School of Music

Graduate Music Courses

MUE 595 Topics in Music Education
Course content will vary to represent the strengths of nationally recognized visiting guest faculty.
3 cr.
MUE 611 Introduction to Research in Music Education
Systematic research methods in music applied to individualized descriptive and experimental music research topics and critical evaluation of music research. Study of measurement theory, standardized tests, test construction and interpretation for music aptitude, achievement, performance, aesthetic response, preference, and appreciation.
3 cr.
MUE 612 Philosophical Bases of Music Education
Investigation of historical and current views on the art of music, the role of music in society, and the role of music in human experience.
3 cr.
MUE 613 Psychology of Music Teaching and Learning
Detailed study of topics concerning differential music behavior and perception. This course includes the mechanics of hearing, music memory, learning, and response, as well as anoverview of researched teaching practices.
3 cr.
MUE 614 Curriculum Development and Assessment
Detailed study of catalysts for curricular change throughout all aspects of music education: reform, content and objectives, evaluation, human rights, multiculturalism, technology and development of a systematic approach to curriculum design and implementation.
3 cr.
MUE 615 The Professional Portfolio
Oral examination in music education. The oral examination will be scheduled after the completion of all coursework for the MUE masters degree. The student will present the milestones and domain project portions of his/her professional portfolio to a masters examination committee.
0 cr.
MUS 510 Bibliography and Research in Music
A study of music reference and research tools, use of library resources and networks, and bibliographic style and technique.
3 cr.
MUS 520 Seminar in Music History
In-depth study of one or more topics in music history. A substantial final project will be the culmination of both individual research and a synthesis and application of historical studies and approaches.
3 cr.
MUS 521 Literature of the Major Instrument
Advanced study of the literature for solo instrument. Chamber music will be considered when the performer is a featured soloist.
2 cr.
MUS 522 Music Literature: Voice I
Advanced study of German Lieder, focusing on composers such as Schubert, Schumann, Brahms, Wolf or Strauss.
2 cr.
MUS 523 Music Literature: Voice II
Advanced study of French mélodie, focusing on composers such as Duparc, Debussy, Ravel and Poulenc.
2 cr.
MUS 524 Music Lieterature: Piano I
A survey of keyboard literature up to 1830. for piano majors only, others with permission of the School.
2 cr.
MUS 525 Music Literature: Piano II
A survey of keyboard literature from 1830 to the present. For piano majors only, others with permission of the School.
2 cr.
MUS 526 Composition (20th Century Survey)
This survey will cover the major trends, movements, styles, and philosophies that influenced the creation of contemporary concert music in the last century with an overview of current fashion.
3 cr.
MUS 530 Seminar in Music Theory
Advanced study of one or more topics in music theory, including both a reading and an analytical component, and the pedagogy of music. A substantial final project is required.
3 cr.
MUS 532 Counterpoint
Analysis and writing of tonal counterpoint. Emphasis is given to the study of canon, invention, fugue, chorale prelude, and continuous variations, using eighteenth-century works as models for composition.
3 cr.
MUS 533 Advanced Analysis of Tonal Music
Advanced study of analytical approaches to tonal music: parametric analysis, the analysis of phrase rhythm and hypermeter, and Schenkerian analysis.
3 cr.
MUS 535 Advanced Aural Skills
Advanced development of aural skills and the pedagogy of aural skills through the use of contextual listening examples, performance drills, and other ear training and sight singing techniques.
3 cr.
MUS 537 Jazz Composition/Arranging
Detailed study and analysis of music for small and large jazz ensembles including composing and arranging for a variety of instrumental combinations.
3 cr.
MUS 544 Instrumental Conducting
Stylistic study of scores from a variety of periods, advanced baton and left hand techniques, rehearsal techniques, and conducting experience with instrumental ensembles.
3 cr.
MUS 545 Choral Conducting
Advanced development of non-verbal gestures through the art of choral conducting. The course includes musical analysis of choral scores, rehearsal techniques, and performance preparation. A research paper is required.
3 cr.
MUS 560 Advanced Keyboard Skills I
This course provides practical instruction in the advanced keyboard skills of score reading, transposition, harmonization of melodies, and realization of continuo. These performance skills will be taught with emphasis on the preparation of examples outside the class as well as the active participation by students in class.
2 cr.
MUS 561 Advanced Keyboard Skills II
The second semester continuation of Advanced Keyboard Skills I. Prerequisite: MUS 560.
2 cr.
MUS 570 Topics in Contemporary Music Technology
Intensive study of one or more areas of music technology in the context of producing music compositions, creating pedagogical multimedia applications, performing music with interactive applications, or recording and editing digital audio/video. A substantial final project is required.
3 cr.
MUS 572 Vocal Pedagogy
A study of the teaching methods and materials for voice. Normally the voice sessions will be offered in alternate years. For performance majors. Other music majors only with permission of the School.
2 cr.
MUS 574 Jazz Pedagogy/Program Administration
Pedagogical approaches to the analysis of jazz ensemble scores, rehearsal techniques, concert planning, public relations, recruiting, promotion, grant writing and other aspects of the development of a Jazz Studies program.
2 cr.
MUS 596 Topics in Jazz
Critically and analytically pursue a topic of interest independently or in a group.
3 cr.
MUS 598 Independent Study
A project requiring directed research and reading, culminating in a final document. Consent of the instructor required.
3 cr.
MUS 675 Jazz Chamber Music Coaching
Pedagogical approaches to coaching a chamber jazz ensemble. The ensemble will be under the direct coaching responsibility of the student.
3 cr.
MUS 682 chamber Jazz Ensemble Evolution and Analysis
Advanced analysis and examination of the historical evolution of the chamber jazz ensemble, including detailed listening and critical discussion.
2 cr.
MUS 683 Large Jazz Ensemble Evolution and Analysis
Advanced analysis and examination of the historical evolution of the large jazz ensemble, including detailed listening and critical discussion.
2 cr.
MUS 694 Internship
A field application of theory and practice. The project will be jointly defined by student, professor, and employer. Graded CR/NC
3 cr.
MUS 695 Thesis
Credit given on acceptance of thesis.
3 cr.
MUS 500 Symphony Orchestra
A full symphonic ensemble open to all University students and community members through audition. The ensemble focuses on the skills required for ensemble performance through a variety of literature. The orchestra performs at least one major concert per semester.
0.5 cr.
MUS 501 University Chorale
A large choral ensemble of mixed voices open to all University students by audition.
0.5 cr.
MUS 502 Concert Band
A wind and percussion ensemble open to all University students through audition. The ensemble focuses on the fundamentals of ensemble performance dealing with a variety of literature. Prerequisite: audition.
0.5 cr.
MUS 503 Percussion Ensemble
A percussion ensemble open to all University students through audition. Prerequisite: audition.
0.5 cr.
MUS 504 Opera Workshop
This ensemble will focus on the union of musical ideas with dramatic situations and will explore the ways in which singers must convey the essence of a dramatic situation. Performances of scenes from operas, operettas, and musical theater. Prerequisite: audition.
0.5 cr.
MUS 505 Chamber Singers
A small choral ensemble of mixed voices, selected by audition, specializing in a capella singing.
0.5 cr.
MUS 506 Chamber Music
A performance course open to all qualified students interested in forming chamber groups under faculty supervision.
0.5 cr.
MUS 507 Jazz Ensemble
An instrumental ensemble specializing in the study and performance of jazz for large and small groups from early jazz to the present. Open to all students by audition. Prerequisite: audition.
0.5 cr.
MUS 508 Wind Ensemble
The Wind Ensemble, based upon the solo performer premise, has established a tradition of performing chamber and large instrumentations, traditional or experimental combinations, and early through contemporary literature. Prerequisite: audition.
0.5 cr.
MUS 509 Harp Ensemble
A harp ensemble open to all University students by audition. The ensemble focuses on the fundamentals of ensemble performance and plays literature of contrasting musical periods and styles. Prerequisite: audition.
0.5 cr.
MUS 510 Collegium
An early music ensemble dedicated to the performance of music from the Medieval through the Baroque period. This ensemble is open to singers and instrumentalists from the university and the general community. Prerequisite: audition.
0.5 cr.
MUS 552 Accompanying
A workshop course in applied accompanying, either under faculty supervision or by applied faculty approval. A half credit is awarded for each twenty hours of university-approved accompanying with a maximum of two credits per semester.
0.5 - 2 cr.


Applied Music
MUP 603 Applied Music - Major Area
Private instruction in the major area of study. May be repeated for credit. Fee assessed.
3 cr.
MUP 604 Applied Music - Secondary Area
Private instruction in a secondary area of study. May be repeated for credit. Fee assessed.
2-3 cr.
MUP 690 Recital
Public performance in the area of applied study. May be repeated.
0 cr.
MUE Professional Portfolio Requirements

All students entering the masters program in music education are required to develop and maintain a portfolio based on their masters degree experiences. Portfolios are a way to focus on higher order thinking processes such as finding and solving problems, generating hypothesis, determining adaptations and applications, and relating learning to larger contexts. Furthermore, portfolios function as an extraordinary tool for increasing the efficiency of learning as each entry represents not only accomplishment, bur directions for future study.

As such, portions fo rthe portfolio may be viewed at arious points throughout the program as individual components are created within core music education courses. The portfolio will be presented in its totality during the final oral examination.

The portfolio will be comprised of three sections:

I. Oral Examination
The oral examination will be scheduled thorugh the coordinator of graduate studies within the School of Music. The student will present the milestones and domain project portions of the portfolio to the examination committee as the capstone experience of the degree program.

II: Milestones

The milestones portion of the portfolio is designed to encourage students to reflect on all course work completed as part of the masters program. Students are encouraged to review all coursework and identify three (3) experiences which have been particularly meaningful in shaping a personal understanding of music or music education and in influencing future study and practice. Students should create a 1-2 page description of each milestone and be prepared to discuss the significance of the milestones with the oral examination committee.

III: Domain Projects
In this section students are encouraged to draw upon their experiences within the masters program to create a set of question & essay projects that evidence knowledge from from three different domains of study: Each domain project is organized as a 10-15 page answer to a question designed by the student in conjunction with their major advisor. Questions should be created and approved during the second summer of study for students following the three-summer masters plan.

Question 1 must cover some topic related to one or more of the four core music education courses. Question 2 must draw on MUE 595 coursework and relate to the student's area of professional emphasis (i.e., general music, choral music, instrumental music, technology, composition, conducting, etc). Question 2 material must relate to at least one MUE 595 course and may relate to other coursework as well. Question 3 will address a topic that is of particular interest to the student and which demonstrates the student's ability to apply knowledge gained in the masters program to good teaching practice. Each project should be thoroughly researched, organized, and presented in a professional manner.

Recital Requirements

Composition majors must present one 60-minute lecture/recital in which program notes and compositional process are shared with the audience as verbal introductions to each work. The recital comprises 40 minutes of original music for a variety of mixed media composed while in residency for the degree. The composer will participate as performer on at least one work on the recital. In addition to the recital, the composer is encouraged to seek performances for his/her work elsewhere; only in exceptional cases might any part of this recital be substituted for outside work.

Conducting majors must present one 40-minute recital or its equivalent.

Jazz Studies majors must present one recital for completion of their degree program. The recital will comprise no less than sixty (60) minutes of repertoire which features the student as a soloist. The ensemble and the repertoire must be approved by the graduate advisor (and / or the private instructor).

Performance majors in the areas of woodwind, brass, percussion and strings must present two (2) full-length recitals for completion of their degree program. The recitals will include at least sixty (60) minutes of solo repertoire. Chamber music may be included and must be approved by the graduate advisor (and/or the private instructor). The candidate must be a featured soloist in the repertoire.

Performance majors in organ must present two complete recitals. One must be a lecture-recital, with a 30-minute lecture and 30 minutes of solo repertoire. The other must include 60 minutes of solo repertoire. Recital programs must be approved by the private instructor and/or the program advisor.

Performance majors in piano must present one full-length solo recital from memory. The program, which must be approved by the program advisor, must include a minimum of 60 minutes of solo repertoire.

Performance majors in voice must present one complete recital from memory during the final semester of graduate study (minimum requirements, 60 minutes of music with no more than 12 minutes of ensemble performance), demonstrating evidence of interpretive skill and vocal technique in English, French, German and Italian repertory.

The following conditions will apply to all recitals:

Required recitals must be performed prior to taking the comprehensive exams.

Grading of the recital will be by a committee of no less than three (3) jurors. The jurors will be drawn from the graduate faculty, the degree candidate's graduate advisor, and the degree candidate's private instructor.

The candidate must receive a grade of "B" or higher on each recital. If the grade of "B" is not achieved, the candidate must perform another recital that contains at least 50% new material. If the grade of "B" or higher is not achieved at this recital retake, the candidate must petition the faculty to remain in the degree program.