Department of Music
MUSIC EDUCATION
MUSIC HISTORY
EARLY MUSIC PERFORMANCE
APPLIED MUSIC
Haydn Hall
Phone 368-2400; Fax 368-6557
Ross Duffin
John Kratus (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.
Ross W. Duffin, D.M.A. (Stanford University)
Kulas Associate Professor and Chair
Medieval; Renaissance; Baroque; performance practices; Collegium musicum
Gary M. Ciepluch, Ph.D. (University of Wisconsin, Madison)
Assistant Professor
Director of bands; music education; conducting
Stephen E. Hefling, Ph.D. (Yale University)
Associate Professor
Baroque; Eighteenth and Nineteenth Centuries; Chamber Music; Baroque orchestra
John Kratus, Ph.D. (Northwestern University)
Associate Professor and Director of Music Education
Music education; creative thinking; philosophy of music education
Quentin W. Quereau, Ph.D. (Yale University)
Associate Professor
Medieval; Renaissance; opera
John G. Suess, Ph.D. (Yale University)
Professor
Baroque and 20th century; string performance practices
ASSOCIATED FACULTY
Cleveland Institute of Music Academic Faculty Offering Courses CWRU Students
David N. Brown
Joanne Caputo
Marshall Griffith
Dean Guy
Thomas Knab
Gary Wright
Artist Faculty of the Cleveland Institute of Music
(Consult the institute's current catalogue)
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 University offers major programs of study that include:
- Music education (Bachelor of Science, Master of Arts, Doctor of Philosophy)
- Early music performance practices (Bachelor of Arts, 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 (Bachelor of Arts, Master of Arts)
- Musicology (Doctor of Philosophy)
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 concentrates on the education of students whose professional interests include the following:
- Performance (Bachelor of Music, Master of Music, and Doctor of Musical Arts)
- Composition (Bachelor of Music, Master of Music, and Doctor of Musical Arts)
- Eurhythmics (Bachelor of Music)
- Music theory (Bachelor of Music)
- Piano accompanying (Master of Music, Doctor of Musical Arts)
- Electronic music composition (Master of Music)
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, and in both the music and music education programs.
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 insight. The faculty stresses both the practical and theoretical understanding of the creative thinking processes in music by encouraging innovative teaching strategies and by supervising a wide variety of research on creativity. Other specialties in the nationally recognized music education program include wind ensemble conducting and literature, preschool music instruction, and Gordon Music Learning Theory. The Department of Music is currently home of the research journal Contributions to 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. Two semesters of eurhythmics study are also required and can serve as the physical education requirement of the Western Reserve Core.
The department encourages qualified students to consider a double major in music and another subject. Typical combinations include the Bachelor of Arts in Music with theatre, English, classics, psychology, sociology, and the natural sciences.
Another common combination is the Bachelor of Science in Music Education with the Bachelor of Music degree from the Cleveland Institute of Music. This is generally a five-year program, with at least one year of formal residency at each institution. Students who are already in one degree program and who wish to add the other may request to do so at any time, using their respective institutions as a base. Admissions requirements must be passed for each school. Students interested in this double major opportunity should declare their intent to enter the program as early as possible. There are no additional tuition fees for any of these double major opportunities.
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 requirements of the Western Reserve Core curriculum (approximately 30 hours), a 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.
Concentrations within the Bachelor of Arts
- 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)
- Audio recording technology
Core music courses for these programs are: (1) Music theory: MUSC 101, 102, 105, 106, 201, 202, 205, 206, 317, and 318 for a total of 20 semester hours; (2) Music history and literature: MUSC 321, 322, and one music literature elective from the 300 level for a total of 9 semester hours; and (3) performance instruction (applied music) for a minimum of 15 semester hours. Students who concentrate on music history and literature, early music performance practices, and performance must complete a minimum of one year of a foreign language, preferably German. Additional course work in music is required for each concentration as follows:
- MUSC 393, Introduction to Early Music Performance Practices (3)
- Two electives from music literature courses at the 300 level (6)
- MUSC 311, 312, Counterpoint I and II (4)
- MUSC 319, Acoustics of Music (3)
- One elective from music literature courses 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)
- Performance and General Music
- One elective from music literature courses at the 300 level (3)
- MUSC 383, 384, Tape Editing and Mixing I and II (4)
- MUSC 385, 386, Recording and Playback Systems I and II (4)
- MUSC 387, 388, Multi-track Recording Techniques I and II (4)
- MUSC 392, Recording Studio Maintenance Seminar ( 1 credit hour, taken twice) (2)
- MUSC 350B, Junior Recording Technology Thesis (3)
- MUSC 351C, Senior Recording Technology Thesis (6)
- MUSC 451, Internship in Commercial Recording Studio (4)
- MUSC 319, Acoustics (3)
- An additional electronics minor is also available from the Electrical Engineering department.
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 curriculum for the Bachelor of Science in Music Education degree prepares the student to be eligible for the Ohio Special Certificate in Music (all areas of music in kindergarten through 12th grade). This certificate can also be transferred to other states with little or no additional work needed. CWRU education graduates have the highest rate of job placement in Ohio.
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" experience by teaching sample lessons and conducting rehearsals in actual teaching situations.
- Performance: Applied music (major and minor areas) (15)
- Ensembles Electives (0-9)
- Theory: MUSC 101, 102, 105, 106, 201, 202, 205, 206, 317, 318 (20)
- Eurhythmics: MUSC 153, 154 (0)
- History: MUSC 321, 322 (6)
- Literature: elective from music literature courses at the 300 level (3)
- MUSC 275, Elements of Conducting (2)
- MUSC 276, Advanced Conducting (2)
- MUSC 310, Arranging for Voices and Instruments (2)
- EDUC 301, Introduction to Education (3)
- MUSC 241, Foundations of Music Education (3)
- MUSC 341, Elementary General Music Methods (3)
- Electives from various instrument classes (1 credit each) (5)
- MUSC 396, Practice Teaching (12)
- Two of the following:
- MUSC 342, Secondary General Music Methods (3)
- MUSC 377, Instrumental Methods and Materials (3)
- MUSC 378, Choral Methods and Materials (3)
Students in music education who expect to meet certification 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.
A 2.5 cumulative grade point average is required to enter student teaching. A 3.0 grade point average must be maintained in all professional education courses.
Completion of the Bachelor of Science degree does not ensure that the State of Ohio Music Teacher Certification will be awarded. The State of Ohio requires a passing score on the General Knowledge and Professional Knowledge sections of the National Teachers Examination in addition to the requirements stated above. Students must take the examinations prior to graduation.
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 adviser. The department welcomes students' initiative in the development of minor programs suited to their needs.
A sequence requires four courses. The department welcomes students' initiatives in developing sequences suited to their needs. The following are sample sequences:
- MUSC 221, 222, 103, 104
- Music theory and history
- MUSC 103, 104; 221 and 222, or 321 and 322
- MUSC 221,222, 229, APMU 120 or APMU 111
Electives designed for students not majoring in music are MUSC 103, 104, 221, 222, 229, and 308. MUSC 221 and 222 are offered as courses which satisfy the Western Reserve Core requirement in the literature and arts sequence.
APMU 380, 382, 385, 383, 381A, and 381B 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:
Admission to honors status:
- Second-semester sophomore or junior standing
- Overall grade point average of 3.2, with music grade point average no lower than overall grade point average
- Evidence of exceptional musicianship and scholarly interests
- Nomination by a faculty member and acceptance by the music faculty
Program description: successful completion of the following:
- Final overall grade point average of 3.2
- Project in research or performance (to be arranged with each student)
- MUSC 399, Undergraduate Independent Studies or MUSC 390, Undergraduate Seminar in Music for three credits
- Junior or Senior standing
- Overall grade point average of 3.2 and music grade point average of 3.2
- Evidence of strong interest in becoming a teacher and of originality in teaching
- Nomination by a faculty member and acceptance by the music faculty
Program description: successful completion of the following:
- Final overall grade point average of 3.2 and music grade point average of 3.2
- Junior or senior teaching experience prior to Practice Teaching (MUSC 396)
- Special project in teaching methods and materials.
- MUSC 399, Undergraduate Independent Studies or MUSC 390, Undergraduate Seminar in Music, for three credits.
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 not required, but an audition is necessary for students interested in the Early Music Performance Practices and Doctor of Musical Arts 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 certification.
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 adviser's approval, but 9 hours of applied music are required for performance practices students. Ensemble participation is required 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. Not fewer than 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 the program 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 teaching experience.
Persons seeking teacher certification 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 National Teachers Examinations 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; a music core of history, theory, and performance; and electives. Persons in Plan A receive 6 credit hours for thesis research. 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 adviser 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 50 hours.)
Entering master's students take placement tests in music history and theory. A comprehensive, written examination at the conclusion of course work is also required for persons in Plans B and C.
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 adviser. 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 adviser.
Examinations include initial placement tests in history, theory, keyboard facility, and a brief audition; 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 for 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. Applicants must have competed three years of teaching. 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 will, therefore, be chosen in consultation with a major adviser 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:
- Music education: philosophy, psychology, curriculum, research, measurement (15 hours)
- Music: theory, history, performance (9-15)
- Non-music electives: psychology, art, education, sociology, others (0-3)
- Seminars and special readings (6-12)
- Dissertation (18)
Examinations include placement exams in music history and theory; and a final general examination which covers music education philosophy and curriculum, research and evaluation, and music history and theory. Upon completion of the dissertation, an oral defense is held.
The dissertation topic is chosen by the student in consultation with the faculty. There is no restriction on the method of investigation.
The Doctor of Musical Arts degree is offered in performance, composition, and early music.
Doctor of Musical Arts in Performance (modern instruments) or Composition
Information may be obtained from the Cleveland Institute of Music, 11021 East Boulevard, Cleveland, OH 44106.
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 adviser. 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 air 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.
Exceptional students may be admitted to a combined M.A./D.M.A. degree program in early music.
Kulas Music Library, a branch of University Libraries, is located on the first floor of Haydn Hall, the home of the Department of Music. The library contains approximately 37,000 music scores, books on music, sound recordings, bound periodical volumes, and microforms. Particularly strong are the collections in historical musicology and early music performance practice. High quality listening equipment is available for use in the library. The library has access to the OCLC national computerized library catalog to facilitate the location of materials unavailable locally. Interlibrary loan services are available, often without charge to students. 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 cores for large orchestral, vocal, and music-dramatic works, as well as selected musicological works.
The department supports a computer laboratory/resource center devoted to furthering the use of technology in music. The Center for Music & Technology houses six Macintosh-based music workstations that are linked by CWRUnet, the University's vast fiber optic network system. This state-of-the-art Ethernet 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 university mainframe computers and databases from around the country, 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.
The Department of Music maintains an impressive collection of modem 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, and cornetti, viols, and baroque strings and woodwinds.
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. 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 Department of Music offers class and 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 both class and 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.
Small group instruction is offered regularly and is designed especially for students with little or no music background. This class instruction carries University credit and is available to all students, as space allows. Charges for applied music class instruction are covered by the University tuition rate only for music and music education majors. All other students pay an additional fee of $100 per semester. All applied music class instruction may be repeated. The classes are listed under APMU 120.
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 $200 per semester. 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 adviser 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, normally upon audition, 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 pedagogy, 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 are open only to music and music education majors.
Music (MUSC)
Courses listed below are offered under the Joint Music Program. Descriptions are provided for those courses offered by both schools which are directly applicable to the University-based curricula. The Cleveland Institute of Music catalog provides a full description of courses not described here.
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. Prerequisite: Placement by Theory Department.
MUSC 088. Composition Seminar (0).
MUSC 101, 102. Harmony Keyboard I, II (2,2).
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, 106. Both aspects of the course must be passed in order to complete requirements. Prerequisite: Placement examination; limited to Cleveland Institute of Music and CWRU music majors.
MUSC 103. Theory I (3).
Music theory for the non-music major. Intervals, scales, rhythmic drill, sight singing, ear-training, keyboard work, and harmony through inversions of triads and seventh chords. Not open to music majors.
MUSC 104. Theory II (3).
Music theory for the non-music major. Intervals, scales, rhythmic drill, sight-singing, ear-training, keyboard work, and harmony through inversions of triads and seventh chords. Not open to music majors.
MUSC 105, 106. Sight Singing-Ear Training I, II (2,2).
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, 102. Both aspects of the course must be passed in order to complete requirements. Prerequisite: placement examination; limited to CIM and CWRU music 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, cross-rhythms, improvisation, rhythmic canons, and bodily coordination emphasizing proper tension and relaxation.
MUSC 154. Eurhythmics II (0).
Physical expression of rhythm in which large bodily movements form the reference for rhythmic analysis. Study of pulse, meter, patterns, cross-rhythms, improvisation, rhythmic canons, and bodily coordination emphasizing proper tension and relaxation.
MUSC 181. Composition I (2).
Introduction to composition, emphasizing the fundamentals of compositional technique. Prerequisite: consent of instructor.
MUSC 182. Composition II (2).
Introduction to composition, emphasizing the fundamentals of compositional technique. Prerequisite: consent of instructor.
MUSC 201, 202. Harmony-Keyboard III, IV (2, 2).
(Continuation of MUSC 101, 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. Prerequisite: MUSC 102 or placement examination.
MUSC 205, 206. Sight-Singing-Ear-Training III, IV (2, 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. Prerequisite: MUSC 106 or placement examination.
MUSC 221. Introduction to Music: The Listening Experience I (3).
A flexible approach to the study of the materials and literature of music. Aural and analytical skills for classical music and jazz. MUSC 225 and 222 may be used to satisfy the Western Reserve Core requirement in literature and arts.
MUSC 222. Introduction to Music: The 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. Prerequisite: MUSC 225 or consent of instructor. MUSC 225 and 222 may be used to satisfy the Western Reserve Core requirement in literature and arts.
MUSC 229. The History and Styles of Jazz (3).
Musical styles and structures of jazz and American popular music; emphasis on music since 1900. Prerequisite: MUSC 221 or consent of instructor.
MUSC 241. Foundations of Music Education (3).
Application of philosophical, historical, and psychological principles to music instruction. Approaches to teaching and learning, lesson planning, and student motivation. Observation of area music teachers in variety of school settings.
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).
(Continuation of MUSC 253.) Material of increased difficulty, as well as study of syncopation, rhythmic counterpoint, and conducting movements.
MUSC 271. Choral Conducting I (1).
MUSC 272. Choral Conducting II (1).
MUSC 273. Orchestral Conducting I (1).
MUSC 274. Orchestral Conducting II (1).
MUSC 275. Elements of Conducting (2).
Principles and techniques of conducting. Development of basic conducting and score reading skills. Prerequisite: MUSC 102, 104, 241 or consent of instructor.
MUSC 276. Advanced Conducting (2).
Development of a fusion of score analysis, gestural communication, and error detection skills. Prerequisite: MUSC 275 or consent of instructor.
MUSC 281. Composition III (2).
Advanced techniques as applied to the composition of works for chamber ensembles.
MUSC 282. Composition IV (2).
Advanced techniques as applied to the composition of works for chamber ensembles.
MUSC 301. Introduction to the Analysis of Twentieth-Century Music (2).
A study of compositional techniques as used in selected works by major 20th century composers. Prerequisite: MUSC 202, 206 or consent of instructor.
MUSC 303. Keyboard V (2).
MUSC 304. Keyboard VI (2).
MUSC 305. Sight Singing-Ear Training V (3).
MUSC 306. Practical Notation and Calligraphy (1)
MUSC 307. Techniques of Serial Composition (1).
MUSC 308. Computers and Music (3).
For music majors but also open to other University students. Emphasis on development of word-processing, graphics, music notating, and music sequencing skills. Introduction to data management and page layout programs. Use of the University's mainframe computer and the department's microcomputer laboratory. No formal training in computers required.
MUSC 310. Instrumentation and Choral Arranging (2).
Techniques of writing and arranging for instruments of the band and orchestra and voices. Study of scoring problems for school instrumental and vocal groups. Prerequisite: MUSC 102.
MUSC 311. Counterpoint I (2).
Sixteenth century modal counterpoint. Exercises in the five species. Writing of short compositions and motets in two, three, and four voices. Prerequisite: MUSC 202 or 206, or placement examination.
MUSC 312. Counterpoint II (2).
Eighteenth century modal counterpoint. Analysis and writing of inventions in two parts, and fugues in three and four parts. Prerequisite: MUSC 202 or 206, or placement examination.
MUSC 315. Orchestration I (2).
The problems and technique of scoring for strings and woodwinds, brasses, and percussion. Transcriptions and scoring for diverse combinations from chamber group to full orchestra.
MUSC 316. Orchestration II (2).
The problems and techniques of scoring for strings and woodwinds, brasses, and percussion. Transcriptions and scoring for diverse combinations from chamber groups to full orchestra.
MUSC 317. Form and Analysis I (2).
Aural and visual analysis of structural and stylistic features of 16th through 20th-century music. Prerequisite: MUSC 202 or 206.
MUSC 318. Form and Analysis II (2).
Aural and visual analysis of structural and stylistic features of 16th though 20th-century music. Prerequisite: MUSC 202 or 206.
MUSC 321. History of Western Music I (3).
Developments in Western music firm early Christian times to the present, especially great periods and composers. Reference to life and thought; illustrated lectures; style analysis. Prescribed listening and reading. Prerequisite: Consent of instructor for non-music major; for music majors: MUSC 102 and 106 or consent of instructor. MUSC 321 and 322 may be used to satisfy the Western Reserve Core requirement in literature and art.
MUSC 322. History of Western Music II (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. Prerequisite: Consent of instructor for non-music majors; for music majors: MUSC 102 and 108 or consent of instructor. MUSC 321 and 322 may be used to satisfy the Western Reserve Core requirement in literature and arts.
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. Prerequisite: MUSC 202 or 322, or equivalent.
MUSC 324. Chamber Music Literature (3).
Chronological survey of important chamber literature. Analysis of representative sonatas, trios, quartets, and large ensembles. Prerequisite: MUSC 202 or 322, or equivalent.
MUSC 325. Choral Literature (3).
Selected choral works with attention to text and musical structure. Prerequisite: MUSC 202 and 322.
MUSC 326. Symphonic Literature (3).
Representative masterworks of symphonic literature. Analysis and discussion of essential details, form, style, and instrumentation. Prerequisite: MUSC 202, 322, or equivalent.
MUSC 327. Vocal Literature (3).
Non-operatic. Detailed analysis of representative works. Comparison of styles. Prerequisites: MUSC 321 and 322.
MUSC 328. Opera Literature (3).
Historical development of opera from the 17th century to the present. Detailed analysis of representative works. Prerequisite: 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. Prerequisite: MUSC 202 or 322, or consent of department chairman.
MUSC 330. Guitar Literature I (3).
MUSC 331. Guitar Literature II (3).
MUSC 341. Elementary General Music Methods (3).
Methods and materials for planning and implementing a general music program in the elementary school. Approach based on understanding of child development and includes standard methods such as music learning theory, Orff-Schulwerk, and Kodaly. Application of course material through role playing and individual teaching experiences in local schools.
MUSC 342. Secondary General Music Methods (3).
Methods and materials for planning and implementing a creative general music program in the middle school, junior high school and high school. Approach based on understanding of adolescent development and includes activities to encourage students' creative and analytical thinking. Application of course material through role playing and teaching experiences in local schools.
MUSC 350A. Junior Composition Thesis (6).
MUSC 350B. Junior Recording Technology Thesis (3).
MUSC 351A. Senior Composition Thesis (6).
MUSC 351B. Senior Theory Thesis (6).
MUSC 351C. Senior Recording Technology Thesis (6).
MUSC 352. Senior Composition Recital (0).
MUSC 353. Eurhythmics V (1).
MUSC 354. Eurhythmics VI (1).
MUSC 360. Electronic Music Pedagogy (1).
MUSC 365. Eurhythmics Pedagogy I (2).
MUSC 366. Eurhythmics Pedagogy III (2).
MUSC 367. Eurhythmics Pedagogy III (2).
MUSC 368. Eurhythmics Pedagogy IV (2).
MUSC 373. Advanced Orchestral Conducting I (1).
MUSC 374. Advanced Orchestral Conducting II (1).
MUSC 375. Advanced Orchestral Conducting III (1).
MUSC 376. Advanced Orchestral Conducting IV (1).
MUSC 377. Instrumental Methods and Materials (3).
Provides knowledge and technique for school instrumental programs for grades 4 through 12. Content includes philosophy, administration, foundations, preparations, and techniques as they apply to instrumental music teaching.
MUSC 378. Choral Methods and Materials (3).
Techniques and problems of school choral music teaching. Topics include choral conducting, tone production, rehearsal techniques, organization and management, and curriculum development. Field experience and clinical projects are required.
MUSC 380. Introduction to Electronic Music and Recording Techniques II (2).
Introductory survey of electronic music history, literature, and studio techniques. For non-composition majors.
MUSC 381. Composition V (2).
MUSC 382. Composition VI (2).
MUSC 383. Tape Editing and Mixing I (2).
Tape manipulation, assembly, and mixing techniques.
MUSC 384. Tape Editing and Mixing II (2).
Tape manipulation, assembly, and mixing techniques.
MUSC 385. Recording and Playback Systems I (2).
Recording, sound reinforcement, and playback systems.
MUSC 386. Recording and Playback Systems II (2).
Recording, sound reinforcement, and playback systems.
MUSC 387. Multitrack Recording Techniques I (2).
Multitrack recording and mixdown techniques.
MUSC 388. Multitrack Recording Techniques II (2).
Multitrack recording and mixdown techniques.
MUSC 390. Undergraduate Research Seminar (3).
Special projects appropriate to individual interests and needs. Prerequisite: Consent of instructor.
MUSC 392. Recording Studio Maintenance Seminar (1).
Applications of test equipment to electronic circuits in routine recording studio maintenance. May be taken twice.
MUSC 393. Introduction to Early Music Performance Practices (3).
Summary and perspective of the problems and issues associated with the field of early music performance practices. Prerequisites: MUSC 321 and 322.
MUSC 394. Seminar in Early Music Performance Practices (3).
Seminar in a specific instrumental and/or vocal areas of performance practices, such as Baroque vocal, instrumental, or keyboard practices. May be repeated because topics vary. Prerequisite: MUSC 393 or consent of instructor.
MUSC 396. Practice Teaching (12).
Teaching music in both elementary and secondary schools, full time, for one semester.
MUSC 399. Undergraduate Independent Studies (3).
Each student develops a topic of interest to be explored with a faculty member. Prerequisite: consent of instructor.
MUSC 401. Special Reading, Undergraduate (1-4).
MUSC 400A. General Theory: Review of Musical Structure (3).
Instruction in fundamentals of form, counterpoint, and four-part harmony. Designed for graduate students; credit not applicable toward degree requirements. Prerequisite: assignment by placement testing.
MUSC 400B. General Theory: Sightsinging-Eartraining Review (2).
Background in fundamentals of sight singing in four clefs; melodic and harmonic dictation including chromatic harmony and modulation. Designed for graduate students; credit not applicable toward degree requirements. Prerequisite: assignment by placement testing.
MUSC 405. Sightsinging-Eartraining VI (2).
MUSC 406. Sightsinging for Singers (2).
MUSC 410. College Teaching Seminar (3).
(Also listed as EDUC 410.) Methods for organizing and implementing college instruction, including lecture and discussion formats. Approaches to planning syllabi, evaluating student achievement, and grading. Patterns of intellectual and moral development in college students.
MUSC 416. Pre-Common Practice Theory and Analysis (3).
An exploration of treatises and analytical methods appropriate to music of the Medieval and Renaissance eras.
MUSC 417. Analytical Techniques I (3).
Exploration of several approaches to the examination of musical structures, emphasizing hierarchic functional analysis and the interaction of the elements. Focus on music in traditional forms.
MUSC 418. Analytical Techniques II (3).
Exploration of several approaches to the examination of musical structures, emphasizing hierarchic functional analysis and the interaction of the elements. Focus on twentieth-century works.
MUSC 421. History of Musical Styles (3).
Historical and analytical study of music literature through selected scores. Prerequisite: Graduate standing or consent of instructor.
MUSC 422. Bibliography and Library Use (l).
Fostering of increased fluency and perspective in use of music libraries for research. Usually taken in conjunction with MUSC 421.
MUSC 423. Music, History, and Ideas (3).
Music literature in relation to historical trends in cultural and intellectual thought.
MUSC 431. Medieval Music: Early Christian to 1425 (3).
The mass, liturgical drama, and early polyphony though the Ars Nova.
MUSC 432. Music in the Renaissance 1425-1600 (3).
Vocal polyphonic music from the Burgundian School through the Elizabethan madrigal.
MUSC 433. Music of the Baroque Period, 1600-1750 (3).
Musical developments from Monteverdi to Bach and Handel.
MUSC 434. Viennese Classicism 1750-1890 (3).
Development of the symphony, concerto, chamber music, and opera in the works of the Mannheim composers, Haydn, Mozart, and Beethoven.
MUSC 435. Nineteenth-Century Music, 1830-1900 (3).
Romanticism and other 19th-century trends in music up to impressionism.
MUSC 436. Twentieth-Century Music (3).
Critical and analytical study of music since 1900. Examination and discussion of stylistic characteristics and aesthetic aims of contemporary composers.
MUSC 441. Philosophical Foundations of Music Education (3).
Major aesthetic philosophies which have influenced contemporary music education. Current issues in music education. Development of a personal professional philosophy.
MUSC 442. Learning Theories and Curriculum Development in Music (3).
Development of music curricula as related to studies of student development; humanist and behaviorist positions on teaching and learning music; and approaches to the organization of instructional content.
MUSC 443. Cognitive Psychology of Music (3).
Survey and critical review of research in the cognitive psychology of music as it relates to music education and music performance. Specific topics of study include tonal perception and cognition, foundations and measurement of music aptitude and achievement, and music learning.
MUSC 444. Research and Measurement in Music Education I (3).
Introduction to types of research used in music education. Principles and procedures for developing and analyzing criterion measures used in research and the classroom. Development of research purposes, problems, literature reviews, designs, and procedures.
MUSC 445. Research and Measurement in Music Education II (3).
In-depth critical review of current research in music education. Examination of techniques for data analysis. Development of individual research projects.
MUSC 451. Recording Studio Internship (4).
MUSC 453. Eurhythmics VII (1).
MUSC 454. Eurhythmics VIII (1).
MUSC 461. Theory Pedagogy I (2).
MUSC 462. Theory Pedagogy II (2).
MUSC 471. Choral Conducting I (1).
MUSC 472. Choral Conducting II (1).
MUSC 473. Choral Conducting III (2).
MUSC 474. Choral Conducting IV (2).
MUSC 475. Choral Conducting V (2).
MUSC 476. Choral Conducting VI (2).
MUSC 480. Musique Concrete (1).
MUSC 481. Composition VII (2).
MUSC 482. Composition VIII (2).
MUSC 483. Electronic Sound Production I (2).
MUSC 484. Electronic Sound Production II (2).
MUSC 485. Electronic Sound Production III (2).
MUSC 486. Electronic Sound Production IV (2).
MUSC 487. Multitrack Recording Techniques I (2).
MUSC 488. Multitrack Recording Techniques II (2).
MUSC 490. Medieval and Renaissance Notation (3).
Theory of chant, modal, mensural, and tablature notations. Practice in making literal transcriptions, editing, and preparing scores for performance.
*MUSC 493. Introduction to Early Music Performance Practices (3).
(See MUSC 393.)
*MUSC 494. Seminar in Early Music Performance Practice (3).
(See MUSC 394.) Prerequisite: MUSC 493 or consent of instructor.
MUSC 501. Special Reading (M.A. and M.M.) (credit as arranged).
MUSC 511. Advanced Contrapuntal Techniques I (1).
MUSC 512. Advanced Contrapuntal Techniques II (1).
MUSC 517. Analysis for Conductor I (2).
MUSC 518. Analysis for Conductor II (2).
MUSC 529. Bibliography and Research Methods in Music (3).
Seminar in research methods and techniques, stressing the analytic and functional approaches to bibliography.
MUSC 539. D.M.A. Seminar (3).
MUSC 573. Orchestral Conducting I (1).
MUSC 574. Orchestral Conducting II (1).
MUSC 575. Orchestral Conducting III (3).
MUSC 576. Orchestral Conducting IV (3).
MUSC 577. Orchestral Conducting V (3).
MUSC 578. Orchestral Conducting VI (3).
MUSC 581. Composition (M.M.) (2).
MUSC 583. Composition Recital (M.M.) (0).
MUSC 585. Electronic Music Composition (2).
MUSC 590. Seminar in Music (3).
Problems in musical criticism, aesthetics, and analysis, as well as historical style.
MUSC 591. Seminar in Music Education (3).
Seminar topics vary from semester to semester. Recent topics include: creativity and music, advanced wind conducting, and music aptitude.
MUSC 595A. Seminar in Music Theory (1).
Projects and problems in music theory, primarily for doctoral students.
MUSC 595B. Seminar in Music Theory: Analysis of Twentieth-Century Music (3).
MUSC 601. Special Reading (Ph.D., D.M.A. tutorials) (credit as arranged).
MUSC 651. Thesis. (M.A. and M.M.) (3-6).
MUSC 681. Composition (D.M.A.) (2).
MUSC 696. College Teaching Practicum (0).
MUSC 701. Dissertation (Ph.D.) (credit as arranged).
MUSC 751. Recital Document I (D.M.A.) (3).
MUSC 752. Recital Document II (D.M.A.) (3).
MUSC 753. Recital Document III (D.M.A.) (3).
MUSC 781. Composition Chamber Recital (D.M.A.) (3).
MUSC 782. Composition Document (D.M.A.) (3).
MUSC 783. Final Composition (D.M.A.) (0).
Applied Music (APMU)
APMU 011. Recital Class (0).
APMU 101. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 102. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 111. Secondary Performance Area (l.5-3).
Open to all university students.
APMU 112. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 120. Instrumental and Voice Class (1).
Prerequisite: Consent of department.
APMU 120A. Piano Class (1).
APMU 120B. Voice Class (1).
APMU 120C. Recorder Class (1).
APMU 120D. Guitar Class (1).
APMU 120E. Harpsichord Class (1).
APMU 120F. Viola da Gamba (1).
APMU 120G. Trumpet Class (1).
APMU 120H. Violin Class (1).
APMU 120J. String Class (1).
APMU 120K. Brass Class (1).
APMU 120L. Clarinet Class (1).
APMU 120M. Woodwind Class (1).
APMU 120N. Percussion Class (1).
APMU 120P. Baroque String Class (1).
APMU 201. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 202. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 211. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 212. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 301. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 302. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 311. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 312. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 326. Harpsichord for Pianists (2).
Harpsichord technique and interpretation of 17th and 18th-Century Baroque keyboard music. National styles, articulation, tempi, dynamics, fingering, and registration. Short representative works of Byrd, Couperin, Rameau, Bach, Scarlatti, and Soler, as well as other works chosen by participating students. Limited to six students. Prerequisite: Consent of instructor. Not open to harpsichord majors.
APMU 327. Accompanying at the Harpsichord (2).
Accompanying Baroque vocal and instrumental works in a stylistically appropriate manner. Each sonatas for flute, violin, and viola da gamba. Students accomrecitals are encouraged to perform in class and receive coaching. Limited to six students. Prerequisite: APMU 326 and consent of instructor.
APMU 328. Seminar in Baroque Ornamentation (1).
Current theories of ornamentation and improvisation for instrumentalists and singers interested in historically authentic interpretation of Baroque music. Students encouraged to bring works of their choice to class for performance and discussion.
APMU 361. Accompanying Class (1).
All facets of the accompanist's art. Coaching in song, opera, duo-sonata, and chamber music repertoire. Development of appropriate style and projection. May be repeated.
APMU 362. Harp Ensemble (0-1).
APMU 366. University Circle Wind Ensemble (0).
Prerequisite: Consent of Instructor.
APMU 368. String Ensemble (1).
APMU 369. Chamber Ensembles (1-2).
Prerequisite: Consent of instructor.
APMU 369A. Miscellaneous Ensembles.
APMU 369B. Contemporary Music Ensemble.
APMU 380. CWRU Collegium Museum (0-1).
APMU 380A. Renaissance Instrument and Vocal Ensemble
APMU 380B. Early Music Singers
APMU 380C. Other Ensembles.
APMU 380D. Baroque Orchestra.
APMU 381. CIM Orchestra (0-1).
APMU 381A. Symphony Orchestra.
APMU 381B. Chamber Orchestra.
APMU 382. Choruses (0-1).
APMU 382A. University Circle Chorale
APMU 382B. University Circle Chamber Choir
APMU 382C. Cleveland Orchestra Chorus
APMU 382D. University Singers
APMU 383. CWRU Band (0-1).
APMU 383A. Jazz Ensemble I
APMU 383B. Jazz Ensemble II
APMU 383C. Symphonic Wind Ensemble
APMU 383D. Spartan Marching Band
APMU 383F. Handbell Choir (0)
APMU 385. University Circle Chamber Orchestra (0-1).
APMU 401. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 402. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 411. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 412. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 445. Suzuki Pedagogy I (2).
APMU 446. Suzuki Pedagogy II (2).
APMU 447. Suzuki Pedagogy III (3).
APMU 448. Suzuki Pedagogy IV (3).
APMU 501. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 502. Principal Performance Area (1.5-3).
Limited to music and music education majors.
APMU 511. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 512. Secondary Performance Area (1.5-3).
Open to all university students.
APMU 601. Principal Performance Area (credit as arranged).
Limited to D.M.A. students.
APMU 751. D.M.A. Recital I (0).
APMU 752. D.M.A. Recital II (0).
APMU 753. D.M.A. Recital III (0)
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