The Herb Alpert School of Music at CalArts

The courses offered by The Herb Alpert School of Music at CalArts are a reflection of a rich and diverse curriculum for BFA, MFA and DMA students.

Course Code Course Name Semesters Offered
CS217 Digital Media and Web Development for Digital Artists I, II
CS268 Introduction to Sound Production I, II
CS313A Introduction to Programming for Digital Artists A I, II
CS313B Introduction to Programming for Digital Artists B I, II
CS315 Introduction to Digital Fabrication I, II
ID530 Toward Interdisciplinary Critique: a Survey of Methodologies Not planned for this academic year
M 002 Interim II
MC010 Composition: Non-Major Lessons I, II
MC100 Composition: UG Major Lessons I, II
MC101 Undergraduate Composers' Forum I
MC105 Music Notation II
MC110-01 Introduction to Composition I, II
MC120A Sound/Silence 1A: Instrumental Composition A I
MC120B Sound/Silence 1B: Instrumental Composition B II
MC123A Undergraduate Experimental Music Workshop A I
MC123B Undergraduate Experimental Music Workshop B II
MC250 Writing for Strings I, II
MC251 Writing for Woodwinds II
MC252 Writing for Harp Not planned for this academic year
MC253 Writing for Percussion II
MC254 Writing for Brass I
MC255 Writing for Keyboards Not planned for this academic year
MC256 Writing for Voice II
MC257 Writing for Guitar I
MC259 Adventures in Writing for Everything Else Not planned for this academic year
MC310 Undergraduate Jazz Composition: Analysis in Improvisational Forms & Traditions I, II
MC314 Jazz Arranging and Advanced Ear Training II
MC320A Sound/Silence 2A: Studio Electro-Acoustic Composition I
MC320B Sound/Silence 2B: Live Electronic Music-Making II
MC321 History & Analysis of Film Music II
MC322 Composition for Film and Video Not planned for this academic year
MC400-11 HyperOpera: Song Without Borders I, II
MC400-15 Form in Contemporary Music Not planned for this academic year
MC402 Instrumentation & Orchestration Not planned for this academic year
MC465 Digital Recording Studio I, II
MC500 Composition: Graduate Lessons I, II
MC501 Graduate Composers' Forum I, II
MC502 Experimental Sound Practices Forum I, II
MC515 Music and Video Ensemble I, II
MC600-11 HyperOpera: Song Without Borders I, II
MC602 Instrumentation & Orchestration - see MC402 Not planned for this academic year
MC604 Field Recording Workshop Not planned for this academic year
MC605 Graduate Electroacoustic Seminar I, II
MC610 Graduate Jazz Composition: Analysis in Improvisational Music Forms and Traditions I, II
MC614 Jazz Arranging and Advanced Ear Training - see MC314 II
MC615 Choreographers and Composers I
MC616 Concert Theater Not planned for this academic year
MC617 Media Strategies: Rules and Space II
MC618 Media Theory: the Interactee I
MC621 History & Analysis of Film Music - see MC321 II
MC622 Composition for Film and Video - see MC322 Not planned for this academic year
MC623A Graduate Experimental Music Workshop A I
MC623B Graduate Experimental Music Workshop B II
MC650 MC 65X/25X Writing for... - see MC25X Not planned for this academic year
MC665 Digital Recording Studio - see MC465 I, II
MC699 MFA Portfolio I, II
MC700 Composition: DMA Lessons I, II
MC800 Undergraduate Independent Study: Composition I, II
MC900 Graduate Independent Project: Composition I, II
MD700 Performer-Composer Doctoral Seminar I, II
MD701 Teaching the Teacher: New Paradigms of Learning and Assessment I
MD703 Performer-Composer: History and Aesthetics I
MD704 Professional Development for Musicians II
MD705 Performer-Composer: Theory and Practice Not planned for this academic year
MD740 Teaching Practicum I, II
MD750 Topic-Driven Research and Exploration I, II
MD790 DMA Performance/Presentation Project II
MD799 Doctoral Project I, II
ME103-01 World Percussion Ensemble I, II
ME103-02 Tabla Ensemble I, II
ME105-01 New Millennium Chamber Orchestra (Undergraduate) I, II
ME105-02 New Millennium Performers (Undergraduate) Not planned for this academic year
ME106 Undergraduate Chamber Music I, II
ME114 Baroque Chamber Music and Bach Arias I, II
ME117 Undergraduate Jazz Student Ensembles I, II
ME120 Undergraduate New Millennium Brass Ensemble I, II
ME121 Undergraduate Jazz Faculty Ensemble I, II
ME122 Percussion Ensemble I, II
ME123 Undergraduate Woodwind Ensemble Workshop I, II
ME124 Undergraduate Trumpet Studio I, II
ME128 Women's Calabash Drum Ensemble II
ME201 Beginning African Music Ensemble I, II
ME210 Beginning Javanese Gamelan: Kyai Doro Dasih I, II
ME220 Beginning Balinese Gamelan: Semar Pelgulingan I, II
ME221 Gender Wayang Ensemble I, II
ME222 Balinese Flute Ensemble: Gong Suling I, II
ME223 Kecak (Balinese Monkey Chant) Ensemble II
ME230 Beginning North Indian Music Ensemble I, II
ME300-01 Chamber Singers I
ME300-03 Contemporary Vocal Ensemble I
ME325 Persian Ensemble I, II
ME326 Improvisation Ensemble I, II
ME327 Multi-Focus Ensemble I, II
ME400 Applied Experiments: Traditional/Contemporary Composition Workshop I, II
ME401 Advanced African Music Ensemble I, II
ME404 Creative Orchestra II
ME410 Advanced Javanese Gamelan: Kyai Doro Dasih I, II
ME420 Advanced Balinese Gamelan: Semar Pelgulingan I, II
ME422 Advanced Percussion Ensemble I, II
ME423 Advanced Woodwind Ensemble Workshop I, II
ME424 Advanced Trumpet Studio I, II
ME426 Advanced Improvisation Ensemble I, II
ME430 Advanced North Indian Music Ensemble I, II
ME450 Sonic Boom Ensemble I, II
ME460 Golia Large Ensemble I, II
ME500 New Century Players Ensemble I, II
ME605-01 New Millennium Chamber Orchestra (Graduate) I, II
ME605-02 New Millennium Performers Ensemble (Graduate) Not planned for this academic year
ME606 Graduate Chamber Music I, II
ME614 Graduate Baroque Chamber Music and Bach Arias I, II
ME617 Graduate Jazz Student Ensembles I, II
ME620 Graduate New Millenium Brass Ensemble I, II
ME621 Graduate Jazz Faculty Ensemble I, II
ME625 Creative Music Electronic Ensemble I, II
ME800 Undergraduate Independent Project: Ensemble or Accompaniment I, II
ME900 Graduate Independent Project: Ensemble or Accompaniment I, II
MG000 Music Gateway Not planned for this academic year
MH100 World Music Survey II
MH115 Survey of 20th- and 21st-Century Music I
MH205A Survey of Western Music History & Literature A I
MH205B Survey of Western Music History & Literature B II
MH220 African Song I, II
MH240 Jazz History I
MH300 Music Cultures: Music of China I
MH310 History & Practice of Electro-Acoustic Music II
MH314 Introduction to the Music of Flamenco I
MH315 Popular Music: A Social and Analytical History II
MH317 Introduction to Bach I, II
MH345 The [R]Evolution of Solo Vocal Literature Not planned for this academic year
MH390 The Blues Before 1960 II
MH400-02 African & African-American Music and Literature II
MH400-03 Contemporary Composers: Words, Music and Ideas I
MH400-04 The Music of Luigi Nono Not planned for this academic year
MH400-05 The Music of James Tenney Not planned for this academic year
MH400-06 Music as Literature Not planned for this academic year
MH400-07 Sounding Images - A Survey of Visual Music Not planned for this academic year
MH400-08 The Music of Gyorgy Kurtag and Sofia Gubaidulina Not planned for this academic year
MH400-12 Musical Reflections of Surrealism Not planned for this academic year
MH400-14 The Music of Edgard Varese I
MH400-18 Contemplative Practices, Musical Arts, Compassionate Mind Not planned for this academic year
MH400-19 Music of Eastern Europe in the Late 20th Century Not planned for this academic year
MH400-20 The Music of Gerard Grisey and French Spectralism Not planned for this academic year
MH400-22 The Art of Film Composing Not planned for this academic year
MH400-23 The Music of Iannis Xenakis Not planned for this academic year
MH400-24 The Music of Gyorgy Ligeti Not planned for this academic year
MH400-25 The Music of Helmut Lachenmann Not planned for this academic year
MH400-26 The Music of Igor Stravinsky Not planned for this academic year
MH400-27 The Music of Arnold Schoenberg Not planned for this academic year
MH400-28 Late Beethoven Not planned for this academic year
MH400-29 The Music of Morton Feldman and Walter Zimmermann II
MH400-30 The Frontiers of Intrumentation Not planned for this academic year
MH405-01 Focus Rock: Metal - Black, Death & Doom Not planned for this academic year
MH405-02 Focus Rock: Rock and New Music - A History of Cross-Pollination Not planned for this academic year
MH405-03 Focus Rock: Make a Joyful Noise II
MH420 Music Improvisation Out of this World Not planned for this academic year
MH425 Survey of Sound Art II
MH430 Her Music Not planned for this academic year
MH501 Interdisciplinary Improvisation and Aesthetics II
MH502 Twentieth-Century Intersections and Interactions I
MH600-02 Focused Topics - see MH400-XX Not planned for this academic year
MH610 History & Practice of Electro-Acoustic Music II
MH620 Music Improvisation Out of this World - see MH420 Not planned for this academic year
MH625 Survey of Sound Art II
MH630 Her Music - see MH430 Not planned for this academic year
MH800 Undergraduate Independent Project: Music History & Literature I, II
MH900 Graduate Independent Project: Music History & Literature I, II
MI100 Fundamentals of Concert Production I, II
MI101A Concert Production for Music Technology Students I
MI101B Concert Production for Music Technology Students II
MI150 Sound Synthesis I
MI155 Advanced Sound Synthesis and Audio Effects II
MI205 Music Technology Forum I, II
MI210 Audio Production for the Laptop II
MI220 Advanced Musical Programming Techniques Not planned for this academic year
MI270 Introduction to Composition using Music Technology II
MI308 Advanced Production Techniques II
MI330A Interface Design for Music and Media Expression A I
MI330B Interface Design for Music and Media Expression B II
MI360 Audio Signal Processing I
MI415 Visual Programming and Projection Mapping II
MI420 Digital Voice Ensemble I, II
MI430 Grids, Beats, and Groups I, II
MI499 Undergraduate Music Technology Final Project II
MI499 Undergraduate Music Technology Final Project I, II
MI531 Digitizing World Music I
MI540 Machine Orchestra Not planned for this academic year
MI541 Composition for Robotic Instruments II
MI550 Robotic Design for Music & Media Applications Not planned for this academic year
MI600 Special Topics in Graduate Music Technology II
MI605 Music Technology Forum I, II
MI613A Introduction to Programming for Digital Artists A I
MI613A Introduction to Programming for Digital Artists A I
MI613B Introduction to Programming for Digital Artists B II
MI617 Digital Media and Web Development for Digital Artists I, II
MI620 Advanced Musical Programming Techniques - see MI220 II
MI621A C++ for the Advanced Electronic Musician A I
MI621B C++ for the Advanced Electronic Musician B II
MI630A Interface Design A&B - see MI330A&B I
MI630B Interface Design B - see MI330B II
MI631 Advanced Circuit Design I
MI650 Sound Synthesis - see MI150 I
MI655 Advanced Sound Synthesis and Audio Effects - See MI155 II
MI660 Audio Signal Processing - see MI360 I
MI668 Introduction to Sound Production I, II
MI685 Teaching in Technology I, II
MI699 MFA Music Technology Final Project I, II
MI800 Undergraduate Independent Project: Music Technology I, II
MI900 Graduate Independent Project: Music Technology I, II
ML101 Intensive Italian Language and Grammar for Singers Not planned for this academic year
ML102 Intensive French Language and Grammar for Singers Not planned for this academic year
MP000 Performance Lessons I, II
MP001 Class Piano I, II
MP102 Musician's Toolkit I
MP200-01 Undergraduate Jazz Improvisation (Class) I
MP200-02 Undergraduate Jazz Improvisation (Individual) I, II
MP201-01 Systemic Improvisation I
MP201-02 The Spirituality of Improvisation I, II
MP201-03 Harmonic Improvisation II
MP203-01 Undergraduate Performance Forum II
MP203-02 Undergraduate Voice Forum I
MP204 Forum for Musical Arts I, II
MP207 Undergraduate Jazz Forum I
MP208 Stagecraft for Singers Not planned for this academic year
MP210A VoiceArts Foundation I, II
MP215 Yoga for Musicians I, II
MP220 African Dance I, II
MP230 Balinese Dance I, II
MP235 Beginning Shakuhachi Workshop I, II
MP240-01 Javanese Dance (Women) I, II
MP240-02 Javanese Dance (Men) I, II
MP241 Studio Projects for Guitar I, II
MP250 Institute Voice I, II
MP252 Learning to Scream: Voice Training for Non-Majors I, II
MP254 English Diction and Repertoire for Singers Not planned for this academic year
MP255-01 Italian and Spanish Diction and Repertoire for Singers Not planned for this academic year
MP255-02 French Diction and Repertoire for Singers Not planned for this academic year
MP255-03 German Diction and Repertoire for Singers Not planned for this academic year
MP302 The Grammar of Conducting II
MP308 Topics in Historically Informed Performance Practices: The Study of Historical Performance Practices in Western European Music Composed Before the 19th Century Not planned for this academic year
MP309 Latin Percussion I, II
MP312 Tabla I, II
MP324 Perspectives on Hand Drumming I, II
MP326 Trigger: the Electronic Percussionist I, II
MP400-01 Singing the Books: A Workshop on John Cage's 'Song Books' Not planned for this academic year
MP400-02 Contemporary Vocal Techniques, Repertoire and Performance II
MP400-03 What Kind of Text Is That? Exploring and Creating with Unusual Materials Not planned for this academic year
MP402 Opera Theater Not planned for this academic year
MP403 Physiology of the Voice I
MP405 Performer-Composer Forum II
MP406 Musical Bodies: Injury Prevention and Rehabilitation I, II
MP408 Instrumental Conducting I
MP480 Tabla Accompaniment I, II
MP502 Improvisors' Visiting Artists Colloquium I, II
MP503-01 Graduate Performance Forum II
MP503-02 Graduate Voice Forum I
MP600-01 Focused Topics in Vocal Performance - see MP400-XX Not planned for this academic year
MP600-02 Contemporary Vocal Techniques, Repertoire and Performance II
MP601-01 Systemic Improvisation I
MP601-02 The Spirituality of Improvisation I, II
MP601-03 Harmonic Improvisation II
MP602 Opera Theater - see MP402 Not planned for this academic year
MP603 Physiology of the Voice I
MP604 Special Studies in Collaborative Performance I, II
MP605 Performer-Composer Forum - see MP405 II
MP606 Musical Bodies: Injury Prevention and Rehabilitation - see MP406 I, II
MP607 Graduate Jazz Forum I
MP608 Instrumental Conducting I
MP640 Contemporary Performance Practice for Woodwinds I, II
MP680 Tabla Accompaniment - see MP480 I, II
MP699 MFA Graduation Recital Preparation I, II
MP800 Undergraduate Independent Project: Performance I, II
MP900 Graduate Independent Project: Performance I, II
MR110 Vocal Repertoire Coaching I, II
MR120 Guitar Workshop: Undergraduate Majors I, II
MR122 Flute Workshop: Undergraduate Majors I, II
MR123 Harp Workshop: Undergraduate Majors I, II
MR124 Oboe Workshop: Undergraduate Majors I, II
MR126 Experimental Voice Workshop: UG Majors I, II
MR127 African Rhythm Workshop Not planned for this academic year
MR128 String Workshop: Undergraduate Majors I, II
MR129 Percussion Workshop: Undergraduate Majors I, II
MR130 Clarinet Workshop: Undergraduate Majors I, II
MR131 Bassoon Workshop: Undergraduate Majors I, II
MR132 Brass Workshop: Undergraduate Majors I, II
MR133 Horn Workshop: Undergraduate Majors Not planned for this academic year
MR310 Advanced Vocal Repertoire Coaching I, II
MR510 Graduate Vocal Repertoire Coaching I, II
MT001-01 Fundamental Musicianship I, II
MT100A01 Musicianship Skills: Tonal Forms A I, II
MT100B01 Musicianship Skills: Tonal Forms B I, II
MT101A Introduction to Tonal Theory A I, II
MT101B Introduction to Tonal Theory B I, II
MT102-01 Musicianship Skills: Bach Chorale Singing Not planned for this academic year
MT102-02 Musicianship Skills: Bach Keyboard Pieces I, II
MT103 Musicianship Skills: Transcription I
MT104A Musicianship Skills: Rhythm A I
MT104B Musicianship Skills: Rhythm B II
MT150 Jazz Keyboard Theory I, II
MT170 Transcription and Arranging for Guitar I, II
MT173 Lute Tablature Transcription I, II
MT174 Fretboard Theory I, II
MT175 Figured Bass Realization for Guitar or Lute I, II
MT176 Analysis of Guitar Repertoire I, II
MT177 Continuo and Baroque Accompaniment I, II
MT190 Beginning North Indian Svar Graam - Vocal I, II
MT195 Beginning North Indian Svar Graam - Instrumental I, II
MT200C Musicianship Skills: Tonal Forms C I, II
MT200D Musicianship Skills: Tonal Forms D I, II
MT202 Post-Tonal Theory I, II
MT203 Form Not planned for this academic year
MT204 Counterpoint II
MT205 Song Writing, Analysis and Performance I
MT206 Advanced Harmonic Techniques Not planned for this academic year
MT210 North Indian Theory I, II
MT220 Persian Music Theory I, II
MT225 Introduction to the Forms of African Music Not planned for this academic year
MT260 Javanese and Balinese Music, Dance & Theory I, II
MT300 Analysis of Musical Forms Not planned for this academic year
MT302 Acoustics: Applied Physics for Musicians I
MT310 Projects in Advanced Sight Singing I, II
MT350 Analysis and Interpretation for Performers I
MT390 Advanced North Indian Svar Graam - Vocal I, II
MT395 Advanced North Indian Svar Graam - Instrumental I, II
MT400-01 Chamber Thought II
MT400-09 Orchestral Thought Not planned for this academic year
MT400-10 Analysis: What Is Experimental Music? Not planned for this academic year
MT400-13 Uncertainty Not planned for this academic year
MT400-17 The String Quartet since 1900 Not planned for this academic year
MT400-21 The Piano since 1900 Not planned for this academic year
MT401 Tala: North and South Indian Rhythm Systems I, II
MT403A Intonation Workshop A I
MT403B Intonation Workshop B II
MT501 Graduate Theory Review I
MT502 Graduate Skills Review II
MT503 Musicianship Skills: Transcription I
MT610 Spectromorphology Not planned for this academic year
MT612 Critical Reading: Art, Perception and Correlation I, II
MT800 Undergraduate Independent Project: Music Theory & Analysis I, II
MT900 Graduate Independent Project: Music Theory & Analysis I, II
MT900-01 Graduate Independent Project: Music Theory & Analysis I, II
MX350 Career Designs for Musicians I, II
MX400A Toward Creativity: Pedagogy, Praxis, Philosophy A I
MX400B Toward Creativity: Pedagogy, Praxis, Philosophy B II
MX420 Teaching the Voice II
MX620 Teaching the Voice - see MX420 II
MX650 Career Designs for Musicians - see MX350 I, II
MX800P Undergraduate Independent Project: Pedagogy I, II
MX900P Graduate Independent Project: Pedagogy I, II

CS217

Digital Media and Web Development for Digital Artists

2.0 units
Semester: 
I, II

This course provides an introduction to digital media and web development for musicians. Each student will learn basic HTML and how to use it to build custom websites for designing artist homepages. Students will learn how to stream music, stream video, and manage media online. Each student will also learn how to use social networking sites to help gain fan bases and friends using websites like myspace and facebook. Final project in this course is to have a personal website set up and running.

* Permission of instructor required. jhochenbaum@calarts.edu
* Open to the Institute.

CS268

Introduction to Sound Production

2.0 units
Semester: 
I, II

A moderately technical introduction to the science of acoustics and audio systems technology. Covers the nature, measurement and behavior of sound; audio terminology, signal flow, and equipment performance specs; digital audio; microphone types and usage; and an overview of recording theory. Lecture/demonstration course, not hands-on recording.

* Prerequisites: Solid math skills, including algebra.

* Permission of instructor required. jhochenbaum@calarts.edu
* Open to the Institute.

CS313A

Introduction to Programming for Digital Artists A

2.0 units
Semester: 
I, II

This course provides an introduction to object-oriented computer music programming languages and how students can use them to make custom software for unique musical expression. ChucK, a strongly-timed computer music language will be introduced. An overview of general programming concepts including types, arrays, control structures, classes and objects will be presented. How to use ChucK for programming real-time systems incorporating MIDI devices will also be described. Each student will present a final project which demonstrates how ChucK can be used in writing synthesis, analysis, or interactive performance tools for a live performance or short composition.

* Open to the Institute.

CS313B

Introduction to Programming for Digital Artists B

2.0 units
Semester: 
I, II

See the description of CS313A, of which this course is a continuation.

* Prerequisite: CS313A.

* Open to the Institute.

CS315

Introduction to Digital Fabrication

2.0 units
Semester: 
I, II

This course teaches students modern skills in digital design. Students will learn how to express their ideas using CAD software in 2D and 3D forms. Mathematical measurements and scaling will be addressed throughout the assignments. Students will also learn how to take their designs and use laser cutting, 3D printing, C & C Routing and other modern fabrication tools to create physical objects for use in their artwork. A historical context of Design practice and the evolution of the Artform with technology will be presented.

* Open to the Institute.

ID530

Toward Interdisciplinary Critique: a Survey of Methodologies

3.0 units
Semester: 
Not planned for this academic year

A three-hour seminar, open to graduate students and upper-level undergraduate students by permission of instructors. Team-taught by Sara Roberts and Mona Heinze, in conjunction with 8 guests (5 from the Institute, 3 from outside CalArts). In some critiques there is a moderator; participants can say what they want as long as it is their turn. Other critiques stipulate the form of the contribution (it has to be phrased as a question) or circumscribe the content (name what you see without positives and negatives). There is critique that dispenses with words, using the body as the tool for communication; and there is the masked man who ridicules the work until the artist breaks down. There are as many critical modalities as kinds of fish. This class is not a critique, but a meta-critique, an exploration of forms, frameworks and ideas for the critical process. Each week, with a guest instructor, we will use a different critique. We will examine and critique the critical process, with the goal of a) fully engaging in critical conversation (whether as responder or creator), b) gaining a deeper understanding of how we function as critics-our values and prejudices, and c) developing a critical voice that is informed, expressive, and precise.

* Cross disciplinary class.
* Open to the Institute.

M 002

Interim

1.0 unit
Semester: 
II

During the first two weeks of the spring semester, the School of Music, along with other Schools within the Institute, offers students the opportunity to engage in immersive and intensive experiences that normally would not be possible during the regular academic schedule. Regular School of Music courses do not meet during this time; instead, students may choose from a wide variety of mini-courses, intensive projects, interdisciplinary work and self-directed study. Students should check with other schools in which they are taking courses to see if they will meet during Interim; if so, these take precedence over Interim courses. A schedule of Interim courses will be made available towards the end of the fall semester.

* Required for all music students.
* For class scheduling purposes, please note that the School of Critical Studies begins its regular Spring Semester concurrently with Interim

* May be repeated for credit.

MC010

Composition: Non-Major Lessons

1.0 unit
Semester: 
I, II

Half-hour lessons for students enrolled in programs other than Composition, consisting of individual or group meetings.

* Limited enrollment.
* Permission of instructor and School of Music office required.

* May be repeated for credit.

MC100

Composition: UG Major Lessons

3.0 units
Semester: 
I, II

One-hour lessons for undergraduate students in the Composition Program, consisting of individual or group meetings.

* Limited enrollment.
* Permission of instructor and School of Music office required.

* May be repeated for credit.

MC101

Undergraduate Composers' Forum

1.0 unit
Semester: 
I

Presentation and critique of student compositions and projects, both finished and in-process. Selected topics of relevance to composers will be addressed as time permits, such as notation standards, professional development, topical listening and analysis, and resources for composers and students.

Enrollment limited to undergraduate Composition students in BFA1 & BFA22
* Required for BFA1 & BFA2 Composition majors in their first two Fall semesters of residence

* May be repeated for credit.

MC105

Music Notation

1.0 unit
Semester: 
II

A survey of conventional notation standards used by the music publishing industry and notational issues relevant to contemporary composers.

MC110-01

Introduction to Composition

1.0 unit
Semester: 
I, II

Workshop in which students outside the Composition Program may acquire some experience with composing. Topics include aural and visual analysis, the processes of composition, form, structure, and methodology. When possible, music written in the workshop may be played by members of the class.

* Prerequisite: MT101A

* Permission of instructor required.

MC120A

Sound/Silence 1A: Instrumental Composition A

2.0 units
Semester: 
I

This course comprises foundational studies in the art of musical composition, complementing private composition lessons with directed listening and analysis. Compositional projects of specified instrumentation will be read in class. Topics include musical forms and processes, traditional notation, and instrumentation.

* Permission of instructor required.

MC120B

Sound/Silence 1B: Instrumental Composition B

2.0 units
Semester: 
II

This course continues foundational studies in the art of musical composition, complementing private composition lessons with directed listening and analysis. Compositional projects of specified instrumentation will be read in class. Topics include more advanced musical forms, alternative approaches to notation, and instrumentation.

* Prerequisite: MC120A or permission of the instructor.

* Permission of instructor required.

MC123A

Undergraduate Experimental Music Workshop A

2.0 units
Semester: 
I

The Limits of Perception: This year the experimental music workshop class will deal with works that explore fundamental questions about musical perception. Repertoire we will work on or listen to will include John Cage's 0'00' Alvin Lucier's Vespers, Morton Feldman's String Quartet II, and other pieces by James Tenney, Antoine Beuger and Manfred Werder (who will be a guest in our class in October).

* Open to composition and non-composition students.

* May be repeated for credit.

MC123B

Undergraduate Experimental Music Workshop B

2.0 units
Semester: 
II

See description of MC123A.

* Open to composition and non-composition majors.

* May be repeated for credit.

MC250

Writing for Strings

1.0 unit
Semester: 
I, II

Techniques of writing for strings in both individual and ensemble contexts, composition and performance projects.

* Open to both graduate and undergraduate students
* Enrollment limited to 10 students in total
* Undergraduate students enroll at the 200 level, graduate students at the 600 level
* Prerequisite: MT101B or graduate standing

MC251

Writing for Woodwinds

2.0 units
Semester: 
II

Writing for Woodwinds is a workshop in composing music for wind instruments. Instrumental techniques from the traditional to the extended are demonstrated and discussed. In addition to listening assignments and study of scores of music, which range from the Baroque to the most recent works for woodwinds. There are in-class presentations by wind instrument players and readings of composition projects for each instrument- including auxiliary woodwinds. At the end of the semester, final composition projects are performed in a joint concert with performers in the Contemporary Performance Practice for Woodwinds class.

* Open to graduate and undergraduate students
* Undergraduate students enroll at the 200 level, graduate students at the 600 level

MC252

Writing for Harp

1.0 unit
Semester: 
Not planned for this academic year

Techniques of writing for harp in both individual and ensemble context. Course will include composition and performance projects.

* Open to graduate and undergraduate students
* Enrollment limited to 12 students
* Undergraduate students enroll at the 200 level, graduate students at the 600 level

* Permission of instructor required.

MC253

Writing for Percussion

1.0 unit
Semester: 
II

Learning to write for the vast family of percussion. Course will include some 'hands-on' experience in basic percussion techniques. Students will write for solo and ensembles of percussion, including some world music traditions.

* Open to graduate and undergraduate students
* Undergraduate students enroll at the 200 level, graduate students at the 600 level

MC254

Writing for Brass

1.0 unit
Semester: 
I

Techniques of writing for brass instruments in solo or mixed ensemble settings. This course will include composition and performance projects. Historical references will be explored alongside conventional and extended techniques, auxiliary instruments (cornet, flugelhorn, piccolo trumpet, alto trombone, bass trumpet, euphonium), and a wide variety of mutes.

* Open to graduate and undergraduate students
* Undergraduate students enroll at the 200 level, graduate students at the 600 level

MC255

Writing for Keyboards

1.0 unit
Semester: 
Not planned for this academic year

This class is for composers wishing to deepen their knowledge of various keyboards--namely the piano, harpsichord, organ and synthesizer. The semester will look at notational issues, unique timbral opportunities, and inherent limitations for each instrument. Toward the end of the semester composers in the class will be teamed up with a student pianist for whom they will compose a piece using techniques discussed in class. The end of the semester will feature these works in a public concert.

* Open to graduate and undergraduate students
* Undergraduate students enroll at the 200 level, graduate students at the 600 level

* Permission of instructor required.

MC256

Writing for Voice

1.0 unit
Semester: 
II

This course is geared to students who are interested in writing solo or ensemble vocal music and who would like to learn more about how the voice functions and how best to write for it. Topics covered may include the functioning of the voice as an instrument; standard voice types and their ranges, tessitura and timbre; text setting; conventional and extended notation; the use of extended vocal techniques; and compositional concerns and aspects unique to the writing of vocal music. The course will include composition projects.

* Enrollment limited to 12 students in total
* Undergraduate students enroll at the 200 level, graduates at the 600 level

* Permission of instructor required.

MC257

Writing for Guitar

1.0 unit
Semester: 
I

This is a workshop in composing music for guitar. Instrumental techniques and notational systems from the traditional to the extended are demonstrated and discussed. The class will incorporate technical demonstrations, score study, directed listening, compositional projects, guest artists and speakers, and in-class reading sessions. The main focus of the course will be writing for guitar, with supplementary discussion of other string instruments such as charango, requinto jarocho, jarana, and coco banjo. Preparation and extended techniques will be reviewed as well.

* Enrollment limited to 12 students in total
* Undergraduate students enroll at the 200 level, graduates at the 600 level

* Permission of instructor required.

MC259

Adventures in Writing for Everything Else

2.0 units
Semester: 
Not planned for this academic year

This course will examine the risks, rewards, realities, pleasures, pitfalls, and hazards of composing for instruments indigenous to cultures other than one's own. Technical and notation aspects related to writing for instruments played by performers who may not read music, or who are likely to be unacquainted with stylistic trends in contemporary music, will be addressed. Topics to be introduced within the context of the course include: aesthetics; stylistic spectrums; attitudes of players; navigating through different languages; composers who incorporate indigenous instruments into their oeuvre; assimilation; and an investigation of the appeal/privileging of certain instruments over others.

* Prerequisite: MT001 or equivalent

* Permission of instructor required.

MC310

Undergraduate Jazz Composition: Analysis in Improvisational Forms & Traditions

2.0 units
Semester: 
I, II

A course analyzing improvisational music forms and creative languages with a major focus upon innovative developments in performance technology; theoretical, aesthetical, and philosophical ideas informing the creative artist; fundamental conceptions of improvising ensembles; and the interactive roles of individuals in shaping improvisation. Included is an introduction to a new analytical methodology regarding 'the improvised musical moment.' Connections with new, innovative and creative, improvisational knowledge with developments in film, dance, literature, and art will be explained. Extensive listening and reading assignments with comparative analysis exercises as well as creative projects in improvisation and composition are required.

* May be repeated for credit.

MC314

Jazz Arranging and Advanced Ear Training

2.0 units
Semester: 
II

Techniques and tools of arranging for mixed, small jazz ensembles, combined with advanced studies in hearing and transcribing the forms and materials of jazz literature.

* Undergraduate students enroll at the 300 level, graduate students at the 600 level

MC320A

Sound/Silence 2A: Studio Electro-Acoustic Composition

2.0 units
Semester: 
I

This course presents an introduction to studio composition from both compositional and analytical points of view. Each class member composes short studio pieces using different technical and compositional procedures during the term, and presents analyses of selected electro-acoustic music works.

* Prerequisite: CS268
* Counts as credit for the previous course number MC220A

* Permission of instructor required.

MC320B

Sound/Silence 2B: Live Electronic Music-Making

2.0 units
Semester: 
II

Live-electronics have become such an important part of music making in the late 20th and early 21st centuries that every serious composer, performer and sound technician should know its basics. This course gives a historical, theoretical, and practical introduction to live-electronics. Students will be introduced to various philosophies, methods, and tools of live-electronic music. Each class member has to perform short live-electronic pieces in class using different technical and compositional approaches, and has to give one theoretical presentation.

* Counts as credit for the previous course number MC220B

* Permission of instructor required.

MC321

History & Analysis of Film Music

2.0 units
Semester: 
II

This class presents an overview of the history of commercial film music from scores composed for silent films through contemporary examples of film scoring. Scores are analyzed from perspectives of film scoring conventions as well as compositional procedures.

* Undergraduate students enroll at the 300 level, graduate students at the 600 level
* Enrollment limited to 15 students in total
* Prerequisites: MT101B & CS268

* Permission of instructor required.

MC322

Composition for Film and Video

2.0 units
Semester: 
Not planned for this academic year

This course includes an introduction to the history of film music, the techniques of film and video scoring.

* MC321 and permission of instructor
* Working knowledge of and access to software appropriate for scoring purposes such as (but not limited to) Digital Performer, Logic, ProTools, Cubase, or Nuendo (Digital Performer or Logic preferred)
* Undergraduate students enroll at the 300 level, graduate students at the 600 level
* Enrollment limited to 15 students in total

MC400-11

HyperOpera: Song Without Borders

2.0 units
Semester: 
I, II

Focused Topics Course: In this course, students will explore a meta-collaborative approach to combining music, text, theater, film/video and movement with original experimental works generated, produced, and performed by class participants. Going beyond Wagner's concept of 'Gesamtkunstwerk,' opera will be envisioned as a transformative 21st century art form with vital connections to theater, dance, and even performance art. In the fall we will examine operas and other performance-based works that have forged unique identities by reconfiguring and shifting standard hierarchical processes (such as pieces by Rinde Eckert, Pina Bausch, and Robert Ashley). By reading and discussing selected critical texts and libretti, and hearing, viewing, and critiquing performances, students will gain an in-depth understanding of contemporary experimental opera and its plasticity. Later in the fall, the creative process on one or more HyperOperas will begin. Directors, designers, and musicians will join the creative team(s) in the spring, culminating in performances at the end of the 2011 spring semester.

* This course is open to composers, singers, instrumentalists, writers, directors, dancers, producers and designers: students who have a desire to create, produce, and perform in collaborative experimental opera engineered by the members of the HyperOpera class.
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.
* Open to the Institute.

MC400-15

Form in Contemporary Music

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: This class will review James Tenney's revolutionary new concepts of musical form as described in his Meta+Hodos and discuss them with the goal of finding useful ways of integrating them with contemporary musical thought. The course will include compositional exercises and class discussions.

* Prerequisites: MT202 or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MC402

Instrumentation & Orchestration

3.0 units
Semester: 
Not planned for this academic year

A study of orchestral instruments and their combinations from expressive, structural, historical, pragmatic, and exploratory perspectives. This course will integrate composing/arranging exercises for a variety of instruments and ensembles, directed listening, score-study, aural training, and the polishing of notational practice.

* Prerequisites: MT202 and Core Theory Option, or equivalents
* Undergraduate students enroll at the 400 level, graduate students at the 600 level
* total enrollment limited to 14 students

* Permission of instructor required.

MC465

Digital Recording Studio

2.0 units
Semester: 
I, II

A course designed for qualified students to gain facility in using the School of Music Digital Recording Studio. Students will learn current techniques and principles of sound recording and production. Topics may include: basic acoustics, microphones and microphone placement, the automated mixing console, signal processing, and editing and assembly using a digital audio workstation.

* Enrollment limited to upper-division undergraduates and graduate students
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MC500

Composition: Graduate Lessons

4.0 units
Semester: 
I, II

Lessons for graduate students in the Composition Program, consisting of individual and/or group meetings.

* Permission of instructor and School of Music office required.

* May be repeated for credit.

MC501

Graduate Composers' Forum

1.0 unit
Semester: 
I, II

Presentation and critique of student compositions and projects, both finished and in process.

* Required of and limited to graduate Composition and Experimental Sound Practices students.

* May be repeated for credit.

MC502

Experimental Sound Practices Forum

1.0 unit
Semester: 
I, II

This class centers on the presentation and critique of works by students in the Experimental Sound Practices specialization. Each student, during the academic year, is given a one-hour period to present and discuss recent original work(s) of their choice. The role of the instructor is, essentially, that of a moderator and commentator on the process. In addition to student presentations, there may be occasional presentations by visiting composers. If no other presentation is scheduled (as is always the case with the first few classes) the instructor makes presentations on the works of a particular composer or contemporary musical genre, or leads discussions on specific topics. Readings may be assigned to support these topics.

MC515

Music and Video Ensemble

2.0 units
Semester: 
I, II

The Fall 2013 version of Music and Image will focus on creative audio-visual installations using the Raspberry Pi computing platform and Linux. Other topics will include working with a Canon XF-100 HD video camera, video editing in Adobe Premiere, additional programming in Max Msp/Jitter, Processing, Pure Data and possibly Python. The class will also peek at the world of analog production and glitch video techniques. Each student is expected to create and present an audio-visual installation piece during the last week of the Fall semester. This is a project-oriented workshop and not a pure lecture course.

* Enrollment limited to 10 graduate and 4th-year BFA students
* There is a $50 materials fee for each student to purchase their own Raspberry Pi computer kit
Programming experience using Max-MSP-Jitter, Pure Data, Processing, or Linux is a plus
* Prior experience with video production is helpful
* This is not a beginning class for programming or video production

MC600-11

HyperOpera: Song Without Borders

2.0 units
Semester: 
I, II

Focused Topics Course: In this course, students will explore a meta-collaborative approach to combining music, text, theater, film/video and movement with original experimental works generated, produced, and performed by class participants. Going beyond Wagner's concept of 'Gesamtkunstwerk,' opera will be envisioned as a transformative 21st century art form with vital connections to theater, dance, and even performance art. In the fall we will examine operas and other performance-based works that have forged unique identities by reconfiguring and shifting standard hierarchical processes (such as pieces by Rinde Eckert, Pina Bausch, and Robert Ashley). By reading and discussing selected critical texts and libretti, and hearing, viewing, and critiquing performances, students will gain an in-depth understanding of contemporary experimental opera and its plasticity. Later in the fall, the creative process on one or more HyperOperas will begin. Directors, designers, and musicians will join the creative team(s) in the spring, culminating in performances at the end of the 2011 spring semester.

* This course is open to composers, singers, instrumentalists, writers, directors, dancers, producers and designers: students who have a desire to create, produce, and perform in collaborative experimental opera engineered by the members of the HyperOpera class.
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.
* Open to the Institute.

MC602

Instrumentation & Orchestration - see MC402

3.0 units
Semester: 
Not planned for this academic year

* Prerequisites: MT202 and Core Theory Option, or equivalents
* Undergraduate students enroll at the 400 level, graduate students at the 600 level
* total enrollment limited to 14 students

MC604

Field Recording Workshop

2.0 units
Semester: 
Not planned for this academic year

The Field Recording Workshop is an investigation into the historical, technical and aesthetic aspects of field recording as a means of documentation and as a musical practice. As a workshop, we will actively engage in making recordings, comparing and testing equipment, testing various post-recording procedures and, as a final project, creating field recording pieces. The history of field recording, from its inception as a form of documentation (of existing music and environments) towards its use as musical material (from musique concrete onward) will be sketched through readings and especially an extensive listening list.

* Enrollment limited to 20 students in total

MC605

Graduate Electroacoustic Seminar

2.0 units
Semester: 
I, II

Through individual and/or collaborative projects this course will explore emerging topics in electroacoustic music. This year, the first semester will focus on performance without controllers: feedback, complexity, emergence, and sound-as-control. The second semester will investigate tools for sonificiation. Here we'll open up the project domain to installations and site-specific projects. Along the way we might make a quick diversion to build some circuitry. This course is taught using only open-source software.

* Cross-listed in Art & Technology.

* Permission of instructor required.

MC610

Graduate Jazz Composition: Analysis in Improvisational Music Forms and Traditions

2.0 units
Semester: 
I, II

A course analyzing improvisational music forms and creative languages with a major focus upon innovative developments in performance technology; theoretical, aesthetical, and philosophical ideas informing the creative artist; fundamental conceptions of improvising ensembles; and the interactive roles of individuals in shaping improvisation. Included is an introduction to a new analytical methodology regarding 'the improvised musical moment.' Connections with new, innovative and creative, improvisational knowledge with developments in film, dance, literature, and art will be explained. Extensive listening and reading assignments with comparative analysis exercises as well as creative projects in improvisation and composition are required.

* Prerequisite: MC310, permission of instructor or graduate status

* Permission of instructor required.
* May be repeated for credit.

MC614

Jazz Arranging and Advanced Ear Training - see MC314

2.0 units
Semester: 
II

MC615

Choreographers and Composers

2.0 units
Semester: 
I

This course brings together advanced composition students and advanced choreographers in projects combining the two disciplines.

* Enrollment limited to graduate and advanced undergraduate students
* MFA-1 students particularly encouraged

* Permission of instructor required.
* Cross disciplinary class.
* Open to the Institute.

MC616

Concert Theater

3.0 units
Semester: 
Not planned for this academic year

Infusing theatrical elements-movement, lighting, visual imagery, text-into a musical presentation can enhance and clarify a performance, and transcend performance expectations. Ensembles such as the Kronos Quartet and eighth blackbird have pioneered this concept, and composers have embraced it as well. Theatrical approaches to music, as exemplified by composers such as Mauricio Kagel, George Crumb, Heiner Goebbels, Gyorgy Ligeti and others will be analyzed. Students will form small groups to create projects that will experiment with integrating theater, as an essential component, into the musical process. The class is most appropriate for composers, performers who are especially interested in contemporary music, directors and designers (especially lighting designers), video artists and dancers who would like to work with musicians in the context of concert theater, and writers who would be interested in creating text for collaborative enhancements of a specific work or of a concerttheme.

* Enrollment limited to graduate and advanced undergraduate students

* Permission of instructor required.

MC617

Media Strategies: Rules and Space

2.0 units
Semester: 
II

This class will focus on perceiving and using space, representing dynamics in space, and getting a feel for how rules effect spatial dynamics. Class meetings are often held outside, weather permitting. The class requires whole-hearted, often physical participation.

* Cross disciplinary class.
* Open to the Institute.

MC618

Media Theory: the Interactee

3.0 units
Semester: 
I

This class will have both a theoretical and a practical side-the theoretical side will be a consideration of several aspects of the way an audience perceives a work: their most basic cognitive perception; what stays, or stands out in the memory; the work as a matter of interpretation; and the piece or object as something associated with others of its type. The practical side of the class will be making some participatory and installation pieces that test these theories about the audience. The class will include weekly reading, research, and short writing assignments, and three short projects, which the class will discuss in detail.

MC621

History & Analysis of Film Music - see MC321

2.0 units
Semester: 
II

* Undergraduate students enroll at the 300 level, graduate students at the 600 level
* Enrollment limited to 15 students in total

* Permission of instructor required.

MC622

Composition for Film and Video - see MC322

2.0 units
Semester: 
Not planned for this academic year

* MC321 and permission of instructor
* Working knowledge of and access to software appropriate for scoring purposes such as (but not limited to) Digital Performer, Logic, ProTools, Cubase, or Nuendo (Digital Performer or Logic preferred)
* Undergraduate students enroll at the 300 level, graduate students at the 600 level
* Enrollment limited to 15 students in total

MC623A

Graduate Experimental Music Workshop A

2.0 units
Semester: 
I

The Limits of Perception: This year the experimental music workshop class will deal with works that explore fundamental questions about musical perception. Repertoire we will work on or listen to will include John Cage's 0'00' Alvin Lucier's Vespers, Morton Feldman's String Quartet II, and other pieces by James Tenney, Antoine Beuger and Manfred Werder (who will be a guest in our class in October).

* Open to composition and non-composition students.

* May be repeated for credit.

MC623B

Graduate Experimental Music Workshop B

2.0 units
Semester: 
II

See description of MC623A.

* Open to composition and non-composition students

* May be repeated for credit.

MC650

MC 65X/25X Writing for... - see MC25X

1.0 unit
Semester: 
Not planned for this academic year

MC665

Digital Recording Studio - see MC465

2.0 units
Semester: 
I, II

MC699

MFA Portfolio

2.0 units
Semester: 
I, II

Credit will be given for the preparation of a portfolio of works. This portfolio will contain work produced at CalArts, a substantial portion of which should have been presented in performance or other appropriate manner. Portfolio contents may be presented in the form of scores, recordings, videos, texts, etc., and must be of archival quality and suitable for presentation in the professional field. Composition faculty will review the portfolio, and select work to be archived at CalArts.

* Enrollment limited to graduating students

MC700

Composition: DMA Lessons

1.0 unit
Semester: 
I, II

Lessons for DMA students, consisting of individual meetings.

* Permission of instructor and School of Music office required
* Variable credit: 1.0-4.0 units

* May be repeated for credit.

MC800

Undergraduate Independent Study: Composition

2.0 units
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

* Variable credit: 0.5-2.0 units

* Permission of instructor required.
* May be repeated for credit.
* Contract required.

MC900

Graduate Independent Project: Composition

2.0 units
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

Variable credit: 0.5-2.0 units

* Permission of instructor required.
* May be repeated for credit.
* Variable credit.
* Contract required.

MD700

Performer-Composer Doctoral Seminar

0.5 units
Semester: 
I, II

Functioning as a forum for the work-in-progress of DMA students, this weekly seminar will allow students regularly to present and discuss their work and associated materials, and to receive feedback from program faculty and their DMA peers. The seminar will focus on the specific needs and interests of the students enrolled, with faculty offering guidance and direction for necessary skill and knowledge acquisition, as well as creative insight.

* DMA standing required
* Repetition for credit required

MD701

Teaching the Teacher: New Paradigms of Learning and Assessment

2.0 units
Semester: 
I

This course will introduce DMA student-instructors to the nuts and bolts of teaching, including models for course development and curricular design, the generation of teaching materials, common issues in the classroom, and various assessment measures designed to provide maximum feedback for their students. Students will engage in numerous projects including self-critique and observation of faculty-led classes/lessons/ensembles in order to study different teaching methods.

* DMA standing

MD703

Performer-Composer: History and Aesthetics

2.0 units
Semester: 
I

This course offers a broad historical, technical and aesthetic survey of the opportunities and challenges presented to the musician whose work integrates performance and composition. These are illuminated through comparative perspectives on the work, life and cultural role of creative musicians from diverse times, places and musical traditions.

* Prerequisite: DMA standing or permission of the instructor

MD704

Professional Development for Musicians

1.5 units
Semester: 
II

This course will explore a broad range of tools and ideas for creating a life in the arts, including preparation for positions in education, artistic entrepreneurship, and work in non-profit and for-profit enterprises. Topics addressed will include techniques for documenting and disseminating creative work, development of vitae and other professional documentation, grant writing, developing an on-line presence, conducting an academic job search, and methods for bringing the artist's unique projects and opportunities to fruition.

* DMA standing or permission of instructor required

MD705

Performer-Composer: Theory and Practice

2.0 units
Semester: 
Not planned for this academic year

This course will focus on theories that deal with performance and performance practice throughout the arts. The readings will be selected each year in accordance with the interests of the current students, and may come from such sources as Robert Bresson, Michel Foucault, Marina Abromovic, Adalaide Morris, Boris Groys, Peter Brook, Antonin Artaud, Berthold Brecht and others. A detailed presentation (written and aural) by the student about her/his own practice, relative to the theoretical work, will serve as a final project.

* DMA standing required

MD740

Teaching Practicum

1.0 unit
Semester: 
I, II

This course will provide students with credit for teaching responsibilities, aiding them in the development of pedagogical effectiveness and expertise. Students will be required to keep logs of teaching methods utilized and student responses, etc., and will be expected to experiment with and document new methods of delivery and interaction. Students also will engage in syllabi design and the development of assessment/evaluation tools. Faculty will supervise all work.

* DMA standing required
* Repetition for credit required

MD750

Topic-Driven Research and Exploration

1.5 units
Semester: 
I, II

Topic-Driven Research is an independent-study project that will provide the basis for the material tested during the written and oral examinations, while simultaneously laying the foundation for the Doctoral Project. In consultation with a faculty mentor and the Doctoral Advisory Committee, key research areas will be identified that are relevant to the interests and foci of the student's work. Intensive guided research and study of these topics will inform ongoing creative work, and constitute an intellectual and practical foundation for it. Topic-driven research will promote wide-ranging and deep knowledge appropriate to each student's creative interests and objectives.

* Topics must be approved by the DMA Advisory Committee and the DMA Policy Committee
* DMA standing required
* Variable credit: 1.5-6.0 units
* Repetition for credit required

* May be repeated for credit.

MD790

DMA Performance/Presentation Project

2.0 units
Semester: 
II

This guided independent study project will facilitate the student's creative work and will be geared towards the preparation and presentation of a unique event in which the student displays the integration of his/her original performance and composition. It is expected that this event will demonstrate artistic innovation as well as professional level performance skills. Faculty will work closely with students to ensure that students are developing their artistic identity, along with skills that will facilitate the presentation of their work (e.g. verbal and written skills required for contextualization; organizational abilities; event production skills, etc.). Substantial program notes discussing the work and its context must accompany the performance/presentation.

* DMA standing required
* Repetition for credit required

MD799

Doctoral Project

7.0 units
Semester: 
I, II

The Doctoral Project, beginning with intensive independent research and experimentation, and culminating in the creation of several distinct, yet interconnected components, prepares candidates for a noticeable emergence into the larger arts' community. The project is comprised of coordinated components that synthesize performance and composition elements while documenting their significance and originality. Each component must be completed with rigor and must score well on specific rubrics for each part. A Final Review concludes this process, at which time candidates are expected to have met all DMA Program Learning Outcomes.

The following components comprise the Doctoral Project:

1. Final Project/Event: a major culminating performance/presentation event

2. Public Presentation: a substantial presentation concerning the candidate's work, involving a public forum and question/answer session

3. Publishable Article: one article that is suitable for publication in a professional medium regarding a topic agreed upon by the Doctoral Advisory Committee and the candidate

4. Artistic Statement: a written statement discussing the body of the candidate's work as a totality, including its current state, development, prospects, and context with respect to history, culture and aesthetics

5. Professional Portfolio: a summative portfolio comprising a stipulated set of documents suitable for presentation in professional, academic or artistic settings

* Prerequisite: advancement to DMA candidacy
* Variable credit: 7.0-8.5 units
* Repetition for credit required

ME103-01

World Percussion Ensemble

1.0 unit
Semester: 
I, II

An experimental performance class which works toward combining instruments and musical structures from various cultures. Improvisation, composition and performance practice are integrated. Emphasis is given to percussion styles and techniques taught in CalArts' World Music and Instrumental programs.

* Open to the Institute, but permission of instructor required

* May be repeated for credit.

ME103-02

Tabla Ensemble

1.0 unit
Semester: 
I, II

The CalArts Tabla Ensemble is a performing ensemble that draws from the vast repertoire of North Indian tabla, ranging from classical to folk and traditional to contemporary.

* Open to the Institute, but permission of instructor required

* May be repeated for credit.

ME105-01

New Millennium Chamber Orchestra (Undergraduate)

1.0 unit
Semester: 
I, II

Conducted Ensembles perform at least two main concerts per semester, with an emphasis on ensemble playing and creativity. Size of ensemble varies depending on repertoire, with pieces ranging from four players to a full classical-size chamber orchestra. Emphasis is place on contemporary musical styles, although works from all periods are programmed where appropriate. Performances are often scheduled with prominent visiting artists. Because programming and repertoire varies, and because students may play in one or many pieces, two sections of the course are scheduled to accommodate differing levels of rehearsal time. Students playing in numerous pieces may sign up for two sections of the course, with instructor's permission.

* Enrollment open to undergraduate students only (graduate students see ME605)
* Audition required.

* Permission of instructor required.
* May be repeated for credit.

ME105-02

New Millennium Performers (Undergraduate)

1.0 unit
Semester: 
Not planned for this academic year

Conducted Ensembles perform at least two main concerts per semester, with an emphasis on ensemble playing and creativity. Size of ensemble varies depending on repertoire, with pieces ranging from four players to a full classical-size chamber orchestra. Emphasis is place on contemporary musical styles, although works from all periods are programmed where appropriate. Performances are often scheduled with prominent visiting artists. Because programming and repertoire varies, and because students may play in one or many pieces, two sections of the course are scheduled to accommodate differing levels of rehearsal time. Students playing in numerous pieces may sign up for two sections of the course, with instructor's permission.

* Enrollment open to undergraduate students only (graduate students see ME605).
* Audition required.

* May be repeated for credit.

ME106

Undergraduate Chamber Music

1.0 unit
Semester: 
I, II

Small ensembles for strings, woodwinds, brass, percussion, keyboard instruments and voices, in varying combinations. Individual ensembles are coached by faculty members. Students may sign up for more than one section, with instructor's permission, if they are involved in multiple groups.

* May be repeated for credit.

ME114

Baroque Chamber Music and Bach Arias

1.0 unit
Semester: 
I, II

A specialized course for instrumentalists and singers given in conjunction with ME105 and ME106.

* Permission of instructor required.
* May be repeated for credit.

ME117

Undergraduate Jazz Student Ensembles

1.0 unit
Semester: 
I, II

Performance of ensemble works written for small jazz groups and performed by all-student groups.

* May be repeated for credit.

ME120

Undergraduate New Millennium Brass Ensemble

1.0 unit
Semester: 
I, II

Performance of ensemble works written for brass instruments, from quintet to dectet (or more).

* Enrollment open to BFA's only.

* May be repeated for credit.

ME121

Undergraduate Jazz Faculty Ensemble

1.0 unit
Semester: 
I, II

Performance of ensemble works written for small jazz groups. Faculty members lead groups and play alongside the students.

* Permission of instructor required.
* May be repeated for credit.

ME122

Percussion Ensemble

1.0 unit
Semester: 
I, II

Performance of ensemble works written for percussion instruments.

* May be repeated for credit.

ME123

Undergraduate Woodwind Ensemble Workshop

1.0 unit
Semester: 
I, II

Performance of ensemble works written for woodwind instruments. Audition preparation and woodwind fundamentals are also studied.

* May be repeated for credit.

ME124

Undergraduate Trumpet Studio

1.0 unit
Semester: 
I, II

Performance of ensemble works written for multiple trumpets.

* May be repeated for credit.

ME128

Women's Calabash Drum Ensemble

1.0 unit
Semester: 
II

Individual and small group instruction on the techniques of this unique African instrument, the Calabash drum.

* Enrollment limited to 8 students

* May be repeated for credit.

ME201

Beginning African Music Ensemble

1.0 unit
Semester: 
I, II

Instruction in the performance of authentic traditional music and dances of West Africa. These performances include singing in the language and playing percussion instruments indigenous to the area of origin.

* ME201-01 and ME201-02 may not be taken concurrently
* Limited enrollment

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

ME210

Beginning Javanese Gamelan: Kyai Doro Dasih

1.0 unit
Semester: 
I, II

Instruction in playing and singing in the central Javanese classical orchestra, a traditional Eastern art form that integrates dance, drama and music.

* May be repeated for credit.

ME220

Beginning Balinese Gamelan: Semar Pelgulingan

1.0 unit
Semester: 
I, II

Instruction in the techniques of playing Balinese instruments, collectively called the Semar Pelgulingan.

* May be repeated for credit.

ME221

Gender Wayang Ensemble

1.0 unit
Semester: 
I, II

Small ensemble performances by quartet of metallaphones as accompaniment to Balinese shadow plays.

* May be repeated for credit.

ME222

Balinese Flute Ensemble: Gong Suling

1.0 unit
Semester: 
I, II

Training in Balinese flute playing-sixteen various-sized bamboo flutes accompanied by percussion instruments. Students will perform as an ensemble.

* May be repeated for credit.

ME223

Kecak (Balinese Monkey Chant) Ensemble

1.0 unit
Semester: 
II

Balinese Monkey Chant ensemble.

* May be repeated for credit.

ME230

Beginning North Indian Music Ensemble

1.0 unit
Semester: 
I, II

Vocal and instrumental performance using both Indian and European instruments.

* Prerequisite: MT190

* May be repeated for credit.

ME300-01

Chamber Singers

1.0 unit
Semester: 
I

Conducted Vocal Ensemble: Study and performance of music for groups of singers. Repertoire may be drawn from a variety of periods, and may feature from one to multiple voices per part.

* Prerequisite: demonstrated musicianship and vocal skills, including control of intonation and the ability to blend within a section.
* Permission of instructor and audition required.

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

ME300-03

Contemporary Vocal Ensemble

1.0 unit
Semester: 
I

Conducted Vocal Ensemble: Study and performance of literature for small groups of singers, sometimes one-on-part, from the 20th and 21st Century, with an emphasis on works from the last 50 years. The second half of the semester will be devoted entirely to new works written by CalArts students and faculty specifically for the ensemble. This will culminate in a concert premiering these works.

* Prerequisite: demonstrated musicianship and vocal skills, including control of intonation and the ability to blend with a section
* May be repeated for credit

* Permission of instructor required.
* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

ME325

Persian Ensemble

1.0 unit
Semester: 
I, II

Techniques and performance of Persian music.

* May be repeated for credit.

ME326

Improvisation Ensemble

1.0 unit
Semester: 
I, II

Open to all instrumentalists and vocalists. With structured and unstructured improvisational studies, the course is designed to help the student develop his/her own creative voice. Concerts are presented regularly.

* May be repeated for credit.

ME327

Multi-Focus Ensemble

1.0 unit
Semester: 
I, II

Small ensembles of any instrumentation and any style of music. Individual ensembles are coached by faculty members.

* Permission of instructor required.
* May be repeated for credit.

ME400

Applied Experiments: Traditional/Contemporary Composition Workshop

1.0 unit
Semester: 
I, II

The class will work as an ensemble focused on performing music created by its members. We will pursue two explorations: 1) new ways of notating, sharing and transmitting musical materials, 2) new takes on traditional compositional tools from different musical cultures. The class aims to collectively compose and perform music respecting each member's taste and voice, but incorporating these new elements. The tools and techniques that we will cover in class will pose interesting skill challenges to the participants, regardless of their experience and skill level.

* May be repeated for credit.

ME401

Advanced African Music Ensemble

1.0 unit
Semester: 
I, II

Advanced instruction and performance of West African music and dance.

* Prerequisites: ME201
* Enrollment limited

* May be repeated for credit.

ME404

Creative Orchestra

1.0 unit
Semester: 
II

An improvising orchestra designed primarily to perform the extended works of students in the graduate jazz program. The orchestra will also perform works by the jazz and creative music masters.

* Enrollment open to undergraduate and graduate students

* Permission of instructor required.
* May be repeated for credit.

ME410

Advanced Javanese Gamelan: Kyai Doro Dasih

1.0 unit
Semester: 
I, II

Advanced instruction in playing and singing in the central Javanese classical orchestra.

* Prerequisite: ME210

* May be repeated for credit.

ME420

Advanced Balinese Gamelan: Semar Pelgulingan

1.0 unit
Semester: 
I, II

Advanced instruction in the techniques of playing Balinese instruments, collectively called the Semar Pelgulingan.

* Prerequisite: ME220 Beginning Balinese Gamelan

* May be repeated for credit.

ME422

Advanced Percussion Ensemble

1.0 unit
Semester: 
I, II

Advanced performance of ensemble works written for percussion instruments.

* Permission of instructor required.
* May be repeated for credit.

ME423

Advanced Woodwind Ensemble Workshop

1.0 unit
Semester: 
I, II

Advanced performance of ensemble works written for woodwind instruments. Audition preparation and woodwind fundamentals are also studied.

* Permission of instructor required.
* May be repeated for credit.

ME424

Advanced Trumpet Studio

1.0 unit
Semester: 
I, II

Performance of ensemble works written for multiple trumpets.

* Permission of instructor required.
* May be repeated for credit.

ME426

Advanced Improvisation Ensemble

1.0 unit
Semester: 
I, II

This course is designed to help advanced instrumentalists and vocalists develop their own creative voice in the context of structured and unstructured improvisational studies. Concerts are presented regularly.

* Previous improvisational experience required.

* Permission of instructor required.
* May be repeated for credit.

ME430

Advanced North Indian Music Ensemble

1.0 unit
Semester: 
I, II

Advanced vocal and instrumental performance using both Indian and European instruments.

* Prerequisite: MT190

* May be repeated for credit.

ME450

Sonic Boom Ensemble

1.0 unit
Semester: 
I, II

An ensemble/band falling somewhere among avant-garde rock, noise, ambient, new music, and other things that fall between the cracks. This course will explore the hidden tradition of experimental rock music and address where new, experimental, electronic and rock music meet. What is their common ground-now and historically? How does amplification fundamentally change playing of an instrument? We will work on new original pieces, left-field covers of rock songs, and rock versions of new music pieces.

* Open to all performers.
* Prerequisite: MT101A or permission of the instructor

* Permission of instructor required.
* May be repeated for credit.
* Open to the Institute.

ME460

Golia Large Ensemble

1.0 unit
Semester: 
I, II

The Large Ensemble, under the direction of faculty member Vinny Golia, is a loosely based chamber orchestra which improvises, and performs compositions and structured improvisations by Golia. The Large Ensemble is open to all students who can read music and have an interest in improvisation, composition, and want to have some serious musical fun.

* May be repeated for credit.

* Permission of instructor required.

ME500

New Century Players Ensemble

1.0 unit
Semester: 
I, II

The NCP-an ensemble made up of faculty performers and select student musicians-is devoted to the exploration and exposition of emerging languages in contemporary music. The group's repertoire emphasizes new forms of composition and collaborative directions in concert music, experimental music, improvisation, world music, new media and other arts. The ensemble frequently collaborates with distinguished guest performers and composers, and also reads and performs works by advanced student composers.

* Permission of mentor and instructor required
* Enrollment limited to graduate and advanced undergraduate students

* May be repeated for credit.

ME605-01

New Millennium Chamber Orchestra (Graduate)

1.0 unit
Semester: 
I, II

Conducted Ensembles perform at least two main concerts per semester, with an emphasis on ensemble playing and creativity. Size of ensemble varies depending on repertoire, with pieces ranging from four players to a full classical-size chamber orchestra. Emphasis is place on contemporary musical styles, although works from all periods are programmed where appropriate. Performances are often scheduled with prominent visiting artists. Because programming and repertoire varies, and because students may play in one or many pieces, two sections of the course are scheduled to accommodate differing levels of rehearsal time. Students playing in numerous pieces may sign up for two sections of the course, with instructor's permission.

* Audition required
* Enrollment open to graduate students only (undergraduate students see ME105)

* Permission of instructor required.
* May be repeated for credit.

ME605-02

New Millennium Performers Ensemble (Graduate)

1.0 unit
Semester: 
Not planned for this academic year

Conducted Ensembles perform at least two main concerts per semester, with an emphasis on ensemble playing and creativity. Size of ensemble varies depending on repertoire, with pieces ranging from four players to a full classical-size chamber orchestra. Emphasis is place on contemporary musical styles, although works from all periods are programmed where appropriate. Performances are often scheduled with prominent visiting artists. Because programming and repertoire varies, and because students may play in one or many pieces, two sections of the course are scheduled to accommodate differing levels of rehearsal time. Students playing in numerous pieces may sign up for two sections of the course, with instructor's permission.

* Audition required
* Enrollment open to graduate students only (undergraduate students see ME105

* Permission of instructor required.
* May be repeated for credit.

ME606

Graduate Chamber Music

1.0 unit
Semester: 
I, II

Small ensembles for strings, woodwinds, brass, percussion, keyboard instruments and voices, in varying combinations. Individual ensembles are coached by faculty members.

* May be repeated for credit.

ME614

Graduate Baroque Chamber Music and Bach Arias

1.0 unit
Semester: 
I, II

An advanced, specialized course, focusing on Baroque music and the music of Bach for instrumentalists and singers. Given in conjunction with ME605 and ME606.

* Permission of instructor required.
* May be repeated for credit.

ME617

Graduate Jazz Student Ensembles

1.0 unit
Semester: 
I, II

Performance of ensemble works written for small jazz groups and performed by all-student groups.

* May be repeated for credit.

ME620

Graduate New Millenium Brass Ensemble

1.0 unit
Semester: 
I, II

Performance of ensemble works written for brass instruments, from quintet to dectet (or more).

* Permission of instructor required.
* May be repeated for credit.

ME621

Graduate Jazz Faculty Ensemble

1.0 unit
Semester: 
I, II

Performance of ensemble works written for small jazz groups. Faculty members lead groups and play alongside the students.

* Permission of instructor required.
* May be repeated for credit.

ME625

Creative Music Electronic Ensemble

2.0 units
Semester: 
I, II

An ensemble researching the interactive languages and the improvisational forms of live electronic music with a major philosophical focus on music technology and interactive, improvisational music.

* Permission of instructor required.
* May be repeated for credit.

ME800

Undergraduate Independent Project: Ensemble or Accompaniment

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

* May be repeated for credit.

ME900

Graduate Independent Project: Ensemble or Accompaniment

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

* May be repeated for credit.

MG000

Music Gateway

0.0 units
Semester: 
Not planned for this academic year

The Music Gateway Program allows students to arrive on campus early to participate in Music Theory Boot Camp and get settled in their new homes before the fall semester commences. In addition to formal classroom instruction, students participate in activities and trips designed to familiarize them with the CalArts campus and its surrounding community. While settling into their new environment, students have the opportunity to meet CalArts faculty and staff and establish a supportive peer community.

August 16 -31

Participation in extracurricular group activities required

MH100

World Music Survey

2.0 units
Semester: 
II

This survey course is an introduction to music as a worldwide phenomenon covering folk, popular, art, tribal, religious, and ritual music of various geographical and cultural areas. Emphasis is placed on understanding music as a component of culture and the unique ways diverse cultures organize sound into music.

* Counts as credit for MH300 Music Cultures

* Permission of instructor required.
* Open to the Institute.

MH115

Survey of 20th- and 21st-Century Music

2.0 units
Semester: 
I

An overview of the music of these centuries-of-changes, and the exploding diversity in the arts and society as we are facing them today. The course covers the development of the most important and influential musical branches of the
20th and 21st centuries: classical new music, jazz, rock, blues, improvisation, noise and more. Expand your knowledge of styles, philosophies, and perspectives.

* Approved for Critical Studies credit.

* Open to the Institute.

MH205A

Survey of Western Music History & Literature A

2.0 units
Semester: 
I

Lectures, reading, and listening covering the history and literature of Western musical styles from antiquity through the Baroque period.

* Prerequisite: MT101A
* Approved for Critical Studies credit.

* Open to the Institute.

MH205B

Survey of Western Music History & Literature B

2.0 units
Semester: 
II

Lectures, reading, and listening covering the history and literature of Western musical styles from the Classical through Modern periods.

* Prerequisite: MT101A

* Open to the Institute.

MH220

African Song

1.0 unit
Semester: 
I, II

Study of traditional West African songs - language and their meanings, and singing techniques. Special attention will be placed on tone production, melody, harmony and embellishment.

* May be repeated for credit.

MH240

Jazz History

2.0 units
Semester: 
I

A survey of the history of jazz and African-American musical traditions, emphasizing critical listening and aural analysis.

* Approved for Critical Studies credit.

* Permission of instructor required.
* Open to the Institute.

MH300

Music Cultures: Music of China

2.0 units
Semester: 
I

A survey of music and its role within selected world cultures. Specific cultural and geographical areas of focus change from semester to semester.

FALL SEMESTER 2013: in this course, we will examine musical expressions of people in China, past and present. We will engage in listening, musical analysis, engaged reading, class discussion, and a major writing project as methods to observe how music in China affects and is affected by culture. Selected case studies in Chinese music will include Confucian ritual music, the guqin (7-string zither), instrumental traditions (erhu, pipa, guzheng, and dizi, among others), regional ensemble music, regional folksongs, narrative music, theater traditions (Beijing and Cantonese opera, among others), music of China's minorities, the modern Chinese orchestra, popular music, music in Chinese film, and art music composition. Through these topics, students will gain awareness, understanding, and appreciation of Chinese musical aesthetics and music cultures while developing critical thinking, reading, and writing skills.

* An elementary knowledge of musical vocabulary and notation will be helpful but not required

MH310

History & Practice of Electro-Acoustic Music

2.0 units
Semester: 
II

An historical survey of electronic music, musique concrFte and mixed media. Acoustical theory as related to music synthesis and recording is included. Offered alternate years.

* Prerequisite: MH115
* Undergraduates enroll at the 300 level, graduates at the 600 level

MH314

Introduction to the Music of Flamenco

1.0 unit
Semester: 
I

A study of the musical aspects (cante-singing and toque-guitar playing) in Flamenco through listening, reading and watching documentary films. We will look at the structure of many Flamenco forms (ie. Seguiriyas, Solea, Bulerias, Tangos, etc.), discuss the subject matter of the poetry used in those forms and become acquainted with the work of the most important artists, including both historical figures and contemporary masters. Although knowledge of music theory may be helpful, it is not required to attend and enjoy this class.

* Approved for Critical Studies credit.

* Open to the Institute.

MH315

Popular Music: A Social and Analytical History

2.0 units
Semester: 
II

A historical and stylistic survey of Western popular music with an emphasis on its social context. The roles of society and technology in shaping popular music culture are explored and analysis of representative music is included.

* Prerequisites: MH115 and MT101A

MH317

Introduction to Bach

2.0 units
Semester: 
I, II

We will attempt to provide the framework and inspiration for a life-long study of our greatest musician. There will be a lot of guided listening, in and out of class, as well as reading of materials from Bach`s time along with later commentaries. Papers written by students will be distributed to the entire class in order to learn from one another and to create a sense of community. In Semester 2, this course will focus on independent projects and special studies.

* Approved for Critical Studies credit.

* Open to the Institute.

MH345

The [R]Evolution of Solo Vocal Literature

2.0 units
Semester: 
Not planned for this academic year

This course will focus on the evolution of solo vocal music and art song, over the past few centuries, primarily in Western Europe and the United States. This course will not be approached as a survey, but rather will examine certain important topics and developments in-depth. Circumstances giving rise to these inventions will be examined, as will representative composers and their unique styles. Topics to be covered include lute song, Lieder, melodies, cantata, song cycles, folk song influences, chamber works, etc. Course work will include extensive listening and reading; analysis of features common to types of music and to the composers who wrote within a genre; and tracking growth and [r]evolution in form and compositional practices. The class also will engage in discussions about what it means to perform this music today.

* Prerequisites: MT101B or graduate standing
* Offered in alternate years
* Approved for Critical Studies credit.

* Open to the Institute.

MH390

The Blues Before 1960

1.0 unit
Semester: 
II

A study of the development of the Blues through listening, watching documentary films and reading interviews with artists. We will concentrate on music, lyrics and each artist's individual style and consider the social and historical circumstances surrounding their work. We'll take a close and inspiring look at many unique and influential musicians, from Son House, Robert Johnson and Robert Pete Williams all the way up to Muddy Waters and John Lee Hooker. Although knowledge of music theory may be helpful, it is not required to attend and enjoy this class.

* Open to the Institute.

MH400-02

African & African-American Music and Literature

2.0 units
Semester: 
II

Focused Topics Course: An in-depth study investigating selected artists and/or periods in African and African American music literature and culture, critiquing and evaluating their development and practice in American society and incorporating these ideas into a world culture context.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* May be repeated for credit.
* Open to the Institute.

MH400-03

Contemporary Composers: Words, Music and Ideas

2.0 units
Semester: 
I

Focused Topics Course: Selected readings from Busoni and beyond. Critical analysis of current trends in music and the arts.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-04

The Music of Luigi Nono

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: The course will yield an overview of Luigi Nono's oeuvre and its evolution from his early works in the 1950s (with their amazing purity of his dodecaphonic counterpoint) through his strident statements in the 1960s and early 1970s to the reduction and radical beauty of his late style during the 1980s-with an appreciation of his intense human voice, the critical idealism of his political engagement, and the artistic mastery and expressive power of his vocal, instrumental, and electronic writing.

* Prerequisite: MT202 or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-05

The Music of James Tenney

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: The course will yield an overview of James Tenney's compositional work and trace its development from his early ensemble piece 'Seeds' (1956/61) and its roots in the music of Webern and VarFse; his revolutionary computer music and graphic scores from the early 1960s through his substantial involvement in fluxus, minimalism, and concept music; to the broad and thorough ground-breaking research of the sonoristic potential of just-intonation during the last thirty years of his life. This survey will show how much his artistic work has been cutting-edge in all these different fields, and how his enthusiasm and profound thought has made him a truly American pioneer.

* Prerequisite: MT202 or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-06

Music as Literature

2.0 units
Semester: 
Not planned for this academic year

This class will concentrate on what Leonard Meyer describes as 'designative meaning' in music, focusing primarily on musical works that attempt to portray ideas and events found in literature. Various types of programmatic, literature-based works will be discussed and analyzed for how they use musical concepts to relate literary ideas. The literary sources for these works will also be read and discussed.

* Approved for Critical Studies credit.

* Permission of instructor required.
* Open to the Institute.

MH400-07

Sounding Images - A Survey of Visual Music

2.0 units
Semester: 
Not planned for this academic year

This class will focus on what has become known as 'visual music,' works for film and video in which there is a high correlation between the nature of the visual and musical elements. The course will include both historical and contemporary works in this field, presented in a roughly chronological fashion.

* Open to the Institute.

MH400-08

The Music of Gyorgy Kurtag and Sofia Gubaidulina

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: The life and work of two prominent 20th century composers. The first half of the course will be dedicated to the great Hungarian individualist Gyorgy Kurtag (*1926) with an analytical appreciation of the concise simplicity, the refined purity, the radical power and existential honesty of his musical confessions or 'autobiographies'. The second half of the course will be dedicated to the Moscovite avant-garde composer Sofia Gubaidulina (*1931). The composer herself is expected to join Mark Menzies and CalArts' musicians for rehearsals of her music in preparation for REDCAT concerts on May 15 and 16, 2011. Our discussion of some of her major works will be focused on trying to fathom the profound scope of her wild and mystical sound imagination.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-12

Musical Reflections of Surrealism

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: 'Surrealist forms of music could still arise, seeking the gold of sound as Breton sought the gold of time (Francois-Bernard Mache).' Why did the surrealist movement of the early twentieth century principally embrace art and literature, leaving music on the sidelines? Did selected musical practices later 'evolve' to incorporate surrealist tendencies? To formulate answers to such questions, this course will explore a broad range of surrealist tenets, aesthetics, ideals, and actions, as manifested in contemporary music.

The design and purpose of this class is threefold:

1. to investigate the subsidiary role of music in the origins of surrealism

2. to examine the philosophy and practice of surrealism as it relates to contemporary music (including collage techniques, automatism, and collaborative practices)

3. to actively explore methods and techniques for making music that encompass surrealist practices, with critical assessments of the value ofsuch methods.

* Enrollment limited to upper division undergraduates and graduate students
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MH400-14

The Music of Edgard Varese

2.0 units
Semester: 
I

Focused Topics Course: Besides Charles Ives, Arnold Schoenberg and Igor Stravinsky, the French-American composer Edgard Varese (1883-1965) was certainly the most radical and influential founding father of 20th century Western music. He established a method for a conceptual atonal pitch organization within the tone system of 12-tone Equal Temperament which served as a powerful alternative to Schoenberg's dodecaphonic serialism, and with his keen focus on the 'Liberation of Sound' (projecting its corporeality and fully embracing noise), he opened great new doors for composers as different as Iannis Xenakis, Morton Feldman, or James Tenney and indeed for all of us!
The course will combine biography, music theory, analysis, score study, guided listening and aesthetic discussion in order to yield an overview of Edgard Varese's life, work and historical influence and an appreciation of his revolutionary thinking, his new musical concepts and compositional methods and of the contemporary relevance of his heritage even for our music making today and in the future.

* Prerequisite: MT202 or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-18

Contemplative Practices, Musical Arts, Compassionate Mind

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: The study of the contemplative arts, as they relate to the creation of musical experiences and musical compositions, will be investigated by actively privileging the concept of compassion and its manifestations, and by the routine practice of mindfulness. Students will become familiar with seminal works of music written by composers who have integrated specific spiritual disciplines into their creative lives, and with esoteric spiritual leaders (such as Gurdjieff, Steiner, Krisnamurti, Rudhyar) who have actively engaged in or written about the art of musical creation and performance. Further readings are designed to focus on recent investigations centering on neuroplasticity, as they explore relationships between neuroscience and religion and the implications of brain-mind science for contemplative practices and compassionate behavior (Bulkeley, Schwartz). These explorations will culminate in a public performance of individual compositions included in the syllabus, and of new original works.

* Prerequisite: MT101A (Theory A) or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Open to the Institute.

MH400-19

Music of Eastern Europe in the Late 20th Century

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: Survey of some exemplary compositions written 'behind the wall' during the last decades of the communist era by the major Eastern European composers Dmitri Shostakovich, Witold Lutoslawski, Galina Ustvolskaya, Edison Denisov, Avet Terterian, Sofia Gubaidulina, Krzysztof Penderecki, Henryk M. Gorecki, Alfred Schnittke, Giya Kancheli, Arvo Part, and Valentin Silvestrov. May the encounter with this other, different, somewhat distant kind of Western new music perhaps generate any helpful thoughts and inspirations for our own work, here and now?

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-20

The Music of Gerard Grisey and French Spectralism

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: The course will present the unique oeuvre of the greatest French composer of his generation, Gerard Grisey (1946-1998), and music by other major composers who represented, or were influenced by, the French Spectralist Mouvement, like Hugues Dufourt, Tristan Murail, Michael Levinas, Jean-Claude Risset, Horatiu Radulescu, Pascal Dusapin, and Kaija Saariaho. In the early 1970s, spectralism introduced new compositional techniques for dealing with sound, timbre, pitch (or pitch relations), and form, which still seem meaningful and inspiring today.

* Prerequisite: MT202 or equivalent
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH400-22

The Art of Film Composing

2.0 units
Semester: 
Not planned for this academic year

This course is a one-time-only series of presentations by professional film composers on their work and on the nature of film composition in general. √°The participants cover a wide range of experience in various types of film scoring, including features, television, animation, documentary, and sound design. √°Assignments in this course will consist of short weekly written reports on each guest's presentation.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level.
* Enrollment limited
* Music and Film majors have priority enrollment

MH400-23

The Music of Iannis Xenakis

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: Resistance fighter, fugitive, architect, writer and one of the most influential and radical composers of the last century...This examination of Xenakis' remarkable life and work will combine biography, theory, analysis, score study and guided listening. His very diverse output (which includes concert music, electroacoustic works, computer music, music for the theater, multimedia installations, architecture, and landmark theoretical writings) will be broadly surveyed.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MH400-24

The Music of Gyorgy Ligeti

2.0 units
Semester: 
Not planned for this academic year

In the early 1960s Gyorgy Ligeti (1923-2006) opened up new ways for post-serial sound composition by introducing the concept of micro-polyphony. In his later works since the mid 1970s, he successfully combined ideals of both minimalism and complexity with various world music influences to generate a virtuoso fireworks of wit. The course will combine biography, music theory, analysis, score study and guided listening in order to yield an overview of Ligeti's life, work and historical influence. Our survey will give us a chance to appreciate the original style and beauty of his well-crafted, intricate music with all its stunning luminosity and sensual appeal.

MH400-25

The Music of Helmut Lachenmann

2.0 units
Semester: 
Not planned for this academic year

With his revolutionary concept of a 'musique concrFte instrumentale', the leading and most influential contemporary German composer Helmut Lachenmann (born 1935) has hugely expanded the available repertoire of extended playing techniques on traditional musical instruments for generating a great variety of noises. His uncompromising, superbly crafted masterpieces also display successful compositional methods for meaningful applications of these beautiful new sounds. Our survey will combine biography, music theory, analysis, score study and guided listening to yield an overview of Lachenmann's work and historical influence, as well as an appreciation of his profound critical thought and his abundant musical imagination.

MH400-26

The Music of Igor Stravinsky

2.0 units
Semester: 
Not planned for this academic year

Throughout the first half of the past century, Igor Stravinsky (1882-1971) impacted the contemporary music scene like a startling super-brilliant meteor. The course will combine biography, music theory, analysis, score study, guided listening and aesthetic discussion in order to yield an overview of Stravinsky's life, work and historical influence and an appreciation of his ingenious sense of timbre, harmony and rhythm, of the fascinating precision and virtuosity of his compositional mTtier, of his most original transformational methods for energizing his music by drawing upon the authenticity and power of highly esteemed roots and influences (like the Russian folklore, early Jazz, beloved Pergolesi, or Arnold Schoenberg's 12-tone-method), as well as of his perspicacious aesthetic creed with its universal truth, summed up in his autobiography like this: 'For I consider that music is, by its very nature, essentially powerless to express anything at all,
'

* Approved for Critical Studies credit.

* Open to the Institute.

MH400-27

The Music of Arnold Schoenberg

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: During the first part of the past century, Arnold Schoenberg (1874-1951) revolutionized the contemporary music scene more profoundly than anyone else. With his independent, courageous and radical set of mind and with his extraordinary ability to understand and carry out the historic mission suggested by the musical material itself, he expanded the harmonic language far beyond the borders of tonality, pioneering free atonality and the 'emancipation of dissonance' in his music written during the first two decades of the 20th century, before introducing the new technique of dodecaphonic serialism (his 'method of composing with twelve tones which are related only with one another') during the early 1920s. The course will combine biography, music theory, analysis, score study, guided listening and aesthetic discussion in order to yield an overview of Schoenberg's life, work and historical influence and an appreciation of his supreme compositional mTtier and creative imagination, his intimate knowledge of the Classical masters and the Romantic tradition, and of the unique profundity of his thought. In discussing his 12-tone-method, we shall see that this surprising and controversial innovation was actually just a radical continuation of the inherited principle of 'developing variation', while at the same time constituting as it were the vertex or 'historical fulfillment' of the present tone system of 12-tone Equal Temperament.

* Open to the Institute.

MH400-28

Late Beethoven

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: This course provides a historical and analytical survey of the work of Beethoven, primarily focusing on the radical formal and expressive features of his late period. This unique and complex repertoire will also afford opportunities to explore a broad range of research areas in contemporary musicology, including sketch studies, reception history, musical topoi, the semiotics of music, the New Musicology, the concept of 'late style', and the legacy of Theodor Adorno's Frankfurt-school critical theory. Works examined include the late piano sonatas, Diabelli Variations, Missa Solemnis, Ninth Symphony, and late string quartets.

* Prerequisites: MT101B or equivalent with a grade of P or HP, and permission of the instructor
* Graduate students enroll at the 600 level, undergraduate students at the 400 level

* Open to the Institute.

MH400-29

The Music of Morton Feldman and Walter Zimmermann

2.0 units
Semester: 
II

Focused Topics Course: Pursuing the heritage of his mentor Edgard VarFse with an infinite minimalist focus on the quality of sound, just how it floats, and with a unique sense of musical orchestration, Morton Feldman (1926-1987) introduced the quiet longing of Franz Schubert into 20th century American music. Talking about Karlheinz Stockhausen in his seminar lectures and anecdotes 'The Future of Local Music', he said in 1984, 'He wanted time measured out, and I wanted time felt, a more subjective feeling of time, you see.' 'Maybe it's because I'm Jewish; In other words I'm not creating music, it's already there. So, if I have a secret: don't push the sounds around.'
These quotes were first published by Walter Zimmermann (*1949), the most original and independent German composer of his generation, in a substantial book he compiled and edited to celebrate Morty's 60th birthday. Creating a sense of orientation early on in his career, Walter Zimmermann had traveled through the United States and publishedhis first book in the mid 1970s ('Desert Plants: Conversations with 23 American Musicians'). Inspired by his love for John Cage, Morton Feldman and the American experimental music tradition, as well as for various genres of world music and for his own Franconian local heritage, he explored, among other things, the beauty of repositioned authentic folklore and of microtonal just intonation more than thirty years ago in his unique and compelling conceptual music.
The course will combine biography, music theory, analysis, score study, guided listening and aesthetic discussion in order to yield an overview of Morton Feldman's and Walter Zimmermann's life, work and historical influence as well as an appreciation of what we can learn from them for our own creative work today.

MH400-30

The Frontiers of Intrumentation

2.0 units
Semester: 
Not planned for this academic year

Focused Topics Course: This course explores what are commonly called 'extended techniques', although it proceeds in part as a critique of that concept by focusing on musical contexts in which such techniques are central. Beginning with the family to which each student's own primary instrument belongs, an individualized guided survey is undertaken of the history, aesthetics, and execution of non-traditional instrumental techniques. This survey encompasses listening, viewing, reading, and direct instrumental exploration. Beyond establishing a broad overview of the 'state of the art' in instrumental technique, the course will be crucially concerned with the general question of how techniques can either serve or impede the formulation of aesthetically coherent musical statements. This course is intended for acoustic and electrified acoustic instrumentalists, including vocalists, enrolled in any music program.

* Prerequisites: MT202 or equivalent and permission of the instructor
* Undergraduate students enroll at the 400 level, graduates at the 600 level

* Permission of instructor required.

MH405-01

Focus Rock: Metal - Black, Death & Doom

2.0 units
Semester: 
Not planned for this academic year

Death, Black, Doom and Experimental Metal will be the focus of this class. We will do in-depth analysis of selected pieces (harmony, melody, rhythm, form, sound, lyrics) and research the influence of contemporary classical and experimental music on metal as well as its position within the history of rock music. Furthermore, we will discuss the socio-political and philosophical aspects behind metal and the culture surrounding it.

* Prerequisite: MT101A&B and MT202 or equivalent
* May be taken either for Music History & Literature or Music Theory credit
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH405-02

Focus Rock: Rock and New Music - A History of Cross-Pollination

2.0 units
Semester: 
Not planned for this academic year

Music is: organized sound - timbre and rhythm. This quote by Edgar Varese not only applies to (most) so-called new music (20th and 21st century classical contemporary music), but also to most rock music and related genres. This class will thoroughly research this statement and will look at the little discussed influences of new music on rock and vice versa - from the Velvet Underground and LaMonte Young, psychedelica and minimalism, Zappa and Varese, to prepared piano and prepared guitars, guitar orchestras, just intonation, no wave, metal, musique concrete, tape music, noise, the studio as instrument, and more. This class not only surveys these influences and cross-pollinations, but also includes musical analysis, discussion of the problem of transcriptions of rock music for classical performers, and other aspects. Students will be expected to create their own works or write a paper.

* Prerequisite: MH115 or graduate standing

* Open to the Institute.

MH405-03

Focus Rock: Make a Joyful Noise

2.0 units
Semester: 
II

Make a joyful noise: the development and importance of noise elements in popular and experimental music of the 20th and 21st century. Noise has always been a part of music, if desired or not. But over time noise elements stopped being just an add-on and became the center focus of many new styles. This class will follow the development of noise throughout the 20th century into the 21st. We begin in the early 20th century with the Italian Futurists and follow the development through the decades looking at emerging noise elements in 20th century avant-garde music, rock, pop and electronic music. A strong focus will be on late-20th/early 21st century styles like Industrial Music, Japan Noise, and Electronica, which fully embrace noise and make it their main artistic creative element.

* Prerequisite: MH115 or graduate standing
* Undergraduates enroll at the 400 level, graduates at the 600 level

* Open to the Institute.

MH420

Music Improvisation Out of this World

2.0 units
Semester: 
Not planned for this academic year

This course seeks to establish world music applications and their ability to cross-pollinate with thousand-years' European instrumental performance traditions in a foundational position to support and engender free music improvisation. Course work will focus on establishing links between free improvisation throughout mankind's recorded history and in many other fields: global theories, philosophy, science, geography, occult studies and theologies. Requires reading and written papers, as well as solo and ensemble free improvisation presentations with rigorous verbal discourse.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MH425

Survey of Sound Art

2.0 units
Semester: 
II

Sound Art draws on many fields, among them: experimental music, experimental theater, installation, sculpture, architecture, and poetry, but what all sound art works have as their primary focus is the experience of sound and listening. This class will be a survey of works by a wide variety of artists throughout the 20th Century and into the present. Primarily a lecture class, we will be reading from David Toop's excellent trio of books 'Haunted Weather', 'Ocean of Sound', and 'Sinister Resonanace', and from Salome Voegelin's 'Listening to Noise and Silence', and there will be weekly journal writing requirements.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.
* Open to the Institute.

MH430

Her Music

2.0 units
Semester: 
Not planned for this academic year

An in-depth exploration of music written and performed by women of our time. Class includes concert attendance, independent research project(s), visiting artists.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MH501

Interdisciplinary Improvisation and Aesthetics

2.0 units
Semester: 
II

Transcending traditional notions of artistic aesthetics toward new, uncharted territory of the aesthetics of improvisation, the course will explore self-narrative, expression of emotion, the sociology and politics of improvisatory discourse, and the philosophical anthropology of improvisatory utterance. Readings in aesthetics of suddenness, of risk, of anxiety, along with older work are discussed in class: Nietzsche, Bohrer, Ranciere, Badiou, Seel, Lochhead, Ronen, Belgrad and Reith. Students from Dance, Theater, Critical Studies and Music join together in creating improvisational scenarios for critique. A final improvised performance is presented at the end of the semester.

* Open to Theater, Dance and Music students.

* Open to the Institute.

MH502

Twentieth-Century Intersections and Interactions

2.0 units
Semester: 
I

This course takes an historical and analytic view of the major developments in music and the aesthetic issues emerging as a result of the drastic social and technological changes since 1900. Topics include seminal works from the early decades of the 20th century, Futurism, Dada, serialism and post-serialism, kineticism, chance and indeterminacy, minimalism and gradual process, the influence of technology, popular art, pluralism.

* Approved for Critical Studies credit.

* Permission of instructor required.
* Open to the Institute.

MH600-02

Focused Topics - see MH400-XX

2.0 units
Semester: 
Not planned for this academic year

MH610

History & Practice of Electro-Acoustic Music

2.0 units
Semester: 
II

An historical survey of electronic music, musique concrFte and mixed media. Acoustical theory as related to music synthesis and recording is included. Offered alternate years.

* Prerequisite: MH115 or equivalent
* Undergraduates enroll at the 300 level, graduates at the 600 level

MH620

Music Improvisation Out of this World - see MH420

2.0 units
Semester: 
Not planned for this academic year

MH625

Survey of Sound Art

2.0 units
Semester: 
II

See MH425.

* Permission of instructor required.

MH630

Her Music - see MH430

2.0 units
Semester: 
Not planned for this academic year

MH800

Undergraduate Independent Project: Music History & Literature

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students will complete projects defined in a contractual agreement made at the beginning of each semester.

* Variable credit: 0.5-2.0 units

* May be repeated for credit.
* Contract required.

MH900

Graduate Independent Project: Music History & Literature

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students will complete projects defined in a contractual agreement made at the beginning of each semester.

* Variable credit: 0 .5-2.0 units

* May be repeated for credit.
* Contract required.

MI100

Fundamentals of Concert Production

1.0 unit
Semester: 
I, II

An introduction to concert production including both scheduled class meetings and practical production assignments at times to be arranged.

* Required for all Music students (except Music Technology students) in their BFA-2 year

* Permission of instructor required.

MI101A

Concert Production for Music Technology Students

2.0 units
Semester: 
I

Concert production concepts and practice including both scheduled class meetings and practical production assignments at times to be arranged.

* Three consecutive semesters of enrollment are required for all Music Technology students beginning in the Fall semester of their BFA-1 year.
* Counts as credit for previous course number MX320.

* Permission of instructor required.
* May be repeated for credit.

MI101B

Concert Production for Music Technology Students

2.0 units
Semester: 
II

Concert production concepts and practice including both scheduled class meetings and practical production assignments at times to be arranged.

* Three consecutive semesters of enrollment are required for all Music Technology students beginning in the Fall semester of their BFA-1 year

* Permission of instructor required.
* May be repeated for credit.

MI150

Sound Synthesis

2.0 units
Semester: 
I

This course provides a historical overview of synthesizer development. The review of these hardware synthesizers will provide a context in which to examine classic synthesis techniques, and will be explored through the use of the Reaktor programing environment. At the end of this course, students will have an overview of basic sound synthesis, and an understanding of the historical development of synthesizers.

* Undergraduate students enroll at the 100 level, graduates at the 600 level

MI155

Advanced Sound Synthesis and Audio Effects

2.0 units
Semester: 
II

This course builds off of the historical foundations presented in sound synthesis. Advanced synthesis techniques such as sequencers, drum synthesis, physical modeling, granular oscillators, stochastic oscillators, oscillator sync, blip oscillators, and formant filters will be discussed. The visual programming language Reaktor will be used to explore and implement these ideas.

* Prerequisite: MI150

MI205

Music Technology Forum

1.0 unit
Semester: 
I, II

Weekly gatherings and presentations on current directions in the field of music technology. Occasional workshops by visiting master computer music artists whenever possible. Critique, presentation, and performance of student projects and compositions, both finished and in process. Discussions to help learn tricks of the trade through experimentation and collaboration. Students will work together to create a concert at the end of term combining knowledge from all music technology courses.

* Required for Music Technology undergraduates when offered.

* Permission of instructor required.

MI210

Audio Production for the Laptop

2.0 units
Semester: 
II

This course builds on ideas previously presented in CS268 (Introduction to Sound Production), and focuses on more advanced mixing techniques. Topics such as side chaining, bus summing, stereo imaging, and mastering will be discussed. This course will also provide an opportunity for students to present their mixes to the class, and to have those mixes critically analyzed.

Prerequisite: CS268

* Permission of instructor required.

MI220

Advanced Musical Programming Techniques

2.0 units
Semester: 
Not planned for this academic year

This course provides an introduction to Digital Signal Processing (DSP) theory with software design/implementation and strategies. We will discuss digital signal processing concepts and their practical applications in sound synthesis, music analysis and real-time interactive systems. The course will also discuss Audio feature extraction and introductory applications using machine learning. The course will also present advanced methods using the ChucK programming language. Final projects will include compositions, live interactive performance, or technical report.

* Prerequisite: CS313, Introduction to Object-Oriented Musical Programming
* Undergraduate students enroll at the 200 level, graduates at the 600 level

MI270

Introduction to Composition using Music Technology

2.0 units
Semester: 
II

This class will critically examine the composition of contemporary electronic music from a wide variety of genres and styles. This class will look at the different approaches to arrangement in styles such as techno, IDM, drone, beat, and experimental electronic music.

MI308

Advanced Production Techniques

2.0 units
Semester: 
II

This course provides students with advanced techniques for Audio Production in the studio. We will discuss microphone recording techniques to track drums, bass, guitar, winds, brass, vocals, and world percussion. We will also discuss Mixing techniques including eq, compression, 2-bus techniques, re-amping, parallel compression, sidechaining, and mid-side technique. Home Brewed techniques for mastering will also be discussed. This is an advanced course for students already showing exceptional potential in Concert Production.

* Prerequisite: BFA-3 or BFA-4 standing in MTIID program, and completion of all MI101 requirements.

* Permission of instructor required.

MI330A

Interface Design for Music and Media Expression A

2.0 units
Semester: 
I

This course provides an introduction on how to build a custom interface for musical expression. We will discuss basic electronics and teach how to build a breadboard with a microcontroller and sensors from scratch. This class is intended for the novice student to electronics, so don't be afraid! The goal of the class is to have each student build their own custom MIDI interfaces for use with any software program or synthesizer. The final evaluation will be based on the student's own use of the technology in a live performance.

* Prerequisite: CS313 Introduction to Object-Oriented Musical Programming
* Enrollment limited to 10 students with permission of instructor
* Undergraduate students enroll at the 300 level, graduate students at the 600 level

* Permission of instructor required.

MI330B

Interface Design for Music and Media Expression B

2.0 units
Semester: 
II

See description of MI330A, of which this course is a continuation.

* Prerequisites: MI330A/630A or permission of the instructor
* Enrollment limited to 10 students
* Undergraduate students enroll at the 300 level, graduates at the 600 level

* Permission of instructor required.

MI360

Audio Signal Processing

2.0 units
Semester: 
I

This course provides an introduction to audio signal processing as implemented using the Reaktor programming language. Students will explore the design and implementation of such FX as delay, filters, convolution, distortion, and FFT. At the end of this course, students will have an overview of basic audio signal processing, and the way in which these processes effect sound.

* Prerequisites: MI155/655 and CS313B
* Undergraduate students enroll at the 300 level, graduate students at the 600 level

MI415

Visual Programming and Projection Mapping

2.0 units
Semester: 
II

This course extends previous music related programming experience into the visual domain. Various facets of live visual performance will be explored, including generative visual art, preparing and working with rendered video content, and real-time audio analysis for dynamic visual interaction. Other topics include techniques for real-time human interaction and integration within live music performance setups, and 'projection mapping' onto objects and surfaces.

Prerequisite: CS313B or MI613B

MI420

Digital Voice Ensemble

1.0 unit
Semester: 
I, II

An ensemble of students using their voice and microphone as an interface to control digital sound and to process the sound of their voice. The ensemble will perform compositions led by the teacher as experimental improvisations evolving into formalized works. Students will design vocal processing/controlling techniques and will provide compositions for the ensemble. In addition, vocal techniques will be discussed in depth as it applies to the ability to control digital sound with the voice as well as the technical understanding of common and experimental vocal processing techniques.

* Permission of instructor required.

MI430

Grids, Beats, and Groups

2.0 units
Semester: 
I, II

This ensemble focuses on networking multiple computer musicians together in order to share a common temporal context. This shared beat space allows for the ensemble to explore live electronic performance of rhythmically complex music. Students will be expected to compose parts that create a cohesive piece as a group, but also allow for improvisation within their compositions. Although this ensemble will be based around a 'grid', the focus of the class is to find ways to improvise and manipulate the constrained beat space.

* Prerequisite: MI 330B or MI 630B (Interface Design for Music and Media Expression B)
* Enrollment limited to 12 students with permission of instructor.

MI499

Undergraduate Music Technology Final Project

1.5 units
Semester: 
II

This is a project-based course in which students work with their mentor to create a final project in which all knowledge learned during the degree is culminated, helping build the student's portfolio. Students will propose a novel research project, interactive music interface, software development or other music technology-based idea. The work of other artists or engineers who have influenced the project will be researched. Then the student will begin development with weekly checkpoints set by the mentor. Final projects will include a final presentation, a 15 25 page write-up describing the work completed, as well as a webpage with sound and video examples.

* Enrollment limited to 4th year Music Technology undergraduate students.
* Required for Music Technology degree completion.

MI499

Undergraduate Music Technology Final Project

1.5 units
Semester: 
I, II

This is a project-based course in which students work with their mentor to create a final project in which all knowledge learned during the degree is culminated, helping build the student's portfolio. Students will propose a novel research project, interactive music interface, software development or other music technology-based idea. The work of other artists or engineers who have influenced the project will be researched. Then the student will begin development with weekly checkpoints set by the mentor. Final projects will include a final presentation, a 15 25 page write-up describing the work completed, as well as a webpage with sound and video examples.

* Enrollment limited to 4th year Music Technology undergraduate students.
* Required for Music Technology degree completion.

MI531

Digitizing World Music

1.0 unit
Semester: 
I

This course offers an exploration of blending world music theory with 21st Century music and media technology. A history of software and interface design for computational world music will be described. Students will work on building interactive software and custom hardware for performing new music in the context of world music.

* Enrollment limited to 8 students
* Previous/simultaneous Music Technology courses required

* Permission of instructor required.

MI540

Machine Orchestra

2.0 units
Semester: 
Not planned for this academic year

This ensemble explores a musical paradigm where each musician has a Laptop controlling sound and media in an interactive manner. The aesthetic of each computer having its own sound source (multi-channel speaker arrays) will lead way to a new paradigm for music computing on stage. Participants will write software, build interactive controllers, control robotic systems, visual graphics, and perform live, in a networked system. This ensemble will work cohesively with other Music Technology courses being offered simultaneously.

* Enrollment limited to 12 students.
* Prerequisite: a minimum of 4 Music Technology courses for non-Music Technology students.

* Permission of instructor required.

MI541

Composition for Robotic Instruments

1.0 unit
Semester: 
II

This course will explore the use of robotic systems in musical context in the CalArts Machine Lab. History of how robotic instruments have been used on stage and as art installations will be discussed. The class will work together to build software that can be used for composition for robotic musical instruments. The final project for the class will culminate in a live performance that students will present their composition for the robotic instruments in the Machine Lab.

* Permission of instructor required.

MI550

Robotic Design for Music & Media Applications

2.0 units
Semester: 
Not planned for this academic year

This course will explore the use of robotic systems in artistic environments. It will teach students how to use the machine to make objects move. Each student will learn how to make custom electronics with a variety of actuators. Solenoids, motors and gears will all be discussed. Designing haptic feedback loops for the machine to be 'self-aware' of its own moving parts will be presented. The class will work together on one or two group projects and present them to the school as a final project. This could include building one new robotic musical instrument or an interactive installation, based on the interest of the students.

* Enrollment limited to 12
* Prerequisite: MI330A&B (Interface Design for Music and Media Expression)

MI600

Special Topics in Graduate Music Technology

2.0 units
Semester: 
II

A venue for formal issues within expertise of music technology faculty. Topics may include, advanced interface design, robotic design, machine learning, music information retrieval, music and image, Open GL, Processing, etc. This course is meant to supplement MFA Music Technology Final Projects.

* Permission of instructor required.

MI605

Music Technology Forum

1.0 unit
Semester: 
I, II

Weekly gatherings and presentations on current directions in the field of music technology. Occasional workshops by visiting master computer music artists whenever possible. Critique, presentation, and performance of student projects and compositions, both finished and in process. Discussions to help learn tricks of the trade through experimentation and collaboration. Students will work together to create a concert at the end of term combining knowledge from all music technology courses.

* Permission of instructor required except for Music Technology students
* Required for Music Technology students when offered

* Permission of instructor required.

MI613A

Introduction to Programming for Digital Artists A

2.0 units
Semester: 
I

This course provides an introduction to object-oriented computer music programming languages and how students can use them to make custom software for unique musical expression. ChucK, a strongly-timed computer music language will be introduced. An overview of general programming concepts including types, arrays, control structures, classes and objects will be presented. How to use ChucK for programming real-time systems incorporating MIDI devices will also be described. Each student will present a final project which demonstrates how ChucK can be used in writing synthesis, analysis, or interactive performance tools for a live performance or short composition.

* Open to the Institute.

MI613A

Introduction to Programming for Digital Artists A

2.0 units
Semester: 
I

This course provides an introduction to object-oriented computer music programming languages and how students can use them to make custom software for unique musical expression. ChucK, a strongly-timed computer music language will be introduced. An overview of general programming concepts including types, arrays, control structures, classes and objects will be presented. How to use ChucK for programming real-time systems incorporating MIDI devices will also be described. Each student will present a final project which demonstrates how ChucK can be used in writing synthesis, analysis, or interactive performance tools for a live performance or short composition.

* Open to the Institute.

MI613B

Introduction to Programming for Digital Artists B

2.0 units
Semester: 
II

See the description of MI613A, of which this course is a continuation.

* Prerequisite: Mi613A.

* Open to the Institute.

MI617

Digital Media and Web Development for Digital Artists

2.0 units
Semester: 
I, II

This course provides an introduction to digital media and web development for musicians. Each student will learn basic HTML and how to use it to build custom websites for designing artist homepages. Students will learn how to stream music, stream video, and manage media online. Each student will also learn how to use social networking sites to help gain fan bases and friends using websites like myspace and facebook. Final project in this course is to have a personal website set up and running.

* Graduate students enroll in MI617; undergrads enroll in CS217

* Permission of instructor required.
* Open to the Institute.

MI620

Advanced Musical Programming Techniques - see MI220

2.0 units
Semester: 
II

MI621A

C++ for the Advanced Electronic Musician A

2.0 units
Semester: 
I

This course builds on existing programming experience, providing an introduction to C++ programming for audio applications. New programming topics such as pointers, references, and advanced memory management will be introduced, and students will be shown how to develop a simple DSP algorithm in C, and deploy it as a VST or AU.

* Enrollment limited to 10.
* Prerequisite: MI613 and graduate standing

MI621B

C++ for the Advanced Electronic Musician B

2.0 units
Semester: 
II

MI621B covers advanced topics in program design and architecture in C++. Through class and individual projects, students will realize fully-functional applications and audio plug-ins.

* Enrollment limited to 10.
* Prerequisite: MI621A

MI630A

Interface Design A&B - see MI330A&B

2.0 units
Semester: 
I

MI630B

Interface Design B - see MI330B

2.0 units
Semester: 
II

MI631

Advanced Circuit Design

2.0 units
Semester: 
I

This course builds on existing physical computing experience, and explores PCB design, advanced micro controller programming, and electronics. Students will learn advanced topics for the development of new custom musical interfaces.

* Prerequisite: graduate standing in MTIID or permission of the instructor

MI650

Sound Synthesis - see MI150

2.0 units
Semester: 
I

MI655

Advanced Sound Synthesis and Audio Effects - See MI155

2.0 units
Semester: 
II

* Prerequisite: MI650
* Undergraduate students enroll at the 100 level, graduates at the 600 level

MI660

Audio Signal Processing - see MI360

2.0 units
Semester: 
I

* Prerequisite: MI613B

MI668

Introduction to Sound Production

2.0 units
Semester: 
I, II

A moderately technical introduction to the science of acoustics and audio systems technology. Covers the nature, measurement and behavior of sound; audio terminology, signal flow, and equipment performance specs; digital audio; microphone types and usage; and an overview of recording theory. Lecture/demonstration course, not hands-on recording.

* Prerequisites: Solid math skills, including algebra.
* Graduate students enroll in MI668; undergrads enroll in CS268

* Permission of instructor required.
* Open to the Institute.

MI685

Teaching in Technology

2.0 units
Semester: 
I, II

This course will introduce MFA students to the field of college level teaching. Students will first work closely with program instructors on developing teaching materials for subjects that can be taught over the course of three or four week modules. MFA student-instructors also will be responsible for grading assignments and exams during this time. After concluding modular teaching assignments, student-instructors will become responsible for designing and teaching a full semester technologically-based class for students outside the music technology program. They will be expected to create all course materials, including learner-centered syllabi and assignments, projects and exams, and will be responsible for grading. Faculty will monitor all of these activities and offer feedback on a regular basis. Student-instructors will likely be assigned readings relating to learner-centered teaching, course development and music cognition and will be expected to keep a journal outlining their teaching experiences.

* Enrollment limited to MFA2 Music Technology students.

MI699

MFA Music Technology Final Project

3.0 units
Semester: 
I, II

The MFA in Music Technology Final Project serves as the culmination of the degree program, synthesizing several distinct components into an integrated whole. Candidate's research, hands-on practices, technological studies and experiments, theoretical work, teaching, and interdisciplinary elements are all combined in order to create a technologically sophisticated creative work. Work is expected to be of the highest level, to be uniquely innovative, and to marry research, development and creativity. The project may culminate in a performance, installation and/or event, and must be accompanied by a paper suitable for publication in a peer-reviewed journal and a professional-level portfolio. Students are expected to work on this project throughout their enrollment at CalArts.

* Enrollment limited to MFA Music Technology students.
* Required every semester for every MFA Music Technology student.

MI800

Undergraduate Independent Project: Music Technology

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of the semester.

* Variable credit: 0.5-3.0 units

* Permission of instructor required.
* May be repeated for credit.
* Variable credit.
* Contract required.

MI900

Graduate Independent Project: Music Technology

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of the semester.

* 0.5-3.0 units

* Permission of instructor required.
* May be repeated for credit.
* Variable credit.
* Contract required.

ML101

Intensive Italian Language and Grammar for Singers

4.0 units
Semester: 
Not planned for this academic year

This course focuses on studying and understanding Italian grammar for singing and translation purposes. Specific emphasis will be placed on word order, identification and understanding the parts of speech, conjugation of basic present and past verb tenses, and the ability to know how to translate prose and poetry with the assistance of dictionaries, verb tense guides, and/or other hand's on tools. Secondary emphases will include basic speaking, pronunciation, and study of Italian literature and culture.

* Enrollment limited to 20 students
* Enrollment priority given to Voice majors
* Offered every third year in rotation with French and German

ML102

Intensive French Language and Grammar for Singers

4.0 units
Semester: 
Not planned for this academic year

This course focuses on studying and understanding French grammar for singing and translation purposes. Specific emphasis will be placed on word order, identification and understanding the parts of speech, conjugation of basic present and past verb tenses, and the ability to know how to translate prose and poetry with the assistance of dictionaries, verb tense guides, and/or other hand's on tools. Secondary emphases will include basic speaking, pronunciation, and study of French literature and culture.

* Enrollment limited to 20 students
* Enrollment priority given to Voice majors
* Offered every third year in rotation with Italian and German

MP000

Performance Lessons

1.0 unit
Semester: 
I, II

Lesson instruction is offered based on faculty availability. Lessons may be taught individually or in small groups as appropriate. Lessons may be repeated for credit. In programs for which lessons are required, students who do not own an appropriate instrument may need to rent one. A listing of lessons by instrument is provided below.

MP 004-099 Performance Lessons: Non-Major
1 unit / Semester I, II
Half-hour lessons for students whose major is not performance or for performance majors taking a secondary lesson. Priority is given to students for whom non-major lessons are required.
* Enrollment limited
* Permission of instructor and School of Music office required

MP 104-199 Performance Lessons: BFA / Undergraduate Certificate Major
3 units / Semester I, II
One-hour lessons for performance majors in their area of specialization.
* Priority given to students for whom major lessons are required
* Permission of instructor and School of Music office required

MP 504-599 Performance Lessons: MFA / Advanced Certificate Major
4 units / Semester I, II
One-hour lessons for performance majors in their area of specialization.
* Priority given to students for whom major lessons are required
* Permission of instructor and School of Music office required

MP 704-799 Performance Lessons: DMA
1-4 units / Semester I, II
Lessons for DMA students.
* Permission of instructor and School of Music office required

MP 004 / 104 / 504 / 704 - Classical Saxophone
MP 005 / 105 / 505 / 705 - Bassoon
MP 006 / 106 / 506 / 706 - Cello
MP 007 / 107 / 507 / 707 - Clarinet
MP 008 / 108 / 508 / 708 - Conducting
MP 009 / 109 / 509 / 709 - Contrabass
MP 010 / 110 / 510 / 710 - Flute
MP 011 / 111 / 511 / 711 - French Horn
MP 012 / 112 / 512 / 712 - Harp
MP 013 / 113 / 513 / 713 - Harpsichord
MP 014 / 114 / 514 / 714 - Oboe
MP 015 / 115 / 515 / 715 - Percussion
MP 016 / 116 / 516 / 716 - Piano
MP 017 / 117 / 517 / 717 - Trombone
MP 018 / 118 / 518 / 718 - Trumpet
MP 019 / 119 / 519 / 719 - Tuba
MP 020 / 120 / 520 / 720 - Viola
MP 021 / 121 / 521 / 721 - Violin
MP 022 / 122 / 522 / 722 - Voice
MP 023 / 123 / 523 / 723 - Guitar
MP 025 / 125 / 525 / 725 - Latin Percussion
MP 029 / 129 / 529 / 729 - Trumpet,Improvisation
MP 030 / 130 / 530 / 730 - Winds, Improvisation
MP 031 / 131 / 531 / 731 - Jazz Electric Bass
MP 032 / 132 / 532 / 732 - Jazz Trombone
MP 033 / 133 / 533 / 733 - Jazz Piano
MP 034 / 134 / 534 / 734 - Jazz Saxophone
MP 036 / 136 / 536 / 736 - Jazz Guitar
MP 037 / 137 / 537 / 737 - Jazz Drums
MP 038 / 138 / 538 / 738 - Jazz Trumpet
MP 039 / 139 / 539 / 739 - Jazz Bass
MP 040 / 140 / 540 / 740 - African Drums
MP 050 / 150 / 550 / 750 - Kendang (Balinese Drum)
MP 051 / 151 / 551 / 751 - Gender Semar Pelgulingan
MP 052 / 152 / 552 / 752 - Gangsa
MP 060 / 160 / 560 / 760 - Bonang
MP 061 / 161 / 561 / 761 - Kendang (Javanese Drum)
MP 062 / 162 / 562 / 762 - Rebab
MP 063 / 163 / 563 / 763 - Gender (Javanese)
MP 064 / 164 / 564 / 764 - Gambang
MP 065 / 165 / 565 / 765 - Javanese Voice
MP 066 / 166 / 566 / 766 - Javanese Zither
MP 070 / 170 / 570 / 770 - Tabla
MP 071 / 171 / 571 / 771 - Sitar
MP 072 / 172 / 572 / 772 - Sarod
MP 073 / 173 / 573 / 773 - North Indian Voice
MP 077 / 177 / 577 / 777 - North Indian Flute
MP 078 / 178 / 578 / 778 - N. Indian Music on Western Instruments

MP001

Class Piano

1.0 unit
Semester: 
I, II

Non-major piano instruction given in small group lessons.

* Permission of instructor and School of Music office required
* Audition required
* Enrollment limited
* Enrollment priority given to students for whom the course is required
* May be repeated for credit
* Fulfills MP016 Non-Major Piano requirement
* Prerequisite: MT001 (Fundamental Musicianship), if required

MP102

Musician's Toolkit

1.0 unit
Semester: 
I

Musician's Toolkit will provide intensive instruction in the basic elements involved in becoming a creative, productive, healthy, and successful musician, including topics such as managing time; practicing efficiently; developing a professional demeanor; communicating effectively, both orally and in writing; reducing stress, staying healthy, and preventing injuries; and creating a meaningful life and career in music. Speakers will be drawn from our own campus as well as off campus guests.

* Required during the first semester of entry for undergraduate students in Brass, Harp, Piano/Keyboard, Strings, and Wind programs, including transfer students

MP200-01

Undergraduate Jazz Improvisation (Class)

1.0 unit
Semester: 
I

Development of fundamental techniques required for group improvisation with an emphasis on gaining facility with jazz harmonic language.

* Permission of instructor required.

MP200-02

Undergraduate Jazz Improvisation (Individual)

1.0 unit
Semester: 
I, II

Development of fundamental techniques required for group improvisation with an emphasis on gaining facility with jazz harmonic language.

* Permission of instructor required.
* May be repeated for credit.

MP201-01

Systemic Improvisation

1.0 unit
Semester: 
I

This Performance Practice Seminar and Ensemble includes the performance and study of systemic musics, new symbolic languages for scoring, and extended creative performance techniques informed by ideas from the psychology of music, sound and sensation.

MP201-02

The Spirituality of Improvisation

1.0 unit
Semester: 
I, II

Discovering your voice on your instrument.

* All instruments are welcome

* Permission of instructor required.

MP201-03

Harmonic Improvisation

1.0 unit
Semester: 
II

Emphasis on increasing facility with intricate harmonic techniques.

* Permission of instructor required.

MP203-01

Undergraduate Performance Forum

1.0 unit
Semester: 
II

Undergraduate Performance Forum will provide an experiential approach to music-making through a series of open coachings by faculty and guests of student chamber music groups, and other performances by guests, students, and faculty, as appropriate and available. Occasional joint meetings with other School of Music Forums for special presentations or collaborative projects are also included.

* May be repeated for credit.

MP203-02

Undergraduate Voice Forum

0.5 units
Semester: 
I

A weekly forum for singers, this course focuses on developing performance-related skills through observation, practice and discussion. Sessions will be devoted to guest artist performances, master classes, event and recital preparation, and rehearsals for special projects. Topics covered will include: understanding and communicating musical ideas in proper stylistic contexts, developing the physical attributes necessary for effective performing (stage deportment, body language, demeanor), performance communication and protocol, and music preparation and presentation. Ample time will be provided for each individual to perform and receive feedback from faculty, guest artists and peers. Students will acquire greater ease and confidence on stage, as well as a more thorough understanding of vocal, musical and performance issues.

* May be repeated for credit.

MP204

Forum for Musical Arts

1.0 unit
Semester: 
I, II

Designed as a gathering where Musical Arts Program students share and discuss their artistic work on a weekly basis, this forum will also include informal group critiques. All or part of work presented will comprise the bi-annual required portfolio submissions for MAP students. When available, visiting School of Music faculty will attend and present their own creative work.

* May be repeated for credit.

MP207

Undergraduate Jazz Forum

1.0 unit
Semester: 
I

Weekly presentations on current directions in jazz, emphasizing workshops by visiting master jazz artists whenever possible and including discussion, rehearsal, and performance of their music. Occasional joint meetings take place with other School of Music Forums for special presentations or collaborative projects.

* May be repeated for credit.

MP208

Stagecraft for Singers

1.0 unit
Semester: 
Not planned for this academic year

The study of acting techniques used in the performance of various types of music theatre. Particular emphasis will be placed on voice and body synthesis, spontaneity, improvisation, emotional projection, body awareness, and the physicality of character development.

* Permission of instructor required.
* May be repeated for credit.

MP210A

VoiceArts Foundation

2.0 units
Semester: 
I, II

This two-semester practicum course provides an introduction to a wide-range of topics, skills and contexts with which all voice-based artists need to be familiar, and lays a foundation for more advanced work. The course will explore issues critical to vocal artists, and participants will gain practice with tools they will need in future work. Participants also will learn to observe themselves and their work, and will begin to determine which skills, tools, resources, etc., will be necessary for them to accomplish work at the highest level. Topics will include vocal function, healthy singing and speaking, phonetics and diction, interpretation and communication, listening, resources for singers, professionalism, development of the physical and the artistic voice, and many other subjects necessary for all vocalists.

MP215

Yoga for Musicians

1.0 unit
Semester: 
I, II

An integrated approach to various branches of yoga, including Hatha Yoga asanas, Pranayama, and Dhyana. Physical postures, breathing exercises, and meditation/ visualization techniques will be explored. Students will learn to increase efficiency, relaxation, and concentration in musical performance and practice settings.

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP220

African Dance

1.0 unit
Semester: 
I, II

Instruction in the traditional dances of West Africa.

* Enrollment limited to 20 students.
* Required to see the School of Music office staff to request.

* Permission of instructor required.
* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP230

Balinese Dance

1.0 unit
Semester: 
I, II

Instruction in the traditional dances of Bali.

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP235

Beginning Shakuhachi Workshop

1.0 unit
Semester: 
I, II

The shakuhachi is the traditional Japanese bamboo vertical flute. In this beginning workshop students will learn the basics of shakuhachi playing: breathing, sound production, basic scales, and Japanese music notation. Repertoire will include traditional folk songs, meditative pieces, contemporary works, and improvisation.

* Enrollment limited to 5 students.

* Permission of instructor required.
* May be repeated for credit.

MP240-01

Javanese Dance (Women)

1.0 unit
Semester: 
I, II

Instruction in the traditional dance techniques of Indonesia. There are separate sections for women and men.

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP240-02

Javanese Dance (Men)

1.0 unit
Semester: 
I, II

Instruction in the traditional dance techniques of Indonesia. There are separate sections for women and men.

* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP241

Studio Projects for Guitar

1.0 unit
Semester: 
I, II

Studio Projects is for computer literate guitarists who wish to create a piece or a performance using the equipment and software available in the Interactive Studio. Projects might include working with MIDI guitar, home studio recording and editing technique, interactive MIDI, audio, or video.

* Prerequisite: MI150 or permission of instructor

* May be repeated for credit.

MP250

Institute Voice

1.0 unit
Semester: 
I, II

Instruction and practice in the fundamentals of singing. Course includes technical exercises for breath control, agility, range extension, etc., and involves performance of music in classical and other styles.

* Enrollment limited to students outside the Voice program

* Permission of instructor required.
* May be repeated for credit.
* Cross disciplinary class.
* Open to the Institute.

MP252

Learning to Scream: Voice Training for Non-Majors

1.0 unit
Semester: 
I, II

Voice training for band vocalists, singer/songwriters and other non-classical singing performers. Focus will be on learning rudimentary singing skills and exercises that support healthy and efficient voice production for performers whose singing styles tend toward the extreme.

* enrollment limited to Music students who are not Voice majors

* Permission of instructor required.

MP254

English Diction and Repertoire for Singers

1.0 unit
Semester: 
Not planned for this academic year

This course offers an introduction to the International Phonetic Alphabet (IPA) and its use in transcribing specific sounds used in classical singing, as well as study of appropriate pronunciation and physical production of sounds used in American Standard English. Students will study this 'dialect,' that is used in classical singing for its lack of regional overtones, and will practice singing American songs and arias with this pronunciation. The aim will be a natural and free vocal production and sound, capable of maximum communication. The course will include a brief overview of repertoire in the English language, including listening, discussion and stylistic components.

* Co-requisite: MR110 for BFA1 students

MP255-01

Italian and Spanish Diction and Repertoire for Singers

1.5 units
Semester: 
Not planned for this academic year

Basic instruction and practice in the proper pronunciation for singing in Italian, Spanish, French and German, as well as foundational study of repertoire in these languages. Students will learn the International Phonetic Alphabet (IPA) symbols relevant for each language and practice transcribing texts into IPA. Basic diction-related terminology and principles for each language will be covered. Focus will be placed on the differences between singing and speaking in each language, with special emphasis on classical singing pronunciation. Extensive outside of class listening will be required, with in-class discussion of repertoire and stylistic considerations.

* Concurrent enrollment required with ML101

MP255-02

French Diction and Repertoire for Singers

1.5 units
Semester: 
Not planned for this academic year

See description under MP255-01.

* Concurrent enrollment required with ML102

MP255-03

German Diction and Repertoire for Singers

1.5 units
Semester: 
Not planned for this academic year

See description under MP255-01.

* Concurrent enrollment required with ML103

MP302

The Grammar of Conducting

2.0 units
Semester: 
II

Areas to be studied include:
The development of a clear, readable beat in all patterns and in varying dynamic ranges, articulation of styles and textures, and techniques appropriate for both choral and instrumental conducting. Among difficulties studied will be:
1. Treatment of preparatory beats and fermatas in typical situations;
2. Use of left hand in cueing and control of dynamics;
3. Problems in accompanying and proportional notation.

* Prerequisites: MT101B and MT200C

* Permission of instructor required.

MP308

Topics in Historically Informed Performance Practices: The Study of Historical Performance Practices in Western European Music Composed Before the 19th Century

2.0 units
Semester: 
Not planned for this academic year

This course delves into what can be learned about the sound world of various historical periods and various cultures in Western European music. Iconography, historical instruments, historical documents such as treatises and manifestos, memoirs and notation in manuscripts and published music provide evidence, albeit incomplete, about performance in the past. The question of the extent to which this learning should or should not influence our own contemporary playing is one we will try to answer.

* Prerequisites: MH205A and MH205B or equivalents
* May be used to fulfill upper division music history elective requirement

* Permission of instructor required.

MP309

Latin Percussion

1.0 unit
Semester: 
I, II

Class instruction in general Latin percussion music.

* May be repeated for credit.

MP312

Tabla

1.0 unit
Semester: 
I, II

Group instruction in the techniques, theory and practice of North Indian Tabla.

* times as arranged on Thursday afternoons

* May be repeated for credit.

MP324

Perspectives on Hand Drumming

1.0 unit
Semester: 
I, II

Techniques of performance on hand drums of varied cultural origins.

* May be repeated for credit.

MP326

Trigger: the Electronic Percussionist

1.0 unit
Semester: 
I, II

A series of hands-on workshops exploring the possibilities for musicians performing with electronics, electronic percussion controllers, computer music software, processors, sampling, loops based performance, and interactive audio/video. This course explores the potential and realized impact of electronic percussion in the world of live performance. Members of this class develop the ability to shape sound in ways that are informed by contemporary composition and performance practices. It is the goal of this course that: all participants become empowered electronic musicians/artists; that students be comfortable and adaptable when encountering newly designed controllers, evaluating the possibilities as live performance tools and programming the devices confidently; that students will develop ancillary skills that question the design of existing controllers and may ultimately consider creating their own design for use in live performance settings.

For Percussionists, the course is two semesters in length, where the student will learn to program various percussion controllers: MalletKAT, DrumKAT, Mandala Drum, Handsonic and QuNeo; introductory experience with an interactive video program will be introduced and is encouraged to be incorporated into a final multimedia piece that will be created and performed collaboratively by the students in the class.

For Non-Percussionists, the course is one semester in length incorporating live performance Controllers with realizations of various contemporary compositional techniques such as Minimalism, Totalism, Rhythmically Deceptive Pop Music, Looping Well With Others, and Graphic Notation; as well as a brief introduction to interacting with and controlling video.

* Enrollment limited
* Permission of instructor required.
* Cross disciplinary class.
* Open to the Institute.

* Permission of instructor required.
* Cross disciplinary class.
* Open to the Institute.

MP400-01

Singing the Books: A Workshop on John Cage's 'Song Books'

2.0 units
Semester: 
Not planned for this academic year

Focused Topic in Vocal Performance: This workshop will focus on facilitating processes of constructing realizations of various 'songs' included in the Song Books, along with an overview of Cage's aesthetics. Students will engage in substantial disciplined creative work, action and research, especially as Cage understood 'research' to mean experimental music making. Course work will include discussion, reading assignments, interpreting and constructing pieces, and performing in class. This work will lead toward public performances and/or installations. It is anticipated that students will gain an understanding of the different types of compositional processes Cage utilized in the Song Books. They also will develop the capacity for intensely disciplined action and creation; will develop an understanding of non-ego based methods of composition and performance; will explore their capacity to develop and work within highly rigorous constraints; will explore electronics as they pertainto the Song Books; will learn how to ask appropriate questions when realizing Cage's work; and will work on the ability to perform in a manner independent of self-expression.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level
* Open to students throughout the Institute; especially encouraged for all performing artists, film and video artists, and students involved in sound design.

* Permission of instructor required.

MP400-02

Contemporary Vocal Techniques, Repertoire and Performance

1.5 units
Semester: 
II

Focused Topic in Vocal Performance: This course focuses on facilitating learning processes and specific techniques necessary for preparing and performing standard twentieth-century and contemporary experimental vocal works, as well as exposes students to a wide range of works and issues. All work will be approached with an adventurous and exploratory spirit, with group and individual exercises and coaching. The class will study and analyze scores and notation, with emphasis on developing practical and informed learning and performing skills. When learning new, challenging and unusual techniques, maintaining a healthy vocal production while achieving desired results will be emphasized. Course work will include discussion and analysis, practical experimentation, learning and interpreting new techniques and works, in-class coaching and a final project. Some work will lead towards public performance.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MP400-03

What Kind of Text Is That? Exploring and Creating with Unusual Materials

2.0 units
Semester: 
Not planned for this academic year

Focused Topic in Vocal Performance: Beginning with an historical and contextual study of vocal works that utilize unconventional or atypical texts, students will research and perform representative works while exploring, creating and building works and analyses of their own. The course will involve collective and individual readings of various texts and in-class coaching of works based on such texts, with a large portion of the course devoted to the composition of new pieces/readings/performances based on unusual texts. Collaborative development and performance is highly encouraged. Writers, artists and composers covered may include Filippo Marinetti, Tristan Tzara, Kurt Schwitters, Gertrude Stein, Lewis Carroll, James Joyce, Samuel Beckett, concrete poets, e.e. cummings, John Cage, Luciano Berio, George Aperghis, and others.

* Singers, actors, composers and anyone interested in performing with unusual texts are encouraged to enroll
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MP402

Opera Theater

2.0 units
Semester: 
Not planned for this academic year

An intensive project-based class focused on rehearsing, producing and performing select opera/music-theater works in innovative productions. Works are mounted in collaboration with the School of Theater, with participation of other schools from the Institute as needed. The rigorous process culminates in public performances in the Modular Theater. Past works performed have included world and U.S. premieres, as well as older works presented in new and compelling productions.

* Audition required.
* Undergraduate students enroll at the 400 level, graduate students at the 600 level.

* Permission of instructor required.
* May be repeated for credit.

MP403

Physiology of the Voice

2.0 units
Semester: 
I

This course will examine the anatomy and function of the vocal mechanism. Emphasis will be placed on understanding systems needed for the production of the singing voice. Topics covered will include, breathing, phonation, registration, vowel formation, articulation and acoustics.

* Enrollment limited to upper-division undergraduates and graduate students
* Offered alternate years
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MP405

Performer-Composer Forum

1.0 unit
Semester: 
II

The Performer-Composers Forum features master classes given by the instructor and special guests. Topics may include how new music gets created, music history, performance, composers, (alive and dead), getting works played and/or recorded, teaching, etc. Class is offered every Monday and the classes are small, friendly, and highly informative, dealing with presenting individual forms of art in various mediums; i.e., text, CD, live performance and concert settings. Interactions between the students, guests and instructor is highly encouraged. Student participation may be invited by certain guests.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MP406

Musical Bodies: Injury Prevention and Rehabilitation

1.0 unit
Semester: 
I, II

This course is designed to help musicians prevent and rehabilitate musical instrument-based overuse injuries. It will also address injuries from other sources that might affect our ability to play our instruments. We will look at postural imbalances, faulty habits, and the reality of maybe just too many hours in the practice room. Through yoga therapy, pilates rehabilitation, aspects of physical therapy, and stress reduction and breathing techniques, each student will be given an individual program of stretching, strengthening and relaxing for optimum health. More than just an exercise routine, these programs will be uniquely designed for each student's needs, and may include modifications in posture, alignment, behaviors, and practice techniques.

* Prerequisites: MP102 for undergraduate students
* Enrollment limited to 10 students in total
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MP408

Instrumental Conducting

2.0 units
Semester: 
I

A course for students who have completed theory and skills requirements and who have a foundation in the elements of conducting. Refinement of techniques with particular emphasis on music of the 20th Century.

* Prerequisites: MP302, MT200D and MT202 (or equivalents)
* Enrollment limited
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MP480

Tabla Accompaniment

1.0 unit
Semester: 
I, II

This course will teach students how to accompany vocal and instrumental music. Students will learn how to play with different thekas (rhythm cycles).

* Enrollment limited to upper-division undergraduates and graduate students
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* May be repeated for credit.

MP502

Improvisors' Visiting Artists Colloquium

1.0 unit
Semester: 
I, II

The African American Improvisational Music Program visiting artist series is designed to stimulate multi-focus, interdisciplinary research regarding the philosophical nature of improvisation along with performance technology, theoretical and aesthetical ideas explored by creative artists, through a series of performance, lecture, and master classes. Visiting artists will address important issues in a dialogue about creative improvisation.

* Meets at various times during the semester on scheduled Fridays in ROD.
* May be repeated for credit.

MP503-01

Graduate Performance Forum

1.0 unit
Semester: 
II

Graduate Performance Forum will provide an experiential approach to music-making through a series of open coachings by faculty and guests of student chamber music groups, and other performances by guests, students, and faculty, as appropriate and available. Occasional joint meetings with other School of Music Forums for special presentations or collaborative projects are also included.

* May be repeated for credit.

MP503-02

Graduate Voice Forum

0.5 units
Semester: 
I

A weekly forum for singers, this course focuses on developing performance-related skills through observation, practice and discussion. Sessions will be devoted to guest artist performances, master classes, event and recital preparation, and rehearsals for special projects. Topics covered will include: understanding and communicating musical ideas in proper stylistic contexts, developing the physical attributes necessary for effective performing (stage deportment, body language, demeanor), performance communication and protocol, and music preparation and presentation. Ample time will be provided for each individual to perform and receive feedback from faculty, guest artists and peers. Students will acquire greater ease and confidence on stage, as well as a more thorough understanding of vocal, musical and performance issues.

* May be repeated for credit.

MP600-01

Focused Topics in Vocal Performance - see MP400-XX

2.0 units
Semester: 
Not planned for this academic year

MP600-02

Contemporary Vocal Techniques, Repertoire and Performance

1.5 units
Semester: 
II

Focused Topic in Vocal Performance: This course focuses on facilitating learning processes and specific techniques necessary for preparing and performing standard twentieth-century and contemporary experimental vocal works, as well as exposes students to a wide range of works and issues. All work will be approached with an adventurous and exploratory spirit, with group and individual exercises and coaching. The class will study and analyze scores and notation, with emphasis on developing practical and informed learning and performing skills. When learning new, challenging and unusual techniques, maintaining a healthy vocal production while achieving desired results will be emphasized. Course work will include discussion and analysis, practical experimentation, learning and interpreting new techniques and works, in-class coaching and a final project. Some work will lead towards public performance.

* Undergraduate students enroll at the 400 level, graduate students at the 600 level

* Permission of instructor required.

MP601-01

Systemic Improvisation

1.0 unit
Semester: 
I

This Performance Practice Seminar and Ensemble includes the performance and study of systemic musics, new symbolic languages for scoring, and extended creative performance techniques informed by ideas from the psychology of music, sound and sensation.

* Permission of instructor required.

MP601-02

The Spirituality of Improvisation

1.0 unit
Semester: 
I, II

Discovering your voice on your instrument.

* All instruments are welcome

* Permission of instructor required.
* May be repeated for credit.

MP601-03

Harmonic Improvisation

1.0 unit
Semester: 
II

Advanced harmonic development with jazz language.

* Permission of instructor required.

MP602

Opera Theater - see MP402

2.0 units
Semester: 
Not planned for this academic year

MP603

Physiology of the Voice

2.0 units
Semester: 
I

A comprehensive study of the anatomy and function of the singing mechanism. Emphasis will be placed on functional pedagogy and learning how to integrate the understanding of vocal systems with the practical application of teaching in both individual and group lesson settings. Contrasting pedagogical approaches will be covered in depth. In-class teaching will make up a substantial portion of the class curriculum.

* Enrollment limited to upper-division undergraduates and graduate students
* Offered alternate years
* Undergraduate students enroll at the 400 level, graduate students at the 600 level

MP604

Special Studies in Collaborative Performance

2.0 units
Semester: 
I, II

This course serves to develop and hone special skills required of pianists working with both singers and instrumentalists in a variety of repertoire. It will include individual work with pianists as well as coaching of the pianist with vocalists and/or instrumentalists. This course will also address the issues of pianists in larger ensembles, working with a conductor and preparing orchestral reductions.

* Permission of instructor required.

MP605

Performer-Composer Forum - see MP405

1.0 unit
Semester: 
II

MP606

Musical Bodies: Injury Prevention and Rehabilitation - see MP406

1.0 unit
Semester: 
I, II

MP607

Graduate Jazz Forum

1.0 unit
Semester: 
I

Weekly presentations on current directions in jazz, emphasizing workshops by visiting master jazz artists whenever possible and including discussion, rehearsal, and performance of their music. Occasional joint meetings take place with other School of Music Forums for special presentations or collaborative projects.

* May be repeated for credit.

MP608

Instrumental Conducting

2.0 units
Semester: 
I

A course for students who have completed theory and skills requirements and who have a foundation in the elements of conducting. Refinement of techniques with particular emphasis on music of the 20th Century.

* Prerequisites: MP302, MT200D and MT202 (or equivalents)

* Permission of instructor required.

MP640

Contemporary Performance Practice for Woodwinds

1.0 unit
Semester: 
I, II

A workshop in special techniques as they have evolved in contemporary music. Topics may include various extended techniques, production of pitched and non-pitched sound, multi-phonics, microtonal systems and special tunings, circular breathing, improvisation, deciphering complex rhythms, unconventional methods for articulation, and interfacing acoustic instruments with electronic systems, including MIDI.

* Note open to undergrauate and graduate students

* Permission of instructor required.
* May be repeated for credit.

MP680

Tabla Accompaniment - see MP480

1.0 unit
Semester: 
I, II

MP699

MFA Graduation Recital Preparation

2.0 units
Semester: 
I, II

Credit will be given for the preparation and presentation of a full-length graduation recital. Enrollment in this course is required during the semester in which students give their Graduation Recital. Students enrolled in Performance and Performer-Composer programs additionally are required to give a pre-recital jury and to research and write substantial program notes for each piece on the recital. Please see the Music School Student Handbook for more information on pre-recital juries and deadlines.

* Permission of instructor required.

MP800

Undergraduate Independent Project: Performance

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

* Variable credit: 0.5-1.0 units

* May be repeated for credit.
* Contract required.

MP900

Graduate Independent Project: Performance

1.0 unit
Semester: 
I, II

Under the direction of a specific faculty member, students complete projects defined in a contractual agreement made at the beginning of each semester.

* Variable credit: 0.5-2.0 units

* May be repeated for credit.

MR110

Vocal Repertoire Coaching

1.0 unit
Semester: 
I, II

Centered on in-class coaching, discussion and critique of repertoire and performance, this course will emphasize the development of skills necessary for singing-artists. Students will learn foundational skills and acquire necessary tools for conducting background research, diction and translation, musical preparation, and presentation and critique of themselves and their peers. Students also will expand their repertoire, strengthen accuracy, experience an in-depth study of poetry and poetic narrative, work on interpretation, and concentrate on ensemble and collaboration. Oral and written presentations about music also will be included.

* May be repeated for credit.

MR120

Guitar Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR122

Flute Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR123

Harp Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR124

Oboe Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR126

Experimental Voice Workshop: UG Majors

1.0 unit
Semester: 
I, II

Open to all levels of artists making work with or for the voice, this non-genre specific workshop focuses on the development, creation, refinement and performance of student-generated, voice-related projects. Students meet in a weekly forum to develop, show and discuss work-in-progress as well as to discuss ideas about experimentation and new directions in the arts. The course will track progress from concept, through research and practice, to performance and group critique. Reading and writing exercises will be used to support specific projects. Credit is given based on the workshop component of these projects. Students may be eligible to receive additional independent study credit for in-depth work.

* undergraduate students enroll at the 100 level, graduates at the 500 level
* limited enrollment
* permission of instructor(s) required

MR127

African Rhythm Workshop

0.5 units
Semester: 
Not planned for this academic year

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR128

String Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR129

Percussion Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR130

Clarinet Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR131

Bassoon Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR132

Brass Workshop: Undergraduate Majors

0.5 units
Semester: 
I, II

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR133

Horn Workshop: Undergraduate Majors

0.5 units
Semester: 
Not planned for this academic year

* undergraduate students enroll at the 100 level, graduates at the 500 level

MR310

Advanced Vocal Repertoire Coaching

1.0 unit
Semester: 
I, II

Moving on from foundational work, in this course students will further develop intellectual and musical skills necessary for singing-artists. Students will expand their vocal repertoire in all genres, develop more sophisticated music learning techniques and habits, experience in-depth study of poetic, dramatic and liturgical narrative, continue to strengthen skills in relevant languages, and develop a more collaborative musical interaction. Recital preparation and increasingly nuanced interpretations will be developed, as will more refined critique skills.

* May be repeated for credit.

MR510

Graduate Vocal Repertoire Coaching

1.0 unit
Semester: 
I, II

Advanced, individual musical coaching sessions offered, when available, to students preparing recitals or other major performances, or whose repertoire demands regular coaching sessions. Sessions will cover topics, based on individual needs. These may include the advanced study and development of intellectual, artistic and musical skills necessary for singing-artists. Strengthening of the collaborative relationship is enhanced while students work towards mastery of diction, interpretation, analysis of poetry and text and context.

* permission of the instructor and School of Music office required
* offered based on faculty availability

* May be repeated for credit.

MT001-01

Fundamental Musicianship

3.0 units
Semester: 
I, II

A course devoted to musical literacy and the competence necessary to pursue the Musicianship Skills and Music Theory course sequences in the Core Curriculum. Training is provided in basic areas: reading and writing at the basic level, staff notation, clefs, scales, modes, intervals, triads and their inversions, rhythm and meter, part-writing and cadences. Extensive practice outside class time is required.

* This course is considered a prerequisite to the major, students will be placed in it based on placement exams given prior to registration
* Course does not count toward overall graduation unit requirement
* Course must be completed by the end of the first year in residence; failure to pass within the first year may result in dismissal from the Institute

MT100A01

Musicianship Skills: Tonal Forms A

2.0 units
Semester: 
I, II

MT100A/B & MT200C/D ('Skills A, B, C & D') is a sequence of four courses in ear training and basic musicianship skills related to the comprehension of tone and tonal relationships in music including intervallic, harmonic and melodic comprehension and fundamental rhythmic skills. Exercises include chorales and keyboard music, scales and modes, sight singing and dictation exercises progressing from simple tonal music to more complex chromatic and atonal materials on advanced levels at the end of the course sequence. Extensive practice outside class time is required. Successful performance in these courses is critical for adequate progression through the Core Curriculum.

* MT100A&B must be completed by the end of the second year
* MT200C&D (if required) must be completed by the end of the third year
* Failure to pass core classes according to the above schedule may result in ineligibility to advance in year level, loss of financial aid, academic warning and possible dismissal from the Institute
* MT104A is a prerequisite for MT200C

* Permission of instructor required.

MT100B01

Musicianship Skills: Tonal Forms B

2.0 units
Semester: 
I, II

See description under MT100A.

* Permission of instructor required.

MT101A

Introduction to Tonal Theory A

3.0 units
Semester: 
I, II

An introduction to the structure of tonal music, exploring melodic construction, systems of consonance and dissonance, cadences, harmonic function, sequences, modulations and simple forms. Musical examples are drawn from Western classical, jazz and popular traditions.

* Prerequisite: MT001 or placement by examination
* Required keyboard tutorial meets Tues 6-7pm in Room B321

* Permission of instructor required.

MT101B

Introduction to Tonal Theory B

3.0 units
Semester: 
I, II

A further exploration of tonal structure, including harmonic prolongation, chromatic harmony, tritone substitutions, third relations and modulations to distantly related keys. Musical examples are drawn from the Western classical, jazz and popular traditions.

* Prerequisite: MT101A or placement by exam
* MT101B must be completed by the end of the second year in residence
* Required keyboard tutorial meets Wednesday 6-7pm in Room B321

* Permission of instructor required.

MT102-01

Musicianship Skills: Bach Chorale Singing

1.0 unit
Semester: 
Not planned for this academic year

A careful study of Bach chorales with these goals in mind: understanding and appreciation of the music, intervals, intonation, phrasing, and ensemble skills.

* May be repeated for credit.

MT102-02

Musicianship Skills: Bach Keyboard Pieces

1.0 unit
Semester: 
I, II

A careful study of Bach's shorter keyboard pieces (little preludes and two part inventions) with these goals in mind: understanding and appreciation of the music and piano playing.

* Permission of instructor required.
* May be repeated for credit.

MT103

Musicianship Skills: Transcription

2.0 units
Semester: 
I

A course in furthering critical musicianship skills through exercises in analysis and transcription. Music covering a variety of styles, including jazz, is used to form the basis of ear training exercises.

* Required of BFA jazz majors in their first year
* Fulfills the transcription requirement for World Music majors
* Undergraduate students enroll at the 100 level, graduate students at the 500 level

MT104A

Musicianship Skills: Rhythm A

2.0 units
Semester: 
I

MT104A&B constitute a 2-semester sequence designed to build skills in the performance practices of composed rhythm. Exercises are intended to help students interpret, read, and perform rhythms in all their variations with advanced facility. The class will examine the vocabulary of notated rhythms from simple to modernist and post-modernist compositional ideas. Musical materials will be drawn from the Renaissance, Baroque, Classical and Romantic periods and will emphasize the development of rhythmic practices in the 20th century across a variety of musical styles. Extensive practice outside class time is required. Successful performance in these courses is critical for maintaining adequate progress through the Core Curriculum.

* MT104A must be completed by the end of the second year in residence and is a prerequisite for MT200C

* Permission of instructor required.

MT104B

Musicianship Skills: Rhythm B

2.0 units
Semester: 
II

See description under MT104A.

* MT104B (if required) must be completed by the end of the second year in residence
* Prerequisite: MT104A or placement by exam

* Permission of instructor required.

MT150

Jazz Keyboard Theory

1.0 unit
Semester: 
I, II

Fundamentals of jazz harmony, primarily covering chord symbols, voicings, and voice leading.

* Permission of instructor required.
* May be repeated for credit.

MT170

Transcription and Arranging for Guitar

1.0 unit
Semester: 
I, II

Specific projects in transcription and arranging for guitar of music originally written for other instruments

* It is recommended that students have previously taken MT174

* Permission of instructor required.
* May be repeated for credit.

MT173

Lute Tablature Transcription

1.0 unit
Semester: 
I, II

Specific projects in transcription of various tablature systems for Renaissance and Baroque lutes.

* May be repeated for credit.