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Undergraduate Academic Policies and Information
Graduate Academic Policies and Information
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Music Theory and Composition examines musical discourse, integrating composition, improvisation, and analysis. Core courses explore fundamental concepts that apply to genres, styles, and expressions found primarily within the diversity of European-American music: rhythm, intervals, phrase and form, structural levels, voice-leading, harmony, timbre, and notation. Understanding and skill in hearing, reading, sight-singing, writing, improvisation, playing, and analysis are continuously developed throughout the sequence. MUTC 122. Introduction to Composition. Examination of fundamental philosophical, aesthetic, and practical questions relating to life as a composer. Basic exercises in pitch choice and manipulation, rhythmic variety, and concepts of musical form (2, lin) MUTC 151. Music Theory I. Review of interval identification, key and time signatures, chordal structures and their inversions, with an introduction to church modes, species counterpoint, root-position & first-inversion four-part writing, non-chord tones, and includes an introduction to score analysis, instrument ranges and transpositions, form, and the fundamentals of sound. (3, lin) MUTC 152. Aural Skills I. Training and practice toward the development of aural, keyboard harmony, score reading, and sight-singing skills. (1, lin) MUTC 171. Music Theory II. Extends part writing to include second-inversion triads and seventh chords in all positions and qualities. Students will engage more complex orchestral scores, musical form through sonata forms and extended rondos, extensive chromaticism, including secondary functions, modulation types, pre-cadential harmonies, and modal mixture. (3, lin) MUTC 172. Aural Skills II. Training and practice toward the development of aural, keyboard harmony, score reading, and sight-singing skills. Prerequisite: MUTC 152 or proficiency. (1, lin) MUTC 231. Composition I. Introduction to compositional materials and processes through listening, analysis, and imitation of models, followed by freely developed original projects. (2, lin) MUTC 232. Composition II. Continued emphasis on listening and analysis as a means of expanding musical experiences and compositional options; original works of limited scope. (2, lin) MUTC 233. Digital Music Technology I. Music sequencing, digital sampling, sound synthesis, and computer music notation using microcomputer based MIDI systems. Emphasis on projects in composition and arranging. (2, lin) MUTC 251. Music Theory III. Provides a detailed examination of musical vocabularies of the late 19th century to the present. Extensions of tonality, new developments in rhythm, atonality and serialism, set theory, notational innovations, assumptions and practices of the avant-garde. (3, lin) MUTC 252. Aural Skills III. Training and practice toward the development of aural, keyboard harmony, score reading, and sight-singing skills. Prerequisite: MUTC 172 or proficiency. (1, lin) MUTC 272. Aural Skills IV. Training and practice toward the development of aural, keyboard harmony, score reading, and sight-singing skills. Prerequisite: MUTC 252 or proficiency. (1, lin) MUTC 331, 332. Composition III, IV. Ongoing listening and discussion of relevant issues and procedures with emphasis on original work ranging from simple to more complex forms and in a variety of genres. Assignments related to the interests and needs of the individual student. (2, lin) MUTC 333. Digital Music Technology II. Advanced techniques using microcomputer-based MIDI systems. Continued work on composition and arranging projects, including film and video scoring. Prerequisite: MUTC 233 or consent of instructor. (2, lin) MUTC 343. Jazz Theory. Practical studies of extended chords, voicing, and progression, melodic and rhythmic development, and formal structures with application to composition and improvisation in jazz styles. (2) MUTC 344. Jazz Improvisation. Specific techniques intended to develop musical spontaneity in a variety of jazz idioms; development of mind-ear-kinesthetic relationships. (2, lin) MUTC 352. Aural Skills V. Training and practice toward the development of aural, keyboard harmony, score reading, and sight singing-skills. Prerequisite: MUTC 272 or proficiency. (1, lin) MUTC 354. Counterpoint. Advanced applications of contrapuntal procedures. Analysis and composition in sixteenth-, eighteenth-, and twentieth-century styles. Prerequisite: MUTC 171. (2, lin) MUTC 355. Orchestration. Review of principles of orchestration, analysis of scores; arranging, transcribing, and orchestrating for larger ensembles. Prerequisites: MUTC 171. (2, lin) MUTC 356. Arranging. Melodic and textural variation, harmonic substitution, modulatory techniques; exercises in a variety of styles and genres. Alternate years. Prerequisites: MUTC 251. (2, lin) MUTC 364. The Improvising Musician. An exploration of the theological, psychological and music foundations of improvisation. Extensive ongoing work with improvisational techniques in a variety of styles and genres. (2, lin) MUTC 389. Special Topics in Music Theory & Composition. Seminars or courses in special areas offered at the discretion of appropriate faculty. (2) MUTC 451, 452. Composition V, VI. In-depth listening and discussion of relevant issues and procedures with increasing emphasis on original work in more complex forms and in a variety of genres. For composition majors, presentation of an appropriate selection of works on a senior recital. MUTC 495. Directed Study. Independent study in selected fields of music materials and processes, improvisation, arranging, ethnic music, or analysis. (1-4, lin) Revision Date: May 1, 2008
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