Music

[ undergraduate program | graduate program | faculty ]

All courses, faculty listings, and curricular and degree requirements described herein are subject to change or deletion without notice. Updates may be found on the Academic Senate website: http://senate.ucsd.edu/catalog-copy/approved-updates/.

Courses

For course descriptions not found in the UC San Diego General Catalog, 2014–15, please contact the department for more information.

Note: The following course offerings outline the general scope of our program. Not all courses are offered every year. It is essential that students work closely with departmental advisers when planning their degree programs.

Lower Division

1A. Fundamentals of Music A (4)

This course, first in a three-quarter sequence, is primarily intended for students without previous musical experience. It introduces music notation and basic music theory topics such as intervals, scales, keys, and chords, as well as basic rhythm skills. Prerequisites: none.

1B. Fundamentals of Music B (4)

This course, second in a three-quarter sequence, focuses on understanding music theory and in developing musical ability through rhythm, ear training, and sight singing exercises. Topics include major and minor scales, seventh-chords, transportation, compound meter and rudiments of musical form. Prerequisites: Music 1A.

1C. Fundamentals of Music C (4)

This course, third in a three-quarter sequence, offers solid foundation in musical literacy through exercises such as harmonic and melodic dictation, sight singing exercises and rhythm in various meters. Topics include complex rhythm, harmony, and basic keyboard skills. Prerequisites: Music 1B.

2A-B-C. Basic Musicianship (4-4-4)

Primarily intended for music majors. Development of basic skills: perception and notation of pitch and temporal relationships. Introduction to functional harmony. Studies in melodic writing. Drills in sight singing, rhythmic reading, and dictation. Prerequisites: passing score on placement exam. Must be taken in sequence. Music majors must be concurrently enrolled in Music 2AK, 2BK, and 2CK (Basic Keyboard).

2AK-BK-CK. Basic Keyboard (2-2-2)

Scales, chords, harmonic progressions, transposition, and simple pieces. Prerequisites: concurrent enrollment in Music 2A, B, C.

2JK. Jazz Keyboard (2)

This course will introduce basic voicings and voice leading, stylistically appropriate accompaniment, and basic chord substitution. For majors with a Jazz and the Music of the African diaspora emphasis to be taken concurrently with Music 2C. Prerequisites: Music 2AK and 2BK or passing proficiency exam, or consent of instructor. Concurrent enrollment in Music 2C. Majors only.

4. Introduction to Western Music (4)

A brief survey of the history of Western music from the Middle Ages to the present. Much attention will be paid to the direct experience of listening to music and attendance of concerts. Class consists of lectures, listening labs, and live performances. Prerequisites: none.

5. Sound in Time (4)

An examination and exploration of the art and science of music making. Topics include acoustics, improvisation, composition, and electronic and popular forms. There will be required listening, reading, and creative assignments. No previous musical background required. Prerequisites: none.

6. Electronic Music (4)

Lectures and listening sessions devoted to the most significant works of music realized through the use of computers and other electronic devices from the middle of this century through the present. Prerequisites: none.

7. Music, Science, and Computers (4)

Exploration of the interactions among music, science, and technology, including the history and current development of science and technology from the perspective of music. Prerequisites: none.

8. American Music (4)

A course designed to study the development of music in America. The focus will be on both the vernacular traditions including hymn singing, country music, jazz, big band, rock, etc., as well as the cultivated traditions of various composers from William Billings to John Cage. Prerequisites: none. (Offered in selected years.)

9. Symphony (4)

The symphonic masterworks course will consist of lectures and listening sessions devoted to a detailed discussion of a small number of recognized masterworks (e.g., Mozart, Beethoven, Berlioz, Stravinsky, Ligeti, etc.). Prerequisites: none. (Offered in selected years.)

10. Chamber Music (4)

Chamber Music will consist of lectures and listening sessions devoted to a detailed discussion of recognized chamber masterworks (e.g., Haydn, Mozart, Beethoven, Bartok, etc.). Prerequisites: none. (Offered in selected years.)

11. Folk Music (4)

A course on folk musics of the world, covered through lectures, films, and listening sessions devoted to detailed discussion of music indigenous to varying countries/areas of the world. Topics vary from year to year. May be repeated once for credit. Prerequisites: none.

12. Opera (4)

A study of opera masterworks that often coincide with operas presented in the San Diego Opera season. Class consists of lectures, listening labs, live performances, and opera on video. Prerequisites: none.

13AF. World Music/Africa (4)

A course that focuses on the music of Africa and on African ways of music making in the diaspora to the Caribbean and South America. No prior technical knowledge of music is necessary. Prerequisites: none.

13AM. World Music/Multicultural America (4)

A study of music cultures in the United States, particularly Native American, Hispanic American, European American, Asian American, and Pacific Islanders from the perspective of ethnicity, origin, interaction, and the contribution of various ethnic groups to American musical life. No prior technical knowledge of music is necessary. Prerequisites: none.

13AS. World Music/Asia and Oceania (4)

Introduction to selected performance traditions of Asia and Oceania with links to local and visiting musicians from these cultures. No prior technical knowledge of music is necessary. Prerequisites: none.

14. Contemporary Music (4)

This course offers opportunities to prepare oneself for experiences with new music (through preview lectures), hear performances (by visiting or faculty artists), to discuss each event informally with a faculty panel: an effort to foster informed listening to the new in music. Prerequisites: none.

15. Popular Music (4)

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisites: none.

32. Instrumental/Vocal Instruction (2)

Individual instruction on intermediate level in instrumental technique and repertory. For declared music majors and minors. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

32G. Group Instrumental Instruction (2)

Group instruction in instrumental or vocal technique and repertory. Intermediate level. Intended for students who make an important contribution to Department of Music ensembles. Prerequisites: written recommendation of ensemble director and audition for performance faculty on first day of classes required. Department stamp required. May be taken for credit six times. (Offered in selected years.)

32V. Vocal Instruction (1)

Individual instruction on intermediate level in vocal technique and repertory. For declared music majors and minors. Students must be simultaneously enrolled in a performance ensemble or non-performance music course and in Music 32VM. May be taken six times for credit. Prerequisites: audition and department stamp.

32VM. Vocal Master Class (1)

All students enrolled in voice lessons (32V, 132V, or 132C) perform for one another and their instructors. Students critique in-class performances, with emphasis on presentation, diction, dramatic effect, vocal quality, and musicality. Prerequisites: concurrent enrollment in Music 32V, 132V, or 132C.

33A. Introduction to Composition I (4)

First course in a sequence for music majors and nonmajors pursuing an emphasis in composition. The course examines “sound” itself and various ways of building sounds into musical structures, and develops skills in music notation. Students compose solo pieces in shorter forms. Students may not receive credit for both Music 33 and 33A. Prerequisites: Music 2C or consent of instructor.

33B. Introduction to Composition II (4)

Second part of course sequence for students pursuing a composition emphasis. Course continues the building of skills with the organization of basic compositional elements: pitch, rhythm, and timbre. It explores issues of musical texture, expression, and structure in traditional and contemporary repertoire. Writing for two instruments in more extended forms. Prerequisites: Music 33A.

33C. Introduction to Composition III (4)

Third part of course sequence for students pursuing a composition emphasis. Course continues the development of skills in instrumentation and analysis. It includes a survey of advanced techniques in contemporary composition, with additional focus on notation, part-preparation, and the art of writing for small groups of instruments. Prerequisites: Music 33B.

87. Freshman Seminar (1)

The Freshman Seminar Program is designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small seminar setting. Freshman Seminars are offered in all campus departments and undergraduate colleges, and topics vary from quarter to quarter. Enrollment is limited to fifteen to twenty students, with preference given to entering freshmen.

95. Ensemble Performance (2)

Performance in an ensemble appropriate to student abilities and interests. Normally each section requires student participation for the whole academic year, with credit for participation each quarter. Sections of Music 95W have included: African drumming, Korean percussion, Indian sitar and tabla, koto, and Indonesian flute. Not all sections will be offered every year. May be repeated for credit. Grading on participation level, individual testing, comparative papers on repertoire covered, etc. Prerequisites: audition and consent of instructor for each section. Materials fee required.

Note: Students in the Music 95 series courses may enroll with a letter grade option a total of twelve units for registered music majors and a total of six units for all other students; after which students may continue to enroll in Music 95 courses, but only with a P/NP grade option. There is one exception to the above grading policy. Music 95G, Gospel Choir, can only be taken for a P/NP grading option.

Section B. Instrument Choir

Section C. Concert Choir

Section D. Symphonic Chorus

Section E. Chamber Orchestra

Section G. Gospel Choir

Section JC. Jazz Chamber Ensembles

Section K. Chamber Singers

Section L. Wind Ensemble

Section W. World Music Ensembles

ICAM 40. Introduction to Computing in the Arts (4)

(Cross-listed with VIS 40.) An introduction to conceptual uses and historical precedents for use of computers in art making. Introduces students to the program’s computer facilities and teaches them basic computer skills. Prerequisites: Visual Arts and ICAM majors and minors only. Note: materials fee required.

Upper Division

101A. Music Theory and Practice I (4)

Study of modal counterpart in the style of the sixteenth century. Two-voice species counterpoint studies. Analysis of music of the period. Musicianship studies: sight-singing, dictation, and keyboard skills. Prerequisites: Music 2C and 2CK.

101B. Music Theory and Practice II (4)

Study of tonal harmony and counterpoint. Analysis of Bach chorales and other music from the Baroque period. Musicianship studies: sight-singing, dictation, and keyboard skills. Prerequisites: Music 101A.

101C. Music Theory and Practice III (4)

Tonal harmony and counterpoint. Analysis of larger classical forms: Sonata, Variation, Minuet and Trio, Rondo. Musicianship studies: sight-singing, dictation, and keyboard skills. Prerequisites: Music 101B.

102A. Music Theory and Practice IV (4)

Advanced study of the materials and structures of music (Beethoven to Wagner) emphasizing the evolution of music through chromatic harmony and voice leading. Development of aural discrimination and in-depth analysis. Prerequisites: Music 101C.

102B. Music Theory and Practice V (4)

Advanced study of the materials and structures of music (Schoenberg, Stravinsky, Webern, etc.—1900–1940) emphasizing the evolution of music through extended harmony post tonality and neoclassicism. Development of aural discrimination and in-depth analysis. Prerequisites: Music 102A.

102C. Music Theory and Practice VI (4)

Advanced study of the materials and structures of music (1945–2006) emphasizing the evolution of music through the many compositional trends of the late twentieth century. Development of aural discrimination and in-depth analysis. Prerequisites: Music 102B.

103A. Seminar in Composition I (4)

First part in composition course sequence. Individual projects will be reviewed in seminar. Techniques of instrumentation will be developed through examination of scores and creative application. Assignments will include short exercises and analysis, and final project for standard ensemble. Prerequisites: Music 33C.

103B. Seminar in Composition II (4)

Second part in composition course sequence. Intensive work in free composition by drafting a composition for presentation at the end of Music 103C. Written analysis of contemporary repertoire is introduced. Instruction about calligraphic conventions including computer engraving programs. Prerequisites: Music 103A.

103C. Seminar in Composition III (4)

Third part in composition course sequence. A mixture of individual lessons as well as group meetings, with discussion of topics germane to the development of composers, including musical aesthetics and contemporary orchestration techniques. Final performance of students’ work will take place at the end of the quarter. Prerequisites: Music 103B.

103D-E-F. Honors Seminar in Composition (4-4-4)

Advanced individual projects for senior music majors pursuing honors in composition. Projects will be critically reviewed in seminar with fellow students and faculty composers. Prerequisites: Music 103A-B-C and admission into the Department of Music Honors Program in composition. Department stamp required.

104. Jazz Transcription and Analysis (4)

An introduction to the practice of transcribing and analyzing improvised music. Discussion of music technique, style, aesthetics, and the ideology of transcription. Prerequisites: Music 101A and 101B.

105. Jazz Composition (4)

This course will explore a range of compositional possibilities from song forms to modal and more extended forms. May be repeated once for credit. Prerequisites: Music 104 or consent of instructor.

107. Critical Studies Seminar (4)

This seminar explores the history of music in relation to critical issues, such as race, gender, sexuality, the environment, and politics. Readings include recent literature in cultural studies, musicology, and sociology. Topics vary. May be taken three times for credit. Prerequisites: Music 120C.

110. Introduction to Ethnomusicology Seminar (4)

This seminar introduces the central theories, methods, and approaches used to study the musics of contemporary cultures, in their local contexts. In addition to surveying key writings, students will document music from their local environment. Prerequisites: upper-division standing or consent of instructor.

111. Topics/World Music Traditions (4)

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisites: none.

112. Topics in European Music Before 1750 (4)

This course will address topics in medieval, Renaissance, and Baroque music; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8–10, or 120 recommended.

113. Topics in Classic, Romantic, and Modern Music (4)

This course will focus on Western music between 1750 and the early 20th century; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8–10, or 120 recommended.

114. Music of the Twentieth Century (4)

An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none.

115. Women in Music (4)

A survey of the biographical, historical, sociological, and political issues affecting woman musicians, their creativity, their opportunities, and their perception by others. It compares and contrasts the work of women composers, performers, patrons, teachers, and writers on music from the Middle Ages through the present. Prerequisites: consent of instructor.

116. Popular Music Studies Seminar (4)

This course examines special topics in popular music from various sociopolitical, aesthetic, and performance perspectives. Readings include recent literature in cultural studies, musicology, and/or performance practice. Topics vary. May be taken three times for credit. Prerequisites: upper-division standing or consent of instructor.

120A. History of Music in Western Culture I (4)

First part of intensive historical, analytical, and cultural-aesthetic examination of music in Western culture from the ninth through the twenty-first centuries. Considers both sacred and secular repertories, from Gregorian chant through early opera, c. 800–1600. Prerequisites: Music 1C or 2C or passing grade on proficiency exam. Music majors should be enrolled concurrently in Music 101A. Department stamp required for nonmajors.

120B. History of Music in Western Culture II (4)

Second part of intensive historical, analytical, and cultural-aesthetic examination of music in Western culture from the ninth through the twenty-first centuries. Considers both instrumental and vocal repertories, from the Baroque to the Romantic, c. 1600–1830. Prerequisites: Music 120A. Music majors should be enrolled concurrently in Music 101B. Department stamp required for nonmajors.

120C. History of Music in Western Culture III (4)

Third part of intensive historical, analytical, and cultural-aesthetic examination of music in Western culture from the ninth through the twenty-first centuries. Considers both established traditions and new trends, from Romanticism through Modernism and Post-Modernism, c. 1890–present. Prerequisites: Music 120B. Music majors should be enrolled concurrently in Music 101C. Department stamp required for nonmajors.

126. Blues: An Oral Tradition (4)

This course will examine the development of the Blues from its roots in work-songs and the minstrel show to its flowering in the Mississippi Delta to the development of Urban Blues and the close relationship of the Blues with Jazz, Rhythm and Blues, and Rock and Roll. (Cross-listed with Ethnic Studies 178.) Prerequisites: none.

127A. Jazz Roots and Early Development (1900–1943) (4)

This course will trace the early development of Jazz and the diverse traditions that helped create this uniquely American art form. We will witness the emergence of Louis Armstrong in New Orleans and examine the composer’s role in Jazz with Jelly Roll Morton and Duke Ellington. (Cross-listed with Ethnic Studies 179A.) Prerequisites: none.

127B. Jazz Since 1946: Freedom and Form (4)

This course will examine the evolution of Jazz from 1943 to the present. The course will survey the contrasting and competing styles in Jazz from BEBOP to COOL to the avant-garde and fusion. (Cross-listed with Ethnic Studies 179B.) Prerequisites: none.

128. Principles and Practice of Conducting (4)

The theory and practice of instrumental and/or choral conducting as they have to do with basic baton techniques, score reading, interpretation, orchestration, program building, and functional analysis. Members of the class will be expected to demonstrate their knowledge in the conducting of a small ensemble performing literature from the eighteenth, nineteenth, and twentieth centuries. Prerequisites: Music 2A-B-C and 101A-B-C. Department stamp required.

129. Orchestration (4)

This course will give practical experience in orchestration. Students will study works from various eras of instrumental music and will demonstrate their knowledge by orchestrating works in the styles of these various eras, learning the capabilities, timbre, and articulation of all the instruments in the orchestra. Prerequisites: Music 101B.

130. Chamber Music Performance (2–4/0)

Instruction in the preparation of small group performances of representative instrumental and vocal chamber music literature. May be taken for credit six times, after which students must enroll for zero units. Prerequisites: consent of instructor through audition.

131. Advanced Improvisation Performance (4/0)

Master class instruction in advanced improvisation performance for declared majors and minors only or consent of instructor. Audition required at first class meeting. May be repeated six times for credit. Prerequisites: consent of instructor through audition. Department stamp required.

132. Proseminar in Music Performance (4)

Individual or master class instruction in advanced instrumental performance. For declared music majors and minors. Students must be simultaneously enrolled in a performance ensemble or nonperformance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

132C. Vocal Coaching (4)

Individual instruction in advanced vocal coaching. Emphasis placed on diction and musical issues. For declared music majors and minors. Students must be simultaneously enrolled in the Vocal Master Class, Music 32VM. May be taken six times for credit. Prerequisites: at least one quarter of Music 132V and consent of instructor. Department stamp required.

132R. Recital Preparation (4)

Advanced instrumental/vocal preparation for senior music majors pursuing honors in performance. Repertoire for a solo recital will be developed under the direction of the appropriate instrumental/vocal faculty member. Special audition required during Welcome Week preceding fall quarter. Prerequisites: by audition only; Music 132. Department stamp required.

132V. Proseminar in Vocal Instruction (3)

Individual instruction in advanced vocal performance. For declared music majors and minors. Students must be simultaneously enrolled in a performance ensemble or nonperformance music course and in the Vocal Master Class, Music 32VM. May be taken six times for credit. Prerequisites: audition and department stamp.

133. Projects in New Music Performance (4)

Performance of new music of the twentieth century. Normally offered winter quarter only. Required a minimum of one time for all music majors. May be taken two times for credit. Prerequisites: consent of instructor through audition.

134. Symphonic Orchestra (4)

Repertoire is drawn from the classic symphonic literature of the eighteenth, nineteenth, and twentieth centuries with a strong emphasis on recently composed and new music. Distinguished soloists, as well as The La Jolla Symphony Chorus, frequently appear with the orchestra. The La Jolla Symphony Orchestra performs two full-length programs each quarter, each program being performed twice. May be repeated six times for credit. Prerequisites: audition and department stamp required.

137A. Jazz Theory and Improvisation (4)

Study of jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. First course of a yearlong sequence. Prerequisites: MUS 2A-B-C, proficiency exam, or consent on instructor.

137B. Jazz Theory and Improvisation (4)

Study of jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. Second course of a yearlong sequence; continuation of Music 137A. Prerequisites: MUS 2A-B-C and 137A, proficiency exam, or consent on instructor.

137C. Jazz Theory and Improvisation (4)

Study of jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. Third course of a yearlong sequence; continuation of MUS 137B. Prerequisites: MUS 2A-B-C and 137B, proficiency exam, or consent on instructor.

137D. Seminar in Jazz Studies I (4)

Advanced individual projects for senior music majors pursuing honors in jazz and music of the African diaspora. Projects will be critically reviewed in seminar with fellow students and jazz faculty. First course of a yearlong sequence. Prerequisites: MUS 137A-B-C and admission into the Music Department Honors Program in jazz. Department stamp required.

137E. Seminar in Jazz Studies II (4)

Advanced individual projects for senior music majors pursuing honors in jazz and music of the African diaspora. Projects will be critically reviewed in seminar with fellow students and jazz faculty. Second course of a yearlong sequence; continuation of 137D. Prerequisites: MUS 137D and department stamp.

137F. Seminar in Jazz Studies III (4)

Advanced individual projects for senior music majors pursuing honors in jazz and music of the African diaspora. Projects will be critically reviewed in seminar with fellow students and jazz faculty. Third course of a yearlong sequence; continuation of 137E. Prerequisites: MUS 137E and department stamp.

143. Department Seminar (1)

The department seminar serves both as a general department meeting and as a forum for the presentation of research and performances by visitors, faculty, and students. Required of all undergraduate music majors every quarter.

150. Jazz and the Music of the African Diaspora: Special Topics Seminar (4)

An in-depth writing and listening intensive investigation into a jazz or diaspora-related music history topic. Topics vary from year to year. May be repeated once for credit. Prerequisites: Music 126, 127A or 127B, or consent of instructor.

151. Race, Culture, and Social Change (4)

Aggrieved groups generate distinctive cultural expressions by turning negative ascription into positive affirmation and by transforming segregation into congregation. This course examines the role of cultural expressions in struggles for social change by these communities inside and outside the U.S. (Cross-listed with Ethnic Studies 108.) Prerequisites: upper-division standing or consent of instructor.

152. Hip Hop: The Politics of Culture (4)

Examination of hip-hop’s music, technology, lyrics, and its influence in graffiti, film, music video, fiction, advertising, gender, corporate investment, government and censorship with a critical focus on race, gender, popular culture, and the politics of creative expression. (Cross-listed with Ethnic Studies 128.) Prerequisites: upper-division standing or consent of instructor.

153. African Americans and the Mass Media (4)

Examination of media representations of African Americans from slavery to the present focusing on emergence and transmission of enduring stereotypes, their relationship to changing social, political, and economic frameworks, and African Americans’ responses to and interpretations of these mediated images. (Cross-listed with Ethnic Studies 164.) Prerequisites: upper-division standing or consent of instructor.

154. Black Music/Black Texts: Communication and Cultural Expression (4)

Explores roles of music as a traditional form of communication among Africans, Afro-Americans, and West Indians: Special attention given to poetry of black music, including blues and other forms of vocal music expressive of contestatory political attitudes. (Cross-listed with Ethnic Studies 176 and Literature in English 187.) Prerequisites: upper-division standing or consent of instructor.

170. Musical Acoustics (4)

(Formerly Music 160A.) An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: Music 1A, 2A, or 4. Cross-listed with ICAM 103.

171. Computer Music I (4)

(Formerly Music 160C.) A practical introduction to computer techniques for desktop audio, including audio editing, MIDI control, and real-time music algorithms using the MAX programming environment. Prerequisites: Music 170; music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

172. Computer Music ll (4)

(Formerly Music 161.) Computer synthesis techniques including wavetable and additive synthesis, waveshaping, and sampling. Transformation of musical sounds using filters, modulation, and delay effects. Fourier analysis of sounds. Prerequisites: Music 171 (formerly Music 160C); music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

173. Audio Production: Mixing and Editing (4)

(Formerly Music 162.) Theoretical and practical aspects of recording, mixing, and editing sound for both musical and multimedia applications. Covers audio montage, equalization, effects processing, spatialization, mastering, and diffusion. Prerequisites: Music 170 (formerly Music 160A); music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

174A. Audio/MlDI Studio Techniques I (2)

First of three-part sequence, detailing digital studio resources and production techniques. Hardware and software techniques explored in project setting. Topics include microphones, digital recording and editing, analog and digital interfaces, workflow, analytical listening. Prerequisites: Music 170, music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

174B. Audio/MlDI Studio Techniques II (2)

Second of three-part sequence, detailing digital studio resources and production techniques. Hardware and software techniques explored in project setting. Topics include electronic and acoustic mixing, signal processing, MIDI, synchronization and basic sound-for-picture. Prerequisites: Music 170, Music 174A; music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

174C. Audio/MlDI Studio Techniques III (2)

Third of three-part sequence, detailing digital studio resources and production techniques. Hardware and software techniques explored in project setting. Topics include audio quality, compression, mastering, surrond sound, large scale production management. Prerequisites: Music 170, Music 174B; music majors, ICAM-music and ICAM-visual arts majors and minors, or consent of instructor.

175. Musical Psychoacoustics (4)

(Formerly Music 160B.) Survey of psychoacoustical phenomena, theories of hearing, and their relation to musical perception and cognition. Techniques of psychoacoustical experimentation. Prerequisites: Music 170 (formerly Music 160A) recommended.

176. Music Technology Seminar (4)

(Formerly Music 163.) Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 172 (formerly Music 161) and consent of instructor.

192. Senior Seminar in Music (1)

The Senior Seminar Program is designed to allow senior undergraduates to meet with faculty members in a small group setting to explore an intellectual topic in music (at the upper-division level). Topics will vary from quarter to quarter. Senior Seminars may be taken for credit up to four times, with a change in topic, and permission of the department. Enrollment is limited to twenty students, with preference given to seniors. Prerequisites: upper-division standing; department stamp and/or consent of instructor required.

195. Instructional Assistance (2)

Assisting in the instruction of an undergraduate music class under the direct and constant supervision of a faculty member. May be taken for credit three times. Prerequisites: consent of instructor and departmental approval.

198. Directed Group Study (1–4)

Concentrated inquiry into various problems not covered in the usual undergraduate courses. Prerequisites: consent of instructor and department chair approval. Pass/Not Pass grade only.

199. Independent Study (1–4)

Independent reading, research, or creative work under the direction of a faculty member, provided no course covering the material to be studied already exists, and the study area derives from previous course work. Prerequisites: consent of instructor and department chair approval. Department stamp required. Pass/Not Pass grade only. May be taken for credit two times.

ICAM 101. Digital Imaging: Image and Interactivity (4)

(Cross-listed with VIS 140.) Introduction to digital image involving images, texts, and interactive display operating both within computer mediated space (i.e., website) and in physical space (i.e., artist book). Interactive narrative and computer programming are explored. Materials fee required. Prerequisites: VIS 40 or ICAM 40. Open to studio, media, and ICAM majors; computing and ICAM minors only. Two production course limitation.

ICAM 102. Digital Media I: Time, Movement, Sound (4)

(Cross-listed with VIS 145A.) Exploration of time dependent media components. Creation and manipulation of digital sound as well as moving images and their integration in multimedia work. Use of computer programming to control time is emphasized. Introduces time and process based digital media artmaking. Contemporary and historical works across time and process based media will be studied and projects produced. Topics may include software art, software and hardware interfacing, interaction, and installation in an art context. CSE 5A or equivalent program experience recommended. Materials fee required. Prerequisites: VIS 40 or ICAM 40 and VIS 140 or ICAM 101. Open to media, and ICAM majors; ICAM minors only. Two production course limitation.

ICAM 103. Musical Acoustics (4)

(Cross-listed with MUS 170.) An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: MUS 1A, 2A, or 4.

ICAM 110. Computing in the Arts: Current Practice (4)

Designed around the presentations by visiting artists, critics, and scientists involved with contemporary issues related to computer arts. Lectures by the instructor and contextual readings provide background material for the visitor presentations. Prerequisites: none. Note: materials fee required.

ICAM 120. Virtual Environments (4)

Students create virtual reality artworks. Projects may be done individually or in groups. Exploration of theoretical issues involved will underlie acquisition of techniques utilized in the construction of virtual realities. Materials fee required. Prerequisites: VIS 145A or ICAM 102; CSE 11 recommended. Open to ICAM majors and minors only. Two production course limitation.

ICAM 130. Seminar in Contemporary Computer Topics (4)

(Cross-listed with VIS 149.) Topics relevant to computer-based art- and music-making, such as computer methods for making art/music, design of interactive systems, spatialization of visual/musical elements, critical studies. Topics will vary. May be repeated twice. Materials fee required. Prerequisites: VIS 140 or ICAM 101; VIS 145A or ICAM 102 and MUS 170 or ICAM 103 recommended. Open to media, and ICAM majors; ICAM minors only. Two production-course limitation.

ICAM 150. History of Art and Technology (4)

(Cross-listed with VIS 159.) Aims to provide historical context for computer arts by examining the interaction between the arts, media technologies, and sciences in different historical periods. Topics vary (e.g., Renaissance perspective, futurism and technology, and computer art of the 1950s and 1960s. Prerequisites: none. Note: materials fee required.

ICAM 160A. Senior Projects in Computer Arts I (4)

Students pursue projects of their own design over two quarters with support from faculty in a seminar environment. Project proposals are developed, informed by project development guidelines from real world examples. Collaborations are possible. Portfolio required for admissions. Prerequisites: VIS 141B or VIS 145B or VIS 147B or MUS 172. Open to ICAM majors only. Department stamp required. Two production-course limitation.

ICAM 160B. Senior Projects in Computer Arts II (4)

Continuation of ICAM 160A. Completion and presentation of independent projects along with documentation. Prerequisites: ICAM 160A. Open to ICAM majors only. Department stamp required. Two production-course limitation.

192. Senior Seminar in Music (1)

The Senior Seminar Program is designed to allow senior undergraduates to meet with faculty members in a small group setting to explore an intellectual topic in music (at the upper-division level). Topics will vary from quarter to quarter. Senior Seminars may be taken for credit up to four times, with a change in topics, and permission of the department. Enrollment is limited to twenty students, with preference given to seniors. Prerequisites: upper-division standing; department stamp and/or consent of instructor.

ICAM 199. Special Studies (2/4)

Independent reading, research or creative work under direction of faculty member. Prerequisites: department stamp and upper-division standing required.

Graduate

All courses numbered 200 and above are intended for students admitted to the graduate program in music.

200. Contemporary Chamber Opera Performance (4)

Students will collaborate with faculty and guest artists in the preparation and performance of a fully staged contemporary chamber opera. The opera will be presented in multiple public performances. Prerequisites: graduate standing in music, MU75/MU76, or consent of instructor.

201A-B-C-D-E-F. Projects in New Music Performance (1–4, 1–4, 1–4, 1–4, 1–4, 1–4)

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for music graduate students as outlined in the curriculum.

202. Advanced Projects in Performance (1–4)

Advanced performance of new music with members of the performance faculty (SONOR). Students taking this course do not need to take Music 201 that quarter. Enrollment by consent of instructor/director of SONOR. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp.

203A. Advanced Projects in Composition (6)

Meetings and laboratory sessions devoted to the study of composition in small groups. Consent of instructor required.

203B. Advanced Projects in Composition (6)

Meetings and laboratory sessions devoted to the study of composition in small groups. Consent of instructor required.

203C. Advanced Projects in Composition (6)

Meetings and laboratory sessions devoted to the study of composition in small groups. Consent of instructor required.

203D. Advanced Projects in Composition (1–4)

Meetings on group basis with faculty composer in sessions devoted to the study of composition. Prerequisites: 203A-B-C and consent of instructor.

204. Focus on Composition (2)

The purpose of this seminar is to bring in the entire population of the graduate composition program (all students and faculty) for in-depth discussion of critical issues in music theory and composition. Each meeting will feature a formal presentation by either a student, faculty member, or visitor, followed by lively and challenging debate on relevant issues. Prerequisites: consent of instructor.

205. Focus on Integrative Studies (2)

Meets on a biweekly basis to facilitate presentations by advanced students and invited guests and to encourage in-depth discussion between students, faculty, and visitors about theoretical and artistic issues of interest. Participation is required of all enrolled IS students until advanced to candidacy. Others are welcome to participate. Prerequisites: graduate standing in music.

206. Experimental Studies Seminar (4)

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp.

207. Theoretical Studies Seminar (4)

Seminars on subject areas relating to the established dimensions of music and in which theoreticians have produced a substantial body of work. These include studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings vary depending on faculty availability and interest. Analytical paper required. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp.

209. Advanced Music Theory and Practice (4)

Advanced integrated studies in music theory; composition and styles study through analysis and performance. This course is intended primarily for doctoral students and may be taken by MA students only with special approval of MA adviser and course instructor. A major research or analytical publishable paper required. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp.

210. Musical Analysis (4)

The analysis of complex music. The course will assume that the student has a background in traditional music analysis. The goal of the course is to investigate and develop analytical procedures that yield significant information about specific works of music, old and new. Reading, projects, and analytical papers. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp.

211. Introduction to Ethnomusicology (2)

Introduces the field of ethnomusicology by highlighting important thinkers, concepts, and issues and by orienting students toward work of an anthropological, ethnographic, or comparative nature. Students who have taken and passed MUS 208A may not get credit for MUS 211. Prerequisites: graduate standing in music

212. Introduction to System Inquiry (2)

Introduces the network of concepts and approaches that comprise systems inquiry and explores the theoretical, philosophical, and methodological implications of systems thinking for musical research and practice. Students who have taken MUS 208B for credit may not take MUS 212 for credit. Prerequisites: graduate standing in music.

213. Introduction to Critical Studies (2)

Introduces important themes and thinkers from the fields of critical theory and cultural studies and explores how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender. Students who have taken MUS 208C for credit may not take MUS 213 for credit. Prerequisites: graduate standing in music.

214. Introduction to Creative Practices (2)

Surveys the terrain of contemporary creative music and investigates the social, cultural, historical, and technological dimensions of its manifestations and practice. Students who have taken MUS 208D for credit may not take MUS 214 for credit. Prerequisites: graduate standing in music.

228. Conducting (4)

This course will give practical experience in conducting a variety of works from various eras of instrumental and/or vocal music. Students will study problems of instrumental or vocal techniques, formal and expressive analysis of the music, and manners of rehearsal. Required of all graduate students. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. (Offered in selected years.)

229. Seminar in Orchestration (4)

A seminar to give practical experience in orchestration. Students will study works from various eras of instrumental music and will demonstrate their knowledge by orchestrating works in the styles of these various eras, learning the capabilities, timbre, and articulation of all the instruments in the orchestra. Prerequisites: graduate standing. (Offered in selected years.)

230. Chamber Music Performance (4)

Performance of representative chamber music literature, instrumental and/or vocal, through coached rehearsal and seminar studies. Course may be repeated for credit since the literature studied varies from quarter to quarter. Prerequisites: consent of instructor.

232. Proseminar in Music Performance (1–4)

Individual or master class instruction in advanced instrumental/vocal performance. Prerequisites: consent of instructor through audition.

234. Symphonic Orchestra (4)

Repertoire is drawn from the classic symphonic literature of the eighteenth, nineteenth, and twentieth centuries with a strong emphasis on recently composed and new music. Distinguished soloists, as well as The La Jolla Symphony Chorus, frequently appear with the orchestra. The La Jolla Symphony Orchestra performs two full-length programs each quarter, each program being performed twice. May be repeated six times for credit. Prerequisites: audition required.

245. Focus on Performance (2)

The purpose of this seminar is to bring together performance students, faculty, and guests for discussion, presentation of student and faculty projects, performances by guest artists, and master classes with different members of the performance faculty. Prerequisites: consent of instructor. (S/U grade option only.)

251. Integrative Studies Seminar in Ethnomusicology (4)

Provides an in-depth look at the shifting definitions, methods, and scope of ethnomusicology and explores contemporary writings and issues that are shaping the field today. Prerequisites: graduate standing in music.

252. Integrative Studies Seminar in Systems Inquiry (4)

Traces the development of systems thinking and encourages work of a transdisciplinary nature, integrating models, strategies, methods, and tools from natural, human, social, and technological realms. Prerequisites: graduate standing in music.

253. Integrative Studies Seminar in Critical Studies (4)

Develops critical thinking and self-reflexive inquiry through in-depth study of a diverse range of critical and scholarly traditions as they relate to music. Students are encouraged to investigate their own sense of identity and voice, as embodied in their creative and/or scholarly work. Prerequisites: graduate standing in music.

254. Integrative Studies Seminar in Creative Practice (4)

Students will explore a variety of approaches to collaborative work and will be challenged to develop a personal aesthetic in experimental art and new media and design original work for presentation at faculty juries. Prerequisites: graduate standing in music.

267. Advanced Music Technology Seminar (4)

Advanced topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 173 or equivalent and consent of instructor.

270A. Digital Audio Processing (4)

Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Prerequisites: consent of instructor.

270B. Musical Cognitive Science (4)

Theoretical bases for analyzing musical sound. Approaches to perception and cognition, including psychoacoustics and information processing, both ecological and computational. Models of audition including Helmholtz’s consonance/dissonance theory and Bregman’s streaming model. Musical cognition theories of Lerdahl and Narmour. Neural network models of music perception and cognition. Models of rhythm. The problem of timbre and timbre perception. Prerequisites: consent of instructor.

270C. Compositional Algorithms (4)

Transformations in musical composition; series and intervalic structures; serial approaches to rhythm and dynamic. The stochastic music of Xenakis and Cage. Hiller’s automatic composition. Improvisational models. Computer analysis of musical style. Neurally inspired and other quasiparallel algorithms. Prerequisites: consent of instructor.

270D. Advanced Projects in Computer Music (4)

Meetings on group basis with computer music faculty in support of individual student research projects. Prerequisites: consent of instructor and completion of Music 270A-B-C.

271A. Survey of Electronic Music Techniques I (4)

A hands-on encounter with several important works from the classic electronic repertory, showing a representative subset of the electronic techniques available to musicians. Students who have taken MUS 271 for credit may not take MUS 271A for credit. Prerequisites: graduate standing in music.

271B. Survey of Electronic Music Techniques II (4)

A continuation of 271A, with emphasis on live interactive techniques (e.g., audio processing; analysis/resynthesis; score following). Prerequisites: Music 271A and graduate standing in music.

271C. Survey of Electronic Music Techniques III (4)

A continuation of 271A and B, with emphasis on compositional techniques (e.g., computer-aided composition, production, spatialization). Prerequisites: Music 271B and graduate standing in music.

272. Seminar in Live Computer Music (4)

Group projects to create new pieces of live electronic music involving research in electronic music and/or instrumental techniques. May be repeated for credit. Prerequisites: Music 271A-B-C or consent of instructor and graduate standing in music.

296. Directed Group Research in Performance (4)

This group research seminar involves the investigation and exploration of new and experimental performance concerns. Areas could include: improvisation, graphic notation, performance electronics, and working with combined media (such as dance, poetry, and theatre). Prerequisites: graduate standing. (S/U grade option only.)

298. Directed Research (1–4)

Individual research. (S/U grades permitted.) May be repeated for credit. Enrollment by consent of instructor only.

299. Advanced Research Projects and Independent Study (1–12)

Individual research projects relevant to the student’s selected area of graduate interest conducted in continuing relationship with a faculty adviser in preparation of the master’s thesis or doctoral dissertation. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. (S/U grades permitted.)

500. Apprentice Teaching (1–4)

Participation in the undergraduate teaching program is required of all graduate students at the equivalent of 25 percent time for three quarters (six units is required for all graduate students). Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. (S/U grade option only.)

501. Apprentice Teaching—Nondepartmental (4)

Consideration and development of pedagogical methods appropriate to undergraduate teaching. Prerequisites: graduate standing and consent of instructor. (S/U grade option only.)