Music (MUS) *See also: (MUSC)
109.
Group Voice I.
(1, no limit Δ)
Staff
Open to beginners in voice except voice performance majors. May be repeated for credit with permission of department chairperson (or dean). (V)
110.
Group Voice II.
(1, no limit Δ)
Staff
May be repeated for credit with permission of department chairperson (or dean). (V)
Prerequisite: 109.
111.
Group Piano I.
(1, no limit Δ)
Dalager.
Beginning repertoire, sight-reading, basic major-key scale and chord patterns. Open only to music majors and to music and music education minors; priority given to students with a piano proficiency requirement. Not open to keyboard majors. Instructor permission required. May be repeated for credit with permission of department chairperson (or dean) and instructor. (PI)
{Fall, Spring}
112.
Group Piano II.
(1, no limit Δ)
Dalager.
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}
116.
Group Guitar I.
(2)
Silva
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)
Silva
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}
124.
Group Violin I.
(1, no limit Δ)
Fredenburgh.
For non-music majors, or as secondary instrumental study for music majors. Cannot satisfy degree requirements for music majors. May be repeated for credit with permission of department chairperson or college dean. (NM)
Restriction: permission of instructor.
{Fall, Spring}
125.
Group Violin II.
(1, no limit Δ)
Fredenburgh.
Continuation of 124. For non-majors, or as secondary instrumental study for music majors. Cannot satisfy degree requirements for majors. May be repeated for credit with permission of department chairperson or college dean. (NM)
Prerequisite: 124.
Restriction: permission of instructor.
{Fall, Spring}
130.
Music Fundamentals.
(2)
Staff
Introduction to basic notation, including staves, clefs, scales, key signatures, meter, rhythm, intervals, triad qualities. (TC)
For music majors or minors possessing insufficient background for enrollment in MUS 150. Credit not applicable to a music degree.
Corequisite: 130L.
{Fall}
130L.
Music Fundamentals Aural Lab.
(2)
Staff
Aural skill training in material covered in 130, with emphasis on rhythmic and melodic dictation, aural identification of intervals, scales and triad qualities, and sightsinging of rhythms, intervals and simple melodies. (TC)
For music majors or minors possessing insufficient background for enrollment in MUS 150L. Credit not applicable to a music degree.
Corequisite: 130.
{Fall}
150.
Music Theory I.
(2)
Bashwiner, Hurtado, Staff
Fundamentals, part-writing and harmonic analysis: introduction to diatonic theory. (TC)
Corequisite: 150L.
{Fall}
150L.
Music Theory I Aural Lab.
(2)
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)
Bashwiner, Hurtado, Staff
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)
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}
211.
Group Piano III.
(1, no limit Δ)
Dalager.
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)
Dalager.
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}
214.
Piano Proficiency.
(0)
Dalager.
For music majors only. Examination of ability to perform major and minor scales and cadence patterns, sightreading and repertory at a basic level of proficiency. Harmonization and scorereading also required for Music Education majors. (PI)
Offered on a CR/NC basis only.
Restriction: permission of instructor.
{Summer, 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)
C. 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}
236.
Introduction to Improvisation.
(1, may be repeated twice Δ)
Kostur.
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)
J. Marchiando.
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}
239.
Spirit Marching Band.
(1, no limit Δ)
(Also offered as MUSE 239)
Rombach, Simons.
The Spirit Marching Band performs at all UNM home football games. The marching band is open to all students at UNM and CNM. Each member receives a monetary stipend upon completion of the season. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
250.
Music Theory III.
(2)
Bashwiner, Hurtado
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)
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)
Bashwiner, Hurtado
Continuation of 250. Continuation of chromatic harmony and analysis. (TC)
Prerequisite: 250 and 250L.
Corequisite: 252L.
{Spring}
252L.
Music Theory IV Aural Lab.
(2)
Continuation of 250L. Advanced ear-training, mastering chromatic melodies and clefs. (TC)
Prerequisite: 250 and 250L.
Corequisite: 252.
{Spring}
305.
Composition I.
(2)
Obermueller.
Beginning compositional techniques, introducing 20th-century harmony. (TC)
Prerequisite: MUSC 2140.
{Fall}
306.
Composition II.
(2)
Obermueller
Beginning compositional techniques, introducing 20th-century harmony. Continuation of 305. (TC)
Prerequisite: 305.
{Spring}
309.
Form and Analysis.
(2)
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 and 252L.
{Fall, alternate years}
311 / 511.
Fundamentals of Music Technology.
(2-3)
(Also offered as FDMA 311)
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)
{Fall, Spring}
314.
Theory and Composition Keyboard Proficiency.
(0)
Hermann
Examination of student's ability to demonstrate basic proficiency in the piano skills needed to teach lower-division undergraduate theory courses. For B.M. Theory and Composition concentration students only. (PI)
Offered on a CR/NC basis only.
Prerequisite: 252 and 252L.
Restriction: permission of instructor.
{Fall, Spring}
325 / 525.
Post-Tonal Theory.
(3)
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 (Messiaen, Cage, Carter, Stockhausen) will be discussed with some rudimentary ear-training. (TC)
Prerequisite: 250.
{Fall, alternate years}
330.
Opera Studio.
(1, no limit Δ)
Ditlow, Shepperson, Umphrey
Study of opera through performance, including improvisational technique, movement and character development. Participation in opera scenes and/or larger productions as assigned. Music-reading proficiency required. Admission by audition; preference given to junior and senior vocal majors. (E)
Restriction: permission of instructor.
{Fall, Spring}
332.
Sinfonia.
(1, no limit Δ)
(Also offered as MUSE 332)
Conducted string chamber orchestra of violins (1st and 2nd), violas, cellos and string basses. Repertory from pre-baroque through present. Open to all university students and community members by audition. Contact instructor for audition requirements. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
333.
Symphony Orchestra.
(1, no limit Δ)
(Also offered as MUSE 333)
Pérez-Gómez.
Study and public performance of symphonic literature. Auditions required. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
334.
Jazz Band.
(1, no limit Δ)
Buckholz, 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}
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}
340.
Symphonic Band.
(1, no limit Δ)
(Also offered as MUSE 340)
Simons.
The UNM Symphonic Band provides a place for the serious player to explore classic and contemporary repertoire for the wind band. This group is open by audition to talented musicians regardless of academic major. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
341.
Wind Symphony.
(1, no limit Δ)
(Also offered as MUSE 341)
Rombach, Simons.
Study, rehearsal and performance of original works and transcriptions for wind ensemble, symphonic band and chamber winds. Audition required, but open to all students. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
342.
Dolce Suono.
(1, no limit Δ)
(Also offered as MUSE 342)
Carlow.
An intermediate choral ensemble that sings a broad range of repertoire in different languages. Voice placement required, but open to all students. Music Education majors register for MUSE 342. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
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}
344.
Las Cantantes.
(1, no limit Δ)
(Also offered as MUSE 344)
A select women's chorus that performs masterpieces of the treble voice repertoire both a cappella and with various instrumental ensembles. Audition required, but open to all students. Music Education majors register for MUSE 344. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
345.
Chamber Singers.
(1, may be repeated five times Δ)
(Also offered as MUSE 345)
Elite sixteen-voice ensemble (SATB) made up of primarily vocal performance and vocal music education majors who perform challenging repertoire spanning six centuries. Audition required in the fall for placement into the ensemble for the year. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
348.
Concert Choir.
(1, no limit Δ)
(Also offered as MUSE 348)
Staff.
A highly select SATB ensemble of approximately 40 singers, specializing in choral literature from all periods. Voice placement required, but open to all students. Music Education majors register for MUSE 348. (E)
Maximum of 8 credit hours allowed toward degrees in the College of Fine Arts, in the College of Education, and in the B.A. in Liberal Arts and B.I.S.I. degrees; maximum of 4 credit hours allowed towards degrees in other colleges.
{Fall, Spring}
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)
Staff.
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)
Prerequisite: 252.
Restriction: junior or senior status.
{Fall}
365.
Instrumental Conducting.
(2)
Pérez-Gómez
Instrumental conducting techniques, score reading, interpretation. (C)
Prerequisite: 363.
{Spring}
370.
String Pedagogy Seminar III.
(2, may be repeated once Δ)
Kempter, Collins
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. Student must have completed 4 hours of 270 and 2 hours of 270L to enroll. (P)
Corequisite: 370L.
Restriction: permission of instructor.
{Fall, Spring}
370L.
String Pedagogy Lab III.
(1, may be repeated once Δ)
Kempter, Collins
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. Student must have completed 4 hours of 270 and 2 hours of 270L to enroll. (P)
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}
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)
Restriction: junior or senior standing.
{Spring}
376.
Film Music History.
(3)
Swalin
A survey of film music history, technology and technique from the silent film era to the present. No musical experience necessary. (NM)
{Summer, 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 or Bachelor of Music Education; 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. Enrollment requires junior standing in music or instructor's approval. Non-majors may enroll with instructor's approval.
{Fall, Spring}
405 / 505.
Sixteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 16th century. Open only to undergraduates pursuing the Bachelor of Music, Bachelor of Arts in Music or Bachelor of Music Education; exceptions may be made with permission of the chairperson of the Department of Music. (TC)
Prerequisite: 152.
{Spring, alternate years}
406 / 506.
Eighteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 18th century. Open only to undergraduates pursuing the Bachelor of Music, Bachelor of Arts in Music or Bachelor of Music Education; exceptions may be made with permission of the chairperson of the Department of Music. (TC)
Prerequisite: 250.
{Spring, alternate years}
407 / 507.
Selected Topics in Music Composition.
(2, no limit Δ)
Advanced topics pertaining to contemporary musical composition and creation. May be repeated for credit, no limit as long as topic varies. (TC)
Prerequisite: 306.
{Offered on demand}
412 / 512.
Fundamentals of Audio Technology.
(2-3)
(Also offered as FDMA 412)
Barlow.
Audio editing and equipment and basics of recordings through lab experiences and creative projects. Includes fundamentals of the physics of sound and analysis. (T)
{Spring}
413 / 513.
Studies in Medieval and Renaissance Music.
(3)
Alonso-Minutti
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)
Jacobsen-Bia
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.
{Fall, alternate years}
416 / 516.
Studies in Twentieth-Century Music.
(3)
Alonso-Minutti
A survey of the chief musical developments in Western Europe and the Americas from 1900 with the emphasis on music composed since 1940. Open to music majors only; non-majors must have instructor’s approval to enroll. (HL)
Prerequisite: 361 and 362.
{Spring, alternate years}
421 / 521.
Introduction to Max Programming for Musicians.
(3)
Barlow
An introduction to computer-based music production using the Max programming environment. If student has not taken the prerequisite course, instructor permission will be required. (T)
Prerequisite: 311.
{Fall}
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}
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}
438 / 538.
Selected Topics in Ethnomusicology.
(3, no limit Δ)
This course allows permanent or visiting faculty to develop a course based on a topic related to the field of ethnomusicology. May be repeated for credit, no limit as long as topic varies. (EM)
Restriction: permission of instructor.
{Offered upon demand}
439 / 539.
Selected Topics in Music Theory.
(3, no limit Δ)
Bashwiner, Block, Hermann, Hurtado
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 and 252L.
{Offered upon demand}
442 / 542.
Experimental Music Across the Americas.
(3)
Alonso-Minutti.
A contextual exploration of a wide variety of music traditions conceived and/or perceived as experimental from across the American continent. For music majors; open to non-music majors with instructor's approval. (EM, HL)
Prerequisite: 361 and 362.
Restriction: admitted to B.A. Music or B.M. Music or B.M.E. Music Education.
{Spring}
445 / 545.
Country Music and Cultural Politics.
(3)
(Also offered as ANTH 445 / 545)
Jacobsen.
Investigation of country music from an anthropological and ethnomusicological perspective, utilizing recordings and live performances to put scholarship on country music into conversation with social theory and literature on social class, gender, space/place, racial identities. (EM)
{Spring}
447 / 547.
Mexican Music Beyond Borders.
(3)
Alonso-Minutti.
A contextual exploration of music traditions from Mexico and Mexican communities across the United States. Concentration is placed on indigenous, folk, popular, and art music traditions from historical, socio-cultural, and aesthetic perspectives. (EM, HL).
{Fall}
448 / 548.
The Anthropology of Music and Sound.
(3)
(Also offered as ANTH 448/548)
Jacobsen.
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. (EM)
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)
Gilbert
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}
468 / 568.
Navajo Expressive Culture.
(3)
(Also offered as AMST 468, ANTH 468/568, THEA 468/568)
Examination of contemporary Diné (Navajo) politics and art (music, Navajo language, photography, dance, radio, filmmaking, comedy, weaving, poetry). Weekly guest speakers, readings from ethnomusicology, anthropology, critical indigenous studies. Includes overnight field trip to Navajo Nation. (EM)
{Fall}
470.
String Pedagogy Seminar IV.
(2, may be repeated once Δ)
Kempter, Collins
Continued exploration of pedagogical approaches; overview of literature and études; Suzuki Books 7 and 8. Student must have completed 4 hours of MUS 370 and 2 hours of MUS 370L to enroll. (P)
Corequisite: 470L.
Restriction: permission of instructor.
{Fall, Spring}
470L.
String Pedagogy Lab IV.
(1, may be repeated once Δ)
Kempter, Collins
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. Students must have completed 4 hours of 370 and 2 hours of 370L to enroll. (P)
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)
{Spring}
487 / 587.
Contemporary Interdisciplinary Topics.
(3, may be repeated once Δ)
(Also offered as ARTH, DANC, THEA 487 / 587; FDMA *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}
500.
Musicology Colloquium.
(0, no limit Δ)
Alonso-Minutti
The purpose of this course is to increase the understanding of musicology through the presentation and exchange of related topics and ideas. Attendance at a specified number of approved Musicology events is required. (HL)
Offered on a CR/NC basis only.
{Fall, Spring}
505 / 405.
Sixteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 16th century. (TC)
{Spring, alternate years}
506 / 406.
Eighteenth-Century Counterpoint.
(2)
Hermann
Analysis and writing in the style of the 18th century. (TC)
{Spring, alternate years}
507 / 407.
Selected Topics in Music Composition.
(2, no limit Δ)
Advanced topics pertaining to contemporary musical composition and creation. May be repeated for credit, no limit as long as topic varies. (TC)
Restriction: permission of instructor.
{Offered on demand}
511 / 311.
Fundamentals of Music Technology.
(2-3)
(Also offered as FDMA 311)
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.
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. (T)
{Fall, Spring}
512 / 412.
Fundamentals of Audio Technology.
(2-3)
(Also offered as FDMA 412)
Barlow.
Audio editing and equipment and basics of recordings through lab experiences and creative projects. Includes fundamentals of the physics of sound and analysis. (T)
{Spring}
513 / 413.
Studies in Medieval and Renaissance Music.
(3)
Alonso-Minutti
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)
Jacobsen-Bia
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.
{Fall, alternate years}
516 / 416.
Studies in Twentieth-Century Music.
(3)
Alonso-Minutti
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.
{Spring, alternate years}
520.
Music Through the Masters.
(3)
Explores in detail the fundamentals of both the tonal and the dodecaphonic systems, and at the same time, sets the basics for the understanding of the different compositional strategies that composers used after 1950.
Restriction: admitted to M.Mu. Music or GCERT Music Performance.
521 / 421.
Introduction to Max Programming for Musicians.
(3)
Barlow
An introduction to computer-based music production using the Max programming environment. If student has not taken the prerequisite course, instructor permission will be required. (T)
Prerequisite: 511.
{Fall}
523.
Graduate Aural Skills Boot Camp.
(3)
This course develops students' ability to bring aural understanding to the music they listen to, perform, read, and write. Students will identify and address gaps in their aural training, and extend and refine their skills.
Restriction: admitted to M.Mu. Music.
525 / 325.
Post-Tonal Theory.
(3)
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 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.
{Fall, alternate years}
527.
Theory Pedagogy.
(3)
Hermann
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)
Restriction: permission of instructor.
{Spring, alternate years}
530.
Music Literature and Analysis.
(3)
An exploration of western music history from the middle ages to the present, concentrating on a few essential composers, repertoire, and concepts. Students will be asked to apply material for their graduate study.
Restriction: admitted to M.Mu. Music or GCERT Music Performance.
531.
Bibliography and Research.
(3)
Davies-Wilson
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, Spring}
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}
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}
538 / 438.
Selected Topics in Ethnomusicology.
(3, no limit Δ)
This course allows permanent or visiting faculty to develop a course based on a topic related to the field of ethnomusicology. May be repeated for credit, no limit as long as topic varies. (EM)
Restriction: permission of instructor.
{Offered upon demand}
539 / 439.
Selected Topics in Music Theory.
(3, no limit Δ)
Bashwiner, Block, Hermann, Hurtado
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.
{Offered upon demand}
540.
Proseminar in Critical Musicology.
(3)
Alonso Minutti
Introduction to the field of musicology, including issues and concepts of music history, historiography, criticism, and assessment of current debates of musicological research. (HL)
{Fall, alternate years}
541.
Proseminar in Anthropology of Music.
(3)
Examination of the history and present practices of the discipline of ethnomusicology or the anthropology of music. Origins of the discipline, its split from comparative musicology, and recent innovations and intellectual shifts will be examined. (EM)
{Spring}
542 / 442.
Experimental Music Across the Americas.
(3)
Alonso-Minutti.
A contextual exploration of a wide variety of music traditions conceived and/or perceived as experimental from across the American continent. For music majors; open to non-music majors with instructor's approval. (EM, HL)
Restriction: admitted to M.Mu. Music.
{Spring}
545 / 445.
Country Music and Cultural Politics.
(3)
(Also offered as ANTH 545 / 445)
Jacobsen.
Investigation of country music from an anthropological and ethnomusicological perspective, utilizing recordings and live performances to put scholarship on country music into conversation with social theory and literature on social class, gender, space/place, racial identities. (EM)
{Spring}
547 / 447.
Mexican Music Beyond Borders.
(3)
Alonso-Minutti.
A contextual exploration of music traditions from Mexico and Mexican communities across the United States. Concentration is placed on indigenous, folk, popular, and art music traditions from historical, socio-cultural, and aesthetic perspectives. (EM, HL).
{Fall}
548 / 448.
The Anthropology of Music and Sound.
(3)
(Also offered as ANTH 448/548)
Jacobsen.
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. (EM)
Restriction: permission of instructor.
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)
Independent study in the field of music. Enrollment in a graduate degree program in music is strongly recommended.
Restriction: approval of Department of Music Graduate Committee.
{Summer, Fall, Spring}
555.
Graduate Diction for Singers.
(2)
C. Sheinberg.
This course is designed to cover diction as applied to singing in English, Latin, Italian, German and French, using the International Phonetic Alphabet. (V)
{Spring}
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}
561.
String Pedagogy I:.
(2)
Staff
Includes an introduction to elementary skills and concepts appropriate for beginners, and exploration of ties between elementary skills and intermediate skills. Also includes study of the pedagogy of Paul Rolland and Motivation Theory. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Fall, Spring}
562.
String Pedagogy II:.
(2)
Staff
Development of technique and musical concepts in children during their first two/three years of instruction. Other topics include development of musicianship, philosophy of Shinichi Suzuki, and human cognition as applicable to music teaching and learning. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Fall, Spring}
563.
String Pedagogy III:.
(2)
Staff
Course will cover the pedagogy of Ivan Galamian and applications to school orchestra teaching, bow arm development, an overview of student repertoire, and educating parents about managing home practice. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Fall, Spring}
564.
String Pedagogy IV:.
(2)
Staff
The pedagogy of John Kendall, the business of private studio management, Mozart's Concerti Nos. 3, 4 and 5, charting of technical growth from these back to the beginning student, and an overview of child development. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Fall, Spring}
566.
String Pedagogy Project.
(2)
Kempter
An independent project, designed in consultation with string pedagogy faculty. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Summer, Fall, Spring}
567.
Readings in String Pedagogy.
(2)
Reading, assessment and discussion of articles and books that enrich the study of String Pedagogy, enhancing understanding of and expanding options for teaching in private and group lesson situations. If the student is not pursuing a graduate degree program in music, enrollment will require instructor's approval. (P)
{Fall, alternate years}
568 / 468.
Navajo Expressive Culture.
(3)
(Also offered as AMST 468, ANTH 568/468, THEA 568/468)
Examination of contemporary Diné (Navajo) politics and art (music, Navajo language, photography, dance, radio, filmmaking, comedy, weaving, poetry). Weekly guest speakers, readings from ethnomusicology, anthropology, critical indigenous studies. Includes overnight field trip to Navajo Nation. (EM)
{Fall}
571.
Conducting Seminar.
(2, may be repeated five times Δ)
Pérez-Gómez, Rombach, Staff.
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, may be repeated three times Δ)
Pérez-Gómez, Rombach, Staff.
Continuation of MUS 571. Advanced study in technique of conducting large ensembles. (C)
Open only to students enrolled in the Master of Music concentration in Conducting.
Prerequisite: four credit hours of 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.
{Spring}
584.
Problems in Interdisciplinary Studies.
(3, no limit Δ)
(Also offered as ARTH 584; FDMA *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, may be repeated once Δ)
(Also offered as ARTH, DANC, THEA 587 / 487; FDMA *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.
Restriction: Enrollment in a graduate degree program in music.
{Summer, Fall, Spring}
