Accompanying 1 Jazz Lessons 29

Accompanying Class 1 Jazz Studies and Contemporary Media 29

Art History 1 Keyboard 33

Arts Leadership Curriculum 2 Lute 36

Applied Music Lessons (Summer) 4 Music History 36

Anthropology 4 Music Education 38

Bassoon 5 Oboe 45

Chamber Music 6 Opera 46

Clarinet 7 Orchestration 47

Composition 7 Organ 47

Conducting 11 Piano 48

Double Bass 14 Piano Class 48

Eastman Initiatives Curriculum 14 Pedagogy 48

English 14 Philosophy 51

Ensemble 16 Piccolo 51

English as a Second Language 18 Percussion 51

Eastman School of Music (Speical Registrations) 18 Performance 51

Ethnomusicology 19 Political Science 52

Euphonium 19 Psychology 52

Flute 20 Study Abroad 52

French 20 Saxophone 53

Film Studies 21 Sacred Music 53

Freshman Writing Seminar 23 Strings 54

German 23 Trombone 54

Guitar Class 24 Theory 54

Guitar 25 Trumpet 59

History 25 Voice 60

Harpsichord 26 Violoncello 60

Horn 27 Viola 61

Harp 27 Violin 61

Humanities 27 Wellness 61

Italian 28 Women’s Studies 61

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 11 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Accompanying totaling 6 semesters at the end of their the instructor. Strong interest in languages bachelor's degree. Pianists will learn recommended. May be repeated for valuable collaborative skills through credit. ACM 430 accompanying weekly lessons, regular SEC ACCOMPANYING studio & master classes, juries, and recitals ACY 415A Fall, Spring, Summer (I, II, S-1.5) for each of their partners. ENGLISH LYRIC DICTION Graduate Applied Music Lessons (half- Fall, Spring (I, II-1) hour/week): May be used as secondary ACY 100G Study of the basic rules of English lyric instrument elective credit or as part of a STUDIO ACCOMPANYING: diction. Preparation and performance of DMA minor. May not be used to fulfill major English texts in musical settings. Intended lesson requirements, unless specificallylly GRADUATE for graduate piano accompanying majors; required by the degree program. ForFor Fall, Spring (I, II-0) others by permission of instructor. students who enrolled in their current For this requirement, all MM PRL piano graduate degree program prior to summer majors accompany two (2) fellow students ACY 415B 2009, these lessons carry 2 credits per of their choice (one vocalist and one semester. instrumentalist) per semester. Registration GERMAN LYRIC DICTION for this course is required for MM PRL piano Fall, Spring (I, II-1) ACM 430A majors during each semester in residence, Study of the basic rules of German lyric PRL 1/2 HR ACCOMPANYING up to and including four semesters. Studio diction. Preparation and performance of Accompanying and Orchestral Keyboard German texts in musical settings. Intended Fall, Spring, Summer (I, II, S-2) Graduate Assistants are exempted from for graduate piano accompanying majors; Graduate Applied Music Lessons (half- this course. others by permission of instructor. hour/week): Used to fulfill primary lesson requirement for graduate students. ForFor ACY 201 ACY 416A students who enrolled in their current graduate degree program prior to summer ACCOMPANYING CLASS FRENCH LYRIC DICTION 2009, these lessons carry 2.5 credits per Fall (I-2) Fall, Spring (I, II-1) semester. A course designed to introduce the ESM Study of the basic rules of French lyric undergraduate piano performance major diction. Preparation and performance of ACM 460 (BM AMU) to the basics of ensemble with French texts in musical settings. Intended PRIMARY ACCOMPANYING singers. Standard repertoire will be studied for graduate piano accompanying majors; and the course will culminate in a class others by permission of instructor. Fall, Spring (I, II-3) recital. Not open to graduate students. Graduate Applied Music Lessons (one- Prerequisites: KBD 111 and 112 and junior ACY 416B hour/week): May be used as secondary standing. instrument elective credit or as part of a ITALIAN LYRIC DICTION DMA minor. May not be used to fulfill Fall, Spring (I, II-1) ACY 202 major lesson requirements, unless Study of the basic rules of Italian lyric specifically required by degree program. ACCOMPANYING CLASS diction. Preparation and performance of For students who enrolled in their current Spring (II-2) Italian texts in musical settings. Intended for graduate degree program prior to summer A course designed to introduce the ESM graduate piano accompanying majors; 2009, these lessons carry 2 credits per undergraduate piano performance major others by permission of instructor. semester. (BM AMU) to the basics of ensemble with one other instrument. Standard string and ACY 590 ACM 460A wind repertoire will be studied, and the INDEPENDENT STUDY PRIMARY ACCOMPANYING course will culminate in a class recital. Not Fall, Spring, Summer open to graduate students. Prerequisites: Fall, Spring (I, II-4) KBD 111 and 112 and junior standing. Graduate Applied Music Lessons (one- ACY 596 hour/week): Used to fulfill primary lesson DMA DISSERTATION PROJECT ACY 405 requirement for graduate students. ForFor Fall, Spring, Summer (I, II, S-credit to be students who enrolled in their current OPERA COACHING arranged) graduate degree program prior to summer Fall (I-1) DMA Dissertation Project 2009, these lessons carry 5 credits per Study of the practical skills needed to semester. coach opera singers and to prepare the Art History pianist to work in a professional operaticic environment. Arias and scenes from Accompanying Class AH 201 standard repertoire ranging from Mozart to present day will be selected. Special HISTORY OF AMERICAN ART ACY 100 attention given to unique challenges of the Fall, Spring (I, II-3) STUDIO ACCOMPANYING lyric theater: stylistic interpretation of This survey of American art covers stylistic Fall, Spring (I, II-1) accompanied and secco recitative, the developments in painting, sculpture, and Studio Accompanying: For this basics of vocal ornamentation as it applies architecture. Essays presenting specific requirement, all BM Applied Music piano to the stage, the creative realizing of piano case studies illustrate the ways in which majors accompany two (2) fellow students transcriptions of orchestral different approaches, omitted artworks, of their choice (one vocalist and one accompaniments, playing conducted and in-depth engagements with single instrumentalist) per semester, normally in rehearsals, etc. Prerequisite: permission of works can change our understanding of their sophomore, junior, and senior years, ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 22 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** the narrative of American art. In addition an introduction to modern architecture semester and may be half-semester (early to the broad themes of American art, starting with its nineteenth-century roots or late semester) or full semester courses. students will learn a basic art historical and continuing to the present day. We will vocabulary and examine different art explore the impact of technological, ALC 221 historical approaches. economic, political, and social change on LEADERSHIP AND architecture, as well as study major figures ADMINISTRATION AH 213 of modern architecture like Le Corbusier, Fall, Spring (I, II-1) HISTORY OF WESTERN ART Mies van der Rohe, and Frank Lloyd Wright. Topics vary by semester and may be half- Fall, Spring (I, II-3) AH 250 semester (early or late semester) or full Survey of works of Western art in the years semester courses. 1300-1950. Emphasis is placed on HISTORY OF PHOTOGRAPHY developing a vocabulary for the effective Fall, Spring (I, II-3) ALC 221K description and analysis of art. Other Since its introduction in 1839, photography LEADERSHIP AND themes considered include patterns of has been an important visual medium. ThisThis patronage; the interrelationship of art withth course will examine changing technical ADMINISTRATION music, literature, technology, religion, and processes and their aesthetic implications; Fall, Spring (I, II-1) popular culture; and the changing debates about the nature of photography; Leadership and Administration: Topics vary dynamics of women as both subject and photography’’s relationship to other artistic by semester and may be half-semester artist. media; and different contexts in which (early or late semester) or full semester photography has been used, like art, courses. AH 221 science, social sciences, colonialism, social AFRICAN-AMERICAN ART advocacy, print media, and ALC 222 Fall, Spring (I,II-3) postmodernism. LEADERSHIP AND This course surveys African-American art, AH 281 ADMINISTRATION including decorative arts created by Fall, Spring (I, II-2) slaves, mainstream nineteenth-century TOPICS IN THE VISUAL ARTS Topics vary by semester and may be half- artists, the Harlem Renaissance and thethe Fall (I-3) semester (early or late semester) or full New Negro movement, the Black Art Topics vary from year to year. May be semester courses. movement, postmodern art, and repeated for credit. contemporary art. We will read primary ALC 231 sources ranging from W.E.B. Du Bois and AH 282 PERFORMANCE Alain Locke to Romare Bearden and TOPICS IN THE VISUAL ARTS Fall, Spring (I, II-1) Elizabeth Catlett. Central topics will Spring (II-3) Topics vary by semester and may be half- include the conditions of artistic practice, Topics vary from year to year. May be semester (early or late semester) or full the relationship to the overall narrative of repeated for credit. American art, and the art historical semester courses. reception of African-American art. Cross- Arts Leadership Curriculum ALC 231K listed as AAS 282 (College). PERFORMANCE ALC 211 AH 242 Fall, Spring (I, II-1) ARCHITECTURE AMERICAN ENTREPRENEURSHIP IN MUSIC Topics vary by semester and may be half- Fall, Spring (I, II-1) semester (early or late semester) or full HOUSES Topics vary by semester and may be half- semester courses. Fall, Spring (I, II-3) semester (early or late semester) or full As an icon in American culture, the house is semester courses. ALC 232 an object rich with social significance. PERFORMANCE Houses can tell us about the economic ALC 211K Fall, Spring (I, II-2) development of America, ENTREPRENEURSHIP IN MUSIC Topics vary by semester and may be half- the structure of the American family, the Fall, Spring (I, II-1) semester (early or late semester) or full relationship of work to home, and the Entrepreneurship in Music: Topics vary byy semester courses. development of the American city. We will semester and may be half-semester (early look at the diverse housing types or late semester) or full semester courses. ALC 241 Americans have developed to express their social goals, such as southern CONTEMPORARY ORCHESTRAL ALC 212 plantations, urban row houses, rural villas, ISSUES ENTREPRENEURSHIP IN MUSIC model homes, residential hotels, Fall, Spring (I, II-1) Fall, Spring (I, II-2) tenements, the post-war suburban home, Topics vary by semester and may be half- Entrepreneurship in Music: Topics vary byy housing projects, and New Urbanism semester (early or late semester) or full semester and may be half-semester (early houses. semester courses. or late semester) or full semester courses. AH 244 MODERN ARCHITECTURE ALC 212K Fall, Spring (I,II-3) ENTREPRENEURSHIP IN MUSIC Modern Architecture: This course provides Fall, Spring (I, II-2) Entrepreneurship in Music: Topics vary byy ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 33 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** ALC 251 semester courses. All graduate students required to register for other than the ALC THE HEALTHY MUSICIAN can take ALP courses for free by registering 400 level and pay regular tuition charges. at the ALC 400 level. Graduate students in For additional information on this policy Fall, Spring (I, II-1) certain instances may also wish or be and further details on whether or not aa Topics vary by semester and may be half- required to register for other than the ALC course may be used to fulfill certificate, semester (early or late semester) or full 400 level and pay regular tuition charges. diploma, or degree requirements, please semester courses. For additional information on this policy see the ALP website at ALC 252 and further details on whether or not aa http://www.esm.rochester.edu/iml/alp/gradpolic course may be used to fulfill certificate, y.php THE HEALTHY MUSICIAN diploma, or degree requirements, please Fall, Spring (I,II-2) see the ALP website at ALC 421K Topics vary by semester and may be half- http://www.esm.rochester.edu/iml/alp/gradpolic LEADERSHIP AND semester (early or late semester) or full y.php semester courses. ADMINISTRATION ALC 412 Fall, Spring (I, II-1) Leadership and Administration: Topics vary ALC 280 ENTREPRENEURSHIP IN MUSIC by semester and may be half-semester ARTS LEADERSHIP INTERNSHIP Fall, Spring (I, II-2) (early or late semester) or full semester Fall, Spring Entrepreneurship in Music: Topics vary byy courses. All graduate students can take Required for ALP Certificate Students / semester and may be half-semester (early ALP courses for free by registering at the Scheduling flexible. Open to Arts or late semester) or full semester courses. ALC 400 level. Graduate students in certain Leadership Program (ALP) certificate All graduate students can take ALP courses instances may also wish or be required to candidates only, the Catherine Filene for free by registering at the ALC 400 level. register for other than the ALC 400 level Shouse Arts Leadership Program internship Graduate students in certain instances and pay regular tuition charges. For places ALP certificate candidates in may also wish or be required to register for additional information on this policy and internships designed to expose them toto other than the ALC 400 level and pay further details on whether or not a course extra-musical tools and information that regular tuition charges. For additional may be used to fulfill certificate, diploma, can only be learned in practical, “real information on this policy and further or degree requirements, please see the world” settings. Benefits to the student details on whether or not a course may be ALP website at include the cultivation of self-management used to fulfill certificate, diploma, or http://www.esm.rochester.edu/iml/alp/gradpolic skills and an awareness of the current degree requirements, please see the ALP y.php climate for the arts in America. In addition website at to helping prepare our students to function http://www.esm.rochester.edu/iml/alp/gradpolic ALC 422 in the “real world”, the internship program y.php LEADERSHIP AND also contributes to the Eastman School’s focus on the community by supplying ALC 412K ADMINISTRATION local, national and international arts ENTREPRENEURSHIP IN MUSIC Fall, Spring (I, II-2) organizations with high quality interns. Fall, Spring (I, II-2) Topics vary by semester and may be Limited to 2 credits maximum towards Entrepreneurship in Music: Topics vary by half-semester (early or late semester) or fullfull certificate requirement.. semester and may be half-semester (early semester courses. All graduate students or late semester) or full semester courses. can take ALP courses for free by registering ALC 411 All graduate students can take ALP courses at the ALC 400 level. Graduate students in ENTREPRENEURSHIP IN MUSIC for free by registering at the ALC 400 level. certain instances may also wish or be required to register for other than the ALC Fall, Spring (I, II-1) Graduate students in certain instances 400 level and pay regular tuition charges. Entrepreneurship in Music: Topics vary by may also wish or be required to register for For additional information on this policy semester and may be half-semester (early other than the ALC 400 level and pay and further details on whether or not aa or late semester) or full semester courses. regular tuition charges. For additional course may be used to fulfill certificate, All graduate students can take ALP courses information on this policy and further diploma, or degree requirements, please for free by registering at the ALC 400 level. details on whether or not a course may be see the ALP website at Graduate students in certain instances used to fulfill certificate, diploma, or http://www.esm.rochester.edu/iml/alp/gradpolic may also wish or be required to register forfor degree requirements, please see the ALP y.php other than the ALC 400 level and pay website at http://www.esm.rochester.edu/iml/alp/gradpolic regular tuition charges. For additional ALC 431 y.php information on this policy and further PERFORMANCE details on whether or not a course may be ALC 421 Fall, Spring (I, II-1) used to fulfill certificate, diploma, or Topics vary by semester and may be half- degree requirements, please see the ALP LEADERSHIP AND semester (early or late semester) or full website at ADMINISTRATION semester courses. All graduate students http://www.esm.rochester.edu/iml/alp/gradpolic Fall, Spring (I, II-1) y.php can take ALP courses for free by registering Topics vary by semester and may be half- at the ALC 400 level. Graduate students in semester (early or late semester) or full ALC 411K certain instances may also wish or be semester courses. All graduate students required to register for other than the ALC ENTREPRENEURSHIP IN MUSIC can take ALP courses for free by registering 400 level and pay regular tuition charges. Fall, Spring (I, II-1)) at the ALC 400 level. Graduate students in For additional information on this policy Topics vary by semester and may be half- certain instances may also wish or be and further details on whether or not aa semester (early or late semester) or full ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 44 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** course may be used to fulfill certificate, ALC 451 Applied Music Lessons- diploma, or degree requirements, please THE HEALTHY MUSICIAN see the ALP website at SUMMER Fall, Spring (I, II-1) http://www.esm.rochester.edu/iml/alp/gradpolic Topics vary by semester and may be half- y.php AMU 130 semester (early or late semester) or full UNDERGRADUATE APPLIED ALC 431K semester courses. All graduate students can take ALP courses for free by registering PERFORMANCE LESSON at the ALC 400 level. Graduate students in Summer (S-2) Fall, Spring (I, II-1) certain instances may also wish or be Undergraduate Applied Music Lessons : Topics vary by semester and may be half- required to register for other than the ALC (half-hour/week): Use to fulfill secondary semester (early or late semester) or full 400 level and pay regular tuition charges. instrument requirement or elective. semester courses. All graduate students For additional information on this policy can take ALP courses for free by registering and further details on whether or not aa AMU 430 at the ALC 400 level. Graduate students in course may be used to fulfill certificate, certain instances may also wish or be GRADUATE APPLIED LESSON diploma, or degree requirements, please required to register for other than the ALC Summer (S-1.5) see the ALP website at Graduate Applied Music Lessons (half- 400 level and pay regular tuition charges. http://www.esm.rochester.edu/iml/alp/gradpolic For additional information on this policy y.php hour/week): May be used as secondary and further details on whether or not a instrument elective credit or as part of a course may be used to fulfill certificate, ALC 452 DMA minor. May not be used to fulfill major diploma, or degree requirements, please THE HEALTHY MUSICIAN lesson requirement, except for MM see the ALP website at Conductors who are required to take 4 Fall, Spring (I, II-2) http://www.esm.rochester.edu/iml/alp/gradpolic credits of applied music. For students Topics vary by semester and may be half- y.php who enrolled in their current graduate semester (early or late semester) or full degree program prior to summer 2009, semester courses. All graduate students ALC 432 these lessons carry 2 credits per semester. can take ALP courses for free by registering PERFORMANCE at the ALC 400 level. Graduate students in AMU 430A Fall, Spring (I, II-2) certain instances may also wish or be Topics vary by semester and may be half- required to register for other than the ALC GRADUATE APPLIED LESSON: semester (early or late semester) or full 400 level and pay regular tuition charges. PERFORMANCE semester courses. All graduate students For additional information on this policy Summer (S-2) can take ALP courses for free by registering and further details on whether or not aa Graduate Applied Music Lessons (half- at the ALC 400 level. Graduate students in course may be used to fulfill certificate, hour/week): Half-hour lessons in your certain instances may also wish or be diploma, or degree requirements, please primary instrument major may be taken required to register for other than the ALC see the ALP website at only with permission of the Associate Dean 400 level and pay regular tuition charges. http://www.esm.rochester.edu/iml/alp/gradpolic for Graduate Studies. For students who For additional information on this policy y.php enrolled in their current graduate degree and further details on whether or not a program prior to summer 2009, these course may be used to fulfill certificate,e, ALC 480 lessons carry 2.5 credits per semester. diploma, or degree requirements, please ARTS LEADERSHIP INTERNSHIP see the ALP website at Fall, Spring http://www.esm.rochester.edu/iml/alp/gradpolic Anthropology Required for ALP Certificate Students / y.php Scheduling flexible. Open to Artsrts ANR 110 ALC 441 Leadership Program (ALP) certificate candidates only, the Catherine Filene RELIGIONS OF THE WORLD CONTEMPORARY ORCHESTRAL Shouse Arts Leadership Program internship Fall, Spring (I, II-3) ISSUES places ALP certificate candidates in An introduction to world religions, Fall, Spring (I, II-1) internships designed to expose them to examining the responses of world religions Topics vary by semester and may be half- extra-musical tools and information that as well as smaller, local traditions to semester (early or late semester) or full can only be learned in practical, “real fundamental questions like the following: semester courses. All graduate students world” settings. Benefits to the student What is the relation of the individual to the can take ALP courses for free by registering include the cultivation of self-management divine? Is the religious life best lived in the at the ALC 400 level. Graduate students in skills and an awareness of the current world or apart from it? Are humans certain instances may also wish or be climate for the arts in America. In addition inherently good or bad? What is thethe required to register for other than the ALC to helping prepare our students to function relationship of humans to nature? We 400 level and pay regular tuition charges. in the “real world”, the internship program reflect on influences that draw people to For additional information on this policy also contributes to the Eastman School’s new religions and elements that allow and further details on whether or not a focus on the community by supplying traditions to endure. The course helps course may be used to fulfill certificate, local, national and international arts students to better understand their own diploma, or degree requirements, please organizations with high quality interns. worldviews by exposing them to see the ALP website at Limited to 2 credits maximum towards contrasting perspectives across the globe. http://www.esm.rochester.edu/iml/alp/gradpolic certificate requirement. y.php

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 55 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** ANR 210 ANR 240 ANR 281 MEANING IN EVERYDAY LIFE WOMEN AND RELIGION TOPICS IN ANTHROPOLOGY Fall, Spring (I, II-3) Fall, Spring (I, II-3) AND RELIGION Art, music, and religion all give life meaning A study of conceptions of women Fall (I-3) in special and dramatic ways. However, embodied in the imagery of various the world of our everyday lives is also filled religious traditions, the role of women in ANR 282 with meanings that are reflected and worship, and the impact of religious TOPICS IN ANTHROPOLOGY amplified in a culture's great art forms and traditions on feminine experience and religious ideas. We leave the grand visions social definitions of gender roles. For each AND RELIGION of high culture aside and examine the region, we consider both religious doctrine Spring (II-3) ordinary meanings of everyday life. These and the lives of women in the context of meanings tend to be invisible; being societies holding to these religious beliefs. Bassoon accustomed to them, we think of them as Cross-listed as WST 240. normal. They appear to us simply as reality. BSN 130 We will take a close look at every day ANR 250 SEC BASSOON "realities." We examine the ways in which CULTURE AND Fall, Spring, Summer (I, II, S-2) people use time and space and how they COMMUNICATION think about human relationships, nature, Undergraduate Applied Music Lessons death, and what it means to a person. This Fall, Spring (I, II-3) (half-hour/week): Use to fulfill secondary A study of the nature of human allows students to understand their own instrument requirement or elective. communication. Topics include whether culture more deeply as well as learn about there are universals in the way humans BSN 160 others. communicate; how language shapes PRIMARY BASSOON ANR 220 understanding of the world; how people Fall, Spring (I, II, S-4) THE NATURE OF LOVE use communication to establish, maintain, Undergraduate Applied Music Lessons or challenge power relations; and how Fall, Spring (I, II-3) (one-hour/week): Use to fulfill primary gender influences communication. We We think of love as the most personal of lesson requirement. also explore specific forms of artistic and emotions, yet our private experiences of religious communication. BSN 430 love and the way these can be enacted are influenced by biology, by social life , by SEC BASSOON ANR 260 cultural images and family expectations. In Fall, Spring, Summer (I, II, S-1.5) this course, we will consider love from RELIGION AND CULTURE Graduate Applied Music Lessons (half- many points of view, drawing on Fall, Spring (I, II-3) hour/week): May be used as secondary evolutionary theory, psychology, This course will examine the social and instrument elective credit or as part of a anthropology, and literature. We will cultural circumstances that give rise to DMA minor. May not be used to fulfill major examine ways in which love and courtship religious fundamentalism, explore the lesson requirements, unless specificallylly take place in a variety of societies, and will reasons for its attraction to adherents, and required by the degree program. ForFor look at the definitions and expressions of look at its contrasts with other forms of students who enrolled in their current love in Asian as well an European and religious practice. Readings will focus on graduate degree program prior to summer American contexts. Christianity and Islam. Analytic readings, 2009, these lessons carry 2 credits per weekly papers, and a final project will be semester. ANR 230 required. IMAGINING INDIA BSN 430A ANR 280 Fall, Spring (I, II-3) PRL 1/2 HR BASSOON As a place with its own highly civilized and APPROACHES TO Fall, Spring, Summer (I, II, S-2) an exotic tradition, India has captured the ETHNOGRAPHY Graduate Applied Music Lessons (half- imagination of many. This course gives us Spring (II-3) hour/week): Used to fulfill primary lesson an understanding of this distant, complex Approaches to Ethnography: Ethnography requirement for graduate students. ForFor and varied land, and in so doing will show offers a window into a variety of cultural students who enrolled in their current us how societies can be conceived in worlds, and provides the foundation for graduate degree program prior to summer terms very different from our own. More theorizing in anthropology and in related 2009, these lessons carry 2.5 credits per importantly, it shows us how different disciplines like ethnomusicology. In this semester. perspectives reveal different aspects of a course, we will examine ways in which society. Here, we will read ethnographies, anthropologists conduct ethnographic BSN 460A novels, and autobiographies by indigenous research and write ethnography. We will PRIMARY BASSOON South Asian authors and by foreigners, look at a range of analytic and interpretive Fall, Spring (I, II-4) thinking carefully along the way about approaches to ethnography, learn Graduate Applied Music Lessons (one- what informs their point of view as well as fundamental techniques for conducting hour/week): Used to fulfill primary lesson what they reveal about India. ethnographic research, and consider requirement for graduate students. ForFor ethical aspects of such work, exploring students who enrolled in their current contemporary debates about the practice graduate degree program prior to summer and production of ethnography. Cross- 2009, these lessons carry 5 credits per listed as ETH 480. semester.

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 66 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Chamber Music CHB 277 CHB 290 BAROQUE CHAMBER MUSIC INDEPENDENT STUDY CHB 181 Fall, Spring (I, II-1) Fall, Spring INTRO TO WOODWIND QUINTET Study and performance of the chamber music repertoire of the 17th and 18th CHB 401 SEMINAR centuries for strings, winds, harpsichord, INSTRUMENTAL SONATA & DUO Fall (I-1 cr., 2-semester course) voice and organ. The class is divided into RE Intro to Woodwind Quintet Seminar: several smaller ensembles with weekly Fall (I-2) Required of all first-year flute, clarinet, coachings. Four specific topic classes Intensive study of special topics from the oboe, bassoon and horn performancee regarding style and interpretation are also instrumental & piano duo repertoire, majors. This course serves as in introduction included. Performers on both modern and selected at the beginning of the semester to chamber music at the Eastman School. period instruments are welcome. Keyboard by the class. Open to graduate pianists, players must be able to play from figured strings, & winds. Prerequisite: permission of CHB 182 bass; harpsichord experience is preferred. instructor. May be repeated for credit. INTRO TO STRING QUARTET (Prerequisite for keyboard players: KBD Offered every other year, alternating with 443 Keyboard Continuo Realization or SEMINAR 6CHB 403. permission of the instructor.) Spring (II-1 cr., 2-semester course) Intro to String Quartet Seminar: Required of CHB 402 CHB 281 all first-year violin, viola and cello VOICE REPERTOIRE FOR PIANIST performance majors, this course serves as DUO PIANO SEMINAR Fall, Spring (I, II-2) in introduction to chamber music at the Fall (I-1 cr. each, 2-semester course) An in-depth examination of specific areas Eastman School. Taught by the members The Duo Piano Seminar is designed for both of the vocal non-operatic repertoire, of the Ying Quartet, classes consist of undergraduate and graduate piano including such topics as Baroque style and individual coachings, masterclasses, performance majors and offers an in-depth ornamentation, twentieth-century lectures, and demonstrations and cover a study of both four-hand and two-piano repertoire, musical settings of a particular wide range of topics foundational to repertoire. The class combines weekly poet, comparative settings of the same ensemble playing. Quartets and repertoire coachings with frequent masterclasses with poem(s), & neglected repertoire. The class are assigned by the instructors and rotate the ESM piano faculty. Over the course of meets concurrently with CHB 431 or CHB by unit to cover the major stylistic periods the semester, each duo must learn and 432 & addresses the repertoire from the from Haydn and Mozart through the 20th prepare for performance one major work dual perspective of singer & pianist. century. Each unit culminates in a public from the two-piano/four-hand repertoire. Required of master's degree students class recital. The course ends with a final performance majoring in Piano Accompanying & by all the duos in Kilbourn or Hatch Hall. Chamber Music. Elective for DMA students CHB 232 in the Piano Accompanying & Chamber VOICE REPERTOIRE JUNIOR CHB 282 DUO PIANO SEMINAR Music degree. Open to other keyboard Spring (II-2) majors with permission of the instructor. Spring (II-1 cr. each, 2-semester course) A two-semester chronological survey of the May be repeated for credit. most important vocal repertoire for the The Duo Piano Seminar is designed for both recital & concert stage from Caccini to the undergraduate and graduate piano CHB 403 performance majors and offers an in-depth present. In-class performance is PIANO CHAMBER MUSIC emphasized in combination with outside study of both four-hand and two-piano listening & reading. Languages covered repertoire. The class combines weekly REPERTOIRE include Italian, English, German, & French. coachings with frequent masterclasses with Fall (I-2) At the discretion of the applied teacher & the ESM piano faculty. Over the course of Intensive study of chamber music the advisor, qualified students may begin the semester, each duo must learn and repertoire in a performance class setting. CHB 232 in the sophomore year. Designed prepare for performance one major work The course is team-taught by 2 members of for applied majors in voice. Open to other from the two-piano/four-hand repertoire. the performance faculty. Up to 8 pre- majors by permission. The course ends with a final performance formed groups are accepted. Each of by all the duos in Kilbourn or Hatch Hall. them must include a pianist, and must CHB 233 submit their repertoire at the time of VOICE REPERTOIRE SENIOR CHB 284 registration. Available to pianists, strings, winds & voice. Prerequisite: permission of Fall (I-2) VOCAL CHAMBER MUSIC instructor. May be repeated for credit. A two-semester chronological survey of the Fall (I-1) Offered every other year, alternating with most important vocal repertoire for the Introduction to basic vocal chamber 6CHB 401. recital & concert stage from Caccini to the repertoire. Attention given to ensemble present. In-class performance is rehearsal techniques, tuning and style. CHB 431 emphasized in combination with outside Repertoire chosen to suite voice types listening & reading. Languages covered registered. Voice teacher's approval VOICE REPERTOIRE include Italian, English, German, & French. required for singers. Instrumentalists Fall (I-1) At the discretion of the applied teacher & approved by chamber music coordinator. A two-semester chronological survey of the the advisor, qualified students may begin most important vocal repertoire for the CHB 232 in the sophomore year. Designed recital & concert stage from Caccini to the for applied majors in voice. Open to other present. CHB 431 encompasses early majors by permission. Italian, English, French and German art ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 77 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** song up to circa 1900. CHB 432 continues CHB 482 CL 430A from circa 1900 on and includes French DUO PIANO SEMINAR PRL 1/2 HR CLARINET melodie and a sampling of Spanish and Spring (II-1 cr. each, 2-semester course) Fall, Spring, Summer (I, II, S-2) Russian songs. In-class performance isise Coaching & performance of chamber Graduate Applied Music Lessons (half- emphasized in combination with outside music for strings, piano, winds, & brass. hour/week): Used to fulfill primary lesson listening & reading. The class addresses the Includes Music for All performances as well requirement for graduate students. ForFor repertoire from the dual perspectives of as in-house public performances. Within students who enrolled in their current singer & pianist. Required of master's this course is a special section called the graduate degree program prior to summer degree students majoring in performance Graduate Seminar. This section is a 2009, these lessons carry 2.5 credits per & literature-voice (two semesters) & in focused experience that is open to any semester. piano accompanying & chamber music graduate instrumentalist (string, piano, (as CHB 402-I or II). Open to other majors by wind, brass, percussion or voice) wishing to CL 460A permission of the instructor. pursue an in-depth, pre-professional PRIMARY CLARINET chamber music experience, and includes CHB 432 Fall, Spring (I, II-4) weekly coachings, group masterclasses, VOICE REPERTOIRE Graduate Applied Music Lessons (one- seminars on outreach, and other pertinent hour/week): Used to fulfill primary lesson Spring (II-1) performance topics as well as requirement for graduate students. ForFor A two-semester chronological survey of the performances in Kilbourn Hall and students who enrolled in their current most important vocal repertoire for the community sites and more. May be graduate degree program prior to summer recital & concert stage from Caccini to the repeated for credit. 2009, these lessons carry 5 credits per present. CHB 431 encompasses early semester. Italian, English, French and German art CHB 490 song up to circa 1900. CHB 432 continues INDEPENDENT STUDY CL 490 from circa 1900 on and includes French Fall, Spring CLARINET CHOIR melodie and a sampling of Spanish and FallFall Russian songs. In-class performance isise CHB 590 emphasized in combination with outside INDEPENDENT STUDY listening & reading. The class addresses the Composition Fall, Spring repertoire from the dual perspectives of singer & pianist. Required of master's CMP 101 degree students majoring in performance Clarinet FIRST YEAR MAJOR I & literature-voice (two semesters) & in Fall (I-3) CL 130 piano accompanying & chamber music Seminar and Master Class in the (as CHB 402-I or II). Open to other majors by SEC CLARINET Composition of Twentieth-Century Music I: permission of the instructor. Fall, Spring, Summer (I, II, S-2) Composition class including occasional Undergraduate Applied Music Lessons private lessons and readings of CHB 480 (half-hour/week): Use to fulfill secondary compositional studies and pieces. GRAD BAROQUE CHAMBER instrument requirement or elective. Enrollment is reserved for freshman MUSIC composition majors; others may enroll CL 160 only by permission of the individual Fall, Spring (0 Credits) Coaching & performance of chamber PRIMARY CLARINET instructor or by departmental approval. music for strings, piano, winds, & brass. Fall, Spring (I, II-4) CMP 102 Includes Music for All performances as well Undergraduate Applied Music Lessons as in-house public performances. (one-hour/week): Use to fulfill primary FIRST YEAR MAJOR II lesson requirement. Spring (II -3) CHB 481 Seminar and Master Class in the DUO PIANO SEMINAR CL 290 Composition of Twentieth-Century Music II: Composition class including occasional Fall (I-1 cr. each, 2-semester course) CLARINET CHOIR private lessons and readings of The Duo Piano Seminar is designed for both FallFall undergraduate and graduate piano compositional studies and pieces. performance majors and offers an in-depth CL 430 Enrollment is reserved for freshman study of both four-hand and two-piano SEC CLARINET composition majors; others may enroll only by permission of the individual instructor or repertoire. The class combines weekly Fall, Spring, Summer (I, II, S-1.5) by departmental approval. coachings with frequent masterclasses with Graduate Applied Music Lessons (half- the ESM piano faculty. Over the course of hour/week): May be used as secondary CMP 103 the semester, each duo must learn and instrument elective credit or as part of a prepare for performance one major work DMA minor. May not be used to fulfill major SECOND YEAR MAJOR I from the two-piano/four-hand repertoire. lesson requirements, unless specificallylly Fall (I-3) The course ends with a final performance required by the degree program. ForFor Major Requirement: Composition study in by all the duos in Kilbourn or Hatch Hall. students who enrolled in their current private, weekly lessons. Enrollment is graduate degree program prior to summer reserved for composition majors; others 2009, these lessons carry 2 credits per may enroll only by permission of the semester. individual instructor or by departmentall approval. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 88 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** CMP 104 course dealing with compositional trends in for Non-Majors: Composition study SECOND YEAR MAJOR II Europe and America from about 1925 to designed for students who are not 1955 as demonstrated in the works of composition majors. Teaching occurs Spring (II-3) significant twentieth-century composers through a combination of private lessons Major Requirement: Composition study in such as Bartok, Berg, Babbitt, Messaien, and class meetings, as appropriate. Open private, weekly lessons. Enrollment is Schoenberg, Stravinsky, Varese, Webern, for enrollment by students of all majors. reserved for composition majors; others and others. Class participation, three may enroll only by permission of the compositional projects, and a final exam CMP 224 individual instructor or by departmentall are required. Intended for seniors and approval. COMP FOR NON-MAJORS IV graduate students (graduate students Fall, Spring, Summer (I, II, S-2) Composition CMP 201 should register for CMP 412); others by for Non-Majors: Composition study permission of the instructor. May be taken THIRD YEAR MAJOR I designed for students who are not independently from CMP 213 composition majors. Teaching occurs Fall (I-3) through a combination of private lessons Seminar and Master Class in the CMP 213 and class meetings, as appropriate. Open Composition of Twentieth-Century Music I: COMPOSITIONAL PRACTICE for enrollment by students of all majors. Composition class including occasional private lessons and readings of CIRCA 1955-1980 CMP 225 compositional studies and pieces. Spring (II-3) Enrollment is reserved for freshman Compositional Practice circa 1955 to 1980: INTRO TO COMPUTER MUSIC composition majors; others may enroll only Offered every other year starting with the Fall (I-3) by permission of the individual instructor or spring term of 2007. A writing and analysis Introduction to Computer Music by departmental approval. course dealing with compositional trends in Techniques: Principles of digital (and Europe and America from about 1955 to analog) recording, editing, signal CMP 202 1980 as demonstrated in the works of processing (sound manipulation), sound THIRD YEAR MAJOR II significant twentieth-century composers analysis, multi-tracking, mixing, synchronization and mastering; sound Spring (II -3) such as Adams, Boulez, Cage, Carter, synthesis techniques; hardware and Seminar and Master Class in the Feldman, Ligeti, Penderecki, Reich, software synthesizer and sampler design; Composition of Twentieth-Century Music II: Stockhausen, Xenakis, and others. Class fundamentals of MIDI; MIDI and audio Composition class including occasional participation, two compositional projects, sequencing; interactive MIDI performancee private lessons and readings of one aural report, and a final exam are and compositional techniques; compositional studies and pieces. required. Intended for seniors and performance interfaces; music notation Enrollment is reserved for freshman graduate students (graduate students software; the repertoire of computer and composition majors; others may enroll only should register for CMP 413); others by electronic music. Class by permission of the individual instructor or permission of the instructor. May be taken lecture/demonstrations are supplemented by departmental approval. independently from CMP 212. by weekly labs and culminate in student CMP 203 CMP 221 projects. COMPOSITION FOR NON- FOURTH YEAR MAJOR I CMP 226 Fall (I-3) MAJORS I INTRO TO COMPUTER MUSIC II Major Requirement: Composition study in Fall, Spring, Summer (I, II, S-2) Composition Spring (II-3) private, weekly lessons. Enrollment is for Non-Majors: Composition study Introduction to Computer Music reserved for composition majors; others designed for students who are not Techniques: Principles of digital (and may enroll only by permission of the composition majors. Teaching occurs analog) recording, editing, signal individual instructor or by departmentall through a combination of private lessons processing (sound manipulation), sound approval. and class meetings, as appropriate. Open analysis, multi-tracking, mixing, for enrollment by students of all majors. CMP 204 synchronization and mastering; sound synthesis techniques; hardware and FOURTH YEAR MAJOR II CMP 222 software synthesizer and sampler design; Spring (II-3) COMPOSITION FOR NON- fundamentals of MIDI; MIDI and audio Major Requirement: Composition study in MAJORS II sequencing; interactive MIDI performancee private, weekly lessons. Enrollment is Fall, Spring, Summer (I, II, S-2) Composition and compositional techniques; reserved for composition majors; others for Non-Majors: Composition study performance interfaces; music notation may enroll only by permission of the designed for students who are not software; the repertoire of computer and individual instructor or by departmentall composition majors. Teaching occurs electronic music. Class approval. through a combination of private lessons lecture/demonstrations are supplemented and class meetings, as appropriate. Open by weekly labs and culminate in student CMP 212 for enrollment by students of all majors. projects. COMPOSITIONAL PRACTICE CIRCA 1925-1955 CMP 223 Fall (I-3) COMPOSITION FOR NON- Compositional Practice circa 1925 to 1955: MAJORS III Offered every other year starting with the Fall, Spring, Summer (I, II, S-2) Composition fall term of 2006. A writing and analysis ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 99 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** CMP 240 drawn from the contemporary orchestra, basis for Symposium discussions, and to COMPUTER wind ensemble, and other established prepare adequately for any special topics instrumental collections. The work will discussion that may be part of the ENGRAVING/CALLIGRAPHY culminate with writing for full orchestra. schedule. Fall (I-2) Composition will figure prominently in thethe Computer Engraving and Other Forms of projects and assignments. Prerequisite: CMP 294 Calligraphy: This undergraduate course is CMP 251. COMPOSITION SYMPOSIUM open to all students and required of all Spring (II-1) undergraduate composition majors. It will CMP 290 Composition Symposium (Undergraduate):: teach the standard notation guidelines INDEPENDENT STUDY Composition Symposium is a forum for (score layout, cueing of parts, dynamic Fall, Spring presentations by guest composers and and articulation placements, stem length, other speakers; there are also placement of accidentals, placement and CMP 291 presentations and discussions by the font size for all words on the score, etc.) students enrolled in the class. In such that students can prepare materials COMPOSITION SYMPOSIUM preparation for each class meeting, ready for publication. While this course will Fall (I-1) students will be expected to familiarize introduce students to the various popular Composition Symposium (Undergraduate):: themselves with the available work of our notation programs, it will provide in-depth Composition Symposium is a forum for guest composers, to attend student instruction about one engraving program, presentations by guest composers and composition performances that are thethe and it will include several calligraphy other speakers; there are also basis for Symposium discussions, and to projects. Graduate students should enroll in presentations and discussions by the prepare adequately for any special topics 6CMP 440. students enrolled in the class. In preparation for each class meeting, discussion that may be part of the schedule. CMP 244 students will be expected to familiarize themselves with the available work of our CHORAL ARRANGING CMP 295 guest composers, to attend student Fall, Summer (I, S-2) composition performances that are thethe COMPOSITION SYMPOSIUM Choral Arranging: Introduces students to basis for Symposium discussions, and to Fall (I-1) voice types and standard choral prepare adequately for any special topics Composition Symposium (Undergraduate):: arrangements; provides opportunity for discussion that may be part of the Composition Symposium is a forum for composing and arranging for various schedule. presentations by guest composers and combinations of voice, either other speakers; there are also accompanied or unaccompanied. CMP 292 presentations and discussions by the students enrolled in the class. In CMP 250 COMPOSITION SYMPOSIUM preparation for each class meeting, BASICS OF ORCHESTRATION Spring (II-1) Composition Symposium (Undergraduate):: students will be expected to familiarize Spring (II-2) Composition Symposium is a forum for themselves with the available work of our Basic Orchestration: Basic Orchestration, presentations by guest composers and guest composers, to attend student CMP 250, introduces students to the other speakers; there are also composition performances that are the instruments of the European orchestral presentations and discussions by the basis for Symposium discussions, and to tradition and to the basics of orchestrating students enrolled in the class. In prepare adequately for any special topics for the woodwind, brass, and string sections preparation for each class meeting, discussion that may be part of the of the modern orchestra. Orchestration students will be expected to familiarize schedule. techniques will be studied through the themselves with the available work of our examination of scores from the literature as CMP 296 guest composers, to attend student well as through the creative application of composition performances that are thethe COMPOSITION SYMPOSIUM writing skills. Prerequisites: TH 102. basis for Symposium discussions, and to Spring (II-1) prepare adequately for any special topics Composition Symposium (Undergraduate):: CMP 251 discussion that may be part of the Composition Symposium is a forum for INTERMEDIATE ORCHESTRATION schedule. presentations by guest composers and Fall (I-2) other speakers; there are also Intermediate Orchestration, CMP 251, CMP 293 presentations and discussions by the introduces students to advanced COMPOSITION SYMPOSIUM students enrolled in the class. In techniques of instrumentation and Fall (I-1) preparation for each class meeting, orchestration in the context of chamber Composition Symposium (Undergraduate):: students will be expected to familiarize music. Writing assignments and projects will Composition Symposium is a forum for themselves with the available work of our be either transcriptions of existing music or presentations by guest composers and guest composers, to attend student newly composed work. Prerequisites: TH other speakers; there are also composition performances that are thethe 102 and CMP 250. presentations and discussions by the basis for Symposium discussions, and to students enrolled in the class. In prepare adequately for any special topics CMP 252 preparation for each class meeting, discussion that may be part of the ADVANCED ORCHESTRATION students will be expected to familiarize schedule. Spring (II-2) themselves with the available work of our Advanced Orchestration, CMP 252, gives guest composers, to attend student practice in writing for groups of instruments composition performances that are thethe ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1010 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** CMP 297 Europe and America from about 1925 to and current developments in the field. COMPOSITION SYMPOSIUM 1955 as demonstrated in the works of Class lecture/demonstrations are significant twentieth-century composers supplemented by weekly labs and Fall (I-1) such as Bartok, Berg, Babbitt, Messaien, culminate in student compositionalnal Composition Symposium (Undergraduate):: Schoenberg, Stravinsky, Varese, Webern, projects. Prerequisites: CMP 225-6 oror Composition Symposium is a forum for and others. Class participation, three equivalent. presentations by guest composers and compositional projects, and a final exam other speakers; there are also are required. Intended for graduate CMP 440 presentations and discussions by the students (undergraduates should register students enrolled in the class. In COMPUTER for CMP 212); others by permission of thethe preparation for each class meeting, ENGRAVING/CALLIGRAPHY instructor. May be taken independently students will be expected to familiarize from CMP 413. Required for all Composition Fall (I-2) themselves with the available work of our Computer Engraving and Other Forms of MM and MA students. guest composers, to attend student Calligraphy: This graduate course is open composition performances that are thethe CMP 413 to all students. It will teach the standard basis for Symposium discussions, and to COMPOSITIONAL PRACTICES notation guidelines (score layout, cueing of prepare adequately for any special topics parts, dynamic and articulation discussion that may be part of the CIRCA 1955-1980 placements, stem length, placement of schedule. Spring (II-3) accidentals, placement and font size for allall Compositional Practices circa 1955 to 1980: words on the score, etc.) such that CMP 298 Offered every other year starting with the students can prepare materials ready for COMPOSITION SYMPOSIUM spring term of 2007. A writing and analysis publication. While this course will introduce Spring (II-1) course dealing with compositional trends in students to the various popular notation Composition Symposium (Undergraduate):: Europe and America from about 1955 to programs, it will provide in-depth instruction Composition Symposium is a forum for 1980 as demonstrated in the works of about one engraving program, and it will presentations by guest composers and significant twentieth-century composers include several calligraphy projects. other speakers; there are also such as Adams, Boulez, Cage, Carter, Undergraduate students should enroll in presentations and discussions by the Feldman, Ligeti, Penderecki, Reich, 6CMP 240. students enrolled in the class. In Stockhausen, Xenakis, and others. Class preparation for each class meeting, participation, two compositional projects, CMP 490 students will be expected to familiarize one aural report, and a final exam are INDEPENDENT STUDY themselves with the available work of our required. Intended for graduate students Fall, Spring guest composers, to attend student (undergraduates should register for CMP composition performances that are thethe 213); others by permission of the instructor. CMP 491 basis for Symposium discussions, and to May be taken independently COMPOSITION SYMPOSIUM prepare adequately for any special topics from CMP 412. Required for all Composition Fall (I-1) discussion that may be part of the MM and MA students. Composition Symposium (Graduate): schedule. Composition Symposium is a forum for CMP 421 presentations by guest composers and CMP 401 ADVANCED COMPUTER MUSIC I other speakers; there are also ADVANCED COMPOSITION I Fall, Summer (I, S-3) presentations and discussions by the Fall, Summer (I, S-3) Advanced Computer Music Techniques: students enrolled in the class. In Advanced Composition I: Intensive work in An intensive survey of advanced software- preparation for each class meeting, free composition for chamber groups and based techniques of digital recording, students will be expected to familiarize orchestra. Prerequisite: CMP 204. editing, synthesis, analysis and resynthesis, themselves with the available work of our signal processing, mixing, spatial guest composers, to attend student CMP 402 localization, ambience and movement, composition performances that are thethe ADVANCED COMPOSITION II and current developments in the field. basis for Symposium discussions, and to Spring, Summer (II, S-3) Class lecture/demonstrations are prepare adequately for any special topics Advanced Composition II: Continuation. supplemented by weekly labs and discussion that may be part of the May terminate with a master's thesis. culminate in student compositional schedule. Composition 401 and 402 may be projects. Prerequisites: CMP 225-6 or repeated in the second year of the equivalent. CMP 492 master's degree program. Prerequisite: COMPOSITION SYMPOSIUM CMP 422 CMP 401. Spring (II-1) ADVANCED COMPUTER MUSIC Composition Symposium (Graduate): CMP 412 II Composition Symposium is a forum for COMPOSITIONAL PRACTICES Spring, Summer (II, S-3) presentations by guest composers and CIRCA 1925-1955 Advanced Computer Music Techniques: other speakers; there are also presentations and discussions by the Fall (I-3) An intensive survey of advanced software- students enrolled in the class. In Compositional Practice circa 1925 to 1955: based techniques of digital recording, preparation for each class meeting, Offered every other year starting with the editing, synthesis, analysis and resynthesis, students will be expected to familiarize fall term of 2006. A writing and analysis signal processing, mixing, spatial themselves with the available work of our course dealing with compositional trends in localization, ambience and movement,

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1111 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** guest composers, to attend student doctorate in composition. These courses CND 212 composition performances that are thethe may be repeated for additional credit. BASIC CONDUCTING II basis for Symposium discussions, and to Prerequisites: CMP 402. Spring (II-2) prepare adequately for any special topics Basic Conducting: Prerequisites: TH 101, discussion that may be part of the CMP 502 102. Not open to freshmen. Also requires schedule. ADVANCED COMPOSITION IV registration for CND 212 Basic Conducting Spring, Summer (II, S-3) Lab. CMP 493 Advanced Composition: Free COMPOSITION SYMPOSIUM composition, with emphasis on works forfor CND 213 Fall (I-1) orchestra. Limited to candidates for the INTERMEDIATE CONDUCTING I: Composition Symposium (Graduate): doctorate in composition. These courses Composition Symposium is a forum for may be repeated for additional credit. INSTRUMENTAL presentations by guest composers and Prerequisites: CMP 402. Fall (I-2) other speakers; there are also Intermediate Conducting I (Instrumental): presentations and discussions by the CMP 590 Further refinement of basic skills. students enrolled in the class. In INDEPENDENT STUDY Introduction to more advanced techniques of subdividing and compound preparation for each class meeting, Fall, Spring students will be expected to familiarize meters. Repertoire studied varies from classical through romantic repertoire. ThisThis themselves with the available work of our CMP 591 is a one year course & must be taken in guest composers, to attend student COMPOSITION SEMINAR composition performances that are thethe sequence: CND 213 Intermediate Fall (I-3) basis for Symposium discussions, and to Conducting I / CND 214 Intermediate Composition Research Seminar: prepare adequately for any special topics Conducting II. Prerequisite is Basic Seminars on selected topics. Research and discussion that may be part of the Conducting or equivalent. Permission of class discussion will focus on technical, schedule. instructor required. structural, analytical and aesthetic issues salient or unique to the selected repertory CMP 494 CND 214 under examination - the music of our own INTERMEDIATE CONDUCTING II: COMPOSITION SYMPOSIUM time. Permission of instructor required. Spring (II-1) INSTRUMENTAL Composition Symposium (Graduate): CMP 592 Spring (II-2) Composition Symposium is a forum for COMPOSITION SEMINAR Intermediate Conducting II (Instrumental): presentations by guest composers and More advanced techniques, emphasis on Spring (II-3) other speakers; there are also compound meters (study of Stravinsky's Composition Research Seminar: Seminars presentations and discussions by the l'Histoire du Soldat), and accuracy of on selected topics. Research and class students enrolled in the class. In technique and musicality. This is a one discussion will focus on technical, structural, preparation for each class meeting, year course & must be taken in sequence: analytical and aesthetic issues salient or students will be expected to familiarize CND 213 Intermediate Conducting I / CND unique to the selected repertory under themselves with the available work of our 214 Intermediate Conducting II. Permission examination - the music of our own time. guest composers, to attend student of instructor required. Permission of instructor required. composition performances that are thethe basis for Symposium discussions, and to CND 215 CMP 595 prepare adequately for any special topics ADVANCED CONDUCTING I: discussion that may be part of the PHD DISSERTATION PROJECT schedule. Fall, Spring, Summer (I, II, S-credit to be INSTRUMENTAL arranged) Fall (I-2) CMP 495 PhD Dissertation Project Advanced Conducting I (Instrumental): MA THESIS Advanced Conducting is primarily for CMP 596 conducting majors only. A few exceptions Fall, Spring, Summer (I, II, S-credit to be can be made, on a case by case basis, for arranged) DMA DISSERTATION PROJECT those with prior conducting experience M.A. Thesis: For the Master of Arts degree.ee. Fall, Spring, Summer (I, II, S-credit to be arranged) who feel they may want to eventually pursue a degree in conducting. These CMP 496 DMA Dissertation Project exceptions will be considered only by MM THESIS Conducting audition. For the Advanced Conductinging Fall, Spring, Summer (I, II, S-credit to be students, there will be 4 sessions with arranged) Conductors' Orchestra (CO) per semester. CND 211 M.M. Thesis: For the Master of Music Each student will receive approximately 15 degree. BASIC CONDUCTING I minutes of podium time per session. Fall (I-2) Preparation for these sessions will be during CMP 501 Prerequisites: TH 101, 102. Not open toto the Tuesday class sessions (3:35 - 5:25) ADVANCED COMPOSITION III freshmen. Also requires registration for when the advanced students are not Fall, Summer (I, S-3) CND 211 Basic Conducting Lab. scheduled to conduct CO. Additionally, as Advanced Composition: Free determined by the instructor, there will be composition, with emphasis on works forfor private lessons scheduled at some points orchestra. Limited to candidates for the during the semester. PLEASE NOTE: ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1212 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Permission of instructor required. This course practice issues from 1750 to the present. Conductors' Orchestra (CO) per semester. is not available as an elective. Offered in fall semesters, alternating years Each student will receive approximately 15 between CND 231 and CND 232. minutes of podium time per session. CND 216 Preparation for these sessions will be during ADVANCED CONDUCTING II: CND 232 the Tuesday class sessions (3:35 - 5:25) when the advanced students are not INSTRUMENTAL CHORAL LITERATURE II Fall (I-2) scheduled to conduct CO. Additionally, as Spring (II-2) Choral Literature: A comprehensive survey determined by the instructor, there will be Advanced Conducting II (Instrumental): of choral materials suitable for church, private lessons scheduled at some points Advanced Conducting is primarily for secondary education, and college during the semester. PLEASE NOTE: conducting majors only. A few exceptions programs. CND 231 surveys repertoire and Permission of instructor required. This course can be made, on a case by case basis, for performance practice issues from the is not available as an elective. those with prior conducting experience middle ages through 1750. CND 232 who feel they may want to eventually CND 423 surveys repertoire and performance pursue a degree in conducting. These practice issues from 1750 to the present. CHORAL CONDUCTING II exceptions will be considered only by Offered in fall semesters, alternating years Fall (I-2) audition. For the Advanced Conductinging between CND 231 and CND 232. Choral Conducting II: Study of students, there will be 4 sessions withth representative choral and Conductors' Orchestra (CO) per semester. CND 290 choral/orchestral works of all periods. Each student will receive approximately 15 Emphasis is on the interpretation of scores minutes of podium time per session. INDEPENDENT STUDY and the development of refined Preparation for these sessions will be during Fall, Spring professional conducting techniques. the Tuesday class sessions (3:35 - 5:25) Prerequisites: CND 223, 224 (or equivalent) when the advanced students are not CND 415 and permission of the instructor. scheduled to conduct CO. Additionally, as ADVANCED CONDUCTING I: determined by the instructor, there will be INSTRUMENTAL CND 424 private lessons scheduled at some points Fall (I-2) during the semester. PLEASE NOTE: CHORAL TECHNIQUES & Advanced Conducting I (Instrumental): Permission of instructor required. This course Advanced Conducting is primarily for METHODS II is not available as an elective. conducting majors only. A few exceptions Spring (II-2) can be made, on a case by case basis, for Choral Techniques and Methods II: AnAn CND 223 those with prior conducting experiencee extension of materials covered in CND 224, CHORAL CONDUCTING I who feel they may want to eventually designed for the Master of Music degree in Fall (I-2) pursue a degree in conducting. These choral conducting. Choral Conducting I: Emphasis onon exceptions will be considered only by CND 431 methods and techniques appropriate to audition. For the Advanced Conductinging rehearsal and performance of choral students, there will be 4 sessions with GRAD CHORAL LITERATURE I music, on reading and interpretation of Conductors' Orchestra (CO) per semester. Fall (I-2) choral scores, and on the development of Each student will receive approximately 15 Choral Literature: A comprehensive survey a professional conducting approach. minutes of podium time per session. of choral materials suitable for church, Prerequisites: CND 211, 212 (or equivalent) Preparation for these sessions will be during secondary education, and college and permission of the instructor. the Tuesday class sessions (3:35 - 5:25) programs. CND 431 surveys repertoire and when the advanced students are not performance practice issues from the CND 224 scheduled to conduct CO. Additionally, as middle ages through 1750. CND 432 CHORAL TECHNIQUES & determined by the instructor, there will be surveys repertoire and performance METHODS II private lessons scheduled at some points practice issues from 1750 to the present. during the semester. PLEASE NOTE: Offered in fall semesters, alternating years Spring (II-2) Permission of instructor required. This course between CND 431 and CND 432. Choral Techniques and Methods II: Study is not available as an elective. of choral/vocal techniques and methods, CND 432 including breath support and control, tone CND 416 quality, vowel uniformity, phrasing, score GRAD CHORAL LITERATURE II study, discipline, and organization. ADVANCED CONDUCTING II: Fall (I-2) Continuation of CND 223. INSTRUMENTAL Grad Choral Literature: A comprehensive survey of choral materials suitable for Spring (II-2) CND 231 church, secondary education, and college Advanced Conducting II (Instrumental): programs. CND 431 surveys repertoire and CHORAL LITERATURE I Advanced Conducting is primarily for performance practice issues from the Fall (I-2) conducting majors only. A few exceptions middle ages through 1750. CND 432 Choral Literature: A comprehensive survey can be made, on a case by case basis, for surveys repertoire and performance of choral materials suitable for church, those with prior conducting experiencee practice issues from 1750 to the present. secondary education, and college who feel they may want to eventually Offered in fall semesters, alternating years programs. CND 231 surveys repertoire and pursue a degree in conducting. These between CND 431 and CND 432. performance practice issues from the exceptions will be considered only by middle ages through 1750. CND 232 audition. For the Advanced Conductinging surveys repertoire and performance students, there will be 4 sessions with

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1313 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** CND 441 CND 481 Choral Techniques and Methods III: ForFor COLLOQUY IN CONDUCTING ORCHESTRAL CONDUCTING doctoral students majoring in conducting. Fall (I-0.5) Fall (I-3) CND 541 Colloquy in Conducting: Study with various Orchestral Conducting: Focus on scoreore members of Conducting and Ensembles study, gesture technique, and practical DMA CONDUCTING I Department faculty. This course provides rehearsal procedure. Class sections will Fall, Spring, Summer (I, II, S-4) an opportunity to work with conductors focus on orchestral repertoire, and DMA Conducting I: Private study with outside student's own area of expertise. preparing the student for regular sessions Conductor-Professor of Ensemble Specialty. conducting the ESM Conducting Includes attendance at large ensemble CND 442 Orchestra. Prerequisite: CND 216 or the rehearsals, section preparation, etc.; COLLOQUY IN CONDUCTING equivalent. repertory study, ensemble rehearsal technique, interpretation, and advanced Spring (II-0.5) CND 482 conducting problems. Colloquy in Conducting: Study with various members of Conducting and Ensembles ORCHESTRAL CONDUCTING CND 542 Department faculty. This course provides Spring (II-3) an opportunity to work with conductors Orchestral Conducting: Focus on scoreore DMA CONDUCTING II outside student's own area of expertise. study, gesture technique, and practical Fall, Spring, Summer (I, II, S-4) rehearsal procedure. Class sections will DMA Conducting II: Private study with CND 443 focus on orchestral repertoire, and Conductor-Professor of Ensemble COLLOQUY IN CONDUCTING preparing the student for regular sessions Specialty. Includes attendance at large ensemble rehearsals, section preparation, Fall (I-0.5) conducting the ESM Conducting etc.; repertory study, ensemble rehearsal Colloquy in Conducting: Study with various Orchestra. Prerequisite: CND 216 or the technique, interpretation, and advanced members of Conducting and Ensembles equivalent. conducting problems. Department faculty. This course provides CND 483 an opportunity to work with conductors CND 543 outside student's own area of expertise. ORCHESTRAL CONDUCTING Fall (I-3) DMA CONDUCTING III CND 444 Orchestral Conducting Focus on score Fall, Spring, Summer (I, II, S-4) COLLOQUY IN CONDUCTING study, gesture technique, and practical DMA Conducting III: Private study with Conductor-Professor of Ensemble Specialty. Spring (II-0.5) rehearsal procedure. Class sections will Includes attendance at large ensemble Colloquy in Conducting: Study with various focus on orchestral repertoire, and rehearsals, section preparation, etc.; members of Conducting and Ensembles preparing the student for regular sessions repertory study, ensemble rehearsal Department faculty. This course provides conducting the ESM Conducting technique, interpretation, and advanced an opportunity to work with conductors Orchestra. Prerequisite: CND 216 or the conducting problems. outside student's own area of expertise. equivalent.

CND 544 CND 461 CND 484 REHEARSAL TECHNIQUES I ORCHESTRAL CONDUCTING DMA CONDUCTING IV Fall, Spring, Summer (I, II, S-4) Fall (I-2) Spring (II-3) DMA Conducting IV: Private study withith Rehearsal Techniques I and II: Orchestral Conducting: Focus on scoreore Conductor-Professor of Ensemble Specialty. Concentration on freedom of movement study, gesture technique, and practical Includes attendance at large ensemble and manual dexterity along with rehearsal procedure. Class sections will rehearsals, section preparation, etc.; development of score study habits. Class focus on orchestral repertoire, and repertory study, ensemble rehearsal members will prepare musical works from preparing the student for regular sessions technique, interpretation, and advanced all periods of orchestral music for in-class conducting the ESM Conducting conducting problems. discussion, trial and review. Class study Orchestra. Prerequisite: CND 216 or the culminates in the leadership of the equivalent. CND 590 Conducting Orchestra. May be repeated CND 490 for credit. INDEPENDENT STUDY INDEPENDENT STUDY Fall, Spring CND 462 Fall, Spring REHEARSAL TECHNIQUES II CND 596 CND 523 Spring (II - 2) DMA DISSERTATION PROJECT Rehearsal Techniques I and II: CHORAL CONDUCTING III Fall, Spring, Summer (I, II, S-credit to be Concentration on freedom of movement Fall (I-2) arranged) and manual dexterity along with Choral Conducting III: For doctoral DMA Dissertation Project development of score study habits. Class students majoring in conducting. members will prepare musical works from all periods of orchestral music for in-class CND 524 discussion, trial and review. Class study CHORAL TECHNIQUES & culminates in the leadership of the METHODS III Conducting Orchestra. May be repeated Spring (II-2) for credit.

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1414 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Double Bass Eastman Colloquium explores the sounds, seniors present their projects in a meanings, and uses of music within a wide advertised yearly one-day colloquium, to variety of contexts. Students consider ways which Eastman students and faculty as well DBL 130 in which imagining and experiencing music as the general public would be invited. A SEC DBL BASS deepens their understandings of and student will normally conceive of the senior Fall, Spring, Summer (I, II, S-2) connections to themselves as musicians, as project as emanating from the experience Undergraduate Applied Music Lessons well as to others in their communities, and gained in the Concentration (that is, the (half-hour/week): Use to fulfill secondary to the larger social, political, and spiritual project would be a hands-on application) instrument requirement or elective. worlds we inhabit. The practical aspects of or, with the approval of the supervisory music and musical institutions are committee, the project may be an DBL 160 emphasized, along with philosophical,l, exploration of another of the student's PRIMARY DOUBLE BASS pedagogical, hihil, storical, and social interests. Fall, Spring (I, II-4) underpinnings of music practiced in the Undergraduate Applied Music Lessons broadest sense. The class format consists of EIC 290 (one-hour/week): Use to fulfill primary weekly large group presentations by a INDEPENDENT STUDY lesson requirement. diverse array of Eastman faculty, students, Fall, Spring staff, and guests. Individual writing DBL 430 assignments focus on personal reflection as English SEC DOUBLE BASS an opportunity for students to develop their own critical thinking and writing skills. Fall, Spring, Summer (I, II, S-1.5) ENG 080 Required of all freshmen; transfer students Graduate Applied Music Lessons (half- ENG/ACAD SKILLS FOR MUSC: hour/week): May be used as secondary are expected to take this course unless instrument elective credit or as part of a they have had a similar experience in RES DMA minor. May not be used to fulfill major previous collegiate study. Summer lesson requirements, unless specificallylly EIC 217 required by the degree program. ForFor ENG 115 students who enrolled in their current INDIAN DRUMMING ENGLISH DICTION FOR VOICE graduate degree program prior to summer Fall, Spring MAJORS 2009, these lessons carry 2 credits per Fall, Spring (I, II-1) semester. EIC 251 SENIOR PROJECT BM/MUA English Diction: The sounds and phonation DBL 430A of English. Use of the International Phonetic Fall (I-3) Alphabet. Particular attention to the PRL 1/2 HR DOUBLE BASS Senior Project for BM/MUA: The senior problems of singing intelligibly in English. Fall, Spring, Summer (I, II, S-2) project is the final culmination of BM MUA Graduate Applied Music Lessons(half- study. As such, it must be a substantial and ENG 151 hour/week): Used to fulfill primary lesson original contribution that is assumed to CREATIVE WRITING requirement for graduate students. ForFor integrate the experience and education of students who enrolled in their current the student. Students are required to Fall (I-3) Creative Writing: Introduction to thehe graduate degree program prior to summer present their findings in a public forum. The creative writing process, with emphasis on 2009, these lessons carry 2.5 credits per supervisory committee requires that all poetry or short stories. Includes reading semester. seniors present their projects in a advertised yearly one-day colloquium, to and discussion of student work. Specific DBL 460A which Eastman students and faculty as well focus may vary from semester to semester. PRIMARY DOUBLE BASS as the general public would be invited. A May be taken (with permission) more than once if on a different topic. Fall, Spring (I, II-4) student will normally conceive of the senior project as emanating from the experience Graduate Applied Music Lessons (one- ENG 205 hour/week): Used to fulfill primary lesson gained in the Concentration (that is, the ELIZABETHAN SHAKESPEARE requirement for graduate students. ForFor project would be a hands-on application) students who enrolled in their current or, with the approval of the supervisory Fall, Spring (I, II-3) The Elizabethan Shakespeare: An intensive graduate degree program prior to summer committee, the project may be an study of plays and poetry from the first half 2009, these lessons carry 5 credits per exploration of another of the student's of Shakespeare’s career. Besides gettinging semester. interests. to know Shakespeare’s characters EIC 252 intimately, we will study the place of his Eastman Initiatives SENIOR PROJECT BM/MUA plays within one of the most vibrant cultures in all of history, Elizabethan Curriculum Spring (II-3) Senior Project for BM/MUA: The senior England. As tools to help us understandd EIC 090 project is the final culmination of BM MUA the plays, we will discuss the importance of STUDENT SUCCESS STRATEGIES study. As such, it must be a substantial and pageantry and spectacle in Elizabethan politics; the place of the stage in social Fall, Spring original contribution that is assumed to integrate the experience and education of struggles; the subordination (and insubordination) of women; the nature of EIC 101 the student. Students are required to the family; Elizabethan holidays; ghosts, EASTMAN COLLOQUIUM present their findings in a public forum. The supervisory committee requires that all fairies, and other popular superstitions; anti- Fall (I-1) ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1515 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Semitism in Shakespeare’s London; religious nineteenth-century poets Walt Whitman “Aristotelian" theater to question the conflict during the Tudor period; attacks on and Emily Dickinson, the founding parents boundaries between representation and the theatres by middle-class Puritans; and of modern American poetry. Most of the reality, audience and stage, sense and significant events in Queen Elizabeth’s long semester will be devoted to the twentieth non-sense, music and sound, and body and fruitful reign that are reflected in century, when an astounding variety and and self. In this class we will depart from Shakespeare’s plays. number of original poetic voices traditional theater to study significant proliferated in America. We will study performances of the last 100 years, and ENG 206 selected works of a wide range of poets, what their creators and critics said about JACOBEAN SHAKESPEARE including Robert Frost, Ezra Pound, T. S. them. Cross-listed with HUM 259 Fall, Spring (I, II-3) Eliot, Wallace Stevens, Edna St. Vincent ENG 263 The Jacobean Shakespeare: AA Millay, E.E.Cummings, Langston Hughes, continuation of English 205: an intensive and William Carlos Williams, among many THE SHORT STORY study of plays from the second half ofof others. Fall, Spring (I, II-3) Shakespeare's career, concentrating on The Short Story: According to an old ENG 248 the tragedies and romances. rabbinical saying, “God made people CONTEMPORARY AMERICAN because he loves stories.” The richness and ENG 208 POETRY diversity of the world’s storytelling traditions reflects the variety of people-and peoples- SHAKESPEARE'S HISTORY PLAYS Fall, Spring (I, II-3) in the world. “We are the stories we tell,” Fall, Spring (I, II-3) Contemporary American Poetry: In this according to the title of a recent collection Shakespeare's History Plays: England’s course we will explore and map the rich of stories by and about women. The craft threat of invasion by the Spanish Armada and varied landscape of contemporary of storytelling is nothing less than the in 1587, followed by the Armada’s defeat American poetry from the Second World primary way in which peoples and cultures in 1588 in a tempest that the English War to the present. I have designed it to shape and define themselves. This course interpreted as miraculous and providential, be a continuation of the course on offers a small but rich sampling of those produced a period of intense national crisis “Modern American Poetry” offered last stories: the literary short story as it followed by one of great national pride semester, though that course is not aa developed over the past two centuries, and rejoicing. In the decade that followed prerequisite for the current one. ThisThis with an emphasis on modern innovators the Armada’s destruction, plays about semester we will study intensively selected such as Anton Chekhov, Charlotte Perkins English history became very popular on works of a wide range of poets, including Gilman, James Joyce, Ernest Hemingway, London’s public stages. In his own lifetime, A. R. Ammons, John Ashbery, Elizabeth Virginia Woolf, Franz Kafka, and William Shakespeare’s history plays w ere the most Bishop, Gwendolyn Brooks, Robert Creeley, Faulkner. popular of all his plays. ShShakespeare’s Rita Dove, Robert Lowell, James Merrill, W. history plays do not merely celebrate S. Merwin, Frank O’Hara, Robert Pinsky, ENG 266 English nationhood in the wake of Sylvia Plath, Adrienne Rich, and Anne England’s great victory at sea; they also Sexton, among others. Our method will be CONTEMPORARY FICTION examine the meaning of recent English the close study of selected poets and their Fall, Spring (I, II-3) history for their time-and for subsequent work, not a broad survey of the field. Contemporary Fiction: Introduction to late times as well. In this course we will study five Without losing sight-or sound-of our poets’ twentieth- and twenty-first century plays by William Shakespeare and one by distinctive voices, we will identify major literature, concentrating on British, his contemporary, rival playwright trends in American poetry over the past European, American, women's literature, Christopher Marlowe. four decades. black writers, science fiction, or Third World literature. ENG 242 ENG 254 LYRIC POETRY CONTEMPORARY AMERICAN ENG 268 Fall, Spring (I, II-3) THEATER READING THE ABSURB Lyric Poetry: A study of the major forms of Fall, Spring (I, II-3) Fall, Spring (I, II-3) lyric poetry, exploring poems from several Reading the Absurb: How should we readd Contemporary American Theater: A survey historical periods (Renaissance, neo- the following: a human being trapped in of American theater and performance of classical, romantic, modern, and the body of a bug, dangling from the the last few decades. Emphasis is placed postmodern) and paying particular ceiling of a claustrophobic room, a person on how different identities within American attention to modern and contemporaryry riding a chainless bicycle, another one society (gendered, racial, and sexual reinterpretations of traditional forms like the speaking monologues while buried to his identity) are represented on the stage. haiku, renga, ode, elegy, sonnet, ballad, neck in sand, a critic sitting on the same sestina, pantoum, and villanelle. From time ENG 259 bench in an Art museum for 23 years to time, we will remind ourselves of lyric contemplating the same painting, a writer PERFORMANCE ART poetry’s historical associations with music, wanting to re-write Cervantes’ Don Fall, Spring (I, II-3) and I will encourage students to explore Quixote? These and other absurd scenarios Performance Art: Futurism, Dada,a, musical settings of the poetry we read. will be examined in this course in anan •• , Happenings, Surrealism, Cage’s 4’33” attempt to understand the absurd as an • • Performance Art: over the last ENG 244 “Body Art,” expression of existential crisis, a reflection 100 years a new kind of performance has MODERN AMERICAN POETRY on the role of art itself but also as political emerged. Provocative, sometimes absurd, Fall, Spring (I, II-3) cricriticism. Writers’ studied will include Kafka, and often radical, a broader definition of Modern American Poetry: We will devote Borges, Calvino, Ionesco, Beckett, performance overflows traditional the first weeks of the semester to late Bernhard and Jelinek. All readings will be ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1616 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** available in English; students wishing to ENG 278 Large Ensemble: Instrumental ensemble for read in the original languages may do so. VIRGINIA WOOLF & HER WORLD freshmen and sophomores. Cross-listed as HUM 268. Fall, Spring (I, II-3) ENS 120 Virginia Woolf and Her World: A study of ENG 274 major fiction and selected nonfiction by CHORALE TOPICS IN THE NOVEL one of the world's great modern writers Fall, Spring (I, II-2) Fall, Spring (I, II-3) and social thinkers, this course focuses on Chorale Topics in the Novel: Topics will vary. May understanding Virginia Woolf’s writings in be repeated for credit. relation both to her life and to the social, ENS 120A cultural, political, and economic REP SINGERS ENG 275 developments of her time, especially the Fall, Spring (I, II-1) FAULKNER & HIS HEIRS impact of the two World Wars, the spread Repertory Singers Fall, Spring (I, II-3) of modernism across the arts, the Faulkner and His Heirs: One might havee increasing popularity of psychoanalysis, ENS 120B expected modernism in American and the rise of the modern women’s EASTMAN ROCHESTER CHORUS movement. Cross-listed as HIS 278, WST literature to originate in the great cities of Fall, Spring (I, II-1) 278. the north. Instead it was to be a Eastman Rochester Chorus Southerner from a small town who did ENG 279 more than any other author to bring the ENS 120C modernist spirit of innovation and JAMES JOYCE WOMEN'S CHORUS experimentation to American fiction. WeWe Fall, Spring (I, II-3) Fall, Spring (I, II-1) will immerse ourselves in the work of the James Joyce: An intensive study of two of Women's Chorus most original and powerful American Joyce's major works of narrative fiction - A fiction writer of the twentieth century, Portrait of the Artist As a Young Man and ENS 200 exploring the construction of racial and Ulysses - as well as some of his poetry, ADV INSTRUMENTAL ENSEMBLE gender differences in America; issues of critical writings, and letters. We regional and national identity; competing also seek to situate the works in various Fall, Spring (I, II-2) constructions of American's past, historical contexts that shed light on Advanced Large Ensemble: Instrumental particularly the Civil War and its aftermath; Joyce's fiction, including the rise of ensemble for juniors and seniors. and the use and abuse of individual and modernism, Irish nationalism, Anglo-Irish ENS 207 collective memory. We will read several relations, Joyce's musical background and novels and short stories by our author. WeWe its relation to his fiction, and Joyce's life. COLLEGIUM MUSICUM I will also briefly explore his career as a Fall (I-1) scriptwriter in Hollywood. ENG 281 Collegium Musicum I: Vocal andd TOPICS IN LITERATURE instrumental ensemble specializing in the ENG 276 Fall (I-3) performance of Renaissance and Baroque KAFKA Topics in Literature: Topics vary from year music on period instruments. May be Fall, Spring (I, II-3) to year. Recent topics focus on authors, repeated for credit. By audition. Kafka: Born in Prague of German-Jewish periods, genre or themes such as drama, (Prerequisite for keyboard players: KBD 443 descent, Franz Kafka was one of the most Romantic literature, or musicians in Keyboard Continuo Realization or daring and experimental storytellers of the literature. May be repeated for credit. permission of the instructor.) modern period. Many regard him as the first existentialist writer. In this course we will ENG 282 ENS 208 read one of his novels — — The Trial — — as well as TOPICS IN LITERATURE COLLEGIUM MUSICUM II shorter works such as his parables and Spring (II-3) Spring (II-1) paradoxes, short stories, and excerpts from Topics in Literature: Topics vary from year Collegium Musicum II: Vocal and his letters and diaries. Although all of hishis to year. Recent topics focus on authors, instrumental ensemble specializing in the novels remained unfinished and periods, genre or themes such as drama, performance of Renaissance and Baroque unpublished at the time of his death, hehe Romantic literature, or musicians in music on period instruments. May be would become one of the most influential literature. May be repeated for credit. repeated for credit. By audition. figures in all of twentieth-century literature. (Prerequisite for keyboard players: KBD 443 His works would continue to shape those of ENG 290 Keyboard Continuo Realization or later authors such as Samuel Beckett, INDEPENDENT STUDY permission of the instructor.) Jorge Luis Borges, Italo Calvino, Thomas Fall, Spring Bernhard, and Paul Auster, whose works we ENS 209 will read this semester. All readings and COLLEGIUM MUSICUM Ensemble discussions will be in English, although Fall, Spring (I, II-0) students who wish to read some or all of Collegium Musicum I the works in German will be encouraged to ENS 100 do so. LARGE INSTRUMENTAL ENSEMBLE Fall, Spring (I, II-2)

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1717 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** ENS 215 ENS 246 ENS 420B WEST AFRICAN DRUMMING ADV EASTMAN SAXOPHONE GRADUATE EASTMAN Fall, Spring (I, II-1) PROJECT ROCHESTER CHORUS Mbira Ensemble: The Eastman Gamelan Fall, Spring (I, II-1) Fall, Spring (I, II-1) (angklung) performs traditional ceremonial Eastman Saxophone Project: Preparation Graduate Eastman Rochester Chorus music and new-style music (keybar) from and performances of various styles of Bali as well as new compositions for saxophone ensemble repertory. ENS 420C gamelan. Students studying another world Prerequisite: Permission of Instructor GRADUATE WOMEN'S CHORUS music instrument or participating in Fall, Spring (I, II-1) another, non-Eastman world music ENS 251 ensemble may receive credit for this Graduate Women's Chorus ORCHESTRA REPERTORY instruction on a case-by-case basis. May Fall (I-2) ENS 421 be repeated for credit. Orchestral Repertory: An in-depth survey GRADUATE CHORALE ENS 216 of the standard repertory, particularly Fall, Spring (I, II-0) MBIRA ENSEMBLE directed at preparing students for Graduate Chorale: Same as 6ENS 420, butut orchestral auditions and careers. May be for no credit and no charge. For MM PRL Fall, Spring (I, II-1) repeated once for credit provided voice students who need 2 semesters of Mbira Ensemble May be repeated for different repertory is covered. vocal ensemble, but not the credit. credit.

ENS 252 ENS 421A ENS 242 ORCHESTRAL REPERTORY TROMBONE CHOIR GRADUATE REPERTORY SINGERS Spring (II-2) Fall, Spring (I, II-1) Fall, Spring (I, II-1) Orchestral Repertory: An in-depth surveyey Graduate Repertory Singers: Same as 6ENS Trombone Choir: Preparation and of the standard repertory, particularly 420A, but for no credit and no charge. For performance of trombone ensemble directed at preparing students for MM PRL voice students who need 2 music of various styles. Prerequisite: orchestral auditions and careers. May be semesters of vocal ensemble, but not the permission of instructor. repeated once for credit provided credit. different repertory is covered. ENS 243 ENS 421B TUBA MIRUM ENS 260 GRADUATE EASTMAN Fall, Spring (I, II-1) PERCUSSION ENSEMBLE Tuba Mirum: Preparation and ROCHESTER CHORUS Fall, Spring (I, II-1) performance of all types of tuba ensemble Chamber Music (Percussion): Performance Fall, Spring (I, II-1) repertory, especially works for tuba Graduate Eastman Rochester Chorus: of music for percussion ensemble. ensemble plus a small number of other Same as 6ENS 420B, but for no credit and instruments. ENS 400 no charge. For MM PRL voice students who GRADUATE ENSEMBLE need 2 semesters of vocal ensemble, but ENS 244 not the credit. BRASS GUILD Fall, Spring (I, II-1) Graduate Ensemble: Instrumental ENS 421C Fall, Spring (I, II-1) ensemble for graduate students. Brass Guild: The Brass Guild is composed ofof GRADUATE WOMEN'S CHORUS juniors, seniors, and graduate students ENS 401 Fall, Spring (I, II-1) selected by audition. This ensemble GRAD COLLEGIUM MUSICUM Graduate Women's Chorus: Same as 6ENSNS provides consistent, weekly rehearsals of 420C, but for no credit and no charge. For Fall, Spring (I, II-0) brass and orchestral repertoire together MM PRL voice students who need 2 Graduate Ensemble: Same as 6ENS 400, with the study of brass orchestral semesters of vocal ensemble, but not the but for no credit and no charge. For MM techniques and performances of brass credit. PRL instrumental students who wish to repertoire. Prerequisite: permission of participate in large ensembles, but do not instructor. ENS 451 need credit. Requires permission of the GRADUATE ORCHESTRAL ENS 245 instructor. REPERTORY HORN CHOIR ENS 420 Fall (I-2) Fall, Spring (I, II-1) GRADUATE CHORALE Orchestral Repertory: An in-depth survey Horn Choir: Preparation and performance of the standard repertory, particularly of various types and styles of horn Fall, Spring (I, II-2) directed at preparing students for ensemble repertory from quartets to octets Graduate Chorale orchestral auditions and careers. May be for 4-24 performers. Prerequisite: concurrent ENS 420A repeated once for credit provided enrollment in HRN 160/460 or permission of different repertory is covered. instructor. GRADUATE REPERTORY SINGERS Fall, Spring (I, II-1) Graduate Repertory Singers

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1818 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** ENS 452 introduces more advanced level confidence to communicate effectively. GRADUATE ORCHESTRAL grammatical structures in real-life contexts. Students gain familiarity with American Students exit the course with a portfolio of speech patterns through listening and REPERTORY written assignments, a videotaped speaking tasks. Exploring American cultural Spring (II-2) presentation and a group project. Students themes, students increase vocabulary and Orchestral Repertory: An in-depth survey may use this portfolio as evidence of their knowledge of idioms. Instructor permission of the standard repertory, particularlyly ability to handle rigorous academic work in required. directed at preparing students for English. Instructor permission required. orchestral auditions and careers. May be ESL 106 repeated once for credit provided ESL 102A COMMUNICATION STRATEGIES different repertory is covered. GRAD ENG LANGUAGE REVIEW II ENS 470 II Spring (II-3) CONDUCTING ENSEMBLE Spring (II-3) Communication Strategies for ESL Graduate English Language Review II: ForFor Graduate Musicians II: This second part of Fall, Spring (I, II-0) graduate students only. Students are billed the course sequence prepares graduate Conducting Ensemble: Conducting for 1.5 credits, but receive 3 credit hours. ESL students to handle the demands of ensemble for "Graduate Award" contract Building upon English Language Review I, reading and writing in the English-speaking holders only. this course introduces more academic environment. Working with ENS 490 advanced level grammatical structures in authentic readings, students practice real-life contexts. Students exit the course problem-solving strategies for successful INDEPENDENT STUDY with a portfolio of written assignments, a comprehension. Responding to readings, Fall, Spring videotaped presentation and a group students practice each stage of the writing project. Students may use this portfolio as process, from planning and drafting, to English as a Second evidence of their ability to handle rigorous revising and editing work. Instructor Language academic work in English. Instructor permission required. permission required.

ESL 101 Eastman School of Music - ESL 103 ENGLISH LANGUAGE REVIEW I ESL FOR ACADEMIC STUDIES I Special Registrations Fall (I -3) Fall (I-3) English Language Review I: In this course, ESM 201 ESL for Academic Studies I: This course students will review the core structures of prepares undergraduate ESL students for BACHELORS DEGREE RECITAL English in natural, real-life contexts such as reading longer texts and writing critical Fall, Spring magazine articles, short stories and responses in English. The course introduces videotaped conversations. Topics concern the writing process, from composing essays ESM 202 academic culture in the United States. to revising and editing in English. Students Students begin to develop a portfolio of BACHELORS JCM DEGREE develop skills in critical inquiry and increase materials to demonstrate their ability to RECITAL their vocabulary through texts exploring succeed at academic work at Eastman in themes in American culture. Instructor Fall, Spring English. Instructor permission required. permission required. ESM 385 ESL 101A ESL 104 UNDERGRAD INACTIVE STATUS GRAD ENG LANGUAGE REVIEW ESL FOR ACADEMIC STUDIES II Fall, Spring Undergraduate Inactive Status: Requires I Spring (II-3) Fall (I -3) ESL for Academic Studies II: Building upon permission from Academic Affairs Office. Graduate English Language Review I: ForFor ESL for Academic Studies I, this course ESM 399 graduate students only. Students are billed prepares ESL students for their academic for 1.5 credits, but receive 3 credit hours. InIn work at Eastman. Students practice skills of CONTINUATION OF this course, students will review the core annotation and summary writing. In longer UNDERGRADUATE ENROLLMENT structures of English in natural, real-life written assignments, students practice Fall, Spring contexts such as magazine articles, short appropriate citation of sources. In focused Continuation of Undergraduate Enrollment: stories and videotaped conversations. discussion groups, students practice Requires permission from Academic Affairs Topics concern academic culture in the rhetorical strategies to communicate ideas Office. United States. Students begin to develop a effectively. Instructor permission required. portfolio of materials to demonstrate their ESM 401 ability to succeed at academic work at ESL 105 MASTERS DEGREE RECITAL Eastman in English. Instructor permission COMMUNICATION STRATEGIES I required. Fall, Spring Fall (I-3) Communication Strategies for ESL ESM 402 ESL 102 Graduate Musicians I: This course prepareses MASTERS JCM DEGREE RECITAL ENGLISH LANGUAGE REV II graduate ESL students for academic study Fall, Spring Spring (II-3) in English. In the first semester of the course English Language Review II: Building upon sequence, students increase their English Language Review I, this course ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 1919 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** ESM 405 progress in their program of study. Requires techniques for conducting ethnographic MM ACCOMPANYING RECITAL approval from the Associate Dean of research, and consider ethical aspects of Graduate Studies and the International such work, exploring contemporary WITH VOCALIST Services Office (if applicable). debates about the practice and Fall, Spring production of ethnography. Also cross- ESM 995 listed as ANR 280. ESM 406 CONTINUATION OF GRADUATE MM ACCOMPANYING RECITAL ETH 490 ENROLLMENT: PT INDEPENDENT STUDY WITH INSTRUMENTALIST Fall, Spring Fall, Spring Continuation of Graduate Enrollment (Part Fall, Spring Time): For graduate students who aree ETH 495 ESM 450 completing non-credit-bearing degree MM LISTENING EXAM requirements (e.g. writing dissertation, MA THESIS FallFall preparing recital). Students are not Fall, Spring, Summer (I, II, S-credit to be considered to be in residence and arranged) ESM 455 therefore comprehensive, activity, and M.A. Thesis: Students will design and MM ORAL EXAM health fees are not charged. Carries no implement a semester-long fieldwork project carried out in the Rochester area, Fall, Spring credit; students are considered less than half-time and are not eligible for financial or another area of the student's choice. ESM 501 aid. Requires approval from the Associate The project will result in a substantial paper and oral presentation. Projects will be FIRST DOCTORAL RECITAL Dean of Graduate Studies and the International Services Office (if applicable).le). monitored by the department faculty. Fall, Spring ESM 999 ETH 502 ESM 502 CONTINUATION OF GRADUATE INTRODUCTION TO SECOND DOCTORAL RECITAL Fall, Spring ENROLLMENT: FT ETHNOMUSICIOLOGY Fall, Spring Spring (II-4) ESM 503 Continuation of Graduate Enrollment (Full Introduction to Ethnomusicology: ThisThis DOCTORAL LECTURE RECITAL Time): For graduate students who are course explores some of the world's musical completing non-credit-bearing degree cultures and the social, political and Fall, Spring requirements (e.g. writing dissertation, religious systems that provide a context for music performances of all kinds. Traditional ESM 504 preparing recital). Students are considered to be in residence and therefore subject to and classical music systems from Native DMA PIANO COLLABOR comprehensive, activity, and health fees. America, Europe, Africa, Asia, and thethe RECITAL Carries no credit; students are considered Mediterranean will be examined with an Fall, Spring full-time and are eligible for financial aid. emphasis on listening and analytic skills. Requires approval from the Associate Assignments include reading, listening, ESM 505 Dean of Graduate Studies and the video, and ethnographic projects, and a DMA ACM RECITAL WITH International Services Office (if applicable).le). mid-term and final exam. VOCALIST Ethnomusicology ETH 590 Fall, Spring INDEPENDENT STUDY Fall, Spring ESM 506 ETH 290 DMA ACM RECITAL WITH INDEPENDENT STUDY Euphonium INSTRUMENTALIST Fall, Spring Fall, Spring ETH 480 EUP 130 SEC EUPHONIUM ESM 507 APPROACHES TO MUSIC ETHNOGRAPHY Fall, Spring, Summer (I, II, S-2) DMA ACM THIRD RECITAL Undergraduate Applied Music Lessons Spring (II-3) Fall, Spring (half-hour/week): Use to fulfill secondary Approaches to Music Ethnography: instrument requirement or elective. ESM 950 Ethnography offers a window into a variety DOCTORAL QUALIFY EXAM: of cultural worlds, and provides the EUP 160 foundation for theorizing in anthropology PRIMARY EUPHONIUM SUMMER and in related disciplines like Summer ethnomusicology. In this course, we Fall, Spring (I, II-4) examine ways in which anthropologists Undergraduate Applied Music Lessons ESM 985 and ethnomusicologists conduct (one-hour/week): Use to fulfill primary GRADUATE INACTIVE STATUS ethnographic research and write lesson requirement. Fall, Spring ethnography. We will look at a range ofof Graduate Inactive Status: For graduate analytic and interpretive approaches to students who must temporarily delay ethnography, learn fundamentall

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2020 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** EUP 430 2009, these lessons carry 2.5 credits per FR 102G SEC EUPHONIUM semester. GRADUATE ELEMENTARY Fall, Spring, Summer (I, II, S-1.5) FL 460 FRENCH REVIEW Graduate Applied Music Lessons (half- Spring (II-1) hour/week): May be used as secondary PRIMARY FLUTE Graduate Elementary French Review: instrument elective credit or as part of a Fall, Spring (I, II-3) Same course as FR 102, with a separate DMA minor. May not be used to fulfill major Graduate Applied Music Lessons (one- “G” designation for graduate students who lesson requirements, unless specificallylly hour/week): May be used as secondary may take it for one credit. required by the degree program. ForFor instrument elective credit or as part of a DMA minor. May not be used to fulfill students who enrolled in their current FR 111 graduate degree program prior to summer major lesson requirements, unless INTERMEDIATE FRENCH I 2009, these lessons carry 2 credits per specifically required by degree program. Fall (I-3) semester. For students who enrolled in their current graduate degree program prior to summer Intermediate French I: Review and EUP 460A 2009, these lessons carry 2 credits per refinement of grammatical structure. PRIMARY EUPHONIUM semester. Emphasis on both written and spoken communication. Students read and discuss Fall, Spring (I, II-4) FL 460A short literary texts. Prerequisite 102 or Graduate Applied Music Lessons (one- equivalent. hour/week): Used to fulfill primary lesson PRIMARY FLUTE Fall, Spring (I, II-4) requirement for graduate students. ForFor FR 111G students who enrolled in their current Graduate Applied Music Lessons (one- GRADUATE INTERMEDIATE graduate degree program prior to summer hour/week): Used to fulfill primary lesson 2009, these lessons carry 5 credits per requirement for graduate students. ForFor FRENCH REVIEW semester. students who enrolled in their current Fall (I-1) graduate degree program prior to summer Graduate Intermediate French Review: Flute 2009, these lessons carry 5 credits per Same course as FR 111, with a separate semester. “G”• designation for graduate students FL 130 who may take it for one credit. French SEC FLUTE FR 112 Fall, Spring, Summer (I, II, S-2) FR 101 INTERMEDIATE FRENCH II Undergraduate Applied Music Lessons Spring (II-3) (half-hour/week): Use to fulfill secondary ELEMENTARY FRENCH I Intermediate French II: A continuation ofof instrument requirement or elective. Fall (I-4) FR 111. An advanced review of grammar. Elementary French: Introduction to French Emphasis on broadening vocabulary and FL 160 language, emphasizing proficiency in all increasing fluency. Students also read short PRIMARY FLUTE four linguistic skills: speaking, listening literary texts and write short papers in Fall, Spring (I, II-4) comprehension, reading, and writing. French. Prerequisite FR 111 or equivalent. Undergraduate Applied Music Lessons Focus will be on building a basic vocabulary, present tense verbs, and basic (one-hour/week): Use to fulfill primary FR 112G lesson requirement. grammar structures. Designed for students with no or little previous experience with GRADUATE INTERMEDIATE FL 430 the language. FRENCH REVIEW SEC FLUTE Spring (II-1) FR 101G Fall, Spring, Summer (I, II, S-1.5) Graduate Intermediate French Review: Graduate Applied Music Lessons (half- GRADUATE ELEMENTARY Same course as FR 112, with a separate hour/week): May be used as secondary FRENCH REVIEW “G” designation for graduate students who may take it for one credit. instrument elective credit or as part of a Fall (I-1) DMA minor. May not be used to fulfill major Graduate Elementary French Review: FR 115 lesson requirements, unless specificallylly Same course as FR 101, with a separate required by the degree program. ForFor “G”••designation for graduate students FRENCH DICTION students who enrolled in their current who may take it for one credit. Fall (I-1) graduate degree program prior to summer French Diction: Study of the elements of 2009, these lessons carry 2 credits per FR 102 Lyric French Diction through a progressive semester. ELEMENTARY FRENCH II and holistic reading method. Applicationion of concepts through written assignments Spring (II-4) FL 430A and oral exercises, including several in- Elementary French: A continuation of FR class performances - solos, duos, and PRL 1/2 HR FLUTE 101, with a broadening of vocabulary ensembles. Special attention is given to Fall, Spring, Summer (I, II, S-2) resources, and a continued emphasis on proper French inflection, vowel legato, and Graduate Applied Music Lessons (half- speaking, listening comprehension, use of consonants for better expressing the hour/week): Used to fulfill primary lesson reading, and writing. Commonly used verb text. requirement for graduate students. ForFor forms (past, future, conditional, and students who enrolled in their current subjunctive) are introduced, as well as graduate degree program prior to summer writing skills. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2121 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** FR 116 about important films in the history of movements. Readings include plays, FRENCH DICTION French cinema. Beginning with the first novels, philosophical essays, and political screening of a film in Paris in 1895, we will criticism. Taught in English. Cross-listed as Spring (I-1) study films of Georges Méliès, Jean Renoir, HIS 272, PHL 272, WST 272. French Diction: Study of the elements of the French “new wave,”and contemporary Lyric French Diction through a progressive cinema. A review of French grammar FR 281 and holistic reading method. Applicationion accompanies the study of film. of concepts through written assignments TOPICS IN FRENCH LITERATURE Prerequisite: French 112 or permission of and oral exercises, including several in- Fall (I-3) instructor. Cross listed with FS 221 class performances - solos, duos, and Topics in French Literature: Topics vary ensembles. Special attention is given toto from year to year. Recent offerings include FR 222 proper French inflection, vowel legato, and Representing the French Revolution and use of consonants for better expressing the MODERN FRANCE Incarnations: The Body in French Literature. text. Fall, Spring (I, II-3) May be repeated for credit. Modern France: Alternately friends and FR 201 rivals, modern France and the United FR 282 ADVANCED FRENCH States have had a complicatedd TOPICS IN FRENCH LITERATURE relationship ever since both nations were Fall (I-3) Spring (II-3) born in revolution at the end of the Advanced French: Intensive work on Topics in French Literature: Topics vary eighteenth century. This course will seek to written and spoken French, with additional from year to year. Recent offerings include understand France on its own terms by emphasis on written expression. Students Representing the French Revolution and considering a series of formative events will analyze and discuss a wide range of Incarnations: The Body in French Literature. such as the Revolution of 1848, the Franco- French cultural production, including May be repeated for credit. Prussian War and the Paris Commune, the cinema, theater, visual arts, and literary Dreyfus Affair and the birth of the texts. Topic may vary from year to year. Film Studies intellectual, the very different experiences Prerequisites: FR 112 or equivalent and of World Wars I and II, the post-colonial permission of instructor. FS 210 conflicts in Algeria and Vietnam, the near- EUROPEAN ART CINEMA FR 211 revolution of May 1968, and contemporary Fall, Spring (I, II-3) SURVEY OF FRENCH LITERATURE arguments over French foreign and domestic policy. Cross-listed as HIS 222 European Art Cinema: An examination of Fall (I-3) the wide array of styles and movements in Survey of French Literature: Reading and FR 231 Western European cinema that had a discussion of French literary texts of a FRENCH THEATER REPERTOIRE profound influence on American selected period, movement, or genre. filmmakers after the Second World War. WeWe Fall, Spring (I, II-3) Additional emphasis on developing a will study individual films and directors-for French Theater of the Repertoire (in broad critical vocabulary in discussion and translation): A survey of French theater example, Ingmar Bergman, Vittorio de on perfecting written expression in works that has inspired operatic Sica, Federico Fellini, and Luis Buñuel — — inin short papers. All coursework done in adaptations. Emphasis on the historical the contexts of broader artistic movements French. Prerequisites: FR 201 or equivalent and literary movements that produced and the historical events that influenced or permission of the instructor. May be these texts. Taught in English them. No previous study of film is required. repeated for credit. FS 221 FR 272 FR 212 EXISTENTIALISM: SARTE, DE ADVANCED FRENCH SURVEY OF FRENCH LITERATURE Fall, Spring (I, II-3) Spring (II-3) BEAUVOIR & CAMUS Advanced French: le cinéma français Survey of French Literature: Reading and Fall, Spring (I, II-3) Taught in French: In this advanced French discussion of French literary texts of a Existentialism: Sartre, De Beauvoir, and course, designed for students in their 5th oror selected period, movement, or genre. Camus (in translation): Existentialism is aa 6th semester of college-level study, Additional emphasis on developing a school of philosophy that stresses individual students will watch, discuss, and write broad critical vocabulary in discussion and choice even in the face of overwhelming about important films in the history of on perfecting written expression in short world circumstances. This course will focus French cinema. Beginning with the first papers. All coursework done in French. on three particularly important French screening of a film in Paris in 1895, we will Prerequisites: FR 201 or equivalent or figures, all writers who tried to put study films of Georges Méliès, Jean Renoir, permission of the instructor. May be academic philosophy into action by their the French “new wave,”• and repeated for credit. decisions in personal life and political contemporary cinema. A review of French behavior: Jean-Paul Sartre (1905-1980), grammar accompanies the study of film. FR 221 Simone de Beauvoir (1908-1986), and Prerequisite: French 112 or permission of ADVANCED FRENCH Albert Camus (1913-1960). In addition to instructor. Cross listed with FR 221 Fall, Spring (I, II-3) studying their philosophical work, we will Advanced French: le cinéma français: also look at their participation in the Taught in French. In this advanced French Resistance to German occupation during course, designed for students in their 5th oror World War II, their responses to the Cold 6th semester of college-level study, War, their criticisms of the Algerian War and students will watch, discuss, and write the Vietnam War, and their contributions to twentieth-century socialist and feminist ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2222 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** FS 224 Students will compare East and West that of Hollywood itself. The western is also INTRODUCTION TO ITALIAN German films, and learn about their for many scholars and spectators the respective historical and cultural context. quintessential film genre, yet at the same CINEMA Students will also study how German time its variety and evolution challenge Fall, Spring (I, II-3) unification was reflected in East and West attempts to establish a single formula, Introduction to Italian Cinema: Course German films, and how unified Germany structure, or ideology that would designed to provide an overview of Italian reorganized its film production system. characterize the genre. In this course we cinema from Cabiria (1914) by Giovanni Cross-listed with GER 226. will study how the portrayal of landscape, Pastrone, to the present. The course will gender, nationalism, and race (the “Indian explore early Italian cinema from the 1910s FS 243 question”••) are shaped by the history of -1930s, Fascist cinema, Neorealism, and AVANT-GARDE FILM Hollywood itself from the origins of cinema movies from the 1960s to the beginning of Fall, Spring (I, II-3) to contemporary films. the twenty-first century to examine the role Avant-garde Film: This course provides an played by cinema in building Italian history FS 254 overview of international avant-garde film and culture. We will examine, among production with emphasis on the early DOCUMENTARY FILM others, films by Giovanni Pastrone, Carmine stages of avant-garde film from 1919 to the Fall, Spring (I, II-3) Gallone, Roberto de Sica, Giuseppe De 1960s. Topics covered include expressionist Documentary Film: This course explores the Santis, Luchino Visconti, Federico Fellini, Pier film, surrealist film, absolute film, abstract many facets of documentary filmmaking Paolo Pasolini, Ettore Scola, Ermanno Olmi, animation, new objectivity, trance film, from its early beginnings as “actualities” in Marco Bellocchio, Gianni Amelio, Marco diary film, and the political avant-garde. In the 1910s through the romanticized Tullio Giordana. Films will be in Italian with addition to analyzing films, students will ethnographic views of “Nanook of the English subtitles. All readings and class read film theory, manifestoes, and criticism North” (1922), propaganda films of the discussions will be in English. No previous 1940s, cinéma vérité of the 1960s to current knowledge of Italian language/culture is FS 250 popular films such as “An Inconvenient necessary. STUDIES IN FILM GENRES Truth.”• Directors studied include Flaherty, Vertov, Riefenstahl, Morris, Herzog, Moore, FS 225 Fall, Spring (I, II-3) Gore and Melitopolous. INTRODUCTION TO GERMAN Studies in Film Genres: An exploration of one or more major film genres. Topics will FS 260 FILM vary, and may include the study of thethe Fall, Spring (I, II-3) Hollywood studio system, the “classical”•• CINEMA AUTEURS Introduction to German Film: This course Hollywood style, and recent developments Fall, Spring (I, II-3) provides an overview of cinematic in genre theory. May be repeated if on a Cinema Auteurs: Directors who manage to production in Germany from the 1920s to different topic. put their unique stamp on films are often the present. We will study the golden age called “auteurs.” The study of a major of expressionist cinema during the Weimar FS 251 director (or directors) in film history, and inter-war years, Nazi cinema, East and HOLLYWOOD FILM: CINEMA & how they were able to find an individual West German films as well as examples of voice in a medium that is generally SOCIETY post-unification cinema. The course will collaborative. Topics might include an Fall, Spring (I, II-3) study the films as artifacts as well as investigation of “auteur theory”. May bebe Hollywood Film: Cinema & Society: ThisThis historical sources that reflect the rapid repeated if on a different topic political and social changes of German course on Hollywood film from the silent era society during the 20th century. We will to the present will emphasize formal FS 262 view films by Robert Wiene Fritz Lang, Veit analysis and the cultural history of FILMS OF ALFRED HITCHCOCK Harlan, Ernst Lubitsch, Leni Riefenstahl, American film and the film industry. Fall, Spring (I, II-3) Wolfgang Staudte, Frank Beyer, Wim Students will learn basic terms of film Films of Alfred Hitchcock Wenders, Werner Herzog, Rainer Maria criticism as well as how to write essays about films. We will also explore questions Fassbinder, Helma Sanders Brahms, Doris FS 270 Dörrie and Angelina Maccarone among of how social, economic, and political SILENT CINEMA others. Films are in German with English factors have driven the development of subtitles, all readings and discussion will be film as a popular art form. We will also Fall, Spring (I, II-3) in English. No previous knowledge of focus on major genres (including screwball Silent Cinema: A survey of film before 1929, German or German culture necessary. comedy, film noir, and the western) and from the first films ever made to the Jazz Singer. In addition to studying the diverse Cross-listed with GER 225. directors, including Chaplin, von Sternberg, Welles, Hitchcock, Wilder, Polanski, Altman, purposes of early film (attraction, narrative, FS 226 and Lee. documentary) we will also explore how GERMAN FILM AFTER 1945 these films were programmed and FS 252 exhibited, including the live musical Fall, Spring (I, II-3) accompaniments (for silent film was never German Film After 1945: This course offers THE HOLLYWOOD WESTERN truly silent). an overview of German film after WWII, i.e. Fall, Spring (I, II-3) the formation of two German national The Hollywood Western: Between the cinemas. In the East, the state run studio beginnings of cinema and the collapse of DEFA dominated all film production while the studio system in the 1960s, Hollywood the West established a complex system of produced vast numbers of westerns: the state and privately sponsored film funding. history of the western is, to some extent,

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2323 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** FS 281 GER 102 GER 115 TOPICS IN FILM STUDIES ELEMENTARY GERMAN II GERMAN DICTION Fall (I-3) Spring (II-4) Fall (I-1) Topics in Film Studies: Film topics vary from Elementary German: A continuation of German Diction: This course focuses on year to year. May be repeated for credit. GER 101, with a broadening of vocabulary skills for pronouncing German with the Prerequisite: FS 151 or 152. resources, and a continued emphasis on ultimate goal of expressive, speaking, listening comprehension, communicative singing. FS 282 reading, and writing. Commonly used verb TOPICS IN FILM STUDIES forms (past, future, conditional) are GER 116 Spring (II-3) introduced, as well as writing skills. GERMAN DICTION Topics in Film Studies: Film topics vary from Spring(I-1) GER 102G year to year. May be repeated for credit. German Diction: This course focuses on Prerequisite: FS 151 or 152 GRADUATE ELEMENTARY skills for pronouncing German with the GERMAN REVIEW ultimate goal of expressive, communicative singing. Freshman Writing Seminar Spring (I, II-1) Graduate Elementary German Review: GER 202 FWS 121 Same course as GER 102, with a separate FRESHMAN WRITING SEMINAR “G”• designation for graduate students CULTURE POLITICS MODERN Fall (I-3) who may take it for one credit. GERMANY Freshman Writing Seminar: FWS 121 Fall, Spring (I, II-3) GER 111 introduces entering Eastman students to Culture and Politics in Modern Germany: college-level inquiry by focusing on critical INTERMEDIATE GERMAN I This course offers an introduction to thinking and academic writing. Students Fall (I-3) twentieth-century German history, and will develop, test, and refine their analytical Intermediate German: Review and investigates current events that have and argumentative skills by means of refinement of grammatical structure. become important in the formation of the discussion, debate, response papers, and Emphasis on both written and spoken New "unified" Germany. It focuses on some three essays of 5-7 pages. No matter which communication. Students read and discuss of the pivotal issues affecting Germany section you take, this course will help you short literary texts. Prerequisite 102 or since the fall of the wall, including the learn to frame compelling questions, equivalent. effort to consolidate a new national integrate various kinds of sources, and set identity in the face of radical social forth complex ideas in clear, concise, and GER 111G upheaval. As a class, we attempt to lively prose. Each fall several sections are GRADUATE INTERMEDIATE establish a picture of other challenges facing Germany including the formation of offered on different literary, historical, GERMAN REVIEW political scientific, and art historical topics. a multicultural society, environmental Fall (I-1) Please check the descriptions for individual concerns, and Germany's role in the Graduate Intermediate German Review: course sections in fall course catalog. European Community. The class is taught in Same course as GER 111, with a separate English with readings in English. German “G”• designation for graduate students credit is available for students who do German who may take it for one credit. readings in German and meet for extra German-language sessions with thethe GER 101 GER 112 instructor. ELEMENTARY GERMAN I INTERMEDIATE GERMAN II Fall (I-4) Spring (II-3) GER 203 Elementary German: Introduction to Intermediate German: A continuation of INTRODUCTION TO THE German language, emphasizing GER 111. An advanced review of proficiency in all four linguistic skills: grammar. Emphasis on broadening READING & INTREPRETATION OF speaking, listening comprehension, vocabulary and increasing fluency. GERMAN LITERATURE reading, and writing. Focus will be on Students also read short literary texts and Fall, Spring (I, II-3) building a basic vocabulary, present tense write short papers in German. Prerequisite Introduction to the Reading and verbs, and basic grammar structures. GER 111 or equivalent. Interpretation of German Literature: ThisThis Designed for students with no or li ttlettle seminar introduces selected German previous experience with the language. GER 112G literary texts to students who are reading GRADUATE INTERMEDIATE German literature in German for the first GER 101G GERMAN REVIEW time. It also serves as an introduction to GRADUATE ELEMENTARY different methodologies developed by Spring (II-1) literary critics for reading texts. Beginning GERMAN REVIEW Graduate Intermediate German Review: with an examination of our own Fall (I-1) Same course as GER 111, with a separate relationships to texts as readers, we Graduate Elementary German Review: “G”• designation for graduate students investigate how meaning is created, Same course as GER 101, with a separate who may take it for one credit. “G”• designation for graduate students studying how reading is influenced by who may take it for one credit. historical context and interpretive stance. We investigate such approaches to interpretation as socio-historical criticism, literary history, structuralism, and feminist ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2424 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** criticism exploring them as possible ways toto the political events of his time: World Wars documented performance practices. enhance our understanding of texts. 1 & 2, exile and the building of socialist East Students also acquire techniques for Germany. We will consider researching original sources. GER 220 his ideas on socialism, art and politics, art GERMAN WOMEN WRITERS and pedagogy, high and low culture GTC 202 Fall, Spring (I, II-3) among others. The course will conclude HISTORY & LITERATURE OF with a few examples of more recent artists, German Women Writers: An introductionion GUITAR II to the multifaceted culture of women's who applied Brechtian concepts in their Spring (II-2) literature written in Germany from about own works. History and Literature of Guitar II: AA 1700 to the present. In a seminar setting, GER 276 continuation of the preceding semester, students explore a wide range of writing by this is a course which examines the solo, women, including fairy tales, KAFKA chamber, and concerto literature for the autobiography and autobiographical Fall, Spring (I, II-3) guitar across the classical, romantic, and fiction, letters, short stories, and novels in Kafka: Born in Prague of German-Jewish twentieth-century style periods. The the context of social, political, and descent, Franz Kafka was one of the most development of the instrument is discussed, historical developments. Cross-listed as WST daring and experimental storytellers of the along with developments in notation and 220. modern period. Many regard him as the guitar techniques as well as research first existentialist writer. In this course we will methods. GER 221 read one of his novels — — The Trial — — as well as ADVANCED GERMAN: shorter works such as his parables and GTC 210 paradoxes, short stories, and excerpts from EXPLORING BERLIN GUITAR PEDAGOGY his letters and diaries. Although all of hishis Fall, Spring (I, II-3) Spring (II-2) novels remained unfinished and Advanced German: Exploring Berlin: ThisThis Guitar Pedagogy: A course designed to unpublished at the time of his death, he course is designed to improve language examine the historic and contemporaryy would become one of the most influential skills of students with at least four semesters materials and techniques available for figures in all of twentieth-century literature. of college German. By focusing on the effectively teaching the guitar to students His works would continue to shape those of history and culture of Germany’s capital at all levels. The course surveys a wideide later authors such as Samuel Beckett, Berlin, students will read a variety of range of method and studies, and Jorge Luis Borges, Italo Calvino, Thomas sources about Berlin’s architecture, history, examines the effectiveness of various Bernhard, and Paul Auster, whose works we literature, sociology, and the arts. Students pedagogical approaches to technique will read this semester. All readings and will learn to analyze literary and non-literary and interpretive analysis. The history of discussions will be in English, although sources, as well as films in German and are guitar pedagogy is also studied. students who wish to read some or all of required to compose significant papers in the works in German will be encouraged to German. The focus will be on 20th century GTC 220 do so. topics FRETBOARD HARMONY GER 281 Fall (I-2) GER 222 TOPICS IN GERMAN Fretboard Harmony: A course designed to GERMAN ROMANTIC POETRY develop a full knowledge of the fretboard Fall (I-3) through the study of fingerings, harmony, Fall, Spring (I, II-3) Topics in German: Topics vary from year to German Romantic Poetry in German: ThisThis sight reading, score reading, transposition, year. advanced German class introduces and figured-bass. students to major works of German GER 282 GTC 221 literature from the period between 1780 TOPICS IN GERMAN and 1830. In addition to reading the poetry ADVANCED FRETBOARD Spring (II-3) of Goethe, Schiller, Brentano, Eichendorff, Topics in German: Topics vary from year to HARMONY Tieck, Hölderlin, Heine, Novalis, and Mörike, year. we will study prose and dramatic works by Spring Kleist, Lessing, Schiller, Goethe and GTC 290 Hoffmann as well as philosophical writings Guitar Class by Schlegel, and Kant. Students should INDEPENDENT STUDY have completed four semesters of college GTC 201 Fall, Spring German. Course language is German. HISTORY & LITERATURE OF GTC 401 GUITAR I GER 271 SEM IN GUITAR STUDIES Fall (I-2) BRECHT (IN TRANSLATION) Fall (I-2) History and Literature of Guitar I: A course Fall, Spring (I, II-3) Seminar in Guitar Studies: Examination and which examines the literature of guitar- Brecht (in translation): This course willl integration of guitar literature, fretboard related instruments of the Renaissance and introduce students to the works of Bertolt harmony, guitar pedagogy, and research Baroque periods, including the vihuela, Brecht (1898-1956). As an influential techniques. Students research the four-course guitar, Baroque guitar, Baroque playwright, prolific poet, philosopher and instruments, styles, notation systems, lute, and theorbo. Notation conventions political thinker, Brecht has had a lasting composers, and repertory of the (with an emphasis on Renaissance and impact on generations of writers. His work guitar. Professional activities are also Baroque tablature and figured-bass was directly affected by and responded to addressed. Required of all guitarists in the realization) are studied, as well as MM PRL program. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2525 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** GTC 402 2009, these lessons carry 5 credits per Renaissance to the present day. Cross- SEM IN GUITAR STUDIES semester. listed as WST 210. Spring (II-2) HIS 220 Seminar in Guitar Studies: Examination and History integration of guitar literature, fretboard COMPARATIVE REVOLUTIONS harmony, guitar pedagogy, and research HIS 202 Fall, Spring (I, II-3) techniques. Students research the TWENTIETH-CENTURY EUROPE Comparative Revolutions: What makes a revolution? Why does it start? How does it instruments, styles, notation systems, Fall, Spring (I, II-3) end? What difference does it make? This composers, and repertory of the guitar. Twentieth-Century Europe: A survey of thethe course answers these questions by Professional activities are also addressed. major political, diplomatic, and socio- comparing three great revolutionary Required of all guitarists in the MM PRL economic developments in Europe from periods: the American Revolution through program. about 1890 to the present. the Civil War, the French Revolution Guitar HIS 203 through the Revolutions of 1848, and thethe EUROPEAN INTELLECTUAL Russian Revolution through the present. GTR 130 HISTORY HIS 222 SEC GUITAR Fall (II-3) MODERN FRANCE Fall, Spring, Summer (I, II, S-2) European Intellectual History: The principall Fall, Spring (I, II-3) Undergraduate Applied Music Lessons intellectual currents that have Modern France: Alternately friends and (half-hour/week): Use to fulfill secondary characterized Western Europe from rivals, modern France and the United instrument requirement or elective. antiquity to the present. States have had a complicatedd GTR 160 relationship ever since both nations were HIS 204 born in revolution at the end of the PRIMARY GUITAR EUROPEAN INTELLECTUAL eighteenth century. This course will seek to Fall, Spring (I, II-4) understand France on its own terms by Undergraduate Applied Music Lessons HISTORY considering a series of formative events (one-hour/week): Use to fulfill primary Spring (II-3) such as the Revolution of 1848, the Franco- European Intellectual History: The principall lesson requirement. Prussian War and the Paris Commune, the intellectual currents that have Dreyfus Affair and the birth of the GTR 430 characterized Western Europe from intellectual, the very different experiences antiquity to the present. SEC GUITAR of World Wars I and II, the post-colonial Fall, Spring, Summer (I, II, S-1.5) HIS 206 conflicts in Algeria and Vietnam, the near- Graduate Applied Music Lessons (half- revolution of May 1968, and contemporary EUROPEAN CULTURAL HISTORY hour/week): May be used as secondary arguments over French foreign and instrument elective credit or as part of a Fall, Spring (I, II-3) domestic policy. Cross-listed as FR 222 DMA minor. May not be used to fulfill major European Cultural History: Novels, plays,s, lesson requirements, unless specificallylly dance, music, poetry, painting ... How can HIS 224 required by the degree program. ForFor we use individual artistic creations as a AMERICANS IN PARIS students who enrolled in their current way of learning about the politics, Fall, Spring (I, II-3) graduate degree program prior to summer economics, social structures, and Americans in Paris: This course focuses 2009, these lessons carry 2 credits per psychological attitudes of the past? ThisThis on the wide variety of political, cultural, course will answer that question by semester. and economic exchanges between the focusing on a series of modern European United States and France. Topics include GTR 430A examples from the French Revolution the revolutionary diplomacy of the through the Second World War. PRL 1/2 HOUR-GUITAR eighteenth century, the high society Fall, Spring, Summer (I, II, S-2) HIS 210 tourism of figures such as Edith Wharton Graduate Applied Music Lessons (half- and Henry James in the nineteenth CONSTRUCTING UTOPIAS hour/week): Used to fulfill primary lesson century, the avant-garde art circles of requirement for graduate students. ForFor Fall, Spring (I, II-3) figures such as Gertrude Stein and Ernest students who enrolled in their current Constructing Utopias: This course considers Hemingway in the early twentieth century, graduate degree program prior to summer the history of real and imagined utopian and the economic expansion of 2009, these lessons carry 2.5 credits per communities from medieval monasteries companies such as Coca Cola, semester. through contemporary science fiction. McDonalds, and Disneyland today. Sometimes utopian communities succeed, GTR 460A providing interesting case studies in the HIS 226 PRIMARY GUITAR effects of social planning. HISTORY OF AMERICAN Even when they don't succeed, their Fall, Spring (I, II-4) design and discussion represents an EDUCATION Graduate Applied Music Lessons (one- important form of social criticism. Studying Fall, Spring (I, II-3) hour/week): Used to fulfill primary lesson their history provides a window into the History of American Education: This survey requirement for graduate students. ForFor political, economic, and social of the history of American education students who enrolled in their current development of Europe and the United examines key issues that have engaged graduate degree program prior to summer States from the Middle Ages and the school reformers since the colonial period,

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2626 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** including pedagogy; curriculum; race, the eighteenth century. This course studies cultural events of 1968. Cross-listed as PSCC gender, and class; beliefs about childhood the history and theory of different kinds of 274. and development; religious, moral, and feminism by considering a series of character education; and economic, "conflicts in feminism": historic moments HIS 278 political, and social goals. when feminists have disagreed over how to VIRGINIA WOOLF & HER WORLD address given social situations. Topics will Fall, Spring (I, II-3) HIS 228 be drawn from the experience of women Virginia Woolf and Her World: A study of ANTEBELLUM AMERICAN and men in Europe and the United States major fiction and selected nonfiction by from the eighteenth century through the CULTURE one of the world's great modern writers present. Cross-listed as WST 250. and social thinkers, this course focuses on Fall, Spring (I, II-3) understanding Virginia Woolf’s writings in Antebellum American Culture: What was it HIS 270 relation both to her life and to the social, like to live in America between 1776 and TOPICS IN SOCIAL THOUGHT cultural, political, and economic 1860? This course will focus on American Fall, Spring (I, II-3) developments of her time, especially the culture in northern cities. Topics will includee Topics in Social Thought: This course offersers impact of the two World Wars, the spread the market revolution, sexuality, religious students the chance to concentrate on of modernism across the arts, the revivalism, reform movements such as the work of one or two important social increasing popularity of psychoanalysis, women's rights and abolitionism, urban theorists. We consider these thinkers in their and the rise of the modern women’s space and popular culture. We will intellectual, social, and political context. movement. Cross-listed as ENG 278, WST consider how Americans negotiated social While using these thinkers as a window into 278. disruptions as they formed a new nation. the issues of their own time, we also HIS 281 HIS 230 consider what implications their ideas MEN, WOMEN & WAR IN THE might have for us today. Selected figures TOPICS IN HISTORY include Jean-Paul Sartre, Simone de Fall (I-3) TWENTIETH CENTURY Beauvoir, Karl Marx, and Sigmund Freud. Topics in History: History topics vary from Fall, Spring (I, II-3) year to year. May be repeated for credit. Men, Women, and War in the Twentieth HIS 272 Century: An exploration of major historical EXISTENTIALISM: SARTE, DE HIS 282 changes of the twentieth century by BEAUVOIR & CAMUS TOPICS IN HISTORY focusing on the social impact of modern Fall, Spring (I, II-3) Spring (II-3) war, especially World Wars I and II. Topics Existentialism: Sartre, De Beauvoir, and Topics in History: History topics vary from include the crisis of liberalism, the rise of Camus: Existentialism is a school of year to year. May be repeated for credit. fascism, the horror of the Holocaust, philosophy that stresses individual choice occupation and resistance, comparisons even in the face of overwhelming world of military and civilian experience, pacifist Harpsichord circumstances. This course will focus on politics, women in the military, the birth of three particularly important French figures, psychoanalysis, the spread of modernist HPC 130 all writers who tried to put academic art and culture, the rise of the welfare SEC HARPSICHORD philosophy into action by their decisions in state, and contemporary international Fall, Spring, Summer (I, II, S-2) personal life and political behavior: Jean- affairs. Cross-listed as WST 230. Undergraduate Applied Music Lessons Paul Sartre (1905-1980), Simone de (half-hour/week): Use to fulfill secondary Beauvoir (1908-1986), and Albert Camus HIS 232 instrument requirement or elective. (1913-1960). In addition toto INTERNATIONAL HUMAN RIGHTS studying their philosophical work, we will HPC 430 Fall, Spring (I, II-3) also look at their participation in the International Human Rights: What does itit Resistance to German occupation during SEC HARPSICHORD mean to be human? What different kinds World War II, their responses to the Cold Fall, Spring, Summer (I, II, S-1.5)) of rights might be part of different people's War, their criticisms of the Algerian War and Graduate Applied Music Lessons (half- working definitions? How should we act on the Vietnam War, and their contributions to hour/week): May be used as secondary any or all of those different definitions twentieth-century socialist and feminist instrument elective credit or as part of a today? This course will look at both (a) the movements. Readings include plays, DMA minor. May not be used to fulfill major historical development of conflicting novels, philosophical essays, and political lesson requirements, unless specificallylly theories of human rights and (b) more criticism. Cross-listed as FR272 and PHL 272. required by the degree program. ForFor contemporary debates about their ideal students who enrolled in their current extent, their practical exercise, and the HIS 274 graduate degree program prior to summer preferred means of their necessary HANNAH ARENDT 2009, these lessons carry 2 credits per enforcement. Cross-listed as WST 232 semester. Fall, Spring (I, II-3) Hannah Arendt: This course studies the life, HIS 250 HPC 460 CONFLICTS IN FEMINISM world, and work of Hannah Arendt (1906- 1975), one of the most important political PRIMARY HARPSICHORD Fall, Spring (I, II-3) philosophers of the twentieth century, with Fall, Spring (I, II-3) Conflicts in Feminism: People often think of a special focus on her interpretations of the Graduate Applied Music Lessons (one- feminism as a relatively recent American, French, and Russian Revolutions, hour/week): May be used as secondary phenomenon, but in fact arguments for the Second World War, the Holocaust, and instrument elective credit or as part of a sexual equality have existed since at least the international political, social, and DMA minor. May not be used to fulfill ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2727 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** major lesson requirements, unless HRN 430A HRP 460A specifically required by degree program. PRL 1/2 HR HORN PRIMARY HARP For students who enrolled in their current Fall, Spring, Summer (I, II, S-2) Fall, Spring, Summer (I, II, S-4) graduate degree program prior to summer Graduate Applied Music Lessons (half- Graduate Applied Music Lessons (one- 2009, these lessons carry 2 credits per hour/week): Used to fulfill primary lesson hour/week): Used to fulfill primary lesson semester. requirement for graduate students. ForFor requirement for graduate students. ForFor students who enrolled in their current students who enrolled in their current HPC 460A graduate degree program prior to summer graduate degree program prior to summer PRIMARY HARPSICHORD 2009, these lessons carry 2.5 credits per 2009, these lessons carry 5 credits per Fall, Spring (I, II-4) semester. semester. Graduate Applied Music Lessons (one- hour/week): Used to fulfill primary lesson HRN 460A Humanities requirement for graduate students. ForFor PRIMARY HORN students who enrolled in their current Fall, Spring (I, II-4) HUM 259 graduate degree program prior to summer Graduate Applied Music Lessons (one- 2009, these lessons carry 5 credits per PERFORMANCE ART hour/week): Used to fulfill primary lesson semester. Fall, Spring (I, II-3) requirement for graduate students. ForFor Performance Art: Futurism, Dada,a, students who enrolled in their current Surrealism, Cage’s 4’33”, Happenings, Horn graduate degree program prior to summer “Body Art,” Performance Art: over the last 2009, these lessons carry 5 credits per 100 years a new kind of performance has HRN 130 semester. emerged. Provocative, sometimes absurd, SEC HORN and often radical, a broader definition of HRN 490 Fall, Spring, Summer (I, II, S-2) performance overflows traditional Undergraduate Applied Music Lessons NATURAL HORN STUDIES “Aristotelian" theater to question the (half-hour/week): Use to fulfill secondary Fall, Spring boundaries between representation and instrument requirement or elective. An exploration of topics relating to the reality, audience and stage, sense and historical horn (natural horn), including non-sense, music and sound, and body HRN 160 performance technique and practice, and self. In this class we PRIMARY HORN development of the instrument, stylistic will depart from traditional theater to study Fall, Spring (I, II-4) approach, and contemporary issues. significant performances of the last 100 Undergraduate Applied Music Lessons Repertoire will be primarily Classical, years, and what their creators and critics (one-hour/week): Use to fulfill primary although Baroque and Contemporary said about them. Cross-listed with ENG 259 lesson requirement. works may be examined. HUM 268 HRN 290 Harp READING THE ABSURD: NATURAL HORN STUDIES EXPLORATIONS IN MODERN& HRP 130 Fall, Spring POSTMODERN LITERATURE An exploration of topics relating to the SEC HARP Fall, Spring (I, II-3) historical horn (natural horn), including Fall, Spring, Summer (I, II, S-2) Reading the Absurd: Explorations in performance technique and practice, Undergraduate Applied Music Lessons Modern and Postmodern Literature: How development of the instrument, stylistic (half-hour/week): Use to fulfill secondary should we read the following: a human approach, and contemporary issues. instrument requirement or elective. being trapped in the body of a bug, Repertoire will be primarily Classical, dangling from the ceiling of a although Baroque and Contemporary HRP 160 claustrophobic room, a person riding a works may be examined. PRIMARY HARP chainless bicycle, another one speaking Fall, Spring (I, II-4) HRN 430 monologues while buried to his neck in Undergraduate Applied Music Lessons sand, a critic sitting on the same bench in SEC HORN (one-hour/week): Use to fulfill primary an Art museum for 23 years contemplating Fall, Spring, Summer (I, II, S-1.5) lesson requirement. the same painting, a writer wanting to re-re- Graduate Applied Music Lessons (half- write Cervantes’ Don Quixote? These and hour/week): May be used as secondary HRP 430 other absurd scenarios will be examined in instrument elective credit or as part of a SEC HARP this course in an attempt to understand the DMA minor. May not be used to fulfill major Fall, Spring, Summer (I, II, S-1.5) absurd as an expression of existential crisis, lesson requirements, unless specificallylly Graduate Applied Music Lessons (half- a reflection on the role of art itself but also required by the degree program. ForFor hour/week): May be used as secondary as political criticism. Writers’ studied will students who enrolled in their current instrument elective credit or as part of a include Kafka, Borges, Calvino, Ionesco, graduate degree program prior to summer DMA minor. May not be used to fulfill major Beckett, Bernhard and Jelinek. All readings 2009, these lessons carry 2 credits per lesson requirements, unless specificallylly will be available in English; students wishing semester. required by the degree program. ForFor to read in the original languages may do students who enrolled in their current so. Cross-listed as ENG 268.8. graduate degree program prior to summer 2009, these lessons carry 2 credits per semester. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2828 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** HUM 281 must contact the instructor for a IT 112G TOPICS IN HUMANITIES placement test. GRADUATE INTERMEDIATE Fall (I-3) IT 102G ITALIAN REVIEW II Topics in Humanities: Humanities topicsics Spring (II-1) vary from year to year. May be repeated GRADUATE ELEMENTARY Graduate Intermediate Italian II: Same for credit. ITALIAN REVIEW II two-semester sequence as IT 111 and IT 112 Spring (II-1) with a separate “G” designation for HUM 282 Graduate Elementary Italian Review II: graduate students who may take it for one TOPICS IN HUMANITIES Same two-semester sequence as IT 101 credit. Spring (II-3) and IT 102 with a separate “G”•• Topics in Humanities: Humanities topicsics designation for graduate students who IT 115 vary from year to year. May be repeated may take it for one credit. ITALIAN DICTION for credit. Fall (I-1) IT 111 Italian Diction: This first diction course HUM 290 INTERMEDIATE ITALIAN I provides students with theoretical and INDEPENDENT STUDY Fall (I-3) applied knowledge of the International Fall, Spring Intermediate Italian I: This is a two-semester Phonetic Alphabet-an indispensable tool sequence that reinforces and systematizes for their future careers and their future HUM 490 Italian grammar and syntax. The courses diction courses. Students learn how to INDEPENDENT STUDY aim at an intensive review of elementary apply IPA to the study of Italian Diction Fall, Spring grammatical structures and through a progressive method based on the study of grammar exceptions, at lexical Italian reading and scioglilingua. They learn Italian enrichment through special uses of how to master proper Italian vowels, language, and at the improvement of consonant clusters, and intonation in prose speaking and writing ability. Students will and poetry through written and oral IT 101 be exposed to a variety of genres assignments. This course is not a vocal ELEMENTARY ITALIAN I (literature, poetry, comics, films, newsreels, performing course, but a comprehensive Fall (I-4) documentaries, and music blogs) to better course focused on Italian Diction. Elementary Italian: This two-semester grasp language through cultural material. sequence is an introduction to Italian Prerequisite IT102 or equivalent. IT 224 language with an emphasis on all four skills- INTRODUCTION TO ITALIAN speaking, reading, writing, listening IT 111G CINEMA comprehension-for students with nono GRADUATE INTERMEDIATE previous knowledge of the language. The Fall, Spring (I, II-3) course will focus on building a basic ITALIAN REVIEW I Introduction to Italian Cinema: Course vocabulary, grammar structures and Fall (I-1) designed to provide an overview of Italian syntax. Students with prior study of Italian Graduate Intermediate Italian I: Same cinema from Cabiria (1914) by Giovanni must contact the instructor for a two-semester sequence as IT 111 and IT 112 Pastrone, to the present. The course will placement test. with a separate “G”• designation foror explore early Italian cinema from the 1910s graduate students who may take it for one -1930s, Fascist cinema, Neorealism, and IT 101G credit. movies from the 1960s to the beginning of GRADUATE ELEMENTARY the twenty-first century to examine the role IT 112 played by cinema in building Italian history ITALIAN REVIEW I INTERMEDIATE ITALIAN II and culture. We will examine, among Fall (I-1) Spring (II-3) others, films by Giovanni Pastrone, Carmine Graduate Elementary Italian Review I: Intermediate Italian II: This is a two- Gallone, Roberto de Sica, Giuseppe De Same two-semester sequence as IT 101 semester sequence that reinforces and Santis, Luchino Visconti, Federico Fellini, Pier and IT 102 with a separate “G”•• systematizes Italian grammar and syntax. Paolo Pasolini, Ettore Scola, Ermanno Olmi, designation for graduate students who The courses aim at an intensive review of Marco Bellocchio, Gianni Amelio, Marco may take it for one credit. elementary grammatical structures and Tullio Giordana. Films will be in Italian with the study of grammar exceptions, at lexical English subtitles. All readings and class IT 102 enrichment through special uses of discussions will be in English. No previous ELEMENTARY ITALIAN II language, and at the improvement of knowledge of Italian language/culture is Spring (II-1) speaking and writing ability. Students will necessary. Elementary Italian Review II: This two- be exposed to a variety of genres semester sequence is an introduction to (literature, poetry, comics, films, newsreels, IT 241 Italian language with an emphasis on all documentaries, and music blogs) to better STUDIES IN ITALIAN LIBRETTO four skills-speaking, reading, writing, grasp language through cultural material. Fall (I-2) listening comprehension-for students with Prerequisite IT102 or equivalent. Studies in Italian Libretto: This course is no previous knowledge of the language. offered on two levels: (1) for students who The course will focus on building a basic have completed at least one year of vocabulary, grammar structures and college Italian, 101-102, 111, 112, or itsits syntax. Students with prior study of Italian equivalent, and wish to study librettos in the original language, and (2) for more ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 2929 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** advanced students of Italian who wish to JAZ 430 students, who upon entrance, are found to continue their study of Italian literature or SEC JAZZ be deficient in jazz theory and aural skills. work on special investigations in Italian. Fall, Spring, Spring (I, II, S-1.5) May be repeated for additional credit. JCM 151 Graduate Applied Music Lessons (half- hour/week): May be used as secondary JAZZ PERFORMANCE IT 242 instrument elective credit or as part of a WORKSHOP FOR NON-MAJORS STUDIES IN ITALIAN LIBRETTO DMA minor. May not be used to fulfill major Fall (I-1) Spring (II-2) lesson requirements, unless specificallylly Jazz Performance Workshop for Non- Studies in Italian Libretto: This course is required by the degree program. ForFor Majors: Combines the study off offered on two levels: (1) for students who students who enrolled in their current improvisation, theory, aural training and have completed at least one year of graduate degree program prior to summer small group performance. Offered for college Italian, 101-102, 111, 112, or i tsts 2009, these lessons carry 2 credits per non-majors from both Eastman and River equivalent, and wish to study librettos in semester. Campus. This course may count as a the original language, and (2) for more chamber music credit, or for the WBP advanced students of Italian who wish to JAZ 430A practical creative elective, only with continue their study of Italian literature or 1/2 HR JAZZ permission of the students' department work on special investigations in Italian. Fall, Spring, Spring (I, II, S-2) chair. May be repeated for additional credit. Graduate Applied Music Lessons (half- hour/week): Used to fulfill primary lesson JCM 152 IT 281 requirement for JCM graduate students. JAZZ PERFORMANCE TOPICS IN ITALIAN LITERATURE For students who enrolled in their current WORKSHOP FOR NON-MAJORS Fall (I-3) graduate degree program prior to summer Topics in Italian Literature: Topics vary. The 2009, these lessons carry 2.5 credits per Spring (II-1) Jazz Performance Workshop for Non- most recent offering, Italian Reincarnations, semester. studied how Italian sources were adapted Majors: Combines the study off by writers and composers from other JAZ 460 improvisation, theory, aural training and cultures. May be repeated for credit. PRIMARY JAZZ small group performance. Offered for non- majors from both Eastman and River Fall, Spring (I, II-3) IT 282 Campus. This course may count as a Graduate Applied Music Lessons (one- chamber music credit, or for the WBP TOPICS IN ITALIAN LITERATURE hour/week): May be used as secondary practical creative elective, only with Spring (II-3) instrument elective credit or as part of a permission of the students' department Topics in Italian Literature: Topics vary. The DMA minor. May not be used to fulfill chair. most recent offering, Italian Reincarnations, major lesson requirements, unless studied how Italian sources were adapted specifically required by degree program. JCM 200 by writers and composers from other For students who enrolled in their current LARGE JAZZ ENSEMBLE cultures. May be repeated for credit. graduate degree program prior to summer 2009, these lessons carry 2 credits per Fall, Spring (I, II-1) Large Jazz Ensemble: Jazz Ensemble, New IT 290 semester. INDEPENDENT STUDY Jazz Ensemble, Jazz Lab Band. AA multifaceted collection of jazz "big band" Fall, Spring JAZ 460A experiences that incorporate the study PRIMARY JAZZ and presentation of jazz from historically IT 590 Fall, Spring (I, II-4) significant repertory to new works Graduate Applied Music Lessons (one- INDEPENDENT STUDY composed by Eastman student writers. hour/week): Used to fulfill primary lesson Fall, Spring Ensembles accompany renowned jazz requirement for JCM graduate students. soloists; showcase the music of the finest For students who enrolled in their current Jazz Lessons jazz composers and arrangers, and presentnt graduate degree program prior to summer educational events for audiences in 2009, these lessons carry 5 credits per JAZ 130 Rochester and across the country. Seating semester. SEC JAZZ is determined by auditions in the fall. Thehe 70-piece Studio Orchestra (combining Jazz Fall, Spring, Summer (I, II, S-2) Jazz Study & Contemporary Ensemble and Philharmonia/ESSO for three Undergraduate Applied Music Lessons weeks annually) is periodically organized (half-hour/week): Use to fulfill secondary Media by assignment; no pre-enrollment is instrument requirement or elective. required. JCM 119 JAZ 160 BASIC JAZZ THEORY AND AURAL JCM 201 PRIMARY JAZZ SKILLS JAZZ THEORY/IMPROVISATION Fall, Spring (I, II-4) Fall (I-1.5) Undergraduate Applied Music Lessons FOR NON-JAZZ MAJORS Basic Jazz Theory and Aural Skills: Required (one-hour/week): Use to fulfill primary Fall (I-2) for undergraduate jazz students in the first lesson requirement. Jazz Theory/Improvisation for Non-Jazz semester of the freshman year. Offered asas Majors: Exploring both abstract elements a remedial course for graduate jazz and essential functions of improvisation, this course stresses jazz rudiments of chord and ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3030 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** scale spellings, chord/scale/mode student with practical basic jazz piano skills JCM 211 relationships, jazz nomenclature, basic sufficient for accompaniment, JAZZ COMPOSITION forms, chord substitution, and chord composing/arranging, and continued Fall (I-3) voicing. Emphasis upon aural training, study of jazz harmony. Emphasis on basic Jazz Composition: Studio Lessons in jazz vocalization, and transcription of recorded jazz harmonic formulas, voice leading, composition and arranging for jazz solos. Blues structures, modalal scales and modally derived harmonies undergraduate JCM writing skills majors. compositions, and used in jazz, and two-hand homophonic tunes with simple progressions are jazz piano style (right-hand melody, left- JCM 212 hand accompaniment). Lead sheet sight- emphasized in class performance. JAZZ COMPOSITION reading is stressed, in addition to tactile JCM 202 and visual familiarity with the keyboard. Spring (II-3) Jazz Composition: Studio Lessons in jazz JAZZ THEORY/IMPROVISATION Prerequisite for non-JCM majors: JCM 201, composition and arranging for 202 or permission of instructor. No FOR NON-JAZZ MAJORS undergraduate JCM writing skills majors. prerequisite for JCM majors. Spring (II-2) JCM 213 Jazz Theory/Improvisation for Non-Jazz JCM 206 Majors: Exploring both abstract elements FUNCTIONAL JAZZ PIANO JAZZ COMPOSITION and essential functions of improvisation, this Fall (I-3) Spring (II-1) course stresses jazz rudiments of chord and Jazz Composition: Studio Lessons in jazz Functional Jazz Piano: A keyboard scale spellings, chord/scale/mode composition and arranging for methods course designed to equip each relationships, jazz nomenclature, basic undergraduate JCM writing skills majors. student with practical basic jazz piano skills forms, chord substitution, and chord sufficient for accompaniment, voicing. Emphasis upon aural training, JCM 214 composing/arranging, and continued vocalization, and transcription of recorded study of jazz harmony. Emphasis on basic JAZZ COMPOSITION jazz solos. Blues structures, modalal jazz harmonic formulas, voice leading, Spring (II-3) compositions, and tunes with simple scales and modally derived harmonies Jazz Composition: Studio Lessons in jazz progressions are emphasized in class used in jazz, and two-hand homophonic composition and arranging for performance. jazz piano style (right-hand melody, left- undergraduate JCM writing skills majors. JCM 203 hand accompaniment). Lead sheet sight- JCM 218 BASIC JAZZ BASS reading is stressed, in addition to tactile and visual familiarity with the keyboard. JAZZ PEDAGOGY Fall (I-1) Prerequisite for non-JCM majors: JCM 201, Fall (I-2) Basic Jazz Bass: Fundamental techniques 202 or permission of instructor. No Jazz Pedagogy: Basic rehearsal for beginners. Focuses on pedagogicall prerequisite for JCM majors. techniques for the development of large skills for future teachers, jazz students and small jazz ensembles. Survey of majoring on instruments other than bass, JCM 207 pedagogical concepts, performance and composition/arranging students. WOODWIND DOUBLING (FLUTE) practice, and performance repertory for Emphasis on fundamental double bass Fall (I-1) big bands and small groups. Teaching skills technique, jazz pizzicato, waking bass lines, Woodwind Doubling (Flute): Group pertaining to improvisation, theory, and and concepts of rhythm section playing. instruction in basic technique for flute. aural training from beginning to advanced Prerequisite: JCM major or permission of Required for undergraduate JCM levels. Hands-on teaching experience and instructor. Prerequisite: JCM major or saxophone performance majors. ensemble coaching are essential permission of instructor. components in the course. Prerequisite: JCM 208 JCM major or permission of instructor. JCM 204 WOODWIND DOUBLING BASIC JAZZ DRUMSET JCM 223 (CLARINET) Spring (II-1) JAZZ COMPOSITION AND Basic Jazz Drumset: Emphasis on Spring (II-2) fundamental drum set technique, basic Woodwind Doubling (Clarinet): Group ARRANGING I coordination between hands and feet, jazz instruction in basic technique for clarinet. Fall (I-2) accompaniment w/both sticks and Required for undergraduate JCM Jazz Composition and Arranging I: Basic brushes, concepts of rhythm section saxophone performance majors. techniques of tune writing are presented performance, style studies including and explored in relation to the work ofof “straight ahead jazz”--“swing”--“Latin”-- JCM 209 specific jazz composers whose works are “ballad”, Big Band chart reading concepts JAZZ MALLET PERFORMANCE rooted in the creative use of tonal harmonic relationships. Students compose pertaining to arranging/transcribing and CLASS general drum set pedagogy. Prerequisite: original tunes using the musical vocabulary FallFall JCM major or permission from instructor. and techniques utilized by specific composers. Prerequisite: for non-JCM JCM 210 JCM 205 majors, JCM 201, 202 or permission of thethe FUNCTIONAL JAZZ PIANO JAZZ MALLET PERFORMANCE instructor. Fall (I-1) CLASS Functional Jazz Piano: A keyboardd Spring methods course designed to equip each

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3131 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** JCM 224 class is normally taken for four semesters by theory, aural training, and small group JAZZ COMPOSITION AND freshmen and sophomores but can also be performance practice in seven classroom taken additional times as an elective per environments built around small ensembles. ARRANGING II discretion of the instructor. The course Resulting chamber ensembles perform Spring (II-2) covers the major historic stylists as well as throughout the year in Jazz Forums, and Jazz Composition and Arranging II: Basic other important soloists on the particular other school and public venues. techniques of writing for small jazz groups instrument. Class activities emphasize Participation in this course is limited to JCM are presented and explored in relation toto analysis and performances of transcribed majors. (Eight semesters required for BMBM instrumental combinations of two to five solos, with listening assignments as well as JCM degrees.) wind and brass instruments with rhythm class listening to a wide variety of jazz section. Homophonic and contrapuntall soloists in various stylistic and historic JCM 252 textures as well as melody harmonization contexts. During the spring semester priority JAZZ PERFORMANCE techniques are studied in relation to a is given to JCM jury preparation for WORKSHOP (UNDERGRADUATE) variety of harmonic styles. Students arrange freshman and sophomore students not Spring (II-2) a standard or an original theme. studying in jazz studios. Prerequisite: JCM 223. Jazz Performance Workshop JCM 233 (Undergraduate): This course combines a JCM 225 FILM SCORING TECHNIQUES I thorough study of improvisation, jazz theory, aural training, and small group JAZZ COMPOSITION AND Fall, Spring (I, II-2) performance practice in seven classroom Film Scoring I: Focuses on such topics as ARRANGING III environments built around small ensembles. understanding visual drama, Fall (I-2) Resulting chamber ensembles perform synchronization of music to picture, the use Jazz Composition and Arranging III: Basic throughout the year in Jazz Forums, and of technology in the current industry, and techniques of writing for standard jazz other school and public venues. the importance of film music history. ensemble instrumentation are presented Participation in this course is limited to JCM Students will compose music to several and explored. Traditional approaches to majors. (Eight semesters required for BMBM projects, a process that includes creating orchestration, harmony, thematic JCM degrees.) development and form are emphasized, mock-ups in specially fitted workstations as as exemplified in jazz writers such as Neal well as orchestrating and conducting their JCM 261 Hefti, Ernie Wilkins, Frank Foster, Sammy own music in recording sessions. ENTREPRENEURIAL THINKING Nestico and Duke Ellington. Students Spring (II-2) arrange a standard from the jazz JCM 234 Entrepreneurial Thinking: An entrepreneur repertoire. Prerequisite: JCM 224. FILM SCORING TECHNIQUES II takes an idea and transforms it into anan Fall, Spring (I, II-2) enterprise that creates value. This course JCM 226 Film Scoring II: Focuses on such topics as will provide tools to help you turn your understanding visual drama, JAZZ COMPOSITION AND ideas into reality. What every synchronization of music to picture, the use ARRANGING IV entrepreneurial musician needs to know of technology in the current industry, and Spring (II-2) about business entities, profit vs. non-profit, the importance of film music history. Jazz Composition and Arranging IV: contracts and dealing with lawyers, Students will compose music to several Contemporary writing approaches for branding, developing a business plan, projects, a process that includes creating large ensembles are presented and ethics and professionalism, financial mock-ups in specially fitted workstations explored, including the use of woodwind planning, basic accounting, how to read a as well as orchestrating and conducting doubling in the saxophone section and the balance sheet, cash flow management their own music in recording sessions. addition of horns and extra percussion and taxes. Students will work alone or in instruments. The work of writers such as GilGil teams to develop their real-world ideas. JCM 241 Evans, Bill Holman, Thad Jones, Bob Brookmeyer, Clare Fischer and George JAZZ HISTORY AND ANALYSIS JCM 281 Russell are emphasized, and non-jazz Spring (II-3) SPECIAL TOPICS IN JAZZ STUDIES Jazz History and Analysis: Development off rhythmic idioms such as those of Brazilian AND CONTEMPORARY MEDIA and Afro-Cuban music are also included. compositional and improvisational styles in Fall (I-2) Students arrange a standard or an original jazz from 1900 to the present. All periods in Special Topics in Jazz Studies and theme. Prerequisite: JCM 225. the development of jazz are examined. Evolution of specific instrumental styles is Contemporary Media: Specific topics and instructors to be announced in advance. JCM 230 also emphasized. Prerequisites: TH 101,1, May be repeated for credit. Permission of JAZZ STYLES & ANALYSIS 102, 111, and ENS 100 or permission of the instructor. instructor required. Fall, Spring (I, II-1) Jazz Styles & Analysis: This course is JCM 251 JCM 282 required of all undergraduate jazz and SPECIAL TOPICS IN JAZZ STUDIES contemporary media (JCM) majors in JAZZ PERFORMANCE piano, bass, trumpet, saxophone, and WORKSHOP (UNDERGRADUATE) AND CONTEMPORARY MEDIA trombone in any semester in which their Fall (I-2) Fall, Spring (I, II-2) applied lessons are in a classical studio. Jazz Performance Workshop Special Topics in Jazz Studies and The purpose of this course is to better (Undergraduate): This course combines a Contemporary Media: Specific topics and prepare these students for improvising in thorough study of improvisation, jazz instructors to be announced in advance. jazz ensembles, auditions, and juries. The ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3232 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** May be repeated for credit. Permission of JCM 406 stylists. Prerequisite: JCM 241 or permission instructor required. GRADUATE JAZZ PEDAGOGY of instructor. Fall (I-1) JCM 290 JCM 451 Graduate Jazz Pedagogy: Philosophicall INDEPENDENT STUDY justification and outcome expectations for JAZZ PERFORMANCE Fall, Spring the school jazz studies program; profiles of WORKSHOP (GRADUATE) established programs in institutions of Fall (I-2) JCM 291 various sizes; pedagogical discussions Jazz Performance Workshop (Graduate):: JAZZ FORUM pertaining to the teaching of jazz This course combines a thorough study of (UNDERGRADUATE) improvisation, theory, history, improvisation, jazz theory, aural training, composition/arranging, and ensembles; Fall (I-0) and small group performance practice in development of the curriculum vitae and Jazz Forum (Undergraduate): A weekly seven classroom environments built around job application preparation; preparation departmental gathering in which jazz small ensembles. Resulting chamber for the Prerequisite: MM JCM major or faculty, visiting artists, and students from ensembles perform throughout the year in permission of instructor. JPWs appear in performance. At other Jazz Forums, and other school and public times there are discussions of departmentall venues. Participation in this course is limited JCM 407 and current jazz topics, and exploration of to JCM majors. (Four semesters required for new compositions, arrangements, and GRADUATE JAZZ ENSEMBLE MM JCM degree, two semesters required contemporary recorded works by DIRECTION for MM JCW degree.) professional composers and arrangers, as Spring (II-1) JCM 452 well a student and faculty works. Open to Graduate Jazz Ensemble Direction: The JCM majors only. course helps to develop the essential skills JAZZ PERFORMANCE for directing a large jazz ensemble. WORKSHOP (GRADUATE) JCM 292 Students learn to select, analyze and Spring (II-2) JAZZ FORUM prepare repertoire, how to develop Jazz Performance Workshop (Graduate):: (UNDERGRADUATE) transposition and relevant keyboard skills, This course combines a thorough study of how to plan and carry out an organized Spring (I-0) improvisation, jazz theory, aural training, and productive rehearsal, and how to Jazz Forum (Undergraduate): A weekly and small group performance practice in relate to a specific or general type of departmental gathering in which jazz seven classroom environments built around audience. Prerequisite: JCM 406 oror faculty, visiting artists, and students from small ensembles. Resulting chamber instructor's permission. JPWs appear in performance. At other ensembles perform throughout the year in times there are discussions of departmentall Jazz Forums, and other school and public JCM 410 and current jazz topics, and exploration of venues. Participation in this course is limited new compositions, arrangements, and JAZZ MALLET PERFORMANCE to JCM majors. (Four semesters required for contemporary recorded works by CLASS MM JCM degree, two semesters required for MM JCW degree.) professional composers and arrangers, as Spring well a student and faculty works. Open to JCM 456 JCM majors only. JCM 431 STUDIO ORCHESTRA JCM MM MEDIA PROJECT JCM 400 Fall, Spring (I, II-0) ARRANGING LARGE JAZZ ENSEMBLE JCM MM Media Project: Preparation and Fall (I-2) Fall, Spring (I, II-1) finalizing a media related product which Studio Orchestra Arranging: Essential Large Jazz Ensemble: Jazz Ensemble, New showcases the graduate student's area of techniques of arranging for studio Jazz Ensemble, Jazz Lab Band. A focus. orchestra are developed through the study multifaceted collection of jazz "big band" of jazz-related classical orchestral works JCM 481 experiences that incorporate the study and works by jazz arrangers and and presentation of jazz from historically SPECIAL TOPICS IN JAZZ STUDIES composers from a wide range of jazz styles. significant repertory to new works Student works are read by the Eastman AND CONTEMPORARY MEDIA composed by Eastman student writers. Studio Orchestra and selected works are Fall (I-2) Ensembles accompany renowned jazz performed on the orchestra's annual Special Topics in Jazz Studies and soloists; showcase the music of the finest concert. Prerequisite: JCM 225. Contemporary Media: Specific topics and jazz composers and arrangers, and presentent instructors to be announced in advance. educational events for audiences across JCM 441 May be repeated for credit. Permission of the country. Seating is determined by instructor required. auditions in the fall. The 70-piece Studio ADVANCED HISTORY & Orchestra (combining Jazz Ensemble and ANALYSIS OF JAZZ STYLES JCM 482 Philharmonia/ESSO for three weeks Spring (II-3) SPECIAL TOPICS IN JAZZ STUDIES annually) is periodically organized by Advanced History and Analysis of Jazz assignment; no pre-enrollment is required. Styles: Investigation of performance andnd AND CONTEMPORARY MEDIA compositional innovations in jazz in the Spring (II-2) twentieth century. Analysis of scores, Special Topics in Jazz Studies and transcriptions, and recordings by major jazz Contemporary Media: Specific topics and instructors to be announced in advance.

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3333 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** May be repeated for credit. Permission of JCM 491 are improvisatory in nature (fantasias, instructor required. JAZZ FORUM (GRADUATE) unmeasured preludes, partimenti, solo cadenzas, suites, theme and variations). Fall (I-0) JCM 483 Jazz Forum (Graduate): A weekly JCM 590 ADVANCED STUDIES IN departmental gathering in which jazz IMPROVISATION faculty, visiting artists, and students from INDEPENDENT STUDY Fall, Spring Fall (I-4) JPWs appear in performance. At other Advanced Studies in Improvisation: Jazz times there are discussions of departmental JCM 596 improvisation and theory instruction for the and current jazz topics, and exploration of graduate DMA JCM major. Emphasis upon new compositions, arrangements, and DMA DISSERTATION PROJECT development of student works and contemporary recorded works by Fall, Spring, Summer (I, II, S-credit to be recording production/live performance professional composers and arrangers, as arranged) matters pertaining to graduate recitals. well a student and faculty works. DMA Dissertation Project Permission of instructor required. Prerequisite: JCM major. Graduate students attend and perform in forums for no Keyboard JCM 484 credit/no charge. ADVANCED STUDIES IN KBD 111 JCM 492 PIANO SIGHT READING I IMPROVISATION JAZZ FORUM (GRADUATE) Spring (II-4) Fall (I-2) Spring (II-0) Advanced Studies in Improvisation: Jazz Piano Sight-Reading: Skills necessary for Jazz Forum (Graduate): A weekly improvisation and theory instruction for the fluent sight reading of a wide variety of departmental gathering in which jazz graduate DMA JCM major. Emphasis upon literature reading open score (choral and faculty, visiting artists, and students from development of student works and instrumental), alto clef, and transposing JPWs appear in performance. At other recording production/live performancee instrumental lines and song times there are discussions of departmental matters pertaining to graduate recitals. accompaniments and current jazz topics, and exploration of Permission of instructor required.. new compositions, arrangements, and KBD 112 contemporary recorded works by JCM 485 professional composers and arrangers, as PIANO SIGHT READING II MM WRITING PROJECTS well a student and faculty works. Spring (II-2) Fall (I-3) Prerequisite: JCM major. Graduate students Piano Sight-Reading II: A continuation of MM Writing Projects: Jazz composition and attend and perform in forums for no materials and skills presented in KBD 111. arranging instruction for the graduate MM credit/no charge. Tenor clef reading; an emphasis on full JCW major. Emphasis upon development orchestral score realization at the piano. of student works and recording JCM 501 production/live performance matters LARGE JAZZ ENSEMBLE KBD 201 pertaining to the graduate recitals. Fall, Spring (I, II-0) SACRED MUSIC SKILLS I Permission of instructor required. Large Jazz Ensemble: Same as 6JCM 400, Fall (I-2, alternate years) but for no credit and no charge. For DMA Sacred Music Skills I: Focuses on the choralal JCM 486 JCM students who participate in large responsibilities of the church musician and MM WRITING PROJECTS ensembles, but do not need credit. the history, function, and future of liturgical Spring (II-3) Requires permission of the instructor. music practices in the Christian Church MM Writing Projects: Jazz composition and tradition. The course includes sessions on arranging instruction for the graduate MM JCM 523 training the voice, phonetics, English and JCW major. Emphasis upon development HARMONIC TECHNIQUES Latin diction, chanting, conducting, and of student works and recording choral rehearsal techniques. In addition to Fall (I-3) production/live performance matters assigned special projects, students will Harmonic Techniques: A study of harmonic pertaining to the graduate recitals. participate through weekly rehearsing of techniques and musical repertoire of ten Permission of instructor required.. the class as choir. “Lab” time for honing influential composers (Liszt, Debussy, student’s skills will be available during the Szymanowski, Scriabin, Schoenberg, JCM 487 semester. Webern, Bartok, Berg, Messiaen, ADV STUDIES: JAZZ Shostakovich) and their relevance to jazz. KBD 202 COMPOSITION JCM 524 SACRED MUSIC SKILLS II FallFall THEORY OF IMPROVISATION Spring (II-2, alternate years) Sacred Music Skills II: Focuses on choral JCM 490 Fall (I-3) repertoire and anthem/motet planning Theory of Improvisation: A study of INDEPENDENT STUDY and rehearsing. Students will program improvisational concepts (800AD - Fall, Spring anthems/motets for the church year present), theoretical treatises that include (A,B,C) based on the Revised Common sections on pedagogy and techniques of Lectionary. The course will explore improvisation (Thomas de Sancta Maria, innovative ways to enhance the liturgy with Zarlino, Niedt, C.P.E Bach, C. Czerny, H. music within the context of the evolution of Schenker), and musical compositions that liturgical practices. Students will be guided ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3434 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** in rehearsing the class in choral repertoire, includes reading and listening assignments, KBD 260 listening to musical examples, studying analysis and performance projects, and PIANO HISTORY, DESIGN & scores, class discussion, and student midterm and final exams. Piano majors in presentations. “Lab”• time for honing the BM degree are required to enroll in thisthis MAINTENANCE students' skills will be available during the course in the second semester of their Spring (II-1) semester. junior year. It may be taken at anotherr The Piano: History, Design, & Maintenance: time only with permission of the instructor. Mechanics of the piano, including its KBD 203 historical development, regulation, SACRED MUSIC SKILLS KBD 212 maintenance, & repair. Includes temperament theory, tone generation, Fall (I-2, alternate years) PIANO LITERATURE II: 19TH C and ownership/ purchasing considerations. Sacred Music Skills III: Focuses on essential Fall (I-3) Not vocational training. keyboard skills for the church/synagoguee Piano Literature II (19th Century): A survey musician, with emphasis on congregational of piano repertoire from the romantic KBD 261 song in various religious environments and period. The course syllabus includes traditions. Primary areas of instruction reading and listening assignments, analysis ORGAN HISTORY, DESIGN & include hymn playing (introductions, and performance projects, and midterm MNTN reharmonizations, performance practices and final exams. Piano majors in the BM Fall, Spring (I, II-2) of various styles and traditions), anthem degree are required to enroll in this course Historical Development of the Organ: I tsts accompaniment, adapting in the first semester of their senior year. ItIt Design and Maintenance: This course will piano/orchestral accompaniments toto may be taken at another time only with cover pipe organ functionality and design the organ, conducting from the organ permission of the instructor. to include the major historic schools of console, and aspects of church music organ building. It will also include practical administration. Each student will receive KBD 213 tuning and maintenance techniques and several individual “lab” coaching’s during PIANO LITERATURE III: 20TH C “hands on” participation in a pipe organ the semester. Open to keyboard majors or Spring (II-3) restoration and installation project. ThisThis by permission. Piano Literature III (20th Century & Beyond): class meets weekly as a group for one A survey of solo piano literature from the hour, with one additional hour per week of KBD 204 twentieth and twenty-first centuries. The lab to be scheduled based on the SACRED MUSIC SKILLS IV course syllabus includes reading and student’s availability. Required for Spring (II-2, alternate years) listening assignments, analysis and undergraduate organ majors; open to Sacred Music Repertoire: This class focuses performance projects, and midterm and others by permission of the instructor. on the training of young vocal and final exams. Piano majors in the BM degreeree instrumental musicians through early are required to enroll in this course in the KBD 290 musical training and the creation of second semester of their senior year. ItIt INDEPENDENT STUDY opportunities for their involvement in the may be taken at another time only with Fall, Spring musical life of the church. Choral and permission of the instructor. handbell repertoire will be explored, and KBD 401 conducting techniques specific to younger KBD 250 SACRED MUSIC SKILLS I participants will be learned. In addition to JAZZ PIANO FOR KEYBOARD Fall (I-2, alternate years) assigned special projects, each student will MJRS Sacred Music Skills I: Focuses on the choralal participate through occasional supervised Fall (I-2) responsibilities of the church musician and conducting of children’s and handbell Jazz Piano for Keyboard Majors (I: the history, function, and future of liturgical choirs at a local church. Also included are Harmonization): For advanced keyboardd music practices in the Christian Church sessions on the administration of a large players with no experience in jazz piano tradition. The course includes sessions on music program. improvisation. Topics include complete training the voice, phonetics, English and Latin diction, chanting, conducting, and KBD 205 analysis of jazz harmonization, and the choral rehearsal techniques. In addition to ORGAN IMPROVISATION creation of jazz solo improvisations; open to ESM majors only. assigned special projects, students will Fall, Spring (I, II-1) participate through weekly rehearsing of Organ Improvisation: The purpose of thisthis KBD 251 the class as choir. “Lab”• time for honinging course is to develop skills and techniques in JAZZ PIANO FOR KEYBOARD student’s skills will be available during the musical improvisation, beginning with semester. harmonization of hymns and chorales and MJRS progressing to work in building skills in aa Spring (II-2) KBD 402 variety of genres and styles. Sections Jazz Piano Improvisation for Keyboard SACRED MUSIC SKILLS II consist of semi-private lessons in small Majors (II: Improvisation): For advancedd Spring (II-2, alternate years) groups of 2-4 students. keyboard players with no experience in Sacred Music Skills II: Focuses on choral jazz piano improvisation. Topics include repertoire and anthem/motet planning KBD 211 complete analysis of jazz harmonization, and rehearsing. Students will program and the creation of jazz solo improvisations; PIANO LITERATURE I: 18TH C anthems/motets for the church year open to ESM majors only. Spring (II-3) (A,B,C) based on the Revised Common Piano Literature I (18th Century): A survey Lectionary. The course will explore of piano repertoire from the baroque and innovative ways to enhance the liturgy with classical periods. The course syllabus music within the context of the evolution of ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3535 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** liturgical practices. Students will be guided KBD 407 KBD 423 in rehearsing the class in choral repertoire, HARPSICHORD P&L THRU 18 ORGAN REPERTOIRE III listening to musical examples, studying Fall (I-2) scores, class discussion, and student CENTUR Organ Repertory III: A survey of solo organ presentations. “Lab”• time for honing Spring repertoire, instrument-building traditions students' skills will be available during the KBD 411 and performance practice studies from semester. nineteenth-century Germany and France. PIANO LITERATURE I: 18TH C KBD 403 Spring (II-3) KBD 424 SACRED MUSIC SKILLS Piano Literature I (18th Century): A survey ORGAN REPERTOIRE IV Fall (I-2, alternate years) of piano repertoire from the baroque and Spring (II-2) Sacred Music Skills III: Focuses on essential classical periods. The course syllabus Organ Repertory IV: A survey of solo organ keyboard skills for the church/synagoguee includes reading and listening assignments, repertoire, instrument-building traditions musician, with emphasis on congregational analysis and performance projects, and and performance practice studies from song in various religious environments and midterm and final exams. Suitable as nineteenth-century England and North traditions. Primary areas of instruction elective credit for graduate piano America, and twentieth-century Europe include hymn playing (introductions, students. and North America through the present. reharmonizations, performance practices KBD 412 of various styles and traditions), anthem KBD 442 accompaniment, adapting PIANO LITERATURE II: 19TH C PA REP & ITS INTERPRETERS piano/orchestral accompaniments to thethe Fall (I-3) Fall (I-3) organ, conducting from the organ Piano Literature I (19th Century): A survey Piano Repertory and Its Interpreters: AnAn console, and a survey of Christian of piano repertoire from the romantic intensive examination of a specific area of hymnody. Each student will receive several period. The course syllabus includes the piano repertory; topics to vary from individual coaching’s during the semester. reading and listening assignments, analysis year to year (e.g., Chopin solo works, Open to keyboard majors or by permission. and performance projects, and midterm Beethoven sonatas and concertos, Bach and final exams. Suitable as elective credit Well-Tempered Clavier and other solo KBD 404 for graduate piano students. SACRED MUSIC SKILLS IV works, etc.) The class addresses its subject KBD 413 material from the dual perspectives of thethe Spring (II-2, alternate years) literature itself and of the artists who have Sacred Music Repertoire: This class focuses PIANO LITERATURE III: 20TH C been historically associated with the on the training of young vocal and Spring (II-3) literature. May be repeated for credit. instrumental musicians through early Piano Literature I (20th Century & Beyond): musical training and the creation of A survey of solo piano literature from the KBD 443 opportunities for their involvement in the twentieth and twenty-first centuries. The KEYBOARD CONTINUO musical life of the church. Choral and course syllabus includes reading and handbell repertoire will be explored, and listening assignments, analysis and REALIZATION conducting techniques specific to younger performance projects, and midterm and Fall (I-2) participants will be learned. In addition to final exams. Suitable as elective credit for Keyboard Continuo Realization: assigned special projects, each student will graduate piano students. Techniques of realizing continuo parts in participate through occasional supervised the music of the seventeenth and conducting of children’s and handbell KBD 421 eighteenth centuries. Special emphasis on choirs at a local church. Also included are ORGAN REPERTOIRE I the various national styles. Prerequisite: TH sessions on the administration of a large Fall (I-2) 476 or fluency in reading figured bass. music program. Organ Repertory I: A survey of solo organ Simultaneous enrollment in CHB 277 repertoire, instrument-building traditions strongly encouraged. KBD 405 and performance practice studies from KBD 450 GRADUATE ORGAN Antiquity through the seventeenth century. IMPROVISATION JAZZ PIANO FOR KEYBOARD KBD 422 Fall, Spring (I, II-1) MAJORS: HARMONIZATION Organ Improvisation: The purpose of thisthis ORGAN REPERTOIRE II Fall (I-2) course is to develop skills and techniques in Spring (II-2) Jazz Piano for Keyboard Majors (I: musical improvisation, beginning with Organ Repertory II: A survey of solo organ Harmonization): For advanced keyboardd harmonization of hymns and chorales and repertoire, instrument-building traditions players with no experience in jazz piano progressing to work in building skills in aa and performance practice studies from improvisation. Topics include complete variety of genres and styles. Sections middle of the seventeenth century through analysis of jazz harmonization, and the consist of semi-private lessons in small the eighteenth century, with special focus creation of jazz solo improvisations; open to groups of 2-4 students. Prerequisite: TH 475, on the North German and French Classic ESM majors only. TH 476 or permission of instructor. schools, and the organ music of Johann Sebastian Bach.

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3636 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** KBD 451 2009, these lessons carry 2.5 credits per MHS 122 JAZZ PIANO FOR KEYBOARD semester. MUSIC & SOCIETY: 1730-1880 Fall (I-3) MAJORS: IMPROVISATION LUT 460A Music & Society: 1730-1880: Deals with the Spring (II-2) PRIMARY LUTE history of Western music during the Classic- Jazz Piano for Keyboard Majors (II: Fall, Spring (I, II-4) Romantic era. Begins with composers (such Improvisation): For advanced keyboard Graduate Applied Music Lessons (one- as the sons of Bach) who broke from players with no experience in jazz piano hour/week): Used to fulfill primary lesson Baroque styles and continues through the improvisation. Topics include complete requirement for graduate students. ForFor achievements of Haydn, Mozart, analysis of jazz harmonization, and the students who enrolled in their current Beethoven, Schubert, Schumann, Chopin, creation of jazz solo improvisations; open to graduate degree program prior to summer Berlioz, Liszt, Brahms, Verdi, Wagner, ESM majors only. 2009, these lessons carry 5 credits per Bruckner, Musorgsky, Tchaikovsky, and semester. KBD 461 Dvorak. Students learn about genres, styles, and the historical and cultural context of ORGAN HISTORY, DESIGN & Music History music and music-making. Also explores, MNTN more briefly, other musical traditions Fall, Spring (I, II-2) MHS 070 relevant to the repertoires under discussion, Historical Development of the Organ: I tsts DISCUSSION SESSION such as traditional music’s of Eastern Design and Maintenance: This course will Europe (which relate to pieces by Chopin Fall, Spring (I, II-0) cover pipe organ functionality and design and Liszt) or Caribbean polyrhythms (which Discussion Session: Optional listening to include the major historic schools of influenced Gottschalk). Midterm and final session for MHS 121-123. Students sign up organ building. It will also include practical examinations, one paper of medium for any section that coincides with the tuning and maintenance techniques and length, and several short writing appropriate course number and instructor. “hands on” participation in a pipe organ assignments and quizzes. Classroom restoration and installation project. ThisThis lectures are supported by optional (but MHS 119 class meets weekly as a group for one highly recommended) discussion sections, hour, with one additional hour per week of MUSIC HISTORY REVIEW which meet one hour per week. lab to be scheduled based on the Fall (I-1.5) student’s availability. Required for Music History Review: A course foror MHS 123 undergraduate organ majors; open to graduate students who, upon entrance MUSIC & SOCIETY: 1880-2000 into the graduate program, are found others by permission of the instructor. Spring (II-3) deficient in history of music. This course Music & Society: since 1880: The aim of this cannot be used as elective credit. Lute course is to trace the history of twentieth- century European and American art music; MHS 121 LUT 130 we will also touch on the nineteenth- MUSIC & SOCIETY: 800-1750 SEC LUTE century roots of modern music and the Spring (II-3) influence of non-art traditions throughout Fall, Spring, Summer (I, II, S-2) Music & Society: 800-1750: This course the era. Students will explore not only Undergraduate Applied Music Lessons deals with the history of Western music important changes in musical style and (half-hour/week): Use to fulfill secondary traditions from the ninth century to thethe compositional techniques, but also the instrument requirement or elective. music of Bach and Handel. The course variety of cultural contexts and social explores select representative works and LUT 430 meanings music both reflected and discusses the contexts into which they were created. Be prepared to ask fresh SEC LUTE received. Students will be exposed not only questions about familiar pieces, to listen to Fall, Spring, Summer (I, II, S-1.5) to changes in musical style, structure and new and difficult works with open minds, Graduate Applied Music Lessons (half- form, but also to the intellectual currents and to engage in close and careful hour/week): May be used as secondary and social climates that affect the genres analysis of sounds, scores, and the written instrument elective credit or as part of a encountered in this broad period. The word. Our primary goals are to gain a DMA minor. May not be used to fulfill major course aims to introduce students to the broad sense of twentieth-century musical lesson requirements, unless specificallylly earlier history of their own artistic tradition life and to learn how to communicate our required by the degree program. ForFor (a tradition that continues to draw on that opinions and ideas about music students who enrolled in their current very history) and to expand their thoughtfully, clearly, and persuasively. graduate degree program prior to summer conceptions of the nature and function of 2009, these lessons carry 2 credits per music itself by exposing them to less familiar MHS 281 semester. music’s and cultures. In addition to a SPECIAL TOPICS IN MUSIC midterm and final examination, the course LUT 430A includes two short papers assignments. HISTORY PRL 1/2 HR LUTE Classroom lectures are supported by Fall (I-3) Fall, Spring, Summer (I, II, S-2) optional discussion sections. Special Topics: Intensive study of literatureure Graduate Applied Music Lessons (half- within limited topic areas. Emphasis upon hour/week): Used to fulfill primary lesson analysis and comparative studies, with requirement for graduate students. ForFor critical writing by the student. May be students who enrolled in their current repeated for credit. Recent offerings graduate degree program prior to summer include: Shakespeare & Music; The Symphonies of Beethoven; 19th c. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3737 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Performance Practice, Symphony after and notational conventions are covered, learn how to communicate opinions and Beethoven, Musical Borrowing, Debussy along with strategies for locating distinctive ideas about music thoughtfully, clearly, and Paris, History of Jazz (for non-jazz aesthetic features of works composed in a and persuasively. majors), Asian Classical Music’s, Race and variety of styles and genres. Gender in American Music. MHS 426 MHS 423 MUSIC SINCE 1900 MHS 282 MUSIC IN THE BAROQUE Fall, Spring (I, II-3) SPECIAL TOPICS IN MUSIC Spring (II-3) Music Since 1900: This course is designed HISTORY Music in the Baroque: This course examines to provide a solid grasp of twentieth- the music and culture of the so-called Spring (II-3) century European and American art music baroque period in music, from the birth of Special Topics: Intensive study of literatureure by offering both broad coverage of monody and opera to the deaths of Bach within limited topic areas. Emphasis upon significant works and in-depth examination and Handel. In order of increasing analysis and comparative studies, with of the era's diverse musical trends, social importance, the course aims to 1) expand critical writing by the student. May be and political environments, and aesthetic students' familiarity with baroque repeated for credit. Recent offerings and cultural controversies. Students are repertoire; 2) trace the origin and include: Shakespeare & Music; The expected to contribute to class discussion, development of important genres; 3) Symphonies of Beethoven; 19th c. engage closely with musical scores, listen locate baroque music in its historical and Performance Practice, Symphony after attentively to pieces, and write sensitively cultural contexts; 4) follow the general Beethoven, Musical Borrowing, Debussy about compositional details as well as development of style; and 5) explore and and Paris, History of Jazz (for non-jazz music's multiple roles in contemporary understand the expressive languages majors), Asian Classical Music’s, Race and culture. Major graded work includes a employed by baroque composers. In Gender in American Music. midterm, final, and a paper that combines addition to a midterm and final analysis and interpretation. MHS 290 examination, the course requires one or two short writing assignments and one INDEPENDENT STUDY MHS 435 longer paper later in the semester. Fall, Spring CONCERT REPERTOIRE: MUSEUM MHS 424 OR LIVING ART? MHS 421 MUSIC IN THE CLASSIC PERIOD Fall (I-1.5) MUSIC IN THE MIDDLE AGES Concert Repertoire: Museum or Living Art?: Fall (I-3) Spring (II-3) This course will examine some major works Music in the Classic Period: Although the Music in the Middle Ages: This course that have stood the test of time and have works of Haydn, Mozart, and Beethoven explores Western European music traditions entered the musical "canon," as well as serve as the primary "texts" of this course, from the ninth century to the early fifteenth others that were originally unpopular but close attention is paid to the history of century. The course not only emphasizes are now staples in the repertoire. It will take styles and contexts of music-making from changes in musical style, structure and a prismatic approach to the study of music the so-called early classic period through form, but also accounts for the social in its cultural, sociological, and historical the early 19th century. The relation of significance of composition and the contexts, and through formal and musical style to genre, performance reception of music in this broad period. By theoretical analysis. By following a workork venue, and audience is considered the end of the term, students will be able from composition to performance to alongside changes in systems of to articulate the changes in genres and reception, and through active listening, patronage, dissemination of music as a musical styles over this span of history and score study, and text reading, we will commodity, private and public concert use the major intellectual currents and explore what makes a work of music traditions, and performance practices social climates of the period to help "classic." A literature review paper, a documented in contemporary treatises. explain the rise and function of these personal repertoire paper, and assigned music’s. readings and listening make up the MHS 425 workload. This class is open to all MM and MHS 422 MUSIC IN THE 19TH CENTURY DMA students with the understanding that MUSIC IN THE RENAISSANCE Fall (I-3) there will be an increased workload for Music in the Nineteenth Century: ThisThis DMA students. For MM students, the course Fall (I-3) course will not only deal with the history of fulfills 1 elective credit as well as Music in the Renaissance: Music of the musical style in nineteenth-century Europe, the listening exam requirement. early modern period from 1400 to 1600 is it will also explore music's cultural contexts the focus of the course. Areas of emphasis and social meanings. Through a study of MHS 441 include the development of vocal genres the major genres of the era (symphony, (motet, Mass, chanson, madrigal), as well ISSUES IN PERFORMANCE Lieder, opera, piano miniatures, etc.) we as distinctive types of instrumental music. will explore how music embodied social, PRACTICE: BAROQUE Overviews of political, artistic and social political, and gendered meanings in both Fall (I-2) developments will contextualize the public and private spheres. We will Issues in Performance Practice: Baroque: activity of composers and musicians. Also encounter new works (as well as ask new An introduction to the study ofof addressed are issues such as the questions about familiar pieces) and will performance practice with an emphasis on interactions of patrons and composers, engage in close and careful analysis of Baroque music. Principles of rhetoric, Franco-Flemish and Italian musical styles, sounds, scores, and the written word. Our phrasing, expression, articulation, rhythm, and music and rhetoric. Basic theoretical primary goals are to gain a broad sense of rubato and tuning based on historical underpinnings such as mode, hexachord, nineteenth-century musical life and to sources. Designed to combine with MHS ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3838 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** 443 as a comprehensive study of Baroque MHS 490 MUE 211 performance practices. INDEPENDENT STUDY EARLY CHILDHOOD MUSIC Fall, Spring MHS 442 EDUCATION Fall (I-2) PERFORMANCE PRACTICE: MHS 590 Early Childhood Music Education: MIDDLE AGES AND RESEARCH SEMINARS Orientation toward teaching music to RENAISSANCE Fall, Spring, Summer (I, II, S-3) children aged infant to 8 years. Links home Research Seminars: Seminars and Spring and community environments to the music independent studies on selected topics. learning environment, and examines MHS 443 May be repeated for credit. Recent young children's motivation to learn music. offerings include: The Bach Organ; PERFORMANCE PRACTICE: Language development and musical Handel's Italian Vocal Music; The Mass from development are compared. Observation BAROQUE Chant to Stravinsky; Music and Ritual; and guided teaching experiencess Spring (II-2) Reading Mozart's Operas; The Symphony, emphasize developmentally appropriate Performance Practice: Baroque: Dance 1800-1900; Studies in the German Lied; 19th instructional planning, assessment (formal music, tempo, ornamentation, c. Performance Practice; Romantic Music and informal), classroom management improvisation, recitative, Baroque opera and Critics; Song after Schubert; Operas of and communication. This course practice and a special session on Richard Wagner; Asian Classical Music’s; incorporates technology into student performance practice issues in Bach, American Music’s; Popular Music from the assignments and requires at least 20 hours based on historical sources. Prerequisite: Margins; Music and Postmodernism; The of field experience. MHS 441 recommended Improvising Musician; Music, Gender, and the Body; National Styles & Exoticism; 20th- MUE 212 MHS 480 century Voice and Spectacle.le. ELEMENTARY GENERAL MUSIC BIBLIOGRAPHY METHODS Fall, Spring (I, II-2) Music Education Fall (I-2) Bibliography: A study of sources and Elementary General Music Methods: ThisThis reference materials in music. MUE 110 course is designed to prepare students for INTRO TO MUSIC EDUCATION teaching general music to all elementary MHS 481 Fall (I-1) age students, regardless of socioeconomicic SPECIAL TOPICS IN MUSIC Introduction to Music Education: ThisThis status or ability, in our diverse global HISTORY course is part one of the MUE 110-111 society. Examines factors in the home, Fall (I-3) sequence that is designed as an community, and school that affect Special Topics: Intensive study of literatureure introduction to music teaching and students' readiness to learn music and links within limited topic areas. Emphasis upon learning in our culturally diverse society. language literacy with musical literacy analysis and comparative studies, with Students will 1) develop the aural skills and through singing, creating, moving, and critical writing by the student. May be musicianship skills for teaching music; and listening activities. Observation and guided repeated for credit. Recent offerings 2) develop an understanding of the teaching experiences emphasize include: Shakespeare & Music; The following topics: (a) what, when, why, and instructional planning, assessment (formal Symphonies of Beethoven; 19th c. how we teach music; (b) the National and informal), classroom management Performance Practice, Symphony after Standards for Music Education; (c) how and communication. Reflective Beethoven, Musical Borrowing, Debussy students learn music; (d) assessment in assignments for the teaching portfolio are and Paris, History of Jazz (for non-jazz music education. During encouraged. This course incorporates majors), Asian Classical Music’s, Race and MUE 110, students begin to fulfill the 15 technology into student assignments and Gender in American Music. hours of field experience required for the requires least 15 hours of field experience. MUE 110-111 sequence. MHS 482 MUE 213 MUE 111 SPECIAL TOPICS IN MUSIC SECONDARY GENERAL MUSIC FIELD EXPERIENCE IN MUSIC HISTORY METHODS Spring (II-3) EDUCATION Spring (II-2) Special Topics: Intensive study of literatureure Spring (II-1) Secondary General Music Methods: ThisThis within limited topic areas. Emphasis upon Field Experiences in Music Education: ThisThis course is designed to prepare students for analysis and comparative studies, with course is Part Two of the MUE 110-111 teaching general music to all secondary critical writing by the student. May be sequence. Students will participate in a age students, regardless of socioeconomicic repeated for credit. Recent offerings series of lectures by faculty in the Music status, ability, or previous musical include: Shakespeare & Music; The Education Department at Eastman and experience. Examines the importance of Symphonies of Beethoven; 19th c. other specialists on topics relevant to music music education to an educated citizenry. Performance Practice, Symphony after teaching and learning. The remaining Technology for music composition and Beethoven, Musical Borrowing, Debussy hours of required field experience for thethe music production is incorporated and Paris, History of Jazz (for non-jazz MUE 110-111 sequence (15 hours total) are throughout. Observation and guided majors), Asian Classical Music’s, Race and completed during MUE 111. teaching experiences emphasize age- Gender in American Music. appropriate communication and classroom management as well as instructional planning and assessment ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 3939 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** (formal and informal). Reflective by the Individuals with Disabilities course incorporates technology into assignments for the teaching portfolio are Education Act (IDEA). Through class student assignments and requires at least encouraged. At least 15 hours of field sessions, readings, observation and guided 20 hours of field experience.e. experience are required. teaching, preservice teachers will identify the characteristics of special learners and MUE 219 MUE 214 observe how these affect musical SECONDARY INSTRUMENTAL behaviors. Strategies will be developed for ELEMENTARY AND MIDDLE REHEARSALS: WINDS, BRASS, (a) modifying existing music materials, (b) SCHOOL CHORAL METHODS developing original music materials, and PERCUSSION Spring (II-2) (c) collaborating with other professionals to Spring (II-2) Elementary and Middle School Choral design appropriate music learning Secondary Instrumental Rehearsals: Winds, Methods: In this course, pre-service environments and enhance the overall Brass, Percussion: This course allows pre- teachers will develop increased education of special learners. Field service teachers to develop an proficiency as instructors in vocal music experience required, 5 hours. understanding of research-validated, classrooms for students in grades 4-8. These appropriate methods for teaching proficiencies include knowledge and skills MUE 217 secondary instrumental music, and to in group vocal pedagogy, music repertoire ELEMENTARY develop the necessary techniques to selection, curriculum design, differentiated implement those methods. Course instruction, classroom management, and WINDS/BRASS/PERCUSSION requirements include: making long-and communication. Extensive observation and METHODS short-range instructional plans based on a teaching experiences take place in Spring (II-2) systematic analysis of the performance of inclusive vocal music classrooms where Elementary Winds/Brass/ Percussion individuals and the ensemble, teaching assistive technology is frequently Methods: This course allows pre-serviceice individual and small group lessons, employed. In the classroom, pre-servicee teachers to develop an understanding of rehearsing and conducting small and large teachers have opportunities to see how research-validated, appropriate methods ensembles. Assignments incorporate the parents, teachers, professional staff, and for teaching elementary instrumental music use of music composition and production administrators interact productively to (what to teach, when to teach, and why), technologies. Through a minimum of 20 enhance student learning. Reflective and to develop the necessary techniques hours of field experience, pre-serviceice assignments for the teaching portfolio are (how to teach) to implement those teachers have opportunity to interact with encouraged and at least 20 hours of field methods. The principles of music literacy teachers, professional staff, parents and experience are required. acquisition and language acquisition are administrators to enhance the music compared. Course requirements include: learning of secondary school students and MUE 215 facility with function-based rhythm and learn age-appropriate communication, HIGH SCHOOL CHORAL MUSIC tonal syllables, the ability to teach and and assessment (formal and informal) METHODS coach composition and improvisation techniques. Fall (I-2) activities with elementary instrumental MUE 220 High School Choral Music Methods: In this students (implementing appropriate course, pre-service teachers will develop technology), measurement and evaluation SECONDARY INSTRUMENTAL of instrumental teaching and performance increased proficiency as instructors in vocal REHEARSALS:STRINGS music classrooms for students in grade 9-12. skills. At least 20 hours of field experience Spring (II-2) These proficiencies include knowledge and allows pre-service teachers opportunity to Secondary Instrumental Rehearsals: Strings: skills in adolescent vocal development,nt, observe how productive relationships This course allows pre-service teachers to repertoire selection, lesson planning, among the school, home, and community develop an understanding of research- rehearsal techniques, curriculum design, can enhance students' music learning. validated, appropriate methods for differentiated instruction, classroom MUE 218 teaching secondary instrumental music, management and communication. This and to develop the necessary techniques course requires at least 40 hours of TEACHING GROUP STRINGS IN to implement those methods. Course extensive observation and supervised ELEMENTARY SETTING requirements include: making long-and teaching in a high school classroom, where Fall (I-2) short-range instructional plans based on a pre-service teachers have opportunity to Teaching Group Strings in the Elementary systematic analysis of the performance of interact with teachers, professional staff, Setting: An orientation to the design andd individuals and the ensemble, teaching parents and administrators to enhance the implementation of string programs in thethe private and small group lessons, rehearsing music learning of high school students. elementary school, with emphasis on and conducting the large ensemble. Video recording, reflective analysis and developing age appropriate instructional Through a minimum of 30 hours of field subsequent modification of all supervised strategies, classroom management, experience, pre-service teachers have teaching episodes in the field are required. recruitment, communication and opportunity to interact with teachers, assessment (formal and informal) for professional staff, parents and MUE 216 heterogeneous groups. Through field work, administrators to enhance the music MUSIC FOR SPECIAL LEARNERS pre-service teachers will have opportunities learning of high school students and learn Fall, Spring (I, II-1) to interact with students and teachers in age-appropriate classroom management, Music for Special Learners: This course short supervised teaching episodes. Video communication, and assessment (formal explores the nature of music education for recording, reflective analysis and and informal) techniques. Video recording, students within the full range of disabilities subsequent modification of all teaching reflective analysis and subsequent and special-health care needs identified episodes in the field are required. This

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4040 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** modification of all supervised teaching courses focuses on the development of focuses on the development of episodes in the field are required. intermediate-level performance skills and intermediate-level performance skills and methods for teaching on a specific methods for teaching on a specific brass MUE 221 woodwind instrument; flute, oboe, instrument; horn, trombone, euphonium, CLARINET CLASS saxophone, bassoon. (Previously numbered tuba. (Previously numbered MUE 126) Fall, Spring (I, II-1) MUE 122) MUE 231 Clarinet Class: A laboratory class that MUE 225 allows students to develop intermediate-e- STRINGS CLASS I level performance skills on the instrument TRUMPET CLASS Fall (I-2) and methods for teaching. In preparation Fall, Spring (I, II-1) Strings Class I: Development of string for teaching, students will learn to diagnose Trumpet Class: A laboratory class that playing techniques on two stringed common performance problems allows students to develop intermediatee instruments. Includes one upper and one associated with the clarinet and prescribe level performance skills on the instrument lower stringed instrument. 2 hours field a variety of appropriate solutions. and methods for reaching. In preparation experience required. (Previously numbered Additional topics covered include: for teaching, students will learn to diagnose MUE 132) maintenance and emergency repair, common performance problems equipment and accessories, method associated with the trumpet and prescribe MUE 232 books and repertoire, extended range and a variety of appropriate solutions. STRINGS CLASS II fingerings, and auxiliary clarinets. 2 hours Additional topics covered include: Spring (II-2) field experience required. (Previously maintenance and emergency repair, Strings Class II: Development of string numbered MUE 121) equipment and accessories, playing techniques on two stringed method books and repertoire, instruments. Includes one upper and one MUE 222A embouchure problems, and auxiliary lower stringed instrument. 2 hours field WOODWIND CLASS trumpets. 2 hours field experience required. experience required. (Previously numbered (Previously numbered MUE 125) Fall (I-0.5) MUE 132) Woodwinds Class: Extensions of 6MUE 221. MUE 226A Each of these half-semester (7 week) MUE 235 courses focuses on the development of BRASS CLASS HARP CLASS I intermediate-level performance skills and Fall (I-0.5) Fall, Spring (I, II-1) methods for teaching on a specific Brass Class: Extensions of 6MUE 225. Each Harp Class: Harp study especially suited for woodwind instrument; flute, oboe, of these half-semester (7 week) courses music education majors. Emphasis on saxophone, bassoon. (Previously numbered focuses on the development of technique and repertoire selection for MUE 122) intermediate-level performance skills and future teachers with harpists in public methods for teaching on a specific brass school settings. One hour of instruction per MUE 222B instrument; horn, trombone, euphonium, week. Permission of instructor required for WOODWIND CLASS tuba. (Previously numbered MUE 126) MUE 236. (Previously numbered MUE 135- Fall (I-0.5) 136) MUE 226B Woodwinds Class: Extensions of 6MUE 221. Each of these half-semester (7 week) BRASS CLASS MUE 236 courses focuses on the development of Fall (I-0.5) HARP CLASS II intermediate-level performance skills and Brass Class: Extensions of 6MUE 225. Each Fall, Spring (I, II-1) methods for teaching on a specific of these half-semester (7 week) courses Harp Class: Harp study especially suited for woodwind instrument; flute, oboe, focuses on the development of music education majors. Emphasis on saxophone, bassoon. (Previously numbered intermediate-level performance skills and technique and repertoire selection for MUE 122) methods for teaching on a specific brass future teachers with harpists in public instrument; horn, trombone, euphonium, school settings. One hour of instruction per MUE 222C tuba. (Previously numbered MUE 126) week. Permission of instructor required for WOODWIND CLASS MUE 236. (Previously numbered MUE 135- MUE 226C Spring (II-0.5) 136) Woodwinds Class: Extensions of 6MUE 221. BRASS CLASS Each of these half-semester (7 week) Spring (II-0.5) MUE 241 courses focuses on the development of Brass Class: Extensions of 6MUE 225. Each VOICE CLASS I intermediate-level performance skills and of these half-semester (7 week) courses Fall, Spring (I, II-1) methods for teaching on a specific focuses on the development of Voice Class I: Fundamentals of voice woodwind instrument; flute, oboe, intermediate-level performance skills and production: posture, breath control and saxophone, bassoon. (Previously numbered methods for teaching on a specific brass support, tone, resonance, diction, MUE 122) instrument; horn, trombone, euphonium, phrasing, interpretation. Development of tuba. (Previously numbered MUE 126) technique, confidence, and control MUE 222D through group and solo singing. 2 hours MUE 226D WOODWIND CLASS field experience required. (Previously Spring (II-0.5) BRASS CLASS numbered MUE 141) Woodwinds Class: Extensions of 6MUE 221. Spring (II-0.5) Each of these half-semester (7 week) Brass Class: Extensions of 6MUE 225. Each of these half-semester (7 week) courses ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4141 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** MUE 242 supervision of a master teacher. Eastman supervisory visits a minimum of two times VOICE CLASS II faculty conduct on-site supervisory visits a during the assignment. minimum of three times during the Spring (II-1) assignment. MUE 278 Voice Class II: Extension of Voice Class I,I, with opportunity to continue to develop STUDENT TEACHING: MUE 272 individual skills in singing. 2 hours field SECONDARY INSTRUMENTAL SENIOR PRACTICUM IN MUSIC experience required. (Previously numbered Fall, Spring (I, II-4) MUE 142) EDUCATION Student Teaching: Secondary Instrumental: Fall (I-1) Seven weeks of full-time teaching MUE 255 Senior Practicum in Music Education: AA placement in secondary school PERCUSSION CLASS continuation of 6MUE 226 (Brass Class) instrumental music settings in the area, Fall, Spring (I, II-1) and 6MUE 222 (Woodwind Class). Study of under the supervision of a master teacher. Percussion Class: A laboratory class that two additional brass and two additional Eastman faculty conduct on-site allows students to develop intermediatee woodwind instruments in a homogeneous supervisory visits a minimum of two times level performance skills on the setting. As a laboratory ensemble for during the assignment. instruments of the percussion family as well student teachers, enrollees will perform as addressing methods for teaching. In solely on secondary instruments, MUE 279 preparation for teaching, students will learn teach/conduct rehearsals, and prepare SUPPLEMENTARY OBSERVATION to diagnose common performance lesson plans for teaching. An application of AND STUDENT TEACHING problems associated with percussion performance skills on all wind instruments in instruments and prescribe a variety of a heterogeneous setting, a comparativeive Fall, Spring (I, II-1) Supplementary Observation and Student appropriate solutions. Additional topics survey of wind instrument performance Teaching: For students needing additionalal covered include: maintenance and technique, and an examination of credits in observation and student emergency repair, equipment and appropriate musical materials for use in teaching for certification to teach in other accessories, and method books and elementary and secondary schools. repertoire. 2 hours field experience states. required. (Previously numbered MUE 155, MUE 273 MUE 280 revised 3/6/08). STUDENT TEACHING SEMINAR SUPPLEMENTARY OBSERVATION Fall, Spring (I, II-1) MUE 260 Student Teaching Seminar: Weekly AND STUDENT TEACHING TEACHING INDIVIDUAL/SMALL meeting of all student teachers by area of Fall, Spring (I, II-1) GROUP LESSON emphasis. Readings and writing Supplementary Observation and Student assignments, reports and reflection papers Teaching: For students needing additionalal Fall, Spring (I, II-1 or 2) are incorporated into the seminar content. credits in observation and student Teaching Individual and Small Group Guest speakers on topics important for teaching for certification to teach in other Lessons: For students in any major who areare certification protocols, as well as states. interested in learning to teach private and interviewing and applying for a teaching small group lessons. Enrollees will be position. MUE 281 assigned to teach for up to two hours each week at a K-12 school. Lessons will be SPECIAL TOPICS IN MUSIC MUE 276 observed periodically and enrollees will EDUCATION STUDENT TEACHING: meet with a faculty member to discuss Fall (I-3) matters related to the teaching SECONDARY VOCAL/GENERAL Special Topics in Music Education: assignment. (Previously numbered MUE Fall, Spring (I, II-4) Designed primarily for undergraduate 221) Student Teaching: Secondary students, these courses offer intensive study Vocal/General: Seven weeks of full-time of limited topic areas in music education MUE 261 teaching placement in middle school or and pedagogy. May be repeated for CLASSROOM INSTRUMENTS high school music programs, with emphasis credit. Spring (II-1) on choral and classroom settings in area Classroom Instruments: Fundamentals ofof schools, under the supervision of a master MUE 282 performance on instruments such as guitar, teacher. Eastman faculty conduct on-site SPECIAL TOPICS IN MUSIC dulcimer, recorder, and Orff Instruments for supervisory visits a minimum of two times EDUCATION use as music classroom tools. Observation during the assignment. of classroom instrument use in local schools Spring (II-3) Special Topics in Music Education: required, 5 hours. MUE 277 STUDENT TEACHING: Designed primarily for undergraduate MUE 271 students, these courses offer intensive study ELEMENTARY INSTRUMENTAL STUDENT TEACHING: of limited topic areas in music education Fall, Spring (I, II-4) and pedagogy. May be repeated for ELEMENTARY VOCAL/GENERAL Student Teaching: Elementary Instrumental: credit. Fall, Spring (I, II-4) Seven-weeks of full-time teaching Student Teaching: Elementary placement in programs for beginning Vocal/General: Seven-weeks of full-time instrumental music in area schools, under teaching placement in classroom music the supervision of a master teacher. settings in area schools, under the Eastman faculty conduct on-site ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4242 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** MUE 285 MUE 403 teaching general music to all elementary PRINCIPLES OF STRING PLAYING INTRODUCTION TO RESEARCH age students, regardless of socioeconomicic status or ability, in our diverse American Spring, Summer (II, S-3)) AND TEACHING I society. Examines factors in the home, Introduction to Research in Music Fall (I-2) community, and school that affect Education: This course is designed for Principles of String Playing and Teaching I: students’ readiness to learn music and links graduate students to develop an overview This course enables students to organize language literacy with musical literacy of the existing published research in music and present a sequence of string through singing, creating, moving, and education. Content includes vocabularyy instruction with special attention to the listening activities. Observation and guided and concepts related to quantitative and needs of beginning and intermediate string teaching experiences emphasize qualitative research designs in music players. Students develop and apply their instructional planning, assessment (formal education. Daily/weekly assignments to growing knowledge of string playing and and informal), classroom management critique and analyze studies lead to a final teaching by providing weekly private and communication. Reflective review of literature paper and lessons to two students at School #17 of the assignments for the teaching portfolio are presentation. Rochester City School District. Students encouraged. This course incorporates must enroll for MUE/PED 286 following MUE 404 technology into student assignments, successful completion of this course. Open requires at least 20 hours of field THE PSYCHOLOGICAL to upper-level AMU and PRL or DMA experience, and includes advanced graduate string majors. FOUNDATIONS OF MUSICAL readings and assignments linking theory (classroom) to practice (field experience). MUE 286 BEHAVIOR Spring (II-2) PRINCIPLES OF STRING PLAYING MUE 413 The Psychological Foundations of Musical AND TEACHING II Behavior: Although psychological issues SECONDARY GENERAL MUSIC Spring (II-2) are touched on in both the MUE 403 METHODS Principles of String Playing and Teaching II: (Introduction to Research) and MUE 501 Spring (II-2) A continuation of MUE/PED 285 with a (Seminar I: History and Philosophy) courses, Secondary General Music Methods: ThisThis focus on procedures for establishing a this one-semester course is designed to course is designed to prepare students for private studio, reviewing and developing a expose graduate students to more depth teaching general music to all secondary collection of method books, etude books, of information, current research, and to age students, regardless of socioeconomicic and solo materials. Students present case guest experts who are equipped to status, ability, or previous musical studies of their school-age string students to provide detailed input on certain experience. Examines the importance of whom they continue to teach weekly specialized areas of psychology related to music education to an educated citizenry. private lessons to students at School #17 of musical behavior. Technology for music composition and the Rochester City School District. Pre- music production is incorporated requisite: MUE/PED 285. MUE 411 throughout. Observation and guided EARLY CHILDHOOD MUSIC teaching experiences emphasize age- MUE 290 EDUCATION appropriate communication and URBAN PRACTICUM classroom management as well as Fall (I-2) Fall, Spring (I, II-1) instructional planning and assessment Early Childhood Music Education: Urban Practicum: In this course, students (formal and informal). Reflective Orientation toward teaching music to teach lessons at a local urban elementary assignments for the teaching portfolio are children aged infant to 8 years. Links home school, Rochester City School District Enrico encouraged. At least 20 hours of field and community environments to the music Fermi School No. 17. This partnership experience as well as advanced readings learning environment, and examines between the on-site teacher, Eastman and assignments linking theory (classroom) young children’s motivation to learn music. students and faculty, and the students of to practice (field experience) are required. Language development and musical School 17 creates a shared environment, development are compared. Observation where groups benefit from one another MUE 414 and guided teaching experienceses while students learn to play and teach emphasize developmentally appropriate ELEMENTARY AND MIDDLE stringed instruments. Each Eastman student instructional planning, assessment (formal SCHOOL CHORAL METHODS is responsible for two private/small group and informal), classroom management Spring (II, 2) lessons per week at School 17. Permission of and communication. This course Elementary and Middle School Choral instructor required. Two-semester incorporates technology into student Methods: In this course, preservice commitment is expected. assignments, requires at least 20 hours of teachers will develop increased field experience, and includes advanced MUE 402 proficiency with musical repertoire,ire, readings and assignments linking theory curriculum design, differentiatedd MEASUREMENT & EVALUATION (classroom) to practice (field experience). instruction, classroom management and Fall, Summer (I, S-3) communication in vocal music classrooms Measurement and Evaluation: This course MUE 412 with students in grades 4-8. Extensive reviews published aptitude and ELEMENTARY GENERAL MUSIC observation and teaching experiences achievement tests and includes take place in inclusive vocal music interpretation of test scores, administration METHODS classrooms where assistive technology is of tests, and experience in developing Fall (I-2) frequently employed. In the classroom, tests. Elementary General Music Methods: ThisThis preservice teachers have opportunities to course is designed to prepare students for see how parents, teachers, professional ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4343 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** staff, and administrators interact assignments linking theory (classroom)too orientation to the design and productively to enhance student learning. practice(field experience)are required. implementation of string programs, with Reflective assignments for the teaching emphasis on developing age appropriate portfolio are encouraged. At least 25 hours MUE 420 instructional strategies, classroom of field experience as well as advanced SECONDARY INSTRUMENTAL management, communication and readings and assignments linking theory assessment (formal and informal) for REHEARSALS:STRINGS (classroom) to practice (field experience) heterogeneous groups. The principles of Spring (II-2) are required. music literacy acquisition and language Secondary Instrumental Rehearsals: Strings: acquisition are compared. Video This course allows preservice teachers to MUE 415 recording, reflective analysis and develop an understanding of research- HIGH SCHOOL CHORAL MUSIC subsequent modification of all supervised validated, appropriate methods for Fall (I-2) teaching episodes in the field are required. teaching secondary instrumental music, High School Choral Music: In this course, Assignments incorporate the use of music and to develop the necessary techniques preservice teachers will develop increased composition and production technologies. to implement those methods. Course proficiency with musical repertoire, 25 hours of field experience are required requirements include: making long-and curriculum design, differentiated for students pursuing Initial-Professionall short-range instructional plans based on a instruction, classroom management and Certification. systematic analysis of the performance of communication in vocal music classrooms individuals and the ensemble, teaching MUE 471 with students in grades 9-12. This course private and small group lessons, rehearsing requires at least 45 hours of extensive TEACHING INTERNSHIP and conducting the large ensemble. observation and supervised teaching in a Fall, Spring (I, II-2) Through a minimum of 30 hours of field high school classroom, where preservice Teaching Internship: Students are required experience, preservice teachers have teachers have opportunity to interact with to demonstrate competence in teaching opportunity to interact with teachers, teachers, professional staff, parents and and the application of concepts professional staff, parents and administrators to enhance the music presented in other courses required by the administrators to enhance the music learning of high school students. M.M. or M.A. degrees in music education learning of high school students and learn Advanced readings and assignments by submitting the following: (1) audio and age-appropriate classroom management, linking professional development site video tapes of classes, (2) course communication, and assessment (formal experience to educational theory are descriptions and outlines, (3) sample and informal) techniques. Video recording, required. Video recording, reflective examinations, (4) an annual calendar of reflective analysis and subsequent analysis and subsequent modification of all performances and activities, and/or (5) modification of all supervised teaching supervised teaching episodes in the field sample programs. Students who are also episodes in the field are required. are also required. employed as teachers can submit MUE 465 materials developed for their own classes; MUE 419 full-time graduate students are assigned a INSTRUMENTAL METHODS AND SECONDARY INSTRUMENTAL teaching responsibility to complete the TECHNIQUES: WIND AND REHEARSALS: WINDS, BRASS, requirements under faculty supervision. PERCUSSION Readings are assigned individually. This PERCUSSION requirement may be satisfied in one of Fall, Summer (I, S-3) Fall, Spring (I, II-2) the following ways: (1) one-on-one with a Instrumental Methods and Techniques: Secondary Instrumental Rehearsals: Winds, music education faculty member; (2) Wind and Percussion: For instrumental,al, Brass, Percussion: This course allows pre- collaborative teacher study group; (3)(3) vocal, and general music teachers at all service teachers to develop an review of a substantial portfolio levels who wish to improve their understanding of research-validated, documenting teaching competence.e. musicianship skill for teaching, this course appropriate methods for teaching emphasizes innovative ways to address secondary instrumental music, and to MUE 472 State and National Standards in Music and develop the necessary techniques to appropriately differentiate music TEACHING INTERNSHIP FOR implement those methods. Course instruction. The principles of music literacy CERTIFICATION requirements include making long and acquisition and language acquisition are Fall, Spring (I, II-4) short range instructional plans based on compared. Assignments incorporate the Teaching Internship for Certification: systematic analysis of individual and use of music composition and production Supervised teaching experience for ensemble performance, teaching technologies. Twenty-five (25) hours of field graduate students preparing for individual and small group lessons, experience are required for students certification. Includes seminar. rehearsing and conducting small and large pursuing Initial-Professional Certification. ensembles. Assignments incorporate use of MUE 473 music composition and production MUE 466 technologies. Through at least 20 hours of MA PROJECT INSTRUMENTAL METHODS AND field experience, pre-service teachers Fall, Spring, Summer (I, II, S-1-4) have opportunities to interact with TECHNIQUES:STRINGS M.A. Project: The specific nature of this teachers, professional staff, parents and Fall, Summer (I, S-3) master's project will be developed in administrators to enhance the music Instrumental Methods and Techniques: consultation with a faculty member in the learning of secondary school students and Strings: For instrumental, vocal, and Music Education Department. Guidelines learn appropriate communication, and general music teachers at all levels who are available in the department for project assessment (formal and informal) wish to improve their musicianship skill for proposals, which must be approved by thethe techniques. Advanced readings and teaching, this course provides an faculty. Examples might include (a) a field- ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4444 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** based research study within a teacher's Required of all graduate students in music MUE 506 own classroom setting, (b) a curriculum education. INTERNSHIP IN ACADEMIC project, or (c) a small-scale replication of an existing research study with a new MUE 502 ADMINISTRATION population. At the completion of the CURRICULUM SEMINAR Spring (II-1-2) Internship in Academic Administration: project, a student will submit a written Spring, Summer (II, S-3) Administrative project, to be carried out report, again subject to approval by the Curriculum Seminar: Inquiry into curriculum under supervision of faculty or entire faculty. Please see Guidelines for theory and creative curriculum administrative staff member, including Field Project for complete information. development and implementation. possible assignment to a School Parallel to the registration for thesis credits, Attention is devoted to how schools are administrative office. Occasional seminar the registration for this master's project may organized, how processes and outcomes sessions with other enrollees. Prerequisite: be broken down into single credits or of learning are evaluated, and how MUE 505. enrolled as a block of four credits. conditions can be created to foster professional growth among music teachers MUE 481 MUE 508 and administrators. SPECIAL TOPICS IN MUSIC CULTURAL PERSPECTIVES IN EDUCATION MUE 503 MUSIC EDUCATION Fall (I-1-3) COLLEGE TEACHING INTERNSHIP Spring (II-3) Special Topics in Music Education: Fall, Spring (I, II-2) Cultural Perspectives in Music Education: Designed primarily for graduate students, College Teaching Internship: This course This course focuses on fundamental issues these courses offer intensive study of will be related to one or more college level that affect the teaching and learning of limited topic areas in music education and courses which the student is presently music in our culturally pluralistic American pedagogy. May be repeated for credit. teaching, either as a teaching assistant or society. It is a survey and critical study of as a faculty member at another college or historical, philosophical, and sociological MUE 482 university. Students will be required to aspects of multicultural music education. It SPECIAL TOPICS IN MUSIC submit (1) a course description, (2) a is designed to provide opportunities for course outline, (3) tests and examinations, graduate students to develop thinking, EDUCATION (4) an annotated bibliography, (5) audio inquiry, writing, and oral presentation skills Spring (II-1-3) tapes of classes, and (6) a brief written necessary for perceptive and competent Special Topics in Music Education: statement of relevant philosophical and music educators. In addition, this course is Designed primarily for graduate students, pedagogical issues. The instructor will intended to provide opportunities for these courses offer intensive study of observe teaching and meet with the graduate students to synthesize various limited topic areas in music education students individually. components of music education and pedagogy. May be repeated for scholarship. This course is addressed to all credit. MUE 504 Eastman DMA and Ph.D. students in Music PREPARING FUTURE MUSIC Education. Others with teaching MUE 483 experience will be admitted with the SPECIAL TOPICS IN MUSIC FACULTY permission of the instructor. Fall (I-2) EDUCATION Preparing Future Music Faculty: This course MUE 590 Fall, Spring (I, II -3) will prepare those graduate students who INDEPENDENT STUDY Special Topics in Music Education: desire to teach in a college or community Fall, Spring Designed primarily for graduate students, music school, even on a part-time basis. these courses offer intensive study of Each student will learn to develop a MUE 591 limited topic areas in music education and teaching portfolio that will complement his pedagogy. May be repeated for credit. or her performance portfolio. Students will RESEARCH FOR DMA STUDENTS also explore ways to organize music Fall, Spring, Summer (I, II, S-credit to be MUE 490 content for learning, assess students’ prior arranged) INDEPENDENT STUDY musical knowledge and experience,e, Research for D.M.A. Students Fall, Spring communicate expectations to students, MUE 595 and speak knowledgeably about teaching MUE 495 with colleagues and administrators. Cross- PHD DISSERTATION PROJECT MA THESIS listed as ALC 222 and ALC 422. Fall, Spring, Summer (I, II, S-credit to be Fall, Spring, Summer (I, II, S-credit to be arranged) MUE 505 arranged) PhD Dissertation Project: For the Doctor off M.A. Thesis: For the Master of Arts degree.ee. SEMINAR IN ACADEMIC Philosophy degree. ADMINISTRATION MUE 501 MUE 596 Fall (I-3) DMA DISSERTATION PROJECT HISTORY & PHILOSOPHY Seminar in Academic Administration: SEMINAR Topics and issues related to music Fall, Spring, Summer (I, II, S-credit to be arranged) Fall, Summer (I, S-3) administration in school, community, and DMA Dissertation Project: For the Doctor of History and Philosophy Seminar: Philosophy higher education settings. Musical Arts degree. and history of music education, with emphasis on contemporary problems. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4545 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Musicology Ethnomusicology: Topics will vary by MUY 595 semester. Recent offerings include: PHD DISSERTATION PROJECT Chansonniers; Opera in 17th-century MUY 501 Fall, Spring, Summer (I, II, S-credit to be Venice; Music and the Cold War; Mode in arranged) INTRODUCTION TO Balinese Music; The Motet before 1360; PhD Dissertation Project MUSICOLOGY Illuminated Music Manuscripts; Josquin and his Contemporaries; Early Music Analysis Fall (I-4) Oboe Introduction to Musicology: This course will pre-1600; The 17th-century Italian Cantata; provide an introduction to the scope, Romantic Criticism and Aesthetics; OB 130 bibliography, and prominent National Styles & Exoticism, 1600-2006; 19th methodologies of musicology. To that end, century Italian Opera; Voice and SEC OBOE it will explore the history and development Spectacle: Stage to Screen, 1880-1930; Kurt Fall, Spring, Summer (I, II, S-2) of the discipline, focusing especially on the Weill and his Contemporaries; Sondheim; Undergraduate Applied Music Lessons current trends and their background: Postmodernism; Music and Ritual; as well as (half-hour/week): Use to fulfill secondary provide a practical introduction to the occasional seminars taught or co-taught instrument requirement or elective. diverse sources of information in the field; by noted scholars from other departments and give experience employing solid at Eastman and in the College of the OB 160 research and writing strategies. University of Rochester. PRIMARY OBOE Fall, Spring (I, II-4) MUY 592 MUY 502 Undergraduate Applied Music Lessons INTRODUCTION TO SEMINARS IN MUSICOLOGY (one-hour/week): Use to fulfill primary ETHNOMUSICIOLOGY AND ETHNOMUSICOLOGY lesson requirement. Spring (II-4) Fall, Spring (I, II-4) OB 290 Introduction to Ethnomusicology: This Seminars in Musicology and course charts the genealogies of thought Ethnomusicology: Topics will vary by BAROQUE OBOE STUDIES over the last several centuries that inform semester. Recent offerings include: Fall, Spring (I, II) our contemporary understanding of Chansonniers, Opera in 17th-century Baroque Oboe Studies Goals: to develop ethnomusicology. It will provide a historical Venice, Music and the Cold War, Mode in familiarity with 18th-century oboes and overview of the field, highlighting many of Balinese Music; The Motet before 1360; performance practice. Students use the important figures and works that have Illuminated Music Manuscripts; Josquin and Eastman's extensive range of baroque and marked the discipline’s history and have his Contemporaries; Early Music Analysis classical oboes, collected by Prof. Killmer. led to shifts in the way ethnomusicologists pre-1600; The 17th-century Italian Cantata; Activities include technical studies, reed understand the relationship of music, Romantic Criticism and Aesthetics; making, solo sonatas, chamber music, society, and culture. We will explore what it National Styles & Exoticism, 1600-2006; 19th collaboration with keyboard and organ is that an ethnomusicologist does (or once century Italian Opera; Voice and students, and oboe band.6 hour private did) by studying a variety of approaches to Spectacle: Stage to Screen, 1880-1930; Kurt lessons plus ensemble and group work to fieldwork methods and ethnographic Weill and his Contemporaries; Sondheim; be arranged with instructor. representation. We will explore several Postmodernism; Music and Ritual; as well as theoretical orientations’ ”drawing from the occasional seminars taught or co-taught OB 430 disciplines of anthropology, linguistics, by noted scholars from other departments SEC OBOE performance theory, media studies, and at Eastman and in the College of the Fall, Spring, Summer (I, II, S-1.5) philosophy-that inform the work of past University of Rochester. Graduate Applied Music Lessons (half- and present ethnomusicologists, and hour/week): May be used as secondary introduce a range of musical styles, MUY 593 instrument elective credit or as part of a practices, and ways of thinking about DIRECTED STUDY I DMA minor. May not be used to fulfill major sound in different parts of the world Fall, Spring (I, II-4) lesson requirements, unless specificallylly through the study of select musical Directed Study I: Required of Ph.D. required by the degree program. ForFor ethnographies. candidates in Musicology (and can be students who enrolled in their current taken only by them). Prerequisites: graduate degree program prior to summer MUY 590 Successful completion of Qualifying Exam 2009, these lessons carry 2 credits per RESEARCH or special approval of chair. semester. Fall, Spring (I, II-credit to be arranged) Research: Independent investigation of MUY 594 OB 430A problems in musicology. This course DIRECTED STUDY II PRL 1/2 HR OBOE number is used by MM and DMA students Fall, Spring (I, II-4) Fall, Spring, Summer (I, II, S-2) enrolling in MUY 4-credit seminars for 3 Directed Study II: Required of Ph.D. Graduate Applied Music Lessons (half- credits. candidates in Musicology (and can be hour/week): Used to fulfill primary lesson taken only by them). Prerequisite: MUY 593. requirement for graduate students. ForFor MUY 591 students who enrolled in their current SEMINARS IN MUSICOLOGY graduate degree program prior to summer AND ETHNOMUSICOLOGY 2009, these lessons carry 2.5 credits per semester. Fall, Spring (I, II-4) Seminars in Musicology and

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4646 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** OB 460A coaching may be required outside the monologues and scenes studied in the PRIMARY OBOE normal weekly class meeting times. class. This course may not be substituted for Offered every fall semester. Opera Workshop 211 or 212. Prerequisites: 2 Fall, Spring (I, II-4) semesters of OP 209, 210; and/or permission Graduate Applied Music Lessons (one- OP 212 of instructor. Offered every other year. hour/week): Used to fulfill primary lesson requirement for graduate students. ForFor OPERA WORKSHOP II OP 215 students who enrolled in their current Spring (II-3) graduate degree program prior to summer Opera Workshop II: Study, through OPERA PERFORMANCE PROJECT 2009, these lessons carry 5 credits per exercises and performances of specific Fall, Spring (I, II - 1) semester. musical forms and acting techniques that Opera Performance Project: Participation aid the singing-actor in the dramatic and performance in Eastman Opera Opera presentation of all forms of lyric theater Theatre's fall and spring productions, 804 (from Baroque Opera to traditional Musical show and Special Projects. Primary Theater). Additional musical and dramatic meeting time is during the opera ensemble OP 209 coaching may be required outside the time (3:35 - 6:30 M, W, TH, F). May be INTRODUCTION TO LYRIC normal weekly class meeting times. substituted for 211-214 Opera Workshop THEATER I Offered every spring semester. with permission of opera coordinator. OP Fall (I-2) 215 (1 credits) and 216 (2 credits) may be Introduction to the Lyric Theater I: OP 213 repeated for additional credit. Introduces students to basic acting EARLY AMERICAN LYRIC OP 216 techniques and stage terminology that THEATRE SURVEY AND aid the singing-actor in dramatic OPERA PERFORMANCE PROJECT presentation on the lyric theater stage. PERFORMANCE PRACTICUM Fall, Spring (I, II-2) Character study through improvisation, Fall, Spring (I, II-1) Opera Performance Project: Participation observation, word association, sensory Early American Lyric Theater Survey and and performance in Eastman Opera recall, and pantomime. Special emphasis Performance Practicum: A study of early Theatre's fall and spring productions, 804 given to the interpretation of music and American Musical Theater and American show and Special Projects. Primary the use of the singing voice as a necessary Operetta. The survey will include a study of meeting time is during the opera ensemble part of character development. Applying the “Princess Theater Musicals,” with time (3:35 - 6:30 M, W, TH, F). Additional 20th century acting methods (Stanislavski emphasis given to the collaborative works outside class coaching’s and staging’s are and Meisner) to music sonorities and form is of Jerome Kern, P. G. Wodehouse and Guy required. May be substituted for 211-212 explored through class activities and Bolton. Works by Rodgers & Hart and early Opera Workshop with permission of opera exercises. An emphasis on the recitative Cole Porter will also be studied. A survey ofof coordinator. OP 215 (1 credits) and 216 (2 and text analysis (through monologue and American Operetta will include works by credits) may be repeated for additional dialogue scene presentation) may also be Victor Herbert and Sigmund Romberg. credit. offered. Offered every fall semester. Students will sing ballads and ensembles from the shows covered within the course. OP 220 OP 210 The course will culminate in a performance PERF TECHNIQUE SINGING- INTRODUCTION TO LYRIC of a scenes program or musical review of the works studied in the class. This course ACTOR THEATER II may not be substituted for Opera FallFall Spring (II-2) Workshop 211 or 212. Prerequisites: 2 Introduction to the Lyric Theater II: AA semesters of OP 209, 210; and/or permission OP 290 continuation of work of the first semester of instructor. Offered every other year.r. INDEPENDENT STUDY with added emphasis on characterr Fall, Spring development through group projects. OP 214 Special consideration given to auditioning THE PLAY WITHOUT MUSIC: OP 401 techniques. The semester focuses on SEMINAR IN LYRIC THEATER applying the various acting techniques PERFORMANCE PRACTICUM (covered in the first semester) to short FOR SINGERS STAGE DIRECTING musical structures and scenes, culminating Fall, Spring (I, II-1) Fall, Spring (I, II-2) in an informal presentation at the end of The Play Without Music: Performance Seminar in Lyric Theater Stage Directing: the semester. Offered every spring Practicum for Singers: Exploration and Study and practice of lyric theater stage semester. performance of monologues and scene direction. Stage terminology, stage design selected from spoken theater. The concepts, the study of historical directors OP 211 monologues and scenes study and and acting teachers, stage management OPERA WORKSHOP I rehearsed will be based on course principals, arts management, preparing a Fall (I-3) enrollment. The course will culminate in an conceptual proposal for a design team Opera Workshop I: Study, throughh informal workshop performance of material and staging a scene are components exercises and performances of specific studied and rehearsed during the covered within the course. Opera 401 musical forms and acting techniques that semester. Emphasis will be given toto and 402 may be repeated for additional aid the singing-actor in the dramatic contemporary theater (20th and 21st credit. presentation of all forms of lyric theater Century). Research and written (from Baroque Opera to traditional Musical assignments will be required. The course will Theater). Additional musical and dramatic culminate in an informal performance of ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4747 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** OP 402 the ‘Princess Theater Musicals’, with performance of arias and excerpts from SEMINAR IN LYRIC THEATER emphasis given to the collaborative works operatic literature. Through historical of Jerome Kern, P. G. Wodehouse and Guy research, character analysis, and dramatic STAGE DIRECTING Bolton. Works by Rodgers & Hart and early staging, the student prepares excerpts and Fall, Spring (I, II-3) Cole Porter will also be studied. A survey ofof arias from the OP 415 class for public Seminar in Lyric Theater Stage Directing: American Operetta will include works by performances. Special attention given to Study and practice of lyric theater stage Victor Herbert and Sigmund Romberg. the preparation of arias for professional direction. Stage terminology, stage design Students will sing ballads and ensembles auditions. Prerequisites: 2 semesters of OP concepts, the study of historical directors from the shows covered within the course. 209, 210; 2 semesters OP 211-214; and/or and acting teachers, stage management The course will culminate in a performance permission of instructor. principals, arts management, preparing a of a scenes program or musical review of conceptual proposal for a design team the works studied in the class. Prerequisites: OP 420 and staging a scene are components 2 semesters of OP 209, 210; and/or PERF TECHNIQUE SINGING- covered within the course. Students areare permission of instructor. Offered every ACTOR required to assist in the direction of Opera other year. Theatre productions or direct a scene in FallFall the opera workshop. Opera 401 and 402 OP 414 OP 490 may be repeated for additional credit. PERFORMANCE TECHNIQUES INDEPENDENT STUDY OP 410 FOR THE SINGING-ACTOR Fall, Spring OPERA PRODUCTION PROJECT: Fall, Spring (I, II 2) Performance Techniques for the Singing- STAGE MANAGEMENT OP 590 Actor: Study of performances discipliness INDEPENDENT STUDY Fall, Spring (I, II-2) that will aid and develop the lyric theater Fall, Spring Opera Production Project: Stage performer. The material covered in the Management: Study of basic concepts class will be tailored to specific students’ and procedures relevant to an opera needs within the voice and opera Orchestration stage manager. Students are required to department. This would include (but not participate as assistant stage managers for limited to): Specialized Diction Instruction, ORC 420 the Opera Theatre productions. Advanced Acting Instruction, Dance RPO PRACTICUM I Prerequisites: 2 semesters of OP 209, 210; 2 Instruction, Specialized Repertoire Survey, Spring semesters OP 211-214; and/or permission of Opera History Survey and Audition instructor. Techniques. Prerequisites: Permission of instructor and primary voice teacher. May ORC 420Z OP 411 not be repeated for credit. Offered everyery RPO PRACTICUM I OPERA WORKSHOP: FOR other year. Spring GRADUATE STUDENTS OP 415 Fall (I -1) ORC 421 Opera Workshop: For Graduate Students: OPERA REPERTOIRE RPO MANAGEMENT INTERNSHIP This course follows the same description as Fall (I-1) I the Opera Workshop 211 course. Permission Opera Repertoire: The practical study off of primary voice teacher and instructor operatic literature from Mozart to the Spring required. present day through the musical preparation of arias and scenes Organ OP 412 appropriate for the enrollment. Specific OPERA WORKSHOP: FOR attention is given to historic performance ORG 130 practice and the unique challenges of the SEC ORGAN GRADUATE STUDENTS lyric theater: stylistic interpretation of Fall, Spring, Summer (I, II, S-2) Spring (II - 1) accompanied and secco recitative, the Undergraduate Applied Music Lessons Opera Workshop: For Graduate Students: basics of vocal ornamentation as it applies (half-hour/week): Use to fulfill secondary This course follows the same description as to the stage, musical/ dramatic score instrument requirement or elective. the Opera Workshop 212 course. Permission analysis, etc. (Offered in the fall semester of primary voice teacher and instructor concurrently with OP 405 for pianists and ORG 160 required. designed to musically prepare singers for OP 416 in the spring semester.) Prerequisite: PRIMARY ORGAN OP 413 permission of instructor and voice teacher. Fall, Spring (I, II-4) EARLY AMERICAN LYRIC May be repeated for credit. Undergraduate Applied Music Lessons THEATER SURVEY AND OP 416 (one-hour/week): Use to fulfill primary PERFORMANCE PRACTICUM lesson requirement. ADVANCED OPERA SEMINAR: Fall, Spring (I, II-1) Early American Lyric Theater Survey and PERFORMANCE TECHNIQUES ORG 430 Performance Practicum: A study of early Fall (I-2) SEC ORGAN American Musical Theater and American Advanced Opera Seminar: Performance Fall, Spring, Summer (I, II, S-1.5) Operetta. The survey will include a study of Techniques: The study, preparation, and Graduate Applied Music Lessons (half-

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4848 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** hour/week): May be used as secondary PA 430 PCL 102 instrument elective credit or as part of a SEC PIANO PIANO CLASS II DMA minor. May not be used to fulfill major Fall, Spring, Summer (I, II, S-1.5) Fall, Spring lesson requirements, unless specificallylly Graduate Applied Music Lessons (half- Please type the following link into a required by the degree program. ForFor hour/week): May be used as secondary browser: students who enrolled in their current instrument elective credit or as part of a http://www.esm.rochester.edu/classpiano/ graduate degree program prior to summer DMA minor. May not be used to fulfill major pcl101/ 2009, these lessons carry 2 credits per lesson requirements, unless specificallylly semester. required by the degree program. ForFor PCL 103 students who enrolled in their current ORG 430A PIANO CLASS III graduate degree program prior to summer PRL 1/2 HR ORGAN Fall, Spring 2009, these lessons carry 2 credits per Please type the following link into a Fall, Spring, Summer (I, II, S-2) semester. browser: Graduate Applied Music Lessons (half- http://www.esm.rochester.edu/classpiano/ hour/week): Used to fulfill primary lesson PA 430A pcl101/ requirement for graduate students. ForFor PRL 1/2 HR PIANO students who enrolled in their current Fall, Spring, Summer (I, II, S-2) PCL 104 graduate degree program prior to summer Graduate Applied Music Lessons (half- PIANO CLASS IV 2009, these lessons carry 2.5 credits per hour/week): Used to fulfill primary lesson Fall, Spring semester. requirement for graduate students. ForFor Please type the following link into a students who enrolled in their current ORG 460 browser: graduate degree program prior to summer PRIMARY ORGAN: DAVIDSSON http://www.esm.rochester.edu/classpiano/ 2009, these lessons carry 2.5 credits per pcl101/ Fall, Spring (I, II-3) semester. Graduate Applied Music Lessons (one- PCL 105 hour/week): May be used as secondary PA 460 PIANO CLASS V instrument elective credit or as part of a PRIMARY PIANO Fall, Spring DMA minor. May not be used to fulfill Fall, Spring (I, II-3) Please type the following link into a major lesson requirements, unless Graduate Applied Music Lessons (one- browser: specifically required by degree program. hour/week): May be used as secondary http://www.esm.rochester.edu/classpiano/ For students who enrolled in their current instrument elective credit or as part of a graduate degree program prior to summer pcl101/ DMA minor. May not be used to fulfill 2009, these lessons carry 2 credits per major lesson requirements, unless PCL 106 semester. specifically required by degree program. PIANO CLASS VI For students who enrolled in their current ORG 460A Fall, Spring graduate degree program prior to summer Please type the following link into a PRIMARY ORGAN 2009, these lessons carry 2 credits per browser: Fall, Spring (I, II-4) semester. http://www.esm.rochester.edu/classpiano/ Graduate Applied Music Lessons (one- pcl101/ hour/week): Used to fulfill primary lesson PA 460A requirement for graduate students. ForFor PRIMARY PIANO students who enrolled in their current Pedagogy Fall, Spring (I, II-4) graduate degree program prior to summer Graduate Applied Music Lessons (one- 2009, these lessons carry 5 credits per PED 210 hour/week): Used to fulfill primary lesson semester. requirement for graduate students. ForFor HARP PEDAGOGY I students who enrolled in their current Fall (I-1) Piano graduate degree program prior to summer Harp Pedagogy: Fundamentals of harp 2009, these lessons carry 5 credits per technique, including the exploration of PA 130 semester. methods and repertory for teaching SEC PIANO harpists of all ages. (Required for undergraduate harp students in the junior Fall, Spring, Summer (I, II, S-2) Piano Class year but open to other harp students.) Undergraduate Applied Music Lessons (half-hour/week): Use to fulfill secondary PCL 101 PED 211 instrument requirement or elective. PIANO CLASS I HARP PEDAGOGY II Fall, Spring PA 160 Spring (II-1) Please type the following link into a Harp Pedagogy: Fundamentals of harp PRIMARY PIANO browser: technique, including the exploration of Fall, Spring (I, II-4) http://www.esm.rochester.edu/classpiano/ methods and repertory for teaching Undergraduate Applied Music Lessons pcl101/ harpists of all ages. (Required for (one-hour/week): Use to fulfill primary undergraduate harp students in the junior lesson requirement. year but open to other harp students.)

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 4949 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** PED 233 PED 262 PED 421 SUZUKI VIOLIN PEDAGOGY I PRACTICAL PIANO PEDAGOGY PEDAGOGY OF Fall (I-1) Spring (II-2) ACCOMPANYING Suzuki Violin Pedagogy I: Intensive study of Practical Piano Pedagogy: Spring (II-2) the concepts, philosophy, and approach • Course includes (a) examination of Pedagogy of Accompanying: Required of the Suzuki method. Thorough study ofof intermediate level piano literature; (b) class reading continues; observations continue; Books 1 and 2 of the Suzuki Violin School. piano teaching; teaching the adult business aspects; possibility of some Exploration of techniques of working with beginner; electronic keyboards and supervised teaching experience.e. parent and child at beginning and related technology; (c) jazz piano Prerequisite: permission of instructor and intermediate levels through observation of improvisation; how to teach and interpret PED 420. (Offered every 2-3 years.) Community Education Division Suzuki elementary to advanced jazz piano program. literature. PED 431

PED 234 PED 281 STRING PEDAGOGY & SUZUKI VIOLIN PEDAGOGY II VOICE PEDAGOGY I LITERATURE I Spring (II-1) Fall (I-1) Fall (I-2) Suzuki Violin Pedagogy II: Continuation ofof Voice Pedagogy I: Pedagogy of Solo String Pedagogy and Literature I: ForFor the study of concepts and teaching Voice. Fundamentals of voice production: graduate students in string performancee procedures appropriate to Books 3 and 4 posture, breath control, tone, diction. Class who wish to teach in private studio settings. (Suzuki Violin School). Pedagogy of participants will work directly with their own Topics covered will vary, but will include: technique and music reading. Continuing students. beginning to advanced sequenced music observation of Eastman School Suzuki literature, various string teaching methods, program, with practice teaching PED 282 evolution of the instrument's technique assignments. VOICE PEDAGOGY II over the past two-and-a-half centuries through players and composers, physical Spring (II-1) PED 235 aspects of playing and it's evolution. Voice Pedagogy II: Pedagogy of Solo HISTORY OF PERCUSSION Voice. Fundamentals of voice production: PED 432 Fall (I -2) posture, breath control, tone, diction. Class History of Percussion: "Percussion is to bebe participants will work directly with their own STRING PEDAGOGY & understood backwards but it must bebe students. LITERATURE II played forward." The history of percussion Spring (II-2) course is designed to provide historical PED 285 String Pedagogy and Literature II: ForFor knowledge of the major events in the PRINCIPLES OF STRING PLAYING graduate students in string performancee development of percussion from the & TEACHING I who wish to teach in private studio settings. beginning to the present with a look at the Topics covered will vary, but will include: Fall (I-2) future. beginning to advanced sequenced music Principles of String Playing and Teaching I: literature, various string teaching methods, Crosslisted as MUE 285, 286. PED 239 evolution of the instrument's technique over the past two-and-a-half centuries ORGAN PEDAGOGY PED 286 Fall, Spring (I, II-1) through players and composers, physical PRINCIPLES OF STRING PLAYING Organ Pedagogy: Required of organ aspects of playing and it's evolution. majors in the senior year and open to & TEACHING II graduate students. Offered alternate Spring (II-2) PED 433 years. Principles of String Playing and Teaching II: HISTORY OF STRING Crosslisted as MUE 285, 286. INSTRUMENTS, PLAYERS & PED 261 PRACTICAL PIANO PEDAGOGY PED 290 PEDAGOGUES Spring (II-2) Fall (I-2) INDEPENDENT STUDY History of String Instruments, Players and Practical Piano Pedagogy: • teaching the Fall, Spring Pedagogues: This course is designed for Beginning and Elementary level Student: graduate students in string performancee complete overview of beginning and PED 420 who wish to teach their instrument. Topics elementary level piano instruction, with an PEDAGOGY OF covered will include a history of the in-depth exploration of lesson interviews; ACCOMPANYING instruments and their development over goals for first lesson; lesson planning for firstfirst the past 400 years; instrument and bow month, and first term; practicing; Fall (I-2) makers and their innovations; famous musicianship; technique; supplementall Pedagogy of Accompanying: Establishing performers and their repertoire; music; practice suggestions; and administering courses or degree programs in sight reading and developments in technique over the years; • class presentations of Internet sites and contributions of famous pedagogues. related to Pedagogy/Piano topics accompanying; basic curricula and materials; required reading; observations; • class use of Blackboard Academic Suite creation of CV, bio and repertoire lists. Prerequisite: permission of instructor. (Offered every 2-3 years.)

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5050 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** PED 435 Graduate Practical Piano Pedagogy: InIn curriculum. Expectations for students HISTORY OF PERCUSSION addition to the coursework involved in 261- include the preparation of a teaching 262, graduate students would be portfolio with (1) audio and video Fall (I -2) responsible for one of the following recordings of teaching; (2) course History of Percussion: "Percussion is to bebe • in-depth analysis of current piano descriptions, outlines, syllabi; (3) sample understood backwards but it must bebe pedagogy curricula in various music-school assessment documents; (4) sample plans played forward." The history of percussion degree programs for teaching; and (5) written reports of course is designed to provide historical • creation of a pedagogy syllabus for one observation by the supervisor. Readings, knowledge of the major events in the semester, and two semesters sequences observations of teaching, and other development of percussion from the • construction of a personal teaching related experience may also be assigned beginning to the present with a look at the philosophy by the supervisor. future. • thorough examination of web sites PED 481 PED 440 devoted to piano pedagogy • the Independent studio teacher: SURVEY CHILD'S MUSICAL PRINCIPLES OF VOCAL Professional Studio Documents, Office PEDAGOGY DEVELOPMENT Technology, The Art of Performance, Fall (I-2) Fall (I-2) Setting Rates, Studio Recitals, Tuition and Principles of Vocal Pedagogy: Designed to Survey of Child's Musical Development: Payment Plans, Composition and advance the student's knowledge of thethe Overview of pertinent methods and Improvisation, Marketing, Communications structure and function of the vocal teaching aids from a child's early years with Parents, Make-up Policies, Zoning and mechanism. The class addresses issues of through High School that would help to Business Licenses, Teaching Materials and both performance and the teaching of provide a solid basis for the developing Learning Styles, The Art of Practice, Arts singing. Topics include exploring the music student, as well as knowledge to aid Funding. relationship of function to artistry, the teacher or parent guiding this student. PED 462 breathing, and coordination of vocal PED 451 GRADUATE PRACTICAL PIANO process, historic traditions, vocal health/longevity, and methods for self- RENAISSANCE LUTE LITERATURE PEDAGOGY evaluation, performance challenges, AND PEDAGOGY Spring (II-2) teaching skills and studio management. Fall (I-2) Graduate Practical Piano Pedagogy: InIn Prerequisite: PED 281-282, Undergraduate Renaissance Lute Literature and addition to the coursework involved in Vocal Pedagogy or its equivalent. Pedagogy: Literature and pedagogy for 261-262, graduate students would be lute and other plucked instruments from responsible for one of the following PED 482 the fourteenth through the sixteenth • in-depth analysis of current piano ADVANCED VOCAL centuries. Works will be performed from pedagogy curricula in various music-school original sources in French, Italian, degree programs PEDAGOGY Neapolitan, and German tablature, as well • creation of a pedagogy syllabus for one Spring (II-2) as mensural notation in all clefs. Major semester, and two semesters sequences Advanced Vocal Pedagogy: Seminar treatises of the period will be studied and • construction of a personal teaching discussions of selected readings and the playing techniques and performance philosophy practical application of the principles practices explored. Offered alternate • thorough examination of web sites discussed in PED 481 through supervised years. devoted to piano pedagogy teaching. Each member of the class will be • the Independent studio teacher: assigned two students, each of whom will PED 452 Professional Studio Documents, Office be taught one hour per week. A diary will BAROQUE LUTE LITERATURE AND Technology, The Art of Performance, be maintained recording the progress of Setting Rates, Studio Recitals, Tuition and the student and a typed summary from this PEDAGOGY Payment Plans, Composition and record will be turned in at the end of the Spring (II-2) Improvisation, Marketing, Communications semester. Twice during the semester, a PED Baroque Lute Literature and Pedagogy: with Parents, Make-up Policies, Zoning and 482 student will teach his or her student Literature and pedagogy for lute, archlute, Business Licenses, Teaching Materials and during class time with a discussion to follow. theorbo, and Baroque guitar in the Learning Styles, The Art of Practice, Arts In addition, each student will spend time in seventeenth and eighteenth centuries. Funding. the studios of several voice teachers, Works will be performed from original observing a lesson and then teaching the sources in French and Italian tablature, PED 471 student observed a minimum of thirty and guitar alfabeto, as well as from TEACHING INTERNSHIP minutes under the supervision of the studio mensural notation in all clefs. Major teacher. Prerequisite PED 481 or its Fall, Spring (I, II-2) treatises of the period will be studied and equivalent. Teaching Internship: This internship is the the playing techniques and performance culminating experience for candidates practices explored. Offered alternate PED 490 pursuing the Certificate in Collegiate years. and/or Community Music teaching. INDEPENDENT STUDY Fall, Spring PED 461 Individual teaching situations are arranged and a faculty supervisor is assigned. GRADUATE PRACTICAL PIANO Students must show competence in PED 590 PEDAGOGY teaching and demonstrate application of INDEPENDENT STUDY Fall (I-2) concepts presented in the certificate Fall, Spring ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5151 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Philosophy Simone de Beauvoir (1908-1986), and Percussion Albert Camus (1913-1960). In addition to studying their philosophical work, we will PHL 111 PRC 130 also look at their participation in the INTRO TO PHILOSOPHY I Resistance to German occupation during SEC PERCUSSION Fall (I-3) World War II, their responses to the Cold Fall, Spring, Summer (I, II, S-2) Introduction to Philosophy I: Introduction to War, their criticisms of the Algerian War and Undergraduate Applied Music Lessons some of the main problems, concepts, and the Vietnam War, and their contributions to (half-hour/week): Use to fulfill secondary figures in Western philosophy concerning twentieth-century socialist and feminist instrument requirement or elective. metaphysics, theory of knowledge, and movements. Readings include plays, ethics. Readings from Descartes, Ayer, novels, philosophical essays, and political PRC 160 Austin, Hume, Kant, and others. criticism. Taught in English. Cross-listed as FR PRIMARY PERCUSSION 272, HIS 272, WST 272. Fall, Spring (I, II-4) PHL 112 Undergraduate Applied Music Lessons INTRO TO PHILOSOPHY II PHL 281 (one-hour/week): Use to fulfill primary Spring (II-3) TOPICS IN PHILOSOPHY lesson requirement. Introduction to Philosophy: Introduction to Fall (I-3) some of the main problems, concepts, and Topics in Philosophy: Topics are chosen PRC 430 figures in Western philosophy concerning from both contemporary and historical SEC PERCUSSION metaphysics, theory of knowledge, and philosophy and vary from year to year. Fall, Spring, Spring (I, II, S-1.5) ethics. Readings from Descartes, Ayer, May be repeated for credit. Graduate Applied Music Lessons (half- Austin, Hume, Kant, and others. hour/week): May be used as secondary PHL 282 instrument elective credit or as part of a PHL 205 TOPICS IN PHILOSOPHY DMA minor. May not be used to fulfill major THE ANCIENT GREEKS Spring (II-3) lesson requirements, unless specificallylly Fall, Spring (I, II-3) Topics in Philosophy: Topics are chosen required by the degree program. ForFor The Ancient Greeks: Tragedy, Philosophy,y, from both contemporary and historical students who enrolled in their current and Politics: An examination of the major philosophy and vary from year to year. graduate degree program prior to summer ideas in Ancient Greek political thought, May be repeated for credit. 2009, these lessons carry 2 credits per from the early tragedians to Aristotle. semester. Topics may include the theory and Piccolo practice of democracy, justice, civil PRC 430A disobedience, conservatism, and the ideas PIC 130 PRL 1/2 HR PERCUSION of human inequality. Cross-listed as PSC 205 SEC PICCOLO Fall, Spring, Summer (I, II, S-2) Graduate Applied Music Lessons (half- PHL 209 Fall, Spring, Summer (I, II, S-2) hour/week): Used to fulfill primary lesson Undergraduate Applied Music Lessons POWER, VIOLENCE & VIRTUE requirement for graduate students. ForFor (half-hour/week): Use to fulfill secondary Fall, Spring (I, II-3) students who enrolled in their current instrument requirement or elective. Power, Violence, and Virtue: Themes in graduate degree program prior to summer early modern political thought: This course 2009, these lessons carry 2.5 credits per PIC 160 examines some of the core themes and semester. concepts in early modern political thought, PRIMARY PICCOLO from Machiavelli to Kant. Topics include Fall, Spring (I, II-4) PRC 460A the nature and origin of the state, the Undergraduate Applied Music Lessons PRIMARY PERCUSSION (one-hour/week): Use to fulfill primary proper role of state violence, pluralism, the Fall, Spring (I, II-4) lesson requirement. relationship between virtue and politics, Graduate Applied Music Lessons (one- and how one should evaluate the hour/week): Used to fulfill primary lesson PIC 430 legitimacy of a political order. Cross-listed requirement for graduate students. ForFor as PSC 209. SEC PICCOLO students who enrolled in their current Fall, Spring, Summer (I, II, S-1.5) graduate degree program prior to summer PHL 272 Graduate Applied Music Lessons (half- 2009, these lessons carry 5 credits per EXISTENTIALISM: SARTE, DE hour/week): May be used as secondary semester. BEAUVOIR & CAMUS instrument elective credit or as part of a DMA minor. May not be used to fulfill major Fall, Spring (I, II-3) Performance lesson requirements, unless specificallylly Existentialism: Sartre, De Beauvoir, and required by the degree program. ForFor Camus (in translation): Existentialism is aa PRF 290 students who enrolled in their current school of philosophy that stresses individual graduate degree program prior to summer INDEPENDENT STUDY choice even in the face of overwhelming 2009, these lessons carry 2 credits per Fall, Spring world circumstances. This course will focus semester. on three particularly important French PRF 490 figures, all writers who tried to put INDEPENDENT STUDY academic philosophy into action by their Fall, Spring decisions in personal life and political behavior: Jean-Paul Sartre (1905-1980), ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5252 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** PRF 590 how they conceptualize political power. Psychology INDEPENDENT STUDY Readings may include Karl Marx, Max Weber, Hannah Arendt, and Michel Fall, Spring PSY 111 Foucault. GENERAL PSYCHOLOGY PRF 596 PSC 230 Fall (I-3) DMA DISSERTATION PROJECT THE POLITICS OF POVERTY General Psychology: An introduction to Fall, Spring, Summer (I, II, S-credit to be the methods, aims, and achievements of Fall, Spring (I, II-3) arranged) psychology as an academic discipline. The Politics of Poverty: This course explores DMA Dissertation Project For Performance Clinical and experimental approaches, as the political conflicts that emerge over the & Literature majors. well as the range of psychological sub phenomenon of poverty in American disciplines, from cognition and perception politics. Topics include the ways in which to abnormal psychology and personality Political Science the figure of the poor is depicted and theory are considered. contested in political life, the theory and PSC 205 practice of the welfare state, and the PSY 112 THE ANCIENT GREEKS various controversies over how to solve the Fall, Spring (I, II-3) problem of poverty. EDUCATIONAL PSYCHOLOGY The Ancient Greeks Tragedy, Philosophy, Spring (II-3) and Politics: An examination of the major PSC 240 Educational Psychology: This course willl ideas in Ancient Greek political thought, DEMOCRATIC THEORY focus on theories of child development, learning, and motivation, building on from the early tragedians to Aristotle. Fall, Spring (I, II-3) concepts introduced in the general Topics may include the theory and Democratic Theory: This course psychology course. Students will explore a practice of democracy, justice, civil investigates some of the key questions variety of theories and apply them to disobedience, conservatism, and the ideas democratic practice: what is democracy educations situations to achieve a deeper of human inequality. Cross-listed as PHL 205 and why is democracy such a valuable understanding of how children develop as form of social organization? In exploring learners. The course will center on a range PSC 209 these questions, we will examine the of concepts, both cognitive and social, POWER, VIOLENCE & VIRTUE meaning and value of the concepts of and on ways students might use these to Fall, Spring (I, II-3) majority rule, the common good, individual become more insightful, sensitive, and Power, Violence, and Virtue: Themes in rights, the need for homogeneity or skilled as educators. Prerequisite: PSY 111 early modern political thought: This course diversity, and popular sovereignty. examines some of the core themes and Readings may include Rousseau, Burke, PSY 281 concepts in early modern political thought, Tocqueville, J.S. Mill, Carl Schmitt, and from Machiavelli to Kant. Topics include other more contemporary political thinkers. TOPICS IN PSYCHOLOGY the nature and origin of the state, the Fall (I-3) proper role of state violence, pluralism, the PSC 274 Topics in Psychology: Study of a particular relationship between virtue and politics, HANNAH ARENDT area of psychology, such as Behavioral Management, The Unconscious Revolution: and how one should evaluate the Fall, Spring (I, II-3) Rousseau to Freud, or Group Dynamics. To legitimacy of a political order. Cross-listed Hannah Arendt: This course studies the life, be offered once each year. May be as PHL 209. world, and work of Hannah Arendt (1906- repeated for credit. Prerequisites: PSY 111, 1975), one of the most important political 112. PSC 210 philosophers of the twentieth century, with MARX, DOSTOEVSKY, a special focus on her interpretations of the PSY 282 NIETZSCHE, & FREUD American, French, and Russian Revolutions, the Second World War, the Holocaust, and TOPICS IN PSYCHOLOGY Fall, Spring (I, II-3) the international political, social, and Spring (II-3) Marx, Dostoevsky, Nietzsche, and Freud: cultural events of 1968. Cross-listed as HIS Topics in Psychology: Study of a particular This course investigates some of the core 274. area of psychology, such as Behavioral thinkers in 19th century political thought. Management, The Unconscious Revolution: Topics may include the idea of historical PSC 281 Rousseau to Freud, or Group Dynamics. To progress, the role of reason and the “loss of be offered once each year. May be the sacred”• in modern life, and the TOPICS IN POLITICAL SCIENCE repeated for credit. Prerequisites: PSY 111, relationship between universal principles Fall (I-3) 112. (human rights, democracy) and the Topics in Political Science: Political Science problematic aspects of modern life topics vary from year to year. May be (capitalist exploitation, slavery, and repeated for credit. Study Abroad colonialism, for instance). PSC 282 SAB 200 PSC 220 TOPICS IN POLITICAL SCIENCE STUDY ABROAD THE CONCEPT OF POWER Spring (II-3) Fall, Spring (I, II-16 credits for undergrad Fall, Spring (I, II-3) Topics in Political Science: Political Science students) The Concept of Power: This course topics vary from year to year. May be Eastman Conservatory Exchange Program: introduces some of the main figures in repeated for credit. The Conservatory Exchange Program social theory by way of an investigation of enables students to spend a year studying at a leading European conservatory in ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5353 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** Freiburg, London, Lyon, Paris, or Vienna. SAX 460 course also includes a comprehensivee Students will receive credit and pay tuition PRIMARY SAXOPHONE survey of Christian hymnody. to Eastman, but will receive free tuition at Fall, Spring (I, II-3) the host school. Requires permission of the SMU 408 Graduate Applied Music Lessons (one- Dean of Academic Affairs; apply by hour/week): May be used as secondary PERSPECTIVES IN SACRED MUSIC November 1. instrument elective credit or as part of a Spring (II-2) DMA minor. May not be used to fulfill Perspectives in Sacred Music: These SAB 400 major lesson requirements, unless courses focus on the history, function, and STUDY ABROAD specifically required by degree program. future of liturgical music in the Christian Fall, Spring (I, II-12 credits for grad students) For students who enrolled in their current Church by examining theological, Eastman Conservatory Exchange Program: graduate degree program prior to summer liturgical, historical, and philosophical issues The Conservatory Exchange Program 2009, these lessons carry 2 credits per pertaining to the practice of sacred music. enables students to spend a year studying semester. Students will explore both church year and at a leading European conservatory in lectionary as contextual parameters for the Freiburg, London, Lyon, Paris, or Vienna. SAX 460A function of music within the liturgy. The Students will receive credit and pay tuition PRIMARY SAXOPHONE course also includes a comprehensivee to Eastman, but will receive free tuition at survey of Christian hymnody. Fall, Spring (I, II-4) the host school. Requires permission of the Graduate Applied Music Lessons (one- Dean of Academic Affairs; apply by SMU 410 hour/week): Used to fulfill primary lesson November 1. requirement for graduate students. ForFor SCHOLA CANTORIUM students who enrolled in their current Fall, Spring (I, II-1) Saxophone graduate degree program prior to summer Schola Cantorum: This singing group 2009, these lessons carry 5 credits per specializes in Gregorian chant, renaissance SAX 130 semester. polyphony, and choral improvisation, and SEC SAXOPHONE also performs romantic and contemporaryry music. Performance practice issues are Fall, Spring, Summer (I, II, S-2) Sacred Music approached as an aesthetic system of Undergraduate Applied Music Lessons possibilities that generates expressive music (half-hour/week): Use to fulfill secondary SMU 210 making through informed choices. Students instrument requirement or elective. SCHOLA CANTORUM expand their listening, reading, and Fall, Spring (I, II-1) SAX 160 performance skills through rehearsals and Schola Cantorum: This singing group subsequent public performance each PRIMARY SAXOPHONE specializes in Gregorian chant, renaissance week, singing the weekly Office of Fall, Spring (I, II-4) polyphony, and choral improvisation, and Compline at Christ Church on Sunday Undergraduate Applied Music Lessons also performs romantic and contemporaryry evenings at 9:00 p.m. (October through (one-hour/week): Use to fulfill primary music. Performance practice issues are April). Rehearsals are Sunday evenings lesson requirement. approached as an aesthetic system of from 7:30 - 8:45 p.m. (rehearsals begin at possibilities that generates expressive music 7:00 p.m. on first Sundays of the month) SAX 430 making through informed choices. Permission of instructor Stephen Kennedy SEC SAXOPHONE Students expand their listening, reading, required following audition. Fall, Spring, Summer (I, II, S-1.5) and performance skills through rehearsals Graduate Applied Music Lessons (half- and subsequent public performance each SMU 471 hour/week): May be used as secondary week, singing the weekly Office of SACRED MUSIC INTERNSHIP instrument elective credit or as part of a Compline at Christ Church on Sunday Fall (I-1) evenings at 9:00 p.m. (October through DMA minor. May not be used to fulfill major Sacred Music Internship: Students in the April). Rehearsals are Sunday evenings lesson requirements, unless specificallylly internship will normally be employed in a from 7:30 - 8:45 p.m. (rehearsals begin at required by the degree program. ForFor church music position in the greater 7:00 p.m. on first Sundays of the month) students who enrolled in their current Rochester area. For those students who do graduate degree program prior to summer Permission of instructor Stephen Kennedy not seek a paid position, placement as an required following audition. 2009, these lessons carry 2 credits per intern in a large, local congregation is semester. required. The internship is intended to SMU 407 provide students with opportunities to SAX 430A PERSPECTIVES IN SACRED MUSIC apply knowledge and skills under the PRL 1/2 HR SAXOPHONE Fall (I-2) guidance of faculty members teaching in Fall, Spring, Summer (I, II, S-2) Perspectives in Sacred Music: These organ, sacred music, conducting, and Graduate Applied Music Lessons (half- courses focus on the history, function, and music education. The internship may hour/week): Used to fulfill primary lesson future of liturgical music in the Christian include service playing, directing choirs, requirement for graduate students. ForFor Church by examining theological, administration, and working as a member students who enrolled in their current liturgical, historical, and philosophical issues of a team ministry. Students, with the graduate degree program prior to summer pertaining to the practice of sacred music. assistance of the professor of Sacred Music, 2009, these lessons carry 2.5 credits per Students will explore both church year and will set individualized plans/goals of study semester. lectionary as contextual parameters for the for the internship. Each student can expect function of music within the liturgy. The to be observed at least twice per semester by the faculty mentors, and can expect to

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5454 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** participate in regular colloquia on current Trombone 2009, these lessons carry 5 credits per issues in church music. semester.

TBN 130 SMU 472 SEC ALTO TROMBONE Theory SACRED MUSIC INTERNSHIP Fall, Spring, Summer (I, II, S-2) Spring (II-1) TH 101 Undergraduate Applied Music Lessons Sacred Music Internship: Students in the (half-hour/week): Use to fulfill secondary MODEL COMPOSITION AND internship will normally be employed in a instrument requirement or elective. church music position in the greater TONAL ANALYSIS I Rochester area. For those students who do Fall (I-2) TBN 160 not seek a paid position, placement as an Model Composition and Tonal Analysis I: intern in a large, local congregation is PRIMARY TROMBONE This course is an introduction to the vertical required. The internship is intended to Fall, Spring (I, II-4) and linear dimensions of tonal music. After provide students with opportunities to Undergraduate Applied Music Lessons a review of musical fundamentals, in which apply knowledge and skills under the (one-hour/week): Use to fulfill primary students will be expected to demonstrate guidance of faculty members teaching in lesson requirement. facility and speed in naming and spelling organ, sacred music, conducting, and basic tonal materials, the course will music education. The internship may TBN 430 introduce traditional contrapuntal include service playing, directing choirs, SEC ALTO TROMBONE exercises, basic diatonic harmony, and the administration, and working as a member Fall, Spring, Summer (I, II, S-1.5) paradigmatic construction of formal of a team ministry. Students, with the Graduate Applied Music Lessons (half- phrase units. A major concern of this assistance of the professor of Sacred Music, hour/week): May be used as secondary course is the relationship between will set individualized plans/goals of study instrument elective credit or as part of a harmonic, contrapuntal, and formal for the internship. Each student can expect DMA minor. May not be used to fulfill major prototypes and actual pieces of music to be observed at least twice per semester lesson requirements, unless specificallylly from the 18th and 19th centuries. by the faculty mentors, and can expect to required by the degree program. ForFor TH 101H participate in regular colloquia on current students who enrolled in their current issues in church music. graduate degree program prior to summer MODEL COMPSITION AND 2009, these lessons carry 2 credits per TONAL ANALYSIS I: HONORS semester. Strings FallFall

TBN 430A STR 101 TH 102 HARP TECHNIQUE I PRL 1/2 HR TROMBONE MODEL COMPOSITION AND Fall, Spring, Summer (I, II, S-2) Fall (I-1) Graduate Applied Music Lessons (half- TONAL ANALYSIS II Harp Technique I: A course foror hour/week): Used to fulfill primary lesson Spring (II-2.5) undergraduate harpists in the freshman requirement for graduate students. ForFor Model Composition and Tonal Analysis II: InIn year. Harp technique, and its practicall students who enrolled in their current this course — — the second semester of the application to the demands of solo, graduate degree program prior to summer undergraduate theory sequence — — we will chamber, and orchestral literature, will be 2009, these lessons carry 2.5 credits per continue the study of tonal harmony and studied at the instrument. This course is voice leading, both through written work designed to strengthen and enhance semester. and analysis. We will continue to focus existing technique. Topics to be covered TBN 460 mostly on diatonic harmony (chords include arpeggios, irregular fingering available within the prevailing key); patterns, tone production, and tuning. PRIMARY TROMBONE however, we will also begin to explore Fall, Spring (I, II-3) techniques of tonicization and modulation STR 102 Graduate Applied Music Lessons (one- (moves to different keys). In the second hour/week): May be used as secondary HARP TECHNIQUE II half of the semester we will learn about instrument elective credit or as part of a Spring (II-1) some new forms: binary, ternary, and DMA minor. May not be used to fulfill Harp Technique II: A course foror theme-and-variations. As a final major lesson requirements, unless undergraduate harpists in the freshman composition project, every student will specifically required by degree program. year. Harp technique, and its practicall write a minuet for string quartet in Classical For students who enrolled in their current application to the demands of solo, style, which will be performed by students graduate degree program prior to summer chamber, and orchestral literature, will be in the class. 2009, these lessons carry 2 credits per studied at the instrument. This course is semester. designed to strengthen and enhance TH 102H existing technique. Topics to be covered TBN 460A MODEL COMP/TONAL ANAL II: include arpeggios, irregular fingering patterns, tone production, and tuning. PRIMARY TROMBONE HONORS Fall, Spring (I, II-4) Spring Graduate Applied Music Lessons (one- hour/week): Used to fulfill primary lesson requirement for graduate students. ForFor students who enrolled in their current graduate degree program prior to summer ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5555 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** TH 102I TH 161I day. The course is divided into four units: 1. MODEL COMP/TONAL ANAL II: AURAL MUSICIANSHIP I: The Romantic Style: Harmony, Form and Texture; 2. 19th-century chromatic INTENSIVE INTENSIVE harmony; 3. tonality at the turn of the 20th Spring FallFall Century; 4. introduction to jazz harmony. There will be one compositional project: TH 117 TH 162 students will compose either a 19-century THEORY, ANALYSIS, AURAL MUSICIANSHIP II style Lied, or a "character piece" for piano, MUSICIANSHIP REVIEW Spring (II-1.5) or for solo instrument with piano Aural Musicianship II: In this second course accompaniment. Fall (I -1.5) in the aural musicianship sequence, Theory, Analysis, Musicianship Review: The students will complete their aural TH 202H first semester of an accelerated review understanding of diatonic harmony, will course designed for graduate students MODEL COMPOSITION AND expand their improvisatory capabilities, will who are found to be deficient on thethe TONAL ANALYSIS IV: HONORS experience simple modulations, and will entrance theory placement examination. Spring master most of the rhythmic gestures With a focus on eighteenth-centuryury necessary for performance of Renaissance diatonic procedures, the course integrates TH 202J and common-practice European art conceptual and aural components of music. Alto clef will be introduced with HISTORY, ANALYSIS, AND music theory, including writing, analysis, emphasis on rapid and accurate reading, listening, singing, keyboard, and model THEORY OF EARLY JAZZ along with associated transpositions. AllAll improvisation. Spring (II-2.5) harmonic, melodic, rhythmic, and formal History, Analysis, and Theory of Early Jazz TH 118 procedures build on materials mastered in (1900-1940): A comprehensive study of THEORY, ANALYSIS, TH161. early jazz styles (Ragtime, New Orleans, Swing), their most significant TH 162H MUSICIANSHIP REVIEW representatives (Armstrong, Morton, Spring (II - 1.5) AURAL MUSICIANSHIP II: Ellington, among others) and their various Theory, Analysis, Musicianship Review: HONORS contributions to the development of The second semester of an accelerated modern jazz. Major emphases will include Spring course designed for graduate students examination of formal design, tonal syntax, who are found to be deficient on thethe TH 162I improvisation techniques, and harmonic entrance theory placement examination. AURAL MUSICIANSHIP II: vocabulary using several analytical and With a focus on late eighteenth- and early contextual perspectives.TH 202J is required nineteenth-century chromatic procedures, INTENSIVE for undergraduate JCM majors in place of the course integrates conceptual and Spring TH 202. Non-jazz majors may NOT use this aural components of music theory, course to fulfill their TH 202 requirement. including writing, analysis, listening, singing, TH 201 However, they may take it as an elective keyboard, and model improvisation. Please MODEL COMPOSITION AND with the instructor's permission. note that students must pass TH 118 before they will be allowed to register for a 400- or TONAL ANALYSIS III TH 205 500-level theory course FallFall MODEL COMPOSITION AND

TH 161 TH 201H NON-TONAL ANALYSIS AURAL MUSICIANSHIP I MODEL COMPOSITION AND Fall (I-4) Model Composition and Non-Tonal Fall (I-2) TONAL ANALYSIS III: HONORS Analysis: This course combines a survey of Aural Musicianship I: The primary goal of FallFall non-tonal compositional styles with aural musicianship study at the Eastman advanced musicianship exercises focusing School of Music is instant, one-to-one TH 202 on the relevant repertoire. Analysis and mapping of sound to symbol. In other MODEL COMPOSITION AND model composition assignments will words, musicianship training enables address aspects of pitch-class set and musicians to put the right notes in the right TONAL ANALYSIS IV serial theory, as well as other techniques place with the right expression. The first Spring (II-2.5) developed by composers from about 1880 course in the sequence will emphasize Model Composition and Tonal Analysis IV: to the present day. Pre-requisite: TH 202 strategies for accurate and expressive Semester IV of the Eastman four-semester and 262 or placement by examination. reading, improvising, singing, and dictation core curriculum is a course in harmony and Category: Theory using elementary rhythms and diatonic analysis that moves from early nineteenth- pitch materials in treble and bass clefs. century tonal practice to the forms that TH 205J "tonality" took in the late nineteenth and TH 161H early twentieth centuries. The later forms of ANALYSIS AND THEORY OF AURAL MUSICIANSHIP I: tonality began to take full advantage of CONTEMPORARY MUSIC AND the equally-tempered, twelve-tone scale, HONORS as does jazz harmony, and thus the course JAZZ FallFall will conclude with an introduction to jazz Fall (I-4) harmony, where many of these "extended- Analysis and Theory of Contemporaryry tonal" techniques survive to the present Music & Jazz: This course offers a ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5656 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** comprehensive study of contemporaryary Baroque style, but with work in later asymmetrical meters, and music that music and jazz with an in-depth eighteenth- and early nineteenth-century changes meter asymmetrically. Category: examination of compositional styles, styles as well. Review of chorale setting, Theory analytical methods, improvisation writing of chorale preludes and variations, techniques, and advanced harmony. This inventions and suite movements, TH 262H course is required for undergraduate Jazz introduction to fugue. Relevant analysis MUSICIANSHIP IV: HONORS and Contemporary Media (JCM) majors provides context for compositional study. Spring only, to be taken during junior or senior Prerequisite: TH 202. year. Recommended for undergraduate TH 262J theory majors. Others may take the course TH 260 JAZZ AURAL MUSICIANSHIP IV with permission of the instructor. MUSIC AND THE MIND Spring (II-1.5)) Spring (II-3) Jazz Aural Musicianship IV: TH 262J is TH 212 Music and the Mind: An introduction to the required for undergraduate JCM majors in ACOUSTICS discipline of music cognition. Topics place of TH 262. Non-jazz majors may NOT Fall (I-3, alternate years) surveyed include empirical methods, use this course to fulfill their TH 262 Acoustics: An introductory course in the psycho-acoustic principles, influence of requirement. However, they may take it as physical properties of sound, including Gestalt psychology, music and language, an elective with the instructor's permission. vibrating systems, wave propagation, room metric and tonal hierarchies, music and acoustics, tuning and temperament, the the brain, aspects of musical development, TH 281 psychology of hearing, the physics of and research on musical memory, SPECIAL TOPICS IN MUSIC musical instruments and the voice, digital expectation, and emotion. Lecture and synthesis and recording, and computer discussion format, with exams and final THEORY manipulation of sound. Prerequisite: THTH literature-review research paper. Cross- Fall (I-3) 202. May not be used as a listed as TH 460. Pre-requisite: TH 101 or MUR Special Topics in Music Theory: Theory humanities/science elective. 110 or 111. topics vary from year to year. May be repeated for credit. TH 241 TH 261 COMPUTER APPLICATIONS IN AURAL MUSICIANSHIP III TH 282 SPECIAL TOPICS IN MUSIC MUSIC RESEARCH Fall (I-1.5) Aural Musicianship III: In this, the thirdird Fall, Spring (I, II-3 alternate years) Computer THEORY course in the aural musicianship curriculum, Applications in Music Research: AnAn Spring (II-3) students will continue to build on skills introduction to computer programming Special Topics in Music Theory: Theory acquired in the earlier courses. New and data mining for music research. topics vary from year to year. May be material in this course emphasizes tenor Course topics will include object-oriented repeated for credit. clef and its associated transpositions, a programming in C++, Java, and Javascript, systematic introduction to chromatic data structure definition and manipulation, TH 285 processes in tonal music, various problems information theory, and topics from COMPREHENSION AND associated with changing meter signatures computer science and the computer and polyrhythms, and perception of tonal ANALYSIS music literature. Prerequisite: A basic processes in complete movementss Spring (II-3) familiarity with computers. Student unsure composed in larger forms. Comprehension and Analysis: An analysis about their level of experience with seminar required for undergraduate theory computers should meet with the instructor TH 261H majors, and open to all undergraduates. (If before enrolling in this course. May be used taken by a non-theory major, this course as a humanities/science elective. AURAL MUSICIANSHIP III: satisfies the requirement for an upper- HONORS division music academic elective course.) TH 251 FallFall The course incorporates readings and COUNTERPOINT I analytical procedures from wide-ranging TH 262 Fall (I-3) sources. The focus of the course is on the Counterpoint I: A course in modal AURAL MUSICIANSHIP IV analysis of large tonal and post-tonal counterpoint, focusing on the study of two- Spring (II-1.5) works. The coursework culminates in a three- and four-part compositional Aural Musicianship IV: In this, the fourth large-scale analytical project. Prerequisite: techniques. Writing is primarily in the sacred course in the aural musicianship curriculum, TH 205 (fifth semester of the theory core) styles, but some work in secular styles may students will complete their formal studies be undertaken. Analysis of masterpieces of of common-practice tonal relationships TH 290 the sixteenth-century repertory provides and begin exploration of post-tonal idioms. INDEPENDENT STUDY context for compositional study. In addition, students will learn audiation Fall, Spring Prerequisite: TH 202. strategies for tonal vernacular music from post-1900. Facility in five clefs and score TH 295 TH 252 reading techniques will be stressed, along SENIOR THESIS COUNTERPOINT II with an examination of multiple strategies Fall, Spring (I, II-3) Spring (II-3) for successfully learning and notating Senior Thesis: This two-semester course is Counterpoint IIL: A course in tonal highly chromatic music. Students will also designed as preparation for graduate counterpoint, focusing primarily on the learn to read and perform music in school in music theory. To accomplish ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5757 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** this, the first semester will focus on TH 411 TH 441 bibliographic and research skills, with the INTRODUCTION TO THEORY & COMPUTER APPLICATIONS IN goal that students will develop a topic, thesis, and proposal for their senior thesis ANALYSIS TONAL MUSIC MUSIC RESEARCH project. In the second semester, students Fall (I-3) Fall, Spring (I, II-3, alternate years) will complete work on their undergraduate Introduction to Theory and Analysis of Tonal Computer Applications in Music Research: thesis. Students will present and discuss Music: Introduction to the theories of An introduction to computer programminging their work in class. Various members of the Heinrich Schenker and their application to and data mining for music research. department serve as the primary advisors the analysis of tonal music. Intensive Course topics will include object-oriented for the thesis projects; the instructor of thethe analytical work and selected readings. programming in C++, Java, and Javascript,, thesis course will serve as the second Prerequisite: at least one upper-level data structure definition and manipulation, reader. Prerequisite: TH 285 undergraduate form and analysis course. information theory, and topics from Comprehension and Analysis. Open to DMA, MM, MA, and qualified computer science and the computer undergraduates by permission. music literature. For TH 441 additional TH 400 programs and readings beyond the SURVEY OF ANALYTICAL TH 412 specifications for TH 241 are required. ACOUSTICS Prerequisite: A basic familiarity with TECHNIQUES Fall (I-3, alternate years) computers. Student unsure about their Fall, Spring (I, II-3) Acoustics: An introductory course in the level of experience with computers should Analytical Techniques: An introduction to physical properties of sound, including meet with the instructor before enrolling in the basic techniques of both tonal and vibrating systems, wave propagation, room this course. non-tonal repertories designed with the acoustics, tuning and temperament, the particular needs of the performance major psychology of hearing, the physics of TH 451 in mind. The course introduces students to musical instruments and the voice, digital COUNTERPOINT I a broad range of techniques of analysis synthesis and recording, and computer Fall (I-3) and insofar as possible, their implications manipulation of sound. A research paper Modal Counterpoint: Study of the practiceice for performance. Short assignments and on an approved topic is required. of sixteenth-century modal counterpoint. papers explore the basic analytical Prerequisite: TH 202. Students who have Includes development of written skills literature and evaluate the results of received credit for TH 212 may not enroll in through species counterpoint, and study of various analytical techniques. this course. stylistic counterpoint as found in the sacred vocal polyphony of such masters of the TH 401 TH 421 period as Palestrina, Victoria, and Lasso. TOPICS IN TONAL LITERATURE PEDAGOGY OF THEORY Composition of two-, three-, and four-voice AND ANALYSIS Fall, Spring (I, II-3) pieces in counter-Reformation style. Fall, Spring (I, II-3)) Pedagogy of Theory: A course in thehe Topics in Tonal Literature and Analysis: ThisThis materials, organization, techniques, and TH 452 course introduces and explores analytical problems of the first two years of theory EIGHTEENTH-CENTURY techniques and issues relevant to the teaching, designed for DMA students. COUNTERPOINT traditional tonal musical literature, Bibliographical survey of texts and sample Spring (II-3) addressing as well the performance teaching. Observation and teaching of Eighteenth-Century Counterpoint: Study of implications of analytical decisions insofar freshman and sophomore classes. contrapuntal practice of the mature and as possible. The course deals with the late Baroque periods, with emphasis analysis of various musical dimensions in a TH 422 on the style of J.S. Bach. Composition of core repertoire that will vary from semester PEDAGOGY OF THEORY: two-, three-, and four-voice chorale to semester. Topics include meter/ rhythm, ADVANCED preludes, binary dances, inventions, and harmonic syntax, motivic structure, deeper- fugues. level linear structure, formal processes, and Spring text/music relationships. TH 431 TH 460 TH 402 SEMINAR IN ANALYSIS & MUSIC AND THE MIND TOPICS IN NON-TONAL MUSIC PERFORMANCE Spring (II-3) Music and the Mind: An introduction to the Fall, Spring (I, II-3) LITERATURE AND ANALYSIS discipline of music cognition. Topics Seminar in Analysis and Performance: ThisThis Fall, Spring (I, II-3) surveyed include empirical methods, course deals primarily with the relationship Topics in Non-Tonal Music Literature and psycho-acoustic principles, influence of between analysis and performance Analysis: This course introduces and Gestalt psychology, music and language, decisions. It also draws upon the history of explores a broad range of analytical metric and tonal hierarchies, music and performance practice, contemporaneous techniques and issues relevant to non-tonal the brain, aspects of musical development, sources on the subject, and comparative music. The course deals with the analysis of and research on musical memory, evaluation of recorded performances. various musical dimensions in a core expectation, and emotion. Lecture and Specific works studied are determined by repertoire that will vary from semester to discussion format, with exams and final the instructor in consultation with the semester. Topics include meter/ rhythm, literature-review research paper. Cross- students. A major analysis of an approved harmonic syntax, motivic structure, deeper- listed as TH 260. Pre-requisite: TH 101 or MUR work is required. Prerequisite: TH 400 or thehe level linear structure, formal processes, and 110 or 111 equivalent. text/music relationships. ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5858 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** TH 471 figured bass, score reading with emphasis TH 511 APPRENTICESHIP IN PEDAGOGY on C-clefs, transposition, modulation, and INTRODUCTION TO THEORY & improvisation. All students are expected to Fall (I-1) perform weekly assignments at the ANALYSIS TONAL MUSIC Apprenticeship in Pedagogy: A two- keyboard. Prerequisites: TH 475 or Fall (I-4) semester student-mentor relationship in equivalent. An audition with the instructor, Introduction to Theory and Analysis of Tonal which the student will learn first-hand to be scheduled during the first week of Music: Introduction to the theories of about the workings of the undergraduate spring semester, is required of all students. Heinrich Schenker and their application to curriculum and then design a project. In Instructor's signature required. the analysis of tonal music. Intensive the first semester, the student will observe analytical work and selected readings. each of the undergraduate core courses TH 480 Prerequisite: at least one upper-level and keep a journal which reflects self- undergraduate form and analysis course. awareness of pedagogical technique and ADVANCED HARMONY & Preference given to Ph.D. Candidates; MA, materials. The student will submit a written COMPOSITION MM, and DMA candidates should take summary of each of the c. 30 observations Fall (I-3) TH411. at the end of the semester. In the second Advanced Harmony and Composition: AA semester, the student will create, design, course that seeks to build a bridge TH 513 and craft an original project that focuses between undergraduate theory studies INTRODUCTION TO THE THEORY on some pedagogical aspect of the and composition. The advanced material written or aural curricula. A teaching recital in Aldwell/Schacter, "Harmony and Voice- & ANALYSIS OF 20TH CENTURY and a skills exam are also required as final leading," furnishes a point of departure for MUSIC projects for TH 472. Open only to M.A. in the course. Assignments begin with melody Spring (II-4) Theory Pedagogy majors. harmonization but lead quickly into Introduction to the Theory and Analysis of sophisticated chorale settings. More Twentieth-Century Music: Introduction to TH 472 advanced compositional projects include the theory and analysis of non-tonal music. APPRENTICESHIP IN PEDAGOGY text setting in Lieder styles of the later Topics include cyclic, set, serial, contour, Spring (II-2) nineteenth century or composition of short and transformational theories. Apprenticeship in Pedagogy: A two- "character" pieces. (Primarily for Theory semester student-mentor relationship in majors. Available as an elective for other TH 520 which the student will learn first-hand students with permission of the instructor.) PROSEMINAR IN ANALYSIS OF about the workings of the undergraduate curriculum and then design a project. In TH 481 EARLY MUSIC the first semester, the student will observe SPECIAL TOPICS IN MUSIC Spring (II-4, alternate years) each of the undergraduate core courses Proseminar in Analysis of Early Music: THEORY and keep a journal which reflects self- Study and application, in seminar format, awareness of pedagogical technique and Fall (I-3) of analytical techniques appropriate to the Special Topics in Music Theory: A variety of materials. The student will submit a written music of the fourteenth through the early analytical and theoretical topics of summary of each of the c. 30 observations seventeenth centuries. Includes critical changing focus. Specific topics and at the end of the semester. In the second discussion of analytical methodologies, instructors to be announced in advance. semester, the student will create, design, selective survey of the analytical literature, and craft an original project that focuses May be repeated for credit. and analysis of representative composers on some pedagogical aspect of the from the Ars Nova to Monteverdi. TH 481A written or aural curricula. A teaching recital Knowledge of music history and literature and a skills exam are also required as final WEBSITE CONSTRUCTION I of this period is presumed. Familiarity with projects for TH 472. Prerequisites: Open Summer techniques of linear analysis is desirable. only to M.A. in Theory Pedagogy majors. Weekly reading assignments, analytical TH 482 assignments, class presentations, research TH 475 SPECIAL TOPICS IN MUSIC paper. Prerequisite: TH 401 or TH 511 oror permission of instructor. INTERMEDIATE KEYBOARD SKILLS THEORY Fall (I-3) Spring (II-3) TH 521 Intermediate Keyboard Skills: Practical Special Topics in Music Theory: A variety of PEDAGOGY OF THEORY experience in score reading, figured bass analytical and theoretical topics of Fall, Spring (I, II-4) realization, transposition, melody changing focus. Specific topics and Pedagogy of Theory: The materials, harmonization, and pop symbols. All instructors to be announced in advance. organization, techniques, and problems of students are expected to perform weekly May be repeated for credit. assignments at the keyboard. undergraduate theory teaching, designed for Ph.D. students in theory who will be Prerequisites: TH 202 or equivalent and TH 490 teaching in the ESM core curriculum. Piano 104 proficiency; or permission of INDEPENDENT STUDY instructor. Intensive review of counterpoint, harmony, Fall, Spring keyboard, and aural skills. Bibliographical TH 476 survey of texts and anthologies. ADVANCED KEYBOARD SKILLS Observation and teaching of freshman and sophomore classes. Spring (II-3) Advanced Keyboard Skills: Intensive practical experience in the realization of ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 5959 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** TH 522 specifications for TH 441 are required. mutual interests of faculty and students. PEDAGOGY OF THEORY: Prerequisite: A basic familiarity with Exploration of recent developments and computers. Student unsure about their articles in the area of theory. Prerequisite: ADVANCED level of experience with computers should permission of instructor. Spring meet with the instructor before enrolling in this course. TH 583 TH 523 THEORY SEMINAR TH 542 HISTORY OF MUSIC THEORY, Fall (I-4) PART I PROSEMINAR IN COMPUTER Theory Seminar: Seminar discussion and Fall (I-4) APPLICATIONS research into theoretical topics at the doctoral level. Subjects covered change History of Music Theory, Part I: Part I of a Fall (I-4, alternate years) from year to year, depending upon the two-semester survey of the history of music Proseminar in Computer Applications: mutual interests of faculty and students. theory. The semester will start with the Topics in object-oriented programmingg Exploration of recent developments and ancient Greeks and end in the early 18th with Java or C++. Stacks, Queues, and articles in the area of theory. Prerequisite: century, covering such topics as division of Graphs; searching and sorting techniques; permission of instructor. the pitch continuum, consonance and recursive algorithms; linked data structures; dissonance, rhythm/meter, mode/scale, advanced music coding languages; and TH 584 counterpoint, and figured bass. more sophisticated applications in theory, musicology, and composition. A substantial THEORY SEMINAR TH 524 final programming project is required. Spring (II-4) HISTORY OF MUSIC THEORY, Prerequisite: TH 441 or permission of Theory Seminar: Seminar discussion and PART II instructor. research into theoretical topics at the doctoral level. Subjects covered change Spring (II-4) TH 560 from year to year, depending upon the History of Music Theory, Part II: Part II of a mutual interests of faculty and students. two-semester survey of the history of music PROSEMINAR IN MUSIC Exploration of recent developments and theory. The semester will start with early COGNITION articles in the area of theory. Prerequisite: 18th century theory and end in the early Fall, Spring (I, II-4, alternate years) permission of instructor. 20th century, covering such topics as Proseminar in Music Cognition: The counterpoint, figured bass, functional objective of this course is to engage in TH 590 harmony, tonal form, acoustics, Schenker, professional-level music-cognitive research. INDEPENDENT STUDY and chromaticism The course surveys primary research in the Fall, Spring field of music cognition and functions as a TH 531 "laboratory" course in experimental TH 591 SEMINAR IN ANALYSIS & method. Students discuss and critique THEORY COLLOQUIUM PERFORMANCE experimental studies published in journals and monographs. In addition, the class Fall, Spring (I, II-1) Fall, Spring (I, II-4) works collaboratively to build skills in Theory Colloquium: Attendance and Seminar in Analysis and Performance: ThisThis experimental design and data analysis via participation in Department colloquia. course deals primarily with the relationship readings and class between analysis and performance demonstrations/activities. Each student is TH 595 decisions. It also draws upon the history ofof expected to design and run an empirical PHD DISSERTATION PROJECT performance practice, contemporaneous experiment or computational project as a sources on the subject, and comparative Fall, Spring, Summer (I, II, S-credit to be final research paper. evaluation of recorded performances. arranged) Specific works studied are determined by PhD Dissertation Project TH 581 the instructor in consultation with the students. A major analysis of an approved THEORY SEMINAR Trumpet work is required. Prerequisite: TH 400 or the Fall (I-4) equivalent. Theory Seminar: Seminar discussion and TPT 130 research into theoretical topics at the SEC TRUMPET TH 541 doctoral level. Subjects covered change Fall, Spring, Summer (I, II, S-2) from year to year, depending upon the COMPUTER APPLICATIONS IN Undergraduate Applied Music Lessons mutual interests of faculty and students. (half-hour/week): Use to fulfill secondary MUSIC RESEARCH Exploration of recent developments and instrument requirement or elective. Fall, Spring (I, II-4, alternate years) articles in the area of theory. Prerequisite: Computer Applications in Music Research: permission of instructor. TPT 160 An introduction to computer programminging and data mining for music research. TH 582 PRIMARY TRUMPET Course topics will include object-oriented THEORY SEMINAR Fall, Spring (I, II-4) programming in C++, Java, and Javascript, Undergraduate Applied Music Lessons Spring (II-4) data structure definition and manipulation, (one-hour/week): Use to fulfill primary Theory Seminar: Seminar discussion and information theory, and topics from lesson requirement. research into theoretical topics at the computer science and the computer doctoral level. Subjects covered change music literature. For TH 541, additional from year to year, depending upon the programs and readings beyond the ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 6060 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** TPT 430 VCE 130 Violoncello SEC TRUMPET SEC VOICE Fall, Spring, Summer (I, II, S-1.5) Fall, Spring, Summer (I, II, S-2) VCL 130 Graduate Applied Music Lessons (half- Undergraduate Applied Music Lessons SEC CELLO hour/week): May be used as secondary (half-hour/week): Use to fulfill secondary Fall, Spring, Summer (I, II, S-2) instrument elective credit or as part of a instrument requirement or elective. Undergraduate Applied Music Lessons DMA minor. May not be used to fulfill major (half-hour/week): Use to fulfill secondary lesson requirements, unless specificallylly VCE 160 instrument requirement or elective. required by the degree program. ForFor PRIMARY VOICE students who enrolled in their current Fall, Spring (I, II-4) VCL 160 graduate degree program prior to summer Undergraduate Applied Music Lessons PRIMARY CELLO 2009, these lessons carry 2 credits per (one-hour/week): Use to fulfill primary Fall, Spring (I, II-4) semester. lesson requirement. Undergraduate Applied Music Lessons (one-hour/week): Use to fulfill primary TPT 430A VCE 430 lesson requirement. PRL 1/2 HR TRUMPET SEC VOICE Fall, Spring, Summer (I, II, S-2) Fall, Spring, Summer (I, II, S-1.5) VCL 430 Graduate Applied Music Lessons (half- Graduate Applied Music Lessons (half- SEC CELLO hour/week): Used to fulfill primary lesson hour/week): May be used as secondary Fall, Spring, Summer (I, II, S-1.5) requirement for graduate students. ForFor instrument elective credit or as part of a Graduate Applied Music Lessons (half- students who enrolled in their current DMA minor. May not be used to fulfill major hour/week): May be used as secondary graduate degree program prior to summer lesson requirements, unless specifically instrument elective credit or as part of a 2009, these lessons carry 2.5 credits per required by the degree program. ForFor DMA minor. May not be used to fulfill major semester. students who enrolled in their current lesson requirements, unless specificallylly graduate degree program prior to summer TPT 460 required by the degree program. ForFor 2009, these lessons carry 2 credits per students who enrolled in their current PRIMARY TRUMPET semester. graduate degree program prior to summer Fall, Spring (I, II-3) 2009, these lessons carry 2 credits per Graduate Applied Music Lessons (one- VCE 430A semester. hour/week): May be used as secondary PRL 1/2 HR VOICE instrument elective credit or as part of a Fall, Spring, Summer (I, II, S-2) VCL 430A DMA minor. May not be used to fulfill Graduate Applied Music Lessons (half- PRL 1/2 HR CELLO major lesson requirements, unless hour/week): Used to fulfill primary lesson Fall, Spring, Summer (I, II, S-2) specifically required by degree program. requirement for graduate students. ForFor Graduate Applied Music Lessons (half- For students who enrolled in their current students who enrolled in their current hour/week): Used to fulfill primary lesson graduate degree program prior to summer graduate degree program prior to summer requirement for graduate students. ForFor 2009, these lessons carry 2 credits per 2009, these lessons carry 2.5 credits per students who enrolled in their current semester. semester. graduate degree program prior to summer 2009, these lessons carry 2.5 credits per TPT 460A VCE 460 semester. PRIMARY TRUMPET PRIMARY VOICE Fall, Spring (I, II-4) Fall, Spring (I, II-3) VCL 460 Graduate Applied Music Lessons (one- Graduate Applied Music Lessons (one- PRIMARY CELLO hour/week): Used to fulfill primary lesson hour/week): May be used as secondary Fall, Spring (I, II-3) requirement for graduate students. ForFor instrument elective credit or as part of a Graduate Applied Music Lessons (one- students who enrolled in their current DMA minor. May not be used to fulfill hour/week): May be used as secondary graduate degree program prior to summer major lesson requirements, unless instrument elective credit or as part of a 2009, these lessons carry 5 credits per specifically required by degree program. DMA minor. May not be used to fulfill semester. For students who enrolled in their current major lesson requirements, unless graduate degree program prior to summer specifically required by degree program. 2009, these lessons carry 2 credits per Voice For students who enrolled in their current semester. graduate degree program prior to summer VCE 111 2009, these lessons carry 2 credits per VCE 460A VOICE CLASS: RC NON-MUSIC semester. PRIMARY VOICE MAJ Fall, Spring (I, II-4) VCL 460A Fall, Spring Graduate Applied Music Lessons (one- PRIMARY CELLO hour/week): Used to fulfill primary lesson VCE 112 Fall, Spring (I, II-4) requirement for graduate students. ForFor Graduate Applied Music Lessons (one- VOICE CLASS: RC NON-MUSIC students who enrolled in their current hour/week): Used to fulfill primary lesson graduate degree program prior to summer MAJ requirement for graduate students. ForFor 2009, these lessons carry 5 credits per Fall, Spring students who enrolled in their current semester. graduate degree program prior to summer ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 6161 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** 2009, these lessons carry 5 credits per (half-hour/week): Use to fulfill secondary Wellness semester. instrument requirement or elective.

WLN 101 VLN 160 Viola YOGA FOR MUSICIANS PRIMARY VIOLIN FallFall VLA 130 Fall, Spring (I, II-4) SEC VIOLA Undergraduate Applied Music Lessons (one-hour/week): Use to fulfill primary Women's Studies Fall, Spring, Summer (I, II, S-2) lesson requirement. Undergraduate Applied Music Lessons WST 210 (half-hour/week): Use to fulfill secondary VLN 430 instrument requirement or elective. CONSTRUCTING UTOPIAS SEC VIOLIN Fall, Spring (I, II-3)) VLA 160 Fall, Spring, Summer (I, II, S-1.5) Constructing Utopias: This coursese PRIMARY VIOLA Graduate Applied Music Lessons (half- considers the history of real and imagined hour/week): May be used as secondary utopian communities from medieval Fall, Spring (I, II-4) instrument elective credit or as part of a monasteries through contemporary Undergraduate Applied Music Lessons DMA minor. May not be used to fulfill major science fiction. Sometimes utopian (one-hour/week): Use to fulfill primary lesson requirements, unless specificallylly communities succeed, providing lesson requirement. required by the degree program. ForFor interesting case studies in the effects of VLA 430 students who enrolled in their current social planning. Even when they don't graduate degree program prior to summer succeed, their design and discussion SEC VIOLA 2009, these lessons carry 2 credits per represents an important form of social Fall, Spring, Summer (I, II, S-1.5) semester. criticism. Studying their history provides aa Graduate Applied Music Lessons (half- window into the political, economic, and hour/week): May be used as secondary VLN 430A social development of Europe and the instrument elective credit or as part of a PRL 1/2 HR VIOLIN United States from the Middle Ages and DMA minor. May not be used to fulfill major Fall, Spring, Summer (I, II, S-2) the Renaissance to the present day. Cross- lesson requirements, unless specificallylly Graduate Applied Music Lessons (half- listed as HIS 210. required by the degree program. ForFor hour/week): Used to fulfill primary lesson students who enrolled in their current requirement for graduate students. ForFor WST 220 graduate degree program prior to summer students who enrolled in their current 2009, these lessons carry 2 credits per GERMAN WOMEN WRITERS graduate degree program prior to summer semester. Fall, Spring (I, II-3) 2009, these lessons carry 2.5 credits per German Women Writers: An introduction VLA 430A semester. to the multifaceted culture of women's PRL 1/2 HR VIOLA literature written in Germany from about VLN 460 1700 to the present. In a seminar setting, Fall, Spring, Summer (I, II, S-2) PRIMARY VIOLIN students explore a wide range of writing by Graduate Applied Music Lessons (half- Fall, Spring (I, II-3) women, including fairy tales, hour/week): Used to fulfill primary lesson Graduate Applied Music Lessons (one- autobiography and autobiographicalal requirement for graduate students. ForFor hour/week): May be used as secondary fiction, letters, short stories, and novels in students who enrolled in their current instrument elective credit or as part of a the context of social, political, and graduate degree program prior to summer DMA minor. May not be used to fulfill historical developments. Cross-listed as GER 2009, these lessons carry 2.5 credits per major lesson requirements, unless 220. semester. specifically required by degree program. WST 230 VLA 460A For students who enrolled in their current graduate degree program prior to summer PRIMARY VIOLA MEN, WOMEN & WAR IN THE 2009, these lessons carry 2 credits per Fall, Spring (I, II-4) semester. 20TH CENTURY Graduate Applied Music Lessons (one- Fall, Spring (I, II-3) hour/week): Used to fulfill primary lesson VLN 460A Men, Women, and War in the Twentieth requirement for graduate students. ForFor PRIMARY VIOLIN Century: An exploration of major historical students who enrolled in their current changes of the twentieth century by Fall, Spring (I, II-4)) graduate degree program prior to summer focusing on the social impact of modern Graduate Applied Music Lessons (one- 2009, these lessons carry 5 credits per war, especially World Wars I and II. Topics hour/week): Used to fulfill primary lesson semester. include the crisis of liberalism, the rise of requirement for graduate students. ForFor fascism, the horror of the Holocaust, students who enrolled in their current occupation and resistance, comparisons Violin graduate degree program prior to summer of military and civilian experience, pacifist 2009, these lessons carry 5 credits per politics, women in the military, the birth ofof VLN 130 semester. SEC VIOLIN psychoanalysis, the spread of modernist art and culture, the rise of the welfare state, Fall, Spring, Summer (I, II, S-2) and contemporary international affairs. Undergraduate Applied Music Lessons Cross-listed as HIS 230.

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EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 6262 ** II** – – Fall semester / II – – Spring Semester / S - Summer ** WST 232 decisions in personal life and political INTERNATIONAL HUMAN behavior: Jean-Paul Sartre (1905-1980), Simone de Beauvoir (1908-1986), and RIGHTS Albert Camus (1913-1960). InIn Fall, Spring (I, II-3) addition to studying their philosophical International Human Rights: What does itit work, we will also look at their participation mean to be human? What different kinds in the Resistance to German occupation of rights might be part of different people's during World War II, their responses to the working definitions? How should Cold War, their criticisms of the Algerian we act on any or all of those different War and the Vietnam War, and their definitions today? This course will look at contributions to twentieth-century socialist both (a) the historical development of and feminist movements. Readings conflicting theories of human rights and (b) include plays, novels, philosophical essays, more contemporary debates about their and political criticism. Taught in English. ideal extent, their practical exercise, and Cross-listed as FR 272, HIS 272, PHL 272. the preferred means of their necessary enforcement. Cross-listed as HIS 232. WST 278 VIRGINIA WOOLF & HER WST 240 WOMEN AND RELIGION WORLD Fall, Spring (I, II-3) Fall, Spring (I, II-3) Virginia Woolf and Her World: A study of Women and Religion: A study ofof major fiction and selected nonfiction by conceptions of women embodied in the one of the world's great modern writers imagery of various religious traditions, the and social thinkers, this course focuses on role of women in worship, and the impact understanding Virginia Woolf’s writings in of religious traditions on feminine relation both to her life and to the social, experience and social definitions of gender cultural, political, and economic roles. For each region, we consider both developments of her time, especially the religious doctrine and the lives of women in impact of the two World Wars, the spread the context of societies holding to these of modernism across the arts, the religious beliefs. Cross-listed as AR 240. increasing popularity of psychoanalysis, and the rise of the modern women’s WST 250 movement. Cross-listed as ENG 278, HIS CONFLICTS IN FEMINISM 278. Fall, Spring (I, II-3) Conflicts in Feminism: People often think of feminism as a relatively recent phenomenon, but in fact arguments for sexual equality have existed since at least the eighteenth century. This course studies the history and theory of different kinds of feminism by considering a series of "conflicts in feminism": historic moments when feminists have disagreed over how to address given social situations. Topics will be drawn from the experience of women and men in Europe and the United States from the eighteenth century through the present. Cross-listed as HIS 250.

WST 272 EXISTENTIALISM: SARTRE, DE BEAUVOIR, & CAMUS (IN TRANSLATION) Fall, Spring (I, II-3) Existentialism: Sartre, De Beauvoir, and Camus (in translation): Existentialism is aa school of philosophy that stresses individual choice even in the face of overwhelming world circumstances. This course will focus on three particularly important French figures, all writers who tried to put academic philosophy into action by their ______

EASTMAN SCHOOL OF MUSIC  COURSE CATALOG 6363 ** II** – – Fall semester / II – – Spring Semester / S - Summer **