Chinese
Comparative Literature
French
German
Hebrew
Italian
Japanese
Russian
Spanish

201 Guilford House
Phone 216-368-3071; Fax 216-368-2216
Marie Lathers, Chair

Marie Lathers, Ph.D. (Brown University)
Treuhaft Professor of French and Comparative Literature, Chair of the Department
Women and the visual arts; Nineteenth–century French literature and the arts (painting, sculpture, photography, film); Gender, science, and technology; Feminist theory

David P. Benseler, Ph.D. (University of Oregon)
Emile B. de Sauzé Professor of Modern Languages
German literature, emphasis on eighteenth- and nineteenth-century drama and prose; folklore and tales; modern German culture; methods and bibliography; history of the profession.

Antonio Candau, Ph.D. (University of Massachusetts, Amherst)
Associate Professor Spanish
Nineteenth- and Twentieth-century Peninsular Spanish Literature; José María Merino, Luis Mateo Díez, Juan Goytisolo. and author Clarín

Christine Cano, Ph.D. (Yale University)
Assistant Professor of French
Nineteenth- and Twentieth-century French literature; Proust studies; literary history; 19th century organicism; critical theory.

Margaretmary Daley, Ph.D. (Yale University)
Associate Professor of German and Comparative Literature
Eighteenth- and nineteenth-century German literature; German women writers; women’s studies; feminist literary criticism.

Linda C. Ehrlich, Ph.D (University of Hawaii/East-West Center)
Associate Professor of Japanese and Comparative Literature
Emphasis on Asian (Japanese) cinema; traditional Asian theatre; set design, landscape architecture and film; Japanese poetry; literature and film; cinema of Spain.

Takao Hagiwara, Ph.D. (University of British Columbia)
Associate Professor of Japanese and Comparative Literature
Japanese literature, especially modern prose and poetry; classical and modern Japanese literature; pre-modern Japanese sensibilities and (post)modernism.

Margot Harrison, Ph.D. (University of California, Berkley)
Visiting Assistant Professor of Comparative Literature
French and British late 18th-century and Romantic literature, especially drama; performance theory

Jutta Ittner, Dr. Phil. (University of Hamburg)
Assistant Professor of German and Comparative Literature
Twentieth-century German literature; contemporary women writers; poetry; literary translation; German culture

Jacqueline C. Nanfito, Ph.D. (University of California, Los Angeles)
Associate Professor of Spanish and Comparative Literature
Colonial and nineteenth-century Latin American literature; Golden Age Hispanic literature; literary theory; Chicano literature; contemporary Latin American women writers.

Charlotte Sanpère-Godard, Ph.D. (Sorbonne University)
Visiting Assistant Professor of French
French cinema; film and literary theory; 20th century French culture and civilization

Peter Jianhua Yang, Ph.D. (University of Utah)
Associate Professor of German, Chinese, and Comparative Literature; Director, Language Resource Center
German literature, emphasis on twentieth-century German literature; German theater; technology-enhanced language teaching; teaching pedagogy; business German; theatricality.

Gerd Bayer, M.A. (Universität Erlangen-Nürnberg
Lecturer in German

Denise Caterinacci, M.A. (Kent State University)
Lecturer in Italian

Elena Fernández, M.A. (Cleveland State University)
Lecturer in Spanish

Margaret Fitzgerald, M.A. (Ohio State University)
Lecturer in Japanese

Fabienne Haymore, M.A. (Université Paul Velery, Montpellier III)
Lecturer in French

Estefania Herschel-Junyent, M.A. (Universidad Complutense Madred
Lecturer in Spanish

Yuxiu Liang, M.A. (Beijing Foreign Language Institute)
Lecturer in Chinese

Sharon Scinicariello, Ph.D. (University of North Carolina, Chapel Hill)
Adjunct Assistant Professor in French

Christine Valadon, M.A. (University of Akron)
Lecturer in French

Omri Yavin, M.A. (Ben Gurion University)
Lecturer in Hebrew

Tatiana Zilotina, M.A. (University of Virginia)
Lecturer in Russian

The Department of Modern Languages and Literatures offers courses of study leading to the Bachelor of Arts with a major or minor in comparative literature, French, German, Japanese, and Spanish. In addition, course work or a minor is available in Chinese, Hebrew, Italian and Russian. Unless an individual General Bulletin description indicates otherwise, all courses on the 200 level and higher in modern languages and literatures are taught primarily in the language being learned. In addition to class meetings, language resource center attendance is an integral part of all elementary and intermediate language courses taught by the department. At the graduate level, the Master of Arts degree may also be earned as detailed below. Career opportunities exist in college and university teaching, translation and interpretation, diplomatic and other government service, and business, and are often enhanced by a double major, one of which is a modern language.

A program leading to Teacher Licensure in French (K—12) is also available. Students participating in the teacher licensure program complete a 45-47 semester hour major in French, including course work in French language, culture, and literature, and a 35-hour sequence in professional education. Course work in French begins in the freshman year with a language course appropriate to the student’s proficiency level and continues until the student has completed a range of upper-level courses and has met the goals of the program. Students are strongly urged to complete some of their course work in a French-speaking country and are assisted in identifying opportunities for study abroad. Interested students should contact Professor Marie Lathers. The professional education component (see Education [EDUC & EDJC] for overview and course requirements) begins with a sequence taken on campus, followed by 23 semester hours at John Carroll University, culminating in the student teaching requirements.

FRCH 201*, 202*, 308**, 310, 311, 314, 315**, 316, 317, 318, 319, 320, 321**, 331**, 341**, 351**, 361**, 371**, 372**, 373**, 374**, 375**, 376**, 377**, 398**, 399**

The department (DMLL) offers students key components of a liberal arts education by helping them learn additional languages, compare literatures, and study cultures. Students become informed citizens of a diverse world, individuals who are able to compete in and enjoy a wide variety of linguistic and global contexts. We encourage students both to embark on a new language and also to build on their prior knowledge. The department enjoys strong interdisciplinary ties with Asian Studies, French Studies, German Studies, International Studies, and Women’s Studies (all described elsewhere in this Bulletin). The department is proud of its German Program Abroad, "The Munich Experience" (offered every two years) and its program in France, "The Bordeaux Experience."

The principal objectives of the department are: 1) to prepare students for lifelong learning in an increasingly multilingual, multicultural world by enabling them to learn to understand, speak, read, and write the language(s) of their choice; 2) to teach selected world cultures and their literatures, both in the original language(s) and in translation; 3) to encourage students to study abroad in order to reinforce and strengthen their language skills and to acquire new cultural perspectives and appreciation; 4) to prepare students for graduate study in a number of disciplines; 5) to work as closely as possible with other University departments to provide their majors with useful ancillary skills in languages, literatures, and cultures.

Students with prior experience in French, German, and or Spanish, however gained (e.g. in high school with or without AP courses, at another institution, via study abroad, etc.), must take a placement examination before the first week of the semester in which they enroll in one of those languages. Placement depends both on examination results and on consultation with individual faculty members. For exact information on placement testing, please contact, Professor Peter Yang, Director of the Language Resource Center.

Majors in comparative literature must complete the following requirements.

Requirements include five 200 and 300 courses in CMPL, including at least CMPL 211-212, CMPL 290-290, or a combination of one of those courses and ENGL 200. Total hours required for the minor: 15.

Majors in French, German, Japanese Studies, and Spanish are expected: 1) to acquire the ability to understand, speak, read, and write the language(s) of their choice; 2) to develop a sound understanding of their cultures and literatures. The major in French, German, Japanese Studies, or Spanish consists of 30-32 hours of course work and will vary based on students’ background in the language. Individual counseling and placement tests are provided by the department.

For students placed into the 200-level: 201-202 and eight courses at the 300-level taught in the target language; (or six 300-level courses, plus two CMPL or other related courses).

Related courses are those outside the DMLL offerings which are closely related to French, German, Japanese, Spanish, or Latin American culture as well as those inside DMLL offered in another language or literature. For students placed into the 300-level: ten 300-level courses taught in the language; (or eight 300-level courses plus two CMPL courses or other related courses.)

(CHIN, FRCH, GRMN, ITAL, JAPN, RUSN, SPAN: 15-19 hours)

The academic policy of Case Western Reserve University is to award credit for a 101 course in any language only upon completion of 102 in that language.

For students placed at the introductory level (no previous knowledge of the language): 101, 102, 201, 202 and one 300-level course.

For students placed at the 200-level or higher: five courses at the 200 and 300 levels.

Hebrew language courses may count toward the minor in Judaic Studies.

The Departmental Honors Program is for especially talented and dedicated majors. Requirements for Honors in Modern Languages and Literatures are: 1) a grade point average of at least 3.5 in the major; 2) an honors thesis (six semester hours of CMPL, FRCH, GRMN, JAPN, or SPAN 398 or 399 beyond the 30-32 hours required for the major) devoted to the investigation of a literary, linguistic, or cultural topic. The thesis must be read and approved by two readers and will be accepted for honors only if it achieves a grade of B or better. Students who qualify receive their degree "with Honors in Modern Languages and Literatures." A registration form for students electing Honors in Modern Languages and Literatures is available in the departmental office.

The Department of Modern Languages and Literatures participates in the Integrated Graduate Studies Program, which makes it possible to complete both a B.A. and an M.A. in Modern Languages and Literatures within about five years of full-time study. The department particularly recommends the program to qualified students who are interested in seeking admission to highly-competitive professional schools or Ph.D. programs. Interested students should note the general requirements and the admission procedures listed elsewhere in this publication.

The department offers the Master of Arts degree in French, German, and Spanish and is authorized for doctoral studies as well. The Master of Arts in comparative literature is administered jointly by the Department of English and the Department of Modern Languages and Literatures.

CHIN 101. Elementary Chinese I (4)
(Credit for CHIN 101 only upon completion of CHIN 102.) Introductory course in speaking, understanding, reading and writing Chinese. Students are expected to achieve control of the sound system and basic sentence patterns of standard Mandarin Chinese. The course emphasizes speaking and aural comprehension.

CHIN 102. Elementary Chinese II (4)
Continuation of CHIN 101.

CHIN 201. Intermediate Chinese I (4)
Emphasizes basic structures of standard Mandarin Chinese; helps students improve reading, writing, listening and speaking abilities. Chinese culture, society, and people introduced through supplementary materials and activities. Prereq: CHIN 102 or equivalent.

CHIN 202. Intermediate Chinese II (4)
Continuation of CHIN 201. Students must attend Language Resource Center in addition to class meetings. Prereq: CHIN 201.

CHIN 301. Advanced Chinese I (4)
Students work to achieve fluency in listening, speaking, reading and writing. Students must attend Language Resource Center in addition to class meetings. Prereq: CHIN 202 or equivalent.

CHIN 302. Advanced Chinese II (4)
Continuation of CHIN 301.

CHIN 303. Topics in Chinese (3)
Work with authentic materials to improve proficiency in Chinese. Emphasis on contemporary culture of China. Prereq: CHIN 302.

CHIN 304. Topics in Chinese (3)
Work with authentic materials to improve proficiency in Chinese. Emphasis on contemporary culture of China. Prereq: CHIN 303.

CHIN 399. Independent Studies (1-3)
Directed study for those students who have progressed beyond available course offerings. Prereq: Permission of department.

CMPL 190. Introduction to Comparative Lit (3)
An introduction to one or more theoretical approaches to literature, combined with practical applications.

CMPL 211. Great Books: Middle Ages to 1600 (3)
St. Augustine; concentration on Dante and major texts of the Renaissance, such as Boccaccio, Machiavelli, Rabelais, Erasmus, and Montaigne.

CMPL 212. Great Books: 1600 to Present (3)
Readings of major authors, such as Behn, Voltaire, Goethe, and selected writers and thinkers from the 17th century to the present.

CMPL 215. Japanese Popular Culture (3)
This course highlights salient aspects of modern Japanese popular culture as expressed in animation, comics and literature. The works examined include films by Hayao Miyazaki, writings by Kenji Miyazawa and Banana Yoshimoto. The course introduces students to essential aspects of modern Japanese popular culture and sensibility. Cross-listed as JAPN 215.

CMPL 228. Theater History I (3)
Prereq: THTR 123 and THTR 124.

CMPL 229. Theater History II (3)
Modern periods in Western theater history, from the sixteenth century to the turn of the twentieth. The course investigates materials, texts, and artifacts of theaters from the Renaissance to the Modern era. Cross-listed as THTR 229.

CMPL 230. Asian Cinema and Drama (3)
Introduction to major Asian film directors and major traditional theatrical schools of India, Java/Bali, China and Japan. Focus on the influence of traditional dramatic forms on contemporary film directors. Development of skills in cross-cultural analysis and comparative aesthetics. Cross-listed as ASIA 230.

CMPL 240. Modern Japanese Literature in Translation (3)
(See JAPN 240.) Cross-listed as JAPN 240.

CMPL 241. Classical Japanese Literature in Translation (3)
Readings, in English translation, of classical Japanese poetry, essays, narratives, and drama to illustrate essential aspects of Japanese culture and sensibility before the Meiji Restoration (1868). Lectures explore the sociohistorical contexts and the character of major literary genres; discussions focus on interpreting the central images of human value within each period. Japanese sensibilities compared/contrasted with those of Western and other cultures. Cross-listed as JAPN 241.

CMPL 275. Postcolonial Francophone Literature (3)
Study of literary and cinematic works from the postcolonial Francophone world. Includes examination of the issue of identity (individual, cultural, national) and of the ways these works negotiate their respective cultural and colonial legacies. May include writers such as Beyala, ben Jelloun, Conde, Ba, Cesaire, and Khatibi.

CMPL 290. Masterpieces of Continental Fiction (3)
Major works of fiction from the 19th century and earlier. Cross-listed as ENGL 290.

CMPL 291. Masterpieces of Modern Fiction (3)
Major works of fiction of the 20th century. Cross-listed as ENGL 291.

CMPL 300. Turning-points in Modern Culture (3)
Focus on major west European cities as catalysts and reflectors of cultural and historical change; in-depth study of theory and practice using literature, music, painting, and philosophy: e.g., Vienna at the Turn of the Century; Berlin and the Weimar Republic; Paris at the Turn of the Century.

CMPL 314. Love Poetry from Sappho to Shakespeare (3)
Introduction to the love poetry of ancient Greece and Rome and its impact on the later European tradition in such poets as Petrarch, Chaucer, and Shakespeare. Readings will focus especially on questions of generic convention, audience expectation, and the social setting of love poetry in the different ages under consideration. No knowledge of the original languages required. Cross-listed as CLSC 314.

CMPL 315. Utopia and Utopianism (3)
Sir Thomas More’s Utopia (1515) inaugurated a literacy genre depicting the ideal community. This class traces this genre from More to recent science fiction (Piercy, Calvino, Butler), pausing to consider the writings of the "Utopian socialists" (Saint Simon, Fourier).

CMPL 330. Studies in Fiction: The Novella (3)
Development of the novella since Boccaccio and Cervantes; emphasis on 19th and 20th century German and Russian authors (Goethe, Mann, Kafka, Dostoevsky, Tolstoy, Chekhov, and others); some French, Spanish, and Italian novellas. Taught in English, with additional instruction for students reading texts in the original language.

CMPL 338. Trends in Recent Fiction (3)
Readings, in English translation, of contemporary fiction from around the world; analysis and comparison of recent literary trends in various national settings.

CMPL 341. Japanese Women Writers (3)
Contributions of women writers to the literature of pre-modern and modern Japan; investigations of how their works exemplify and diverge from "mainstream" literary practices. Emphasis on the social and cultural contexts of the texts. Cross-listed as JAPN 341.

CMPL 361. Modern Japanese Novels and the West (3)
Comparing a selection of modern Japanese novels with their western counterparts, this course will clarify Japan’s premodern sensibility and its transformation after the Meiji Restoration (1868). Comparisons will focus on a group of interrelated themes such as modernity/modernism, alienation, innocence, death, male-female relationships, and Nature. All readings are in English translation. No prior training in Japanese language or culture required.

CMPL 368A. Introduction to Film Studies (3)
(See ENGL 368A.) Cross-listed as ENGL 368A.

CMPL 368C. Topics in Film (3)
Individual topics in film, such as a particular national cinema, images of women in film, film comedy, New Wave film, literature and film. Maximum 12 credits. Prereq: ENGL 150. Cross-listed as ENGL 368C.

CMPL 371. Philosophy and Literature (3)
Affinities and tensions between philosophy and literature and issues that arise in their interface. Topics include: philosophical use of literary devices; literary use of philosophical ideas; literary philosophy and philosophical literature; and hermeneutics of literature and philosophy. Readings in philosophy and literature from both traditional and contemporary sources. Team-taught by faculty of the philosophy and literature departments. Cross-listed as PHIL 370.

CMPL 390. Topics in Comparative Lit (3)
In-depth examination of specific critical and literary theories and of their relevance for literature and culture studies. Authors, works and instructor may vary.

CMPL 399. Independent Studies (1-3)
For qualified students with special interests and commitments that are not fully addressed in regular courses. Directed readings and meetings with instructor as arranged. Prereq: Consent of department.

CMPL 430. Studies in Fiction: The Novella (3)
(See CMPL 330.)

CMPL 438. Trends in Recent Fiction (3)
(See CMPL 338.)

CMPL 490. Topics in Comparative Lit (3)
In-depth examination of specific critical and literary theories and of their relevance for literature and culture studies. Authors, works and instructor may vary.

CMPL 590. Seminar in Comparative Literature (3)
Comparative study of at least two cultures or literary traditions. Topics vary depending on student and instructor interests; may include French and American film, Spanish and French postcolonial literature, French and British romanticism. Taught in English. Prereq: Graduate standing.

CMPL 595. Independent Studies (1-3)
For qualified graduate students with special interests and commitments that are not fully addressed in regular courses. Directed readings and meetings. Prereq: Graduate standing. Coreq: Consent of department.

CMPL 601. Independent Study (1-18)
Prereq: Consent of department.

FRCH 101. Elementary French I (4)
(Credit for FRCH 101 only upon completion of FRCH 102.) Emphasizes conversational skills. Students expected to achieve control of sound system and basic sentence structures of French. Students must attend Language Resource Center in addition to scheduled class meetings.

FRCH 102. Elementary French II (4)
Continuation of FRCH 101. Prereq: FRCH 101.

FRCH 201. Intermediate French I (4)
Intensive review of grammar and usage through readings, discussions and other activities that emphasize contemporary French life. Students must attend Language Resource Center in addition to scheduled class meetings. Prereq: FRCH 102 or equivalent.

FRCH 202. Intermediate French II (4)
A continuation of FRCH 201, the course focuses on the acquisition of intermediate-level skills in language and culture while providing insights into the nature of language. Participation in multi-media activities in Language Resource Center is a requirement. Prereq: FRCH 201 or equivalent.

FRCH 308. Supervised Study in France (3)
Three-week immersion learning experience living and studying in France, specifically in Bordeaux. Students devote three hours per day to formal study of the French language and its culture while taking advantage of the numerous cultural institutions of the city and the surrounding countryside. Prereq: FRCH 202.

FRCH 310. Advanced Composition and Reading (3)
An initiation to the literature of Francophone expression with a focus on close reading. Students engage in the discussion of authentic, unabridged literary texts of compelling interest and progressive length and learn how to express their ideas both orally and in written form. Prereq: FRCH 202.

FRCH 311. Advanced Conversation I (3)
Designed to enhance pronunciation, speaking and listening-comprehension through the discussion of French literature and media for children. Required for Teacher candidates. Prereq: FRCH 202 or equivalent.

FRCH 312. Advanced Conversation II (3)
A functional approach to conversation. Students work to develop fluency in spoken French using current colloquial vocabulary and focusing on current issues. Practice in using speech appropriate to a variety of situations, including public debates. Prereq: FRCH 202.

FRCH 314. Translation Techniques (3)
Contrastive grammar analysis and stylistics are used to foster linguistic awareness and to introduce students to the methods and skills of translation. Prereq: FRCH 202 or equivalent.

FRCH 315. Business French (3)
Business French is an upper-level course with a focus on the economic life of France and other Francophone countries. Students gain knowledge of the economic structures and the business organization of Francophone countries as they enhance the linguistic skills used in professional communication. Prereq: FRCH 202.

FRCH 316. Contemporary France (3)
A study of contemporary France, this course features discussions and lectures on a variety of topics (geography, political and social life, contemporary culture) to develop factual knowledge about France and a sound understanding of current issues as presented in the media. Prereq: FRCH 202.

FRCH 317. French Cinema (3)
An exploration of contemporary France, its images and values as presented in French films of the last ten years. French press reviews are used for discussion. A unique linguistic and cultural immersion. Taught in French. Prereq: FRCH 202.

FRCH 318. The Origins of France (3)
Examination through texts, films, and other media of major historical, intellectual, and artistic influences that have shaped the evolution of French civilization. Students will attempt to identify the values and myths that have contributed to the formation of modern France and continue to influence French actions. Prereq: FRCH 202.

FRCH 319. Modern France (3)
A study of France’s political, social and cultural history from the French Revolution to World War II with emphasis on events, movements and people that shaped Modern France. Highly recommended for students of Nineteenth- and Twentieth-Century French Literature. Prereq: FRCH 202.

FRCH 320. Introduction to French Literature (3)
Major literary movements, principal writers and outstanding works of French literature. Prereq: FRCH 202.

FRCH 321. French Literature to 1600 (3)
Faith. Honor. Passion. Politics. An exploration of these issues in French literature from 900 to 1600 in the context of the development of narrative, lyric and theater and as an expression of culture and thought. Prereq: Any 300-level FRCH course.

FRCH 331. Seventeenth-Century French Literature (3)
The Age of Classicism, from Descartes to Mme. de Lafayette. Emphasis on Baroque literature and Classical drama. Authors, works and topics may vary. One 300-level French course suggested prerequisite. Prereq: Any 300-level FRCH course.

FRCH 341. Eighteenth-Century French Literature (3)
Le siecle des Lumieres in representative texts of the Enlightenment and pre-Romanticism. Authors, works and topics vary. Prereq: Any 300-level FRCH course.

FRCH 351. Nineteenth-Century French Literature (3)
Romanticism, realism and naturalism in the novel and the drama. Authors, works and topics vary. Prereq: Any 300-level FRCH course.

FRCH 361. Twentieth-Century French Literature (3)
Study of representative novelists (e.g., Proust, Gide, Colette, Sartre, Beauvoir) and playwrights (e.g., Claudel, Beckett, Genet) in historical context. Authors, works and topics vary. Prereq: Any 300-level FRCH course.

FRCH 371. Topics in French Poetry (3)
Nineteenth- and twentieth-century poetry. Topics include French romanticism, symbolism and surrealism. Prereq: Any 300-level FRCH course.

FRCH 372. Topics in French Drama (3)
A topical approach to issues and problems specific to drama. Plays, playwrights, aesthetic theories and historical periods studied in this course may vary. Prereq: Any 300-level FRCH course.

FRCH 373. The Novel and the Novella (3)
A study of narrative fiction focused on either the analysis of a particular genre (the novel, the short story) or a particular type of novel (e.g., psychological novel, realist novel, detective novel); the tale (the fantastic tale, the fairytale) or novella. Prereq: Any 300-level FRCH course.

FRCH 374. Major Writers and Literary Movements (3)
In-depth study of the work of a major writer, cineast, or intellectual figure; or of a significant literary, intellectual or artistic movement. Approaches, content, and instructor will vary. Prereq: Any 300-level FRCH course.

FRCH 375. Francophone Literature (3)
An examination of Francophone literature focused on the problematics of identity within the colonial and post-colonial context. Writers and works may vary. Prereq: Any 300-level FRCH course.

FRCH 376. Women Writers (3)
Examination of literary texts by French women writers; emphasizes women’s important contributions to French literature. Critical essays are also studied to address women’s relation to literature and to evaluate its importance from historical and theoretical perspectives. Prereq: Any 300-level FRCH course.

FRCH 377. Special Topics (3)
The special topics course is designed to respond to students’ and faculty’s interest in specific themes or issues not otherwise covered in the curriculum. Approaches, content and instructor will vary. Prereq: Any 300-level FRCH course.

FRCH 398. Honors Thesis (3)
Prereq: Permission of department.

FRCH 399. Directed Reading (1-3)
For students who wish to work independently on a topic, literary or nonliterary, in French. Prereq: Permission of department.

FRCH 421. French Literature to 1600 (3)
(See FRCH 321.)

FRCH 431. Seventeenth-Century French Literature (3)
(See FRCH 331.)

FRCH 441. Eighteenth-Century French Literature (3)
(See FRCH 341.)

FRCH 451. Nineteenth-Century French Literature (3)
(See FRCH 351.)

FRCH 461. Twentieth-Century French Literature (3)
(See FRCH 361.)

FRCH 471. Topics in French Poetry (3)
(See FRCH 371.)

FRCH 472. Topics in French Drama (3)
(See FRCH 372.)

FRCH 473. The Novel and the Novella (3)
(See FRCH 373.)

FRCH 474. Major Writers and Literary Movements (3)
(See FRCH 374.)

FRCH 475. Francophone Literature (3)
(See FRCH 375.)

FRCH 476. Women Writers (3)
(See FRCH 376.)

FRCH 477. Special Topics (3)
(See FRCH 377.)

FRCH 590. Seminar: Topics in Modern Literature and Culture (3)
French literature and culture since the Revolution of 1789. Topics vary depending on student and instructor interests; may include realism and naturalism, Proust, contemporary film, Paris, feminist theory. Prereq: Graduate standing.

FRCH 595. Independent Research (1-3)
Graded independent work on a literary topic arranged individually with the instructor. Prereq: Graduate standing.

FRCH 601. Independent Studies (1-18)
For individual students or larger groups with special interests. Prereq: Consent of department.

GRMN 101. Elementary German I (4)
(Credit for GRMN 101 only upon completion of GRMN 102.) Introductory course emphasizing conversational skills. Students achieve control of sound system and basic sentence structures of spoken and written German. Students must attend the Language Resource Center in addition to class meetings.

GRMN 102. Elementary German II (4)
Continuation of GRMN 101, emphasizing conversational skills. Prereq: GRMN 101 or equivalent.

GRMN 201. Intermediate German I (4)
Emphasizes both language and culture and is taught in German. Review of grammar and usage of German while studying texts and videotapes which focus on contemporary life in Germany. Prereq: GRMN 102 or equivalent.

GRMN 202. Intermediate German II (4)
Continuation of GRMN 201; conducted in German. Study of texts and videotapes which focus on contemporary life in Germany. Prereq: GRMN 201 or equivalent.

GRMN 208. The Munich Experience: Intermediate Level (3)
A semester seminar class, conducted in German, which culminates with a three-week immersion learning experience spent living and studying in Munich. Students reside with German families, study German daily in a formal setting, and practice comprehension, speaking, reading, and writing. Regular visits to museums, galleries, and cultural events; first-hand observation of history, life, and architecture of a major cultural center; day trips to cultural phenomena and events in the German countryside. Prereq: GRMN 201 or equivalent.

GRMN 303. German Culture and Civilization (3)
Examines aspects of contemporary Germany, including political and social systems and cultural life through study of texts, films, and other media. Prereq: GRMN 202.

GRMN 308. The Munich Experience: Spring Course/Summer Study Advanced Level (3)
A semester seminar class, conducted in German, which culminates with a three-week immersion learning experience spent living and studying in Munich. Students reside with German families, study German daily in a formal setting, and practice comprehension, speaking, reading, and writing. Regular visits to museums, galleries, and cultural events; first-hand observation of history, life, and architecture of a major cultural center; day trips to cultural phenomena and events in the German countryside. Prereq: GRMN 202 or equivalent.

GRMN 310. Advanced Composition and Reading (3)
An advanced-level skills course focusing on reading and writing for students who have already studied intermediate German. Develops abilities to read authentic, unabridged texts and also to produce increasingly sophisticated expository compositions in German. Read contemporary newspaper and magazine articles; practice composition skills by composing objective summaries, reviews, precis, letters, e-mail, short creative texts, and other miscellaneous written forms. Readings increase progressively in length and vary in genre. Includes instruction on use of English- and German-language research tools, German-German dictionaries, and study guides. Concludes with a short, sophisticated literary work, such as Fontane’s Effi Briest or Mann’s Death in Venice. Satisfies prerequisite for upper-level Germanics seminars or may be taken simultaneously with an upper-level course (321 or higher); taught in German. Prereq: GRMN 202 or equivalent.

GRMN 311. Advanced Conversation (3)
Students work to improve fluency in spoken German. Topics include contemporary issues; current vocabulary is stressed. Students practice using speech appropriate to various situations. Prereq: GRMN 202 or equivalent.

GRMN 312. German Proficiency Through Drama (3)
Focus on reading, enacting, and discussing of authentic dramatic texts. Readings begin with single scenes and progress to full length radio plays and theater plays which gradually increase in linguistic difficulty and complexity of central themes. Although we will pay attention to the cultural and theatrical milieux from which each play arose, we will focus on the dramatic text as literature and as a text written for performance. Elements of drama, such as dialogue, character and dramatic structure, as well as the genres of tragedy, comedy, and tragicomedy are introduced. Prereq: GRMN 202 or equivalent.

GRMN 313. Introduction to German Literature (3)
Introduction to German literature and the cultural issues it addresses. Prereq: GRMN 202 or equivalent.

GRMN 320. Studies in Narrative (3)
This course examines representative prose works (tales, novellas, short novels, letters, and essays) chosen to present reactions and impressions to social and aesthetic conditions in German-speaking countries and to introduce students to different styles and varieties of German prose. Prereq: One 300-level GRMN course.

GRMN 326. Witches, Weddings, and Wolves (3)
Intensive study of German Folk Tales as collected and altered by the Brothers Grimm. The Maerchen as both children’s and adult literature. Prereq: One 300-level GRMN course.

GRMN 330. The German Novelle (3)
Study of exemplary short prose fiction by authors from the eighteenth to the twentieth century. Continues development of communicative ability in German; introduces students to German literature’s arguably richest genre. Prereq: GRMN 202 or equivalent.

GRMN 331. Topics in German Cinema (3)
Overview of German Cinema from the beginning to the present. Film selection representative of major directors, major periods (such as expressionism or The New German Cinema), particular themes from different historical perspectives, and literature in film. All films are in German. Taught in German. Prereq: GRMN 202 and one GRMN 300-level course or equivalent.

GRMN 340. German Drama (3)
Overview of German drama from the beginning to the present. Explores German plays by applying different disciplinary approaches such as historical, cultural, and literary analyses. All plays are in German. Taught in German. Prereq: One 300-level GRMN course.

GRMN 350. German Lyric (3)
This course presents a detailed study of German lyric through the frequent writing of critical papers and literary analysis of the formal elements of poetry: rhyme schemes, diction, meter, figures of speech. The poems selected cover a variety of styles, a range of historical periods, and a sampling of authors. Readings and discussions in German. Prereq: One 300-level GRMN course.

GRMN 360. Major Authors of German Literature (3)
Concentrates on a specific author or small group of authors within an aesthetic or historical context, for example: Goethe, Heine, Bachmann, Junges Deutschland, or die Gruppe 47. Examines the breadth of themes and styles and may include literary, philosophical, biographical, and other kinds of texts. Readings and discussions in German. Prereq: One 300-level GRMN course.

GRMN 366. From Lessing to Young Goethe (3)
Theory and literature of the mid-eighteenth century. Focus on the works of Lessing, young Goethe and young Schiller and the writers of the Storm and Stress. Prereq: GRMN 202 or equivalent.

GRMN 367. German Classicism/Romanticism (3)
Selected works of Goethe, Schiller, Hoelderlin, von Kleist, and others. Prereq: GRMN 202.

GRMN 370. Literary Periods (3)
Overview of German literary periods from the beginning to the present. Explores German literary works in all three major genres from the historical, social, and literary perspectives. All works are in German. Taught in German. Prereq: One 300-level GRMN course.

GRMN 375. 19th-Century German Literature (3)
Major works chosen to present prominent themes and problems and/or important developments within the period; topic varies. Prereq: GRMN 202.

GRMN 380. 20th-Century German Literature I (3)
Study of major works chosen to present themes and problems in naturalism, expressionism, and other important literary and cultural developments within the period before World War II. Prereq: GRMN 202 or equivalent.

GRMN 381. Advanced German Culture Studies (3)
Exploration of the culture of the arts, political culture, and the cultural self-expression of the German-speaking countries from their beginnings to the present. Focus: The cultural changes within certain historical periods. Examination of particular aspects such as culture as mass deception in fascist Germany and the GDR, the reflection of contemporary culture in literature and cinema, problems of cultural identity and multiculturalism, and the role of postmodern culture industry and the critical discourse today. Taught in German. Prereq: One 300-level GRMN course.

GRMN 386. 20th-Century German Literature II (3)
Post World War II German literary and cultural developments. Focus on efforts to come to grips with German history from 1933 to German reunification. Prereq: GRMN 202.

GRMN 395. Special Topics (3)
Special topics in German literature, literary criticism, and culture. Prereq: GRMN 202 or equivalent.

GRMN 398. Senior Thesis (3)
An elective which involves the writing of a substantial research paper in German. Exceptional papers may be considered for departmental honors. Prereq: Senior status and consent of department.

GRMN 399. Independent Study in German (1-3)
For majors and advanced students under special circumstances. Prereq: Consent of department.

GRMN 405. Literature and Life in Contemporary German-Speaking Countries (3)
Exploration and analysis of selected German, Austrian, and Swiss writers and of the critical and popular media around them. Focus on representative examples of various genres; drama, fiction, autobiographical prose, interviews, lyric poetry; selections from Spiegel, FAZ, Zeit, and other major representatives of the media. Prereq: GRMN 202.

GRMN 408. Supervised Study in Germany (3)
(See GRMN 308.)

GRMN 415. The Female Self: German Women Writers (3)
Intensive study of several German women authors whose writing seeks to delineate a female self. An ultimate objective of the course is to debate the gender-specific approach asking whether women write differently than men and whether we read women authors differently than we do men.

GRMN 426. Witches, Weddings, and Wolves (3)
(See GRMN 326.)

GRMN 430. The German Novelle (3)
(See GRMN 330.)

GRMN 466. From Lessing to Young Goethe (3)
(See GRMN 366.)

GRMN 467. German Classicism/Romanticism (3)
(See GRMN 367.)

GRMN 475. 19th-Century German Literature (3)
(See GRMN 375.)

GRMN 480. 20th-Century German Literature I (3)
(See GRMN 380.)

GRMN 486. 20th-Century German Literature II (3)
(See GRMN 386.)

GRMN 495. Special Topics (3)
(See GRMN 395.)

GRMN 499. Independent Study in German (1-3)
(See GRMN 399.)

ITAL 101. Elementary Italian I (4)
(Credit for ITAL 101 only upon completion of ITAL 102.) Introductory course; stress on mastery of the sound system and basic sentence structure of spoken and written Italian.

ITAL 102. Elementary Italian II (4)
Continuation of ITAL 101; attendance in the language laboratory is required in addition to scheduled class meetings. Prereq: ITAL 101 or equivalent.

ITAL 201. Review and Progress in Italian (4)
Emphasizes language and culture. Review of Italian grammar and usage while studying written forms. Language laboratory attendance required in addition to scheduled class meetings. Prereq: ITAL 102.

ITAL 202. Read and Discuss Italian Texts (4)
Focus on improving linguistic skills acquired in elementary Italian and on mastering short narratives. Review of Italian grammar and usage through reading, conversation, and media. Language laboratory attendance required in addition to scheduled class meetings. Prereq: ITAL 201.

ITAL 311. Conversation in Italian (3)
Solely focused on oral communication, ITAL 311 is designed to enhance listening/comprehension skills in Italian. Using audio-visual materials, students acquire the skills necessary to understand conversations between native-speakers and to emulate them. The situational and functional approach to the course facilitates progress towards advanced-level fluency in Italian. Prereq: ITAL 202 or equivalent.

ITAL 399. Independent Studies (1-3)
For students under special circumstances. Prereq: Permission of department.

JAPN 101. Elementary Japanese I (4)
(Credit for JAPN 101 only upon completion of JAPN 102.) Introduction to understanding, speaking, reading, and writing Japanese. Students learn to read and write hiragana and katakana syllabaries and 50 kanji characters. Students expected to achieve control of the sound system and basic structure of the language. Emphasizes aural comprehension and speaking.

JAPN 102. Elementary Japanese II (4)
Continuation of JAPN 101. Emphasizes aural comprehension, speaking, reading, and writing. Students learn approximately 100 new kanji characters. Prereq: JAPN 101.

JAPN 201. Intermediate Japanese I (4)
Further study of fundamental structures of Japanese. Students improve aural comprehension, speaking, reading, and writing abilities and learn approximately 100 new characters. Prereq: JAPN 102 or equivalent.

JAPN 202. Intermediate Japanese II (4)
Continuation of JAPN 201. Students learn an additional 100 to 125 kanji characters. With the completion of JAPN 201 - 202, students should have control of the fundamentals of modern Japanese and a firm foundation in the writing system. Prereq: JAPN 201.

JAPN 215. Japanese Popular Culture (3)
(See CMPL 215.) Cross-listed as CMPL 215.

JAPN 240. Modern Japanese Literature in Translation (3)
Focus on the major genres of modern Japanese literature, including poetry, short story, and novel (Shosetsu). No knowledge of Japanese language or history is assumed. Lectures, readings, and discussions are in English. Films and slides complement course readings. Cross-listed as CMPL 240.

JAPN 241. Classical Japanese Literature in Translation (3)
Readings, in English translation, of classical Japanese poetry, essays, narratives, and drama to illustrate essential aspects of Japanese culture and sensibility before the Meiji Restoration (1868). Lectures explore the sociohistorical contexts and the character of major literary genres; discussions focus on interpreting the central images of human value within each period. Japanese sensibilities compared/contrasted with those of Western and other cultures. Cross-listed as CMPL 241.

JAPN 301. Advanced Japanese I (4)
Emphasizes conversational proficiency and reading. Students must attend the language lab in addition to class meetings. Prereq: JAPN 202 or permission.

JAPN 302. Advanced Japanese II (4)
Continuation of JAPN 301; emphasizes conversational proficiency and reading. Japanese life and culture introduced through supplemental materials and activities. Students must attend the language lab in addition to regular scheduled class meetings. Prereq: JAPN 301 or permission.

JAPN 303. Topics in Japanese I (3)
Students in this course will work with authentic materials to improve proficiency in Japanese. Subject matter varies but emphasis is on contemporary culture of Japan. Prereq: JAPN 302 or permission.

JAPN 341. Japanese Women Writers (3)
Contributions of women writers to the literature of pre-modern and modern Japan; investigations of how their works exemplify and diverge from "mainstream" literary practices. Emphasis on the social and cultural contexts of the texts. Cross-listed as CMPL 341.

JAPN 350. Contemporary Japanese Texts (3)
Stress on development of sophisticated communication skills in Japanese. Reading and discussion of various texts in the original, such as comics (manga), video scripts, essays, news scripts, and literary works. Enhancement of writing and aural/oral proficiency through presentations, listening drills, viewing of videos, and classroom discussion. Prereq: JAPN 302 or permission.

JAPN 351. Japanese in Cultural Context (3)
Exploration and analysis of selected Japanese writers and the critical and popular media around them. Focus on continued development of skills from JAPN 350 and on representative examples of various genres; drama, fiction, autobiographical prose, interview, lyric poetry and the press. Prereq: JAPN 350 or permission.

JAPN 398. Senior Colloquium (3)
A capstone course for the Japanese Studies major. Involves the writing of a substantial research paper in Japanese or English. Exceptional papers may be considered for honors. Prereq: Permission of department.

JAPN 399. Independent Studies (1-3)
Directed study for students who have progressed beyond available course offerings. Prereq: Permission of department.

RUSN 101. Elementary Russian I (4)
(Credit for RUSN 101 only upon completion of RUSN 102.) Introductory course emphasizing conversational skills. Students achieve control of alphabet, sound system, and basic sentence structures in spoken and written Russian. Students must attend the Language Resource Center in addition to class meetings.

RUSN 102. Elementary Russian II (4)
Continuation of RUSN 101, emphasizing audiolingual practice. Prereq: RUSN 101.

RUSN 201. Intermediate Russian (4)
Furthers students’ ability in four basic language skills: understanding, speaking, reading and writing; expands knowledge of Russian grammar and vocabulary. Prereq: RUSN 102.

RUSN 202. Introduction to Contemporary Civilization (4)
Continuation of RUSN 201; introduces contemporary Russian culture through readings and discussion. Prereq: RUSN 201.

RUSN 311. Advanced Conversation (3)
Students work to improve fluency in spoken Russian. Topics of conversation include aspects of contemporary civilization; current vocabulary is stressed. Prereq: RUSN 202.

RUSN 318. Studies in Russian Civilization (3)
Examination of major historical, intellectual, and artistic influences that have shaped the evolution of Russian civilization. Students attempt to identify major influences on the formation of modern Russia. Prereq: RUSN 202.

RUSN 319. Life in Modern Russia (3)
Examines aspects of life in modern Russia, between the 1917 Revolution and the present, including political and social systems and cultural life through the study of texts, films and other media. Prereq: RUSN 202.

RUSN 320. Introduction to Russian Literature (3)
Introduction to major literary movements, principal writers, and outstanding works of Russian literary works. Prereq: RUSN 202 or equivalent.

RUSN 399. Independent Study (1-3)
Prereq: Permission of department.

SPAN 101. Elementary Spanish I (4)
(Credit for SPAN 101 only upon completion of SPAN 102.) Introductory course emphasizing conversational skills. Students achieve control of the sound system and basic sentence structures of spoken and written Spanish. Students must attend the Language Resource Center in addition to class meetings.

SPAN 102. Elementary Spanish II (4)
Continuation of SPAN 101, emphasizing conversational skills. Prereq: SPAN 101.

SPAN 201. Intermediate Spanish (4)
Intensive review of grammar and usage through readings, discussions, and other activities. Prereq: SPAN 102.

SPAN 202. Introduction to Contemporary Civilization (4)
Introduction to contemporary Hispanic civilization. Continues grammar review of SPAN 201 with an emphasis on subjunctive mood. Students will study texts and cultural documents which focus on contemporary life in Hispanic countries. Prereq: SPAN 201.

SPAN 301. Practice of Translation (3)
Students learn necessary skills and techniques for solving linguistic problems in translation. Texts with a variety of contents including articles from current press, will be translated from English into Spanish and occasionally from Spanish into English. Prereq: SPAN 202.

SPAN 303. Latin American Cultural Conflicts (3)
Evolution of Latin American socioeconomic characteristics and artistic production up to the present. Class discussions of diverse literary works, social research essays, and testimonials focus on conflicting elements in class structures, ethnicity, and urban modernization as well as family ethos, religious trends, cultural identity, and educational problems. Prereq: SPAN 202.

SPAN 304. Studies in Civilization (3)
Major historical, intellectual and artistic influences that have shaped the evolution of Spanish civilization. Prereq: SPAN 202.

SPAN 310. Advanced Composition and Reading (3)
Designed to facilitate the transition between lower and upper division courses in Spanish, and focus upon the simultaneous development of the reading and writing skills expected of students in all advanced Spanish courses. Prereq: SPAN 202.

SPAN 311. Advanced Spanish Conversation (3)
Engages students in conversation so that they develop oral proficiency. Short essays and newspaper articles dealing with everyday activities, socio-cultural roles and experiences, and self-awareness and life goals discussed; some literary materials discussed. Prereq: SPAN 202.

SPAN 313. Introduction to Readings in Spanish Literature (3)
Introduction to major literary movements and outstanding works of Spanish literature. Prereq: SPAN 202.

SPAN 322. Latin American Short Story (3)
The history and development of the Latin American short story from the nineteenth century to the present. Intertextuality, rise of the Nuevo Cuento, and major characteristics of the works. Male and female authors. Prereq: SPAN 202.

SPAN 326. The Fantastic in Latin American Prose (3)
Introduction to a distinctive trend in contemporary Latin American literature, the prose portrayal of the "fantastic," a new narrative mode in Latin America. Critical examination of selected texts reveals new concepts of space and time and an increasing complexity of structure and style, one which juxtaposes and analyzes fantasy and reality. Prereq: SPAN 202.

SPAN 336. Chicana/o Literature (3)
An introduction to Chicana/o literature written after 1943. Literary history, clarification of linguistic terminology, and an examination of the cultural components of each work. Readings, discussions, and lectures in Spanish.

SPAN 339. Latin American Poetic Revolt (3)
Introduction to most important poets in contemporary Latin America, a region home to a significant number of eminent poets, including Nobel Laureates from Chile, Gabriela Mistral and Pablo Neruda. The course focuses on detailed textual analysis of pivotal works, combined with historical-literary perspective, so students gain insight into the diverse styles and tendencies that reflect the tumultuous history of poetry’s development in a relentless search for a Latin American cultural identity. Prereq: SPAN 202.

SPAN 340. Contemporary Latin-American Narrative (3)
Students explore the most significant narrative techniques since 1945 in Latin American fiction: Borges, Cortazar, Garcia Marquez, Vargas Llosa, Isabel Allende. Prereq: SPAN 202.

SPAN 342. Latin American Feminist Voices (3)
Examination of the awakening of feminine and feminist consciousness in the literary production of Latin American women writers, particularly from the 1920s to the present. Close attention paid to the dominant themes of love and dependency; imagination as evasion; alienation and rebellion; sexuality and power; the search for identity and the self-preservation of subjectivity. Readings include prose, poetry, and dramatic texts of female Latin American writers contributing to the emerging of feminist ideologies and the mapping of feminist identities. Prereq: SPAN 202.

SPAN 343. The New Drama in Latin America (3)
Representative works of contemporary Latin American drama. Critical examination of selected dramatic works of twentieth-century Latin America provides students insight into the nature of drama and into the structural and stylistic strategies utilized by Latin American dramatists to create the "new theater," one which is closely related to Latin American political history. Prereq: SPAN 202.

SPAN 350. Spanish Fiction (3)
Narrative masterpieces from Cervantes and the picaresque (El Lazarillo) to the short stories and novels of 19th and 20th century authors. Prereq: SPAN 202.

SPAN 351. Spanish Generation of 1898 (3)
The course studies the so-called second Golden Age of Spanish literature. The Generation of 1898 rebelled at the end of the XIX Century against the "Restauracion," an inefficient and corrupt political system. To find a solution to a period of economic and cultural decadence, it demanded "Europeanization." Though these writers failed to produce any immediate political change, they succeeded in replacing the old Spanish rhetoric and in creating a superb expression of the new spirit. Prereq: SPAN 202.

SPAN 360. Hispanic Self-Conscious Literature (3)
Since the Seventeenth Century, Hispanic literature has revealed its fictional nature, commented on the building of its fictional world, mirrored itself (fiction within a fiction), and invited and compelled the reader to participate in the work of art. The texts of the course, selected from Peninsular and Latin-American literatures, show the most relevant characteristics of Contemporary self-conscious art and allow students to become acquainted with some of the main concepts of literary criticism today. Prereq: SPAN 202.

SPAN 370. Special Topics in Spanish (3)
This course is designed to respond to students’ and faculty interest in specific themes or issues not otherwise covered in the curriculum. Approaches, content, and instructor will vary and this course may have a focus that crosses generic, artistic, historical, disciplinary, and geographical boundaries. The honing of analytical and interpretative skills as well as the further development of Spanish language skills also are integral objectives of this course. The class is conducted in Spanish. Prereq: SPAN 313 or equivalent.

SPAN 398. Senior Thesis (3)
An elective which involves the writing of substantial research paper in Spanish. Exceptional papers may be considered for departmental honors. Prereq: Senior status and permission of department.

SPAN 399. Independent Studies (1-3)
Prereq: Permission of department.

SPAN 440. Contemporary Latin-American Narrative (3)
(See SPAN 340.)

SPAN 451. Spanish Generation of 1898 (3)
(See SPAN 351.)

SPAN 460. Hispanic Self-Conscious Literature (3)
Since the Seventeenth Century, Hispanic literature has revealed its fictional nature, commented on the building of its fictional world, mirrored itself (fiction within a fiction), and invited and compelled the reader to participate in the work of art. The texts of the course, selected from Peninsular and Latin-American literatures, show the most relevant characteristics of Contemporary self-conscious art and allow students to become acquainted with some of the main concepts of literary criticism today. Prereq: SPAN 202.

SPAN 470. Special Topics in Spanish (3)
(See SPAN 370.)

Music Education
Music History
Early Music Performance
Applied Music

Haydn Hall
hone 216-368-2400; Fax 216-368-6557
Georgia J. Cowart, Chair
Robert E. Dunn (Music Education)

The Department of Music is committed to creating the best possible educational opportunities and professional programs in music. The department’s aim is to offer superior programs that balance humanistic knowledge of music with excellence in performance. Individual professional interests are encouraged and promoted. To foster this aim, the Department of Music has established major degree programs in music and music education and has collaborated with the Cleveland Institute of Music in a Joint Music Program.

William I. Bauer, Ph.D. (Kent State University)
Assistant Professor
Music education; research; technology; music teacher preparation

Gary M. Ciepluch, Ph.D. (University of Wisconsin, Madison)
Associate Professor
Director of bands; conducting

Mary E. Davis, Ph.D. (Harvard University)
Robson Assistant Professor
20th century; piano music; world music

Ross W. Duffin, D.M.A. (Stanford University)
Fynette H. Kulas Professor
Medieval; Renaissance; Baroque; performance practices; Collegium Musicum

Robert E. Dunn, Ph.D. (Northwestern University)
Associate Professor; Director, Music Education
Music education; music listening, general and vocal music

Stephen E. Hefling, Ph.D. (Yale University)
Professor
18th and 19th centuries; chamber music; analysis

Kathleen A. Horvath, Ph.D. (Ohio State University)
Assistant Professor
Music education; string education and pedagogy

Quentin W. Quereau, Ph.D. (Yale University)
Associate Professor
Medieval; Renaissance; opera; art song

Cleveland Institute of Music Academic Faculty Offering Courses for University Students
Alan Bise

Paul Blakemore

Margaret Brouwer

David Brown

Jo Anne Caputo

Eric Charnofsky

Jeanette Davis

David Gilson

Mark George

Marshall Griffith

Dean Guy

Thomas Knab

Steven Kohn

Richard Nelson

Lisa Rainsong

Nadia Tarnawsky

Jim Yates

Artist Faculty of the Cleveland Institute of Music
(Consult the current CIM catalog)

Areas of Degree Offerings
Music education (Bachelor of Science, Master of Arts, Doctor of Philosophy)

Early music performance practices (Master of Arts, Doctor of Philosophy,
Doctor of Musical Arts)

Music (within the context of liberal arts; see subsequent list of concentrations)
(Bachelor of Arts)

Music history and literature (Master of Arts)

Musicology (Doctor of Philosophy)

Concentrations within the Bachelor of Arts in Music are:
Music history and literature

Music theory

Early music performance practices

Performance

General musicianship (particularly suitable for students interested in music as part of a double major or double degree)

Audio recording technology

Students interested in these programs should apply to the University with the understanding that many courses in music performance, music theory, and related studies will be taken at the Cleveland Institute of Music.

The Cleveland Institute of Music and Case Western Reserve University participate in an integrated music program at both the undergraduate and the graduate levels. Students at either institution have the benefit of pursuing studies at both schools, thus enjoying the intimacy and intense specialization of a professional conservatory, together with access to the resources of a major university. Both institutions share a campus setting in University Circle. Severance Hall (home of the Cleveland Orchestra), the Cleveland Museum of Art, the Cleveland Music School Settlement, and several other cultural organizations are within a short walking distance of both schools.

The Cleveland Institute of Music concentrates on the education of students whose professional interests include the following:

Students who are interested in these majors in the context of intensive conservatory training should matriculate at the Cleveland Institute of Music with the understanding that courses in music history, music education, and the liberal arts will be taken at the University. Contact the Admissions Officer, Cleveland Institute of Music, 11021 East Boulevard, Cleveland, Ohio 44106, for a description of programs and the appropriate admissions materials.

The Department of Music is distinctive in offering special areas of concentration to the student on both the undergraduate and the graduate level.

One such area of special interest is early music performance practices, where musical research in early music, instruments, and performance problems is directly applied to performance. The supporting performance organizations are the Case Western Reserve University Collegium Musicum and Baroque Orchestra, which are devoted to the performance of early music on authentic reproductions of Medieval, Renaissance, and Baroque instruments. Faculty, staff and visiting artists provide professional instruction and coaching. The Collegium Musicum and Baroque Orchestra use the Kulas Collection of Historical Instruments.

Music education programs at Case Western Reserve University are committed to the idea that excellence in teaching follows excellence in musicianship, scholarship, and professional development. In both the undergraduate and graduate programs, the faculty stresses practical and philosophical foundations regarding music in education. This nationally recognized music education program specializes in research in music education, music teaching and learning, music technology, string pedagogy, and wind conducting and literature. The department’s nationally-prominent faculty are active in their respective professional organizations and as guest clinicians, conductors, lecturers, and authors. The mission of the Music Education Program is to prepare committed, knowledgeable, and creative professional music educators who will develop into leaders, teachers, and outstanding musicians in the field of music education.

Students who wish to major in music must pass a performance audition on an acceptable instrument or in voice and take a music theory placement test. Arrangements for this audition and test must be made directly with the department. Once admitted as a music major, students are required each semester to participate in one or more of the University musical organizations and to attend recital class. Performance juries are required during each semester that the music major is enrolled in applied music instruction.

The department encourages qualified students to consider a double major in music and another subject. As many as 1/3 to 1/2 of music majors are pursuing a double major. Typical combinations include the Bachelor of Arts in music with theater, English, classics, psychology, sociology, and the natural sciences. Once the Arts & Sciences General Education Requirements (39 hours) have been met, a B.A. student can add another major by meeting the course and hour requirements found in this bulletin under the appropriate department. In most cases, it is possible to finish a double major with music in four years.

It is also possible to receive two degrees, although this usually takes five years. Typical combinations of double degrees include the Bachelor of Arts in music with the Bachelor of Science in Engineering, or the Bachelor of Science in Music Education with the Bachelor of Music degree from the Cleveland Institute of Music. All admissions requirements must be met for each school, and course and hour requirements for each degree must be fulfilled. Students interested in double degrees should declare their intent as early as possible and receive advice from faculty about both degrees.

The Bachelor of Arts degree in music is concerned with studies in music and the liberal arts. This degree program stresses an essentially humanistic orientation. It is not intended to lead a student toward a professional career in performance.

Approximately one half of the total 120 semester credit hours necessary for the degree is devoted to music study, with the remaining credit devoted to the General Education Requirements (39 hours), a possible minor program, and a liberal selection of elective courses. This arrangement differs from student to student. The department offers several concentrations within the music portion of the degree (described below). Core music courses for these programs are: (1) Music theory: MUSC 107, 108, 207, 208 (or 101/105, 102/106, 201/205, 202/206), and 318 for a total of 19 semester hours; (2) Music history and literature: MUSC 321, 322, and 336 (the first two of these courses fulfill the Arts and Sciences General Education Requirements for Music Majors) for a total of 9 semester hours; (3) performance instruction (applied music) for a minimum of 15 semester hours; and (4) Additional Requirements:

Music History and Literature
Additional Applied Music study at the 300 level (3); MUSC 393, Introduction to Early Music Performance Practices (3); Two electives from musicliterature courses at the 300 level (6); Foreign language (6)

Music Theory
Additional Applied Music study at the 300 level (3); MUSC 311, 312, Counterpoint I and II (4); One elective from music literature courses at the 300 level (3)

Early Music Performance Practices
Additional Applied Music study at the 300 level (3); MUSC 393, Introduction to Early Music Performance Practices (3); MUSC 394, Seminar in Early Music Performance Practices (3); One elective from music literature courses at the 300 level (3); Foreign language (6)

Performance
Additional Applied Music study at the 300 and 400 levels (9); One elective from music literature courses at the 300 level (3); Foreign language (6)

General Musicianship
One elective from music literature courses at the 300 level (3)

Audio Recording Technology
MUSC 151B, 251B, Audio internship (4 sem. of each req.) (4); MUSC 383, 384, Audio Recording I and II (2,2); MUSC 385, 386, Advanced Recording Techniques I and II (2,2); MUSC 387, 388, Multi-track Recording Techniques I and II (2,2); MUSC 391, MUSC 392, Recording Studio Maintenance I and II (1,1); MUSC 350B, Junior Audio Recording Thesis (3); MUSC 351C, Senior Audio Recording Thesis (6); MUSC 399C, Acoustics of Music (1 credit hr., taken 3 times) (3); MUSC 451, Recording Studio Internship (Commercial) (4)

A Minor in Electronics is available from the Electrical Engineering and Computer Science Department. A five-year, double degree program is also available where the student earns a B.A. in music/audio and a B.S. in an elective field of engineering. See double-degree section above.

Career Opportunities within the Bachelor of Arts Degree
Students choosing the audio recording technology concentration are prepared to enter professional positions in that field immediately upon graduation. Graduates of the other concentrations are prepared to enter programs of advanced study in music or in other professional programs such as those in medicine, law, and management. Because of the humanistic orientation of the degree and the stress on the liberal arts, students are also able to pursue careers in a wide assortment of fields such as communications, publications, business, and arts criticism.

The program in Music Education, which leads to the Bachelor of Science degree, requires a total of 121 credits and is designed to educate professional teachers of music education for public and private schools who are also competent, creative musicians. The program meets all requirements of the Ohio Board of Education to qualify its University-recommended students for PreK-12 Music Specialist Licensure to teach music in the public schools of Ohio and over 40 reciprocating states. Our music education graduates have had a 100% rate of placement for more than a decade. Music education students benefit from a wide range of instrumental, vocal, and general classroom methods courses. As an additional part of the program, students benefit from plentiful "hands-on" experiences by teaching sample lessons and conducting rehearsals in actual teaching situations. Requirements for the Bachelor of Science in Music Education degree:

Participation in additional musical ensemble for one year

Recital Class attendance and performance every year of major, except during student teaching

Students must pass an interview with the music education faculty to be admitted into the program. Evaluations will take place after each methods course to monitor student progress. Students who expect to meet licensure requirements must apply for Advanced Standing by the end of their sophomore year. To apply, students must submit to the music education faculty information about grade point average, personal goals, and self-analysis of performance in the program up to the point of evaluation. Music education faculty may (1) accept a student for advanced standing; (2) accept student with reservation, with a remedial plan; or (3) reject a student and recommend a career change.

To enter student teaching, requirements are a 2.5 cumulative University grade point average, a 3.0 cumulative G.P.A. average in professional education courses, and a total of 300 contact hours of clinical/field-based experience acquired in a variety of settings as required by the State of Ohio. Fingerprinting for a criminal background check by the Ohio Bureau of Criminal Identification is required. For students who have not lived in Ohio consecutively for the past five years, a background check through the Federal Bureau of Investigation is also required.

To be recommended by the university’s director of teacher licensure for State Teacher Licensure, a 3.0 cumulative G.P.A. must be maintained in all professional education courses. An overall G.P.A. of 2.5 must be maintained. The Ohio Department of Education required passing scores on the Praxis II Principles of Learning and Teaching, and Music Content Knowledge exams in addition to the requirements stated above. Completion of the Bachelor of Science degree exists separately from the assurance that the State of Ohio Music Teacher License will be awarded. Additional information on this program is available in the office of the director of teacher licensure.

A minor in music requires five courses, two in music theory (generally MUSC 103, 104), two in music history (either MUSC 221 and MUSC 222, or MUSC 321 and MUSC 322), and one other, which may be in applied music. A minor in music education may be devised in consultation with a music education advisor. The department welcomes students’ initiative in the development of minor programs suited to their needs.

Sequences for students in the Engineering Core
A sequence requires three courses. The department welcomes students’ initiatives in developing sequences suited to their needs. The following are sample sequences:

Music and its theory
MUSC 103, 104, 222

MUSC 221, 103, 104

Music and its history
MUSC 103, 104, and 321 or 322

MUSC 221, 103, 222

Music and computer
MUSC 103, 104, 308

MUSC 221, 103, 308

Music history and jazz
MUSC 103 or 104, 222, 229

MUSC 221, 222, 229

Music and performance
MUSC 103, 221, APMU

MUSC 103 or 104, 222, APMU

Electives for Non-Music Majors
Electives designed for students not majoring in music are MUSC 103, 104, 221, 222, and 229. MUSC 308 is designed for music majors but is open to non-music majors with the permission of the instructor. MUSC 221 and 222 are offered as courses which satisfy the Arts portion of the GER. APMU 380, 382, 383, and 385 are available, normally by audition. Individual instruction in piano, harpsichord, organ, voice, violin, and all other orchestral instruments is available with consent of the department.

See further information under Applied Music.

Departmental Honors Programs for the Bachelor of Arts and Bachelor of Science degrees have the following admission and completion requirements:

Bachelor of Arts Students
Admission to honors status:

Program description–successful completion of the following:

Bachelor of Science Students
Admission to honors status:

Program description–successful completion of the following:

The following graduate degree programs, administered by the University, are offered as part of the Joint Music Program with the Cleveland Institute of Music. General descriptions are given here; however, complete information on all degrees is available from the department. Admission to each degree follows established guidelines of the School of Graduate Studies. Scores from the Graduate Record Examination are required for programs in Music History, Musicology, and Early Music Performance Practices, and an audition is necessary for students interested in the Early Music Performance Practices programs.

The Master of Arts degree is offered in the fields of music history and music education. Within music history, students may choose concentrations in music history and literature or in early music performance practices. Master’s degree candidates in music education may also choose to add State of Ohio teaching licensure.

One possibility exists for a double master’s degree between the Department of Music (M.A. in Music History) and the Mandel Center for Nonprofit Organizations (M.N.O.). This program reduces the combined requirements of both programs to 60 credit hours, including practicums with local arts organizations. The program results in two separate master’s degrees. All admissions requirements must be met for each school, including an undergraduate degree in music, a diagnostic examination in music history and theory, the Graduate Management Aptitude Test (GMAT), a sample essay, as well as references, transcripts, etc. Prospective students should contact both schools for advice from faculty and admissions information.

The concentration in music history and literature emphasizes research, history, literature, and the theory of music. The early music performance practices program presupposes the same strong liberal arts training as the music history and literature concentration plus a strong performance interest and background. Research and its application to music performance are stressed.

Within the 30 hours required for either concentration, the following are minimum requirements: history-literature, 9 hours; research, 6 hours; theory-analysis, 3 hours.

Remaining hours are more freely elected with advisor’s approval, but 9 hours of applied music are required for performance practices students. Ensemble participation is required for performance practices students but does not earn credit hours toward the degree. Examinations include initial placement tests in history and theory, a reading test in German or French, and final written and oral examinations. In addition, performance practices students must audition as part of the admissions process and must present a lecture-recital near the completion of the degree program. At least 18 credit hours must be at the 400 level or higher.

This degree is built on a set of foundation courses in philosophy, curriculum, psychology, research, evaluation, and musicianship. Additional courses and independent studies enable students to tailor programs to their interests and needs.

Students may pursue one of three degree options. Persons in Plan A write a thesis based on original research and defend the thesis in an oral examination. Persons in Plan B complete a comprehensive examination in music education. Applicants for plans A or B should have a bachelor’s degree in music education, a good undergraduate academic record, and at least one year of successful music teaching experience, usually in the public schools.

Persons seeking teacher licensure credentials pursue Plan C. The program includes a core of graduate music education courses, graduate music courses, undergraduate music methods courses, and one semester of practice teaching. Applicants for Plan C should have a bachelor’s degree in music (B.A. or B.M.), a good undergraduate academic record, and some prior experience in working with children. The regulations in the B.S. program regarding advanced standing, grade point averages, and the Praxis II Exam apply to graduate students in Plan C as well.

Foundation courses for all master’s degrees in music education include a music education core of philosophy, curriculum, and research (12 hours); a music core of history, theory (3-9 hours), and performance (0-6 hours); and electives (0-9 hours). Persons in Plan A receive 6 credit hours for thesis research. A comprehensive written examination at the conclusion of course work is required for persons in Plan B. A comprehensive oral exam at the conclusion of course work is required for persons in Plan C.A minimum of 30 credit hours is required for Plans A and B. Plan C combines music education methods courses (10 hours), general education courses (6 hours), the graduate music education core (12 hours), the graduate music core (9 hours), and practice teaching (12 hours). The music education advisor may allow certain music education and general education courses taken as an undergraduate to count towards the degree requirements. (Plan C requires a minimum of 49 hours.)

The Doctor of Philosophy degree is offered in two fields: musicology, with concentrations in music history and early music performance practices; and music education.

This doctorate is granted in recognition of superior scholarly ability and attainment. Award of the degree is based not only on computation of time or enumeration of courses, but also upon distinguished work. Highly qualified applicants may enter this program directly upon completion of a bachelor’s degree.

All programs are formulated to suit the individual needs of the student and require the consent of the advisor. A minimum of 48 hours (36 for students with a master’s degree) of course work, seminars, and tutorials is required. The last 36 hours (24 for students with masters degree) must be completed at the University.

For performance practices students, course work distribution is as follows: applied music, 9-12 hours (6-9 with master’s degree); course work, 36-39 hours (27-30 with master’s degree).

For other musicology students, private lessons at the 400 level, although not required, may be counted to a maximum of six credits at the discretion of the advisor.

Examinations include initial placement tests in history, theory, and an audition for performance practices students; reading tests in German and one other foreign language; qualifying examinations in history and theory prior to admission to candidacy; and a general examination with history, theory, style analysis, and oral sections. Upon completion of the dissertation, an oral defense is held. In addition, performance practices students must audition as part of the admissions process and must present a lecture-recital in conjunction with the dissertation. The candidate must teach a college-level course in music history and literature (or early music performance practices) under the supervision of a faculty member, or have had the equivalent experience before the dissertation is completed.

Normally all performance practices students will participate in the Collegium Musicum or Baroque Orchestra during each semester in which they are on campus. Credit hours obtained for this participation are not applicable toward the degree.

The doctorate in music education is offered to persons who have shown a strong and continuing dedication to music teaching and scholarship. Applicants must have competed three years of full-time music teaching, usually in the public schools. The degree is designed to prepare professionals to assume positions of leadership in elementary, secondary, and collegiate instruction. Prior to graduation, doctoral students demonstrate competency in teaching, research, and musicianship. Every effort will be made to plan a program based on individual student needs and interests while maintaining standards of musical and scholarly excellence. Electives, therefore, will be chosen in consultation with a major advisor in order to ensure a balance between individual interests and traditional graduate expectations.

A total of 54 credit hours is required for the doctoral degree beyond the master’s level.

A typical division would be:

Examinations include placement exams in music history and theory; and a final general examination prior to beginning work on the dissertation. Upon completion of the dissertation, an oral defense is held. The dissertation topic is chosen by the student in consultation with the faculty.

This doctorate is granted in recognition of outstanding performing ability in early music combined with superior scholarly ability in the field of early music performance practices. All programs are formulated to suit the needs of the individual student and require the consent of the major advisor. A minimum of 24 hours (after the master’s degree) of course work, seminars, and tutorials is required. Ensemble participation is required but does not earn credit hours toward the degree.

Examinations include a performance audition; initial placement tests in history and theory; reading tests in German and one other foreign language; an advisory examination after one year of full-time study and a comprehensive examination with history, theory, performance practices, and oral sections. Three juried recitals are required, each to be accompanied by a research document and preceded by a short lecture. Exceptional students may be admitted to a combined M.A./D.M.A. degree program in early music.

Kulas Music Library
Kulas Music Library, a branch of the University Library, is located on the first floor of Haydn Hall, the home of the Department of Music. The library contains approximately 40,000 music scores, books on music, sound recordings, videos, bound periodical volumes, and microforms. Particularly strong are the collections in historical musicology and early music performance practice. Equipment is available in the library in order to listen to or view the sound recording and video collections. The music library participates in the OhioLINK consortium of academic libraries, which shares a central on-line catalog and liberal interlibrary lending policies. Access to interlibrary loan from libraries outside of Ohio is also available. The music library is connected to CWRUnet, the University’s fiber optic network, which provides access to many on-line databases. The collections and services of the Kulas Music Library are available to all University students, whether or not they are music majors. Music majors at the University also have access to the library of the Cleveland Institute of Music, which collects performing materials for solo and chamber music of all kinds and scores for large orchestral, vocal, and dramatic works, as well as selected musicological works.

Center for Music and Technology
The department supports a computer laboratory/resource center devoted to furthering the use of technology in music. The Center for Music and Technology houses Macintosh-based music workstations that are linked by CWRUnet, the University’s vast fiber optic network system and gateway to the Internet. This state-of-the-art network allows extremely fast access to a multitude of resources both on and off campus. Using CWRUnet, students working in the center are able to access computers and databases as well as share ideas and research with colleagues around the world. Through the use of MIDI (Musical Instrument Digital Interface) keyboards, users may explore computer-assisted composition and sequencing, music synthesis and sampling, and computer-generated music calligraphy. By supporting the most current music copying software, the center provides a resource for the production of professional typeset-quality scores and papers by faculty and students. The center works closely with faculty in providing support facilities for the department’s technology-related courses. For example, students enrolled in Computers and Music use the center to explore sequencing, MIDI communication, and musical score production. Designed to meet the specific needs of music students and faculty, the center supports an array of non-musical software including word processing, database, and graphics applications. As the department becomes increasingly technology-oriented, and CWRUnet is increasingly utilized by the faculty in their curricula, the Center for Music & Technology plays an ever increasing role by providing technical support and a necessary focal point for the interchange of ideas and creative solutions.

Kulas Collection of Historical Instruments
The Department of Music maintains an impressive collection of modern reproductions of medieval, Renaissance, and baroque instruments. The instruments are used by the Collegium Musicum and the department’s program in Early Music Performance Practices. The collection includes recorders, crumhorns, shawms, sackbuts, cornetti, viols, and baroque strings and woodwinds.

Music Education Resource Center
The department provides a resource center for music education students to prepare educational materials and research projects. The center contains a variety of audio-visual media, including a library of education-oriented music software. Students may borrow items from a large collection of music textbooks, educational recordings, testing materials, vocal and instrumental books, curriculum guides, and classroom instruments.

The Music Education & Technology Software Registry (MET) is a collection of over 90 music software packages designed for all ages of learners and for a wide range of musical tasks. This workstation is available to all music students and area music teachers so they can use and evaluate most of the music software that is commercially marketed today. Use of the MET is encouraged, and sometimes required, for many of the projects and assignments in courses throughout the music education curriculum.

Private Instruction
The Department of Music offers private instruction on Renaissance and Baroque instruments, as well as the usual orchestral instruments, piano, and voice. Students have the unique opportunity to study with outstanding teachers, many of whom are faculty at the Cleveland Institute of Music. Students interested in private instruction should come to the department prior to registration in order to complete the Applied Music Permit form and to learn of further details.

Private lessons carrying credit are available to all University students. Permission for study, level of study, and amount of credit are determined by the faculty of the Department of Music in consultation with the Cleveland Institute of Music. Charges for private lessons are covered by the University tuition rate for undergraduate music and music education majors only; all other students pay an additional fee. The amount of the fee depends on the faculty involved and the length of the lessons. The minimum is $300 per semester and can be substantially higher. Students normally earn 1.5 or 3 semester hours of credit for private instruction based on either half-hour or hour lessons. All Master of Arts and Doctor of Philosophy degree students in the department must satisfy the applied music requirements specified in their degree requirements. Graduate students who anticipate private lesson instruction in their programs should consult an advisor before registration. Students register for individual applied music instruction in courses titled Principal Performance Area and Secondary Performance Area.

A number of music ensembles are available within the Joint Music Program. These ensembles are available to qualified University students. Entrance into ensembles may also be subject to space limitations. Students may elect to earn one credit per semester for participation. Auditions for ensembles are held during the first week of classes of each semester. Dates and times are available from the department.

Courses in musical interpretation and practical understanding are offered under the APMU classification. Those courses which have a direct programmatic role in University degree programs are provided with descriptions. Consult the catalog of the Cleveland Institute of Music for additional offerings in this classification. CIM courses other than applied music lessons are open only to music and music education majors.

MUSC 003. Pre-conservatory Theory (3)
Development of security in knowledge and skills related to basic materials of musical structure (scales, key signatures, intervals, triads, etc.); general introduction to literature of Western music. Preparation for MUSC 101/105. Credit not applicable toward fulfillment of degree requirements in music major.

MUSC 101. Harmony-Keyboard I (2)
Scales, intervals, triads, seventh chords, and their inversions. Harmonization of melodies and basses, chorale study, modulation, analysis. Creative use of material. Correlated and taken concurrently with MUSC 105 and 106. Both aspects of the course must be passed in order to complete requirements.

MUSC 102. Harmony-Keyboard II (2)
(See MUSC 101.)

MUSC 103. Theory I (3)
Music theory for the nonmusic major. Intervals, scales, rhythmic drill, sight singing, eartraining, keyboard work, and harmony through inversions of triads and seventh chords. Not open to music majors.

MUSC 104. Theory II (3)
(See MUSC 103.) Prereq: MUSC 103 or consent of department.

MUSC 105. Sightsinging-Eartraining I (2)
Aural and vocal study of isolated and contextual rhythmic patterns, scales, intervals, triads, seventh chords, and traditional and contemporary songs in treble and bass clefs. Correlated and taken concurrently with MUSC 101 and 102. Both aspects of the course must be passed in order to complete requirements.

MUSC 106. Sightsinging-Eartraining II (2)
(See MUSC 105.)

MUSC 107. Theory for Music Majors I (4)
This course is the first of four semesters of music theory requirements for music majors. It will include the study of harmony, analysis, eartraining, and keyboard skills. Prereq: Placement exam through department.

MUSC 108. Theory for Music Majors II (4)
This course is the second of four semesters of music theory for music majors. It includes further study of harmony, analysis, eartraining, sightsinging, and keyboard. Prereq: MUSC 107 or placement exam through department.

MUSC 151B. CWRU Audio Internship I (1)
Development of recording engineering skills through professional level work in the Harkness audio service. Prereq: Open only to audio recording majors.

MUSC 153. Eurhythmics I (0)
Physical expression of rhythm in which large bodily movements form the reference for rhythmic analysis. Study of pulse, meter, patterns, crossrhythms, improvisation, rhythmic canons, and bodily coordination emphasizing proper tension and relaxation.

MUSC 154. Eurhythmics II (0)
(See MUSC 153.)

MUSC 201. Harmony-Keyboard III (2)
Continuation of MUSC 101 and 102. Chromatically altered triads and 7th chords; 9th, 11th, 13th. Neapolitan and augmented 6th chords, regular and irregular solutions. Correlated and taken concurrently with MUSC 205 and 206. Both aspects of the course must be passed in order to complete requirements. Prereq: MUSC 102 or placement examination.

MUSC 202. Harmony-Keyboard IV (2)
(See MUSC 201.) Prereq: MUSC 102 or placement examination.

MUSC 205. Sightsinging-Eartraining III (2)
Aural and vocal study using alto and tenor clefs, in addition to treble and bass. Correlated and taken concurrently with MUSC 201 and 202. Both aspects of the course must be passed in order to complete requirements. Prereq: MUSC 106 or placement examination.

MUSC 206. Sightsinging-Eartraining IV (2)
(See MUSC 205.) Prereq: MUSC 205 or placement examination.

MUSC 207. Theory for Music Majors III (4)
This course is the third of four semesters of music theory for music majors. Continued study of harmony, analysis, eartraining, sightsinging, and keyboard, including use of dissonance and chromaticism, diatonic modulation. Prereq: MUSC 108 or placement exam through department.

MUSC 208. Theory for Music Majors IV (4)
This course is the fourth of four semesters of music theory for music majors. Continued study of harmony, analysis, eartraining, sightsinging, and keyboard. Use of dissonance and chromaticism, chromatic voice leading technique. Prereq: MUSC 207 or placement exam through department.

MUSC 221. Introduction to Music: Listening Experience I (3)
A flexible approach to the study of the materials and literature of music. Aural and analytical skills primarily for classical music.

MUSC 222. Introduction to Music: Listening Experience II (3)
Application of the skills developed in MUSC 221 to the understanding of historical and stylistic content of Western music. Focus is on particular works in context with the era of composition. Prereq: MUSC 221 or consent of department.

MUSC 229. History and Styles of Jazz (3)
Musical styles and structures of jazz and American popular music since 1900. Prereq: MUSC 221.

MUSC 241. Foundations of Music Education (3)
Application of philosophical, historical, and psychological principles to music instruction. Examines various philosophical approaches to music education, and each student analyzes his/her personal philosophy of music education. Approaches to music teaching and learning, the processes involved in lesson planning, and student motivation. The importance of active learning is discussed and demonstrated, and a diversity of learning styles are examined. Examines learners of all ages and a variety of cultural backgrounds, and deals with developmental stages and musical abilities from beginners to professionals. The Ohio Competency-Based Arts Model and the National Standards are introduced. Clinical/Field experiences required.

MUSC 251B. CWRU Audio Internship II (0)
Professional level work in the Case Western Reserve University Harkness audio service.

MUSC 253. Eurhythmics III (0)
Continuation of MUSC 154. Material of increased difficulty as well as study of syncopation, rhythmic counterpoint, and conducting movements.

MUSC 254. Eurhythmics IV (0)
(See MUSC 253.)

MUSC 271. Choral Conducting I (1)
Study of the techniques of choral conducting and a general survey of choral literature.

MUSC 273. Orchestral Conducting I (1)
Study of orchestral scores, covering elements of style, form, and interpretation. Development of baton technique through conducting of small instrumental ensembles.

MUSC 274. Orchestral Conducting II (1)
(See MUSC 273.)

MUSC 275. Elements of Conducting (2)
This course is designed to develop the physical tools, and philosophical and aesthetic ideologies necessary for students to conduct in an effective and appropriate manner. Students develop baton technique through systematic physical pattern exercises, and class and field conducting experiences (elementary through adult). Observations and written evaluations of Cleveland Orchestra rehearsals and concerts, along with video analysis/self-evaluation of personal conducting experiences are among the activities required in this course. Topics and content include: philosophical foundations for the conductor, considerations for selecting repertoire and creating a supportive learning environment; rehearsal techniques; planning for the rehearsal and record keeping; rehearsal management; group motivation; score analysis and preparation; participation in professional activities; effective use of technology for the conductor; and national, state, and professional standards. Clinical/Field experiences (all ages) required.

MUSC 276. Advanced Conducting (2)
This course continues in-depth development of the physical tools, and philosophical and aesthetic ideologies presented in MUSC 275. Students develop baton techniques (with experiences in complex and changing time signatures) through systematic physical/pattern exercises, along with continuous evaluations, from their class and field conducting experiences (elementary through adult), observations and written evaluations of Cleveland Orchestra Rehearsals and Concerts, written critiques from historically significant Master Conductors (from videos in the University’s Music Library), along with video analysis of personal class and field conducting, are among the activities required in this course. Topics and content include: philosophical foundations for the conductor, considerations for selecting repertoire and creating a supportive learning environment; rehearsal techniques; planning for the rehearsal and record keeping; rehearsal management; group motivation; score analysis and preparation; participation in professional activities; effective use of technology for the conductor; and national and state standards. Clinical/Field experiences (all ages) required.

MUSC 305. Sightsinging-Eartraining V (3)
Continuing emphasis on the development of aural and vocal skills in all clefs, with particular attention to contemporary music, and increased emphasis on performance at sight of a wide range of literature. Prereq: MUSC 206.

MUSC 308. Computers and Music (3)
Emphasis on development of music notation and sequencing skills with some attention to word-processing and graphics. Introduction to data management and page layout software. Designed primarily for music majors but also open to non-majors with sufficient background in music theory. Use of the University’s software library, CWRUnet and the music department’s Center for Music and Technology. No formal training in computers required. Prereq: Music majors only.

MUSC 310. Instrumentation and Choral Arrangement (3)
Techniques of writing and arranging for instruments of the band and orchestra and voice. Study of scoring problems for school instrumental and vocal groups of all ages and abilities.

MUSC 311. 16th Century Counterpoint (2)
Sixteenth century modal counterpoint. Exercises in the five species. Writing of short compositions and motets in two, three and four voices. Prereq: MUSC 202 or MUSC 206.

MUSC 312. 18th Century Counterpoint (2)
Eighteenth century tonal counterpoint. Analysis and writing of inventions in two parts, and fugues in three and four parts. Prereq: MUSC 202 or MUSC 206.

MUSC 315. Orchestration I (2)
The problems and techniques of scoring for strings and woodwinds, for brasses and percussion. Transcriptions and scoring for diverse combinations from chamber group to full orchestra.

MUSC 316. Orchestration II (2)
(See MUSC 315.)

MUSC 318. Form and Analysis (3)
Aural and visual analysis of structural and stylistic features of 16th through 20th century music. Prereq: MUSC 202 or MUSC 206.

MUSC 321. History of Western Music I (3)
Developments in Western music from Early Christian times to the present, especially great periods and composers. Reference to life and thought; illustrated lectures; style analysis. Prescribed listening and reading. Prereq: MUSC 102 or MUSC 106.

MUSC 322. History of Western Music II (3)
(See MUSC 321.) Prereq: MUSC 102 or MUSC 106.

MUSC 323. Piano Literature (3)
Chronological survey of keyboard literature from the 17th century to the present. Detailed analysis of representative works; study and comparison of keyboard styles. Prereq: MUSC 202 or MUSC 322.

MUSC 324. Chamber Music Literature (3)
Chronological survey of important chamber literature. Analysis of representative sonatas, trios, quartets, and large ensembles. Prereq: MUSC 202 or MUSC 322.

MUSC 326. Symphonic Literature (3)
Representative masterworks of symphonic literature. Analysis and discussion of essential details, form, style, and instrumentation. Prereq: MUSC 202 or MUSC 322.

MUSC 327. Vocal Literature (3)
Nonoperatic. Detailed analysis of representative works. Comparison of styles. Prereq: MUSC 321 and MUSC 322.

MUSC 328. Opera Literature (3)
Historical development of opera from the 17th century to the present. Detailed analysis of representative works. Prereq: MUSC 322.

MUSC 329. Jazz and American Popular Music Literature (3)
Musical styles and structures of jazz and American popular music; emphasis on music since 1900. Prereq: MUSC 202 or MUSC 322.

MUSC 336. History of Western Music III (3)
Music of the twentieth century, covering history, analysis, and aesthetic issues. Prereq: MUSC 322.

MUSC 337. Music Cultures of the World: Music of Asia and Africa (3)
A one-semester introduction to musics of Asia and Africa, focusing on the relationship of musical traditions and practices to culture and society. Prereq: MUSC 106.

MUSC 338. Music Cultures of the World II: Music of the Americas (3)
Introduction to selected multicultural musics of North America and Latin America, focusing on the relationship of musical traditions and practices to culture and society. Prereq: MUSC 106.

MUSC 341. General Music Methods A (3)
General Music A introduces student to methods and materials for planning and implementing general music experiences for all ages, with concentration on PreK through sixth grade children. Topics of the course include: multiple meanings of music for children; characteristics/needs of young children and creating a supportive learning environment; theories of music learning and teaching; learning styles and collaborative learning; assorted teaching methods, rhythm, pitch, listening, movement, performing, composing; curriculum design; technology for music instruction; multicultural music; music for exceptional children; integrating music with the arts and other curricula; motivation and classroom management; lesson planning and record keeping; developing a personal philosophy of music education; national, state, and professional standards; and assessment. Clinical/Field experiences (Clinical-all ages; Field-focus on PreK through elementary) required.

MUSC 342. General Music Methods B (3)
General Music B provides a more in-depth exploration of general music methods and materials for all ages, with concentration in grades 7 through adults. Topics of the course include: characteristics/needs of children, especially adolescents and young adults; creating a supportive learning environment through curriculum planning and design; instructional planning, implementation, and record keeping; involving students in moving, performing, creating and listening experiences with music, including individual and collaborative learning; music for exceptional children; using technology for music instruction; developing a personal philosophy of music education; teaching the arts together and integrating music into the school curriculum; multicultural musical experiences; motivation and classroom management; national, state, and professional standards; and assessments. Clinical/Field experiences (Clinical-all ages; Field-focus on middle school through adult) required.

MUSC 343. Technology-Assisted Music Teaching and Learning (3)
Fundamental concepts and skills for using technology in music teaching and learning. This project oriented class will develop knowledge and competencies related to electronic musical instruments, MIDI sequencing, music notation software, computer-assisted instruction, digital media, the Internet, information processing, computer systems, and lab management as they relate to music education in K-12 schools. Prereq: MUSC 241.

MUSC 363. Principles of String Playing and Teaching I (2)
This course is designed to give an overview of historical pedagogy and its relationship to contemporary teaching practice. Students will survey teaching methodologies in relation to the foundational elements of performance technique for their instrument and investigate how to impart this information in an instructional setting. All students enrolled in the course will have the opportunity to teach students in a supervised situation and implement the concepts covered in class. Prereq: Consent of department.

MUSC 364. Principles of String Playing and Teaching II (2)
This course is a continuation of MUSC 363/463 and will foster further integration of the application of pedagogy to the teaching environment by the development of a conceptual rubric for instruction. This will include: expanding teaching strategies for a specific instructional environment or element of technique; principles of delivery; picking repertoire; diagnostic evaluation and assessment; and the creation of a personal style of teaching and reflection. Prereq: Consent of department.

MUSC 365. Eurhythmics Pedagogy I (2)
Investigation of objectives and methods for teaching children. Preparation of lesson plans, motivation, and development of physical skills. Observation and student teaching of children’s classes.

MUSC 366. Eurhythmics Pedagogy II (2)
(See MUSC 365.) Prereq: MUSC 365.

MUSC 367. Eurhythmics Pedagogy III (2)
Practice teaching; discussion of problems in class organization, interdepartmental integration; application of Dalcroze principles to the teaching of adults. A comprehensive paper illustrative of application of Dalcroze principles in music education and the arts must be submitted and approved for completion of pedagogy requirements.

MUSC 368. Eurhythmics Pedagogy IV (2)
(See MUSC 367.) Prereq: MUSC 367.

MUSC 377. Instrumental Methods and Materials (3)
This course acquaints students with effective ways to develop, organize and maintain a successful instrumental program for any age group, based on a comprehensive instrumental music education model. Students are given a "womb to tomb" view of the instrumentalists’ development, including physiological development and age appropriate instrumental exceptions. Topics and content include: philosophical basis for music education, considerations for selecting repertoire including multicultural music; rehearsal techniques; assessment and record keeping; planning for the rehearsal; recruitment, auditioning, and placement; motivation and classroom management; team teaching and collaborative learning; managing an instrumental program; participation in professional activities; effective use of technology in the instrumental program; philosophy; and national, state, and professional standards. Clinical/Field experiences (all ages) required.

MUSC 378. Choral Methods and Materials (3)
This course acquaints students with effective ways to develop a successful choral program for any age group, based on a comprehensive choral music education model. Students are given a "womb to tomb" view of the singing voice, including physiological development, age appropriate vocal expectations, and establishing and maintaining vocal health. Topics include: philosophical basis for vocal music education; the child voice, the adolescent voice, and the adult voice; vocal tone; considerations for selecting repertoire including ensemble assessment, music evaluation, and multicultural music; rehearsal techniques, collaborative learning, and motivation; planning for the rehearsal; developing conducting technique; recruitment, auditioning, placement, score analysis and preparation; classroom management; managing a choral program; participation in professional activities; effective use of technology in a choral program; and national state, and professional standards. Clinical/Field experiences (all ages) required. Prereq: MUSC 276.

MUSC 381. Composition for Non-Majors I (2)
Techniques of motive development and composition in small forms. Prereq: Consent of department.

MUSC 382. Composition for Non-Majors II (2)
(See MUSC 381.)

MUSC 383. Audio Recording I (2)
A study of basic recording principles and systems and techniques of recording and editing. Prereq: Audio recording majors only.

MUSC 384. Audio Recording II (2)
Further study of basic recording principles and systems with an introduction to digital recording. Prereq: MUSC 383.

MUSC 385. Advanced Recording Techniques I (2)
A study of advanced microphone, recording, and monitoring systems and techniques with an emphasis on two track digital recordings of classical music and critical listening. Prereq: MUSC 384.

MUSC 386. Advanced Recording Techniques II (2)
Further study of advanced microphone, recording, and monitoring systems and techniques, with an emphasis on two track digital recordings of large ensemble classical music. Prereq: MUSC 385.

MUSC 387. Multitrack Recording Techniques I (2)
A study of multitrack recording and mixdown techniques. Prereq: MUSC 386. Audio recording majors only.

MUSC 388. Multitrack Recording Techniques II (2)
Further study of multitrack recording and mixdown techniques, with an emphasis on synchronization to video. Prereq: MUSC 387.

MUSC 390. Undergraduate Research Seminar (3)
Special projects appropriate to individual interests and needs.

MUSC 390E. Seminar in Music Theory (1)
Study of pedagogical, practical, and speculative aspects of music theory, with special projects. Limited to theory majors; others with consent of department.

MUSC 391. Recording Studio Maintenance I (1)
Study of techniques for optimizing professional recording equipment performance. Prereq: MUSC 384. Audio recording majors only.

MUSC 392. Recording Studio Maintenance II (1)
Study of techniques for optimizing professional recording equipment performance. Prereq: MUSC 384.

MUSC 393. Introduction to Early Music Performance Practice (3)
Summary and perspective of the problems and issues associated with the field of early music performance practices. Prereq: MUSC 321 and MUSC 322.

MUSC 394. Seminar in Early Music Performance Practice (3)
Seminar in a specific instrument and/or vocal area of performance practices, such as baroque vocal, instrumental, or keyboard practices. May be repeated because topics vary. Prereq: MUSC 393.

MUSC 396. Practice Teaching in Music (12)
Teaching music in both elementary and secondary schools, full time five days a week for 15 weeks. Closely supervised field experiences of all types with a wide variety of students. Emphasis on planning lessons and organizing materials, teaching methodologies, motivation, and student assessment. Topics addressed include communications and the arts, techno