
LCOR-221, or LCOR-222.
LCOR-231
History of Art 1
3 credits
Course Chair: C. Colatosti
Required of: Degree students
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111 or LCOR-112
This course covers the prehistoric to the Gothic period. It is a
survey of painting, sculpture, and architecture from prehistory,
the ancient Near East, Egypt, Greece, Rome, Byzantium, the
early Middle Ages, and the Romanesque and Gothic periods.
Slide lectures are supplemented by works viewed at the
Museum of Fine Arts, Boston.
LCOR-232
History of Art 2
3 credits
Course Chair: C. Colatosti
Prerequisites: Degree students
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111 or LCOR-112
This course covers the late Gothic period to the early
twentieth-century. It is a survey of European art from the end
of the Middle Ages through the Renaissance, mannerism,
the baroque, rococo, neoclassicism, romanticism, realism,
impressionism, postimpressionism, and early abstraction; also
American art from the colonial period to the early twentieth
century. Slide lectures are supplemented by works viewed at
the Museum of Fine Arts, Boston and the Isabella Stewart
Gardner Museum.
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.
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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
public speaking. Emphasis will be placed on the development
of personal style, confidence, and security; the construction,
and delivery of various forms of speeches; and on the
acceptance and use of evaluative, constructive criticism.
LHUM-221
Preparing for the Massachusetts
Communications Skills Licensing Exam
3 credits
Course Chair: C. Colatosti
Required of: Third- and fourth-semester
MUED majors
Electable by: MUED majors third semester
and above
Offered: Spring, Fall
Prerequisites: LCOR-112
This course is designed to address the reading and writing
skills necessary to prepare for the Massachusetts State
Teacher’s Test on Communications Skills and Literacy. It will
further address techniques developed in LCOR-111 and
LCOR-112.
LHUM-P231
Culture, Diversity & Artistry
3 credits
Course Chair: C. Colatosti Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
This course provides students with an interdisciplinary inquiry
into how culture works with a focus on issues of diversity,
power, creativity, identity, citizenship, globalization, media
culture, leadership, and the role of the artist in society. Students
will explore how to pose questions, find answers, and form
opinions using the tools of critical thinking, reading, writing,
speaking, listening, and viewing. Readings include fiction,
poetry, autobiography, and essays on key concepts of diversity,
culture, and artistry. Coursework will combine critical and
creative work in images, music, and words in a series of
individual and group projects that foster an active learning
environment. Many class meetings will involve guest speakers
or panels of diverse Berklee faculty from across the College.
114
This course focuses on connecting creative writing to our
understanding of our place in the world. There will be ample
opportunity for developing and improvising personal narratives
and attaching them to the convictions and affiliations that
make up our identity. We will read and analyze essays written
by others while writing our personal responses to each topic.
We will discuss the ways that fictionalized essays may reveal
the truth better than objective reporting can, as well as the
ways that memory works on our experiences. Students will
write personal essays, literary journalism, traveling writing,
memoir, and more. Classes will include extensive writing,
analytical reading of texts, careful reading of our peers’ work,
and constructive feedback.
LHUM-318
Studies in Poetry
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-112
This course will focus on the elements of poetry: the
relationship between meaning and rhythm, meaning and
sound, and meaning and form. These topics are explored in the
context of a survey of poetry, both traditional and modern.
LHUM-319
Fiction and Film
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-112
This course focuses on film adaptations of novels and short
stories, paying special attention to similarities and differences
in narrative technique. Students view various types of film
adaptations and consider reasons for changes from the works
of fiction. The course emphasizes the challenges in adapting
a work of literature to the screen, the limits and possibilities
of both art forms, and the techniques writers and filmmakers
use to express their ideas. In addition to discussing works of
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.
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

This is an intensive workshop (seminar format) in which the

student concentrates on the writing of poetry, on the use
of metrics and form (plus free verse), and on the use of
symbolism and metaphor.

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Course Descriptions
Summer/Fall 2008
LHUM-336
Creative Writing: Drama
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-112
This course is a workshop for those interested in writing for
stage and screen. Students will work together on shaping
dramatic structure, characters, conflict, and dialog. One-
man/woman shows (dramatic monologs) will also be
considered. Students will be given the opportunity to
incorporate music into their dramatic writing or to write the
“book” for a musical theater piece. First-hand experience in
dramatic writing will also benefit composers who plan on
writing music for theater, film, or television. Several plays and
films will be examined as models for writing, but the focus of
this workshop will be on original scripts.
LHUM-341
Studies in Irish Culture
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-112
This interdisciplinary course is a study of how artists, political
figures, and everyday citizens continue to grapple with the
diversity and tensions of Irish identity. The focus of the course
will vary from semester to semester to include a broad range
of topics centered on the fusion in Irish life of politics, history,
and the arts. Literature study will include writers of the literary
revival such as Joyce and Yeats; J.M. Synge, Eugene O’Neill,
and other Irish-American writers; and contemporary authors
such as Edna O’Brien, Seamus Heaney, and Roddy Doyle.
Additional topics for each year’s course will be chosen from
the following: the Great Famine; the resistance to British rule;
the Irish Civil War; Michael Collins, the IRA, and Sinn Fein; the
“troubles” in Northern Ireland and the peace process; films by
Jim Sheridan, Neil Jordan, and others; and contemporary
Celtic music, from Altan to Sinead O’Connor.
LHUM-351
Music Criticism and Reviewing
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: LCOR-112
Students will learn the fundamentals of music criticism and
apply those principles in writing reviews both of recordings
and live performances. Music reviews will focus on writing
both for professional musicians and for the general public.
116
LHUM-352
Music and Literature for Children
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring
Prerequisites: LCOR-112
Utilizing interdisciplinary approaches to interpretation,
composition, and music education, this course offers critical
and creative approaches to understanding and articulating
characteristics of exemplary musical and literary works for
children and adolescents. This course explores the connections
between children’s music and children’s literature through
literary and musical analysis, as well as composition in both
music and English. In the vast children’s music market, some
compositions exhibit very high quality, while others seem to be
market-driven drivel. What distinguishes the good from the
bad, the meaningful from the fluff? How do we account for
the progression from Prokofiev to Barney the Dinosaur? This
course tries to answer these questions and more by positing
that quality music for children can and should be both
aesthetically interesting and intellectually engaging. We will
look at music for children and explore the connections between
children’s music and children’s literature. The course will focus
on different genres of music and literature, from classical and
folk to film scores and pop covers. We will also be reading and
discussing the source material that inspired the music, including
folk tales, nursery rhymes, and works by Lewis Carroll, Edward
Gorey, Christina Rossetti, Shel Silverstein, and Lemony Snicket,
among others. Particular attention will be paid to the nature of
the diverse child audience that educators and performers will
encounter in front of a classroom and an audience. As a
capstone, there will be a music project component (that
involves sequencing software), so that students can apply their
musical and critical acumen to music composition for children.
LHUM-P353
French III
3 credits
Course Chair: C. Colatosti Prototype
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LHUM-152
This course enables students to acquire oral and 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. 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.
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.
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Course Descriptions
Summer/Fall 2008
LHUM-382
Introduction to Eastern Philosophy
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring
Prerequisites: LCOR-112
This course is an examination of ideas and traditions in the
philosophical thinking and spiritual experience of the East, with
special emphasis on Hinduism, Buddhism, Confucianism,
Taoism, and Zen. Such concepts as Yoga, Atman, Brahman,
Nirvana, Karma Dharma, Avatar, Bodhisattva, Satori, Jen, Wen,
Li, Tao, and Yin-Yang will be analyzed in select ancient texts.
Other notions having to do with incarnation and reincarnation,
with the sage and the saint, with ethics and judgment, with
the soul and religion generally will also be studied.
LHUM-383
Aesthetics
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring
Prerequisites: LCOR-111 or LCOR-112
This course will examine the nature of art and aesthetics as
presented in the German Idealist Georg Wilhelm Friedrich
Hegel, one of the major philosophers instrumental in the
formation of modern aesthetic thinking, and as applied to
music in particular. The role of the mind and intelligence not
only in aesthetic appreciation, evaluation, and judgment,
but also in the act of creation itself will be emphasized. The
significance of critical interpretation, rational argumentation,
and intellectual contemplation for the understanding of
beauty and the sublime generally, and for the experiencing
of individual works of art, in classical sacred music particularly,
will also be studied and analyzed. In the process of evaluat-
ing, analyzing, and discussing both philosophical texts
and musical compositions, we will explore various theories
of art—representational, expressivist, formalist, moral, and
inspirational—as well as distinguish various substitutes for
or counterfeits of art, including entertainment, propaganda,
fashion, sensationalism, and kitsch. Other distinctions
between and questions about subjective tastes and objective
standards, aestheticism and philistinism, talent and genius,
fancy and imagination, reason and intellection are to come
under philosophical scrutiny. The approach or method in this
course to the assigned material is text-centered discussion.
118
LHUM-P387
African-American Children’s Literature
and Culture
3 credits
Course Chair: C. Colatosti Prototype
Required of: None
Electable by: All
Offered: Fall
Prerequisites: None
This course is designed to provide critical and creative
approaches to one of the most neglected, yet rich areas of
African-American studies: children's literature and culture.
Students will explore the artistic, cultural, political, and social
significance of past and present African-American children's
literature, beginning with folktales from Africa and African
Americans, moving through the Harlem Renaissance and Civil
Rights Era, and ending with present day material. This class
will also focus on some of the contemporary issues, including
the importance of physical appearance-and particularly hair-in
the black community, the portrayal of slavery, and of course,
the expression and exploration of black musical heritage. As
a capstone, the final project will be a research paper so that
students can make their own discoveries about this emerging
field of study.
LHUM-391
Children’s Literature: Multicultural Perspectives
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-112
This course explores the diversity of children’s literature both
inside and outside our country, illustrating common social
themes as well as multicultural perspectives. Content covers
Western and non-Western folktales and fairy tales, along
with vibrant representations of multicultural and non-Western
children’s literature, including texts from African American
(Carolivia Herron and Christopher Paul Curtis), Indian (Ruskin
Bond and Anushka Ravishankar), Jewish (I.B. Singer and
David Wisniewski), and Finnish writers (Tove Jansson). The
class, through discussion and reading of primary texts and
secondary critical sources, will learn to approach children’s
literature with particular attention to historical, multicultural,
and social contexts. Other topics examined include the
definition of children’s literature, some of the many possible
theoretical approaches to it, and the significant role it plays
in our lives and our cultures.
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
explore their poetry skills at a high level. It is of special value
to students interested in songwriting and composition. The
course provides an opportunity to delve deeply into both
poetic form and content. Students develop their language
skills as they explore fixed forms and free verse. The course
also provides students an opportunity to develop further their
love of and appreciation for poetry as an art form.
Spanish IV is a continuation of Spanish III as students develop
advanced language skills through readings and analyses of
literature and cinema. This course focuses on representations
of Latin American and Spanish culture including music,
poetry, and fiction. Students explore a variety of texts as a
means of deepening language skills through an integrated
curriculum. Grammar lessons will be embedded in reading
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.
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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

This course is designed to provide a scientific approach to issues

of health and wellness necessary for the pursuit of a healthy
lifestyle. Topics such as nutrition, exercise, stress, sexuality,
substance abuse, eating disorders, and the physical environment
will be examined in the context of human physiology. Note: This
course may be used to fulfill the natural science requirement.
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Summer/Fall 2008
LMSC-424
Human Anatomy and Physiology
3 credits
Course Chair: C. Colatosti
Required of: MTHE majors
Electable by: MTHE majors or with permission
of course chair
Offered: Spring, Fall
Prerequisites: LCOR-112
This course covers basic knowledge of the human body, its
structure and function. Each of the bodily systems will be
dealt with as a separate entity, and then as an integrated
part of the whole. This course is distinct from LMSC-221
in that it details more technical material for use in clinical
settings at a level necessary to meet music therapy curricular
competencies. Note: This course may be used to fulfill the
natural science requirement.
LSOC-211
General Psychology
3 credits
Course Chair: C. Colatosti
Required of: MUED majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: LCOR-111, LCOR-112, or written
approval of instructor and course chair
This course is a survey of the history, theory, and applications
of general psychology, including the study of human behavior,
factors in psychological development, methods of measure-
ment, and the brain. Note: This course may be used to fulfill
the social science requirement.
LSOC-213
Music and Peace
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Spring
Prerequisites: LCOR-112
This course explores the ways music and musicians affect
social change and peace. It is a laboratory for both study and
action and intellectual and experiential learning that operates
on four levels: (1) studying conflict and peacemaking from the
interdisciplinary perspectives of international relations, political
science, psychology, religion and spirituality, and the arts;
(2) learning from artists, activists, and academics who will
visit the course to share their projects and perspectives;
(3) researching the ways music and peace intersect in history
and society; and (4) creating a music and peace project
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.
Course Descriptions
LSOC-220
Music, Gender, and Society
3 credits
Course Chair: C. Colatosti
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LCOR-111 or LCOR-112
This course introduces musical genres, repertoire, composers,
and performers that reflect or inspire various gender
images and identities in society. Drawing on interdisciplinary
discourse, this course provides a variety of sources regarding
music and gender in society and facilitates discussion of these
topics. Students will complete journal entries, essays, peer
review editing, and group discussions.
LSOC-301
Behavioral Assessment and Observation
3 credits
Course Chair: C. Colatosti
Required of: MTHE majors
Electable by: All with permission of instructor
Offered: Spring, Fall
Prerequisites: LCOR-112 and MTH-201
This course is an introduction to observation and assessment.
The role of assessment and accountability in therapeutic
intervention will be discussed, specific assessment protocols
reviewed, and assessment and observation techniques
practiced. Assessment procedures will be considered relative to
goal setting, treatment implementation, and client evaluation.
LSOC-P310
Group Dynamics
3 credits
Course Chair: C. Colatosti Prototype
Required of: None
Electable by: All
Offered: Fall
Prerequisites: LSOC-211
Understanding group dynamics and how to build positive
and effective group interactions are key for any musician who
will ever perform or work with others. This course explores
the direct application of group interactions in personal and
professional settings. Students learn roles of individuals within
groups, including leadership and membership roles. Students
also learn about the formation and termination of groups,
as well as positive group dynamics and ways to build, lead,
foster, and participate in groups. In addition, students learn
about potentially dysfunctional group behaviors, ways to
resolve conflicts, and how healthy group dynamics can
facilitate their personal and professional growth.
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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.

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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
through frameworks offered by the disciplines of anthropology,
biology, Western and Eastern philosophy and psychology,
sociology, gender studies, cross-cultural studies, literature,
and art. Note: This course may be used to fulfill the social
science requirement.
This course focuses on the psychological, relational, and
biological issues of aging and is designed for music therapy
majors and other students interested in the human aging
process. Attention is paid to both normal and abnormal
development, and encompasses the personal and professional
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.

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Summer/Fall 2008

LHAN-212
History of Western Music 2
2 credits
Course Chair: G. Fritze
Required of: Degree – all, except COMP and
MUED majors; Diploma – FILM majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: CM-212 and CP-212
A survey of the major styles in Western music from the
early classical period to the present. Audiovisual examples;
correlation of characteristics of each period with activities in
related arts.
LHAN-221
History of Jazz
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A survey of music in the jazz idiom from its origin to the
present. Chronological examination of the principal musicians
and composers. Analysis of the more influential soloists,
groups, and composers through the use of tapes and films.
Students will develop a knowledge of the periods, styles, and
forms of this music, and will have access to extensive research
materials outside of the classroom.
LHAN-222
History of Rock Music
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A survey of rock music from its origins to the present. Lectures
will focus on musical distinctions among the substyles present
in the genre, and will include audio and video clips of major
artists and style-setters. Literary, sociological, and other cultural
aspects of this music will also be discussed. Students will be
able to take advantage of access to extensive research materials
available outside the classroom.
LHAN-233
Classic Rock Guitar Players
2 credits
Course Chair: L. Baione
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
An in-depth look at some of rock’s most influential guitar
players. The importance of their contributions and innovations
will be discussed through the use of videos, transcriptions,
and recordings, along with instructor’s demonstrations. Some
of the players to be discussed are Jimi Hendrix, B.B. King,
Eric Clapton, and Steve Lukather. Students will receive
transcriptions as well as a clear understanding of the
development of rock guitar playing.
LHAN-241
A History of the Music of Black America
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Fall
Prerequisites: None
A study of the historical attributes and positive contributions of
the development of black American music: African influences
and the early slave music of the South; northern and southern
influences through the black church; composers and
songwriters in and after the Civil War; ragtime and blues, early
jazz, the jazz age, and the black renaissance; composers and
performers up to the present; black concert-music composers.
Research, homework, listening, lecture/demonstrations, and
required attendance at performances.
LHAN-P243
Japanese Music and Instruments
2 credits
Course Chair: G. Fritze Prototype
Required of: None
Electable by: All
Offered: Spring
Prerequisites: A non-Western music performance,
writing, or history course is recommended as
a prerequisite.
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.

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Summer/Fall 2008
LHAN-245
Women in Music
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
An examination of women’s contributions to jazz and classical
music in twentieth-century America and the factors that
influenced their careers. Students will study individual
performers, composers, and all-women groups using audio
and visual resources and critically evaluate the sociopolitical
factors that affected their careers through lecture, discussion,
and research.
LHAN-P247
Music of Women Composers
2 credits
Course Chair: G. Fritze Prototype
Required of: None
Electable by: All
Offered: Spring
Prerequisites: None
A survey course on the female contribution to the art of
music from the Middle Ages to the present. Emphasis will
be placed on the changing roles of, and attitudes towards,
women as composers, performers, teachers, writers,
instrument-builders, patrons, etc. More specifically, this class
will be conducted within a historical framework of contexts
and perspectives; thus we will examine the achievements of
women musicians in the light of societal expectations,
impositions, limitations and attitudes.
LHAN-251
General Music History 1
2 credits
Course Chair: G. Fritze
Required of: COMP majors and MUED majors
Electable by: COMP majors and MUED majors
Offered: Spring, Summer, Fall
Prerequisites: CP-211 and either CM-211
or CM-251
A survey of the major styles in Western music from about
A.D. 600 to the conclusion of the baroque period.
LHAN-252
General Music History 2
2 credits
Course Chair: G. Fritze
Required of: COMP majors and MUED majors
Electable by: COMP majors and MUED majors
Offered: Spring, Summer, Fall
Prerequisites: CP-212 and either CM-212
or CM-252
A survey of the major styles in Western and non-Western
music from the early classical period to the present.
Course Descriptions
LHAN-P253
African-American Composers
2 credits
Course Chair: G. Fritze Prototype
Required of: None
Electable by: All
Offered: Spring
Prerequisites: CM-211
This course will discuss the contributions that African-
American composers have made to classical music from the
late 19th century to the 21st century We will explore the
extra-musical influences affecting black composers past and
present - such as the Harlem Renaissance, the civil rights
movement, and the influence of jazz and other black music -
and examine whether or not these influences play a role in
music of these composers. We will also try to discover the
characteristics that may exist distinguishing the music of black
composers from those of non-black composers.
LHAN-261
Concert Music after 1945
2 credits
Course Chair: G. Fritze
Required of: None
Electable by: All
Offered: Spring, Summer
Prerequisites: ET-111 and HR-111
A survey course offering an overview of musical trends
that have dominated concert music since World War II,
with emphasis on symphonic and chamber music. Recent
trends including minimalism, post-Webern serialism,
chance and indeterminacy, electronic music, world music,
neoromanticism, avant-garde experimentalism, multimedia,
and others will be discussed. Pieces by composers John
Adams, Takemitsu, Stockhausen, Penderecki, Schnittke, Torke,
Cage, Feldman, Harbison, Zenakis, Reich, and others will be
studied and analyzed.
LHAN-266
Dmitri Shostakovich: His Music and Life
2 credits
Course Chair: G. Fritze
Required of: None
Electable by: All
Offered: Summer, Fall
Prerequisites: CM-212 and CP-212
This course combines historical, theoretical, and psychological
aspects of research on the life of Dmitri Shostakovich and the
majority of his works. Special attention is devoted to the
symphonic and theater works with detailed analysis of the
principles of musical and theatrical dramaturgy and emphasis
on style, form, and musical language. Videotapes with
excerpts of performances of the composer’s operas, ballets,
and symphonic works, as well as passages from rare
documentary films are an integral part of the course.
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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

A continuation of the survey of forms. Sonata, rondo, simple

A study of the music, ideas, philosophy of Olivier Messiaen; ternary, and other forms are analyzed in detail and traced
examination of Messiaen's text on composition, Technique through the music of composers from the eighteenth century
de mon langage musical (The Technique of My Musical to the present day.
Language); study of concepts for modes of limited
transposition, non-retrogradable rhythms, birdsong studies, LHAN-331
Hindustani rhythms, added value & added note systems, Bop Masters
and augmentation- diminution. Major works investigated 2 credits
will be Quartet for the End of Time, Visions de l'Amen, Course Chair: M. Marvuglio/J. Odgren
Messe de la Pentecôte, Turangalîla Symphony, and Required of: None
Chronochromie. Presentation of an analysis of one of Electable by: All
Messiaen's works required. Offered: Spring, Fall
Prerequisites: None
LHAN-311
Style Analysis of Classical and Romantic Music An in-depth survey of the principal instrumental soloists,
2 credits vocalists, vocal groups, arrangers, and composers of the bebop
Course Chair: G. Fritze period. A variety of groups will be examined through recordings.
Required of: COMP majors
Electable by: All LHAN-335
Offered: Spring, Summer, Fall Analysis of Progressive Rock Music
Prerequisites: CM-212 2 credits
Course Chair: M. Marvuglio/J. Odgren
Analysis of representative works from the classical and Required of: None
romantic periods. Emphasis on compositional practice and Electable by: All
stylistic distinction. Offered: Spring, Summer, Fall
Prerequisites: HR-211
LHAN-312
Style Analysis of Twentieth-Century Music Analysis of progressive rock music from 1967 to the present.
2 credits The influence of compositional and orchestral techniques and
Course Chair: G. Fritze use of acoustic instrumentation. The fusion of standard rock
Required of: COMP majors styles and classical music forms, including opera (Tommy,
Electable by: All Jesus Christ Superstar, Wings of Man). Analysis of rhythmic
Offered: Spring, Fall and harmonic devices. Groups to be discussed will include
Prerequisites: LHAN-311 Yes, Genesis, Pink Floyd, King Crimson, Kansas, and Emerson,
Lake, and Palmer.
Study of music from the early twentieth century to the
present. Examination of the development of mainstream LHAN-341
serial, electronic, aleatoric, and experimental composition. Black Music, Black Cultures
2 credits
LHAN-315 Course Chair: M. Marvuglio/J. Odgren
Traditional Forms in the Twentieth Century 1 Required of: None
2 credits Electable by: All
Course Chair: G. Fritze Offered: Spring
Required of: None Prerequisites: None
Electable by: All
Offered: Fall This course is a continuation of LHAN-241 and is a
Prerequisites: None comprehensive examination of selected black musical styles
and influences. Though this course will focus heavily on Afro-
A comprehensive survey of the forms that originated in American musical expressions, emphasis will, from time to time,
the Renaissance, baroque, and classical periods, and their be given to a consideration of styles that emanate from other
development and use by composers of the nineteenth and parts of the African diaspora and upon relations that exist
twentieth centuries. Isorhythm, ground bass, variation pas- between these styles and those of black America. This course
sage, and fugue are traced in detail from their earliest use to will also attempt to examine the relationship between particular
the twentieth century. Afro-American (north and central) styles and the social and
political attitudes upon which these styles are based.
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Summer/Fall 2008

LHAN-342
Contemporary South American Music
2 credits
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
(Intermediate level in reading and rhythmic skills
are necessary.)
A course for all instrumentalists and vocalists that focuses on
the performance and analysis of music by many of the most
important contemporary recording/performing artists and
composers in South America. Recordings, scores, literature, and
videos will be used to explain how these genres have evolved
from their traditional styles by absorbing the influences of
modern musical forms, including jazz, rock, pop, flamenco, and
African music. We will discuss the historical, cultural, and social
implications of this process of absorption and adaptation to
form a comprehensive understanding of the multi-cultural and
multi-racial roots of contemporary South American music.
Through analysis and performance, students will learn to
extract elements of South American music and use it in other
styles, including their own compositions and arrangements.
LHAN-345
Music and Cultures of Africa, Latin America,
and South America
2 credits
Course Chair: M. Marvuglio/M. Glaser
Required of: None
Electable by: All
Offered: Summer, Fall
Prerequisites: None
Course Descriptions
LHAN-346
Music and Cultures of India, the Far East,
and Eastern Europe
2 credits
Course Chair: M. Marvuglio/M. Glaser
Required of: None
Electable by: All
Offered: Spring, Summer
Prerequisites: None
A study of the music of North India and musics and cultures
of the Near East and Far East, including Japan, Indonesia,
and Turkey, as well as Eastern Europe, including Greece,
Bulgaria, and Russian Georgia. Focus will be on the interaction
of cultures to produce new musical forms. Other topics will
include: issues of race, gender, ethnicity, and identity, placing
music in its cultural and historical context, music as a
representative of cultural values, aesthetics, cultural
transmission, orality and literacy, and individualism versus
group involvement.
LHAN-351
Music of Miles Davis
2 credits
Course Chair: Course Chair: T. Plsek
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
A course tracing the development of the music of Miles Davis.
Examination and discussion of the evolution of his playing
and writing styles. Concentration on the listening and analysis
of improvised solos, tunes, forms, harmonic practice, and his
influence on other performers.

A study of major musics and cultures of Africa and the LHAN-352

interaction of African and European cultures in the New World Music of Duke Ellington
of Latin America and South America, focusing on the ways 2 credits
these cultures have produced new musical forms as a result. Course Chair: K. Pullig
Other topics will include: issues of race, gender, ethnicity, and Required of: None
identity, placing music in its cultural and historical context, Electable by: All
music as a representative of cultural values, aesthetics, cultur- Offered: Spring, Fall
al transmission, orality and literacy, and individualism versus Prerequisites: HR-212
group involvement.
A chronological investigation of the music of Duke Ellington
and the development of the Ellington Orchestra. Through
listening and score analysis, students become familiar with
various techniques associated with Ellington’s unique
approach to composition, arranging, and orchestration.

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

An investigation of the basic elements discovered in the

compositional and arranging styles of Charles Mingus.
Categorizing and analysis of various works.
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Course Descriptions

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

A comparative, historical study of sonata forms from the

baroque period to the present. Selective analysis of represen-
tative works by Scarlatti, Haydn, Beethoven, Brahms, Debussy,
Scriabin, Schoenberg, Shostakovich, and Britten. Emphasis on
historical development and evolution of the sonata form.
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Summer/Fall 2008

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
in the music industry. Students work with the applications
typically found in music business operations, including word
processing, spreadsheets, databases, graphics, and visual
displays. Emphasis is on the presentation and analysis of
financial data. Particular attention is given to the use of the
Internet for communication and the location and retrieval
of business-related data.
MB-275
Principles of Financial Accounting
2 credits
Course Chair: D. Gorder
Required of: MBUS majors
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201
An introduction to the fundamental principles of accounting
and record keeping in business operations. Emphasis is
placed on the theory of debit and credit, the recording of
business transactions, the preparation of basic financial
statements, and the use of accounting information within
music business organizations.
MB-287
Business Communications
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring, Fall
Prerequisites: MB-201 and either MB-255
or MB-355
A detailed study of the categories of correspondence and
presentation most relevant to the music business. These
include: (1) effective techniques of business writing,
including letters, memos, reports, proposals, and electronic
communications; (2) oral presentations, including the use of
visual aids and multimedia; (3) planning and running meetings;
and (4) supervising team projects.
The application of theories of organizational behavior and
structure to managerial processes, and the overriding influence
of ethics in decision making. Through case study analysis,
students enhance their leadership abilities while developing
skills in organizational efficiency, managerial effectiveness,
adaptability, and values clarification.
MB-305
Music in the International Marketplace
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Fall
Prerequisites: MB-201, MB-211, and MB-225
Study of current issues affecting the international music
marketplace with emphasis on understanding the international
record business and international music publishing. Study of
the major geographical areas where music is traded; discussion
of music market activities in individual countries.
MB-331
International Industry Operations:
Record Companies
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in management track
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-211, and MB-225
A critical analysis of the anatomy of domestic and international
record companies, focusing on the role of each department
within the structure. Students become intricately acquainted
with such areas of activity as artists and repertoire (A&R),
promotions, marketing, distribution, product management,
and business affairs. Special attention is given to contractual
relationships with artists and producers as well as domestic
and international licensing of masters.

130
Summer/Fall 2008

MB-335
International Industry Operations:
Music Publishing
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in management track
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-211, and MB-225
A detailed analysis of the inner workings of music publishing
companies, with emphasis on the role of the publisher in the
acquisition, market development, and administration of
copyrighted musical compositions. Topics include copyright
registration and renewal, contractual relationships with
composers, and an analysis of domestic and international
licensing of the publisher’s catalog, through recordings, motion
pictures, print, and performance rights. Relationships with
foreign affiliates and subpublishers are also covered.
MB-337
Music Products in Commerce
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in music products
industry track
Electable by: MBUS and MSYN majors
Offered: Fall
Prerequisites: None
An in-depth survey of the business mechanisms found in
the international commerce of music products, from the
manufacturer to the wholesaler/distributor to the retailer.
Topics include the mechanical and economic considerations
involved in moving products through the stream of commerce
to the point of purchase, as well as marketing, product
development, distribution, sales, effective advertising,
promotion, and product representation.
MB-339
Music Technology in the Marketplace
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in music products
industry track
Electable by: MBUS and MPED majors
Offered: Spring, Summer
Prerequisites: MB-201
A course that presents the essential elements of technology
used for making music, including a brief history of music
technology, a discussion of the physical and mathematical
natures of various systems, a presentation of the various
families of music technology devices, in both hardware and
software realms and in both analog and digital realms.
Principles of development, manufacturing, ergonomics,
and artistic validity will be considered, along with underlying
principles of acoustics, electronics, and electroacoustics.
Course Descriptions
MB-340
Business Startups
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in the
entrepreneurial track
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-275, and either
MB-255 or MB-355
This course will introduce students to the concepts and
requirements that must be considered and implemented during
the critical planning stages of a business startup. Students will
learn the basic concepts, including market research, submission
of business licensing applications, regulatory filings, first contact
with the IRS and state departments of revenue, location,
organizational structure, financing, employee issues, and many
other considerations. Guest speakers will be invited to speak on
selected topics. NOTE: As of fall 2004, Business Startups is a
required course in the entrepreneurial track of the MBUS major,
replacing PM-340 Entrepreneurship.
MB-341
Creative Promotion in New Media
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in the
entrepreneurial track
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-211, and MB-225
A comprehensive study of the mass communication options
available for the implementation of creative ideas involving
artist and product development. The course is useful for the
entrepreneur, corporate executive, creative production person,
and business strategy person focusing on consumer research,
business relationships, and the effect media has on creativity
and results. It also assists students in preparing for extended
career/graduate study options.
MB-345
Advanced Management Techniques
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring, Fall
Prerequisites: MB-201, MB-275, and MB-301
An in-depth study of important management techniques
and approaches. Subject areas include strategic planning,
employee development, managing change, decision making,
small business start-up and management, organizational
structuring, labor relations, and business negotiating. The
course will focus on the practical applications of the subject
matter to the music industry through case studies, role
playing, and simulations.

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Course Descriptions
Summer/Fall 2008
MB-351
Data Management and Statistics
2 credits
Course Chair: D. Gorder
Required of: MBUS majors
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-225, MB-275, and either
MB-255 or MB-355
The development of quantitative, graphic, and verbal skills in
the analysis of data, emphasizing the ability to reduce data to
its simplest and most representative expression, as necessary
for music business operations. A focus of the course will be
the familiarization of the student with the economic statistics
of the music industry in the United States and abroad.
Additionally, students’ communication skills are developed
through effective, computer-enhanced data presentation.
MB-355
Advanced Computer Applications
2 credits
Course Chair: D. Gorder
Required of: MBUS majors who do not
take MB-255
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201 and either MB-255 or
written approval of course chair
This course builds on the fundamental computer concepts
taught in MB-255, and includes database development and
design using Microsoft Excel and 4th Dimension database
software. Emphasis is on normalization and functional
dependencies, relationships, and optimization in database
design to help students design, create, and interact in a
relational database environment. Note: MBUS majors are
required to take MB-255 or MB-355. MBUS majors may skip
MB-255 and enroll in MB-355 by achieving a satisfactory
score on the MBUS Computer Placement Exam and receiving
a waiver from the department chair. A passing score on the
MBUS Computer Placement Exam does not constitute test-out
of MB-255 or MB-355.
MB-375
Music Intermediaries: Agents, Managers,
and Attorneys
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201 and MB-211
The role of the intermediary in advising, representing, and
furthering the careers of artists, focusing on the establishment
of mutually beneficial working relationships. Topics include
the mechanics of talent booking and contracting, union and
government regulations, fee/commission structures, contractual
considerations, fiduciary duties, budgeting, the development
of a client base, and finding success through honesty and
fair dealing.
132
MB-387
Web Site Design and Management
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201 and either MB-255
or MB-355
This course focuses on web site design and maintenance with
HTML and JavaScript. Students will learn the basics of web
site planning and design using HTML, Photoshop, sound/video
editing tools, JavaScript, open source code, and online tools
and services. Particulars on how to set up a new web
presence, site testing, search engine optimization, web site
management, and basic marketing will also be covered.
MB-P389
Managing Technology-Driven Business
2 credits
Course Chair: D. Gorder Prototype
Required of: None
Electable by: MBUS majors
Offered: Fall
Prerequisites: MB-387
This course will explore the underlying technology and
terminology required to effectively communicate and conduct
business in the technology-driven marketplace. In today's
business environment, it is essential for managers and
executives to understand the basic concepts behind
contemporary information systems and how they can be used
effectively in business. Topics include hardware, software,
network architecture, information security, data warehousing,
customer interfaces, and online marketing opportunities.
Students will have the opportunity to work with common
open source applications used for content management,
customer relationship management, online purchasing and
payment systems, and more.
MB-391
Concert and Tour Promotion
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-211, and MB-275
Business aspects of producing and promoting successful
tours and shows. Emphases include: (1) the promoter’s ability
to purchase talent and produce successful shows, taking
into consideration such matters as competition, population,
guarantees and percentage splits, ticket pricing and
distribution, advertising budgets, production costs,
sponsorships, rental agreements, labor, security, concessions,
tour packages, and promoter-owned venues; and (2) managing
and producing a successful tour, focusing on a tour theme
and marketing plan, routing, itineraries, riders, offers, contracts,
subcontractors, show and tour personnel, merchandising,
sponsorships, day-of-show and show settlements.
Summer/Fall 2008
MB-397
Web Site Development for E-Business
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Spring
Prerequisites: MB-201, MB-387, and either
MB-255 or MB-355
As the follow-up to MB-387, this course focuses on the actual
use of web sites in business. Technologies used in today’s
business sites will be presented, such as cascading style sheets,
Flash, PHP scripting, and online databases. Students will
develop workable sites with consideration of content,
demographics, management and leadership strategies, user
experience, accessibility, legal issues, and site support services.
Existing web sites will be viewed and critiqued for effectiveness,
and aspects of online business models, business-to-business,
and business-to-consumer will be explored. Emphasis will be
given to both corporate and entrepreneurial web environments.
MB-401
Principles of Marketing
3 credits
Course Chair: D. Gorder
Required of: MBUS majors
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-225, MB-275, MB-351,
either MB-255 or MB-355, and one of the
following: MB-331, MB-335, MB-337, MB-339,
MB-340, or MB-341
This course examines the practice of marketing as both an art
and a science, and provides students with an understanding
of the role of marketing within an organization as well as its
impact on consumers and society in general. The course
consists of the study of various web sites, the discussion of
case studies, and creative exercises, as well as the step-by-step
preparation of a marketing plan requiring significant Internet
and other research. It is intended that students will emerge
with a full appreciation of both the wisdom and folly of
marketing as it is currently practiced by individuals and
organizations within the music industry and without.
MB-405
Advanced Legal Issues and Contract
Negotiation
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS and MPED majors
Offered: Spring, Fall
Prerequisites: MB-211
Combines an examination of advanced legal topics relating
to the music business with a workshop approach to the
development of negotiating skills. Students will negotiate
various agreements based on actual cases and work to settle
disputes arising from the breaching and termination of
agreements. Topics to be covered include record deals
between artists and record companies, distribution deals
Course Descriptions
between independent and major record companies,
copublishing and administration deals, producers and
production deals, touring and merchandising, trademark
and copyright disputes, group break-ups, and disputes
between artists and managers. Intensive preparation and
class participation by students is expected.
MB-433
Current Issues in the Music Industry
2 credits
Course Chair: D. Gorder
Required of: None
Electable by: MBUS majors
Offered: Fall
Prerequisites: MB-201, MB-225, MB-275, MB-301,
and either MB-255 or MB-355
Students research topics of current importance in the music
industry and participate in moderated panel discussions. The
course emphasizes thorough preparation, extemporaneous
speaking, and critical listening. Through the discussions,
students gain skills in issue analysis, debate, evaluation, and
professional dialogue. Students are assigned weekly
responsibilities as panelists, moderators, critics, and scribes.
MB-P435
The New Music Company
2 credits
Course Chair: D. Gorder Prototype
Required of: None
Electable by: MBUS majors
Offered: Fall
Prerequisites: MB-331, MB-375, and MB-387
A critical discussion of the future of the music business,
focusing on the merging of record labels, management
companies, agents, and do-it-yourself tools for the branding
and promotion of musicians and music. Students will analyze
the changing music industry and create a "company" which
capitalizes on our convergence culture. The course will provide
an overview of the many different do-it-yourself options now
available, how to maximize a return on those tools, and outside
consultants used to promote music.
MB-490
Senior Practicum 1 (Heavy Rotation Records)
1 credit
Course Chair: D. Gorder
Required of: MBUS majors not taking MB-495
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-225, MB-275, MB-301,
either MB-255 or MB-355, and one of the
following: MB-331, MB-375, or MB-391
Heavy Rotation Records was developed for students to receive
hands-on experience in record company operations. HRR
students oversee A&R, marketing, sales, publicity, publishing,
promotion, artist development, concert promotion, and web
design in the production and sale of recorded music. Students
are assisted by faculty, guest producers, engineers, and major
label personnel.
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Course Descriptions
Summer/Fall 2008
MB-491
Senior Practicum 2 (Heavy Rotation Records)
1 credit
Course Chair: D. Gorder
Required of: MBUS majors not taking MB-495
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: MB-201, MB-225, MB-275, MB-301,
MB-351, MB-490, either MB-255 or MB-355,
and one of the following: MB-331, MB-375,
or MB-391
A continuation of the learning experiences gained in
MB-490, with the added possibility of maintaining a key
leadership/managerial role within the operations of Heavy
Rotation Records.
MB-P493
Entrepreneurial Practicum
2 credits
Course Chair: D. Gorder Prototype
Required of: None
Electable by: MBUS majors
Offered: Spring, Fall
Prerequisites: MB-301, MB-340, and MB-351
This practicum course offers senior level students an
opportunity to apply their accumulated business knowledge in
a problem-solving, laboratory environment. A continuation of
the learning experiences gained in MB-340, the class places
students into mentoring relationships with Berklee alumni, as
well as other members of the Berklee community, who may
have an operating business or who desire to launch a new
business venture. Students will undertake, as class projects,
the assistance of these hopeful entrepreneurs, in all aspects
of starting and/or improving their enterprises. Appropriate
business settings will be identified and chosen utilizing a simple
proposal submission and screening process. Class sessions,
which may include on site visitations, will focus on developing
options and action plans that lead to problem solving areas
students will encounter in business environments.
MB-495
Internship in Music Business/Management
2 credits
Course Chair: D. Gorder
Required of: MBUS majors in music products
industry track; MBUS students not taking
MB-490/491
Electable by: MBUS majors
Offered: Spring, Summer, Fall
Prerequisites: Written approval of course chair,
MB-201, MB-225, MB-275, MB-351, either
MB-255 or MB-355, and one of the following:
MB-331, MB-335, MB-337, MB-339, MB-340,
or MB-341
Monitored and evaluated professional work experience in
an environment related to the music business/management
major. Placement is limited to situations available from or
approved by the Office of Experiential Learning and the Music
Business/Management Department chair or designee. To
apply for an internship, students must see the internship
134
coordinator in the Office of Experiential Learning prior to
registering. Note: Students in the music products industry
track are required to take MB-495. Credit for prior experience
is not available due to the requirement of 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
prior to beginning an internship.
Music Education
ME-111
Introduction to Music Education
1 credit
Course Chair: C. Adderley
Required of: MUED majors
Electable by: All
Offered: Spring, Fall
Prerequisites: None
This course introduces students to the field of teaching music
in a school setting. It explains the process of completing the
Berklee Music Education curriculum and the process of
becoming a licensed music teacher in the state of
Massachusetts. Upon successful completion of this course,
students will understand the music teaching profession,
teacher licensing, national arts standards, the Massachusetts
Curriculum Frameworks for the Arts, and how to successfully
negotiate and complete the Music Education curriculum.
ME-152
Computer Applications in Music Education
2 credits
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: MTEC-111
The purpose of this class is to help students become familiar
and comfortable with music and other software that could
enhance the student’s teaching of music in three specific
areas: using technology outside of class to prepare music
handouts, scores, tapes, or CDs; using a teacher station to
present technology-enhanced lessons; using technology in a
MIDI lab where children work on computers.
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.

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Course Descriptions

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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
of the brain and its application to their own study of music.
The course includes practical applications of theory in musical
learning and teaching, and culminates in a short observational
research project on brain function in music.
ME-341
Teaching with a Multicultural Perspective
2 credits
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED and MTHE majors
Offered: Spring, Fall
Prerequisites: None
This course will enable students to experience music of
diverse cultures and give them skills for developing their
own resources. Characteristics of art and folk music,
instrumentation, the cultural setting, and resources for
classroom and performing ensembles. The sounds of the
culture, including language, will be explored.
ME-352
Preparing for the Music Licensing Exam
2 credits
Course Chair: C. Adderley
Required of: None
Electable by: MUED majors
Offered: Spring, Fall
Prerequisites: CM-251, CM-252, LHAN-251,
LHAN-252, ME-325 or ME-P327, and ME-341;
or written approval of course chair
A survey for music education majors of literature written
for, and/or performed by, bands and orchestras in the
elementary and secondary public schools. Note: This course is
recommended to be taken concurrently with ME-431.
ME-383
Survey of Vocal Music Literature
1 credit
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MTH majors
Offered: Spring, Summer, Fall
Prerequisites: None
A survey for music education majors of vocal literature for,
and/or performed by solo, small, and large ensembles in
the elementary and secondary public schools. This course is
recommended to be taken concurrently with ME-321.
ME-385
Methods and Materials for Marching Band
2 credits
Course Chair: C. Adderley
Required of: None
Electable by: MUED majors
Offered: Fall
Prerequisites: None
An overview of basic marching band techniques. Emphasis
on the study of commands and maneuvers, color guard
techniques, and charting procedures necessary for the
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

Students will learn a series of pieces to be played on Orff

instruments. Pieces will be organized around arrangements
of authentic folk music, pieces from the Orff/Keetman
publications, and student compositions. Improvisation will be
included in most pieces. Development of polyphonic awareness
(singing a song while playing an instrument) will be an
objective. Students will develop the basic technical skills for
pitched percussion.
136
Summer/Fall 2008
ME-431
Instrumental Methods and Materials
1 credit
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: None
An overview of the instrumental instruction program in the
K–12 schools. Detailed examination of teaching techniques
for beginning instrumental students. Survey of appropriate
methods books for instrumental instruction.
ME-475
Prepracticum Apprenticeship/Seminar
1 credit
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Fall
Prerequisites: ISKB-322, ME-211, ME-311,
and written approval of course chair. NOTE:
Passing scores on MUED proficiency and MTEL
Communications Skills are required.
Assigned practical experience in elementary and secondary
schools of the Greater Boston area. Minimum of 45 hours field
work at the site. Evaluation of teaching experiences through
group discussion at seminar meetings. Guest lecturers from the
teaching profession. Final written report required.
ME-495
Practice Teaching/Seminar
6 credits
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Fall
Prerequisites: ME-475 and written approval
of course chair. NOTE: Passing scores on both
MTEL Communications Skills, and Music exams
are required.
Student teaching experience in elementary or secondary
schools. A minimum of 450 clock hours practice teaching in
kindergarten to grade 12 is required. Critique and evaluation
of problems encountered in student teaching certification
assignments in the public schools. Weekly seminar meetings
are supervised by the Music Education Department chair.
Course Descriptions
Music Production and Engineering
MP-110
Introduction to Music Production
and Engineering
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
Roles and responsibilities of music producers and engineers
from idea inception to finished product. An overview of
studio technologies and basic recording procedures.
Recommended for students considering the music production
and engineering major or anyone desiring a broad overview
of the field.
MP-210
Principles of Record Production for Musicians
2 credits
Course Chair: R. Jaczko
Required of: None
All except MPED majors
Offered: Spring, Summer, Fall
Required of: None
Prerequisites: None
With the proliferation of low-cost, high-quality music
technology, most musicians now have the means to make
a commercial album without the support of a record label,
and often are required to fill the role of producer and possibly
engineer. This course surveys the general production process
from concept through mastering, with an emphasis on
self-produced independent projects. Although there is no
hands-on coursework, students will develop detailed plans
for a legitimate recording project of their choice.
MP-211
Audio Technology 1
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MTEC-111 and either LMSC-208
or LMSC-209.
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.
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Course Descriptions

Summer/Fall 2008

MP-212 characteristics related to production values: recording

Audio Technology 2 technique, signal processing, special effects, and mixing
2 credits methods. Considerations for critical listening. In-class
Course Chair: R. Jaczko evaluation of demos, masters, and commercial recordings.
Required of: MPED majors Weekly class presentations of student analysis projects.
Electable by: MPED majors
Offered: Spring, Summer, Fall MP-225
Prerequisites: MP-211. MP-241 must be taken MIDI Systems for Music Production
concurrently with MP-212. 2 credits
Course Chair: R. Jaczko
This course covers the fundamentals and practical applications Required of: MPED majors
of a digital audio system, as well as methods for functioning in Electable by: MPED majors
an integrated MIDI/Digital Audio Workstation (DAW)/Analog Offered: Spring, Summer, Fall
studio environment. This includes algebraic, graphical, and Prerequisites: MTEC-111
other techniques for the analysis and study of audio signals and
systems; time and frequency domain measurements; decibels A comprehensive study of the Musical Instrument Digital
in audio and acoustical applications; systems analysis of Interface (MIDI) and its many musical applications, with an
contemporary recording and synthesis technology using block emphasis on both MIDI and audio sequencing. Working at
diagrams and sequential flow charts; and black box analysis. computer-based workstations, students will apply in-depth
Course topics include system setup and interconnections; knowledge and comprehension of the MIDI specification,
MIDI interface and synchronization; aspects of digital recording MIDI and audio sequencing software, and sequencing
consoles/mixers, such as paged architecture, I/O, word clock, techniques to a wide variety of musical projects.
sample rate, and bit depth; and basics of a DAW, such as the
elements of hard-disk recording, track and file management, MP-241
digital audio, and sequencing strategies. Assignment-based lab Mix Techniques Lab
time required. 2 credits
Course Chair: R. Jaczko
MP-214 Required of: MPED
Critical Listening Lab Electable by: MPED
1 credit Offered: Spring, Summer, Fall
Course Chair: R. Jaczko Prerequisites: MP-211 and MP-214; MP-212
Required of: MPED majors must be taken concurrently with MP-241
Electable by: MPED majors and MSYN majors
with written approval of MPED chair The functional operation of equipment and aesthetic
Offered: Spring, Summer, Fall considerations for multitrack mixdown of stereo masters.
Prerequisites: None Common control room procedures and protocol. Console
and control room signal flow, control logic, patching, and
This course will focus on developing critical listening skills, documentation. Use of outboard signal processors. Mixing
with emphasis on engineering analysis within the context of exercises of prerecorded multi-track material. Audio ear training
the popular music mix. Topics will include: psychoacoustics required outside of class time.
of the critical listening environment; engineering techniques
such as balances, panning, EQ, reverb, compression, delay, MP-247
and time-based effects; instrument identification; and stylistic Business of Music Production
comparisons of engineering and mix techniques. In-class 2 credits
listening analysis and concepts will be reinforced through Course Chair: R. Jaczko
out-of-class critical listening assignments. An out-of-class Required of: MPED majors
audio ear training component will also be part of the class. Electable by: MBUS, MPED, and MSYN majors
Offered: Spring, Summer, Fall
MP-215 Prerequisites: None
Production Analysis Lab
1 credit Review of copyright, publishing, collection agencies,
Course Chair: R. Jaczko creative unions, and technical unions as they impact the
Required of: MPED majors music production business; budgeting, planning, and
Electable by: MPED majors and MSYN majors client relationships.
with written approval of MPED chair
Offered: Spring, Summer, Fall
Prerequisites: None

Comparisons of a wide variety of production styles and

techniques from the evolution of multitrack to contemporary
recording. Analysis of the production process in terms of song
or composition choice; performance style; acoustic, electronic,
and synthesized instrumentation; and arrangement. Technical
138
Summer/Fall 2008
MP-309
Technical Characteristics of Audio Systems
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED majors
Offered: Spring, Fall
Prerequisites: MP-340
Technical aspects of recording studio setup and operation.
Interconnection of professional analog and digital equipment
in properly functioning studio systems. DC and AC
measurements, audio signal levels, transmission systems,
professional and consumer equipment standards, reference
levels, and optimization of dynamic range. Hands-on tape
machine alignment will be assigned.
MP-310
Sound Reinforcement for Musicians
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: All except MPED majors
Offered: Spring, Summer, Fall
Prerequisites: None
For non-MPED majors who wish to learn the principles of
sound reinforcement encountered in clubs or recital halls.
Emphasis on effective interaction with engineers in concerts,
in large halls, and in recording studios.
MP-318
Creative Production Skills
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-215, MP-241, and MP-247;
MP-340 and MP-341 must also be taken
concurrently with MP-318.
Defining the goal of a recording project with the artist or
client. Selecting composers, arrangers, players, and singers.
Choosing the appropriate technical resources to fit the
budget and goals. Working with vocalists and other soloists.
Orchestrating and motivating all the participants and
resources from rehearsal to recording to final mix. Three
production projects required on 2-track and 8-track formats.
Course Descriptions
MP-320
Music Production for Records
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-318; MP-385 must also be
taken concurrently with MP-320
A study of the creative and business aspects of producing
records. Emphasis is placed on the creative and aesthetic
techniques of production. Lecture topics may include, but are
not limited to: song choice; song analysis; lyrics analysis; artist
development and creative vision; scheduling, budgeting, and
prioritization of tasks; communication issues; compromise
and flexibility with regard to a producer’s vision; servicing
the artist’s and the record company’s needs; and tracking the
development of the production process from demo to master.
Two multi-track projects are required.
MP-322
Sound Reinforcement Systems
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-241
Techniques for recording and reinforcing music on location.
Commonly encountered acoustical problems and an
investigation of equipment and techniques used to
overcome them.
MP-325
Sound Reinforcement Lab
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-322
Students will practice setup and mixing of live ensembles,
and assist the audio staff at Berklee concerts and rehearsals
in the Berklee Performance Center.
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Course Descriptions
Summer/Fall 2008
MP-340
Multitrack Recording Techniques
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-212 and MP-241; MP-318
and MP-341 must also be taken concurrently
with MP-340.
Emphasis on recording techniques including microphone
placement, console and signal flow, editing, and live recording.
Discussion and utilization of limiters, compressors, noise gates,
digital delay, and other signal processing equipment used in
the multitrack recording process. Recording projects will be
required. Audio ear training will be available outside of class.
MP-341
Mix Techniques 2
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-241; MP-340 must also be
taken concurrently with MP-341.
A study of the functional operation of equipment used in
multi-track mix-down of digital master recordings in a digital
audio workstation environment. There will be an emphasis on
critical listening and aesthetic consideration. Topics covered
will include common DAW procedures and protocol, data
management, use of a virtual console, use of a control
surface, signal flow, editing, and digital signal processing
(plug-ins). Mixing exercises of prerecorded multi-track files.
MP-P351
Microphone Theory and Applications
2 credits
Course Chair: R. Jaczko Prototype
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring, Fall
Prerequisites: MP-340 or MS-320
This course will discuss design theory of recording studio
microphones. Hands on applications will include modification
of microphone designs and acoustic testing of various design
concepts and techniques.
140
MP-P363
Guerilla Production Techniques
2 credits
Course Chair: R. Jaczko Prototype
Required of: None
Electable by: MPED majors
Offered: Spring, Fall
Prerequisites: MP-318, MP-340, and MP-341
The era of unlimited budgets for making records is largely
over, yet labels expect producers to deliver high-quality
products at low costs. For some, a desktop production
environment provides sufficient tools to do professional work,
but what if ensemble performance is key to a project? In this
course, students will be challenged to base their work in part
or whole on making quality recordings of live performances
outside of the traditional studio setting. All live recording
will involve the use of a small mobile recording rig that will
supplement the students' laptops.
MP-385
Advanced Recording Techniques
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-340; MP-320 must also be
taken concurrently with MP-385.
This advanced recording class analyzes SSL console signal
flow; demonstrates sophisticated ensemble mic techniques
and applications; compares digital and analog multitrack
formats, and reinforces professional session protocols. Drum
micing, session flow, documentation and microphone choice
and comparisons will all be demonstrated.
MP-421
Music Production for Visual Media
2 credits
Course Chair: R. Jaczko
Required of: MPED majors
Electable by: MPED majors
Offered: Spring, Summer, Fall
Prerequisites: MP-320 and MP-341
A hybrid production/engineering course dealing with the
technical and creative issues surrounding soundtracks for
feature film, episodic television, commercials, and documen-
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.
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.

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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

This course provides a comprehensive introduction to the

modern production studio. Emphasis is placed on console vs.
control surface paradigms, digital and analog signal flow,
clocking, gain-staging, the tracking process, microphone
selection and placement, and processors used in recording
and mixing.

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
in virtual synthesizers used to create sound. Focus on observing
signal characteristics at outputs, and defining signal functions
(e.g. timing, audio, logic, and control) solely via connection(s)
to inputs. Study of various types of input response curves and
attenuator calibrations.
MS-225
MIDI Systems
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: MTEC-111 and either LMSC-208
or LMSC-209
A comprehensive study of the Musical Instrument Digital
Interface (MIDI) and its many musical applications with an
emphasis on sequencing. Working at computer-based
workstations, students will apply in-depth knowledge and
comprehension of the MIDI specification to a wide variety of
musical projects.
MS-250
Survey of Electronics in the Film Score
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
A survey of electronic musical instruments, computer
technology, and other electronic techniques used to create
film scores, illustrated with film clips and recordings, from the
coming of sound (circa 1927) through the modern era. Practical
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.
A study of musical devices, including hemiola, stretto,
polymeter, canon, augmentation and diminution, antiphony,
used in successful productions by music technologists and
composers. Harmony and its devices are not considered.
Definitions in The New Harvard Dictionary of Music act as
points of departure, from which students will be challenged
to illustrate how classic devices of music composition can be
extended using electronic tools, such as the classic concept of
retrograde being extended through electronic technology to
produce "reversed audio." Also, the music technologist can
repurpose “augmentation and diminution” of a theme using
ratios not playable or even notable using acoustic means.
Students will create three brief productions, and one
extended production that apply musical devices illustrated in
class and use brief recorded excerpts of contemporary and
canonical popular music. Students will also submit their own
brief excerpts of recordings that utilize classic musical devices,
gleaned from the most current contemporary music contexts
that feature electronic means.
MS-320
Digital Mix Techniques
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-220, MS-223, and MS-225
Based on theory and skills learned in Studio Technologies,
this course places a primary emphasis on the improvement
of student productions through effective mixing techniques.
Mixing, processing, equalization, dynamics, working in stereo
and surround, and other techniques will be explored and
applied to a series of projects. Genre-specific techniques
will be discussed, in addition to mix-for-picture and sound
design scenarios.

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Summer/Fall 2008

MS-321
Advanced MIDI Systems
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-220, MS-223, and MS-225
A project-oriented course focused on mastery of a complex
MIDI production environment. Students address the technical
challenges of configuring and integrating a wide variety of
hardware and software into a working MIDI and digital audio
system. Emphasis is placed on advanced sequencing techniques
and innovative MIDI applications using hardware and software
instruments in a sequencer-based production environment.
MS-322
Advanced Programmable Synthesis
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-220, MS-223, and MS-225
A continuation of MS-223, this course provides various
approaches to original sound design. Students will be shown
how to assimilate a wide variety of synthesizer architecture
and identify their unique or common elements. Students
will learn to correlate the parameters of synthesis with the
parameters of sound.
MS-326
Multimedia Portfolio Workshop
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-320, MS-321, and MS-322
MS-330
Indian Music Concepts in Contemporary
Synthesis Production
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Fall
Prerequisites: MS-223
A creative study of the technical and musical aesthetics involved
with producing and arranging in a wide range of popular
Indian musical styles, including pop songs, remix hits, and
classical forms. Utilizing contemporary synthesis programming
and production techniques, students will complete a variety
of projects and assignments that effectively demonstrate the
contemporary synthesis application of Indian ragas, musical
instrumentation, and popular stylistic repertoire.
MS-P331
Applications of Indian Music Concepts in
Contemporary Synthesis Production
2 credits
Course Chair: K. Biederwolf Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: MTEC-222 or MTEC-223 or
permission of instructor
A creative study of the technical and musical aesthetics involved
with producing and arranging in a wide range of popular
Indian musical styles, including Bollywood pop songs, remix
hits, and classical forms. Utilizing contemporary synthesis
programming and production techniques, students will
complete a variety of projects and assignments that effectively
demonstrate the contemporary synthesis application of Indian
ragas, musical instrumentation and popular stylistic repertoire.

This course is a portfolio development workshop focusing

on portfolio presentation using interactive media. Weekly
assignments will build fluency in file formats, encoding tools,
and authoring platforms. Through successful completion of
these projects, students will become adept in the basics of
video preparation, audio for DVD/Web distribution, and
HTML, DVD and Flash interface design.

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Summer/Fall 2008

MS-P333
Sound Design for Animation
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Fall
Prerequisites: MS-321 and MS-322, or written
approval of chair
Course Descriptions
MS-339
Synthesis in Composition and Orchestration
for Commercial Production
Prototype 2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-223

A project-based course covering basic design principles and
production techniques used in producing sound for animation.
Students will work in collaboration with senior animation
students at the Massachusetts College of Art to produce three
short animation projects. Animation is a part of practically every
form of entertainment that uses visual elements, from feature
films and television programs to video games and web sites.
Most, if not all, musicians will work with this medium at some
point in their career. Class meetings will explore the historical
roots of sound and music for animation through screenings,
case studies, and assigned readings. From this, students will
develop the skills necessary to analyze an animation and
create a variety sound elements: music, sound effects and
vocal elements. At various times throughout the semester,
the class will meet at Mass Art in joint meetings with student
animators for directed review of their work.
MS-335
Advanced Modular Synthesis Techniques
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-223
A continued study of subtractive synthesis techniques used
in designing sounds for hybrid analog/digital sound engines.
Advanced studies in performance- and production-oriented
programming techniques used in sophisticated systems. In
addition to classroom time, students will be supervised in
weekly hands-on practice in this synthesis lab.
This course will provide the opportunity for students to gain
experience working in situations, which typify the demands
of a commercial production environment. This will include:
composing in a wide variety of idioms, to specific stylistic
direction, and under common constraints that affect
commercial music composition. The emulation of these styles
will require drawing upon the skills of a synthesist, engineer,
and producer as well as those of composer and orchestrator.
This course will confront the student with the issues and
problems common to the working composer, music producer,
and small studio owner.
MS-340
Speech and Vocal Synthesis
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Summer, Fall
Prerequisites: MS-223
An overview of the electronically produced/processed
voice, with exploration of human speech/singing formants;
time-stretching and granular speech techniques; human singing
voice-synthesis software; and introduction to convolution of
the human voice; introduction to the mechanics of human
voice sound production. Formant synthesis: singing and speech
synthesis based on frequency domain techniques such as
vocoding, parametric EQ, and use of formant filters. In addition
to classroom time, students will be supervised in weekly hands-
on practice in this synthesis lab. The course requires production
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.

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Course Descriptions
Summer/Fall 2008
MS-351
Advanced Studies in Digital Sampling
Techniques
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-322
Using a variety of sampling synthesizers and related signal
processing devices, the student will learn techniques employed
in the creation of a variety of contemporary user-sampled
sounds. Topics covered include studio sampling applications
with regard to acoustic, electronic, and environmental sounds;
computer manipulation of complex waveforms; and various
digital processing techniques. In addition to classroom time,
students will be supervised in hands-on labs.
MS-P353
Audio Programming in C, C++ and ObjC
2 credits
Course Chair: K. Biederwolf Prototype
Required of: None
Electable by: MSYN majors
Offered: Spring, Fall
Prerequisites: MS-337 or MS-341
This class focuses on programming computers through learning
how to read, write and modify software synthesis and signal
processing software using Xcode - Apple Computer's
integrated development environment for Mac OS X In the
process, the student will come to understand, at the most
fundamental level, how synthesizers, samplers, modulators,
filters, reverbs, mixers, and other popular effects processors and
plug-ins make and transform sounds at the algorithm level.
From this understanding and expertise, the student will modify,
extend, build and use innovative tools of their own design to
create an original, personal, and unique music and sound.
MS-371
Composition Workshop for Music Synthesis
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-223
This class provides the student with an opportunity to create
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
MS-381
Contemporary Applications of Digital Audio
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-320, MS-321, and MS-322
MS-381 will challenge music synthesis students to produce
content in many of the diverse professional applications of
multi-track audio and MIDI software and hardware, and the
digital project studio. Class time will be used to present
relevant production techniques and review and critique
student work, both finished and in progress.
MS-391
Designing and Programming Interactive
Performance Systems
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-321
Focusing on expanded synthesizer control and expressive
musical performance, students will study, program, practice,
and play using nonkeyboard controllers such as MIDI guitars,
woodwinds, drums, and innovative “virtual” controllers such
as the Buchla Lightning and the Mathews Radio Baton.
MS-401
Music Synthesis Advanced Seminar
2 credits
Course Chair: K. Biederwolf
Required of: MSYN majors
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MS-326 and MS-381
Advanced Seminar combines master class and private lesson
settings for the music synthesis major. Master class topics
include group assessment of each student's portfolio work,
as well as the existing work of other professional musicians.
Assessment and analysis represent creative, compositional,
artistic, aesthetic, and production viewpoints. Business and
career preparation will also be discussed. The private lesson
component allows each student to develop his/her skills and
musicianship with direct mentoring from the instructor.
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
projections for their original compositions using MAX/MSP with
Jitter, Motion, and other applications as needed. Students will
study a variety of approaches to creating live graphics for music
and sonic art works, then create their own live videos for public
presentation. Weekly assignments will include reading, realizing
one minute pilot pieces, and then proposing, researching, and
realizing the final project.
This course focuses on the production of the capstone
music synthesis graduation project and provides for individual
attention within a small group setting. The specific nature of
the project will be determined by written agreement between
student and instructor. Each student will also be required to
participate in the jury process as well as the Senior Showcase
at the end of the semester.

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Course Descriptions
Summer/Fall 2008
MS-495
Music Synthesis Internship
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: Written approval of course chair
and MS-223
Monitored and evaluated professional work experience in an
environment related to the music synthesis major. Placement is
limited to situations available from or approved by the Office of
Experiential Learning and the Music Synthesis 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.
International students in F-1 status must obtain authorization
on their Form I-20 from the Counseling and Advising Center
prior to beginning an internship.
Music Technology
MTEC-111
Introduction to Music Technology
2 credits
Course Chair: K. Biederwolf
Required of: All first-semester students
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
An introduction to the fundamentals of music technology
geared to the needs of today’s professional musician. One
of the most significant challenges facing musicians today is
mastering the skills required to continually adapt to a changing
technology base. Musicians today must understand and be
prepared for the fact that this technology base is moving more
rapidly than it can be assimilated. The course topics will give
an overview of all aspects of the current technology with the
primary goal of enabling students to make intelligent decisions
in evaluating future technological needs.
MTEC-112
Applied Technology for Musicians
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: MTEC-111
Building upon basic concepts and skills learned in MTEC-111
(Introduction to Music Technology), this course will give
students an opportunity to continue to explore the creative
uses of music technology tools and deepen their
understanding of the principles that underlie these uses of
technology. By completing a number of hands-on projects and
assignments, students will advance their knowledge of audio
148
recording and editing, MIDI sequencing, sound design using
synthesizers, samplers, and DSP applications, notation software,
and web authoring for purposes of self-promotion.
MTEC-200
Berklee Internet Radio Network Workshop
1 credit
Course Chair: S. Croes
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
The Berklee Internet Radio Network Workshop supports
students who wish to participate in the activities of the
station, formalizing and identifying their participation in their
transcripts. The course accommodates a wide variety of student
skills and interests, directing participants into existing station
committees: Programming (DJs, production, scheduling,
evaluation), Promotion (public relations on campus and
beyond), Business and Legal (maintenance of approvals,
permissions, and licensing processes; organization of business
flow within the station), Operations (technical backbone of
station operations —web site development, broadcast issues,
recording, facilities development, and maintenance).
MTEC-222
Introduction to Synthesizer Programming
and Sound Design
2 credits
Course Chair: K. Biederwolf
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: One of the following: MP-225,
MS-225, or PW-161
A course focusing on issues related to synthesizer architecture,
patch programming/editing, and functionality within the MIDI
production environment. A variety of synthesizer technologies
will be addressed, including subtractive, FM, sampling, hybrid,
and software-based synthesis.
MTEC-308
Applications of Loudspeaker Designs
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring, Summer, Fall
Prerequisites: MP-212 or MS-320
This course examines the technical attributes of loudspeakers
that assist the recording engineer in creating the best possible
product. Topics include basic components of loudspeaker
design, driver parameters, sealed and vented enclosures,
crossovers, studio monitors, and computer aided analysis
systems. Theoretical information and hands-on methods are
used to inform students about advanced speaker systems.
Listening evaluation is also an important component.
Summer/Fall 2008
MTEC-P321
Music and Sound Production for Games
2 credits
Course Chair: R. Jaczko Prototype
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring, Fall
Prerequisites: MP-318 or MS-320
As an introduction to game sound, this course provides a
general overview of the stages involved in producing sound
for games. It begins with an examination of the role of sound
designer and composer, including the responsibilities associated
with each. At the end of this course, the student will have
completed full audio including sound design, dialogue and
music for a short game or portion of a game via readily
available audio production, scripting, and MOD (wrapped
MIDI/sample file format) tools.
MTEC-360
Architecture and Acoustics of Critical
Listening Environments
2 credits
Course Chair: S. Croes
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring
Prerequisites: MP-341 or MS-381 or MTEC-381,
either LMSC-208 or LMSC-209, and written
approval of course chair
This course will provide advanced information and training
in the science of acoustics. It will examine advanced
methodologies for the testing of acoustic spaces and properties
and lead to strategies for acoustic manipulation and design.
Using existing and past projects as source material, world-
renowned acoustician John Storyk will take students through
the acoustical design process, including both acoustical and
programmatic considerations. He will draw on pictures, charts,
graphs, and recorded examples taken from real-world
projects, both completed and in process, to highlight the
challenges encountered and solutions devised for creating
program-satisfying and acoustically correct facilities. These
facilities encompass both world-class multi-room studio facilities
as well as smaller-budget project and home studios. This is an
applications-oriented follow-up to our existing required
acoustics class and would be an upper-semester elective.
MTEC-P383
Studio Maintenance & Trouble Shooting
2 credits
Course Chair: R. Jaczko Prototype
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring, Fall
Prerequisites: MP-212 or MS-320
The course focuses on signal flow, patchbay design, headphone
and cable repair, soldering, an introduction to more detailed
electrical systems schematics, simple circuit design and how
to build a simple circuit. The course also includes the process
of technical audio testing completed using Audio Precision
test equipment.
Course Descriptions
MTEC-420
Advanced Digital Mastering, Editing,
and Delivery
2 credits
Course Chair: R. Jaczko
Required of: None
Electable by: MPED and MSYN majors
Offered: Spring, Fall
Prerequisites: MP-341 or MS-381
An in-depth, project-oriented class designed to give the
student intensive exposure to the creative and technical
issues involved in advanced music editing and CD (and DVD)
mastering, including multichannel audio formats (5.1) and
Internet audio. Students will enhance their technical
knowledge of advanced digital audio concepts and digital
studio techniques while developing their ability to listen
critically and creatively. Through hands-on projects, students
will learn the standards and practices of digital audio
production, mastering, and professional delivery formats.
Further areas of exploration include, but are not limited to,
audio restoration and forensic audio.
Music Therapy
MTH-201
Introduction to International Music Therapy
3 credits
Course Chair: S. Hanser
Required of: MTHE majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
This course covers the theories and processes of music therapy,
the history of the profession, and a survey of basic principles,
methods, techniques, and applications. Students will visit
facilities where music therapy is practiced, observe music
therapists in action, and discuss the role of music in therapy
within a wide variety of clinical and community settings. In
addition, they will be introduced to music therapy practices in
different countries through published literature.
MTH-P211
Mind Body Disciplines for Musicians
1 credit
Course Chair: S. Hanser Prototype
Required of: None
Electable by: All
Offered: Spring
Prerequisites: None
This introductory course is designed to bring self-care
awareness and skills for the musician. The demands and
pressures of the music industry are discussed while exploring
ways to enhance overall wellness, creativity, and performance,
utilizing concepts of holism, energy, balance, and quality of life.
Related goals, strategies, and skills, such as self-assessment;
stress management; prevention; lifestyle enhancements; and
integrative therapies (including music therapy, meditation,
yoga, and visualization) are learned. A self-care model will be
provided for students to adapt to their own needs.
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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
music therapy group leading. It also teaches students how to
teach music to exceptional children and how to help them
reach nonmusical goals and objectives. Upon completion of
this course, students will demonstrate proficiency on modified
guitar technique, omnichord, and rhythmic instruments in
addition to songwriting and improvising skills.
This course will examine the psychological, physiological,
and sociological foundations of music and music therapy.
Students will learn aspects of musical behavior and processing
including the influence of music upon behavior, physiological
and affective responses to music, perception and cognition of
music, psychomotor components of music behavior, learning
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

This course is the concurrent clinical music therapy practicum

that accompanies MTH-331. Students apply the research skills
they are learning in the classroom to a clinical setting.

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.

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Course Descriptions
Summer/Fall 2008
PFET-362
Performance Ear Training for Woodwinds,
Brass, Strings, and Vibes 2
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major brass, wind, string, and
vibraphone principals
Electable by: Brass, wind, string, and
mallet principals
Offered: Spring, Summer, Fall
Prerequisites: PFET-361
Continuation of PFET-361.
PFET-364
Performance Ear Training for Keyboards 1
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major piano principals
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 3444 and ET-112
Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
by ear and responding on the student’s instrument in class.
Some dictation. Some nonsyllabic sight-singing.
PFET-365
Performance Ear Training for Keyboards 2
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major piano principals
Electable by: Piano principals
Offered: Spring, Summer, Fall
Prerequisites: PFET-364
Continuation of PFET-364.
PFET-367
Performance Ear Training for Guitar 1
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major guitar principals
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 3444 and ET-112
Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
by ear and responding on the student’s instrument in class.
Some dictation. Some nonsyllabic sight-singing.
152
PFET-368
Performance Ear Training for Guitar 2
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major guitar principals
Electable by: Guitar principals
Offered: Spring, Summer, Fall
Prerequisites: PFET-367
Continuation of PFET-367.
PFET-370
Performance Ear Training for Percussion 1
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major drum set, hand percussion,
and total percussion principals
Electable by: Drum set, hand percussion,
and percussion principals
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 3444 and ET-112
Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
by ear and responding on the student’s instrument in class.
Some dictation. Some nonsyllabic sight-singing.
PFET-371
Performance Ear Training for Percussion 2
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major drum set, hand percussion,
and total percussion principals
Electable by: Drum set, hand percussion, and
percussion principals
Offered: Spring, Summer, Fall
Prerequisites: PFET-370
Continuation of PFET-370.
PFET-373
Performance Ear Training for Voice 1
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major voice principals
Electable by: Voice principals
Offered: Fall
Prerequisites: Ensemble rating 4434 and ET-112
Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
by ear. Emphasis on sight-reading. Some dictation. Some
nonsyllabic sight-reading.
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

Continuation of PFET-373. This multipurpose course provides an opportunity for students

PFET-376
Performance Ear Training for Bass 1
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major bass principals
Electable by: Bass principals
Offered: Spring, Summer, Fall
Prerequisites: Ensemble rating 3444 and ET-112
Ear training with an emphasis on practical performance
experience. Recognizing pitch, rhythm, harmony, and timbre
by ear and responding on the student’s instrument. Some
nonsyllabic sight-singing.
PFET-377
Performance Ear Training for Bass 2
1 credit
Course Chair: S. Prosser
Required of: None; Approved specified elective
for PERF major bass principals
Electable by: Bass principals
Offered: Spring, Summer, Fall
Prerequisites: PFET-376
Continuation of PFET-376.
Performance Studies
to participate in a "nonstylistic" improvisational environment
as a means to explore musical communication and develop
improvisational performance skills. Students will perform on
a weekly basis in a variety of improvised settings while
boundaries, structure, and musical focal strategies are
provided by the instructor. Discussion and critique follow
each performance and students are expected to participate.
All ensemble combinations are explored (e.g., full ensemble,
View your
trios, duets, and solos).
transcript
PS-192 online by click-
Improvisation Concepts Workshop 2 ing the ‘View
2 credits transcript’ link
Course Chair: M. Marvuglio in the ‘Student
Required of: None Services’ tab at
Electable by: All
my.berklee.net.
Offered: Spring, Fall
Prerequisites: PS-190
This multipurpose course is a continuation of Improvisation
Concepts Workshop 1, and provides a "nonstylistic"
improvisational environment as a means to explore musical
communication and develop improvisational performance skills.
Students perform on a weekly basis in a variety of improvised
settings while boundaries, structure, and musical focal
strategies are provided by the instructor. Discussion and
critique follow each performance and students are expected
to participate. Students are exposed to a wide variety of
improvisational music through required listening sessions in
and out of class.

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

Lectures focus on a chronological tour of the significant

events in Marley’s life, beginning with his childhood years in
Nine Mile and Kingston, Jamaica. Each class will include one
hour of lecture and one hour of playing in preparation for a
final concert of four to six Marley compositions.

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Summer/Fall 2008

PS-P218 Experiential Learning prior to registering. Note: Equivalent

Interdisciplinary Collaborations in Creative Arts credit for prior experience is not available due to the require-
2 credits ment of concurrent contract between the employer/supervisor
Course Chair: M. Marvuglio Prototype and the college.
Required of: None
Electable by: All PS-498
Offered: Fall Directed Study in Improvisation
Prerequisites: Overall ensemble rating 3 2 credits
Course Chair: M. Marvuglio
This course will explore artistic expression through musical Required of: None
collaboration with artists in disciplines including poetry, dance, Electable by: All
painting, film, photography, and performance art. Students Offered: Spring, Fall
will engage in projects integrating artistic expression as they Prerequisites: Written approval of instructor
prepare a performance for the end of the semester. Students and course chair
will improvise on their instruments to poetry, paintings,
sculpture, and dance performances. Students will work in This course is a high-level playing class that explores the
groups to create pieces based on a dance, painting, or poem various melodic roles of the instruments. Course materials
and analyze examples of musicians who have collaborated and instruction address how to construct and improvise
with artists in other disciplines. Students will learn how to pattern-organized melody lines on the chord progressions of
allow the visual to be a tool in improvisation, study examples standard jazz songs using symmetric scales, chord couplings,
of performers who incorporate visual tools in their musical interval patterns, and melodic cells. Emphasis is placed upon
interpretations (like Pasqual Roget who visualizes Monet students learning how to practice and perform music that
while interpreting Debussy), use the concept of “color” from includes the techniques learned in the classroom and from
the visual world to inform the musical world, and create the recommended reading.
improvisations using visual descriptions.
PSBS-225
PS-P265 Fundamentals of Improvisation for Bass
The Music of Kenny “Babyface” Edmonds 2 credits
2 credits Course Chair: R. Appleman
Course Chair: M. Marvuglio Prototype Required of: PERF bass principals
Required of: None Electable by: Bass principals
Electable by: All Offered: Spring, Fall
Offered: Fall Prerequisites: Overall ensemble rating 3
Prerequisites: ET-112, HR-112
Application of scales, modes, arpeggios, and passing
This course will engage students in the musical and lyrical tones to improvisation on the bass. Study of repertoire and
analysis in the varied styles of Kenny “Babyface” Edmonds. recordings is utilized to discuss and analyze major bass styles
Students will be required to write lead sheets of their analysis, and performers.
identifying characteristics of “hit” songs such as melody,
harmonic chord relationships, rhythmic motifs, and lyrical PSBS-321
content. Select student compositions, as well as music of the Concepts for Jazz Bass Lines
artist, will be chosen to be performed each week in class. Some 2 credits
research and compositional writings that relate to the historical Course Chair: R. Appleman
documentation of the artist as a singer- songwriter/producer, as Required of: None
well as exposure to and knowledge of his vast catalog, will be Electable by: Bass principals
included as part of the required research. Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 4, private
PS-495 instruction level 3, or by audition
Professional Performance Internship
2 credits A systematic approach to forming well-defined bass lines.
Course Chair: M. Marvuglio The topics covered include writing bass lines, outlining chord
Required of: None sound and approach techniques, rhythmic effects, broken
Electable by: PERF majors, sixth-semester and above time-feels, and the use of pedals. Students are required to
Offered: Spring, Summer, Fall demonstrate various topics by performing their written bass
Prerequisites: ILRE-375 lines over given chord progressions.

Monitored and evaluated professional work experience for

the performance major. Upon completion of the internship,
students will submit a project/portfolio. Placement is limited
to situations available from or approved by the Office of
Experiential Learning and the appropriate Performance
Department chair or a designee. To apply for an internship,
students must see the internship coordinator in the Office of
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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
application of motivic development, harmolodic phrasing, and
descriptive imagery through musical expression: dynamics,
emotions, colors, shapes, and textures. Study of techniques
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.
Analysis of contemporary guitar styles and effects. Lectures
by professionals in various styles. Focus on jazz, rock, and
country, as well as styles of specific artists. Emphasis on
performance. Assigned student projects.
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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
chord solo guitar styles, traditional guitar literature employing
right-hand pick techniques, and rhythm guitar styles applicable
to small group and orchestral performance.
PSGT-311
Improvisation for Guitar 3
2 credits
Course Chair: L. Baione
Required of: None
Electable by: Guitar principals
Offered: Spring, Fall
Prerequisites: PSGT-212 or by audition
Continuation of PSGT-212. Symmetric scales and additional
altered modes; chord scale possibilities explored through
harmonic analysis. Chord voicings and comping techniques
in jazz, Latin, funk, and ballad styles. Midterm and final
projects: student performance of solo and comping part with
prerecorded tape.
PSH-238
Awareness Training for Musicians
1 credit
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
This lab will explore posture, movement, and breathing as
they relate to the act of musical production. Students will
explore how they experience themselves making music and
learn how to modify their own actions to play more efficiently
with less effort. Self-awareness exercises will be used to
improve the kinesthetic sense—one’s sense of oneself in
movement—enabling the instrumentalist to avoid injuries
due to overuse and/or misuse, as well as helping to develop
sensitivity, clarity, and power in musical production. Through
increased awareness, students will acquire the ability to
regulate or modify their actions to meet varying demands of
practice and performance.
The musician’s environment, with its continual pressures and
workload demands, is frequently intense. Through a regular
practice of yoga, you will be better able to deal with pressures
and stress. Yoga means union. It is the union of mind, body,
and spirit. This course will lead you through a series of
breathing exercises, meditations, warm-ups, and postures that
will help integrate the mind, body, and spirit of your being.
Practicing yoga will enable you to be more aware and focused
in all aspects of your life.
PSH-252
Yoga for Musicians 2
1 credit
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: PSH-250
With a firm foundation of the principles of yoga learned and
practiced in Yoga for Musicians 1, this course goes deeper
into the practice and its benefits. Students more fully explore
many techniques including meditation, breathing, and
advanced postures. Students will learn about the different
energy channels in the body and how to regulate them to
improve a sense of well-being.
PSH-P261
Playing in the Key of Chi: Chi Gung
for Musicians
2 credits
Course Chair: M. Marvuglio Prototype
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
This course will explore the fundamentals of chi gung and
how students can employ these practices in both their musical
and daily lives. Students will learn a variety of exercises as well
as breathing and awareness techniques to increase the flow
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.

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Summer/Fall 2008
PSH-271
Wellness and Inspiration in
Performance Practice
1 credit
Course Chair: J. Shapiro
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Written approval of instructor
Open to all vocalists and instrumentalists, this course offers a
unique concept of musicianship beyond basic practice of scales
and song-learning. Students will learn skill and techniques
including relaxation exercises, chant, working with overtones
and timbre, and movement to help in overall performance.
PSH-P281
Somatic Breathwork for Vocalists
1 credit
Course Chair: J. Shapiro Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
Using experiential exercises, anatomical studies and journal
processes, this course will improve students’ kinesthetic
awareness and conceptual understanding of the process of
respiration as it relates to movement and vocal production.
Through experiential explorations of breathing, students will
learn to sense, feel, and differentiate the physical components
of respiration. These various techniques will give students a
better understanding of utilizing breathing with the singing
voice. As a result students will develop the ability to use
breathing responsively and appropriately for vocalization.
PSH-338
Awareness Training for Musicians 2
1 credit
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Fall
Prerequisites: PSH-238
Continuing with the themes introduced in PSH-238, this class
further explores posture, movement, and breathing as it relates
to music production. With a more developed sense of self in
movement, students can focus their skill toward individual
needs. Half of the class will be devoted to more challenging
Awareness Through Movement lessons, with each student
meeting privately with the instructor over the course of the
semester. Students will design a personal program for self-
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.
Course Descriptions
PSHR-321
Harmonic Considerations in Improvisation 1
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: PERF bass, brass, guitar, piano,
string, vibraphone, woodwind
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-212
Exploration of the relationship between improvisation and
harmonic context. Analysis of harmonically sophisticated
music using analytical techniques from HR-212. The use of
chord scales in improvisation and analysis of recorded jazz
solos. Discussion of specific harmonic idioms and their related
improvising styles. Solos of John Coltrane, Herbie Hancock,
Woody Shaw, and other influential soloists.
PSHR-322
Harmonic Considerations in Improvisation 2
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: PSHR-321
Continued exploration of the relationship between
improvisation and harmonic context. Analysis of contemporary
compositions and their harmonic implications applied to the
craft of improvisation. Symmetrical scales, two- and three-tonic
systems, and rhythm devices. Repertoire studied will include
solos by John Coltrane, Dave Liebman, Ornette Coleman,
Steve Grossman, and Herbie Hancock.
PSIJ-211
Jazz Improvisational Techniques
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
A lecture class with discussion, illustration, and demonstration
of the various techniques used in jazz improvisation. Each
class will introduce specific practice techniques that can be
used to develop the craft of jazz improvisation. Included will
be discussion of different jazz styles along with recordings
and transcriptions of major jazz figures. This course is highly
recommended for students considering any of the jazz
improvisation classes or who would like to begin to develop
the language used in jazz improvisation.
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Course Descriptions
Summer/Fall 2008
PSIJ-215
Standard Jazz Repertoire 1
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
Building and retaining a functional repertoire of approximately
30 selected standards and jazz standards that form a
common vocabulary and basis for study among jazz
musicians. Development of skills to effectively memorize
the melody, harmony, and rhythm of selected repertoire.
Recommended for students who plan to take jazz improvisation
techniques courses.
PSIJ-216
Standard Jazz Repertoire 2
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, 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
standards in bebop, Latin, ballad, and contemporary styles.
Continued development of memorization skills applied to
learning to play and improvise on approximately 30 tunes.
Recommended for students who plan to take jazz improvisation
techniques courses.
PSIJ-221
Jazz Improvisation Techniques 1
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
An ideal follow-up to PSIJ-211, this performance-centered
class introduces basic skills essential to effective improvisation.
Techniques covered include memorization procedure for song
melody and harmony, listening skills, exercise design, pacing,
chord tone soloing, tempo accuracy, swing rhythmic feel,
melodic and rhythmic embellishment of song melody, and
soloing with full rhythm section accompaniment. Development
of effective practice skills. Music from various periods of jazz
(swing, bop, postbop, contemporary) will be used for
demonstration, practice, and performance activities. Classes are
leveled and instrumentally balanced; students perform weekly.
158
PSIJ-255
Music of Wayne Shorter
2 credits
Course Chair: W. Pierce
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: HR-112 and overall ensemble rating 4
Historic, stylistic, and performance-based overview of the
compositions and improvisations of Wayne Shorter, covering
the period from the late 1950s to the present. Basis of study
will include solo transcriptions, scores, videos, and extensive
listening. Also covered will be Shorter’s extramusical interests,
including art and sci-fi movies, and their influence on, and
integration into, his music. The student will transcribe solos and
analyze compositions, and perform or present them in class.
PSIJ-271
Ready, Aim, Improvise!
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
Using the lecture/demonstration format, this course explores in
detail the critical areas involved in learning how to improvise
in the jazz idiom. Topics discussed are: listening skills (learning
how to divide your attention between the solo and the
accompaniment while playing), jazz ear training (learning how
to hear ahead on chord progressions), jazz execution (rhythmic
feel, accents, ghost notes, articulation, natural dynamics),
building jazz vocabulary (chord tone and chord scale soloing),
the role of ego in improvisation, self-recording, self-critiquing,
designing topic-specific exercises for improvisation, and
developing improvisation practice routines. This course is
recommended for serious, career-minded students of jazz
improvisation at beginning, intermediate, and advanced
levels, especially those who take the Jazz Improvisation
1–6 course series.
PSIJ-280
The Jazz Language
2 credits
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
Performance-centered class emphasizing the essential
elements of jazz language and vocabulary—chord scales,
chord tones, approach notes and target notes, scale motifs
and sequences, and lines. Focuses improvisational techniques
into three areas: melodic, harmonic, and sonic. This course is
designed as a menu of soloing devices from which students
can select their personal course of study.
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
application of chord scales to harmonic progression. Chord
scale/chord symbol relationships will be covered within the
context of improvisation. Melodic content in improvisation
that involves sequences in fourths, upper-structure triads,
and other techniques will be discussed and analyzed using
recordings and transcribed solos.
PSIJ-315
Improvisation on Standard Songs
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Fall
Prerequisites: PSIJ-321
Performance and analysis of standard songs used in jazz
repertoire and the traditional forms and techniques used in
creating them. Emphasis on repertoire, intros and endings,
and tunes in different keys. Use of melodically based
improvisation and paraphrased melodic interpretation.
Improvisational principles using chord scales, guide tones,
and other techniques. Some of the composers covered are
Duke Ellington, Cole Porter, and Joe Henderson. The class
will perform a recital at the end of the semester. This class is
recommended for students considering taking PSIJ-322.
PSIJ-321
Jazz Improvisation Techniques 2
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: PSIJ-221, PSIM-231, or overall
ensemble rating 6
An expansion of the fundamental improvisational skills
developed in PSIJ-221, with the introduction of techniques
that will further enhance the student’s personal improvisational
style. Techniques covered include rhythmic feels, accents and
ghost notes, rhythmic syncopation, lower structure triads,
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.
An intermediate-level course introducing approaches to
improvisation that require a solid background in harmonic and
tonal concepts. Techniques covered include rhythmic activity,
chord tone soloing, articulation, upper structure triads,
dynamics, and soloing with full and partial rhythmic section
accompaniment and also with hi-hat only. 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.
To find courses
PSIJ-325 that have no
Jazz Interpretation prerequisites,
2 credits refer to pages
Course Chair: R. Savage 26 and 27 in
Required of: None this manual.
Electable by: All
Offered: Summer, Fall
Prerequisites: Overall ensemble rating 3
Development of a personal and individual jazz style through
emphasis on reading, improvisation, and interpretative
techniques. Hearing, analyzing, and playing selected
transcribed pieces of well-known jazz artists; individual and
group improvisation.
PSIJ-331
The Jazz Line
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4
A performance-centered class covering jazz vocabulary and
the construction of jazz melodies based on the traditions of
players including Charlie Parker, John Coltrane, Sonny Rollins,
Sonny Stitt, Kenny Dorham, and others. Students will be
given vocabulary models focusing on the ability to start a line
on any scale degree and mastery of voice leading in all keys.
Topics covered will include bebop scales, approach systems,
rhythms, and articulation.

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Course Descriptions
Summer/Fall 2008
PSIJ-335
Melodic Structures in Improvisation
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4
A performance-centered class covering melodic cells and their
permutations applied to improvising in a variety of settings.
Study of multitonic systems (Coltrane changes) and their
application as either primary harmony or substitutions.
PSIJ-341
Pentatonics in Improvisation
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4
A performance-centered class covering minor seventh-,
minor sixth-, minor seventh b5-, major b6- and all diminished-
related pentatonics and their application to improvisation and
the creation of melodies and usage charts. Voice leading and
approach systems as used by master improvisers including
Wayne Shorter, John Coltrane, Joe Henderson, and others.
PSIJ-346
Thematic Development in Improvisation
and Composition
2 credits
Course Chair: M. Marvuglio
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4
Students learn to derive improvisatory vocabulary exclusively
from a composition’s original melody or theme and different
methods of thematic development through the analysis of a
wide range of jazz improvisations and classical compositions.
Through various exercises and assignments, students apply
the learned techniques to their instruments.
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
Analysis and performance of music in the style of Charlie
Parker, Dizzy Gillespie, Clifford Brown, Kenny Dorham, and
others. Standard progressions and transcribed solos from
music of the forties and fifties are analyzed and performed.
160
PSIJ-371
Performing Harmony Workshop 1
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: HR-211 and either ET-211 or ET-231
The performance of music (melody, bass line, harmony, and
rhythm) by ear. Classes will be instrumentally balanced so
students can gain a practical knowledge of “playing by ear”
in a traditional group setting. The study of chord qualities,
chord progressions, and tensions through improvisation.
Exploration of rhythm through the study of combinations of
2 and 3. Primary focus on creating grooves by tapping even
combinations. Over-the-barline phrasing through 3/8 and 7/8
over 4/4. Evolves into linear, harmonic, and compositional
concepts. This course is recommended for performers
interested in developing their musical ear.
PSIJ-421
Jazz Improvisation Techniques 4
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: PSIJ-322 or overall ensemble rating 6
An upper-level course recommended for students with well-
developed improvisation skills and concepts who are interested
in further developing their own personal style through detailed
application. Techniques covered include motive soloing, motive
development soloing, and soloing with full and partial rhythm
section accompaniment and also with no 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.
Summer/Fall 2008
PSIJ-422
Jazz Improvisation Techniques 5
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: PSIJ-421 or overall ensemble rating 6
An advanced course recommended for students who have
already begun to develop their own personal musical styles.
Challenging rhythmic topics are featured as aspects of
performance of improved solos. Techniques covered include
preparation exercises for rhythmic displacement: symmetrical
and asymmetrical, pentatonic and tritonic scales applied to
conventional chord scales, motive development (augmentation
and diminution), soloing rubato on song’s chord progression,
and soloing with full/partial rhythm section accompaniment
and also with no 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.
PSIJ-423
Jazz Improvisation Techniques 6
2 credits
Course Chair: R. Savage/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 7 or PSIJ-422
An advanced course offering sophisticated approaches and
concepts. Techniques covered include metric modulation,
melodic curve, continuous motive development, nonharmonic
triads, alternate tempos, extreme tempos with rhythmic
syncopation, and soloing with full, partial, and no rhythm
section accompaniment. 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.
PSIJ-425
Advanced Jazz Improvisational Techniques
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 6
Performance and analysis of original jazz tunes. Discussion,
demonstration, and performance of advanced jazz
improvisational techniques. Use of three tonics, pentatonics,
composite scales, and other harmonic devices, along with
practice techniques. Students will be expected to create their
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.
Course Descriptions
PSIJ-P426
Jazz Rhythm Section Accompaniment Skills
2 credits
Course Chair: M. Marvuglio Prototype
Required of: None
Electable by: Acoustic bass, drum set, guitar,
piano principals
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 5
This course is for intermediate to advanced level rhythm
section players who seek to improve their accompaniment
skills by studying and playing transcriptions of recordings by
classic jazz master rhythm sections from the 1950s and
1960s. The course will focus on the rhythm section styles
played by the bands of Miles Davis, John Coltrane,
Cannonball Adderley, and various Blue Note artists.
PSIM-221
Improvisation Techniques for the Blues Player
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
Performance-based class in blues improvisation using recordings
and transcriptions of traditional and Chicago blues, swing and
bop blues, gospel, funk, and rock styles as principal resources.
Emphasis on adapting those techniques to develop a personal
style. Weekly assignments include practicing blues-based
exercises and learning solo transcriptions. Other performance
skills covered include turnarounds, pacing of solos, and
implying reharmonizations in improvisation.
PSIM-231
Rock Improvisational Techniques 1
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
The four-course sequence in rock improvisation is designed to
cover all skills relevant to creative performance in that idiom.
Major techniques discussed in this course include pacing,
rhythmic density, melodic and rhythmic embellishment, chord
scale practice, and nonharmonic melody notes. Students will
learn what and how to practice and will develop the skills
necessary for individual and group improvisation. Various
styles of rock (progressive, blues, classic, contemporary) will
be used for demonstration, practice, and performance
activities. Classes will be instrumentally balanced with
students of similar improvisational backgrounds. Students
will be required to perform each week.
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Course Descriptions
Summer/Fall 2008
PSIM-235
Improvisation in the Rock–R&B Idiom
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Fall
Prerequisites: PSIJ-221 or PSIM-231
A study of basic blues playing in the rock and r&b blues idiom.
The 8-, 12-, 16-, and 24-bar blues forms; improvisational
techniques applied to inner form, solo analysis of leading and
legendary blues players; weekly performances and written
homework; weekly solo playing. Recommended for the
beginning-to-intermediate improviser interested in this idiom.
PSIM-327
Improvisation in the Jazz/Blues Idiom
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: PSIJ-221 or PSIM-231
A study of basic blues playing in the jazz idiom. The 8-, 12-,
16-, and 24-bar blues forms; improvisational techniques
applied to inner form; solo analysis of leading and legendary
blues players; weekly performed and written homework;
weekly solo playing. Recommended for the beginning to
intermediate improviser interested in this idiom.
PSIM-335
Improvisation in the Jazz-Rock/Fusion Idioms
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 4
Performance and analysis of jazz-rock/fusion music.
Improvisational and compositional techniques will be
discussed. Some of the major players and groups analyzed
will be the Yellowjackets, Michael Brecker, David Sanborn,
and Chick Corea. This class will perform original compositions
in an end-of-the-semester final performance.
162
PSIM-341
Improvisation in the Latin/Jazz Idiom
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 4
Performance and analysis of Latin/jazz music and related song
forms. The class will include analysis of source music and its
influence on contemporary composers and performers in
the idiom. Concentration on samba, calypso, bossa, and
contemporary Latin grooves. Some of the musicians discussed
are Claudio Roditi, Clare Fischer, Chick Corea, and Paquito
D’Rivera. The class will include a rhythm section plus varied
instrumentation and will perform in a recital at the end of
the semester.
PSIM-351
Composing Performer Ensemble
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 6
An ensemble/class for the performer who also composes. A
survey of compositions/concepts will be introduced; weekly
composition assignments will be performed by the class and
critiqued by the instructor. The purpose of this course is to
develop originality through experimentation over a broad
stylistic base.
PSME-311
Recital Class for Music Education Majors
1 credit
Course Chair: C. Adderley
Required of: MUED majors
Electable by: MUED majors
Offered: Spring, Summer, Fall
Prerequisites: None
A performance class for music education majors. Students
prepare for solo and ensemble presentations intended to
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
Survey of performance techniques related to drum set solo
and duet improvisation. Emphasis is placed on rhythm skill,
coordination, thematic development, and style integration.
Summer/Fall 2008
PSPC-341
Studio Drumming Techniques and Applications
2 credits
Course Chair: D. Anderson
Required of: All percussion principals
Electable by: All percussion principals
Offered: Spring, Fall
Prerequisites: ILPD-212
Application of drum set and percussion techniques to the
studio recording environment. Analysis of today’s top studio
recording drummers and producers; study of drum looping
and sampling techniques and their application to drum set
recording; study of jingle, television, and motion picture
soundtrack recording techniques. Application of skills
including tuning the instrument, using a click track, drum
chart reading, electronic percussion, and auxiliary percussion
parts to studio performance.
PSPN-335
Contrapuntal Jazz Improvisation for Pianists
2 credits
Course Chair: S. Tiernan
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: HR-212 and piano private instruction
level 2
This course offers a step-by-step approach to improvising
contrapuntally in a solo piano context. Emphasis on walking
bass lines through a series of rhythmic/melodic motives gives
the pianist a basis for gaining the independence required to
simultaneously improvise in a linear or chordal manner in the
right hand. This eventually leads to multi-voice improvisation.
Artists studied and transcribed include Lennie Tristano, Dave
McKenna, Bill Evans, Brad Meldhau, Oscar Peterson and
Diana Krall. Weekly class performance includes repertoire
of the jazz standard literature.
PSPN-345
Piano Accompaniment Techniques
2 credits
Course Chair: S. Tiernan
Required of: None
Electable by: All
Offered: Spring
Prerequisites: Overall ensemble rating 4
Discussion and implementation of techniques for
accompanying a vocalist or instrumentalist. Students will play
with invited performers, along with prerecorded tapes, or with
a second pianist. Use of stylistically appropriate rhythm and
voicing techniques in a supportive role. Introductions, endings,
modulations, and transposition.
Course Descriptions
PSPR-345
Country Music
2 credits
Course Chair: M. Marvuglio/M. Glaser
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: HR-211
This class will be geared toward rhythm section players and
singers, and will cover all aspects of country music. Analysis
of major instrumentalists and styles of playing, including Chet
Atkins, Floyd Cramer, Ricky Skaggs, Doc Watson, and the
Lynrd Skynrd Band. The class will also take an in-depth look at
the making of country music (Nashville number system, etc.).
Discussion of the styles of music as well as the different
instruments (Dobro, steel guitar, lap guitar, fiddle, etc.), and
the difference between singing bluegrass and singing country
music (phrasing as well as timbre of the voice). Also included
is an overview of the Nashville scene.
PSPR-361
Motown
2 credits
Course Chair: J. Shapiro/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
A performance-based study of the musical style originated
by Motown Records, which, under the leadership of founder/
president Berry Gordy, musically bridged racial lines during the
highly sensitive period of the civil rights movement. Analysis
and performance of music by such artists as Stevie Wonder,
Martha Reeves and the Vandellas, Smokey Robinson, Marvin
Gaye, Diana Ross and the Supremes, the Temptations, and
Gladys Knight and the Pips. An end-of-semester public
performance is normally scheduled.
PSPR-363
Progressive Rock Performance
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 3
A study integrating performance of the progressive rock style
of the seventies: repertoire, instrumentation, forms, sound,
and other musical elements leading to emulation and creative
reproduction of this musical genre.
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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
instrumentalists, this course develops the skill of singing and
playing simultaneously. All class members will be expected to
sing and will learn to sing lead as well as background vocals
while playing. Analysis of influential performers, including
Elton John, Ray Charles, Phil Collins, Sting, and Bruce Offered:
Springsteen; in-class and end-of-semester performances.
PSPR-381
Commercial Band Workshop
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: None
Performance of music in various styles appropriate to general
business jobs. Emphasis will be on learning and developing a
varied repertoire (different jobs call for different music), and
playing dinner music sets, dance sets, and different ceremonial
music (weddings, etc.). The how-tos of handling the many
different types of general business jobs: weddings, bar/bat
mitzvahs, proms, banquets, etc. Music for the course will
include songs from the twenties through the nineties.
PST-351
Stage Performance Techniques
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: None
A lecture/demonstration course designed to provide knowledge
and skills necessary for effective performance presentation:
movement, microphone technique, stage dress, in-depth
examination of causes and controls of stage fright, rhythm
development and internalization, and professional attitude
and development. Recommended for instrumentalists and
vocalists interested in developing on-stage performance
presentation skills.
Staging and directing musical productions; acquisition of
materials; budgeting; organization of production staff.
How to audition; responsibilities of production departments;
conducting rehearsals and performances. General study of
dramatic styles and history of theater styles.
PST-451
The Musical Director
2 credits
Course Chair: M. Marvuglio/J. Odgren
Required of: None
Electable by: All
Offered: Fall
Prerequisites: CW-221 or SW-231
This course will cover all aspects of being a musical director of
a live concert presentation involving vocal music. Each student
will be assigned to a specific faculty-directed concert (Jazz-
Rock Ensemble, Singers Showcase, Recording Ensemble, etc.)
as a production assistant to the concert and will write and
conduct some of the music. May be of special interest to
pianists and guitarists who have arranging skills.
PST-471
Stage Performance Workshop 1 – Rock
and Pop Idiom
2 credits
Course Chair: J. Shapiro/J. Odgren
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: Overall ensemble rating 3
A performance class for vocalists and instrumentalists interested
in developing skills involved in live performance. In-class
performances will be videotaped and critiqued for effectiveness
in movement and presentation. All performances will be in
a rock/pop band format; topics to be discussed include
microphone and rehearsal techniques, lead sheet preparation,
stage presence, and other activities necessary for effective
live performance. Classes will present an end-of-semester
final performance.

164
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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.

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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
presentation skills applied to vocal performance. Through
relaxation, breathing techniques, and body alignment, students
learn to identify and balance vocal registers and improve vocal
resonance and flexibility. Instruction includes the Alexander
technique and emphasis on lyrical interpretation.
PSW-235
World Percussion 1A
2 credits
Course Chair: D. Anderson
Required of: None
Electable by: Bass, brass, guitar, piano, string,
voice, and woodwind principals
Offered: Spring, Summer, Fall
Prerequisites: None
A course for nonpercussion principals focusing on the
development of basic techniques and sound production for
various frame drums. Music styles from around the world will
be studied. Class meetings are split weekly into lecture and
playing sections.
PSW-335
World Percussion 1B
2 credits
Course Chair: D. Anderson
Required of: MUED hand percussion, PERF hand
percussion, and total percussion principals
Electable by: Vibraphone, drum set, and hand
percussion principals
Offered: Spring, Summer, Fall
Prerequisites: None
A course for Percussion Department principals focusing on
abilities and techniques used to produce a wide variety of
sounds from any hand drum (frame drum, dumbek, etc.).
Emphasis on rhythms of North Africa, the Middle East, and
Turkey, and how to apply them to contemporary American
music. Class meetings are split weekly into lecture and
playing sections.
A comprehensive study of music from Ghana, West Africa
for nonpercussionists. Study concepts integral to African
performance traditions include polyrhythms, polymeters, and
part-playing. Emphasis will be on the relationship between
song, drumming, and dance in African culture. Musical
genres of study are selected from the Ewe, Ga, and
Dagbamba ethnic groups. Authentic instruments will be
provided for in-class performance.
PSW-342
The Music of Guinea
2 credits
Course Chair: D. Anderson
Required of: None
Electable by: All
Offered: Fall
Prerequisites: None
A comprehensive study of the music from Guinea, West
Africa for nonpercussionists. Study concepts integral to
African performance traditions include polyrhythms,
polymeters, and part-playing. Emphasis on the relationship
between song, drumming, and dance in African culture.
Musical genres of study are selected from the Susu, Malinke,
and Baga ethnic groups. Authentic instruments will be
provided for in-class performance.
PSW-345
Seminar on Latin American Music
2 credits
Course Chair: J. Shapiro
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: Overall ensemble rating 2
A study of Latin American vocal styles and rhythms that
includes Brazil, Argentina, Cuba, Mexico, and Puerto Rico.
Students will learn the history and culture of Latin American
styles and rhythms through listening and analysis, transcribing,
and video performances.

166
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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

A survey of contemporary guitar players and styles as well as

related doubling instruments. Emphasis on major players and
various styles through tapes and transcriptions.

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

A study of the development of the jazz drummer from the

music’s early period through the 1960s. Analysis through
recordings and transcriptions of various playing styles. Studies
of Big Sid Catlett, Max Roach, Buddy Rich, and others.
167
Course Descriptions

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
styles. This course is a historical and stylistic continuation
of PFSS-341. The basis for study will be the principal artists
who have emerged during and since the mid-1960s, and the
musical styles in which they have performed. Also covered will
be the development of the instrument itself as its role has
evolved in various styles.
A study of the history and development of the art of jazz
piano and the lives and times of the artists themselves.
Through listening of archival and contemporary recordings
and analysis and discussions, the rich diversity of the different
jazz styles will be examined, along with the artists associated
with certain styles. Solo piano and group playing from
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

A historical study of the development of the jazz vocalist

and jazz vocal styles. Listening and style analysis through
use of recordings and assigned student participation and
performances. Singers covered include the Rhythm Boys, Bessie
Smith, Sippie Wallace, Jimmy Rushing, the Boswell Sisters, the
Mills Brothers, Ethel Waters, Ella Fitzgerald, Billie Holiday, Sarah
Vaughan, Frank Sinatra, Diane Reeves, Al Jarreau, Bobby
McFerrin, and representative contemporary artists.

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
Private Instruction 8
2 credits
Course Chair: Bass, brass, guitar, percussion,
piano, string, woodwind, or voice chair
Required of: PERF majors
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: PIXX-411
Principal instrument study level 8 (bass, brass, guitar,
percussion, piano, string, woodwind, or voice).
PFBR-231
Performance Major Private Instruction 3
1 credit
Course Chair: T. Plsek
Required of: Third-semester PERF major
brass principals
Electable by: PERF major brass principals
Offered: Spring, Summer, Fall
Prerequisites: PIBR-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIBR-211, 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-231. PIBR-XXX will be
converted to PIBR-211 once a passing for PIBR-112 has been
officially submitted.
PFBR-232
Performance Major Private Instruction 4
1 credit
Course Chair: T. Plsek
Required of: Fourth-semester PERF major
brass principals
Electable by: PERF major brass principals
Offered: Spring, Summer, Fall
Prerequisites: PIBR-211 or PFBR-231
Performance Major Private Instruction 4 is required of all
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
PFBS-231
Performance Major Private Instruction 3
1 credit
Course Chair: R. Appleman
Required of: Third-semester PERF major
bass principals
Electable by: PERF major bass principals
Offered: Spring, Summer, Fall
Prerequisites: PIBS-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIBS-211, 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 PIBS-XXX and PFBS-231. PIBS-XXX will be
converted to PIBS-211 once a passing for PIBS-112 has been
officially submitted.
PFBS-232
Performance Major Private Instruction 4
1 credit
Course Chair: R. Appleman
Required of: Fourth-semester PERF major
bass principals
Electable by: PERF major bass principals
Offered: Spring, Summer, Fall
Prerequisites: PIBS-211 or PFBS-231
Performance Major Private Instruction 4 is required of all
fourth-semester performance majors. This course, combined
with PIBS-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 PIBS-XXX and PFBS-232. PIBS-XXX will be
converted to PIBS-212 once a passing for PIBS-212 has been
officially submitted.
Summer/Fall 2008
PFGT-231
Performance Major Private Instruction 3
1 credit
Course Chair: L. Baione
Required of: Third-semester PERF major
guitar principals
Electable by: PERF major guitar principals
Offered: Spring, Summer, Fall
Prerequisites: PIGT-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIGT-211, 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 PIGT-XXX and PFGT-231. PIGT-XXX will be
converted to PIGT-211 once a passing for PIGT-112 has been
officially submitted.
PFGT-232
Performance Major Private Instruction 4
1 credit
Course Chair: L. Baione
Required of: Fourth-semester PERF major
guitar principals
Electable by: PERF major guitar principals
Offered: Spring, Summer, Fall
Prerequisites: PIGT-211 or PFGT-231
Performance Major Private Instruction 4 is required of all
fourth-semester performance majors. This course, combined
with PIGT-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 PIGT-XXX and PFGT-232. PIGT-XXX will be
converted to PIGT-212 once a passing for PIGT-212 has been
officially submitted.
PFPC-231
Performance Major Private Instruction 3
1 credit
Course Chair: D. Anderson
Required of: Third-semester PERF major
percussion principals
Electable by: PERF major percussion principals
Offered: Spring, Summer, Fall
Prerequisites: PIPC-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIPC-211, is a college hour (50-minute) private lesson
Course Descriptions
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 PIPC-XXX and PFPC-231. PIPC-XXX will be
converted to PIPC-211 once a passing for PIPC-112 has been
officially submitted.
PFPC-232
Performance Major Private Instruction 4
1 credit
Course Chair: D. Anderson
Required of: Fourth-semester PERF major
percussion principals
Electable by: PERF major percussion principals
Students may
Offered: Spring, Summer, Fall
Prerequisites: PIPC-211 or PFPC-231 declare the
Performance
Performance Major Private Instruction 4 is required of all major during
fourth-semester performance majors. This course, combined their second
with PIPC-212, is a college hour (50-minute) private lesson
semester or
that meets on a weekly basis. The longer format allows more
by their third
time for detailed instruction and learning required for the
performance major. Course instruction provides individual semester credit
guidance in developing performance technique, learning standing.
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 PIPC-XXX and PFPC-232. PIPC-XXX will be
converted to PIPC-212 once a passing for PIPC-212 has been
officially submitted.
PFPN-231
Performance Major Private Instruction 3
1 credit
Course Chair: S. Tiernan
Required of: Third-semester PERF major
piano principals
Electable by: PERF major piano principals
Offered: Spring, Summer, Fall
Prerequisites: PIPN-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIPN-211, 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 PIPN-XXX and PFPN-231. PIPN-XXX will be
converted to PIPN-211 once a passing for PIPN-112 has been
officially submitted.
171
Course Descriptions
Summer/Fall 2008
PFPN-232
Performance Major Private Instruction 4
1 credit
Course Chair: S. Tiernan
Required of: Fourth-semester PERF major
piano principals
Electable by: PERF major piano principals
Offered: Spring, Summer, Fall
Prerequisites: PIPN-211 or PFPN-231
Performance Major Private Instruction 4 is required of all
fourth-semester performance majors. This course, combined
with PIPN-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 PIPN-XXX and PFPN-232. PIPN-XXX will be
converted to PIPN-212 once a passing for PIPN-212 has been
officially submitted.
PFST-231
Performance Major Private Instruction 3
1 credit
Course Chair: M. Glaser
Required of: Third-semester PERF major
string principals
Electable by: PERF major string principals
Offered: Spring, Summer, Fall
Prerequisites: PIST-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIST-211, 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 PIST-XXX and PFST-231. PIST-XXX will be
converted to PIST-211 once a passing for PIST-112 has been
officially submitted.
PFST-232
Performance Major Private Instruction 4
1 credit
Course Chair: M. Glaser
Required of: Fourth-semester PERF major
string principals
Electable by: PERF major string principals
Offered: Spring, Summer, Fall
Prerequisites: PIST-211 or PFST-231
Performance Major Private Instruction 4 is required of all
fourth-semester performance majors. This course, combined
with PIST-212, is a college hour (50-minute) private lesson
172
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 PIST-XXX and PFST-232. PIST-XXX will be
converted to PIST-212 once a passing for PIST-212 has been
officially submitted.
PFVC-231
Performance Major Private Instruction 3
1 credit
Course Chair: J. Shapiro
Required of: Third-semester PERF major
voice principals
Electable by: PERF major voice principals
Offered: Spring, Summer, Fall
Prerequisites: PIVC-112
Performance Major Private Instruction 3 is required of all
third-semester performance majors. This course, combined
with PIVC-211, 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 PIVC-XXX and PFVC-231. PIVC-XXX will be
converted to PIVC-211 once a passing for PIVC-112 has been
officially submitted.
PFVC-232
Performance Major Private Instruction 4
1 credit
Course Chair: J. Shapiro
Required of: Fourth-semester PERF major
voice principals
Electable by: PERF major voice principals
Offered: Spring, Summer, Fall
Prerequisites: PIVC-211 or PFVC-231
Performance Major Private Instruction 4 is required of all
fourth-semester performance majors. This course, combined
with PIVC-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 PIVC-XXX and PFVC-232. PIVC-XXX will be
converted to PIVC-212 once a passing for PIVC-212 has been
officially submitted.
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

Includes preparation of repertoire for the senior recital,

which is the final project for performance majors.

173
Course Descriptions

Summer/Fall 2008

Professional Music PM-320

Investment Principles for the
PM-111 Professional Musician
Essentials of Success 2 credits
1 credit 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, Summer, Fall Prerequisites: PM-310
Prerequisites: Written approval of course chair
This course focuses on the personal investment portfolio.
This course will address student adjustment to the experiences Review of securities such as stocks, bonds, mutual funds,
associated with an urban college: self-direction and learning, and other investments, along with principles of portfolio
time management, decision making, problem solving, personal management, will be included. Goals, objectives, risk
issues, and sensitivity toward diversity. Upon completion of tolerance, and time constraints will determine the strategy
the course students will be familiar with campus life, available that is used to build a portfolio of mutual funds, stocks, or
support services, academic expectations, faculty roles, social bonds. Review of events in today’s dynamic and complex
responsibility, and study/practice technique. markets will be discussed. Special attention will be paid to
interest rates and their impact on securities.
PM-230
Computer Literacy for the Professional Musician
PM-P325
2 credits Managerial Finance
Course Chair: K. Brass 2 credits
Required of: None Course Chair: K. Brass Prototype
Electable by: PROM majors Required of: None
Offered: Spring, Summer, Fall Electable by: All
Prerequisites: Moderate typing skills strongly Offered: Spring, Fall
recommended Prerequisites: LCOR-111 and PM-310

A course designed to familiarize professional music majors
with the fundamentals of computer theory and operation,
using the Apple Macintosh platform. Hands-on instruction
will include word processing, spreadsheet, graphics, and
database applications. Students will have access to the
Professional Education Division technology facility for class
and individual practice.
This course provides an introduction to the fundamental
concepts of finance. Various techniques of analysis that reveal
the relationships of risk, return and value are demonstrated.
Topics include financial analysis, reporting and planning,
long and short-term forecasting, the time value of money,
managing working capital, capital budgeting, and the nature
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
budgeting, risk management, taxes, retirement planning,
estate planning, and investments.
Aspects of private studio teaching including pedagogy,
literature, technology, and business considerations. Philosophy
and attitudes essential to the successful private instructor.
Choosing appropriate methods and materials. Overview of
new technological resources for the private teacher.

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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

Monitored and evaluated professional work experience in a

retail, entrepreneurial, or corporate environment matched to
the student’s individual career goals. Placement is limited to
situations available from or approved by the Office of
Experiential Learning and the Professional Music Department
chair or a 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
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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.

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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.
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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

A writing workshop geared to the producer, arranger, or

songwriter that focuses on writing original songs for artists,
assignments for television or film, etc. The workshop involves
collaboration and addresses the creative process from many
angles in order to allow the student to develop varied skills
and approaches.

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Summer/Fall 2008
SW-P336
Songwriting Collaboration
2 credits
Course Chair: J. Perricone Prototype
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: SW-212 and SW-222
This project-oriented, workshop-style class will present in-depth
varied models for songwriting collaboration, including strictly
differentiated roles for lyricist and composer (typical in earlier
musical theater writing), the “co-writing” model prevalent in
current Nashville-centered country songwriting, and emerging
collaborative roles in more production-driven contemporary
genres such as pop, r&b and hip hop. Industry needs and
realities will be reflected in class projects. Students will play
varied roles in collaborations, including writing to theme and
on deadline and for specific industry artists and/or selected
student vocalists. In-class, co-writing sessions, partner projects,
and technology-supported “virtual” collaboration will be
explored. The class will also cover a number of pragmatic
issues essential in professional co-writing, including co-writer
selection, decision-making and consensus, and contractual and
business issues of co-authorship and co-publishing.
SW-345
Musical Theater Writing
2 credits
Course Chair: J. Perricone
Required of: None
Electable by: All
Offered: Spring, Summer, Fall
Prerequisites: SW-211, SW-221, or written
approval of instructor and course chair
An opportunity for student composers, lyricists, and playwrights
to collaborate in adapting dramatic scenes into songs for the
musical stage. Students write and perform their original work
in a class setting and critique the work of their peers with
supervision from the instructor. Students also discuss and
analyze major works from the musical theater and opera
repertoire. The class emphasizes storytelling and dramatic
writing through song, promotes innovation, and is open to
writers of diverse musical styles.
SW-P350
Songwriting and Social Change
2 credits
Course Chair: J. Perricone Prototype
Required of: None
Electable by: All
Offered: Fall
Prerequisites: SW-211, SW-221
A hands-on songwriting class that will allow students to put
their social change ideas into their own original songs, while
also surveying significant socially relevant songs in different eras
and cultures throughout the 20th and 21rst centuries. Benefit
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.
Course Descriptions
SW-361
Song Demo Production Techniques
2 credits
Course Chair: J. Perricone
Required of: SONG majors
Electable by: SONG majors
Offered: Spring, Summer, Fall
Prerequisites: ISKB-212 or piano private instruction
level 3, PW-161, SW-212, and SW-222
The songwriting major will learn the necessary techniques to
utilize current MIDI and audio technology in the production
of professional-quality song demos, including intermediate-to-
advanced skills and concepts of MIDI, synthesis, multitrack
recording, mixing, and sound processing. Building on
technology skills learned in PW-161, this course will focus on
musical approaches to the effective assembly and arranging of
sound materials using a music-writing workstation. In addition
to class meetings, students will be expected to schedule
weekly supervised individual hands-on time for practice and
assignments in the Professional Writing MIDI lab.
SW-362
Advanced Song Production Seminar
2 credits
Course Chair: J. Perricone
Required of: None
Electable by: All
Offered: Spring, Fall
Prerequisites: PW-161, SW-212, and SW-222
This course provides detailed study of professional song
production in a range of popular styles, allowing students
to understand what makes a successful track work. Using
successful tracks as standards for artistic and musical reference,
students, by means of a hands-on approach, will develop and
integrate a variety of synthesis techniques and DSP applications
to creatively enhance their original song productions.
SW-365
Song Demo in the Recording Studio
1 credit
Course Chair: J. Perricone
Required of: None
Electable by: SONG majors
Offered: Spring, Summer, Fall
Prerequisites: SW-212 and SW-222
This course allows songwriters to record and produce their
demos, to interact with live musicians and a recording engineer
under the guidance of the instructor, and to find the best
working methods to get their songs recorded professionally.
Class members will either sing their original songs themselves
(required of singer/songwriters) or provide a suitable vocalist.
During the semester, each songwriter will record/have recorded
two of his/her songs, and will be present to observe and learn
from recordings of other class members. In addition to
registering for this course, the student must also attend
meetings of ENSB-372.
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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

An advanced-level class in which students create original

musical theater, give and receive peer feedback with
supervision from the instructor, and analyze great works
from the musical theater and opera repertoire. Students
collaborate in teams as composers, lyricists, and bookwriters
on a ”10-mintute musical.“ The class emphasizes storytelling
and dramatic progression through song, promotes innovation,
and is open to writers of diverse stylistic backgrounds
and preferences.

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

Monitored and evaluated professional work experience in an

environment related to the songwriting major. Placement is
limited to situations available from or approved by the Office
of Experiential Learning and the Songwriting Department chair
or a 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.

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Summer/Fall 2008

Schedule of Courses - Summer

Arranging CM-212
Tonal Harmony & Composition 2
AR-111 001 M 4-6 A. Paraskevas
Arranging 1 002 T 11-1 A. Welwood
001 TH 11-1 J. Moorhead 003 W 2-4 B. Denisch
002 T 4-6 J. Stinnett 004 W 2-4 C. Witmyer
003 T 11-1 B. Elkins 005 M 2-4 I. Lisak
004 W 4-6 J. Moorhead 006 M 11-1 D. Hurst
005 T 4-6 J. Sykes 007 TH 9-11 D. McDonnell
006 T 4-6 J. Moorhead 008 TH 11-1 S. Fessler
007 T 2-4 B. Elkins 009 TH 2-4 A. Friedman
008 T 2-4 R. Grudzinski 010 W 4-6 M. Weinstein
009 TH 4-6 J. Moorhead 011 M 2-4 J. Williams

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

Schedule of Courses - Summer

CP-P350 CW-275
Twentieth Century Counterpoint Music Prod Techs for Writers
001 T 2-4 Y. Gubanov Not offered Summer 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

CW-498 002 TH 11-1 H. Hampton

Directed Study in Cont Writing Rating: 2
001 F 4-6 M. Farquharson Mixed: Jazz, Latin, Rock, Funk
002 F 4-6 G. Gates
NOTE: (all sections) See instructor in first week 003 TH 2-4 H. Hampton
to establish meeting times Rating: 2
Mixed: Jazz, Latin, Rock, Funk
CW-499
CWP Portfolio Completion 004 W 2-4 R. Mahdi
Not offered Summer 2008 Rating: 2
Mixed: Jazz, Latin, Rock, Funk

Ensemble 005 M 2-4 L. Molinari

Rating: 2
Mixed: Jazz, Latin, Rock, Funk
ENBR-321
Brass Quintet
006 M 9-11 L. Molinari
001 M 2-4 C. Lewis
Rating: 2
Mixed: Jazz, Latin, Rock, Funk
ENGT-111
Guitar Performance Ensemble 007 W 11-1 D. Morris
001 W 4-6 J. Miller Rating: 2
Acoustic Guitar Ensemble Mixed: Jazz, Latin, Rock, Funk

002 TH 4-6 C. Hansen 008 M 11-1 O. Ortiz-Vizcay

Classic Rock Masters Guitar Band Rating: 2
Mixed: Jazz, Latin, Rock, Funk
003 T 11-1 A. Gaboury
Pat Metheny Masters Guitar Band 009 M 2-4 O. Ortiz-Vizcay
Rating: 2
ENLB-321 Mixed: Jazz, Latin, Rock, Funk
Big Band Ensemble
Not offered Summer 2008 010 M 2-4 S. Skeete
Rating: 2
ENLB-325 Mixed: Jazz, Latin, Rock, Funk
Wrtng/Prod Techs - Pop/Rock
Not offered Summer 2008 011 M 4-6 S. Skeete
Rating: 2
ENLB-371 Mixed: Jazz, Latin, Rock, Funk
Recording Studio Ensemble
Not offered Summer 2008 ENSB-211
Small Band Ensemble 3
ENLB-421 001 W 11-1 H. Hampton
Rainbow Big Band Ensemble Rating: 3
001 M 4-6 P. Wilson Jazz
Rating: Teacher Authorization
See Course Description 002 M 2-4 F. Brandao
Rating: 3
ENLB-461 Jazz
The Avant-Garde Ensemble
001 M 11-1 G. Garzone 003 W 9-11 R. Mahdi
Rating: 7 Rating: 3 Jazz
Jazz: See course description
004 M 11-1 G. Zonce
ENPC-211 Rating: 3 Jazz: Bebop Standards
Beginning Percussion Ensemble
005 W 2-4 P. Fontaine
Not offered Summer 2008
Rating: 3
Jazz
ENSB-121
Contemporary Styles Ensemble 006 M 11-1 F. Brandao
001 W 9-11 H. Hampton Rating: 3
Rating: 2 Jazz: Brazilian Instrumental
Mixed: Jazz, Latin, Rock, Funk
184
Summer/Fall 2008

Schedule of Courses - Summer

007 TH 2-4 P. Fontaine 007 TH 11-1 P. Fontaine
Rating: 3 Rating: 4
Jazz Jazz: Be-Bop & Classic Jazz

008 M 11-1 L. Molinari 008 TH 9-11 H. Hampton

Rating: 3 Rating: 4
Jazz Jazz

009 T 2-4 R. Mahdi ENSB-327

Rating: 3 Techno/Rave Ensemble
Jazz 001 W 2-4 S. MacLean
Rating: By Audition
010 TH 9-11 L. Molinari See Course Description
Rating: 3
Jazz 002 M 11-1 R. Boulanger
Rating: By Audition
011 F 11-1 J. Funkhouser See Course Description
Rating: 3
Rock Jam Band, Phish, Grateful Dead ENSB-328
Latin Jazz: Afro-Cuban/Brazilian
ENSB-215 001 T 2-4 R. Cline
Blues-Rock Ensemble Rating: 5
001 T 4-6 G. Wardson Latin: Latin Jazz/Afro-Cuban Jazz
Rating: 3
Rock: Classic Blues Repertoire of ENSB-329
the 50's, 60's, & 70's Country Music Ensemble
001 M 4-6 M. Ihde
ENSB-216 Rating: By Audition
Classic Rock Ensemble Country
001 F 11-1 G. Wardson
Rating: 3 ENSB-345
Rock: Classic Rock Repertoire of Funk Bands
the 70's & 80's 001 T 4-6 R. Tamagni
Rating: 5
ENSB-231 Funk: Music of the Meters
Keyboard Improvisation Ens
Not offered Summer 2008 002 M 2-4 D. Scott
Rating: By Audition
ENSB-311 Hip Hop
Small Band Ensemble 4
001 M 2-4 G. Zonce ENSB-346
Rating: 4 Contemporary Fusion Ensemble
Jazz: Bebop Standards 001 TH 11-1 J. da Silva
Rating: 4
002 TH 4-6 P. Fontaine Funk: Fusion Music of Hancock
Rating: 4 and Zawinul
Jazz: Be-Bop & Classic Jazz
ENSB-351
003 W 11-1 F. Brandao 8 Piece Jazz Ensemble
Rating: 4 Not offered Summer 2008
Jazz: Brazilian Instrumental
ENSB-361
004 T 11-1 R. Mahdi
Adv Woodwind Chamber Music
Rating: 4
001 W 4-6 B. LaFitte
Jazz

005 TH 11-1 L. Molinari

ENSB-371
Rating: 4 The Recording Rhythm Section
Jazz 001 M 2-4 D. Montgomery III
Rating: 5
006 W 2-4 H. Hampton R&B
Rating: 4
Blues
185
Schedule of Courses - Summer

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

ENSB-411 002 F 4-6 L. Smith

Advanced Small Band Ensemble Rating: 2
001 M 4-6 J. Stout Mixed: Jazz, Pop/Rock, R&B
Rating: 5
Jazz: Music of Charlie Parker 003 M 11-1 D. Stallworth
Rating: 2
002 W 11-1 K. Cervenka Mixed: Jazz, Pop/Rock, R&B
Rating: 5
Jazz: Music of Miles Davis 004 M 2-4 D. Stallworth
Rating: 2
003 W 2-4 F. Brandao Mixed: Jazz, Pop/Rock, R&B
Rating: 5
Jazz: Brazilian Instrumental 005 M 4-6 D. Stallworth
Rating: 2
004 M 2-4 G. Garzone Mixed: Jazz, Pop/Rock, R&B
Rating: 7
Jazz: Be-Bop & Free Jazz 006 M 11-1 D. Scott
Rating: 2
005 T 9-11 R. Mahdi R&B, Soul and Hip Hop
Rating: 5
Jazz ENVC-211
Small Band With Vocals Ens 3
006 W 1-3 D. Santoro 001 F 9-11 L. Smith
Rating: 6 Rating: 3
Jazz: The Blue Note Era Mixed: Jazz, Pop/Rock, R&B

007 TH 4-6 K. Cervenka 002 F 11-1 L. Smith

Rating: 6 Rating: 3
Jazz Mixed: Jazz, Pop/Rock, R&B

008 T 11-1 J. da Silva 003 TH 2-4 L. Smith

Rating: 5 Rating: 3
Fusion Music of Hancock R&B
and Zawinul
004 M 9-11 D. Scott
ENSB-421 Rating: 3
Rainbow All-Stars R&B, Soul and Hip Hop
Not offered Summer 2008
ENVC-311
ENSB-451 Small Band With Vocals Ens 4
9 Piece Jazz Ensemble 001 M 2-4 C. Wilkins
Not offered Summer 2008 Rating: 4
Mixed: Jazz, Pop/Rock, R&B
ENSB-482
002 W 11-1 R. Mahdi
Berklee Art Blakey Ensemble
Rating: 4 Jazz
Not offered Summer 2008
003 TH 11-1 L. Smith
Rating: By Audition
186 R&B: Aretha, Stevie, Chaka, Marvin
Summer/Fall 2008

Schedule of Courses - Summer

004 M 4-6 D. Scott ET-212
Rating: 4 Ear Training 4
R&B 001 T,TH 11-12 J. Funkhouser
002 T,TH 12-1 C. Free
005 W 6-8 D. Scott 003 T,TH 10-11 C. Free
Rating: 4 004 W,F 12-1 R. Ginenthal
R&B, Soul and Hip Hop 005 T,TH 10-11 J. Funkhouser
006 T,TH 2-3 G. Tolan Hatfield
006 T 2-4 J. da Silva
Rating: 4 ET-231
Urban R&B/Hip Hop Solfege 1
001 T,TH 2-3 M. Shilansky
ENVC-371 002 T,TH 4-5 M. Shilansky
Vocal Recording Ensembles
001 T 11-1 D. Montgomery III ET-232
Rating: By Audition Solfege 2
R&B 001 T,TH 3-4 M. Shilansky
ENVC-411 ET-321
Adv Small Band With Vocals Ens World Music Ear Training
001 F 2-4 L. Smith 001 W 4-6 B. Lehmann
Rating: By Audition
R&B: Neo Soul
ET-331
Harmonic Ear Training 1
002 TH 2-4 J. da Silva
001 W 2-4 J. Potter
Rating: By Audition
The Divas Ensemble
ET-332
ENVC-482 Harmonic Ear Training 2
001 W 4-6 J. Potter
The Concert Choir
Not offered Summer 2008
ET-341
ENVC-485 Rhythmic Ear Training
001 W 2-4 B. Lehmann
Gospel Choir
001 M 11-1,W 11-1 D. Montgomery III
Rating: By Audition ET-351
Gospel: See course description Fundamentals of Transcription
Not offered Summer 2008

Ear Training ET-411

Advanced Ear Training 1
ET-111 Not offered Summer 2008
Ear Training 1
001 M,W,F 12-1 G. Moltoni ET-412
Advanced Ear Training 2
ET-112 Not offered Summer 2008
Ear Training 2
001 M,W,F 12-1 T. deOgburn ET-421
002 M,W,F 12-1 B. Lewis Atonal Solfege 1
003 M,W,F 9-10 T. deOgburn 001 W 2-4 E. Bedner
004 M,W,F 12-1 W. Thompson
005 M,W,F 9-10 K. Hardt ET-441
006 M,W,F 2-3 G. Moltoni Popular Song Transcription
001 F 2-4 J. Potter
ET-211
Ear Training 3 ET-451
001 T,TH 11-12 C. Free Jazz Solo Transcription
002 T,TH 12-1 J. Funkhouser Not offered Summer 2008
003 W,F 9-10 R. Ginenthal
004 W,F 9-10 B. Lewis
005 W,F 2-3 R. Ginenthal
006 W,F 10-11 J. Potter

187
Schedule of Courses - Summer

Summer/Fall 2008

Film Scoring FS-488

Dir Study in Film Scoring
FS-131 001 T 11-1 S. Mirowitz
History of Film Music 002 W 2-4 J. Klein
Not offered Summer 2008
FS-495
FS-221 Film Scoring Internship
Introduction to Film Scoring 001 - E. Reasoner
001 M 11-1 E. Reasoner See the Office of Experiential Learning if interested
002 T 11-1 E. Reasoner
Harmony
FS-241
Analysis of Dramatic Scoring
001 W 11-1 J. Klein
HR-111
Harmony 1
1A W,F 12-1 S. Dale
FS-340
1B W,F 12-1 D. Smith
Dramatic Orch for Film
1C W,F 12-1 W. Dahlgren
001 T 2-4 R. Davis
1D W,F 12-1 W. Silvio
002 W 11-1 R. Davis
2A W,F 2-3 W. Silvio
2B W,F 2-3 D. Johnson
FS-341 2C W,F 2-3 W. Dahlgren
Scoring Techs for Film/Video 2D W,F 2-3 E. Byers
001 TH 11-1 J. Klein
HR-112
FS-361 Harmony 2
Computer/Synth Apps for Film 001 T,TH 2-3 D. Harrington
001 T 11-1 A. Bjorck 002 T,TH 11-12 M. Scott
002 T 4-6 A. Bjorck 003 W,F 9-10 S. Dale
004 W,F 11-12 C. Cassara
FS-375 005 W,F 10-11 D. Katz
Film Music Editing 1 006 W,F 11-12 S. Dale
001 M 2-4 E. Reasoner
002 T 2-4 E. Reasoner HR-211
Harmony 3
FS-433 001 T,TH 3-4 D. Harrington
Stylistic Adapt. in Flm Scring 002 T,TH 11-12 S. Clark
001 T 11-1 R. Davis 003 T,TH 11-12 D. Harrington
004 T,TH 12-1 M. Scott
FS-441 005 W,F 11-12 D. Smith
Scoring Apps for Film & Video 006 W,F 12-1 R. Kress
001 W 2-4 R. Davis 007 W,F 11-12 D. Katz
008 W,F 10-11 S. Dale
FS-461
Ad Comp Apps for Flm/Video Scr HR-212
001 W 9-11 J. Klein Harmony 4
002 TH 2-4 J. Klein 001 T,TH 10-11 M. Scott
002 T,TH 12-1 D. Harrington
FS-468 003 W,F 3-4 D. Johnson
Contemp Tech in Film Scoring 004 W,F 9-10 C. Cassara
001 T 2-4 S. Mirowitz 005 W,F 11-12 R. Kress
006 W,F 11-12 S. Rochinski
FS-475 007 W,F 10-11 S. Rochinski
Advanced Film Music Editing 008 W,F 3-4 R. Kress
001 M 4-6 E. Reasoner
HR-231
FS-487 Harmonic Analysis of Rock
Directed Study in Film Scoring Not offered Summer 2008
001 T 9-11 R. Davis
002 T 4-6 S. Mirowitz HR-241
003 W 4-6 R. Davis Harmony in Brazilian Song
001 T 2-4 F. Brandao
188
Summer/Fall 2008

Schedule of Courses - Summer

HR-325 ILBS-181
Reharmonization Techniques Elementary Double Bass Lab
001 W,F 10-11 C. Cassara Not offered Summer 2008
002 M 3-4 S. Rochinski
ILBS-211
HR-335 Bass Lab - Reading 3
Advanced Harmonic Concepts 001 W 6-7 D. Buda
001 M 11-1 S. Rochinski
002 T 2-4 D. Johnson ILBS-215
Bass Lines From Motwn/Atlantic
HR-345 001 T 11-12 D. Morris
Advanced Modal Harmony 002 T 10-11 D. Morris
001 T 4-6 D. Johnson
ILBS-221
Bass Lab - Lines 2
Instrumental Labs 001 W 11-12 B. Gertz

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

008 TH 11-1 J. Wheatley ILGT-245

Style: Mainstream Jazz Rock Guitar Lab
Not offered Summer 2008
009 W 4-6 S. Michaud
Style: Contemporary Rock ILGT-247
Steel Guitar Lab
010 TH 11-1 C. Hansen Not offered Summer 2008
Style: Classic Rock
ILGT-249
011 M 9-11 J. McGann Slide Guitar Lab
Style: Bluegrass 001 F 2-3 D. Tronzo
002 T 4-5 D. Bowden
ILGT-211
Ensemble Prep Lab - Guitar ILGT-251
Not offered Summer 2008 Advanced Blues/Rock Guit Techs
001 T 2-4 J. Kasper
ILGT-215
Bottleneck Blues Lab ILGT-261
001 T 2-3 D. Bowden Gtr Lab-Developmental Arpeggio
001 T 12-1 K. Taft
ILGT-217
Creative Apps for Proficiency ILGT-263
001 W 11-1 J. Kasper Reading Cont Guitar Rhythms
Not offered Summer 2008
ILGT-223
Guitarmony 1 ILGT-269
001 T 12-1 B. Willmott Polyrhythms for Guitar 1
002 W 2-3 B. Willmott 001 T 11-12 B. Willmott
002 W 4-5 B. Willmott
ILGT-225
Guitar Chart Reading/Perf ILGT-271
001 W 12-1 J. Miller Linear Approach Concepts
001 W 9-10 J. Rogers
190
Summer/Fall 2008

Schedule of Courses - Summer

ILGT-280 ILGT-367
Classical Guitar Rep and Perf Building Guit Tech Thru Triads
001 M 4-6 D. Newsam 001 W 10-11 J. Rogers

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

Schedule of Courses - Summer

ILPN-227 ILPN-461
Accomp Tech for Singer/Pianist Jazz Piano Master Class
Not offered Summer 2008 001 M 2-4 J. Brackeen

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

Schedule of Courses - Summer

Instrumental Studies ISVC-111
Guitar Accomp Skills: Vocalist
ISBR-221 001 F 2-3 J. Stevens
Trumpet Class for Mus Ed
001 TH 11-12 D. Ferrara ISWD-221
Flute Class for Mus Ed Majors
ISBR-231 See Chair, William Pierce, if Interested
Trombone Class for Mus Ed
001 TH 12-1 D. Ferrara ISWD-222
Clarinet Class for Mus Ed Majors
ISGT-221 See Chair, William Pierce, if Interested
Guitar Class for Mus Ed Majors
Not offered Summer 2008 ISWD-223
Double Reed/Sax Class: Mus Ed
ISGT-231 See Chair, William Pierce, if Interested
Guitar Class for Mus Therapy 1
001 W 4-5 D. Bowden Internships
ISGT-232
Guitar Class for Mus Therapy 2
IN-290 The first day
001 W 11-12 K. Khare Srv Lrn: Connect Music W/ Comm of class for
001 D. Gelinas Fall 2008
See the Office of Experiential Learning if interested
ISKB-211 is Monday,
Basic Keyboard Techniques 1 Sept. 8, 2008.
001 M 11-1 C. Wilkins
IN-295
002 T 11-1 D. Johnson Introductory Internship
003 F 2-4 J. Elowsky-Fox 001 M 4-5 D. Gelinas
004 F 2-4 G. Wardson See the Office of Experiential Learning if interested
005 TH 3-4 D. Cecere
006 T 12-1 R. Hoffman IN-497
LA Internship Program
ISKB-212 001 D. Gelinas
Basic Keyboard Techniques 2 See the Office of Experiential Learning if interested
001 TH 4-6 D. Cecere
002 W 11-1 D. Johnson IN-P498
003 TH 11-1 J. Elowsky-Fox London Summer Internship Program
004 TH 2-4 G. Wardson 001 D. Gelinas
See the Office of Experiential Learning if interested
ISKB-221
Keyboard Class 1 for Mus Ed Jazz Composition
001 M,W 1-2 W. Ward
002 W,TH 5-6 E. Bedner
JC-495
ISKB-222 Jazz Composition Internship
Keyboard Class 2 for Mus Ed 001 K. Pullig
001 W,TH 4-5 E. Bedner See the Office of Experiential Learning if interested

ISKB-321 Liberal Arts

Keyboard Class 3 for Mus Ed
001 M,W 2-3 W. Ward
LCOR-104
English As a Second Language 1
ISKB-322
001 M,W,F 1-2 P. Gardner
Keyboard Class 4 for Mus Ed
001 M,W 3-4 W. Ward
LCOR-105
English As a Second Language 2
ISPC-221
001 M,W,F 2-3 P. Gardner
Perc Class for Mus Ed Majors
Not offered Summer 2008
LCOR-110
English Skills
ISST-221
001 M,W,F 1-2 E. Francese
String Class for Mus Ed majors
Not offered Summer 2008 195
Schedule of Courses - Summer

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

002 W 2-4,TH 10-11 S. Katz LHAN-312

Contemplative & Mystical Traditions
Style Anal of 20th C Music
001 F 2-4 D. McDonnell
003 W 5-6,TH 11-1 S. Katz
Contemplative & Mystical Traditions
LHAN-335
004 W 12-1, TH 11-1 D. Abraham Analysis of Prog Rock
International Human Rights Not offered Summer 2008

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

Schedule of Courses - Summer

LHAN-353 LHUM-382
The Music of Charles Mingus Intro to Eastern Philosophy
Not offered Summer 2008 001 T 4-5,TH 3-5 P. Guay

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-211 Music Business/Management

Effective Communication
001 W 4-6,TH 2-3 R. Perricone MB-101
Intro to the Music Business
LHUM-325 001 TH 11-1 J. Dorenfeld
Theater Workshop
001 TH 3-6 R. Perricone MB-131
Taxation in the Music Business
LHUM-331 001 W 9-11 M. Dennehy
Creative Writing: Poetry
001 M 11-1,W 1-2 A. Snodgrass MB-201
Princ of Business Management
LHUM-335 001 T 9-11 A. Johnson
Creative Writing: Fiction 002 T 2-4 A. Johnson
001 M,W,F 3-4 D. Kohn
MB-211
LHUM-336 Legal Aspects: Music Industry
Creative Writing: Drama 001 T 11-1 J. Kellogg
001 M 4-6,W 4-5 P. Bennet 002 TH 4-6 J. Fialkov

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

Schedule of Courses - Summer

Music Production and Engineering MP-325
Sound Reinforcement Lab
MP-110 Not offered Summer 2008
Introduction to MP&E
001 T 11-1 S. Webber MP-340
Multitrack Recording Techs
MP-210 001 T 2-4 R. Mendelson
Princ of Record Production 002 M 9-11 T. Carr
001 W 11-1 A. Edelstein
MP-341
MP-211 Mix Techniques II
Audio Technology I 001 T 9-11 A. Rodriguez
001 TH 11-1 A. Rodriguez 002 T 11-1 M. Wessel
002 TH 4-6 M. Abraham 004 TH 9-11 A. Rodriguez

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

Schedule of Courses - Summer

MS-491 MTH-432
Advanced Projects in Synthesis Music Therapy Practicum 5
001 W 2-4 J. Baust 001 W 1-2 K. Khare
002 M 9-11 R. Boulanger
003 W 9-11 M. Bierylo MTH-495
Music Therapy Internship
MS-495 001 K. Wacks
Music Synthesis Internship See the Office of Experiential Learning if interested
001 K. Biederwolf
See the Office of Experiential Learning if interested
Performance Ear Training
Music Technology PFET-361
Perf Ear Train Ww/Br/Stg/Bvs 1
MTEC-111 Not offered Summer 2008
Introduction to Music Tech
1A T 9-11 J. Williams PFET-362
1B M 4-6 J. Williams Perf Ear Train Ww/Br/Stg/Vbs 2
1C TH 4-6 S. MacLean Not offered Summer 2008
2A T 11-1 J. Williams Ensemble
2B T 4-6 S. MacLean PFET-364 limits for each
2C W 4-6 A. Pejrolo Perf Ear Training for Keys 1 instrument
Not offered Summer 2008
MTEC-112 can be found
Appld Technology for Musicians on page 19
PFET-365
001 TH 11-1 M. Bierylo Perf Ear Training for Keys 2 in this manual.
Not offered Summer 2008
MTEC-200
Berklee Internet Radio Network PFET-367
001 M 6-8 S. Croes Perf Ear Training for Guitar 1
Not offered Summer 2008
MTEC-222
Intro Synth Prog/Sound Design PFET-368
001 T 11-1 S. MacLean Perf Ear Training for Guitar 2
Not offered Summer 2008
MTEC-224
Dig Audio Basics/Dig Systems PFET-370
Not offered Summer 2008 Perf Ear Training for Perc 1
Not offered Summer 2008
MTEC-308
Applic.of Loudspeaker Design PFET-371
001 TH 2-4 M. Abraham Perf Ear Training for Perc 2
Not offered Summer 2008
MTEC-420
Adv Dig Mstrng, Edtng & Dlvry PFET-376
001 T 11-1 J. Wyner Perf Ear Training for Bass 1
002 M 11-1 T. Carr Not offered Summer 2008

Music Therapy PFET-377

Perf Ear Training for Bass 2
Not offered Summer 2008
MTH-201
Intro to Int’l Music Therapy
Not offered Summer 2008 Performance Styles - Survey Courses
MTH-351 PFSS-321
Exceptional Children Survey of Brass Styles
001 T 11-1,TH 11-12 P. Codding Not offered Summer 2008

MTH-431
Music Therapy and Medicine
001 M 11-1 K. Wacks
201
Schedule of Courses - Summer

Summer/Fall 2008

Professional Music PSBS-321

Concepts for Jazz Bass Lines
PM-111 Not offered Summer 2008
Essentials of Success
Not offered Summer 2008 PSGT-211
Improvisation for Guitar 1
PM-230 Not offered Summer 2008
Computer Lit for Pro Musician
Not offered Summer 2008 PSH-238
Awareness Training/Musicians
PM-310 Not offered Summer 2008
Financial Management/Musicians
001 T 9-11 L. Gorham PSHR-321
Harmonic Consider. in Improv 1
PM-320 001 W 2-4 K. Cervenka
Investment Princ Pro Musician 002 TH 11-1 K. Cervenka
001 T 11-1 L. Gorham
PSIJ-211
PM-330 Jazz Improvisational Techs
The Private Studio Teacher Not offered Summer 2008
001 M 2-4 D. Newsam
PSIJ-216
PM-340 Standard Jazz Repertoire 2
Entrepreneurship Not offered Summer 2008
Not offered Summer 2008
PSIJ-221
PM-375 Jazz Improvisation Techs 1
Music Career Planning Seminar 001 TH 2-4 K. Cervenka
001 TH 11-1 F. Schmidt Rating: 3
002 TH 2-4 F. Schmidt See Course Description

002 T 2-4 E. Saindon

PM-475
Rating: 3
Final Project Seminar
See Course Description
001 T 2-4 K. Brass
002 TH 9-11 F. Schmidt
003 T 11-1 K. Cervenka
Rating: 3
PM-495 See Course Description
Professional Music Internship
001 - K. Brass PSIJ-280
See the Office of Experiential Learning if interested
The Jazz Language
Not offered Summer 2008
Performance Studies
PSIJ-321
Jazz Improvisation Techs 2
PS-190
001 M 11-1 J. Stout
Improv Concepts Workshop 1
Rating: 3
001 F 4-6 J. Haupers
See Course Description
PS-192 PSIJ-311
Improvisation Concepts Wkshp 2
Chord Scale Theory in Improv
001 F 1-3 J. Haupers
Not offered Summer 2008
PS-495 PSIJ-322
Prof Performance Internship
Jazz Improvisation Techs 3
001 M. Marvuglio
Not offered Summer 2008
See the Office of Experiential Learning if interested
PSIJ-325
PS-498
Jazz Interpretation
Directed Study - Improvisation
Not offered Summer 2008
001 W 6-8 M. Rossi

202
Summer/Fall 2008

Schedule of Courses - Summer

PSIJ-331 PSVC-365
The Jazz Line Stage Pfm Wkshp-Jazz Standards
001 W 4-6 D. Santoro Not offered Summer 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

Schedule of Courses - Fall

Arranging AR-331
Big Band Arrnging & Score Anal
AR-111 001 T 4-6 W. Scism
Arranging 1 002 TH 9-11 R. Lowell
001 M 4-6 J. Kocandrle
002 W 9-11 S. Dean AR-340
003 T 2-4 B. Elkins Jazz Arranging -Small Ensemble
004 T 2-4 R. Reid 001 M 2-4 J. Friedman
005 TH 2-4 B. Elkins
006 M 11-1 B. Elkins AR-407
007 M 9-11 J. Hernandez Adv Jazz Arranging - Lrge Ens
008 M 9-11 M. Poniatowski 001 TH 11-1 G. Hopkins
009 M 9-11 D. Harris
010 M 9-11 G. McArthur-Browne
011 T 2-4 R. Evans Composition
012 TH 4-6 K. Bleau
013 W 11-1 R. Evans CM-211
014 M 11-1 J. Stinnett Tonal Harmony & Composition 1
015 M 4-6 R. Grudzinski 001 W 4-6 L. Bell
016 W 4-6 J. Moorhead 002 F 2-4 A. Cohen
017 TH 4-6 D. Howard 003 T 11-1 I. Lisak
018 TH 9-11 J. Sykes 004 W 11-1 A. Welwood
019 T 9-11 J. Sykes 005 T 9-11 L. Bell
006 M 2-4 A. List
AR-112 007 M 2-4 J. Holland
Arranging 2 008 M 2-4 A. Cohen
001 W 2-4 R. Evans 009 T 4-6 E. Lucas
002 TH 4-6 J. Kocandrle 010 TH 6-8 M. McAllister
003 TH 11-1 B. Elkins 011 M 4-6 D. Hurst
004 F 9-11 J. Sykes 012 T 4-6 A. Kalogeras
005 T 11-1 B. Elkins 013 TH 4-6 A. Friedman
006 T 4-6 R. Evans 014 T 9-11 A. Kalogeras
007 TH 2-4 R. Reid 015 W 11-1 A. Qualliotine
008 F 9-11 J. Perry 016 T 9-11 I. Lisak
009 M 9-11 R. Doezema 017 W 2-4 A. Welwood
010 T 4-6 D. Johnson 018 T 4-6 K. Bleau
011 TH 4-6 W. Dahlgren 019 T 4-6 B. Denisch
012 F 11-1 D. Katz 020 M 11-1 S. Fessler
021 TH 2-4 D. Hurst
AR-201 022 W 2-4 E. Lucas
Chord Scale Vcings for Arng 023 W 4-6 J. Holland
001 T 4-6 J. Friedman 024 M 11-1 R. Lee
002 TH 9-11 D. Katz 025 M 11-1 A. Paraskevas
003 TH 2-4 W. Dahlgren 026 T 2-4 T. LeVines
004 M 4-6 W. Scism 027 T 4-6 R. Castillo
005 W 11-1 J. Friedman 028 T 4-6 C. Witmyer
006 TH 11-1 C. Free 029 TH 11-1 M. McAllister
030 M 4-6 S. Fessler
AR-203
Music Preparation 1 CM-212
001 T 4-6 R. Grudzinski Tonal Harmony & Composition 2
002 T 11-1 J. Friedman 001 TH 4-6 V. Kulenovic
002 M 2-4 D. Hurst
AR-228 003 TH 4-6 S. Fessler
Survey of Jazz Cmp & Arranging 004 T 11-1 A. Friedman
001 TH 11-1 W. Scism 005 M 11-1 A. Kalogeras
002 M 2-4 W. Scism 006 TH 6-8 V. Kulenovic
007 F 11-1 A. Cohen
008 W 9-11 T. LeVines
AR-328
009 F 11-1 D. McDonnell
Arranging for Cont. Jazz Ens.
010 M 2-4 A. Qualliotine
001 T 2-4 K. Pullig
011 M 11-1 I. Lisak

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Schedule of Courses - Fall

Summer/Fall 2008

012 M 11-1 C. Witmyer CM-351

013 M 11-1 D. McDonnell Choral Composition
014 M 9-11 M. Epstein 001 M 11-1 J. Reyes
015 T 11-1 J. Holland
016 TH 4-6 B. Denisch CM-355
017 M 9-11 J. Holland Principals/Tech of Vocal Wrtng
018 W 11-1 R. Lee Not offered Fall 2008
019 T 2-4 A. List
020 W 4-6 A. Paraskevas
CM-361
021 M 4-6 E. Lucas
World Music Resources in Comp
022 T 4-6 M. McAllister
001 M 11-1 T. LeVines
023 TH 6-8 M. Weinstein
024 T 11-1 A. Welwood
025 TH 11-1 C. Witmyer CM-371
Jazz Composition 1
CM-221 001 T 2-4 J. Friedman
002 F 11-1 C. Free
Techniques of Tonal Writing
003 W 2-4 R. Lowell
001 T 4-6 F. Trester
002 TH 9-11 B. Denisch
003 M 9-11 A. Kalogeras CM-373
004 TH 2-4 A. List Jazz Composition 2
005 TH 2-4 M. Epstein 001 T 2-4 C. Free
002 TH 4-6 R. Lowell
CM-P225 003 W 4-6 R. DiMuzio
Guit Comp Tech for Perf/Compsr
001 T 2-4 A. Paraskevas CM-375
Jazz Composition 3
CM-P227 001 W 2-4 G. Hopkins
002 TH 2-4 C. Free
The Art of Modulation
001 M 11-1 A. Cohen
CM-385
CM-231 Post Bebop Harmonic Innovation
001 T 11-1 G. Hopkins
Instrumentation & Score Prep
001 M 11-1 A. Friedman
002 T 2-4 A. Welwood CM-398
003 M 11-1 J. Holland Dir Study in Comp of Sm Forms
004 F 2-4 S. Fessler 001 W 6-8 T. McGah
005 M 4-6 T. LeVines 002 W 6-8 V. Kulenovic
003 W 6-8 Y. Gubanov
CM-251
Trad Materials & Structure 1 CM-495
001 W 9-10,TH 9-11 M. Epstein Composition Internship
001 G. Fritze
CM-252 See the Office of Experiential Learning if interested
Trad Materials & Structure 2
001 M 11-1,W 10-11 M. Epstein CM-497
Directed Study Sonata Comp
CM-311 001 W 6-8 J. Bavicchi
002 W 6-8 G. Fritze
Cont Techs in Composition 1
001 M 9-11 A. Paraskevas
002 T 2-4 F. Trester CM-498
003 M 9-11 R. Applin Dir Study in Orchestral Comp
004 T 9-11 T. McGah 001 W 6-8 J. Bavicchi
002 W 6-8 V. Kulenovic
CM-312
Cont Techs in Composition 2 CM-499
001 TH 4-6 T. McGah Dir Study in Jazz Composition
002 W 11-1 M. Epstein 001 - R. Lowell
002 - P. Wilson
CM-345 003 - G. Hopkins
NOTE: (all sections) See instructor in first week
Jazz Fusion Comp/Arr Sm Ens
to establish meeting times
001 TH 4-6 M. Rossi
206
Summer/Fall 2008

Schedule of Courses - Fall

Conducting COND-216
Cond 1 W/ Live Keyboard Ensb
COND-211 001 W 11-1 G. Monseur
Conducting 1
001 TH 11-1 J. Moral COND-221
002 M 9-11 D. Callahan Vocal Conducting: Mus Ed Major
003 TH 9-11 J. Moral 001 T 4-5,TH 4-6 F. Lueth
004 TH 11-1 V. Taylor 002 M 9-10,W 9-11 W. Ward
005 M 9-11 J. Reyes
006 M 6:30-8:30 T. Pusztai COND-222
007 T 9-11 D. Callahan Instr. Conducting, Mus Ed Maj
008 M 11-1 J. Williams 001 T 9-11,TH 9-10 P. Cokkinias
009 W 2-4 F. Noya 002 T 2-3,TH 2-4 J. Hagon
010 T 9-11 G. Monseur
011 TH 2-4 I. Jackson COND-311
012 W 2-4 J. Williams Adv Cond Seminar W/Live Orchst
013 M 2-4 F. Noya 001 M 2-4 D. Callahan
014 T 9-11 T. Pusztai
015 T 2-4 F. Noya COND-P316
016 W 9-11 L. Stewart Cond 2 w/ Live Keyboard Ensb The last day
017 F 2-4 L. Stewart 001 W 9-11 G. Monseur to Check-in for
018 F 11-1 J. Moral
Summer 2008
019 W 4-6 F. Noya COND-321
020 F 4-6 I. Jackson is Friday,
Vocal Rehearsal Techs Mus Ed
021 F 9-11 J. Moral May 23, 2008.
001 M 11-1,W 11-12 W. Ward
022 W 11-1 I. Jackson 002 T 10-11,F 9-11 C. Ryan
023 TH 4-6 I. Jackson
024 F 11-1 L. Stewart COND-322
025 F 10-12 V. Taylor
Instr Rehearsal Techs Music Ed
026 T 11-1 J. Williams
001 M 10-12,W 11-12 P. Cokkinias
027 F 2-4 I. Jackson
002 W 9-11,F 9-10 D. Ferrara
028 F 4-6 V. Taylor
003 T 11-12,TH 11-1 J. Hagon
COND-212 COND-351
Conducting 2
Adv Cond Wkshp, Live Kbd Ens
001 W 11-1 F. Noya
001 M 9-11 G. Monseur
002 W 9-11 I. Jackson
002 TH 9-11 L. Stewart
003 TH 4-6 J. Moral
004 F 9-11 L. Stewart
005 T 11-1 D. Callahan
COND-P355
006 M 11-1 D. Callahan Conducting Instrumental Ensb
007 F 4-6 J. Moral 001 W 4-6 V. Taylor
008 TH 2-4 L. Stewart
009 TH 11-1 I. Jackson COND-361
010 W 2-4 V. Taylor Conducting for Film and TV
011 T 4-6 F. Noya 001 M 11-1 G. Monseur
012 T 4-6 T. Pusztai
013 TH 4-6 L. Stewart COND-421
014 W 4-6 J. Williams Advanced Rehearsal Techniques
015 F 12-2 V. Taylor 001 M 2-4 R. Feldman
016 T 2-4 G. Monseur
017 TH 2-4 V. Taylor COND-498
018 T 2-4 T. Pusztai Directed Study in Conducting
019 T 6-8 J. Williams 001 W 6-8 D. Callahan
020 M 4-6 F. Noya
021 T 4-6 J. Williams
022 F 2-4 J. Moral
023 M 2-4 T. Pusztai
024 M 4-6 T. Pusztai
025 T 11-1 G. Monseur

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

Schedule of Courses - Fall

CW-218 CW-P313
Jingle Writing Adv Writing in Latin Styles
001 T 4-6 J. Aldrich 001 T 9-11 J. Hernandez
002 T 11-1 J. Aldrich
CW-P316
CW-221 Advanced Vocal Writing
Wrtng/Prod Techs - Pop/Rock Not offered Fall 2008
001 TH 11-1 J. Kocandrle
CW-341
CW-222 Scoring for Strings
Intro to Wrting/Prod -Studio 001 W 4-6 D. Callahan
001 TH 11-1 D. Moretti 002 T 11-1 T. Pusztai
002 TH 9-11 M. Farquharson
003 M 11-1 A. Yeshaya CW-343
Cont Arranging for Strings
CW-225 Not offered Fall 2008
Writing in Salsa Styles
001 TH 9-11 J. Hernandez CW-361
Sound Processing Apps/Writers
CW-237 001 T 9-11 M. Farquharson
Scoring for Percussion 002 T 2-4 J. Chase
001 T 9-11 D. Vose 003 TH 9-11 D. Moretti
004 T 11-1 J. Chase
CW-P241
Hip-Hop Writing & Prod 2 CW-410
001 M 6-8 J. da Silva Adv Wrt Tech & Cpts 2 - Ens
Not offered Fall 2008
CW-247
Writing for Woodwinds CW-411
001 T 4-6 L. Chase Writing for Large Ensemble 2
001 M 4-6 A. Yeshaya
CW-255 002 TH 11-1 W. Elliott
Application of 12-TONE Concpts 003 TH 9-11 W. Elliott
001 F 9-11 G. Gates
CW-422
CW-261 Advanced Production for Wrters
Midi Applications for Writer 001 W 2-4 M. Farquharson
001 W 4-6 R. Grudzinski 002 T 2-4 M. Farquharson
002 TH 11-1 R. Grudzinski 003 TH 4-6 J. Smith
003 F 4-6 L. Stearns 004 M 9-11 A. Yeshaya
004 W 9-11 A. Pejrolo
CW-441
CW-275 Scoring for Full Orchestra
Music Prod Techs for Writers 001 T 9-11 J. Smith
001 W 9-11 M. Farquharson 002 TH 4-6 A. List
003 M 11-1 V. Kulenovic
CW-P285
Influential Female Songwriters CW-445
001 T 2-4 S. Dean Contemporary Orchestration
001 T 9-11 W. Elliott
CW-310
Adv Wrt Tech & Cpts 1 - Stu Orc CW-450
Not offered Fall 2008 Scoring to Visuals
001 TH 4-6 L. Stearns
CW-311 002 TH 2-4 A. Pejrolo
Writing for Large Ensemble I 003 TH 9-11 A. Pejrolo
001 TH 9-11 G. Gates
002 TH 4-6 W. Elliott CW-495
CWP Internship
001 - M. Nicholl
See the Office of Experiential Learning if interested

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

007 M 6-8 S. Michaud ENLB-451

Dream Theater Guitar Band The Jazz Composition Ensemble
001 TH 4-6 K. Pullig
008 T 6-8 J. Miller Rating: 7
Acoustic Guitar Band Jazz: See Course Description

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
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Schedule of Courses - Fall

ENPC-211 002 F 9-11 S. Skeete
Beginning Percussion Ensemble Rating: 2
001 M 12-1 R. Flanagan Mixed: Jazz, Latin, Rock, Funk

ENPC-221 003 TH 2-4 M. Pellitteri

World Percussion Ensemble Rating: 2
Not offered Fall 2008 Mixed: Jazz, Latin, Rock, Funk

004 TH 4-6 D. Wernick

ENPC-321
Rating: 2
Mixed World Ensemble
Mixed: Jazz, Latin, Rock, Funk
001 W 2-4 J. Haddad
Rating: By Audtion
005 F 11-1 R. Greenblatt
Rating: 2
002 W 2-4 A. Mallet
Mixed: Jazz, Latin, Rock, Funk
Rating: By Audtion
006 TH 2-4 F. Biviano
ENPC-359 Rating: 2
Advanced Bata Ensemble Mixed: Jazz, Latin, Rock, Funk
001 M 11-1 M. Ringquist
007 F 11-1 B. Nifong
ENPC-363 Rating: 2
Marimba in Mixed Chamber Ens Mixed: Jazz, Latin, Rock, Funk
001 M 4-6 N. Zeltsman
008 W 11-1 R. Mahdi
ENPC-374 Rating: 2
W African Drum & Dance Ens Mixed: Jazz, Latin, Rock, Funk
001 M 7-9 J. Galeota
Rating: See Course Description 009 TH 11-1 D. Morris
Rating: 2
ENPC-385 Mixed: Jazz, Latin, Rock, Funk
The Berklee College Drum Line
001 T 11-1 L. Finn 011 M 11-1 E. Saindon
Rating: See Course Description Rating: 2
Mixed: Jazz, Latin, Rock, Funk
ENPC-431
Berklee Percussion Ensemble 012 F 4-6 M. Walsh
001 TH 11-1 D. Anderson Rating: 2
Mixed: Jazz, Latin, Rock, Funk
ENPH-291
013 TH 9-11 A. Mallet
Berklee Steelpan Ensemble
Rating: 2
Not offered Fall 2008
Mixed: Jazz, Latin, Rock, Funk
ENPM-331 014 W 4-6 F. Biviano
Marimba Ensemble Rating: 2
001 W 2-4 D. Anderson Mixed: Jazz, Latin, Rock, Funk
ENPM-332 015 F 2-4 D. Weigert
Marimba Ensemble 2 Rating: 2
001 T 4-6 N. Zeltsman Mixed: Jazz, Latin, Rock, Funk

ENPM-333 016 TH 9-11 C. Candelaria

Marimba Ensemble 3 Rating: 2
001 TH 4-6 N. Zeltsman Mixed: Jazz, Latin, Rock, Funk

ENSB-121 017 W 9-11 M. Kohler

Contemporary Styles Ensemble Rating: 2
001 F 9-11 M. Seidman Mixed: Jazz, Latin, Rock, Funk
Rating: 2
Mixed: Jazz, Latin, Rock, Funk 018 W 11-1 L. Molinari
Rating: 2
Mixed: Jazz, Latin, Rock, Funk

211
Schedule of Courses - Fall

Summer/Fall 2008

019 M 2-4 L. Molinari 035 M 11-1 R. Schlink

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

020 TH 11-1 H. Hampton 036 M 2-4 R. Schlink

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

021 W 11-1 M. Kohler 037 M 4-6 R. Schlink

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

022 TH 2-4 H. Hampton 038 T 9-11 K. Barry

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

023 TH 4-6 H. Hampton 039 T 4-6 O. Ortiz-Vizcay

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

024 F 11-1 N. Itzler 040 T 11-1 K. Barry

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

025 F 9-11 D. Wernick 041 F 11-1 K. Barry

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

026 W 4-6 M. Pellitteri 042 F 4-6 K. Barry

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

027 F 11-1 D. Weigert 043 F 2-4 M. Walsh

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

028 F 9-11 K. Barry 044 M 9-11 C. Candelaria

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

029 W 9-11 R. Mahdi 045 T 9-11 D. Barrett

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

030 W 9-11 R. Hoffmann 046 W 6-8 E. Saindon

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

031 W 9-11 W. Maccow 047 W 9-11 J. Santerre

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

032 W 2-4 O. Ortiz-Vizcay 048 W 11-1 L. Smith

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

033 T 9-11 L. Molinari 049 TH 4-6 S. DiFusco

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

034 TH 11-1 D. Wernick 050 TH 9-11 D. Wernick

Rating: 2 Rating: 2
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Rock, Funk

212
Summer/Fall 2008

Schedule of Courses - Fall

051 F 2-4 D. Wernick 013 W 4-6 H. Hampton
Rating: 2 Rating: 3
Mixed: Jazz, Latin, Rock, Funk Blues

052 W 2-4 B. Raberg 014 F 9-11 P. Elmen

Rating: 2 Rating: 3
Mixed: Jazz, Latin, Rock, Funk Jazz

053 TH 9-11 M. Kohler 015 M 2-4 J. Wheatley

Rating: 2 Rating: 3
Mixed: Jazz, Latin, Rock, Funk Jazz

054 TH 11-1 M. Kohler 016 T 11-1 W. Thompson

Rating: 2 Rating: 3
Mixed: Jazz, Latin, Rock, Funk Jazz

055 TH 2-4 M. Kohler 017 W 9-11 R. Schlink

Rating: 2 Rating: 3
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, Funk

056 T 11-1 S. Skeete 019 W 6-8 D. Weigert The last day

Rating: 2 Rating: 3 to Check-in
Mixed: Jazz, Latin, Rock, Funk Mixed: Jazz, Latin, & Funk for Fall 2008
is Friday,
ENSB-211 020 M 11-1 A. Watters
Sept. 5, 2008.
Small Band Ensemble 3 Rating: 3
001 TH 11-1 P. Elmen String Improv
Rating: 3
Jazz 021 W 2-4 L. Molinari
Rating: 3
002 W 2-4 F. Biviano Jazz
Rating: 2
Mixed: Jazz, Latin, Rock & Funk 022 W 4-6 R. Christopherson
Rating: 3
003 F 4-6 F. Biviano Jazz
Rating: 3
Jazz: Post Bob/Blue Note 023 F 11-1 J. Thomas
Rating: 3
004 M 2-4 R. Mahdi Jazz: Contemporary
Rating: 3
Jazz 024 TH 9-11 H. Hampton
Rating: 3
006 M 2-4 R. Kaufman Jazz
Rating: 3
Jazz: Music of Elvin Jones 026 W 4-6 C. Hlady
Rating: 3
007 M 11-1 P. Fontaine Rock: Classic Rock
Rating: 3
Jazz 027 TH 11-1 R. Mahdi
Rating: 3
008 TH 11-1 M. Pellitteri Jazz
Rating: 3
Jazz 028 TH 9-11 P. Elmen
Rating: 3
010 W 9-11 H. Hampton Jazz
Rating: 3
Mixed: Jazz, Latin, Funk, Rock 029 TH 9-11 M. Pellitteri
Rating: 3
011 M 2-4 D. Hollender Jazz
Rating: By Audition
Bluegrass 030 TH 2-4 F. Brandao
Rating: 3
Jazz: Brazilian Instrumental

213
Schedule of Courses - Fall

Summer/Fall 2008

031 W 9-11 L. Molinari 047 W 4-6 O. Ortiz-Vizcay

Rating: 3 Rating: 3
Jazz Jazz: Afro-Cuban

032 TH 2-4 D. Wernick 048 T 9-11 M. Kohler

Rating: 3 Rating: 3
Jazz Mixed: Jazz, Latin, Funk

033 F 11-1 J. Peterson 049 T 11-1 J. Funkhouser

Rating: 3 Rating: 3
Funk Rock: Jam Band, Phish, Grateful Dead

034 T 4-6 D. Hollender 050 F 2-4 N. Itzler

Rating: By Audition Rating: 3
Bluegrass Jazz: Pat Martino, Joe Pass,
Wes Montgomery
035 W 9-11 P. Elmen
Rating: 3 051 F 11-1 P. Fontaine
Jazz Rating: 3
Jazz: Classic Jazz
036 F 2-4 M. Seidman
Rating: 3 053 TH 4-6 M. Kohler
Jazz Rating: 3
Mixed: Jazz, Latin, Funk
038 M 9-11 L. Molinari
Rating: 3 055 M 11-1 T. Hogarth
Jazz Rating: 3
Funk: Retro/Funk Fusion
039 T 2-4 F. Brandao
Rating: 3 056 M 11-1 M. Simos
Jazz Rating: Teacher Authorization
Country: Appalachian
040 M 9-11 P. Elmen
Rating: 3 057 M 4-6 R. Cline
Jazz Rating: 3
Jazz, Intro to Latin Jazz
041 T 2-4 W. Thompson
Rating: 3 058 M 9-11 J. Kocandrle
Jazz Rating: 3
Rock Hall of Fame Ensemble
042 F 11-1 S. Skeete
Rating: 3 059 M 9-11 J. Elowsky-Fox
Mixed: Jazz, Latin, & Funk Rating: 3
Chamber Featuring Piano
043 W 11-1 C. Candelaria
Rating: 3 060 W 4-6 B. Raberg
Jazz, Latin Jazz Rating: 3
Mixed: Jazz, Latin, Funk
044 F 11-1 J. Elowsky-Fox
Rating: 3 061 T 11-1 B. Nifong
Classical: Chamber (Featuring Piano) Rating: 3
Mixed: Jazz, Latin, Funk
045 F 9-11 J. McGann
Rating: 3 062 F 11-1 F. Biviano
World: Celtic Rating: 3
Mixed: Jazz
046 T 2-4 O. Ortiz-Vizcay
Rating: 3 ENSB-215
Mixed: Jazz, Latin, Rock, & Funk Blues-Rock Ensemble
001 F 11-1 G. Wardson
Rating: 3
Rock: 50's, 60's, & 70's Blues-Based

214
Summer/Fall 2008

Schedule of Courses - Fall

ENSB-216 015 M 9-11 D. Barrett
Classic Rock Ensemble Rating: 4
001 T 11-1 K. Dennard R&B, Funk
Rating: 3
Rock: The Music of Jimi Hendrix 016 W 2-4 P. Fontaine
Rating: 4
ENSB-231 Jazz: Classic & Be-Bop
Keyboard Improvisation Ens
Not offered Fall 2008 017 T 11-1 O. Ortiz-Vizcay
Rating: 4
Jazz
ENSB-311
Small Band Ensemble 4
019 TH 4-6 D. Weigert
001 T 4-6 E. Saindon
Rating: 4
Rating: 4
Jazz: Jazz Repertoire Styles
Jazz: Contemporary Jazz
020 T 11-1 G. Russell
002 T 2-4 K. Barry
Rating: 4
Rating: 4
Mixed: Jazz, R&B, Gospel
Rock, Blues
021 T 11-1 J. da Silva
003 M 4-6 L. Blanco
Rating: 4
Rating: 4
Jazz: Organ Grooves
Jazz: Odd Meter
022 TH 2-4 B. Smith
004 M 2-4 L. Blanco
Rating: 4
Rating: 4
Jazz
Jazz
023 W 11-1 P. Elmen
006 F 2-4 P. Fontaine
Rating: 4
Rating: 4
Jazz
Jazz:
024 T 11-1 D. Cecere
007 W 2-4 M. Pellitteri
Rating: 4
Rating: 4
Jazz: Organ Groove
Jazz
025 TH 4-6 C. Macrae
008 TH 11-1 J. Rosen
Rating: 4
Rating: 4
World: Contemporary Middle Eastern
Jazz
026 T 2-4 D. Hollender
009 T 4-6 F. Brandao
Rating: Teacher Authorization
Rating: 4
Bluegrass
Jazz: Brazilian Instrumental
027 M 4-6 J. Pezanelli
010 W 11-1 J. Santerre
Rating: 4
Rating: 4
Jazz
Mixed: Jazz, Latin, Funk
028 T 2-4 L. Chase
011 T 11-1 V. Mendoza
Rating: By Audition
Rating: 4
Classical: Chamber Improvisation
World: Afro-Cuban
029 F 11-1 P. Elmen
012 W 9-11 M. Pellitteri
Rating: 4
Rating: 4
Jazz
Jazz, Latin Jazz
030 M 4-6 E. Saindon
013 T 11-1 J. Rosen
Rating: 4
Rating: 4
Jazz: Contemporary Jazz
Jazz
032 TH 11-1 G. Russell
014 W 11-1 R. Schlink
Rating: 4
Rating: 4
Mixed: R&B, Gospel, Jazz
Jazz: Contemporary
215
Schedule of Courses - Fall

Summer/Fall 2008

033 M 9-11 R. Mahdi 050 F 11-1 D. Wernick

Rating: 4 Rating: 4
Jazz Jazz

034 T 2-4 R. Tamagni 053 M 4-6 D. Bowden

Rating: 4 Rating: 4
Mixed: Jazz, Latin, & Funk Blues: Acoustic Blues

035 M 2-4 L. Cecco 054 F 11-1 C. Karam

Rating: 4 Rating: 4
Jazz: Flute Ensemble w/ Rhythm Section World Music

036 T 9-11 J. Rosen 055 M 11-1 B. Nifong

Rating: 4 Rating: 4
Jazz Mixed: Jazz, Latin, Funk

037 T 2-4 D. Barrett 056 TH 11-1 B. Nifong

Rating: 4 Rating: 4
Jazz Mixed: Jazz, Latin, Funk

038 T 11-1 D. Hollender 057 F 2-4 F. Biviano

Rating: 4 Rating: 4
Jazz Mixed: Jazz

039 T 11-1 L. Molinari ENSB-P315

Rating: 4 Ensemble Master Class
Jazz 001 M 11-1 J. Lovano
Rating: Chair Authorization
040 W 7-9 H. Hampton Ensemble Master Class
Rating: 4
Jazz ENSB-P321
Funk and Soul Review
041 W 9-11 J. Hazilla Not offered Fall 2008
Rating: 4
Jazz: Piano Trio ENSB-325
Small Be-Bop Jazz Ensemble
042 F 2-4 J. McGann
Not offered Fall 2008
Rating: 4
Jazz: Django Reinhardt/Gypsy Jazz
ENSB-327
044 TH 11-1 C. Candelaria Techno/Rave Ensemble
Rating: 4 002 TH 4-6 S. MacLean
Jazz, Latin Jazz Rating: By Audition
See Course Description
045 W 9-11 C. Candelaria
Rating: 4 ENSB-328
Jazz Latin Jazz Ensemble
001 TH 11-1 V. Mendoza
046 F 4-6 N. Itzler Rating: 5
Rating: 4 Latin Jazz: Afro-Cuban/Brazilian
Mixed: Larry Carlton, Robin Ford,
John Scofield 002 T 6-8 O. Stagnaro
Rating: 5
047 W 6-8 N. Itzler Latin Jazz: Afro-Cuban/Brazilian
Rating: 4
Mixed: Jazz, Latin, Funk 003 W 6-8 O. Stagnaro
Rating: 5
048 T 6-8 L. Blanco Latin Jazz: Afro-Cuban/Brazilian
Rating: By Audition
World: South American 004 M 2-4 D. Moretti
Rating: 5
049 T 9-11 R. Monzon Latin Jazz: Afro-Cuban & Brazilian
Rating: 4
Traditional/Folkloric Afro Cuban
216
Summer/Fall 2008

Schedule of Courses - Fall

005 T 4-6 R. Cline 006 T 6-8 J. da Silva
Rating: 5 Rating: 6 or by audition
Latin Jazz: Afro-Cuban/Brazilian Music of Joe Zawinul

ENSB-329 007 T 9-11 J. da Silva

Country Music Ensemble Rating: 6
001 TH 4-6 M. Ihde H. Hancock
Rating: By Audition
Country ENSB-351
8 Piece Jazz Ensemble
ENSB-345 001 M 11-1 G. Zonce
Funk Bands Ratings: 5
001 M 2-4 W. Beasley Jazz
Rating: By Audition
Hip-Hop, R&B, & Smooth Jazz ENSB-355
Improvisational String Ens
002 M 4-6 R. Tamagni Not offered Fall 2008
Rating: 5
Funk: Music of the Meters ENSB-361
Adv Woodwind Chamber Music
003 M 4-6 D. Scott 001 W 2-4 W. Rolfe
Rating: Teacher Authorization 002 W 4-6 B. LaFitte
Funk: Parliament, Funkadelic
ENSB-365
004 T 6-8 W. Naus Contemporary Chamber Music Ens
Rating: By Audition 001 TH 6-8 R. Ginenthal
Funk: Music of Tower of Power Rating: Teacher Authorization
See Course Description
005 W 11-1 D. Scott
Rating: By Audition ENSB-371
Hip-Hop
The Recording Rhythm Section
001 W 11-1 K. Kai-Regalot
006 T 9-11 R. Schlink
Rating: 5
Rating: 5
Mixed: Pop, R&B
Funk: Music of Steve Coleman
& Original Material
002 F 9-11 W. Maccow
Rating: 5
007 T 11-1 R. Schlink
R&B
Rating: 5
Funk: Vintage 70's w/ vocals
003 T 9-11 M. Walsh
Rating: Teacher Authorization
ENSB-346 Pop/Rock: LA Studio Pop, Rock, R&B
Contemporary Fusion Ensemble
001 W 4-6 T. Okoshi ENSB-372
Rating: 6
Rhythm Track for Songwriters
Fusion: Original Material
001 TH 2-4 D. Cecere
Rating: 5
002 F 11-1 W. Maccow
Original music, any style
Rating: 6
Fusion: Music of Pat Metheny
ENSB-381
003 TH 4-6 B. LaFitte Wes Montgomery Ensemble
Rating: 6 001 T 2-4 R. Hart
Fusion: Oregon/Paul Winter Rating: 5
Consort/New Age Jazz

004 W 2-4 R. Schlink ENSB-382

Rating: 6 The Berklee Wayne Shorter Ens
Fusion: Stern, Scofield, & Steps 001 W 2-4 D. Santoro
Rating: 7
005 M 4-6 D. Fiuczynski Jazz
Rating: Teacher Authorization
Fusion: Mahavishnu, Return To Forever
217
Schedule of Courses - Fall

Summer/Fall 2008

ENSB-383 017 T 2-4 P. Del Nero

Berklee Yellowjackets Ens Rating: 5
001 TH 11-1 D. Weigert Jazz: The Music of Charles Mingus
Rating: 6
Jazz: Jazz Fusion 018 TH 4-6 J. Stout
Rating: 6
ENSB-384 Jazz: Music of Charlie Parker
Berklee Horace Silver Ens
001 M 2-4 P. Fontaine 019 W 2-4 W. Thompson
Rating: 6 Rating: 5
Jazz Jazz

020 T 2-4 A. McGhee

ENSB-388
Rating: 5
Improv on 21st Century Grooves
Jazz: Standards Repertoire
001 M 11-1 D. Fiuczynski
Rating: 4 (drums/bass by audition)
021 M 2-4 K. Cervenka
21st Century Grooves
Rating: 5
Jazz: Miles Davis Electric
ENSB-411
Advanced Small Band Ensemble 022 T 11-1 D. Barrett
001 F 4-6 K. Cervenka Rating: Teacher Authorization
Rating: 7 Jazz
Jazz: Miles Davis Acoustic
023 M 4-6 J. Lovano
002 T 2-4 D. Samuels Rating: Teacher Authorization
Rating: By Audition Jazz: 52nd Street Themes
Jazz
024 M 2-4 J. Lovano
003 TH 4-6 F. Biviano Rating: 7
Rating: 5 21st Century Ensemble
Jazz: Post Bop, Blue Note
025 M 11-1 C. Lewis
005 T 4-6 J. da Silva Rating: 5
Rating: 5 Jazz: New Orleans Street Band
R&B/Smooth Jazz
026 T 9-11 B. Saunders
006 TH 11-1 D. Santoro Rating: 6
Rating: 7 Jazz: The Music of Joe Henderson
Jazz: Blue Note Era
027 T 4-6 A. McGhee
009 M 4-6 J. Brackeen Rating: 6
Rating: 6 Jazz: Standards Repertoire
Jazz
028 TH 11-1 F. Brandao
010 TH 4-6 J. Finn Rating: 5
Rating: 5 Jazz: Brazilian Instrumental
Rock: Progressive Instrumental
029 M 11-1 V. Mendoza
011 TH 4-6 M. Pellitteri Rating: 6
Rating: 6 World: Afro-Cuban
Jazz: The Music of Cedar Walton
030 W 2-4 H. Hampton
012 T 4-6 D. Samuels Rating: 5
Rating: 6 Jazz
Jazz
031 W 11-1 M. Wartofsky
013 TH 4-6 D. Santoro Rating: 5
Rating: By Audition World: Klezmer/Yiddish
Jazz
032 W 4-6 D. Samuels
016 T 9-11 G. Garzone Rating: 7
Rating: 6 Jazz
Jazz: Be-Bop/Free
218
Summer/Fall 2008

Schedule of Courses - Fall

033 F 11-1 B. Raberg 049 T 6:30-8:30 S. Webber
Rating: 6 Rating: Teacher Authorization
Jazz: ECM/Free Techno Rave-DJ/Sampling Ensemble

034 F 2-4 K. Barry 050 M 4-6 E. Tomassi

Rating: 5 Rating: 7
Blues/Rock: Chicago/Texas Jazz

035 W 2-4 J. Galindo ENSB-421

Rating: 7 Rainbow All-Stars
Jazz: The Music of Ornette Coleman 001 W 11-1 P. Wilson
Rating: Teacher Authorization
036 M 11-1 L. Molinari Jazz
Rating: 6
Jazz: The Music of Dave Holland ENSB-425
Advanced Repertory Workshop
037 TH 11-1 A. Mallet Not offered Fall 2008
Rating: 5
Jazz: New Approaches/Jazz ENSB-451
Decomposition
9 Piece Jazz Ensemble
The last day
Not offered Fall 2008
038 M 2-4 G. Zonce to withdraw
Rating: 5 from a class for
Jazz: Sextet with 8-12 String Players
ENSB-482
Berklee Art Blakey Ensemble Summer 2008 is
001 TH 2-4 R. Mahdi July 18, 2008.
039 W 2-4 A. Lada
Rating: 5 Rating: By Audition
Jazz Jazz

041 T 6-8 T. Carrington ENST-151

Rating: Teacher Authorization String Chamber Orchestra
Jazz 001 M 11-1 E. Friesen
Rating: Chair Authorization
042 T 7-9 D. Samuels String Chamber
Rating: Teacher Authorization
Jazz: Contemporary ENST-251
Classical String Chamber Music
043 W 11-1 M. Pellitteri 001 M 9-11 F. Trester
Rating: 6 002 TH 2-4 M. Howe
Music of Cedar Walton
ENST-252
044 W 11-1 O. Ortiz-Vizcay Improv String Chamber Music
Rating: 4 001 W 10-12 M. Rabson
Jazz: Adv. Contemporary Afro-Cuban
ENVC-111
045 T 11-1 D. Fiuczynski Rhythm Section Grooves for Vce
Rating: Teacher Authorization 001 W 4-6 G. Leathers
MicroJam Ensemble, Microtonal 002 F 9-11 D. Scott
Music 003 TH 9-11 D. Richardson
004 TH 11-1 J. Blake
046 TH 4-6 R. Peterson 005 M 9-11 P. Pampinella
Rating: Teach Authorization 006 F 2-4 S. Strickland
Jazz 007 T 4-6 G. Leathers
008 T 4-6 A. Christian
047 M 11-1 D. Barrett 009 W 9-11 J. Blake
Rating: 5 010 T 2-4 G. Leathers
Hip Hop Drum & Bass 011 TH 4-6 G. Leathers
012 TH 11-1 G. Leathers
048 M 4-6 D. Hollender 013 TH 2-4 J. Gagne
Rating: Teacher Authorization 014 TH 11-1 D. Schachter
Bluegrass 015 F 11-1 S. Strickland
016 F 2-4 J. Ramsey
017 M 11-1 N. Morris
018 W 4-6 S. Kowalczyk
219
Schedule of Courses - Fall

Summer/Fall 2008

019 F 11-1 A. Capozzoli 016 W 7-9 L. Smith

020 F 2-4 J. Gagne Rating: 2
021 TH 9-11 D. Schachter Mixed: Jazz, Pop/Rock, R&B
022 T 9-11 J. Blake
023 F 2-4 C. Karam 017 T 11-1 D. Scott
024 W 6-8 J. Harris Rating:2
Mixed: Jazz, Pop/Rock, R&B
ENVC-121
Contemp Styles Ens With Vocals ENVC-211
001 M 11-1 L. Cecco Small Band With Vocals Ens 3
Rating: 2 002 F 11-1 D. Stallworth
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: R&B, Hip Hop, Jazz
002 W 11-1 N. Morris
Rating: 2 003 F 11-1 C. Wilkins
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: Jazz, Pop/Rock, R&B
003 F 2-4 S. Skeete
Rating: 2 004 TH 2-4 A. Mallet
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Jazz
005 M 2-4 M. Walsh
Rating: 2 005 T 11-1 D. Montgomery III
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Gospel: Traditional
006 M 11-1 K. Zambello
Rating: 2 006 M 11-1 L. Smith
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: Pop/R&B
007 T 9-11 W. Maccow
Rating: 2 007 TH 11-1 N. Morris
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: Pop/Rock
008 T 2-4 D. Cecere
Rating: 2 008 TH 11-1 K. Zambello
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Rock: Progressive
009 F 4-6 D. Stallworth
Rating: 2 009 F 2-4 D. Stallworth
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: Funk, Fusion, & Funk Standards
010 TH 2-4 W. Beasley
Rating: 2 010 TH 4-6 K. Zambello
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Rock: Acoustic Unplugged
011 M 2-4 D. Scott
Rating: 2 011 T 2-4 K. Zambello
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Rock: Lillith Fair
012 M 11-1 W. Beasley
Rating: 2 012 TH 2-4 G. Leathers
Mixed: Jazz, Pop/Rock, R&B Rating: 3
R&B
013 F 2-4 T. Appleman
Rating: 2 013 TH 11-1 W. Beasley
Mixed: Jazz, Pop/Rock, R&B Rating: 3
Mixed: Smooth Jazz, R&B
014 W 2-4 L. Smith
Rating: 2 ENVC-P215
Mixed: Jazz, Pop/Rock, R&B Singers Night Perform Ens
Not offered Fall 2008
015 M 2-4 L. Smith
Rating: 2
Mixed: Jazz, Pop/Rock, R&B
220
Summer/Fall 2008

Schedule of Courses - Fall

ENVC-P221 ENVC-321
Historic Vocal Ensemble Piano Trio With Vocalists
Not offered Fall 2008 001 M 11-1 C. Wilkins
Rating: 5
ENVC-231 Jazz
Music Theater Workshop
001 W 9-11 S. Brown ENVC-361
Music Education Concert Choir
ENVC-P235 001 T 11-1 N. Steele
A Cappella Ensemble
Not offered Fall 2008 ENVC-371
Vocal Recording Ensembles
ENVC-311 001 F 2-4 K. Kai-Regalot
Small Band With Vocals Ens 4 Rating: By Audition
002 T 2-4 W. Maccow Mixed: Pop, R&B
Rating: 4
Rock 002 W 2-4 W. Maccow
Rating: By Audition
003 T 4-6 L. Passarelli R&B
Rating: 4
Rock: Beatles ENVC-411
Adv Small Band With Vocals Ens
004 M 4-6 J. da Silva 001 W 2-4 D. Montgomery III
Rating: 4 Rating: By Audition
R&B/Hip-Hop Gospel: Men's Chorus

005 TH 2-4 N. Morris 002 TH 2-4 D. Montgomery III

Rating: 4 Rating: By Audition
Mixed: Pop/Rock, Country Gospel: Overjoyed

006 W 6-8 N. Morris 003 M 9-11 J. da Silva

Rating: By Audition Rating: By Audition
The Contemporary Christian Ensemble Divas Ensemble

007 W 11-1 C. Wilkins 004 W 11-1 W. Maccow

Rating: 4 Rating: 5
Mixed: Jazz, Pop/Rock, R&B World: Reggae Dub

008 T 4-6 S. Skeete 005 M 2-4 D. Montgomery III

Rating: 4 Rating: By Audition
Mixed: Pop, Rock, R&B Gospel: Women's Chorus

009 M 11-1 M. Shilansky 006 W 2-4 W. Beasley

Rating: 4 Rating: 5
Jazz Mixed: R&B/Smooth Jazz

011 M 2-4 N. Morris 007 M 4-6 L. Smith

Rating: 4 Rating: By Audition
Pop/Rock R&B: NeoSoul

012 T 11-1 K. Zambello 008 M 11-1 J. da Silva

Rating: 4 Rating: By Audition
Rock: Pop, R&B Contemporary Vocal: Take 6,
Sweet Honey, Ladysmith
013 T 4-6 D. Scott
Rating: By Audition 009 T 11-1 W. Maccow
R&B: Student Originals Rating: 5
Wolrd: Caribbean
014 M 4-6 A. Aronson Zocher
Rating: By Audition 010 W 4-6 D. Scott
Jazz: Music of Joni Mitchell Rating: By Audition
Urban Contemporary

221
Schedule of Courses - Fall

Summer/Fall 2008

011 T 9-11 K. Dennard 018 W,F 6-7 G. Schachnik

Rating: 5 019 T,TH 9-10 R. DiMuzio
Funk: Music of James Brown 020 M,W 3-4 R. DiMuzio
021 M,W 3-4 M. Shilansky
012 T 4-6 L. Smith 022 W,F 4-5 S. Prosser
Rating: By Audition
R&B: Aretha, Stevie, Chaka, Marvin ET-212
Ear Training 4
ENVC-482 001 W,F 10-11 T. deOgburn
The Concert Choir 002 M,W 3-4 B. Thomas
Not offered Fall 2008 003 M,W 5-6 P. Person
004 M,W 11-12 L. Okumura
ENVC-485 005 W,F 11-12 A. Watters
Gospel Choir 006 M,W 2-3 R. Ginenthal
001 M,W 4-6 D. Montgomery III 007 M,W 10-11 J. Potter
Rating: By Audition 008 M,W 5-6 B. McKelvey
Gospel 009 T,TH 4-5 D. Vose
010 M,W 2-3 G. Moltoni
011 W,F 10-11 R. Patton
Ear Training 012 W,F 9-10 R. Ginenthal
013 M,W 4-5 Y. Matsuoka
ET-111 014 W,F 11-12 R. Patton
Ear Training 1 015 W,F 10-11 G. Tolan Hatfield
001 M,W,F 11-12 P. Stiller 016 W,F 3-4 B. McKelvey
002 M,W,F 2-3 M. Shilansky 017 W,F 9-10 G. Tolan Hatfield
003 M,W,F 4-5 B. McKelvey 018 W,F 2-3 C. Wilkins
004 M,W,F 2-3 B. McKelvey
ET-231
ET-112 Solfege 1
Ear Training 2 001 W,F 11-12 P. Person
001 M,W,F 12-1 P. Stiller 002 M,W 5-6 Y. Matsuoka
002 M,W,F 10-11 P. Stiller 003 W,F 2-3 L. Okumura
003 M,W,F 10-11 G. Moltoni 004 W,F 3-4 L. Okumura
004 M,W,F 9-10 K. Hardt 005 T,TH 11-12 M. Howe
005 M,W,F 3-4 C. Chase 006 M,W 4-5 R. Lee
006 M,W,F 4-5 P. Fontaine
007 M,W,F 4-5 G. Schachnik ET-232
008 M,W,F 11-12 G. Tolan Hatfield Solfege 2
009 M,W,F 11-12 W. Thompson 001 T,TH 4-5 M. Howe
010 M,W,F 11-12 R. Ginenthal 002 W,F 12-1 L. Okumura
011 M,W,F 3-4 B. Lewis 003 M,W 2-3 Y. Matsuoka
012 M,W,F 12-1 R. Patton 004 M,W 5-6 M. Shilansky
013 M,W,F 5-6 G. Schachnik
014 M,W,F 4-5 M. Shilansky ET-321
World Music Ear Training
ET-211 001 T 4-6 B. Lehmann
Ear Training 3
001 M,W 12-1 Y. Matsuoka ET-331
002 T,TH 3-4 D. Vose Harmonic Ear Training 1
004 W,F 2-3 S. Prosser 001 M 11-1 J. Funkhouser
005 W,F 12-1 P. Person 002 T 11-1 R. Radley
006 W,F 9-10 T. deOgburn 003 TH 11-1 R. Radley
007 W,F 11-12 B. Lewis 004 F 9-11 J. Potter
008 W,F 12-1 J. Funkhouser
009 W,F 4-5 G. Tolan Hatfield ET-332
010 T,TH 2-3 D. Vose Harmonic Ear Training 2
011 M,W 9-10 J. Potter 001 F 2-4 J. Potter
012 M,W 4-5 C. Chase
013 M,W 3-4 G. Moltoni ET-341
014 T,TH 10-11 R. DiMuzio Rhythmic Ear Training
015 W,F 10-11 B. Lewis 001 M 11-1 B. Lehmann
016 M,W 9-10 M. Seidman
017 W,F 3-4 P. Stiller
222
Summer/Fall 2008

Schedule of Courses - Fall

ET-351 FS-341
Fundamentals of Transcription Scoring Techs for Film/Video
001 W 4-6 D. Lowery 001 W 11-1 J. Klein
002 F 9-11 J. Klein
ET-411
Advanced Ear Training 1 FS-P343
001 TH 11-1 S. Prosser Seminal Film Composers
001 TH 11-1 S. Mirowitz
ET-412
Advanced Ear Trainging 2 FS-361
Not offered Fall 2008 Computer/Synth Apps for Film
001 T 9-11 L. Stearns
ET-421 002 W 2-4 A. Bjorck
Atonal Solfege 1 003 TH 9-11 J. Klein
001 T 2-4 E. Bedner 004 TH 4-6 A. Pejrolo

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

FS-495 008 W,F 10-11 J. Haupers

Film Scoring Internship 009 W,F 9-10 D. Harris
001 D. Wilkins 010 M,W 2-3 J. Stein
See the Office of Experiential Learning if interested 011 T,TH 11-12 S. Clark
012 M,TH 12-1 D. Harrington
013 T,TH 3-4 G. Russell
Harmony 014 W,F 9-10 J. Stevens
015 W,F 11-12 A. Lissance
HR-111 016 W,F 4-5 TBA
Harmony 1 017 W,F 5-6 C. Macrae
1A W,F 10-11 S. Clark 018 W,F 12-1 M. Scott
1B W,F 10-11 W. Silvio 019 W,F 12-1 S. Dale
1C W,F 10-11 S. Kirby 020 T,TH 2-3 L. Holstedt
1D W,F 10-11 M. Johnson
1E W,F 10-11 E. Byers HR-211
1F W,F 10-11 G. Zonce Harmony 3
1G W,F 10-11 W. McCluskey 001 M,W 10-11 C. Cassara
1H W,F 10-11 C. Macrae 002 T,TH 3-4 W. Scism
2A W,F 12-1 S. Dean 003 W,F 11-12 M. Scott
2B W,F 12-1 R. Felts 004 T,TH 10-11 A. Lissance
2C W,F 12-1 D. Smith 005 W,F 2-3 D. Katz
2D W,F 12-1 D. Harris 006 T,F 3-4 W. Naus
2E W,F 12-1 S. Wark 007 T,TH 12-1 W. Silvio
2F W,F 12-1 D. Harrington 008 W,F 12-1 E. Byers
2G W,F 12-1 J. Haupers 009 M,TH 11-12 D. Harrington
3A W,F 9-10 S. Kirby 010 T,TH 5-6 M. Wartofsky
3B W,F 9-10 A. Inserto 011 T,TH 9-10 J. Stein
3C W,F 9-10 M. Johnson 012 T,TH 2-3 S. McCormick
3D W,F 9-10 K. Bleau 013 T,TH 10-11 S. Wark
3E W,F 9-10 W. Dahlgren 014 W,F 12-1 S. Prosser
3F W,F 9-10 G. Zonce 015 T,TH 12-1 S. Wark
3G W,F 9-10 W. Silvio 016 T,TH 10-11 S. Kirby
4B W,F 11-12 W. McCluskey 017 T,F 2-3 D. Johnson
4C W,F 11-12 G. Zonce 018 W,F 9-10 R. Felts
4D W,F 11-12 R. Felts 019 T,TH 12-1 L. Holstedt
4E W,F 11-12 S. Dean 020 M,W 5-6 J. Stein
4F W,F 11-12 D. Harrington 021 W,F 9-10 TBA
4G W,F 11-12 S. Kirby 022 T,TH 5-6 R. Kress
4H W,F 11-12 W. Dahlgren 023 T,TH 4-5 W. Silvio
5A W,F 3-4 L. Holstedt 024 T,TH 10-11 S. McCormick
5B W,F 3-4 R. Kress 025 M,W 4-5 J. Friedman
5C W,F 3-4 A. Inserto 026 T,TH 10-11 L. Holstedt
5D W,F 3-4 S. Dale 027 W,F 3-4 J. Haupers
5E W,F 3-4 S. McCormick 028 W,F 3-4 D. Katz
5F W,F 3-4 TBA 029 W,F 5-6 S. Dale
5G W,F 3-4 C. Macrae 030 T,F 4-5 W. Naus
6A W,F 2-3 S. Wark 031 M,TH 3-4 D. Harrington
6B W,F 2-3 J. Haupers 032 T,TH 9-10 R. Felts
6C W,F 2-3 R. Kress 033 M,W 3-4 J. Stein
6D W,F 2-3 S. McCormick 034 W,F 4-5 S. Dale
6E W,F 2-3 S. Clark 035 T,TH 2-3 A. Lissance
6F W,F 2-3 TBA
6G W,F 2-3 G. Russell HR-212
6H W,F 2-3 S. Rochinski Harmony 4
001 M,W 12-1 C. Cassara
HR-112 002 W,F 3-4 S. Rochinski
Harmony 2 003 M,W 2-3 D. Johnson
001 T,TH 12-1 D. Zoffer 004 T,TH 3-4 D. Smith
002 W,F 12-1 S. Kirby 005 W,F 12-1 D. Johnson
003 T,TH 5-6 G. Russell 006 T,TH 10-11 R. Felts
004 T,TH 10-11 D. Smith 007 W,F 3-4 D. Johnson
005 T,F 1-2 L. Holstedt 008 W,F 11-12 S. Prosser
006 W,F 11-12 A. Inserto 009 W,F 10-11 D. Katz
007 T,TH 10-11 D. Zoffer 010 W,F 12-1 S. Rochinski
224
Summer/Fall 2008

Schedule of Courses - Fall

011 T,TH 3-4 R. Kress HR-355
012 T,TH 12-1 A. Lissance The Music of the Yellowjackets
013 W,F 10-11 D. Harrington 001 W 4-6 W. Naus
014 T,TH 12-1 R. Lowell
015 M,TH 2-3 D. Harrington HR-361
016 W,F 10-11 R. Felts World Mus Materials & Concepts
017 W,F 10-11 S. McCormick Not offered Fall 2008
018 W,F 4-5 S. Rochinski
019 M,W 9-10 C. Cassara
020 T,TH 11-12 S. McCormick Instrumental Labs
021 W,F 12-1 R. Kress
022 T,TH 2-3 W. Scism
ILBR-111
023 T,TH 10-11 J. Stein
Brass Lab - Reading 1
024 T,TH 4-5 R. Kress
001 T 12-1 R. Amy
025 T,TH 4-5 G. Russell
002 TH 3-4 C. Fawson
026 T,TH 11-12 D. Smith
027 T,TH 10-11 M. Scott
028 W,F 2-3 S. Dale ILBR-112
030 T,TH 11-12 M. Scott Brass Lab - Reading 2
031 T,TH 2-3 G. Russell 001 T 11-12 R. Amy
032 M,W 4-5 J. Stein The last day
033 W,F 4-5 C. Macrae ILBR-121 to withdraw
Brass Improvisation Lab 1 from a class
HR-231 001 T 4-5 R. Amy
for Fall 2008 is
Harmonic Analysis of Rock 002 TH 2-3 J. Stout
Nov. 7, 2008.
001 M 2-4 K. Zambello 003 TH 4-5 C. Fawson

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-111 003 M 2-3 B. Smith

Bass Lab - Reading 1 004 W 10-11 D. Hollender
001 M 9-10 G. Mooter 005 T 3-4 B. Gertz
002 F 10-11 B. Smith 006 TH 4-5 J. Stinnett
003 F 3-4 B. Smith 007 TH 9-10 R. Mahdi
004 W 2-3 T. Appleman 008 TH 2-3 D. Clark
005 F 12-1 D. Buda
006 W 9-10 D. Hollender ILBS-222
007 M 12-1 G. Mooter Bass Lab - Lines 3
001 M 5-6 B. Gertz
ILBS-112 002 M 1-2 B. Smith
Bass Lab - Reading 2 003 W 4-5 D. Clark
001 F 1-2 D. Buda 004 TH 10-11 J. Funkhouser
002 F 10-11 D. Morris 005 T 2-3 S. Clark
003 M 10-11 B. Smith
004 F 2-3 B. Smith ILBS-225
005 M 11-12 G. Mooter Bass Lab - Basic Timekeeping
006 T 12-1 F. Huergo 001 F 3-4 D. Clark
007 M 12-1 T. Appleman
008 T 9-10 G. Mooter ILBS-241
Electric Bass Pop Repertoire
ILBS-115 001 F 9-10 D. Morris
Bass Fundamentals
001 TH 10-11 G. Mooter ILBS-244
5 & 6 String Electric Bass Lab
ILBS-121 001 TH 2-3 J. Santerre
Bass Lab - Lines 1
001 TH 10-11 R. Mahdi ILBS-247
002 T 11-12 J. Santerre Funk/Fusion Styles for Bass
003 TH 11-12 P. Del Nero 001 TH 3-4 J. Santerre
004 T 9-10 D. Hollender
005 F 1-2 B. Smith ILBS-251
006 M 2-3 F. Huergo Basic Slap Technique
007 M 5-6 J. Stinnett 001 F 3-4 A. Vitti
008 TH 11-12 J. Funkhouser 002 TH 3-4 A. Vitti
003 F 1-2 A. Vitti
ILBS-141
Rock Bass Lab ILBS-254
001 T 10-11 J. Santerre Finger Style R&B/Fusion Lab
001 W 3-4 A. Vitti
ILBS-181
Elementary Double Bass Lab ILBS-255
001 T 11-12 G. Mooter The Evolution of Hip Hop Bass
001 F 4-5 A. Vitti
ILBS-211
Bass Lab - Reading 3 ILBS-257
001 TH 4-5 B. Smith Bass Performance Group
002 M 9-10 B. Smith 001 M 4-5 J. Stinnett
003 M 1-2 D. Buda
004 M 1-2 F. Huergo ILBS-261
005 T 11-12 F. Huergo Intro to Latin Jazz Bass
006 TH 9-10 G. Mooter 001 W 9-10 O. Stagnaro

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

Schedule of Courses - Fall

ILBS-271 ILEN-P211
Blues Bass Lab Turntable Technique
001 W 12-1 B. Gertz 001 W 6:30-8:30 S. Webber

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

ILBS-344 007 T,TH 2-3 K. Taft

5&6 String Elec Bass Chord Lab Style: Funk
001 TH 12-1 J. Santerre
008 M 4-6 R. Hart
ILBS-351 Style: Jazz
Basic Slap Technique 2
001 F 2-3 A. Vitti 009 M,W 3-4 J. Wilkins
Style: Jazz
ILBS-361
Latin Bass Lines 010 T 11-1 T. Fujita
001 W 10-11 O. Stagnaro Style: Funk/Blues

ILBS-364 011 F 11-1 D. Tronzo

Style: Slide Guitar
Sight Reading Latin Rhythms
001 W 4-5 O. Stagnaro
012 T,F 2-3 N. Zocher
Style: Fusion
ILBS-421
Bass Lab - Advanced Reading 013 T,TH 3-4 J. Musella
001 F 2-3 D. Clark Style: Rock

ILBS-481 014 TH 2-4 D. Newsam

Bach Cello Suites for Bass Style: Jazz
001 M 4-5 D. Clark
015 W 4-6 T. Miller
Style: Contemporary Jazz
227
Schedule of Courses - Fall

Summer/Fall 2008

016 T,W 6-7 L. Passarelli 004 F 11-12 B. Willmott

Style: Pop/Rock/Songwriting 005 T 4-5 J. Marasco
006 M 2-3 M. French
017 T 9-11 S. Bailey 007 T 1-2 J. Marasco
Style: Funk
ILGT-225
018 F 2-4 J. Peterson Guitar Chart Reading/Perf
Style: Funk 001 T 11-12 J. Baboian
002 M 2-3 C. Shumate
019 M 4-6 J. Wilkins 003 TH 4-5 D. Newsam
Style: Jazz
ILGT-227
020 TH 11-1 K. Belz Guitar Chord Soloing
Style: Blues 001 M 11-1 J. Marasco
002 M 2-4 R. Harrigan
021 T 3-5 D. Fiuczynski 003 T 2-4 R. Harrigan
Style: 20th Century Grooves
ILGT-228
022 F 2-4 D. Lappin
Fingerpicking Blues Guitar
Style: Rock
001 M 11-12 D. Bowden
002 W 11-12 D. Bowden
023 W 2-4 A. Fewell
Style: Jazz
ILGT-230
024 W 9-11 J. McGann Performing Solo Guitarist
Style: Bluegrass 001 M 11-1 R. Harrigan

025 T 4-6 B. Saunders ILGT-231

Style: Contemporary Jazz Jazz/Blues Guitar
001 T 10-11 K. Taft
026 W 4-6 G. Van Duser
Style: Chet Atkins ILGT-233
Jazz Guitar Trio Seminar
027 M 2-4 C. Buono 001 TH 11-1 J. Wheatley
Style: Funk
ILGT-235
028 TH 11-1 A. Aronson Zocher Jimmy Page Lab
Style: Joni Mitchell 001 T 4-6 J. Musella

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

Schedule of Courses - Fall

ILGT-247 ILGT-285
Steel Guitar Lab Country Guitar Lab
001 M 3-4 M. Ihde 001 T 10-11 M. Ihde

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

002 F 2-4 M. White ILPC-319

Eclectic Electric Group Advanced Drum Rudiments 1
001 M 9-10 J. Hazilla
003 M 4-6 B. Willmott 002 T 4-5 J. Hazilla
Bret's Frets Group
ILPC-419
004 M 9-11 J. Damian Advanced Drum Rudiments 2
Creative Workshop 001 T 5-6 J. Hazilla

005 TH 11-1 J. Baboian ILPD-110

Be-Bop Guitars & More
Drumset for Non-Percussionists
001 M 1-2 S. Bellotti
006 M 2-4 M. Goodrick
002 T 1-2 S. Bellotti
Goodrick Master Class
003 F 2-3 S. Bellotti
004 F 3-4 S. Bellotti
007 T 10-12 M. Goodrick
005 F 11-12 A. Smith
Goodrick Master Class
006 F 4-5 A. Smith
007 F 5-6 A. Smith
008 W 2-4 D. Fiuczynski
008 TH 5-6 A. Smith
Fretless Guitar Group
009 F 10-11 A. Smith
010 T 3-4 S. Bellotti
009 T 6-8 B. Sher
Choro Novo Brazilian Guitar Group

230 010 W 6-8 G. Van Duser

Stride Guitar
Summer/Fall 2008

Schedule of Courses - Fall

ILPD-111 ILPD-221
Drum Lab 1 Rock Drumming Reprtre & Appl
001 TH 4-5 M. Mangini 001 TH 12-1 M. Mangini
002 W 12-1 J. Galeota 002 T 12-1 M. Mangini
003 T 9-10 B. Lehmann
004 T 11-12 B. Lehmann ILPD-225
005 T 4-5 M. Mangini Jazz Repertoire Devel & Applic
006 T 12-1 B. Lehmann 001 TH 6-7 R. Peterson
007 M 4-5 M. Mangini 002 W 9-10 R. Peterson
008 T 10-11 B. Lehmann
009 M 12-1 M. Mangini ILPD-P228
Drum Styles of Contemp Pop/R&b
ILPD-112 Not offered Fall 2008
Drum Lab 2
001 F 10-11 D. Weigert ILPD-229
002 M 11-12 R. Kaufman Hip-Hop Drum Devel, Rept & App
003 TH 2-3 T. Carrington 001 T 2-3 S. Skeete
004 M 1-2 R. Tamagni
005 W 10-11 R. Tamagni ILPD-231
006 W 5-6 R. Considine
Basic Time and Pulse The last day
007 M 9-10 R. Kaufman
001 T 2-3 D. Hadden to add or drop
008 T 6-7 R. Peterson
009 T 4-5 T. Carrington a course for
010 M 10-11 R. Tamagni
ILPD-233 Summer 2008
011 T 5-6 R. Considine Funk Repertoire Devel & Appl
is June 6, 2008.
001 W 2-3 A. Smith
002 T 3-4 K. Dennard
ILPD-125
003 TH 12-1 L. Finn
Snare Drum Techs Drumset Princ
001 F 10-11 R. Flanagan
002 TH 10-11 D. Anderson
ILPD-235
Polyrhythms 1
001 W 3-4 K. Dennard
ILPD-211
002 T 4-5 K. Dennard
Drum Lab 3
003 TH 2-3 M. Mangini
001 W 3-4 D. Weigert
004 TH 3-4 M. Mangini
002 W 9-10 K. Dennard
003 W 4-5 D. Weigert
004 F 3-4 R. Monzon
ILPD-237
005 M 3-4 M. Mangini Acoustic Char of the Drumset
006 TH 10-11 T. Carrington 001 W 12-1 D. Hadden
007 W 10-11 K. Dennard 002 T 10-11 D. Hadden
008 F 2-3 R. Monzon
009 TH 3-4 T. Carrington ILPD-239
Country and Western Drumming
ILPD-212 001 T 6-7 J. Santos
Drum Lab 4
001 W 2-3 R. Tamagni ILPD-P250
002 W 12-1 M. Walker Globl Sght-Read & Adv Rhy Solf
003 F 12-1 A. Smith 001 M 2-3 B. Lehmann
004 TH 10-11 L. Finn
005 M 11-12 R. Tamagni ILPD-261
006 T 3-4 T. Carrington Jazz Drum Styles
007 TH 11-12 L. Finn 001 M 4-5 D. Hadden
008 M 3-4 M. Walker
ILPD-262
ILPD-217 Fusion Drum Styles
Brush Techniques 001 T 4-5 D. Hadden
001 T 11-12 R. Kaufman
002 W 6-7 R. Considine ILPD-263
003 T 10-11 J. Hazilla Rock Drum Styles
004 TH 2-3 Y. Israel 001 M 3-4 D. Hadden

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

Schedule of Courses - Fall

ILPH-P297 ILPM-121
Chart Read for Hand Percussion Mallet Lab 1
Not offered Fall 2008 001 T 10-11 V. Mendoza

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

Schedule of Courses - Fall

ILPN-335 ILST-111
Hammond Organ Techniques Violin/Viola Reading Lab 1
001 W 4-5 D. Limina 001 M 1-2 M. Howe
002 W 11-12 B. Katz
003 W 2-3 M. Jenson ILST-121
004 W 9-10 D. Cecere Jazz Violin Lab
001 W 2-3 M. Glaser
ILPN-337
Blues Styles for Hammond Organ ILST-131
001 W 12-1 B. Katz Improv String Performance Lab
001 T 2-3 M. Rabson
ILPN-339 002 M 3-4 E. Friesen
Rock Styles Lab/Hammond Organ 003 W 2-3 F. Pomeranz
001 W 5-6 D. Limina Harp Principals Only
004 M 2-3 J. McGann
ILPN-345 Mandolin Principals Only
Hammond Organ Techniques 2 005 W 12-1 D. Hollender
001 TH 2-3 D. Limina Banjo Principals Only

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

Schedule of Courses - Fall

ILVC-P213 ILVC-311
Perf Prac: Inspir, Well & Dmys Vocal Sight Reading Techs 3
Not offered Fall 2008 001 W 3-4 K. Wright
002 M 12-1 A. Capozzoli
ILVC-P218
Eastern Vocal Styles ILVC-321
001 T 11-1 C Karam Vocal Pedagogy
001 F 9-11 S. Brown
ILVC-221
Vocal Jazz History Lab ILVC-331
001 M 4-6 D. Scott Advanced Vocal Perf Lab 1
001 M 4-6 J. Shapiro
ILVC-P223 002 W 11-1 D. Stewart
Flo-ology: Spoken Word & Improv
001 W 5-7 A. Christian ILVC-333
Foundation in Singing w/ Soul
ILVC-241 001 W 9-11 L. Watson
Vocal Lab - Jazz Fundamentals
001 M 10-11 M. Scott ILVC-371
Musical Theater Vocal Lab The last day
ILVC-P231 001 W 11-1 S. Brown to add or drop
Acappella Workshop a course for
001 T 4-6 J. Blake ILVC-375 Fall 2008 is
Adv Perf Skills Bckgrnd Singer
Sept. 19, 2008
ILVC-P243 001 TH 12-1 K. Kai-Regalot
Instrumental Vocal Singing
001 T 2-4 J. Blake ILVC-381
Studio Tech:lead/Bckgrnd Sngr
ILVC-251 001 M 4-5 D. McElroy
Rehearsal Techniques/Vocalists 002 TH 10-11 S. Kowalczyk
001 W 4-6 J. Gagne 003 TH 9-10 S. Kowalczyk
002 W 11-1 G. Leathers
ILVC-411
ILVC-261 Advanced Vocal Sight Reading
Vocal Skills: Self Accomp Sngr 001 T 11-12 R. Stoloff
001 M 6:30-7:30 N. Morris
002 T 1-2 J. Barnett ILVC-431
Advanced Vocal Perf Lab 2
ILVC-271 001 T 11-1 D. McElroy
Mics, PAs and the Singer 002 W 2-4 K. Kai-Regalot
001 M 12-1 P. Pampinella
002 TH 3-4 K. Carr ILVC-433
Adv. Latin/Jazz Vocal Perf
ILVC-281 001 W 2-4 M. Bermejo-Greenspan
Perf Skills/Background Singer
001 M 3-4 C. Leonhart-Escoffery ILVC-481
002 W 4-5 D. McElroy Practice Skills: Studio Singer
003 W 10-11 J. Jenkins 001 T 4-6 D. McElroy
004 F 11-12 J. Ramsey 002 F 11-1 S. Kowalczyk
005 T 1-2 C. Leonhart-Escoffery 003 T 11-1 A. Christian
006 T 3-4 J. Ramsey
007 TH 4-5 J. Ramsey ILWD-111
008 M 2-3 J. Pendarvis Woodwind Lab - Techniques 1
009 W 10-1 J. Kyles 001 M,W 5-6 F. Lipsius
010 F 12-1 J. Kyles 002 M,W 6-7 F. Lipsius
011 T 2-3 C. Leonhart-Escoffery
012 M 1-2 J. Pendarvis ILWD-112
013 F 2-3 J. Kyles Woodwind Lab - Techniques 2
014 TH 10-11 K. Kai-Regalot 001 TH,F 10-11 P. Wagner
002 T,TH 11-12 J. Beard
003 T,TH 12-1 J. Beard

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

Schedule of Courses - Fall

ISKB-212 ISWD-222
Basic Keyboard Techniques 2 Clarinet Class for Mus Ed Maj
001 M 6-8 M. Jenson 001 T 2-3 P. Wagner
002 W 9-11 D. Johnson 002 W 10-11 P. Wagner
003 W 2-4 D. Cecere 003 T 1-2 P. Wagner
004 F 9-11 J. Elowsky-Fox
005 T 2-4 D. Johnson ISWD-223
006 M 2-4 J. Elowsky-Fox Double Reed/Sax Class: Mus Ed
007 W 2-4 S. Davis 01 T 3-4 D. Ferrara
008 T 4-6 B. Thomas
009 M 2-4 C. Wilkins
010 M 4-6 C. Staaf Internships
011 T 10-11 R. Hoffmann
Blended in class/on line course IN-290
Srv Lrn: Connect Music W/ Comm
ISKB-215 001 D. Gelinas
Keyboard Skills for the Writer See the Office of Experiential Learning if interested
Not offered Fall 2008
IN-295
ISKB-221 Introductory Internship
Keyboard Class 1 for Mus Ed 001 M 4-5 D. Gelinas
001 T,TH 12-1 S. Davis See the Office of Experiential Learning if interested
002 M,W 2-3 W. Ward
003 T,TH 11-12 S. Davis IN-497
004 W,F 10-11 L. Holstedt LA Internship Program
001 D. Gelinas
ISKB-222 See the Office of Experiential Learning if interested
Keyboard Class 2 for Mus Ed
001 W,F 11-12 L. Holstedt
002 T,F 1-2 E. Bedner Jazz Composition
ISKB-321 JC-495
Keyboard Class 3 for Mus Ed Jazz Composition Internship
001 W,F 3-4 E. Bedner 001 K. Pullig
See the Office of Experiential Learning if interested
ISKB-322
Keyboard Class 4 for Mus Ed
001 W,F 4-5 E. Bedner Liberal Arts
ISPC-221 LCOR-104
Perc Class for Mus Ed Majors English As a Second Language 1
001 M 10-11 R. Flanagan 001 M,W,F 2-3 P. Bennet
002 M,W,F 1-2 E Francese
ISPC-231 003 M,W,F 11-12 J. Rold
Percussion for Music Therapy
001 T 2-3 S. Wilkes LCOR-105
002 T 12-1 J. Hazilla English As a Second Language 2
001 M,W,F 2-3 J. Rold
ISST-221 002 M,W,F 1-2 J. Rold
String Class for Mus Ed Majors 003 T 2-3,F 1-3 P. Gardner
001 M 4-5 J. Haas
LCOR-110
ISVC-111 English Skills
Guitar Accomp Skills: Vocalist 001 M,W,F 2-3 F. Cudmore
001 W 10-11 J. Stevens 002 M,W,F 1-2 F. Cudmore
002 W 11-12 J. Stevens 003 M,W,F 10-11 F. Cudmore
004 T 3-4,F 3-5 P. Gardner
ISVC-112
Guitar Accomp Skills for Vox 2 LCOR-111
001 F 10-11 J. Stevens College Wrtng 1: Struct/Style
001 W 4-6,F 5-6 P. Guay
ISWD-221 002 T 6-8,W 3-4 C. Colatosti
Flute Class for Mus Ed Majors 003 M,W,F 4-5 P. Bennet 239
001 TH 12-1 W. Rolfe 004 M,W,F 5-6 P. Bennet
Schedule of Courses - Fall

Summer/Fall 2008

005 M,W,F 5-6 R. Clark LCOR-211

006 M,W,F 4-5 R. Clark History of Western Civ. 1
007 M,W,F 6-7 P. Bennet 001 T 9-10,TH 9-11 H. Callanan
008 M,W,F 1-2 W. Wild 002 T 11-12,TH 11-1 H. Callanan
009 M,W,F 11-12 W. Wild 003 T 10-11,TH 2-4 H. Callanan
010 T 6-8,TH 6-7 A. Merrill 004 W 9-11,TH 11-12 D. Abraham
011 T 2-3,TH 4-6 A. Merrill 005 TH 6-9 TBA
012 M,W,F 10-11 A. Snodgrass
013 T 9-11,TH 11-12 M. Heyman LCOR-212
014 M,W,F 9-10 E. Francese History of Western Civ. 2
015 M,W,F 3-4 D. Kohn 001 M 11-1,T 2-3 G. Miller
016 M,W,F 4-5 D. Kohn 002 T 3-4,F 11-1 G. Miller
017 M,W,F 1-2 S. Blazar 003 M 1-2,F 2-4 P. Peknik
018 M,W F 9-10 W. Wild 004 W 1-2,TH 9-11 D. Abraham
019 M,W,F 11-12 E. Francese
020 M,W,F 10-11 E. Francese
LCOR-P213
021 M,W,F 9-10 F. Cudmore
History of the Americas 1
022 W 6-9 P. Payack
001 M 2-3,W 11-1 P. Peknik
023 M,W,F 12-1 A. Snodgrass
024 M,W,F 11-12 A. Snodgrass
025 M,W,F 10-11 S. Blazar LCOR-P214
History of the Americas 2
LCOR-112 001 W 2-3,F 11-1 P. Peknik
College Writing 2: Lit Themes
001 M 6-9 P. Payack LCOR-P215
Media, The Message & History of Modern East Asia
The Creative Mind 001 W 9-10,TH 11-1 D. Hatfield

002 M 10-11,W 9-11 S. Reich LCOR-216

Sound & Fury: Southern Writers History of the Middle East
& Their Music Not offered Fall 2008

003 M 6-7,W 6-8 P. Guay LCOR-221

Modern Mystical Journeying World Civ. Before 1500
001 T 11-1,TH 12-1 D. Abraham
004 M,W,F 9-10 A. Snodgrass 002 W 4-6,TH 12-1 S. Katz
The Literature of Memory
LCOR-222
005 M,W,F 12-1 J. Rold World Civilizations Since 1500
Literature as Creative Writing 001 W 10-11,F 9-11 D. Hatfield
002 T 9-11,TH 12-1 H. Lorrey
006 M,W,F 1-2 R. Clark 003 W 3-4,F 2-4 D. Hatfield
Portable Lives
LCOR-223
007 M,W 10-11,F 10-11 W. Wild World Civilization Topics
Aesthetics: Artistic Choices 001 M 1-2,F 2-4 G. Miller
History of Nazi Germany
008 M,W,F 2-3 R. Clark
Portable Lives 002 T 9-11,W 12-1 D. Abraham
World Revolutions
009 T 11-1,TH 12-1 F. Bouchard
Musical Biographies 003 T 2-4,W 1-2 H. Lorrey
Interpreting History
010 T 2-3,TH 2-4 F. Bouchard
Traveling Music 004 M 3-4,TH 11-1 G. Miller
Renaissance & Reformation
011 M,W,F 1-2 P. Guay
Modern & Mystical Journeying 005 M 9-11,F 10-11 P. Peknik
America's Image in the World
012 T 4-6,TH 2-3 A. Merrill
Telling the Story 006 TH 5-6,W 2-4 S. Katz
Contemplative & Mystical Traditions
013 M,W,F 12-1 D. Kohn
Take 2: Retelling Stories 007 T 4-5,TH 2-4 S. Katz
240
Contemplative & Mystical Traditions
Summer/Fall 2008

Schedule of Courses - Fall

LCOR-224 LHAN-212
Afr Std: Soc of Black Music History of Western Music 2
001 T 2-4,TH 2-3 W. Banfield 001 M 9-11 T. McGah
The Sociology of Black Music in 002 F 11-1 D. Leclaire
American Culture 003 M 11-1 A. List
004 T 9-11 R. Applin
LCOR-225
Afr Std: Theology of American Popular Music LHAN-221
001 T 4-6,TH 3-4 W. Banfield. History of Jazz
001 M 4-6 J. Stout
LCOR-231
History of Art 1 LHAN-222
001 TH 6-9 J. Doherty History of Rock Music
002 T 6-9 A. Arzigian 001 W 4-6 K. Zambello
003 W 9-10,TH 10-12 S. Moebus-Bergeron
004 T 11-1,W 10-11 S. Moebus-Bergeron LHAN-233
005 T 10-11,W 11-1 S. Moebus-Bergeron Classic Rock Guitar Players
006 M 11-1,T 4-5 TBA 001 M 2-4 R. Stone

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

004 M 12-2,TH 10-11N. Seaman LHAN-266

Gender & Visual Arts D Shostakovich:His Music/Life
001 TH 4-6 Y. Gubanov
005 T 12-1,F 12-2 R. Bresler
Art of the Renaissance LHAN-P288
Music of Olivier Messiaen
006 T 9-10,F 11-1 M. Jones 001 T 11-1 T. LeVines
Arts of Asia
LHAN-311
007 W 5-7,F 1-2 TBA Style Anal: Classical/Romantic
001 F 4-6 S. Fessler
008 M 10-11,F 2-4 TBA 002 M 4-6 C. Witmyer

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

Schedule of Courses - Fall

LHUM-P363 LMSC-230
Spanish III Concepts of Mathematics
001 M 2-3,W 12-2 D. Bennett 001 T 2-3,TH 4-6 K. Block-Schwenk
002 T 5-6,TH 4-6 J. Moorhead
LHUM-365 003 T 5-7, W 3-4 E. Reuter
Ethics
001 M 4-6,F 4-5 P. Guay LMSC-306
Principles of Physics
LHUM-371 001 T 2-4,TH 5-6 C. Gregory
Introduction to Logic
Not offered Fall 2008 LMSC-318
Environmental Science
LHUM-P373 001 T 4-6,TH 4-5 C. Gregory
Japanese III
001 T 12-1,TH 11-1 S. Passaretti LMSC-424
Human Anatomy & Physiology
LHUM-375 001 M 12-1,F 11-1 S. Foster
Mythology and Folklore
001 T 12-1,TH 10-12 H. Lorrey LSOC-211
General Psychology Online Check-
LHUM-381 001 M 9-11,W 11-12 E. McGrath in for Summer
Intro to Western Philosophy 002 M 6-9 S. Foster 2008 begins
Not offered Fall 2008 003 M 2-4,W 2-3 S. Foster
May 21, 2008.
004 W 3-4,F 2-4 S. Foster
LHUM-391
Chldrn’s Lit: Multcultrl Persp LSOC-220
Not offered Fall 2008 Music, Gender, and Society
001 T 2-4,TH 11-12 B. Denisch
LHUM-P431
Creative Writing: Poetry II LSOC-301
001 W 2-3,TH 2-4 C. Pattison Behavioral Assessmnt/Observ
001 TH 11-1,T 9-10 P. Codding
LHUM-P450
Poetry Jam and Slam LSOC-P310
001 TH 6-9 M. Heyman Group Dynamics
001 M 11-1,W 12-1 E. McGrath
LHUM-475
Philosophy of Education LSOC-321
001 T 9-10,TH 9-11 G. Eastman Intro to American History
Not offered Fall 2008
LMSC-208
Principles of Music Acoustics LSOC-331
001 T 2-4,TH 12-1 T. Plsek History of Political Thought
002 M 1-2,F 9-11 T. Rhea 001 T 3-4,TH 2-4 V. Wallis

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

Schedule of Courses - Fall

MB-387 ME-211
Website Design and Management Elementary Classroom Methods
001 T 11-1 P. Kerensky 001 M 2-3,F 1-3 C. Ryan
002 T 9-11 P. Kerensky 002 M 3-4,F 3-5 E. Allison

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

Schedule of Courses - Fall

MP-385 MP-475
Advanced Recording Techniques Masters Engineering Lab
001 W 9-1 TBA 001 W 2-6 M. Wessel
002 M 2-6 A. Rodriguez 002 T 2-6 L. Ungar
003 W 2-6 M. Wessel NOTE: This course (all sections) meets every
004 T 2-6 L. Ungar other week for four hours
005 M 2-6 R. Mendelson
NOTE: This course (all sections) meets every MP-495
other week for four hours MP&E Internship
001 R. Jaczko
MP-421 See the Office of Experiential Learning if interested
Music Production/Visual Media
001 T 11-1 J. Largent
002 W 4-6 J. Largent Music Synthesis
003 W 9-11 J. Largent
004 TH 11-1 W. Moss MS-210
Srvy of Electroacoustic Music
MP-431 001 M 9-11 T. Rhea
Vocal Production
001 W 4-6 M. Benoff MS-220
002 TH 4-6 M. Benoff Studio Technologies
001 M 9-11,M 9-11 M. Bierylo
MP-441 002 T 11-1,T 11-1 J. Baust
Advanced Mix Lab 003 T 2-4,T 2-4 C. Noyes
001 T 11-1 R. Mendelson
002 TH 4-6 M. Wessel MS-223
003 W 9-11 A. Rodriguez Modular Functions/Signal Flow
004 T 9-11 T. Carr 001 W 9-11 M. Brigida
005 F 9-11 C. Alexander 002 M 11-1 T. Rhea
003 M 9-11 M. Brigida
MP-P455
Hip Hop Production for Records MS-225
001 T 2-4,T 2-4 C. Alexander MIDI Systems
001 M 11-1 D. Doms
MP-P456 002 M 4-6 K. Turnbull
Analog Record Tech & Appl 003 TH 6-8 J. Williams
001 T 11-1 L. Ungar
MS-250
MP-P457 Survey of Electronics in FS
Ensemble Recording Techniques 001 W 9-11 T. Rhea
001 T 9-11 M. Wessel
MS-P261
MP-P458 Musical Devices for Music Tech
Live Concert Record & Mix Tech 001 W 11-1 T. Rhea
001 TH 11-1 A. Rodriguez
MS-320
MP-461 Digital Mix Techniques
Advanced Production Projects 001 TH 11-1 J. Baust
001 M 4-6 M. Benoff 002 TH 9-11 M. Bierylo
002 W 2-4 S. Webber 003 TH 4-6 J. Williams
003 TH 2-4 W. Wadhams
004 TH 4-6 L. Ungar MS-321
Advanced MIDI Systems
MP-471 001 M 4-6 M. Bierylo
Postprod,remixing,mastering 002 F 2-4 D. Doms
001 TH 4-6 C. Alexander 003 M 2-4 D. Doms
002 M 11-1 R. Mendelson
MS-322
Advanced Programmable Synth
001 T 9-11 M. Brigida
002 T 2-4 M. Brigida
003 T 11-1 M. Brigida
247
Schedule of Courses - Fall

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

Schedule of Courses - Fall

4B TH 9-11 W. Moss MTH-232
4C W 9-11 M. Bierylo Music Therapy Practicum 1
4D T 4-6 A. Pejrolo 001 T 2-3 J. Zigo
5A TH 4-6 M. Bierylo 002 T 3-4 J. Zigo
5B W 4-6 S. MacLean
5C TH 4-6 A. Bjorck MTH-281
5D TH 2-4 C. Noyes Technology for Music Therapy
6A W 4-6 J. Williams 001 TH 9-11 M. Moniz
6B F 11-1 D. Doms 002 M 11-1 M. Moniz
6C M 6-8 J. Ramsay
6D TH 11-1 L. Stearns
MTH-311
6E W 6-8 L. Stearns
Psychology of Music
001 TH 2-4 S. Hanser
MTEC-112
Appld Technology for Musicians
MTH-312
001 M 2-4 K. Turnbull
Music Therapy Practicum 2
001 T 10-11 K. Wacks
MTEC-200 002 T 4-5 J. Zigo
Berklee Internet Radio Network
001 W 6-8 S. Croes
MTH-331 Online Check-
Research in Music Therapy in for Fall
MTEC-222 001 W 9-11 P. Codding
Intro Synth Prog/Sound Design 2008 begins
001 TH 11-1 C. Noyes Sept. 1, 2008.
MTH-332
Music Therapy Practicum 3
MTEC-224 001 M 1-2 P. Codding
Dig Audio Basics/Dig Systems
Not offered Fall 2008
MTH-351
Exceptional Children
MTEC-308 001 W 12-1,M 4-6 P. Codding
Applic.of Loudspeaker Design
001 F 2-4 M. Abraham
MTH-411
002 F 4-6 M. Abraham
Music in Psychotherapy
001 TH 4-6 S. Hanser
MTEC-P321
Music & Sound Product for Game
MTH-412
001 F 9-11 J. Cowan
Music Therapy Practicum 4
001 W 2-3 K. Khare
MTEC-P383 002 W 3-4 K. Khare
Studio Maint & Trouble Shoot
001 M 2-4 TBA
MTH-431
Music Therapy and Medicine
MTEC-420 001 M 2-4 K. Wacks
Adv Dig Mstrng, Edtng & Dlvry
001 T 11-1 J. Wyner
MTH-432
002 T 2-4 J. Wyner
Music Therapy Practicum 5
003 M 11-1 T. Carr
001 W 1-2 K. Khare
002 TH 11-12 K. Khare
Music Therapy
MTH-495
MTH-201 Music Therapy Internship
001 K. Wacks
Intro to Int'l Music Therapy
See the Office of Experiential Learning if interested
001 T 11-1,W 10-11 K. Wacks
002 W 10-11,TH 9-11K. Khare
Performance Ear Training
MTH-P211
Mind Body Discipline for Muscn
PFET-361
Not offered Fall 2008
Perf Ear Train Ww/Br/Stg/Vbs 1
001 W 11-1 R. Lowell
MTH-231
Music in Special Education
001 M 9-11 P. Codding 249
Schedule of Courses - Fall

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

Schedule of Courses - Fall

PM-340 PSBS-321
Entrepreneurship Concepts for Jazz Bass Lines
001 TH 11-1 W. McCluskey 001 W 2-4 P. Del Nero
002 F 1-3 W. McCluskey
PSBS-331
PM-375 Electric Bass Perf Styles
Music Career Planning Seminar 001 TH 11-1 G. Mooter
001 W 2-4 W. McCluskey
002 W 4-6 T. Stein PSBS-341
003 M 2-4 T. Stein Jazz Masters of the Bass
004 F 11-1 F. Schmidt 001 T 2-4 J. Repucci
005 T 4-6 T. Stein
006 M 11-1 T. Stein PSBS-P345
007 F 2-4 F. Schmidt Latin Jazz Masters
001 T 4-6 O. Stagnaro
PM-475
Final Project Seminar PSBS-375
001 W 2-4 T. Stein Bass in the Free Improv Idiom
002 TH 2-4 K. Brass 001 T 4-6 B. Gertz
003 M 2-4 P. Kerensky
004 F 9-11 F. Schmidt PSBS-425
Advanced Improv Techs for Bass
PM-495 001 W 2-4 B. Gertz
Professional Music Internship
001 F 4-6 K. Brass PSGT-211
See the Office of Experiential Learning if interested
Improvisation for Guitar 1
001 W 9-11 B. Saunders
Performance Studies
PSGT-212
Improvisation for Guitar 2
PS-180
001 W 2-4 B. Saunders
Music and Life of Bob Marley
001 T 4-6 M. Jenson
PSGT-221
Guitar Performance Skills
PS-190
Not offered Fall 2008
Improv Concepts Workshop 1
001 F 4-6 J. Haupers
PSGT-225
Essentials: Solo & Rhythm Guit
PS-192
Not offered Fall 2008
Improvisation Concepts Wkshp 2
001 M 4-6 J. Haupers
PSGT-311
Improvisation for Guitar 3
PS-P218
Not offered Fall 2008
Intrdscpln Coll in Create Arts
001 TH 2-4 L. Chase
PSH-238
Awareness Training/Musicians
PS-P265
001 T 4-5 R. Ehrman
Msc of Kenny "Babyfce" Edmnds
002 T 5-6 R. Ehrman
001 T 2-4 A. Christian
003 TH 4-5 R. Ehrman
004 TH 5-6 R. Ehrman
PS-495 005 M 5-6 R. Ehrman
Prof Performance Internship
001 M. Marvuglio PSH-250
See the Office of Experiential Learning if interested
Yoga for Musicians 1
001 T 4-6 M. Olson
PS-498 002 T 2-4 M. Olson
Directed Study - Improvisation 003 W 11-1 M. Olson
Not offered Fall 2008 004 TH 2-4 M. Olson

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

Schedule of Courses - Fall

PSIJ-321 PSIJ-422
Jazz Improvisation Techs 2 Jazz Improvisation Techs 5
001 M 9-11 J. Beard Not offered Fall 2008
Rating: 3
See Course Description PSIJ-423
Jazz Improvisation Techs 6
002 W 11-1 F. Brandao Not offered Fall 2008
Rating: 3
See Course Description PSIJ-425
003 M 11-1 E. Tomassi Adv Jazz Improvisation Techs
Rating: 3 001 W 4-6 D. Santoro
See Course Description Rating: Teacher Authorization

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

003 T 4-6 J. Galindo

PSIM-231
Rating: 3 Rock Improvisation Techs 1
See Course Description 001 T 4-6 J. Finn
Rating: 3
PSIJ-325
Jazz Interpretation
PSIM-335
001 TH 2-4 A. Lada Improv: Jazz/Rock/Fusion Idiom
Rating: 3 01 TH 2-4 R. Doezema
See Course Description
PSIM-341
PSIJ-331 Improvisation: Latin/Jazz
The Jazz Line 001 TH 2-4 V. Mendoza
001 TH 2-4 D. Santoro
PSIM-351
PSIJ-335 The Composing Performer Ens
Melodic Structures in Improv 001 F 2-4 B. Raberg
Not offered Fall 2008
PSME-311
PSIJ-341 Recital Class: Mus Ed Majors
Pentatonics in Improvisation 001 TH 10-11 P. Cokkinias
001 M 11-1 D. Santoro 002 T 5-6 F. Lueth

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

Schedule of Courses - Fall

3B T,TH 3-4 W. Silvio Songwriting
3C T,TH 3-4 S. Brindell
3D T,TH 3-4 K. Bleau
3E T,TH 3-4 J. Rosen
SW-111
3F T,TH 3-4 J. Stinnett Essentials of Songwriting
3G T,TH 3-4 J. Moorhead 001 TH 4-5 J. Aldrich
3H T,TH 3-4 G. McArthur-Browne 002 TH 5-6 J. Aldrich
4A T,TH 11-12 S. Dean
4B T,TH 11-12 J. Sykes SW-211
4C T,TH 11-12 W. Klein Songwriting 1
4D T,TH 11-12 D. Howard 001 TH 2-4 M. Wartofsky
4E T,TH 11-12 M. Poniatowski 002 T 6-8 M. Simos
4F T,TH 11-12 S. Brindell 003 M 11-1 J. Kachulis
4G T,TH 11-12 L. Chase 004 T 4-6 M. Simos
4H T,TH 11-12 R. Reid 005 TH 4-6 H. Gaffney
4I T,TH 5-6 J. Hernandez 006 F 11-1 J. Stevens
5A T,TH 10-11 E. Byers 007 TH 2-4 J. Kachulis
5B T,TH 10-11 W. Klein 008 TH 2-4 J. Stevens
5D T,TH 10-11 L. Chase 009 M 2-4 J. Kachulis
5E T,TH 10-11 J. Perry
5F T,TH 10-11 S. Dean SW-212 For
5G T,TH 10-11 M. Poniatowski Songwriting 2 Department
5H T,TH 10-11 R. Reid 001 T 4-6 J. Stevens Chair names
5I T,TH 10-11 J. Kocandrle 002 T 2-4 J. Kachulis and office
6A T,TH 9-10 G. McArthur-Browne 003 TH 4-6 J. Kachulis
locations, refer
6B T,TH 9-10 S. Kirby 004 TH 2-4 J. Perricone
to page 9 in
6C T,TH 9-10 M. Poniatowski
6D T,TH 9-10 R. Reid SW-221 this manual.
6E T,TH 9-10 E. Byers Lyric Writing 1
6F T,TH 9-10 J. Kocandrle 001 TH 9-11 S. Cattaneo
6G T,TH 9-10 D. Zoffer 002 W 4-6 C. Pattison
6H T,TH 9-10 M. Johnson 003 TH 11-1 H. Gaffney
6I T,TH 9-10 J. Perry 004 M 11-1 S. Cattaneo
005 M 9-11 M. Simos
PW-161 006 TH 11-1 S. Cattaneo
Tech Tools for the Writer 007 M 2-4 M. Simos
001 T 4-6 J. Chase
002 TH 6-8 L. Stearns SW-222
003 M 4-6 D. Howard Lyric Writing 2
004 F 2-4 L. Stearns 001 TH 4-6 C. Pattison
005 M 2-4 D. Howard 002 T 4-6 C. Pattison
006 W 2-4 R. Grudzinski 003 TH 9-11 H. Gaffney
007 W 11-1 R. Grudzinski 004 M 2-4 S. Cattaneo
008 M 11-1 D. Howard
009 TH 2-4 D. Moretti SW-231
Arranging for Songwriters
PW-165 001 T 2-4 J. Stevens
The Creative Flame 002 F 11-1 M. Shilansky
001 F 11-1 S. Clark
SW-P235
PW-P261 Writing the Jazz Song
Basic Record/Prod Techniques Not offered Fall 2008
001 T 4-6 I. Sever
SW-P236
PW-361 Guitar Tech for Songwriting
Multimedia for the Writer 001 M 4-6 M. Simos
Not offered Fall 2008
SW-241
PW-365 Survey of Popular Song Styles
Orchestral Mock-Up Production 001 T 2-4 J. Perricone
001 F 11-1 S. Mirowitz

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

Class Planning Worksheet 1: Schedule Planning

Name Number Semester Year

Monday Tuesday Wednesday Thursday Friday

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

Class Planning Worksheet

Class Planning Worksheet 2: Schedule Planning
Name Number Semester Year

Monday Tuesday Wednesday Thursday Friday

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

Class Planning Worksheet 3: Schedule Planning

Name Number Semester Year

Monday Tuesday Wednesday Thursday Friday

9-10

10-11

11-12

12-1

1-2

2-3

3-4

4-5

5-6

6-7

7-8

260