Performance Ensembles

This course, first in a three-quarter sequence, is primarily intended for students without extensive musical experience. It introduces music notation and basic music theory topics such as intervals, scales, keys and chords, as well as basic rhythm skills. Prerequisite: none.

This course, second in a three-quarter sequence, focuses on understanding music theory and developing musical ability through rhythm, ear training and sight singing exercises. Topics include major and minor scales, seventh-chords, transposition, compound meter and rudiments of musical form. Prerequisite: Music 1A.

This course, third in a three-quarter sequence, offers a solid foundation in musical literacy through exercises such as harmonic and melodic dictation, sight singing excerises and rhythm in various meters. Topics include complex rhythm, harmony and basic keyboard skills. Prerequisite: Music 1B.

Primarily intended for music majors. Development of basic skills: perception and notation of pitch and temporal relationships. Introduction of functional harmony. Studies in melodic writing. Drills in sight singing, rhythmic reading, and dictation. Prerequisites: Must be taken in sequence. Majors must be concurrently enrolled in Music 2AK.

Scales, chords, harmonic progressions, transposition, and simple pieces. Prerequisites: Majors must be concurrently enrolled in Music 2A. Majors only.

This course will introduce basic voicings and voice leading, stylistically appropriate accompaniment, and basic chord substitution. For Music Majors with a Jazz and the Music of the African Diaspora emphasis to be taken concurrently with Music 2C. Prerequisites: Music 2AK and 2BK or passing proficiency exam, or consent of instructor. Concurrent enrollment in Music 2C. Majors only.

A brief survey of the history of Western Music from the Middle Ages to the present. Much attention will be paid to the direct experience of listening music and attendance of concerts. Class consists of lectures, listening labs, and live performances. Prerequisite: none.

An examination and exploration of the art and science of music making. Topics include acoustics, improvisation, composition, electronic and popular forms. There will be required listening, reading, and creative assignments. No previous musical background required. Prerequisite: none.

Lectures and listening sessions devoted to the most significant works of music realized through the use of computers and other electronic devices from the middle of this century through the present. Prerequisite: none. (Offered in alternate years.)

Focusing on the past 150 years, this course explore inflection points when technological innovations led to profound changes in the way music was made and consumed. Areas of focus include the evolution of musical instruments, the invention and development of recording and broadcasting, and the rise of digital technologies. The course will conclude with a discussion of current developments and speculation as to what lies ahead.

Jazz is one of the primary foundations for American music in the twentieth and twenty-first centuries. This course highlights the multi-cultural and international scope of jazz by taking a thematic rather than a chronological approach to the subject, and by highlighting the music and lives of a diverse array of jazz practitioners from around the country and around the world.

The symphonic masterworks course will consist of lectures and listening sessions devoted to a detailed discussion of a small number of recognized masterworks (e.g., Mozart, Beethoven, Berlioz, Stravinsky, Ligeti, etc.). Prerequisite: none. (Offered in selected years.)

A course on folk musics of the world, covered through lectures, films, and listening sessions devoted to detailed discussion of music indigenous to varying countries/areas of the world. Topics vary from year to year. May be repeated once for credit. Prerequisite: none.

A study of opera masterworks that often coincide with operas presented in the San Diego Opera season. Class consists of lectures, listening labs, live performances, and opera on video. Prerequisite: none.

Through surveying selected musical traditions and practices from around the world, this course explores the ways in which music both reflects and affects social, cultural, and ecological relationships. Specific case studies will be covered through lectures, films, and listening sessions.

This course offers opportunities to prepare oneself for experiences with new music through preview lectures, to hear quality performances by visiting or faculty artists, to discuss each event informally with a faculty panel: an effort to foster informed listening to the new in music. Prerequisite: none.

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics ary from year to year. May be repeated once for credit. Prerequisite: none Additional Description: This course is a survey of popular music from the early 20th century to the present, with a focus on vocalists who have made significant musical contributions to the broader culture. Drawing from various musical genres, we will examine performers who have distinguished themselves in a number of waysÑwith their vocal and expressive artistry, musical innovation, and, in some cases, commitment to important issues in art and society. Beginning with the blues of the early 20th century and ending with the electronic dance music of today, we will examine and explore a wide variety of artists (including Bessie Smith, Billie Holiday, Janis Joplin, Frank Ocean and Lady Gaga) as a way of gaining critical insight into an increasingly global popular culture.Ãä Instructor: J. Nussman

A course on popular music from different time periods, covered through lectures, films, and listening sessions. Topics vary from year to year. May be repeated once for credit. Prerequisite: none. Additional Description: After emerging from New York's early seventies underground scene, punk has undergone many reinventions. Local scenes (i.e. London, Los Angeles, Seattle) develop unique sounds, styles and behaviours. The course takes a historical approach to punk in order to understand the contradictions and confrontations that have contributed to its fragmented contemporary state. This course will address Nirvana, Green Day, Blink-182, My Chemical Romance and more. Students will gain an understanding of the political and social implications of punk music. Emphasis will be given to the localism, gender, sexuality and class. At the end of this course you should be able to identify the aesthetic characteristics of punk rock, locate regional styles, contextualize new movements and make connections with influences from literary, dramatic, visual artistic and filmic figures.

For a very large country with a small population, Australian popular musicians have had great success worldwide. From ACDC, Skyhooks, Midnight Oil, Jimmie Barnes, and Kylie Minogue, to Temper Trap, Pendulum, Tame Impala, and Vance Joy, AustralianÃ's have set out to change the history of music. This course will explore the political and social landscapes that made way for, and were created by these artists, including the Whitlam government initiatives, Triple J radio station, pub rock, and the culture of mateship. Instructor: Fiona Digney

This class presents a broad chronological overview of the development of hip hop as a musical form from the late 1970s through today. It examines the development of the style in relation to direct context and to earlier African American musical and cultural forms, and considers the technological and legal issues that have impacted its development. The class is listening-intensive and students will be expected to know and recognize essential structures and production techniques. Prerequisites: none

Individual instruction on intermediate level in instrumental technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Individual instruction on intermediate level in vocal technique and repertory. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course and in Music 32VM. May be taken six times for credit. Prerequisite: Audition and Department Stamp.

All students enrolled in voice lessons (32V or 132V) perform for one another and their instructors. Students critique in-class performances, with emphasis on presentation, diction, dramatic effect, vocal quality, and musicality in a critically supportive manner. Prerequisite: Concurrent enrollment in Music 32V or 132V.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 2C or consent of instructor.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33A.

This course is intended to provide the prerequisite knowledge necessary to pursue an emphasis in composition. Topics covered will include notation, calligraphy, instrumentation, orchestration, and twentieth-century music literature. Prerequisite: Music 33B.

The department seminar serves both as a general department meeting and as a forum for the presentation of research and performances by visitors, faculty and students. Required of all undergraduate Music and Music Humanities major every quarter a student is a declared music major. Four units or four quarters of enrollment are required of all undergraduate ICAM music majors who choose the MUS 43 Department Seminar option for their Visitor Series requirement.

Lower division course with various topics will be offered during the summer sessions each year.

The Freshman Seminar Program is designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small seminar setting. Freshman seminars are offered in all campus departments and undergraduate colleges, and topics vary from quarter to quarter. Enrollment is limited to 15 to 20 students, with preference given to entering Freshman. Additional Description: For more information & descriptions, go to http://ugseminars.ucsd.edu/UGSEM_SeminarListing.asp?qtr=sp13&c=f. Please note, Freshmen Seminars meet on specific dates; they may not meet consistently throughout the quarter.

Instrumental course consisting of quartets, quintets, sextets, or octets of specific instruments, i.e. percussion, etc. The ensemble promotes good performance ensemble skills and will expose students to great composers from the classical to the contemporary periods.

Open to all university students, the Concert Choir meets twice a week to prepare one program of choral literature each quarter. Repertoire chosen from a wide variety of musical styles. Attendance at all rehearsals and performances is mandatory.

A 120-voice, intermediate-advanced choral ensemble combining UCSD students with community members, which performs a subscription series of masterwork concerts with the La Jolla Symphony and Chorus.

Rehearsal of varied works for full orchestra culminating in at least one public performance each quarter.

The goal of this course is to lead students in experiencing the singing and understanding of Gospel music and its various styles, as well as other forms of sacred music of the 20th century of the African American experience. The course may be taken for either two units or three units. Extra sections and concerts are required for three units; the instructor will announce these requirements at the first class session.

Small jazz ensembles will be arranged by audition and organized according to instrumentation and student interest, and ability. Each ensemble will meet on a weekly basis under faculty guidance and will have the opportunity for both on- and off-campus performances. Prerequisites: By audition only; Department stamp required.

An advanced choral group. Preparation, stylistic interpretation and performance of music from the 12th century to the present for accompanied and unaccompanied voices. Basic music reading skills are encouraged. Prerequisites: By audition only. http://musicweb.ucsd.edu/ugrad/ensembles.php Attend the first class meeting to schedule an audition. Department stamp required.

An intermediate to advanced level ensemble performing traditional to contemporary band literature.

An Indian Classical Music Ensemble with a focus on the Sitar and Tabla. No previous background necessary. Additional Description: An Indian classical music ensemble with a focus on the Sitar and Tabla or an instrument of your choice. Voice students are encouraged to join. Students will be introduced to the concepts of Raga and Tabla through fixed compositions and ear training. While no previous background is necessary, all students MUST attend the first meeting of class. Failure to do so will require students to drop the course. This first meeting is to assign students to proper groups and offer a broad survey of the history and theory of the tradition.

Study of modal coounterpoint in the style of 16th century. Two-voice species counterpoint studies. Analysis of music of the period. Musicianship studies:sight singing, dictation and keyboard skills. Prerequisites: Music 2C and 2CK.

Study of tonal harmony and counterpoint. Analysis of Bach chorales and other music from the Baroque period. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 2C

Tonal harmony and counterpoint. Analysis of larger classical forms: Sonata, Variation, Minuet and Trio, Rondo. Musicianship studies: sight singing, dictation, and keyboarding skills. Prerequisites: Music 101B

Selected topics in music theory. Covers Western classical repertoire from 1850 to the present. Includes chromatic and post-tonal harmony, formal analysis. Prerequisite: MUS 101B

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: 33ABC. (Course must be taken in sequence - Music 103 A-B-C)

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Mus 103A

Individual projects in composition will be critically reviewed in seminar with fellow student and faculty composers. Prerequisites: Music 103B

Advanced individual projects for senior music majors pursuing honors in composition. Projects will be critically reviewed in seminar with fellow students and faculty composers. Prerequisites: Music 103A-B-C and admission into the Department of Music Honors Program in composition. Department stamp required.

This course will explore a range of compositional possibilities from song forms to modal and more extended forms. May be repeated once for credit. Prerequisites: Music 104 or consent of instructor.

Topics in musical analysis. Covers full range of musical repertoire 1900 to present, including musics that do not depend on notation. Prerequisite: MUS 2C

Explore music in relation to various traditions of critical thought and their methodologies, such as in literature, cultural studies, sociology, and philosophy. Readings and scores to be determined by the professor. Prerequisite: upper division standing or consent of instructor. Additional Description: Music 120ABC series highly recommended to be successful in this course.

This seminar introduces the central theories, methods, and approaches used to study the musics of contemporary cultures, in their local contexts. In addition to surveying key writings, students will document music from their local environment. Prerequisite: Upper division standing or consent of instructor. (Offered in selected years.)

A study of particular regional musics in their repertory, cultural context, and interaction with other traditions. Topics vary. Prerequisite: none. Additional Description: Instructor: C. Ung

This course will address topics in medieval, Renaissance, and Baroque music; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended. Additional Description: Winter 2017 Topic: Late Baroque: Bach and Handel

This course will focus on Western music between 1750 and the early 20th century; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended. Additional Description: Course Description: In this course we will study the music and art of the first decade of the Twentieth Century in Europe. Our focus will be Vienna, especially the music of Gustav Mahler and Arnold Schoenberg, but to gain wider perspective we will also look at examples of French, Czech and American modernists such as Satie, Janacek and Ives. Profound shifts in consciousness, the sense of a culture disintegrating, and the embrace of the irrational, the unconscious, the weird and the decadent mark the art of this extraordinary period. Reading assignments will include the writings of Freud, Kafka and Thomas Mann as well as historical accounts of the musical, cultural and political milieu. In addition to musical examples and discussion in class, regular listening assignments will be posted, and written responses to the musical works assigned will be due on an ongoing basis.nstructor: C. Curtis

This course will focus on Western music between 1750 and the early 20th century; topics will vary from year to year. May be repeated five times for credit. Prerequisites: knowledge of music notation or consent of instructor; Music 4, 8-10 or 120 recommended.

An exploration of materials and methods used in the music of our time. There will be an extra discussion group for music majors. May be repeated once for credit. Prerequisites: none.

A survey of the biographical, historical, sociological, and political issues affecting woman musicians, their creativity, their opportunities, and their perception by others. It compares and contrasts the work of women composers, performers, patrons, teachers, and writers on music from the Middle Ages through the present. Prerequisite: none

This course examines special topics in popular music from various sociopolitical, aesthetic, and performance perspectives. Readings include recent literature in cultural studies, musicology, and/or performance practice. Topics vary. May be taken three times for credit. Prerequisites:Upper division standing or consent of instructor.

First part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both sacred and secular repertories from Gregorian chant through early opera, c. 800-1600. Prerequisites: Music 1C or 2C, or passing grade on proficiency exam. Music majors should be enrolled concurrently in Music 101A. Department stamp required for non-majors.

Second part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both instrumental and vocal repertories, from the "Baroque" to the "Romantic," c. 1600-1830. Prerequisites: Music 120A. Music majors should be enrolled concurrently in Music 101B. Department stamp required for non-majors.

Third part of intensive historical, analytical, and cultural-esthetic examination of music Western Culture from the ninth through the twenty-first centuies. Considers both established traditions and new trends, from Romanticism through Modernism and Post-Modernism, c.1890-present. Prerequisites: Music 120B. Music majors should be enrolled concurrently in Music 101C. Department stamp required for non-majors.

This course will examine the development of the Blues from its roots in work-songs and the minstrel show to its flowering in the Mississippi Delta to the development of Urban Blues and the close relationship of the Blues with Jazz, Rhythm and Blues, and Rock and Roll. (Cross-listed with Ethnic Studies 178.) Prerequisite: none.

Offers an introduction to jazz, including important performers and their associated styles and techniques. Explores the often provocative role jazz has played in American and global society, the diverse perceptions and arguments that have surrounded its production and reception, and how these have been inflected by issues of race, class, gender, and sexuality. Specific topics vary from year to year. (Cross listed with Ethnic Studies 179.)

The theory and practice of instrumental and/or choral conducting as they have to do with basic baton techniques, score reading, interpretation, orchestration, program building, and functional analysis. Members of the class will be expected to demonstrate their knowledge in the conducting of a small ensemble performing literature from the eighteenth, nineteenth, and twentieth centuries. Prerequisites: Music 2A-B-C and 101A-B-C. Department stamp required.

Instruction in the preparation of small group performances of representative instrumental and vocal chamber music literature. Prerequisites: Consent of instructor through audition. May be taken for credit six times, unlimited thereafter for zero units.

Master-level class instruction in advanced improvisation performance for declared majors and minors only or by consent of instructor. May be taken for credit six times, unlimited thereafter for zero units. Prerequisites: Consent of instructor through audition.

Individual or master class instruction in advanced instrumental performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course. May be taken six times for credit. Prerequisites: audition and department stamp.

Advanced instrumental/vocal preparation for senior music majors pursuing honors in performance. Repertoire for a solo recital will be developed under the direction of the appropriate instrumental/vocal faculty member. Prerequisites: by audition only, Music 132. Department stamp required. Additional Description: Advanced instrumental/vocal preparation for senior music majors pursuing honors in performance. Repertoire for a solo recital will be developed under the direction of the appropriate instrumental/vocal faculty member. Special audition required.

Individual instruction in advanced vocal performance. For declared Music majors and minors only. Students must be simultaneously enrolled in a performance ensemble or non-performance music course, and in the Voice Masterclass, Music 32VM. May be taken six times for credit. Prerequisites: audition and department stamp.

Performance of new music of the twentieth century, with readings relevant to the selected repertory. Normally offered in Winter Quarter only. Required minimum of one time for all Music majors. May be taken two times for credit. Prerequisite: Consent of instructor through audition. Department stamp required.

Repertoire is drawn from the classic symphonic literature of the eighteenth, nineteenth, and twentieth centuries with a strong emphasis on recently composed and new music. Distinguished soloists, as well as The La Jolla Symphony Chorus, frequently appear with the orchestra. The La Jolla Symphony Orchestra performs two full-length programs each quarter, each program being performed twice. May be repeated six times for credit. Prerequisites: audition and department stamp required. Additional Description: Students participating must enroll for credit. May be repeated six times for credit.

Study of Jazz theory and improvisation, focused on fundamental rhythmic, harmonic, melodic, and formal aspects of modern jazz style. Application of theoretical knowledge to instruments and concepts will be reinforced through listening, transcription work, and composition and improvisation exercises. Prerequisites: Music 2A-B-C, proficiency exam, or consent of instructor.

The department seminar serves both as a general department meeting and as a forum for the presentation of research and performances by visitors, faculty, and students. Required of all undergraduate music majors every quarter who entered UCSD prior to Fall 2016.

An in-depth writing and listening intensive investigation into a jazz or diaspora-related music history topic. Topics vary from year to year. May be repeated once for credit. Prerequisites: MUS 126/ETHN 178, or MUS 127/ETHN 179, or consent of instructor.

Aggrieved groups generate distinctive cultural expressions by turning negative ascription into positive affirmation and be transforming segregation into congregation. This course examines the role of cultural expressions in struggles for social change by these communities inside and outside the U.S. (Crosslisted with Ethnic Studies 108). Prerequisites: upper-division standing or consent of instructor. Additional Description: Summer 1, 2012

Examination of hip hop's music, technology, lyrics and dance and its influence in graffiti, film, music video, fiction, advertising, gender, corporate investment, government and censorship with a critical focus on race, gender, popular culture and the politics of creative expression. (Crosslisted with Ethnic Studies 128). Prerequisites: upper-division standing or consent of instructor.

Students pursue projects of their own design over two quarters with support from faculty in a seminar environment. Project proposals are developed, informed by project development guidelines from real world examples. Collaborations are possible.

Continuation of MUS 160A or VIS 160A. Completion and presentation of independent projects along with documentation.

An introduction to the acoustics of music with particular emphasis on contemporary digital techniques for understanding and manipulating sound. Prerequisites: Music 1A, or 2A, or 4. Additional Description: Offered Fall Quarter Only

A practical introduction to computer techniques for desktop audio editing, MIDI control, and real-time music algorithms using the MAX programming environment. Restriction: JR OR SR Standing; Music 170 recommended. Depending on the instructor, this course may include the following tools: Max/MSP, pd, Matlab. Additional Description: Offered Winter Quarter Only

Computer synthesis techniques including wavetable and additive synthesis, waveshaping, and sampling. Transformation of musical sounds using filters, modulation, and delay effects. Fourier analysis of sounds. Prerequisite: Music 171. Depending on the instructor, this course may include the following tools: Max/MSP, pd. Additional Description: Offered Spring Quarter Only.

Creative music production using digital audio workstations (DAWs), emphasizing hands-on composition projects including tempo warping, beat and tonality matching, virtual drum kits, chord progressions, sound processing and effects, arrangement, and re-mixing in the context of both popular and experimental genres. Existing works are analyzed and dissected for aesthetic value and production technique. JR or SR standing. Restricted to ICAM Music and ICAM Visual Arts and Music majors.

First class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the Studio. Topics include: electronic and computer music, digital and analogue audio signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and student projects. 174A focuses on signals, mics, device based recording, mixing, monitoring. Prerequisites: Music 170; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors; or consent of instructor.

Second class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the ICAM Studio. Topics include: electronic and computer music, digital and analog signal mixing and manipulation, studio devices, interfacing, compositional applications, MIDI synchronization, performance and studio techniques, and student projects. 174B focuses on computer-based mixing and editing, digital audio workstations, sound file transformation. Prerequisites: Music 170; Music 174A; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor.

Third class in a year-long sequence. Surveys hardware and software resources in an advanced analog/digital and media studio. Required [course] for use of the ICAM Studio. Topics include: electronic and computer music, digital and analog audio signal mixing and manipulation, studio devices, interfacing, composition applications, MIDI synchronization, performance and studio techniques , and student projects. 174C focuses on MIDI, synchronization, and sound-for-picture. Prerequisites: Music 170; Music 174B; Music majors, ICAM-Music and ICAM-Visual Arts majors and minors, or consent of instructor.

Survey of psychoacoustical phenomena, theories of hearing, and their relation to musical perception and cognition. Techniques of psychoacoustical experimentation. Music 170 recommended. Depending on the instructor, this course may include the following tools: Matlab.

Selected topics in music technology and its application to composition and/or performance. Offerings vary according to faculty availability and interest. May be repeated for credit. Prerequisites: Music 172 or consent of instructor. Additional Description: Instructor: S. Hankins

Fundamentals of programming music software in C and C++. DSP implementation of oscillators, filters, delay, reverb and spectral processing; programming techniques specific to audio and MIDI and simple GUI design for parameter control and signal display. Implementation using a plug in or external programming interface such as for VST, Audio Unit, PD or Max/MSP.

Assisting in the instruction of an undergraduate music class under the direct and constant supervision of a faculty member. May be taken for credit three times. Prerequisites: consent of instructor and departmental approval.

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. Additional Description: This workshop will focus on the intricate tuning issues of extended just intonation. It will begin with the 5 limit intervals and chords exploring difference tone tuning, enharmonic issues and the syntonic comma. The workshop will include the prime number partials 7, 11 and 13 with many of the chroma associated with those partials. Of particular interest is the general application of utonality as presented and used by Partch and Johnston. Maximum of 7 students with consent of instructor. Instructor: John Fonville

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Instructor: M.Dresser

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Rehearsals and performance of works by Reynolds, Stockhausen, Frey and Qingqing Wang. Instructor: Aleck Karis

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: "Kallisti Chamber Opera" Project. Three performances of chamber opera repertoire, TBD. Enrollment by permission of instructor.Ãä Instructor: Susan Narucki

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: ÒQuiet Music EnsembleÓ. Professor Erik Carlson

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Improvisation Workshop. Instructor: Anthony Davis

This laboratory introduces the methods of Butch MorrisÃ' Conduction idiom; a platform for conducted compositional language and improvisatory experimentation. Defined by Morris as "an improvised duet for ensemble and conductor", participants will perform in a residency at the Loft throughout the month of February. Discussion and evaluation of other conducted improvisational techniques including Walter Thompson's Soundpainting and Anthony Braxton's Language Music will also be explored. Instrumentalists from all areas including electronics are welcome and prior experience improvising is not necessarily required. Instructor: Stephanie Richards

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: Percussion Ensemble red fish blue fish. Instructor: Steven Schick

Performance of contemporary music. Different sections represent active performance ensembles. A core requirement for graduate degree students as outlined in the curriculum. The number of units is based on work performed by agreement with instructor. See instructors for additional information. New students should attend graduate auditions during Welcome Week. Additional Description: First year Collaborative Projects for Performers and Composers. Only first year performance students can enroll in this course. Instructor: Steven Schick

Advanced performance of new music with members of the performance faculty (SONOR). Students taking this course do not need to take Music 201 that quarter. Enrollment by consent of instructor/director of SONOR. Additional Description: Students must submit a Performance/Project Proposal Form (located on the Music Intranet) to the Graduate Advisor. This form must include titles, composers, instrumentation, duration, proposed course credit, performers, and have supervising faculty and Performance Chair approval. Each group will be mentored by a member of performance faculty. May be taken in lieu of 201.Ãä The number of units is based on work performed by agreement with instructor. See instructors for additional information. For FALL only: Students may (but are not required to) present the work(s) in public performance.

Meetings and laboratory sessions devoted to the study of composition in small groups. Consent of instructor required. Additional Description: The composition seminar, required of all entering graduate composers, is taught on a rotating basis by the Music Department composition faculty and has several purposes: to intensify the collegiality of student composers both with regard to ideas and techniques and to become better acquainted with each other's outlooks and needs in order to achieve the most congenial and productive match-ups between faculty and students for subsequent individual study. Seminars typically include group meetings and individual attention as appropriate. Composition Juries - At the end of the first Fall quarter in residence (in January), and again following Spring quarter (in October), all new graduate composition students are reviewed in juries by the composition faculty. Following the performance and discussions of the day, the composition faculty meets to assess the students' work. Details about the jury process are provided during Welcome Week and throughout the quarter. Instructor: Rand Steiger

The purpose of this seminar is to bring in the entire population of the graduate composition program (all students and faculty) for in-depth discussion of critical issues in music theory and composition. Each meeting will feature a formal presentation by either a student, faculty member, or visitor, followed by lively and challenging debate on relevant issues. Additional Description: Seminar meets throughout the year on a biweekly basis in the evening. Participation is required of all enrolled graduate composition students every quarter in residence. Other students are welcome to participate. Each session begins with a one-hour talk (including recordings) by the featured composer, followed by at least one hour of discussion. Lively and challenging debate on relevant issues is encouraged. Instructors: Chinary Ung (Fall), Lei Liang (Winter), and Rand Steiger (Spring)

Meets on a biweekly basis to facilitate presentations by advanced students and invited guests and to encourage in-depth discussion between students, faculty, and visitors about theoretical and artistic issues of interest. Participation is required of all enrolled IS students until advanced to candidacy. Others are welcome to participate. Additional Description: Instructors: Sarah Hankins (Fall), Amy Cimini (Winter), and Nancy Guy (Spring)

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Non-music students are encouraged to attend the first class session and seek instructor approval to enroll. Additional Description: The goal of this course is to guide one towards having the freedom to perform any rhythm, regardless of notational or performative intricacy and ultimately nudge rhythm reading to the background of consciousness and to remove yet another technical obstacle to being musical. We want 1) to ensure that one is never perplexed by what is being asked via conventional notation - that one never has to avoid performing any music because one is stumped by the notation nor has to hear a rhythm before one can perform it, and 2) To ensure that one is always capable of producing, in a timely fashion, an excellent performance of the target rhythm and know that it is correct. Prior to conventional notation, we will be learning to create measured rhythms without prior audition and activating oneÃ's rhythm intuitions, including learning a) reckoning strategies, b) computational tools, and c) concomitant physical coordination. We will be learning how to create silent time-rulers and comparison structures that are flexible enough to allow for contextual imperatives and exercise our considerable abilities at fineness of distinction. The course will concentrate on rhythms communicated via the conventional notation system, eventually exploring the full range of intricacies and subtleties possible. We will be focusing on the measured rhythms of set pieces. Topics include: notational inelegance, problematic rhythms, arithmetic questions, hidden patterns, notation translation, and the design of effective learning pieces and tests that explore all classes of rhythmic problems. This course is guaranteed not to impair oneÃ's ability to be expressive. Instructor: Edwin Harkins

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Non-music students are encouraged to attend the first class session and seek instructor approval to enroll. Instructor: C. Curtis Additional Description: When is a performance constitutive of a composition? Typically the terms are assumed to run in the other direction: the composition determines the performance, the performance reconstructs the intentions of the composer. I'm interested in a range of compositions in which the identity of the composition emerges only through the specifics of its performance. This is a composition that, as an actual work of art, is not recognizable independent of its performance. It does not carry over most of its identity from performance to performance, it is not conceived as sounding a certain way, and retaining that way of sounding across multiple performances. But it is still a composition, a set of specific tasks to be accomplished in time. While not determining in advance how it is to sound, this composition puts in the foreground how it does actually sound in the moment of performance; and the reality of its sounding guides the accomplishment of the task. I know this sounds pretty abstruse. But the topic emerges from gradually noticing that much of the music I have been most interested in is not actually recoverable in any meaningful way from the perspective of the composition itself; a meaningful understanding of the composition awaits a proper understanding of the materialities of its realization. These are situations in which the performer's responses to the task, her agency and attentiveness and decisiveness, collide with the materialities of instrument, body and space, in a complex entanglement, yielding a once-only, first-order aesthetic event, which is then, and only then, that composition. The composition that I'm imagining here might not actually exist. But I can put together a number of instances where something very close to this happens. Most notably, and as a historical orientation point, we must look at the first post-Cage generation of experimental artists and musicians, who theorized some of this in striking ways: Robert Morris, La Monte Young, Walter de Maria, Henry Flynt, Simone Forti. The special case of David Tudor as psychic re-composer of John Cage is worth studying. Closer to our own moment in history, we should consider more recent music of La Monte Young, Alvin Lucier, Æ’liane Radigue, Jakob Ullmann and Tashi Wada. Stretching our premise, we can consider other examples, Feldman or Schoenberg or almost anything else for that matter, to test the useful limits of this notion of realization. Students are expected to give presentations that illuminate the possibilities suggested by our premise. We can work out what form these presentations might take as we go along. I'm compiling some readings that are necessarily tangential, since the topic itself is a bit of a moving target to start with, at the same time transparently simple and elusive.

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Telematic Music is synchronous performance with musicians in different geographical locations via high speed and high bandwidth networks. Over the past several years significant progress has been made in the methods and procedures with which we practice and integrate set design, lighting, and video in addition to our music. We will have guest lectures in Telematic Video from UCI. Instructor: M.Dresser

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Ã’Sound Installation Art IÓ This seminar introduces students to historic, contemporary, and critical issues surrounding sound installation art. Issues as how conceptual, spatial and sonic needs define the workÃ's language and application, and how this is a tool for communication and artistic expression are subjects under discussion. The weekly assigned readings, in class discussions and guest lectures provide a theoretical and philosophical context to critically engage with themes such as musical interactivity, the role of technology, perceptive behavior modes, aesthetics and phenomenological thoughts as it relates to the practice of sound and/or installation art. The course intends to provide the students with an opportunity to extend their critical interest and understanding of the field and as a result to develop their reflective approach towards their own work and practice. This course welcomes music students from all areas and an hourly research presentation and a final paper will be expected of everyone. This course will feature a sequel that is studio-based, allowing a small number of students to develop and realize sound installation projects. Instructor: Katharina Rosenberger

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: The course is an interdisciplinary and project oriented class hosting grad students from multiple areas including Music, Theatre and Dance, and Visual Arts departments. Multiple professors will be involved with the class to create an open, nurturing, and criticallyÃäconstructiveÃäenvironment to encourage and facilitate collaborative and experimental projects. Modern lighting and sound system, projectors, and other technologies will be available to student for use in their experiments. Non-music students are encouraged to attend the first class session and seek instructor approval to enroll. (S. Yadegari)

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: This seminar will focus on the study of notation strategies and tools related to improvisation in experimental music contexts. The emphasis of the seminar will be practical, although a few readings and assignments will also be required. As their main project, the participants will create a new collaborative work using the tools studied on the seminar and/or developing original ones. Professor W. Terrazas

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Deep and shallow: machine learning for music generation. In this seminar we will explore the use of machine learning and deep neural network technologies for creative purposes. Our focus will be on generative methods and their relevance to modeling of creative processes and cognition, with applications to style transfer and machine improvisation. We will introduce python and TensorFlow, and use of AWS for running deep learning algorithms. The models to be discussed include variable Markov models, auto encoders, convolution networks, GANS and more. There are no mathematical or computer science prerequisites for the course, but programming experience will be an advantage. Students are expected to work individually or in groups on a project of their choice and present it at the end of the class. Non-music students are encouraged to attend the first class session and seek instructor approval to enroll. Instructor: Shlomo Dubnov

Seminars growing out of current faculty interests. The approach tends to be speculative and includes individual projects or papers as well as assigned readings. In the past, such areas as new instrumental and vocal resources, mixed media, and compositional linguistics have been offered. Additional Description: Instructor: S. Richards

This seminar will examine the relationship between music and politics in East Asia. Fundamental to the subject are ancient Chinese writings on the power of music to shape society as well as relations between heaven and earth. Over the course of the seminar, we will consider case studies from medieval and early 20th century China, the policies and operas of the Cultural Revolution, and political entanglements of pop singers in the 21st century-China. Anti-nuclear protest music in Japan and music's role in national branding and protest in contemporary Korea will also be investigated. Additional Description: "Jazz Criticism & Historiography: Reading Between the Lines." Andy Fry. Since its hazy origins almost a century ago, jazz has been one of the most hotly debated of all musics, both in the US and around the world. Imbued, of course, with discourses of race, nation and culture, it has also engaged key debates of gender, sexuality, geography, hybridity and class. In this seminar we will discuss both historical texts (from the outraged middle classes of the twenties and thirties through the Civil Rights era and beyond) and recent studies attempting to make sense of this complicated legacy for jazz and jazz studies today. We will therefore be examining processes of reception, transmission, and the writing and re-writing of history (as well as the ideologies that inform them) that are of wide import to a critical engagement with any music. No specialist knowledge of jazz will be required, although students with no background would do well to familiarize themselves with one of the basic texts in advance. Analytical paper required.

Seminars on subject areas relating to the established dimensions of music and in which theoreticians have produced a substantial body of work. These include studies in analysis, timbre, rhythm, notation, and psychoacoustics. Offerings vary depending on faculty availability and interest. Analytical paper required.

The analysis of complex music. The course will assume that the student has a background in traditional musical analysis. The goal of the course is to investigate and develop analytical procedures that yield significant information about specific works of music, old and new. Reading, projects, and analytical papers. Prerequisites: graduate standing in music; others by written consent of instructor and department stamp. Additional Description: This offering divides the Quarter into two parts: In the first five weeks, analyses are presented by the instructor. The last five involve presentations by designated grad Groups from the seminar. The goal is to re-conceive analytic discoveries, extrapolating principles so that they may become useful tools/approaches in any creative endeavor. The members of the seminar are divided into equal groups, each identified with one of the five subject works. The group members are discussants for the instructorÃ's presentations during the first half of the Quarter, then collaborate to reach a consensus-extrapolation which they present during the second half. The subject works are: Xenakis: Achorripsis [Resource Identity and Utilization], Cage: Solo For Piano from the Concert for Piano and Orchestra [Strategies of Invention/Procedure], Feldman: Triadic Memories [Strategies of Re-contextualizing for Scale], Saariaho: Orion (I. Memento mori, II. Winter Sky, III. Hunter) [Utilization of Graphic and Poetic Stimuli; Post-spectralist Orchestration], Takasugi: Sideshow [Multi-media Dimensionality] Instructor: Roger Reynolds

Introduces the field of ethnomusicology by highlighting important thinkers, concepts, and issues and by orienting students toward work of an anthropological, ethnographic, or comparative nature. Students who have taken and passed MUS 208A may not get credit for MUS 211. Fall 2018 Placeholder for MUS 215A.

Seminar discussions and individual meetings devoted to the interdisciplinary study of music, sound, and society. Students are introduced to key ideas, important thinkers, and influential practitioners in an array of related fields, and are invited to explore the intersecting roles of culture, cognition and creativity, and how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender. Instructor: Jann Pasler Additional Description: This course is part of a year-long core sequence required of all entering graduate students in the Integrative Studies program. It is taught on a rotating basis by faculty in the Integrative Studies area. Students are evaluated through regular writing assignments, and, on completion of the entire core sequence (MUS 215 A-B-C), students take a preliminary examination designed to evaluate one's command of the course materials and of scholarly research and writing conventions more broadly.

Seminar discussions and individual meetings devoted to the interdisciplinary study of music, sound, and society. Students are introduced to key ideas, important thinkers, and influential practitioners in an array of related fields, and are invited to explore the intersecting roles of culture, cognition and creativity, and how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender. Instructor: Nancy Guy Additional Description: Integrative Studies Seminar: Music Ethnography (MUS 215B) This course familiarizes students with music scholarship that employs ethnographic and oral history research methods. Students will critique recent and classic works primarily drawn from the ethnomusicological literature, engage in practical writing exercises, and produce a major research project.

Seminar discussions and individual meetings devoted to the interdisciplinary study of music, sound, and society. Students are introduced to key ideas, important thinkers, and influential practitioners in an array of related fields, and are invited to explore the intersecting roles of culture, cognition and creativity, and how musical behaviors and phenomena relate to matters of ideology, nationality, ethnicity, social class, race, and gender. Instructors: David Borgo and Anthony Davis Additional Description: This course is part of a year-long core sequence required of all entering graduate students in the Integrative Studies program. It is taught on a rotating basis by faculty in the Integrative Studies area. Students are evaluated through regular writing assignments, and, on completion of the entire core sequence (MUS 215 A-B-C), students take a preliminary examination designed to evaluate one's command of the course materials and of scholarly research and writing conventions more broadly.

Meetings on a group basis with integrative studies faculty in support of individual student research projects.

This course will give practical experience in conducting a variety of works from various eras of instrumental and/or vocal music. Students will study problems of instrumental or vocal techniques, formal and expressive analysis of the music, and manners of rehearsal. Required of all graduate students. Prerequisite: consent of instructor. (Offered in selected years.) Additional Description: Core requirement for all graduate students. May be offered in alternate years. Instructor: Steven Schick

A seminar to give practical experience in orchestration. Students will study works from various eras ofinstrumental music and will demonstrate their knowledgeby orchestrating works in the styles of these various eras, learning the capabilities, timbre, and articulation of all the instruments in the orchestra. Prerequisite: graduate standing. (Offered in selected years.). Instructor: Chinary Ung

Individual or master class instruction in advanced instrumental/vocal performance. Prerequisite: consent of instructor through audition. Additional Description: Taken every quarter by students with an emphasis in Performance. Instructors: Performance faculty

Repertoire is drawn from the classic symphonic literature of the eighteenth, nineteenth, and twentieth centuries with a strong emphasis on recently composed and new music. Distinguished soloists, as well as The La Jolla Symphony Chorus, frequently appear with the orchestra. The La Jolla Symphony Orchestra performs two full-length programs each quarter, each program being performed twice. May be repeated six times for credit. Prerequisites: audition required. Additional Description: Students participating must enroll for credit. Instructor: Steven Schick

The purpose of this seminar is to bring together performance students, faculty, and guests for discussion, presentation of student and faculty projects, performances by guest artists, and master classes with different members of the performance faculty. Prerequisite: consent of instructor. (S/U grade option only). Additional Description: A regular gathering of all the performance graduate students for music-making and discussion; presentation of student and faculty projects; performances by guest performers; master classes with different members of the performance faculty. Meets biweekly. Taken by Performance emphasis MA students every quarter in residence, and DMA students every quarter until advancement to candidacy. Instructors: Performance faculty

Traces the development of systems thinking and encourages work of a transdisciplinary nature, integrating models, strategies, methods, and tools from natural, human, social, and technological realms.

Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Prerequisite: consent of instructor. Additional Description: Part of the three-course sequence 270ABC for first year Computer Music students. Digital techniques for analysis, synthesis, and processing of musical sounds. Sampling theory. Software synthesis techniques. Digital filter design. The short-time Fourier transform. Numerical accuracy considerations. Tamara Smyth

Transformations in musical composition; series and intervalic structures; serial approaches to rhythm and dynamic. The stochastic music of Xenakis and Cage. HillerÃ's automatic composition. Improvisational models. Computer analysis of musical style. Neurally inspired and other quasiparallel algorithms. Prerequisite: consent of instructor. Additional Description: M. Puckette. Part of first year computer music sequence.

Meetings on group basis with computer music faculty in support of individual student research projects. Prerequisites: consent of instructor and completion of Music 270A-B-C. Additional Description: Taken by Computer Music emphasis MA students every quarter of the second year, and PhD students every quarter in residence, after completion of the 270ABC sequence.

A hands-on encounter with several important works from the classic electronic repertory, showing a representative subset of the electronic techniques available to musicians. Intended primarily for students in areas other than computer music. Prerequisite: none. Additional Description: Composition emphasis students may petition through the Graduate Advisor to substitute Music 271 for the Music 291 core requirement.

A continuation of 271A, with emphasis on live interactive techniques (e.g., audio processing; analysis/resynthesis; score following). Prerequisite; Music 271A. Additional Description: Composition students may petition through the Graduate Advisor to substitute this for the Music 291 core course. SP19 Instructor: N. Diels

A continuation of 271A and B, with emphasis on compositional techniques (e.g., computer aided composition; production; spatialization). Prerequisite; Music 271B. Additional Description: Composition students may petition through the Graduate Advisor to substitute this for the Music 291 core course. FA18 Instructors: Steiger/Puckette

Projects to create new pieces of electronic music involving research in electronic music and/or instrumental techniques. May be repeated for credit. Additional Description: Instructor: N. Diels

Consideration and development of research methods appropriate to graduate-level scholarship and practice-based research. Additional Description: Composition emphasis students may petition through the Graduate Advisor to substitute Music 271 for the Music 291 core requirement. May be offered in alternate years.

Individual research. (S/U grades permitted.) May be repeated for credit. Enrollment by consent of instructor only. Additional Description: Research with selected faculty on individual basis, with units per agreement between student and faculty. Six unit minimum required specifically for preparation of PhD/DMA qualifying exams, normally taken with each of the Music committee members for S/U grade.

Individual research projects relevant to the studentÃ's selected area of graduate interest conducted in continuing relationship with a faculty adviser in preparation for the masterÃ's thesis or doctoral dissertation.(S/Ugrades permitted.) Additional Description: Six unit minimum required in preparation of MA thesis. Twelve units quarterly required after PhD/DMA qualifying exams, to prepare for doctoral dissertation; normally taken with music committee chair and/or members for S/U grade.

Participation in the undergraduate teaching program is required of all graduate students at the equivalentof 25 percent time for three quarters (six units is required for all graduate students). Additional Description: All TAs must simultaneously enroll in Music 500 with the course instructor each quarter in which they are a TA. Participation in the undergraduate teaching program is required of all graduate students at the equivalent of 25% time for three quarters, or 33% for two quarters (6 units of Music 500). Units correspond to hours of work per week. Enroll as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.). It is the student's responsibility to seek out teaching experiences to acquire 6 units of Music 500 if no TA is assigned. NOTE: New TAs also enroll in FALL quarter for 1 unit of MUS 501 with the department Faculty TA Advisor, Prof. Sarah Hankins, for New TA Training.

Consideration and development of pedagogical methods appropriate to undergraduate teaching. Additional Description: TAs with appointments in a non-Music department or college (e.g. 6th College) with a MUSIC department instructor enroll in Music 501, instead of 500, as follows: 2 units = 10 hours (equivalent to 25% TA), 3 units = 13.5 hours (equivalent to 33% TA), and 4 units = 20 hours (equivalent to 50% TA.). TA's must enroll in MUS 501 in FALL quarter only with Prof. Sarah Hankins for New TA Training.

Students pursue projects of their own design over two quarters with support from faculty in a seminar environment. Project proposals are developed, informed by project development guidelines from real world examples. Collaborations are possible. Prerequisites: VIS 141B or VIS 145B or VIS 147B or MUS 172. Open to ICAM majors only. Offered winter quarter only. Two production course limitation.

Continuation of ICAM 160A. Completion and presentation of independent projects along with documentation. Prerequisite: ICAM 160A. Open to ICAM majors only. Offered spring quarter only. Two production course limitation.