Music
101.
Concert Music.
(0, no limit Δ)
Students working toward the B.M., B.A. in Music or B.M.E. must attend 15 recitals in each of six semesters in order to gain these degrees. Transfer students with at least 60 hours of credit must attend 15 recitals in each of two semesters. (HL)
Offered on a CR/NC basis only.
{Fall, Spring}
102.
Music Theory for the Non-Major.
(3)
Thévenot
Students will develop awareness of basic elements of melody, rhythm, harmony, form and expression through involvement as singers, players, creators, movers, listeners and readers of music. Designed for students with little or no musical training. (NM)
{Fall, Spring}
109.
Group Voice I.
(1, no limit Δ)
Open to beginners in voice except voice performance majors. May be repeated for credit with permission of department chairperson (or dean). (V)
{Fall, Spring}
110.
Group Voice II.
(1, no limit Δ)
May be repeated for credit with permission of department chairperson (or dean). (V)
Prerequisite: 109
{Fall, Spring}
111.
Group Piano I.
(1, no limit Δ)
Ward
Beginning repertoire and sight-reading, basic scale and chord patterns in major keys. For the complete beginner. Not open to keyboard majors. Priority given to music majors and minors but open to all students. (PI)
Enrollment requires instructor’s approval. May be repeated for credit with permission of department chairperson (or dean) and instructor.
{Fall, Spring}
112.
Group Piano II.
(1, no limit Δ)
Ward
Late elementary repertoire, sight-reading moving out of the five-finger position, minor scale and chord patterns. Not open to keyboard majors. Priority given to music majors and minors but open to all students. (PI)
Enrollment requires instructor’s approval. May be repeated for credit with permission of department chairperson (or dean) and instructor.
Prerequisite: 111
{Fall, Spring}
113.
Mexican Guitar.
(1)
Group instruction. (NM)
114.
Mexican Guitar.
(1)
Continuation of 113. (NM)
116.
Group Guitar I.
(2)
Ulibarri
Students will learn to read music and play melodies, chords and simple songs. Emphasis on classical curriculum, supplemented with instruction in other styles, including rock, blues and jazz. (NM)
Student must supply instrument (classical, nylon-string guitar).
{Fall, Spring}
117.
Group Guitar II.
(2)
Ulibarri
For students who have completed 116 or have some basic guitar skills. Emphasis on classical curriculum, supplemented with instruction in other styles, including folk, rock, blues and jazz. (NM)
Student must supply instrument (classical, nylon-string guitar).
{Fall, Spring}
130.
Music Fundamentals.
(3)
J. Lau
Introduction to the elements of music, including basic notation, staves, clefs, major and minor scales and key signatures, time signatures, meter and rhythm, intervals and triad qualities. (TC)
For music majors who do not possess sufficient background for enrollment in MUS 150.
Credit not applicable to a degree in music.
{Spring}
139.
Music Appreciation.
(3)
J. Lau, Thévenot, Chambers, Otero, Davis, Shultis
Designed to expand the student’s ability to listen actively to Western classical art music; a survey of the various genres, including chamber music, symphonic and vocal repertoire. Includes live guest performances. Attendance at several on-campus concerts required. (NM)
No musical background necessary.
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts (NMCCN 1113).
{Summer, Fall, Spring}
142.
Rock Music Appreciation.
(3)
J. Lau
An introduction to the fundamentals of music and the development of listening skills through the examination of rock music, including its history, styles and significance in the realm of popular music. No musical background necessary. (NM)
{Summer, Fall, Spring}
143.
University Chorus.
(1, no limit Δ)
Ellingboe
Large mixed chorus. Open to all University students; no audition required. (E)
Maximum of 8 hours credit allowed toward degrees in the BUS, in the College of Fine Arts or in the College of Education; 4 hours in other colleges.
{Fall, Spring}
150.
Music Theory I.
(2 [4])
Fundamentals, part-writing and harmonic analysis: introduction to diatonic theory. (TC)
Corequisite: 150L
{Fall}
150L.
Music Theory I Aural Lab.
(2 [0])
Perception through sound of diatonic materials, with special emphasis on melodic, rhythmic and harmonic dictation and the singing of simple melodies, rhythms and intervals. (TC)
Corequisite: 150
{Fall}
152.
Music Theory II.
(2 [4])
Continuation of 150. Further part-writing using diatonic materials; modulation and tonicization. (TC)
Prerequisite: 150 and 150L Corequisite: 152L
{Spring}
152L.
Music Theory II Aural Lab.
(2 [0])
Continuation of 150L. Development of accurate perception of diatonic materials through more dictation, sight-singing and rhythmic studies. Greater emphasis on musicianship. (TC)
Prerequisite: 150 and 150L Corequisite: 152
{Spring}
170.
String Pedagogy Seminar I.
(2 to a maximum of 4 Δ)
Kempter
Essentials for studio teachers, including studio accounts, establishing studio policies and parent education. Kinesthetic and physiologic considerations related to introducing students to the instrument. Suzuki Books 1 and 2 will be covered. (P)
Corequisite: 170L
{Fall, Spring}
170L.
String Pedagogy Lab I.
(1 to a maximum of 2 Δ)
Kempter
Students will spend a minimum of two hours per week observing and consulting with a professional string specialist from the community in order to compare and contrast teaching and pedagogical approaches. Course fee required. (P)
Corequisite: 170
{Fall, Spring}
172.
Jazz History.
(3)
Tatum, E. Lau
A study of the evolution of jazz in the United States from its beginnings to the present. (NM)
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts.
{Summer, Fall, Spring}
209.
Diction for Singers I.
(2)
Shepperson
The International Phonetic Alphabet and its application to singing in English, Italian and Latin. (V)
{Fall}
210.
Diction for Singers II.
(2)
Shepperson
A continuation of 209. Pronunciation of German and French in singing. (V)
Prerequisite: 209
{Spring}
211.
Group Piano III.
(1, no limit Δ)
Ward
Intermediate repertoire, reading skill, chord and scale patterns. Not open to keyboard majors. Priority given to music majors and minors but open to all students. (PI)
Enrollment requires instructor’s approval. May be repeated for credit with permission of department chairperson (or dean) and instructor.
Prerequisite: 112
{Fall, Spring}
212.
Group Piano IV.
(1, no limit Δ)
Ward
Late intermediate to early advanced repertoire and sight-reading. Review of scales and chords. Not open to keyboard majors. Priority given to music majors and minors but open to all students. (PI)
Enrollment requires instructor’s approval. May be repeated for credit with permission of department chairperson (or dean) and instructor.
Prerequisite: 211
{Fall, Spring}
230.
Opera Studio.
(1, no limit Δ)
Tyler, Umphrey
Basic training in music theatre. Open by audition to singers, conductors, pianists, stage directors and producers. (E)
{Fall, Spring}
231.
Chamber Music.
(1, no limit Δ)
Practice, performance and study of chamber music. Includes various combinations of strings, brasses, woodwinds, percussion, guitars, piano and voices. Specific ensemble offerings are announced each semester in the Schedule of Classes. (E)
Preference given to music majors.
{Fall, Spring}
232.
Early Music Ensemble.
(1, no limit Δ)
Sheinberg
A vocal and instrumental ensemble specializing in the performance of music of the Middle Ages, Renaissance and early Baroque. (E)
Open to all students, but enrollment requires instructor’s approval.
{Fall, Spring}
233.
Symphony Orchestra.
(1, no limit Δ)
Pérez-Gómez
(Also offered as MUSE 233)
Study and public performance of symphonic literature. Auditions required. (E)
Maximum of 8 hours credit allowed toward degrees in the BUS, in the College of Fine Arts or in the College of Education; 4 hours in other colleges.
{Fall, Spring}
234.
Jazz Band.
(1, no limit Δ)
Dalby, Kostur
Modern jazz ensemble of 20 or more that performs music representing various styles of big band jazz, rock and pop. Auditions required. (E)
{Fall, Spring}
236.
Introduction to Improvisation.
(1 to a maximum of 3 Δ)
Dalby
An introductory course in musical improvisation. Activities include singing, playing familiar tunes by ear and learning of tonal functions. Basic aspects of jazz harmony, vocabulary and style are introduced during the latter part of the semester. (JS)
May be repeated for credit with permission of department chairperson (or dean).
{Fall}
237.
Jazz Improvisation I.
(1)
Dalby
Continuation of 236. Course addresses forms of jazz tunes, idiomatic jazz vocabulary (patterns) associated with ii-V7-I chord progressions and jazz theory including chord/scale relationships. (JS)
Prerequisite: 236
{Spring}
238.
Jazz Theory/Keyboard.
(2)
Kostur
Music theory as applied to jazz music. Introduction to chord/scale theory, chord nomenclature, common harmonic progressions and substitutions. Keyboard includes basic jazz chord voicings and progressions. (JS)
Prerequisite: 152
{Fall, alternate years}
241.
University Band.
(1, no limit Δ)
Rombach, Simons
(Also offered as MUSE 241)
(Includes Wind Symphony, Symphonic Band, Campus Band, Marching Band, Basketball Band) Study and performance of concert band literature. Marching band required of wind and percussion concentrates in music education. Audition required, but open to all students. (E)
Maximum of 8 hours credit allowed toward degrees in the BUS, in the College of Fine Arts or in the College of Education; 4 hours in other colleges.
{Fall, Spring}
243.
Concert Choir.
(1, no limit Δ)
Ellingboe
(Also offered as MUSE 243)
Select mixed-voice choral ensemble, 28–34 singers. Performs significant works of the Renaissance, Baroque, Classic, Romantic and Contemporary periods. Audition required, but open to all students. (E)
Maximum of 8 hours credit allowed toward degrees in the BUS, in the College of Fine Arts or in the College of Education; 4 hours in other colleges.
{Fall, Spring}
250.
Music Theory III.
(2 [4])
Hermann
Continuation of 152. Introduction to chromaticism and modulation to remote key areas. (TC)
Prerequisite: 152 and 152L Corequisite: 250L
{Fall}
250L.
Music Theory III Aural Lab.
(2 [0])
Continuation of 152L. Advanced singing and dictation correlated with the materials in 250. (TC)
Prerequisite: 152 and 152L Corequisite: 250
{Fall}
252.
Music Theory IV.
(2 [4])
Hermann
Continuation of 250. Continuation of chromatic harmony and analysis. (TC)
Prerequisite: 250 and 250L Corequisite: 252L
{Spring}
252L.
Music Theory IV Aural Lab.
(2 [0])
Continuation of 250L. Advanced ear-training, mastering chromatic melodies and clefs. (TC)
Prerequisite: 250 and 250L Corequisite: 252
{Spring}
254.
Introduction to Composition in the Western Tradition.
(2)
Block, Hermann
Includes model composition work in tonal and post-tonal idioms and readings in aesthetics, theory, notation and orchestration. Problems in vocal composition are considered. (TC)
Prerequisite: 250
{Spring}
266.
Singing for Actors.
(2)
Umphrey
Vocal technique for the actor who wants to gain confidence in singing, specifically for audition purposes. Students are assigned specific musical theater repertory and perform in an ongoing workshop environment. Open to all levels. (V)
{Spring}
270.
String Pedagogy Seminar II.
(2 to a maximum of 4 Δ)
Kempter
Development of elementary musical skills and techniques, including scales, shifting and vibrato. Approaches to teach children to read music will be covered. Suzuki Books 3 and 4 will be covered. (P)
Student must have completed 4 hours of MUS 170 and 2 hours of MUS 170L to enroll.
Restriction: permission of instructor
Corequisite: 270L
{Fall, Spring}
270L.
String Pedagogy Lab II.
(1 to a maximum of 2 Δ)
Kempter
Students will teach private and homogeneous group lessons in the University of New Mexico Music Preparatory School. Supervision and guidance will be provided regularly via observation, videotaping, and discussion in the pedagogy seminar. (P)
Student must have completed 4 hours of MUS 170 and 2 hours of MUS 170L to enroll.
Corequisite: 270
Restriction: permission of instructor.
{Fall, Spring}
271.
Music Today.
(3)
Davis
A survey of how Western art music and popular music developed during the 20th century, especially with regard to the effect that social and economic forces had upon the art. Attendance at several on-campus concerts is required; discussion and live performances by guest musicians are included. (NM)
Meets New Mexico Lower-Division General Education Common Core Curriculum Area V: Humanities and Fine Arts.
{Fall, Spring}
305.
Composition I.
(2)
Block, Shultis
Beginning compositional techniques, introducing 20th-century harmony. (TC)
Prerequisite: 254
{Fall}
306.
Composition II.
(2)
Block, Shultis
Beginning compositional techniques, introducing 20th-century harmony. Continuation of 305. (TC)
Prerequisite: 305
{Spring}
309.
Form and Analysis.
(2)
Block, Hermann
Introduction to structure and long-range harmonic analysis. Emphasis on common-practice music: binary and ternary, sonata-allegro, rondo, concerto, variation and contrapuntal forms. (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 252
{Fall, alternate years}
311 / 511.
Computer Applications I.
(2)
Barlow
A hands-on introduction to various computer applications useful to musicians in all areas of specialization. Various computer programs aiding in music notation, arranging and MIDI composition will be presented and explored. (T)
325 / 525.
Post-Tonal Theory.
(3)
Block, Hermann
Twentieth-century theoretical techniques applied analytically to all music of the century. Scales, modes, set-theory, twelve-tone theory, minimalist techniques, timbral design and specific compositional methods (Messaien, Cage, Carter, Stockhausen) will be discussed with some rudimentary ear-training. (TC)
Prerequisite: 250
{Spring, alternate years}
336.
Jazz Improvisation II.
(1)
Kostur Continuation of 237, focusing on chromaticism, chord alterations (with associated chord/scale implications), execution of ii-V7-I patterns in all minor keys and analysis of transcribed solos of jazz masters. (JS)
Prerequisite: 237
{Fall, alternate years}
337.
Jazz Improvisation III.
(1)
Kostur
Continuation of 336, introducing modern jazz compositions containing nonfunctional and polytonal harmony, with appropriate chord-scale implications and jazz vocabulary. Analysis of transcribed solos of modern jazz masters is also required. (JS)
Prerequisite: 336
{Spring, alternate years}
338.
Jazz Arranging.
(2)
Kostur
Introduction to jazz arranging and scoring techniques for jazz small groups and big bands. Includes voicing for horns, writing for rhythm sections, reharmonization, standards for score and part preparation. (JS)
Prerequisite: 238
{Spring, alternate years}
343.
Selected Topics in Jazz Studies.
(3, no limit Δ)
Kostur
This course allows permanent or visiting faculty to develop a course based on a topic related to the field of jazz studies. (JS)
May be repeated for credit, no limit as long as topic varies. Enrollment requires instructor’s approval.
{Offered upon demand}
351.
Undergraduate Problems.
(1-3 to a maximum of 12 Δ)
Restriction: junior or senior standing.
{Fall, Spring, Summer}
361.
History of Music I.
(3)
Hinterbichler
Forms, styles, schools, principal composers and representative masterworks from antiquity through Baroque. (HL)
Prerequisite: 152
{Fall}
362.
History of Music II.
(3)
Hinterbichler
Continuation of 361, from Pre-Classic to the present. (HL)
Open to music majors only.
MUS 361 is recommended, but not required, before enrolling in MUS 362.
Prerequisite: 152
{Spring}
363.
Conducting.
(2)
Pérez-Gómez, Rombach-Kendall
Basic theory and techniques of conducting. Open only to students pursuing the Bachelor of Music or Bachelor of Arts in Music; exceptions may be made with permission of department chair. (C)
365.
Instrumental Conducting.
(2)
Pérez-Gómez
Instrumental conducting techniques, score reading, interpretation. (C)
Prerequisite: 363
{Spring}
370.
String Pedagogy Seminar III.
(2 to a maximum of 4 Δ)
Kempter
Exploration of intermediate student skills and techniques, including three-octave scales, arpeggios, shifting, playing in the upper positions and double stops. Pedagogical approaches of Paul Rolland will be explored. Suzuki Books 5 and 6 will be covered. Course fee required. (P)
Student must have completed 4 hours of 270 and 2 hours of 270L to enroll.
Corequisite: 370L
Restriction: permission of instructor
{Fall, Spring}
370L.
String Pedagogy Lab III.
(1 to a maximum of 2 Δ)
Kempter
Opportunity for the University of New Mexico student to teach more advanced students in the University of New Mexico Music Preparatory School and beginning orchestra classes. May also teach parent preparation classes. (P)
Student must have completed 4 hours of 270 and 2 hours of 270L to enroll.
Corequisite: 370
Restriction: permission of instructor
{Fall, Spring}
371.
Music History for Non-Majors.
(3)
Vigneau, Piper
A survey of Western music history and musical styles in art music from about 800 A.D. to the present. (NM)
Music reading ability not required.
{Summer, Fall}
373.
Folk Music of North America.
(3)
Klemenc
A survey of important types of folk music in North America (Canada, Mexico and the United States). (NM)
Music reading ability not required.
375.
The Beatles' Musical Revolution.
(3)
Piper
Examines the development of the historical and musical artistry of the Beatles presented within the framework of aesthetic and social/cultural movement 1957-1970 and their individual contributions. (NM)
{Spring}
380 / 580.
Recording Techniques I.
(2)
Geist
Introduction to modern studio recording techniques. (T)
{Fall}
388 / 588.
Music Pedagogy.
(2, no limit Δ)
For the music student who plans to teach privately, especially beginners of various ages. Specific area is announced in class schedule when course is offered. (P)
May be repeated for credit, no limit, as long as subject matter varies, with permission of department chairperson (or dean).
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Restriction: junior or senior standing.
{Fall}
389 / 589.
Music Pedagogy.
(2, no limit Δ)
Continuation of 388, treating problems in teaching intermediate and moderately advanced students. Specific area is announced in class schedule when course is offered. (P)
May be repeated for credit, no limit, as long as subject matter varies, with permission of department chairperson (or dean).
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Restriction: junior or senior standing.
{Spring}
395 / 595.
Accompanying.
(1, no limit Δ)
Pyle
Study and performance of accompaniment practice. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval. (E)
{Fall, Spring}
405 / 505.
Sixteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 16th century. (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 152
{Fall, alternate years}
406 / 506.
Eighteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 18th century. (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 250
{Fall, alternate years}
409.
Composition III.
(2)
Staff
Techniques and procedures in the composition of music. Continuation of 306. (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 306 and 325
{Fall}
410.
Composition IV.
(2)
Staff
Continuation of 409. Composition majors only. (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 409
{Spring}
412 / 512.
Computer Applications II.
(2)
Barlow
An introductory examination of the process of gathering, processing and editing sound on a digital audio work station. (T)
413 / 513.
Studies in Medieval and Renaissance Music.
(3)
Music of Western Europe from the Christian Era to the close of the 16th century. (HL)
Open to music majors only; non-majors must have instructor’s approval to enroll.
Prerequisite: 361 and 362
{Fall, alternate years}
414 / 514.
Studies in Baroque Music.
(3)
Vigneau
Music of Western Europe, 1600–1750, with emphasis on forms, styles, principal composers and performance practices. (HL)
Open to music majors only; non-majors must have instructor’s approval to enroll.
Prerequisite: 361 and 362
{Spring, alternate years}
415 / 515.
Studies in Classic and Romantic Music.
(3)
Music of Western Europe from 1750–1900. (HL)
Open to music majors only; non-majors must have instructor’s approval to enroll.
Prerequisite: 361 and 362
{Spring, alternate years}
416 / 516.
Studies in Twentieth-Century Music.
(3)
Shultis
A survey of the chief musical developments in Western Europe and the Americas from 1900 with the emphasis on music composed since 1940. (HL)
Open to music majors only; non-majors must have instructor’s approval to enroll.
Prerequisite: 361 and 362
{Fall, alternate years}
417 / 517.
Native American Music.
(3)
M. Williams
(Also offered as NATV 417)
Survey course on the music of Native North American Indians, covering traditional repertoires, cultural context of musical performances, musical styles and relationship to dance. (WM)
{Fall}
418 / 518.
Alaska Native Music and Culture.
(3)
M. Williams
(Also offered as NATV 418)
Study of traditional Alaska Native music by region and culture group. Use of interdisciplinary methods to examine the historical and social dynamics behind changing musical traditions. Fundamentals of contemporary world music theory and research methods. (WM)
{Spring, alternate years}
422 / 522.
Indigenous World Music.
(3)
M. Williams
(Also offered as NATV 422)
An introduction to the indigenous music of the Americas, Europe, Africa, Middle East and Asia, including issues of change, adaptation and contemporary cultural influences on music traditions. (WM)
{Spring, alternate years}
430 [*430].
Advanced Opera Studio.
(1, no limit Δ)
Tyler
Advanced performance in music theatre and opera, culminating in major performances. Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music. Open by audition to singers, conductors, pianists, stage directors, and producers. (E)
Prerequisite: 230
{Fall, Spring}
435 / 535.
Special Topics in Music.
(1-3, no limit Δ)
May be repeated for credit, no limit as long as subject matter varies. Enrollment requires instructor’s approval.
{Offered upon demand}
436 / 536.
Selected Topics in Contemporary World Music.
(3, no limit Δ)
This course allows permanent or visiting faculty to develop a course based on a topic related to the field of contemporary world music. Enrollment requires instructor’s approval. (WM)
May be repeated for credit, no limit as long as topic varies.
{Offered upon demand}
437 / 537.
Selected Topics in Music Literature.
(3, no limit Δ)
Hinterbichler, Vigneau
May be repeated for credit, no limit, as long as topic varies. (HL)
If student has not completed MUS 361 and MUS 362, enrollment requires instructor’s approval.
Prerequisite: 361 and 362
{Offered upon demand}
439 / 539.
Selected Topics in Music Theory.
(3, no limit Δ)
Block, Hermann
This course allows permanent or visiting faculty to develop a course based on a topic related to advanced research interests or expertise. May be repeated for credit, no limit, as long as topic varies. (TC)
Enrollment requires instructor's approval
Prerequisite: 252
{Offered upon demand}
444 / 544.
Anthropology of World Beat.
(3)
Feld
(Also offered as ANTH 444)
The study of musical globalization, concentrating on the 100 year background of indigenous and ethnic sound recordings that led to the creation of the “World Music” genre in the late 20th Century. (WM)
448 / 548.
The Anthropology of Music and Sound.
(3)
Feld
(Also offered as ANTH 448/548)
The cultural study of music and sound. Course materials are drawn from written and audio music ethnographies of contemporary indigenous, diasporic, refugee, exile, and industrial communities. (WM)
449 / 549.
Music Repertory.
(2, no limit Δ)
Comprehensive study of solo repertory for voice or individual instruments. Specific area is announced in the class schedule when the course is offered. (HL)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
{Fall}
453.
Orchestration.
(2)
Chambers
Scoring for orchestra, including properties and limitations of string, wind and percussion instruments, notation, principles of combination and balance and characteristics of the various “schools” of orchestration. May be repeated for credit with permission of department chairperson (or dean). (TC)
Open only to undergraduates enrolled in the music performance program leading to the Bachelor of Music; exceptions may be made with permission of the chairperson of the Department of Music.
Prerequisite: 152
{Fall}
470.
String Pedagogy Seminar IV.
(2 to a maximum of 4 Δ)
Kempter
Continued exploration of pedagogical approaches; overview of literature and études; Suzuki Books 7 and 8. (P)
Student must have completed 4 hours of MUS 370 and 2 hours of MUS 370L to enroll.
Corequisite: 470L
{Fall, Spring}
Restriction: permission of instructor.
470L.
String Pedagogy Lab IV.
(1 to a maximum of 2 Δ)
Kempter
Students will continue to teach individual lessons as well as homogeneous and heterogeneous groups. Advanced pedagogy students will lead the University of New Mexico Music Preparatory School students in their concerts and recitals and will help coordinate those events. (P)
Students must have completed 4 hours of 370 and 2 hours of 370L to enroll.
Corequisite: 470
Restriction: permission of instructor
{Fall, Spring}
472.
String Pedagogy Recital.
(2)
Kempter
Students will perform a half-recital in the community and at UNM. In addition, an intermediate/advanced musical score will be analyzed and discussed for pedagogical points. (P)
Corequisite: 470
481 / 581.
Recording Techniques II.
(2)
Geist
An introductory examination of the process of gathering, processing and editing sound on a digital audio work station. (T)
Prerequisite: 380
{Spring}
*484.
Evaluating the Arts.
(3)
(Also offered as ARTH, DANC, MA, THEA 484)
Examines the practice of criticism, with emphasis on critical processes that penetrate a variety of art forms. Also explores aesthetic theories and cultural outlooks that underpin practical criticism. (I)
Undergraduates must have completed 6 hours of courses in the College of Fine Arts, 3 of which have Fine Arts designation.
Restriction: permission of instructor
487 / 587.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 Δ)
(Also offered as ARTH, DANC, MA, THEA 487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. (I)
Restriction: permission of instructor
499.
Senior Thesis.
(3-6 to a maximum of 6 Δ)
Open to seniors approved by the departmental honors committee. (TH)
{Summer, Fall, Spring}
505 / 405.
Sixteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 16th century. (TC)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, alternate years}
506 / 406.
Eighteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 18th century. (TC)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, alternate years}
511 / 311.
Computer Applications I.
(2)
Barlow
A hands-on introduction to various computer applications useful to musicians in all areas of specialization. Various computer programs aiding in music notation, arranging and MIDI composition will be presented and explored. (T)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
512 / 412.
Computer Applications II.
(2)
Barlow
An introductory examination of the process of gathering, processing and editing sound on a digital audio work station. (T)
513 / 413.
Studies in Medieval and Renaissance Music.
(3)
Music of Western Europe from the Christian Era to the close of the 16th century. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, alternate years}
514 / 414.
Studies in Baroque Music.
(3)
Vigneau
Music of Western Europe, 1600–1750, with emphasis on forms, styles, principal composers and performance practices. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Spring, alternate years}
515 / 415.
Studies in Classic and Romantic Music.
(3)
Music of Western Europe from 1750–1900. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Spring, alternate years}
516 / 416.
Studies in Twentieth-Century Music.
(3)
Shultis
A survey of the chief musical developments in Western Europe and the Americas from 1900, with the emphasis on music composed since 1940. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, alternate years}
517 / 417.
Native American Music.
(3)
M. Williams
Survey course on the music of Native North American Indians, covering traditional repertoires, cultural context of musical performances, musical styles and relationship to dance. (WM)
{Fall}
518 / 418.
Alaska Native Music and Culture.
(3)
M. Williams
Study of traditional Alaska Native music by region and culture group. Use of interdisciplinary methods to examine the historical and social dynamics behind changing musical traditions. Fundamentals of contemporary world music theory and research methods. (WM)
{Spring, alternate years}
522 / 422.
Indigenous World Music.
(3)
M. Williams
An introduction to the indigenous music of the Americas, Europe, Africa, Middle East and Asia, including issues of change, adaptation and contemporary cultural influences on music traditions. (WM)
{Spring, alternate years}
525 / 325.
Post-Tonal Theory.
(3)
Block, Hermann, Lombardi
Twentieth-century theoretical techniques applied analytically to all music of the century. Scales, modes, set-theory, twelve-tone theory, minimalist techniques, timbral design and specific compositional methods will be discussed. Numerous readings and projects will be included. (TC)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Spring, alternate years}
527.
Theory Pedagogy.
(3)
Staff
A survey of the materials, the methodology and the content that could be encompassed in courses that teach theory. Representative textbooks, including those that deal with 20th-century techniques, will be studied. (P)
{Spring}
Restriction: permission of instructor
528.
Music Styles Before 1750.
(3)
This course expects students to analyze the music of the eras being studied. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
529.
Techniques of Twentieth-Century Composition.
(3)
Staff
Devoted to the music of the 20th century, the course spans the gulf between traditional academic training (i.e., common practice harmony) and current practice. Students survey techniques of 20th-century composition and then imitate these in composed works of their own. (TC)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Summer}
531.
Bibliography and Research.
(3)
Course includes basic procedures used in research, library orientation, investigative methods and typical materials. The course aims to teach students that research is a logical process. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall}
535 / 435.
Special Topics in Music.
(1-3, no limit Δ)
May be repeated for credit, no limit as long as subject matter varies. Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Offered upon demand}
536 / 436.
Selected Topics in Contemporary World Music.
(3, no limit Δ)
This course allows permanent or visiting faculty to develop a course based on a topic related to the field of contemporary world music. (WM)
May be repeated for credit, no limit as long as topic varies.
Enrollment requires instructor’s approval.
{Offered upon demand}
537 / 437.
Selected Topics in Music Literature.
(3, no limit Δ)
Hinterbichler, Vigneau
May be repeated for credit, no limit, as long as topic varies. (HL)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Offered upon demand}
539 / 439.
Selected Topics in Music Theory.
(3, no limit Δ)
Block, Hermann
This course allows permanent or visiting faculty to develop a course based on a topic related to advanced research interests or expertise. May be repeated for credit, no limit, as long as topic varies. (TC)
Enrollment requires instructor's approval.
Prerequisite: 252
{Offered upon demand}
544 / 444.
Anthropology of World Beat.
(3)
(Also offered as ANTH 544)
The study of musical globalization, concentrating on the 100 year background of indigenous and ethnic sound recordings that led to the creation of the “World Music” genre in the late 20th Century. (WM)
548 / 448.
The Anthropology of Music and Sound.
(3)
Feld
(Also offered as ANTH 548/448)
The cultural study of music and sound. Course materials are drawn from written and audio music ethnographies of contemporary indigenous, diasporic, refugee, exile, and industrial communities. (WM)
549 / 449.
Music Repertory.
(2, no limit Δ)
Comprehensive study of solo repertory for voice or individual instruments. Specific area is announced in the class schedule when the course is offered. (HL)
May be repeated for credit, no limit, as long as subject matter varies.
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall}
551.
Graduate Problems.
(1-3 to a maximum of 12 Δ)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, Spring, Summer}
560.
Ensemble Performance.
(1, no limit Δ)
Training in ensemble performance in either chamber groups or larger ensembles (band, orchestra, chorus). Specific ensemble offerings are announced each semester in the Schedule of Classes. (E)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, Spring}
565.
Advanced Instrumental Conducting.
(2)
Pérez-Gómez, Rombach-Kendall
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval. (C)
{Spring}
571.
Conducting Seminar.
(2 to a maximum of 12 Δ)
Ellingboe, Perez-Gomez, Rombach
The development of skills and knowledge required to lead large ensembles. Score study, aural skills, rehearsal and pedagogical strategies, conducting technique, study of repertoire, and discussion of educational and artistic philosophies. For students enrolled in the Master of Music Conducting Concentration only. (C)
{Fall, Spring}
572.
Advanced Conducting Seminar.
(2 to a maximum of 8 Δ)
Ellingboe, Pérez-Gómez, Rombach
Continuation of MUS 571. Advanced study in technique of conducting large ensembles. Open only to students enrolled in the Master of Music Conducting Concentration. (C)
Prerequisite: four hours of MUS 571
{Fall, Spring}
580 / 380.
Recording Techniques I.
(2)
Geist
Introduction to modern studio recording techniques. (T)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall}
581 / 481.
Recording Techniques II.
(2)
Geist
Continuation of 580. This course is task-based, with emphasis on individual projects and hands-on training. (T)
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
Prerequisite: 580
{Spring}
584.
Problems in Interdisciplinary Studies.
(3 to a maximum of 6 Δ)
(Also offered as ARTH, THEA 584 and MA *485)
An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts. (I)
587 / 487.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 Δ)
(Also offered as ARTH, DANC, THEA 587 and MA 487*)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. (I)
{Spring}
588 / 388.
Music Pedagogy.
(2, no limit Δ)
For the music student who plans to teach privately, especially beginners of various ages. Specific area is announced in class schedule when course is offered. (P)
May be repeated for credit, no limit, as long as subject matter varies, with permission of department chairperson (or dean). If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall}
589 / 389.
Music Pedagogy.
(2, no limit Δ)
Continuation of 588, treating problems in teaching intermediate and moderately advanced students. Specific area is announced in class schedule when course is offered. (P)
May be repeated for credit, no limit, as long as subject matter varies, with permission of department chairperson (or dean).
Enrollment in a graduate degree program in music is strongly recommended. If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
Prerequisite: 588
{Spring}
595 / 395.
Accompanying.
(1, no limit Δ)
Pyle
Study and performance of accompaniment practice. (E)
If the student is not pursuing a graduate degree program in music, enrollment will require instructor’s approval.
{Fall, Spring}
599.
Master’s Thesis.
(1-6, no limit Δ)
Enrollment requires instructor’s approval. (TH)
Offered on a CR/NC basis only.
{Summer, Fall, Spring}
Restriction: Enrollment in a graduate degree program in music.
