As printed January 2005 MUSIC

Music (MUS, JAZ)

Major and Minors in Music Department of Music, College of Arts and Sciences CHAIRPERSON: Judith Lochhead DIRECTOR OF UNDERGRADUATE STUDIES: Perry Goldstein UNDERGRADUATE SECRETARY: Germaine Berry OFFICE: 3304 Staller Center for the Arts PHONE: (631) 632-7330 E-MAIL: [email protected] WEB ADDRESS: www.sunysb.edu/music Minors of particular interest to students majoring in Music: Anthropology (ANT), Art History (ARH), Cinema and Cultural Studies (CCS), Dance (DAN), English (EGL), History (HIS), Philosophy (PHI), Theatre Arts (THR)

Faculty Joyce Robbins, Professor Emerita, B.S., Michael Powell, Artist in Residence, B. Mus., Ray Anderson, Visiting Professor, Director of of Music: Violin; viola; peda- Wichita State: Trombone. Jazz Program and Stony Brook Jazz Band, gogy; chamber music. William Purvis, Artist in Residence, B.A., Empire State College: Jazz studies; jazz impro- Daria Semegen, Associate Professor and Haverford College: Horn; chamber music. visation. Director of Electronic Music Studio, M.Mus., Philip Setzer, Artist in Residence, M.M., Joseph Auner, Professor, Ph.D., University of Yale University: Composition; theory; electronic Juilliard School of Music: Violin; chamber Chicago: 19th- and 20th-century history and music. music. theory. Sheila Silver, Professor, Ph.D., Brandeis Stephen Taylor, Artist in Residence, Diploma, Colin Carr, Professor, Certificate of University: Composition; theory. Juilliard School of Music: Oboe; chamber Performance, 1974, Yehudi Menuhin School: Jane Sugarman, Associate Professor, Ph.D., music. ; chamber music. University of California, Los Angeles: Chris Pedro Trakas, Artist in Residence, Joseph Carver, Assistant Professor, D.M.A., Ethnomusicology; world music cultures, south- M.Mus., University of Houston: Voice. eastern European music. Recipient of the State : String bass. Artist in Residence, M.Mus., University Chancellor’s Award for Excellence in Carol Wincenc, Christina Dahl, Associate Professor, M.M., The Juilliard School: Flute Teaching, 1995, and the President’s Award for Peabody Conservatory: Piano, accompaniment, Excellence in Teaching, 1995. Jerry Willard, Artist in Residence, Cleveland chamber music. Institute of Music; study with John Williams Daniel Weymouth, Associate Professor and Sarah Fuller, Professor, Ph.D., University of Director of Computer Music Studio, Ph.D., and Misha Mishakoff: Guitar; chamber music. California, Berkeley: Medieval and Renaissance University of California, Berkeley: Composition; history and theory. Recipient of the President’s computer music and technology. Quartet-in-Residence Award for Excellence in Teaching, 1984. Peter Winkler, Professor, M.F.A., Princeton The : This prestigious Perry Goldstein, Associate Professor and University: Composition; theory; popular music. ensemble give concerts, coaches chamber Director of Musicianship, D.M.A., Columbia Recipient of the State University Chancellor’s music instruction, and gives master classes University: Analysis; composition; musician- Award for Excellence in Teaching, 1977 and each year. ship; theory. Recipient of the State University the President’s Award for Excellence in Eugene Drucker, Mus.D., Middlebury College: Chancellor’s Award for Excellence in Teaching, Teaching, 1977. Violin; chamber music. 1997, and the President’s Award for Excellence in Teaching, 1997. Lawrence Dutton, M.M., Juilliard School of Performing Artists in Residence Music: Viola; chamber music. Bonnie Gordon, Assistant Professor, Ph.D., University of Pennsylvania: Musicology; Elaine Bonazzi, Artist in Residence, B. Mus., David Finckel, Mus.D., Middlebury College: Renaissance music and gender studies. Eastman School of Music: Voice; opera work- Cello, chamber music. shop. Arthur Haas, Professor and Director, Baroque Philip Setzer, (see above). Susan Deaver, Artist in Residence, D.M.A. Chamber Ensemble, M.A., University of Teaching Assistants California, Los Angeles: Harpsichord; perfor- Manhattan School of Music: Director of the mance of early music. University Orchestra. Estimated number: 58 uce Engel, tist in Residence, M.M., Gilbert Kalish, Professor and Co-director of Br Ar Juilliard School of Music: Director of the Contemporary Chamber Players, B.A., he study of music entails training Columbia University: Piano; chamber music. University Wind Ensemble; conducting. tist in Residence, B.M., Curtis in performance, theory, musician- David Lawton, Professor, Ph.D., University of Pamela Frank, Ar Institute of Music: Violin; chamber music. ship, and history in the context of California, Berkeley: Orchestral and opera con- T a liberal arts degree. Technical study on ducting; 19th-century history. Daniel Gilbert, Artist in Residence, M.M., Juilliard School of Music: Clarinet. an instrument or in voice and in music Judith Lochhead, Professor, Ph.D., Stony Brook theory is coupled with broad historical Ani Kavafian, Artist in Residence, M.S., Juilliard University: 20th-century theory and and critical study of music. history. School of Music: Violin Timothy Long, Assistant Professor, M.M., Eduardo Leandro, Artist in Residence and Co- The undergraduate major in Music at Eastman School of Music: Vocal coach. Director Stony Brook Contemporary Chamber Stony Brook is designed as a balanced Players, M.M., Yale School of Music: Frederick Moehn, Assistant Professor, Ph.D., educational program that serves as Percussion. New York University: Ethnomusicology, world preparation for professional careers and music cultures, Latin American music. Frank Morelli, Artist in Residence, D.M.A., The advanced training in performance, com- Timothy Mount, Professor and Director of Juilliard School: Bassoon; chamber music. position, scholarship, teaching, and other Choral Music, D.M.A., University of Southern Katherine Murdock, Artist in Residence, B.M., arts-related careers. The Department California: Choral conducting. Boston University: Viola; chamber music. also offers the minor in Music and the minor in Jazz Music. http://www.stonybrook.edu/ugbulletin 263 MUSIC As printed January 2005

Students graduating with a major in MUS 311-J Topics in Non-Western Music Requirements for the Music pursue graduate study in musical MUS 312-J Music in the Middle East Major in Music (MUS) performance, composition, history, and MUS 313-G Cross-Cultural Musics from The major in Music leads to the Bachelor theory; teach music in private and pub- Stravinsky to World Beat of Arts degree. All courses offered for lic schools; take jobs in arts-related the major must be passed with a letter MUS 314-G Women Making Music industries; and pursue advanced study grade of C or higher. in non-music fields, often in the health MUS 315, 316 The Structural Principles Completion of the major requires 63 to 67 professions. of Music I, II credits. MUS 317 Interactive Performance, Courses Offered in Music Media, and MIDI Admittance to the Major See the Course Descriptions listing in MUS 318 Music and the Moving Image Any student wishing to major in Music this Bulletin for complete information. must pass an audition in voice or instru- MUS 319-J Music in Latin America ment and a musicianship examination MUS 101-D Introduction to Music MUS 320-G U.S. Popular Music that tests aural skills and musical literacy MUS 105-G Music Cultures of the World MUS 321, 322 Tonal Harmony I, II (elementary theory, interval recognition, MUS 119-D The Elements of Music simple melodic, harmonic, and rhythmic MUS 323 Techniques of Music, 1880 to dictation, and sight singing). The under- MUS 120 Elementary Musicianship the Present graduate musicianship examination is MUS 121 Musicianship I MUS 331 Musicianship IV given three times each year: the first or MUS 122 Beginning Keyboard MUS 339 Beginning Composition second day of each semester and at the MUS 130-D Sound Structures MUS 340 Introduction to Music end of April. Auditions are held in the MUS 141, 142 Keyboard Harmony A, B Technologies General and Scholarship Auditions in February of each year and during the MUS 350-G Western Music Before 1600 MUS 161-187 Performance Study in first week of classes. Students should Piano, Harpsichord, Violin, Viola, Cello, MUS 351-I Western Music 1600-1830 consult the Department office to sign up String Bass, Classical Guitar, Flute, Oboe, MUS 352-G Western Music from 1830 to for the undergraduate musicianship Clarinet, Bassoon, Horn, Trumpet, the Present examination and to make an appoint- Trombone, Percussion, Voice, and Other ment for an audition. Instruments MUS 355-G Special Topics in Music MUS 189 Beginning Jazz Improvisation MUS 361-387 Advanced Performance A. Study within the Area of the Major Study in Piano, Harpsichord, Violin, 1. Theory: MUS 208 Technology in the Arts Viola, Cello, String Bass, Classical Guitar, MUS 121 Musicianship I MUS 220, 221 Musicianship II, III Flute, Oboe, Clarinet, Bassoon, Horn, MUS 122 Beginning Keyboard MUS 261 Stony Brook Chorale Trumpet, Trombone, Percussion, Voice, MUS 141, 142 Keyboard Harmony MUS 262 University Orchestra and Other Instruments A, B MUS 263 University Wind Ensemble MUS 388 Fundamentals of Accompanying MUS 220, 221 Musicianship II, III MUS 264 Big Band Jazz Ensemble MUS 389 Advanced Jazz Improvisation MUS 321, 322 Tonal Harmony I, II MUS 265 Workshop in Performance MUS 391 Chamber Music MUS 323 Techniques of Music, 1880 MUS 266 Guitar Workshop MUS 421 Analysis of Tonal Music to the Present MUS 267 Jazz Combo MUS 422 Analysis of Post-Tonal Music MUS 331 Musicianship IV MUS 289 Intermediate Jazz MUS 421 Analysis of Tonal Music Improvisation MUS 432 Tonal Counterpoint MUS 434 Orchestration MUS 422 Analysis of Post-Tonal MUS 290 Vocal Repertory Music MUS 437 Electronic Music MUS 300-H Music, Technology, and 2. History and Literature: Digital Culture MUS 439 Composition MUS 130 Sound Structures MUS 301-I Music of the Baroque MUS 450 Seminar in the History of MUS 350 Western Music before 1600 MUS 302-I The Music of J.S. Bach Music MUS 351 Western Music, 1600-1830 MUS 303-I The Music of Beethoven MUS 475, 476 Undergraduate Teaching Practica I, II MUS 352 Western Music from 1830 MUS 304-K Contemporary Traditions in to the Present American Music: 1900 to the Present MUS 487 Independent Project MUS 488 Internship Two additional history courses num- MUS 305-G Music in the Romantic Era bered 450 to be chosen in consulta- MUS 306-G The Symphony MUS 491 Conducting tion with the student’s advisor. The MUS 307-I Imaginative Worlds of Opera courses should be distributed among a range of historical periods. MUS MUS 308-K History of Jazz 432 or 434 may be substituted for MUS 309-G Music Since 1900 one semester of MUS 450, as may MUS 310-K Music and Culture in MUS 339, 437, or 491 with the con- the 1960's

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Sample Course Sequence for the fulfill the four semesters with Major in Music MUS 391 Cham-ber Music; pianists may also substitute MUS 388. Fundamentals of Accompanying; Freshman Fall Credits Spring Credits guitarists may substitute MUS 266 D.E.C. A 3 D.E.C. A 3 Guitar Workshop for two of the MUS 121 2 MUS 220 2 semesters. MUS 122 1 MUS 141 1 MUS 130 3 MUS 332 3 Note: No more than 30 credits of MUS 321 3 MUS 350 4 individual instruction in instrument Performance Study 2 Performance Study 2 or voice may be included in the 120 Ensemble 1-2 Ensemble 1-2 credits required for the B.A. degree. Total 15-16 Total 16-17 B. Upper-Division Writing Requirement As evidence of acceptable writing Sophomore Fall Spring Credits skills in the discipline, students major- MUS 221 2 MUS 331 2 ing in Music must submit to the direc- MUS 142 1 MUS 421 1 tor of undergraduate studies a portfo- MUS 323 3 MUS 352 4 lio of three papers no later than one MUS 351 4 Performance Study 2 month before the end of their junior Performance Study 2 Ensemble 1-2 year. Papers written for music history Ensemble 1-2 D.E.C. 3 courses (MUS 350, 351, 352 or higher) D.E.C. 3 D.E.C. 3 or for MUS 421 or 422 are preferred, Total 16-17 Total 16-17 but in any case at least one of the three papers must be from such a Junior Fall Spring Credits course. Up to two of the remaining MUS 422 3 Performance Study 2-4 papers may have been written for MUS 342 4 Ensemble 1-2 other courses in the humanities or fine Performance Study 2-4 D.E.C. 3 arts, such as English, theatre arts, or Ensemble 1-2 D.E.C. 3 foreign languages. The papers should D.E.C. 3 D.E.C. 3 demonstrate a mastery of language D.E.C. 3 Total 12-15 sufficient to express clearly and accu- Total 16-19 rately concepts of sophistication com- mensurate with upper-division work. A special committee reads the papers Senior Fall Spring Credits and assesses the quality of writing. MUS 450 or (434 or 432) 3 MUS 450 (or 434 or 432) 3 The committee communicates the Performance Study 2-4 Performance Study 2-4 results of its assessment by the end of Ensemble 1-2 Ensemble 1-2 the student’s junior year. If writing D.E.C. 3 D.E.C. (Upper-Division) 3 skills are judged deficient, the commit- D.E.C. 3 D.E.C. (Upper-Division) 3 tee recommends a course of action for D.E.C. 3 D.E.C. 3 the improvement of such skills and Total 15-18 Total 15-18 reviews examples of writing during the senior year. Students must demon- strate acceptable writing skills before they graduate. sent of the Director of Undergradu- Ensemble. Vocalists should enroll ate Studies. in MUS 261 Stony Brook Chorale. C. Foreign Language 3. Performance: Pianists and guitarists should Students who intend to continue their enroll in MUS 391 Chamber studies beyond the B.A. degree are a. A minimum of four semesters Music. advised that most graduate music pro- from courses in the series MUS grams require a reading knowledge of 161-187 Performance Study c. Study for a minimum of four French or German, often both. (For (2 credits each) or MUS 361-387 semesters from the following: this purpose, but not for the entry skill Advanced Performance Study MUS 261 Stony Brook Chorale or in foreign language requirement, lan- (4 credits each). MUS 262 University Orchestra or MUS 263 University Wind guage courses may be taken under the b. Mandatory co-registration in a Ensemble or MUS 264 Jazz Pass/No Credit option.) performance ensemble for each Ensemble. MUS 391 Chamber semester of lessons. Music may be used to satisfy two Instrumentalists should enroll in semesters of the four semester MUS 262 University Orchestra, requirement. Pianists and gui- MUS 263 University Wind tarists who do not pass the audi- Ensemble, or MUS 264 Jazz tion for one of the ensembles may

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Honors Program in Music A Note on the Performance Requirements for the Minor in Jazz Music (JAZ) Candidates for honors in Music must be Requirement: With the permission of nominated by a faculty member who the director of undergraduate studies, All courses offered for the minor in Jazz agrees to act as sponsor for the honors students who do not pass the audition Music must be passed with a letter grade project. An eligible student may submit a for one of the ensembles may fulfill the of C or higher. At least 3 credits from proposal for a project to the proposed performance requirement through pri- Requirement 2 in either track must be at sponsor, who forwards the proposal vate lessons (MUS 161-187). For stu- the upper division level. Completion of together with a letter of nomination to dents in the minor who fulfill the perfor- the General Track requires 23 credits. the Department of Music’s undergradu- mance requirement through lessons, the Completion of the Theory Track requires ate studies committee. To be eligible, a ensemble corequisite for private lessons 24 credits. student must have maintained at least a (MUS 161-187) will be waived. General Track 3.00 cumulative g.p.a., and a 3.00 g.p.a. in General Track 1. Theory: music. After entering the honors pro- 1. Theory: gram, a student must maintain at least a MUS 119 Elements of Music or 3.50 g.p.a. in music. MUS 119 Elements of Music MUS 130 Sound Structures or MUS 130 Sounds Structures The project, which may be in perfor- MUS 315 Structural Principles of MUS 315, 316 Structural Principles mance, composition, history, or theory, Music of Music must be carried out under the supervi- MUS 389 Jazz Improvisation 2. History: sion of the sponsor. The completed pro- Note: Students well versed in music ject is reviewed by an evaluating com- MUS 101 and two courses chosen notation and basic theory (demon- mittee consisting of the sponsor, another from the following: MUS 105, 106, strated by the MUS 119 challenge member of the Music faculty, and an out- 301-314 examination) should take MUS 130. side evaluator. 3. Performance: 2. History: Complete guidelines for the honors pro- Two semesters of one or more of the MUS 101 Introduction to Music gram are available from the director of following: MUS 308 History of Jazz undergraduate studies. MUS 261 Stony Brook Chorale One of the following: MUS 262 University Orchestra The Minors in Music (MUS) and MUS 304 Contemporary Traditions Jazz Music (JAZ) MUS 263 University Wind in American Music Ensemble Both the minor in Music (MUS) and the MUS 310 Music and Culture in the minor in Jazz Music (JAZ), each of which MUS 264 Jazz Ensemble 1960s has a General track and a Theory track, MUS 266 Guitar Workshop MUS 355 Special Topics when topic are designed to provide students interest- MUS 391 Chamber Music is appropriate ed in music with a foundation in the the- 3. Performance: ory and history of music and experience Theory Track in a performing ensemble. Less rigorous 1. Theory: Two semesters of the following: than the Music major, the minor is not MUS 121 Musicianship I MUS 264 Big Band Jazz intended to prepare students for advanced MUS 130 Sound Structures Ensemble study or professional work in music. MUS 220 Musicianship II MUS 267 Jazz Combo The General track is designed for stu- MUS 221 Musicianship III Theory Track dents who are interested in music but 1. Theory: who do not seek training in more sophis- MUS 321 Tonal Harmony I ticated aspects of music theory and musi- MUS 322 Tonal Harmony II MUS 121 Musicianship I cianship. The Theory track, for which 2. History: MUS 130 Sound Structures students take Music major courses in MUS 220 Musicianship II, III theory and musicianship, is for students Two courses from the following: who want to acquire more specialized MUS 105, 106, 301-314 MUS 221 Musicianship III knowledge and skills in the areas of 3. Performance: MUS 321 Tonal Harmony I music theory and musicianship. Three credits from the following: MUS 389 Jazz Improvisation Requirements for the Minor in Music (MUS) MUS 261 Stony Brook Chorale 2. History: All courses offered for the minor must MUS 262 University Orchestra MUS 308 History of Jazz be passed with a letter grade of C or MUS 263 University Wind 3. Performance: higher. At least three credits from Ensemble MUS 267 Jazz Combo Requirement 2 or 3 in either track must MUS 264 Jazz Ensemble be upper division. The General track Two semesters of the following: requires 20 to 22 credits; the Theory MUS 266 Guitar Workshop MUS 187 Lessons track requires 24 credits. MUS 391 Chamber Music MUS 264 Big Band Jazz Ensemble

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