Courses

A performance class geared towards students who are taking auditions for graduate school. Included in the class are two recording sessions to make pre-screen recordings. Readings will include studies on proper breathing & stage presence. The class includes mock audition sessions.

A performance class geared towards students who are taking auditions. Included in the class are two recording sessions to make pre-screen recordings. Readings will include studies on proper breathing & stage presence. The class includes mock audition sessions.

This course provides a comprehensive overview of communicative approaches for individuals who are nonverbal or who have severe communications disorders. Special techniques and equipment are employed to allow these individuals to communicate effectively. A thorough examination of assessment and therapeutic process is presented, with emphasis on communication disorders secondary to congenital/acquired cognitive & motor impairments.

Continued training in intermediate musicianship skills.

In Aural Comprehension IV the students will continue their exploration of the main elements of music - melody, harmony, rhythm, and form - through active listening, sight-singing, and dictation. Course activities are correlated with materials from Music Theory IV. The tonal material will remain a part of our exercises, but we will work with elements of atonal music and complex rhythms too. Besides regular sight singing, prepared singing, dictations and transcriptions of recorded music we will also listen to orchestral instrumentation, identify musical forms from listening to recordings, try to hear overtones, micro-intervals, improvise second voice to a song and write and sing a short piece of music.

Training in intermediate musicianship skills emphasizing sight-singing and dictation. Course activities are correlated with the materials of harmony and counterpoint for the diatonic, chromatic, and posttonal repertories.

Aural Comprehension III is a one-credit course, building on the foundations you have created in AC I and II. The two weekly class sessions will be devoted to group work in sight-singing and dictation: melodic, rhythmic and harmonic -- and in listening to longer segments of work to sharpen your perception of musical form. You will be expected to keep up a regular practice of these skills outside of class. In addition, we will arrange tutorials (at least three per semester) for individual work and assessment.

The musical materials of AC III will be taken mostly from 19th-century sources,
reinforcing your work in Music Theory and Music History III. We will also work with more chromatic music of the 18th century, as well as jazz, popular music and relevant world cultures.

Continued training in elementary musicianship skills.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis.

Intermediate level aural skills. Courses under this general title introduce students to listening and sight-reading techniques coordinated with topics in the corresponding co-requisite Theory & Practice II course.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Popular Music. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating musical elements of instrumentation, sound production and timbre, advanced rhythm and meter, loops and harmonic chord schemas, advanced diatonic harmony, and basic chromatic harmony including secondary functions and modulation.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Tonal Harmony & Voice Leading. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating four-part diatonic harmony and basic chromatic harmony including secondary functions and modulation, advanced rhythm and meter, chromatic melodies, and instrumentation.

Techniques of music listening developed through musical sight-singing,
dictation, and aural analysis. Topics are coordinated with the co-requisite
course, Theory & Practice II: Tonal Harmony & Voice Leading. This course
builds on skills developed in Aural Skills I. Students learn techniques for
critically listening to, analyzing, and notating four-part diatonic harmony
and basic chromatic harmony including secondary functions and modulation,
advanced rhythm and meter, chromatic melodies, and instrumentation.

No Course Description Available.

This course will provide musicians with an opportunity to physically embody music through the form of Baroque dance. Basic Baroque dance steps, phrases & ornamentations, will be learned & examined through the historic relationship between the two art forms of music & dance. An exploration of the Beauchamp-Feuillet notation system will then be applied to their own reconstructions & their performances throughout the semester.

This course will provide musicians with an opportunity to physically embody music through the form of Baroque dance. Basic Baroque dance steps, phrases & ornamentations, will be learned & examined through the historic relationship between the two art forms of music & dance. An exploration of the Beauchamp-Feuillet notation system will then be applied to their own reconstructions & their performances throughout the semester.

Study and performance of chamber music.

Course Repeatable for Credit. Study of standard and contemporary orchestral flute repertoire with focus on solo and sectional playing (open to flute performance majors)

Study and performance of chamber music.

Course Repeatable for Credit. Study of standard and contemporary orchestral flute repertoire with focus on solo and sectional playing (open to flute performance majors)