EASTMAN SCHOOL OF MUSIC COURSE CATALOG

Accompanying
Jazz Lessons
29
Accompanying Class
Jazz Studies and Contemporary Media
29
Art History
Keyboard
33
Arts Leadership Curriculum
Lute
36
Applied Music Lessons (Summer)
Music History
36
Anthropology
Music Education
38
Bassoon
Oboe
45
Chamber Music
Opera
46
Clarinet
Orchestration
47
Composition
Organ
47
Conducting
11
Piano
48
Double Bass
14
Piano Class
48
Eastman Initiatives Curriculum
14
Pedagogy
48
English
14
Philosophy
51
Ensemble
16
Piccolo
51
English as a Second Language
18
Percussion
51
Eastman School of Music (Speical Registrations)
18
Performance
51
Ethnomusicology
19
Political Science
52
Euphonium
19
Psychology
52
Flute
20
Study Abroad
52
French
20
Saxophone
53
Film Studies
21
Sacred Music
53
Freshman Writing Seminar
23
Strings
54
German
23
Trombone
54
Guitar Class
24
Theory
54
Guitar
25
Trumpet
59
History
25
Voice
60
Harpsichord
26
Violoncello
60
Horn
27
Viola
61
Harp
27
Violin
61
Humanities
27
Wellness
61
Italian
28
Womens Studies
61
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
EASTMAN SCHOOL OF MUSIC COURSE CATALOG
** I Fall semester / II Spring Semester / S - Summer **
Accompanying
ACM 430
SEC ACCOMPANYING
Fall, Spring, Summer (I, II, S-1.5)
Graduate Applied Music Lessons (halfhour/week): May be used as secondary
instrument elective credit or as part of a
DMA minor. May not be used to fulfill major
lesson requirements, unless specifically
required by the degree program. For
students who enrolled in their current
graduate degree program prior to summer
2009, these lessons carry 2 credits per
semester.
ACM 430A
PRL 1/2 HR ACCOMPANYING

Fall, Spring, Summer (I, II, S-2)
Graduate Applied Music Lessons (halfhour/week): Used to fulfill primary lesson
requirement for graduate students. For
2009, these lessons carry 2.5 credits per
semester.
ACM 460
PRIMARY ACCOMPANYING
Fall, Spring (I, II-3)
Graduate Applied Music Lessons (onehour/week): May be used as secondary
DMA minor. May not be used to fulfill
major lesson requirements, unless
specifically required by degree program.
For students who enrolled in their current
semester.
ACM 460A
PRIMARY ACCOMPANYING
Graduate Applied Music Lessons (onehour/week): Used to fulfill primary lesson
semester.
Accompanying Class
ACY 100
STUDIO ACCOMPANYING
Studio Accompanying: For this
requirement, all BM Applied Music piano
majors accompany two (2) fellow students
of their choice (one vocalist and one
instrumentalist) per semester, normally in
their sophomore, junior, and senior years,
totaling 6 semesters at the end of their

bachelor's degree. Pianists will learn
valuable collaborative skills through
accompanying weekly lessons, regular
studio & master classes, juries, and recitals
for each of their partners.
ACY 100G
STUDIO ACCOMPANYING:
GRADUATE
For this requirement, all MM PRL piano
majors accompany two (2) fellow students
of their choice (one vocalist and one
instrumentalist) per semester. Registration
for this course is required for MM PRL piano
majors during each semester in residence,
up to and including four semesters. Studio
Accompanying and Orchestral Keyboard
Graduate Assistants are exempted from
this course.
the instructor. Strong interest in languages

recommended. May be repeated for
credit.
ACY 415A
ENGLISH LYRIC DICTION

Study of the basic rules of English lyric
diction. Preparation and performance of
English texts in musical settings. Intended
for graduate piano accompanying majors;
others by permission of instructor.
ACY 415B
GERMAN LYRIC DICTION

Study of the basic rules of German lyric
German texts in musical settings. Intended
ACY 201
ACY 416A
ACCOMPANYING CLASS
FRENCH LYRIC DICTION
Fall (I-2)
A course designed to introduce the ESM
undergraduate piano performance major
(BM AMU) to the basics of ensemble with
singers. Standard repertoire will be studied
and the course will culminate in a class
recital. Not open to graduate students.
Prerequisites: KBD 111 and 112 and junior
standing.

Study of the basic rules of French lyric
French texts in musical settings. Intended
ACY 202
ACCOMPANYING CLASS
Spring (II-2)
A course designed to introduce the ESM
undergraduate piano performance major
(BM AMU) to the basics of ensemble with
one other instrument. Standard string and
wind repertoire will be studied, and the
course will culminate in a class recital. Not
open to graduate students. Prerequisites:
KBD 111 and 112 and junior standing.
ACY 405
OPERA COACHING
Fall (I-1)
Study of the practical skills needed to
coach opera singers and to prepare the
pianist to work in a professional operatic
environment. Arias and scenes from
standard repertoire ranging from Mozart to
present day will be selected. Special
attention given to unique challenges of the
lyric theater: stylistic interpretation of
accompanied and secco recitative, the
basics of vocal ornamentation as it applies
to the stage, the creative realizing of piano
transcriptions of orchestral
accompaniments, playing conducted
rehearsals, etc. Prerequisite: permission of
ACY 416B
ITALIAN LYRIC DICTION

Study of the basic rules of Italian lyric
Italian texts in musical settings. Intended for
graduate piano accompanying majors;
ACY 590
INDEPENDENT STUDY
Fall, Spring, Summer
ACY 596
DMA DISSERTATION PROJECT

Fall, Spring, Summer (I, II, S-credit to be
arranged)
DMA Dissertation Project
Art History
AH 201
HISTORY OF AMERICAN ART

This survey of American art covers stylistic
developments in painting, sculpture, and
architecture. Essays presenting specific
case studies illustrate the ways in which
different approaches, omitted artworks,
and in-depth engagements with single
works can change our understanding of
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
the narrative of American art. In addition

to the broad themes of American art,
students will learn a basic art historical
vocabulary and examine different art
historical approaches.
AH 213
HISTORY OF WESTERN ART

Survey of works of Western art in the years
1300-1950. Emphasis is placed on
developing a vocabulary for the effective
description and analysis of art. Other
themes considered include patterns of
patronage; the interrelationship of art with
music, literature, technology, religion, and
popular culture; and the changing
dynamics of women as both subject and
artist.
AH 221
AFRICAN-AMERICAN ART
Fall, Spring (I,II-3)
This course surveys African-American art,
including decorative arts created by
slaves, mainstream nineteenth-century
artists, the Harlem Renaissance and the
New Negro movement, the Black Art
movement, postmodern art, and
contemporary art. We will read primary
sources ranging from W.E.B. Du Bois and
Alain Locke to Romare Bearden and
Elizabeth Catlett. Central topics will
include the conditions of artistic practice,
the relationship to the overall narrative of
American art, and the art historical
reception of African-American art. Crosslisted as AAS 282 (College).
AH 242
ARCHITECTURE AMERICAN
HOUSES
As an icon in American culture, the house is
an object rich with social significance.
Houses can tell us about the economic
development of America,
the structure of the American family, the
relationship of work to home, and the
development of the American city. We will
look at the diverse housing types
Americans have developed to express
their social goals, such as southern
plantations, urban row houses, rural villas,
model homes, residential hotels,
tenements, the post-war suburban home,
housing projects, and New Urbanism
houses.
AH 244
MODERN ARCHITECTURE
Modern Architecture: This course provides
an introduction to modern architecture

starting with its nineteenth-century roots
and continuing to the present day. We will
explore the impact of technological,
economic, political, and social change on
architecture, as well as study major figures
of modern architecture like Le Corbusier,
Mies van der Rohe, and Frank Lloyd Wright.
AH 250
HISTORY OF PHOTOGRAPHY
Since its introduction in 1839, photography
has been an important visual medium. This
course will examine changing technical
processes and their aesthetic implications;
debates about the nature of photography;
photographys relationship to other artistic
media; and different contexts in which
photography has been used, like art,
science, social sciences, colonialism, social
advocacy, print media, and
postmodernism.
AH 281
TOPICS IN THE VISUAL ARTS

Fall (I-3)
Topics vary from year to year. May be
repeated for credit.
AH 282
TOPICS IN THE VISUAL ARTS
semester and may be half-semester (early

or late semester) or full semester courses.
ALC 221
LEADERSHIP AND
ADMINISTRATION
Topics vary by semester and may be halfsemester (early or late semester) or full
semester courses.
ALC 221K
LEADERSHIP AND
ADMINISTRATION
Leadership and Administration: Topics vary
by semester and may be half-semester
(early or late semester) or full semester
courses.
ALC 222
LEADERSHIP AND
ADMINISTRATION
semester courses.
ALC 231
PERFORMANCE
Spring (II-3)
Topics vary from year to year. May be

semester courses.
Arts Leadership Curriculum
ALC 231K
ALC 211
ENTREPRENEURSHIP IN MUSIC
semester courses.
ALC 211K
Entrepreneurship in Music: Topics vary by
ALC 212
PERFORMANCE
semester courses.
ALC 232
PERFORMANCE
semester courses.
ALC 241
CONTEMPORARY ORCHESTRAL
ISSUES
semester courses.
ALC 212K
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
ALC 251
THE HEALTHY MUSICIAN

semester courses.
ALC 252

semester courses.
semester courses. All graduate students

can take ALP courses for free by registering
at the ALC 400 level. Graduate students in
certain instances may also wish or be
required to register for other than the ALC
400 level and pay regular tuition charges.
For additional information on this policy
and further details on whether or not a
course may be used to fulfill certificate,
diploma, or degree requirements, please
see the ALP website at
http://www.esm.rochester.edu/iml/alp/gradpolic
y.php
ALC 412
ALC 280
ARTS LEADERSHIP INTERNSHIP

Fall, Spring
Required for ALP Certificate Students /
Scheduling flexible. Open to Arts
Leadership Program (ALP) certificate
candidates only, the Catherine Filene
Shouse Arts Leadership Program internship
places ALP certificate candidates in
internships designed to expose them to
extra-musical tools and information that
can only be learned in practical, real
world settings. Benefits to the student
include the cultivation of self-management
skills and an awareness of the current
climate for the arts in America. In addition
to helping prepare our students to function
in the real world, the internship program
also contributes to the Eastman Schools
focus on the community by supplying
local, national and international arts
organizations with high quality interns.
Limited to 2 credits maximum towards
certificate requirement.
ALC 411
All graduate students can take ALP courses
for free by registering at the ALC 400 level.
Graduate students in certain instances
may also wish or be required to register for
other than the ALC 400 level and pay
regular tuition charges. For additional
information on this policy and further
details on whether or not a course may be
used to fulfill certificate, diploma, or
degree requirements, please see the ALP
website at
y.php
ALC 411K
website at
y.php
ALC 412K
website at
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ALC 421
LEADERSHIP AND
ADMINISTRATION

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ALC 421K
LEADERSHIP AND
ADMINISTRATION
Leadership and Administration: Topics vary
by semester and may be half-semester
(early or late semester) or full semester
courses. All graduate students can take
ALP courses for free by registering at the
ALC 400 level. Graduate students in certain
instances may also wish or be required to
register for other than the ALC 400 level
and pay regular tuition charges. For
additional information on this policy and
further details on whether or not a course
may be used to fulfill certificate, diploma,
or degree requirements, please see the
ALP website at
y.php
ALC 422
LEADERSHIP AND
ADMINISTRATION
Topics vary by semester and may be
half-semester (early or late semester) or full
y.php
ALC 431
PERFORMANCE
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________

y.php
ALC 431K
PERFORMANCE
y.php
ALC 432
PERFORMANCE
y.php
ALC 441
CONTEMPORARY ORCHESTRAL
ISSUES
y.php
ALC 451

y.php
ALC 452

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ALC 480
ARTS LEADERSHIP INTERNSHIP

Fall, Spring
Required for ALP Certificate Students /
Scheduling flexible. Open to Arts
Leadership Program (ALP) certificate
candidates only, the Catherine Filene
Shouse Arts Leadership Program internship
places ALP certificate candidates in
internships designed to expose them to
extra-musical tools and information that
can only be learned in practical, real
world settings. Benefits to the student
include the cultivation of self-management
skills and an awareness of the current
climate for the arts in America. In addition
to helping prepare our students to function
in the real world, the internship program
also contributes to the Eastman Schools
focus on the community by supplying
local, national and international arts
organizations with high quality interns.
Limited to 2 credits maximum towards
certificate requirement.
Applied Music LessonsSUMMER

AMU 130
UNDERGRADUATE APPLIED
LESSON
Summer (S-2)
Undergraduate Applied Music Lessons :
(half-hour/week): Use to fulfill secondary
instrument requirement or elective.
AMU 430
GRADUATE APPLIED LESSON

Summer (S-1.5)
lesson requirement, except for MM
Conductors who are required to take 4
credits of applied music. For students
who enrolled in their current graduate
degree program prior to summer 2009,
these lessons carry 2 credits per semester.
AMU 430A
GRADUATE APPLIED LESSON:

PERFORMANCE
Summer (S-2)
Graduate Applied Music Lessons (halfhour/week): Half-hour lessons in your
primary instrument major may be taken
only with permission of the Associate Dean
for Graduate Studies. For students who
enrolled in their current graduate degree
program prior to summer 2009, these
lessons carry 2.5 credits per semester.
Anthropology
ANR 110
RELIGIONS OF THE WORLD

An introduction to world religions,
examining the responses of world religions
as well as smaller, local traditions to
fundamental questions like the following:
What is the relation of the individual to the
divine? Is the religious life best lived in the
world or apart from it? Are humans
inherently good or bad? What is the
relationship of humans to nature? We
reflect on influences that draw people to
new religions and elements that allow
traditions to endure. The course helps
students to better understand their own
worldviews by exposing them to
contrasting perspectives across the globe.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
ANR 210
ANR 240
ANR 281
MEANING IN EVERYDAY LIFE
WOMEN AND RELIGION

Art, music, and religion all give life meaning
in special and dramatic ways. However,
the world of our everyday lives is also filled
with meanings that are reflected and
amplified in a culture's great art forms and
religious ideas. We leave the grand visions
of high culture aside and examine the
ordinary meanings of everyday life. These
meanings tend to be invisible; being
accustomed to them, we think of them as
normal. They appear to us simply as reality.
We will take a close look at every day
"realities." We examine the ways in which
people use time and space and how they
think about human relationships, nature,
death, and what it means to a person. This
allows students to understand their own
culture more deeply as well as learn about
others.

A study of conceptions of women
embodied in the imagery of various
religious traditions, the role of women in
worship, and the impact of religious
traditions on feminine experience and
social definitions of gender roles. For each
region, we consider both religious doctrine
and the lives of women in the context of
societies holding to these religious beliefs.
Cross-listed as WST 240.
TOPICS IN ANTHROPOLOGY
AND RELIGION
ANR 220
THE NATURE OF LOVE

We think of love as the most personal of
emotions, yet our private experiences of
love and the way these can be enacted
are influenced by biology, by social life , by
cultural images and family expectations. In
this course, we will consider love from
many points of view, drawing on
evolutionary theory, psychology,
anthropology, and literature. We will
examine ways in which love and courtship
take place in a variety of societies, and will
look at the definitions and expressions of
love in Asian as well an European and
American contexts.
ANR 230
IMAGINING INDIA
As a place with its own highly civilized and
an exotic tradition, India has captured the
imagination of many. This course gives us
an understanding of this distant, complex
and varied land, and in so doing will show
us how societies can be conceived in
terms very different from our own. More
importantly, it shows us how different
perspectives reveal different aspects of a
society. Here, we will read ethnographies,
novels, and autobiographies by indigenous
South Asian authors and by foreigners,
thinking carefully along the way about
what informs their point of view as well as
what they reveal about India.
ANR 250
CULTURE AND
COMMUNICATION
A study of the nature of human
communication. Topics include whether
there are universals in the way humans
communicate; how language shapes
understanding of the world; how people
use communication to establish, maintain,
or challenge power relations; and how
gender influences communication. We
also explore specific forms of artistic and
religious communication.
ANR 260
RELIGION AND CULTURE

This course will examine the social and
cultural circumstances that give rise to
religious fundamentalism, explore the
reasons for its attraction to adherents, and
look at its contrasts with other forms of
religious practice. Readings will focus on
Christianity and Islam. Analytic readings,
weekly papers, and a final project will be
required.
ANR 280
APPROACHES TO
ETHNOGRAPHY
Spring (II-3)
Approaches to Ethnography: Ethnography
offers a window into a variety of cultural
worlds, and provides the foundation for
theorizing in anthropology and in related
disciplines like ethnomusicology. In this
course, we will examine ways in which
anthropologists conduct ethnographic
research and write ethnography. We will
look at a range of analytic and interpretive
approaches to ethnography, learn
fundamental techniques for conducting
ethnographic research, and consider
ethical aspects of such work, exploring
contemporary debates about the practice
and production of ethnography. Crosslisted as ETH 480.
Fall (I-3)
ANR 282
TOPICS IN ANTHROPOLOGY
AND RELIGION
Spring (II-3)
Bassoon
BSN 130
SEC BASSOON
Undergraduate Applied Music Lessons
BSN 160
PRIMARY BASSOON
Fall, Spring (I, II, S-4)
(one-hour/week): Use to fulfill primary
lesson requirement.
BSN 430
SEC BASSOON
semester.
BSN 430A
PRL 1/2 HR BASSOON

semester.
BSN 460A
PRIMARY BASSOON
semester.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
Chamber Music
CHB 277
CHB 290
BAROQUE CHAMBER MUSIC
INDEPENDENT STUDY
CHB 181

Study and performance of the chamber
music repertoire of the 17th and 18th
centuries for strings, winds, harpsichord,
voice and organ. The class is divided into
several smaller ensembles with weekly
coachings. Four specific topic classes
regarding style and interpretation are also
included. Performers on both modern and
period instruments are welcome. Keyboard
players must be able to play from figured
bass; harpsichord experience is preferred.
(Prerequisite for keyboard players: KBD
443 Keyboard Continuo Realization or
permission of the instructor.)
Fall, Spring
INTRO TO WOODWIND QUINTET

SEMINAR
Fall (I-1 cr., 2-semester course)
Intro to Woodwind Quintet Seminar:
Required of all first-year flute, clarinet,
oboe, bassoon and horn performance
majors. This course serves as in introduction
to chamber music at the Eastman School.
CHB 182
INTRO TO STRING QUARTET

SEMINAR
Spring (II-1 cr., 2-semester course)
Intro to String Quartet Seminar: Required of
all first-year violin, viola and cello
performance majors, this course serves as
in introduction to chamber music at the
Eastman School. Taught by the members
of the Ying Quartet, classes consist of
individual coachings, masterclasses,
lectures, and demonstrations and cover a
wide range of topics foundational to
ensemble playing. Quartets and repertoire
are assigned by the instructors and rotate
by unit to cover the major stylistic periods
from Haydn and Mozart through the 20th
century. Each unit culminates in a public
class recital.
CHB 232
VOICE REPERTOIRE JUNIOR

Spring (II-2)
A two-semester chronological survey of the
most important vocal repertoire for the
recital & concert stage from Caccini to the
present. In-class performance is
emphasized in combination with outside
listening & reading. Languages covered
include Italian, English, German, & French.
At the discretion of the applied teacher &
the advisor, qualified students may begin
CHB 232 in the sophomore year. Designed
for applied majors in voice. Open to other
majors by permission.
CHB 233
VOICE REPERTOIRE SENIOR

Fall (I-2)
present. In-class performance is
listening & reading. Languages covered
include Italian, English, German, & French.
At the discretion of the applied teacher &
the advisor, qualified students may begin
CHB 232 in the sophomore year. Designed
for applied majors in voice. Open to other
majors by permission.
CHB 281
DUO PIANO SEMINAR

Fall (I-1 cr. each, 2-semester course)
The Duo Piano Seminar is designed for both
undergraduate and graduate piano
performance majors and offers an in-depth
study of both four-hand and two-piano
repertoire. The class combines weekly
coachings with frequent masterclasses with
the ESM piano faculty. Over the course of
the semester, each duo must learn and
prepare for performance one major work
from the two-piano/four-hand repertoire.
The course ends with a final performance
by all the duos in Kilbourn or Hatch Hall.
CHB 282
DUO PIANO SEMINAR

Spring (II-1 cr. each, 2-semester course)
CHB 284
VOCAL CHAMBER MUSIC

Fall (I-1)
Introduction to basic vocal chamber
repertoire. Attention given to ensemble
rehearsal techniques, tuning and style.
Repertoire chosen to suite voice types
registered. Voice teacher's approval
required for singers. Instrumentalists
approved by chamber music coordinator.
CHB 401
INSTRUMENTAL SONATA & DUO

RE
Fall (I-2)
Intensive study of special topics from the
instrumental & piano duo repertoire,
selected at the beginning of the semester
by the class. Open to graduate pianists,
strings, & winds. Prerequisite: permission of
instructor. May be repeated for credit.
Offered every other year, alternating with
6CHB 403.
CHB 402
VOICE REPERTOIRE FOR PIANIST

An in-depth examination of specific areas
of the vocal non-operatic repertoire,
including such topics as Baroque style and
ornamentation, twentieth-century
repertoire, musical settings of a particular
poet, comparative settings of the same
poem(s), & neglected repertoire. The class
meets concurrently with CHB 431 or CHB
432 & addresses the repertoire from the
dual perspective of singer & pianist.
Required of master's degree students
majoring in Piano Accompanying &
Chamber Music. Elective for DMA students
in the Piano Accompanying & Chamber
Music degree. Open to other keyboard
majors with permission of the instructor.
May be repeated for credit.
CHB 403
PIANO CHAMBER MUSIC

REPERTOIRE
Fall (I-2)
Intensive study of chamber music
repertoire in a performance class setting.
The course is team-taught by 2 members of
the performance faculty. Up to 8 preformed groups are accepted. Each of
them must include a pianist, and must
submit their repertoire at the time of
registration. Available to pianists, strings,
winds & voice. Prerequisite: permission of
instructor. May be repeated for credit.
Offered every other year, alternating with
6CHB 401.
CHB 431
VOICE REPERTOIRE
Fall (I-1)
present. CHB 431 encompasses early
Italian, English, French and German art
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
song up to circa 1900. CHB 432 continues

from circa 1900 on and includes French
melodie and a sampling of Spanish and
Russian songs. In-class performance is
listening & reading. The class addresses the
repertoire from the dual perspectives of
singer & pianist. Required of master's
degree students majoring in performance
& literature-voice (two semesters) & in
piano accompanying & chamber music
(as CHB 402-I or II). Open to other majors by
permission of the instructor.
CHB 432
VOICE REPERTOIRE
Spring (II-1)
present. CHB 431 encompasses early
Italian, English, French and German art
song up to circa 1900. CHB 432 continues
from circa 1900 on and includes French
melodie and a sampling of Spanish and
Russian songs. In-class performance is
listening & reading. The class addresses the
repertoire from the dual perspectives of
singer & pianist. Required of master's
degree students majoring in performance
& literature-voice (two semesters) & in
piano accompanying & chamber music
(as CHB 402-I or II). Open to other majors by
CHB 480
GRAD BAROQUE CHAMBER

MUSIC
Fall, Spring (0 Credits)
Coaching & performance of chamber
music for strings, piano, winds, & brass.
Includes Music for All performances as well
as in-house public performances.
CHB 482
CL 430A
DUO PIANO SEMINAR
PRL 1/2 HR CLARINET
Spring (II-1 cr. each, 2-semester course)

Coaching & performance of chamber
music for strings, piano, winds, & brass.
Includes Music for All performances as well
as in-house public performances. Within
this course is a special section called the
Graduate Seminar. This section is a
focused experience that is open to any
graduate instrumentalist (string, piano,
wind, brass, percussion or voice) wishing to
pursue an in-depth, pre-professional
chamber music experience, and includes
weekly coachings, group masterclasses,
seminars on outreach, and other pertinent
performance topics as well as
performances in Kilbourn Hall and
community sites and more. May be

semester.
CHB 490
Fall (I-1 cr. each, 2-semester course)

PRIMARY CLARINET
semester.
INDEPENDENT STUDY
CL 490
Fall, Spring
CLARINET CHOIR
CHB 590
INDEPENDENT STUDY
Fall, Spring
Clarinet
CL 130
SEC CLARINET
CL 160
PRIMARY CLARINET
lesson requirement.
CHB 481
DUO PIANO SEMINAR
CL 460A
CL 290
CLARINET CHOIR
Fall
CL 430
SEC CLARINET
semester.
Fall
Composition
CMP 101
FIRST YEAR MAJOR I

Fall (I-3)
Seminar and Master Class in the
Composition of Twentieth-Century Music I:
Composition class including occasional
private lessons and readings of
compositional studies and pieces.
Enrollment is reserved for freshman
composition majors; others may enroll
only by permission of the individual
instructor or by departmental approval.
CMP 102
FIRST YEAR MAJOR II

Spring (II -3)
Composition of Twentieth-Century Music II:
composition majors; others may enroll only
by permission of the individual instructor or
by departmental approval.
CMP 103
SECOND YEAR MAJOR I

Fall (I-3)
Major Requirement: Composition study in
private, weekly lessons. Enrollment is
reserved for composition majors; others
may enroll only by permission of the
individual instructor or by departmental
approval.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
CMP 104
SECOND YEAR MAJOR II

Spring (II-3)
approval.
CMP 201
THIRD YEAR MAJOR I

Fall (I-3)
Composition of Twentieth-Century Music I:
course dealing with compositional trends in

Europe and America from about 1925 to
1955 as demonstrated in the works of
significant twentieth-century composers
such as Bartok, Berg, Babbitt, Messaien,
Schoenberg, Stravinsky, Varese, Webern,
and others. Class participation, three
compositional projects, and a final exam
are required. Intended for seniors and
graduate students (graduate students
should register for CMP 412); others by
permission of the instructor. May be taken
independently from CMP 213
CMP 213
COMPOSITIONAL PRACTICE
CIRCA 1955-1980
Spring (II -3)

Composition of Twentieth-Century Music II:
Spring (II-3)
Compositional Practice circa 1955 to 1980:
Offered every other year starting with the
spring term of 2007. A writing and analysis
such as Adams, Boulez, Cage, Carter,
Feldman, Ligeti, Penderecki, Reich,
Stockhausen, Xenakis, and others. Class
participation, two compositional projects,
one aural report, and a final exam are
required. Intended for seniors and
graduate students (graduate students
should register for CMP 413); others by
permission of the instructor. May be taken
independently from CMP 212.
CMP 203
CMP 221
CMP 202
THIRD YEAR MAJOR II
FOURTH YEAR MAJOR I

Fall (I-3)
approval.
CMP 204
FOURTH YEAR MAJOR II

Spring (II-3)
approval.
CMP 212
COMPOSITIONAL PRACTICE
CIRCA 1925-1955
Fall (I-3)
fall term of 2006. A writing and analysis
COMPOSITION FOR NONMAJORS I

Fall, Spring, Summer (I, II, S-2) Composition
for Non-Majors: Composition study
designed for students who are not
composition majors. Teaching occurs
through a combination of private lessons
and class meetings, as appropriate. Open
for enrollment by students of all majors.
CMP 222
COMPOSITION FOR NONMAJORS II


CMP 224
COMP FOR NON-MAJORS IV

CMP 225
INTRO TO COMPUTER MUSIC

Fall (I-3)
Introduction to Computer Music
Techniques: Principles of digital (and
analog) recording, editing, signal
processing (sound manipulation), sound
analysis, multi-tracking, mixing,
synchronization and mastering; sound
synthesis techniques; hardware and
software synthesizer and sampler design;
fundamentals of MIDI; MIDI and audio
sequencing; interactive MIDI performance
and compositional techniques;
performance interfaces; music notation
software; the repertoire of computer and
electronic music. Class
lecture/demonstrations are supplemented
by weekly labs and culminate in student
projects.
CMP 226
INTRO TO COMPUTER MUSIC II

Spring (II-3)
Introduction to Computer Music
Techniques: Principles of digital (and
analog) recording, editing, signal
processing (sound manipulation), sound
analysis, multi-tracking, mixing,
synchronization and mastering; sound
synthesis techniques; hardware and
software synthesizer and sampler design;
fundamentals of MIDI; MIDI and audio
sequencing; interactive MIDI performance
and compositional techniques;
performance interfaces; music notation
software; the repertoire of computer and
electronic music. Class
lecture/demonstrations are supplemented
by weekly labs and culminate in student
projects.
CMP 223
COMPOSITION FOR NONMAJORS III

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
CMP 240
COMPUTER
ENGRAVING/CALLIGRAPHY
Fall (I-2)
Computer Engraving and Other Forms of
Calligraphy: This undergraduate course is
open to all students and required of all
undergraduate composition majors. It will
teach the standard notation guidelines
(score layout, cueing of parts, dynamic
and articulation placements, stem length,
placement of accidentals, placement and
font size for all words on the score, etc.)
such that students can prepare materials
ready for publication. While this course will
introduce students to the various popular
notation programs, it will provide in-depth
instruction about one engraving program,
and it will include several calligraphy
projects. Graduate students should enroll in
6CMP 440.
CMP 244
CHORAL ARRANGING
Fall, Summer (I, S-2)
Choral Arranging: Introduces students to
voice types and standard choral
arrangements; provides opportunity for
composing and arranging for various
combinations of voice, either
accompanied or unaccompanied.
CMP 250
BASICS OF ORCHESTRATION
Spring (II-2)
Basic Orchestration: Basic Orchestration,
CMP 250, introduces students to the
instruments of the European orchestral
tradition and to the basics of orchestrating
for the woodwind, brass, and string sections
of the modern orchestra. Orchestration
techniques will be studied through the
examination of scores from the literature as
well as through the creative application of
writing skills. Prerequisites: TH 102.
CMP 251
INTERMEDIATE ORCHESTRATION
Fall (I-2)
Intermediate Orchestration, CMP 251,
introduces students to advanced
techniques of instrumentation and
orchestration in the context of chamber
music. Writing assignments and projects will
be either transcriptions of existing music or
newly composed work. Prerequisites: TH
102 and CMP 250.
CMP 252
ADVANCED ORCHESTRATION
Spring (II-2)
Advanced Orchestration, CMP 252, gives
practice in writing for groups of instruments
drawn from the contemporary orchestra,

wind ensemble, and other established
instrumental collections. The work will
culminate with writing for full orchestra.
Composition will figure prominently in the
projects and assignments. Prerequisite:
CMP 251.
CMP 290
INDEPENDENT STUDY
Fall, Spring
CMP 291
COMPOSITION SYMPOSIUM
Fall (I-1)
Composition Symposium (Undergraduate):
Composition Symposium is a forum for
presentations by guest composers and
other speakers; there are also
presentations and discussions by the
students enrolled in the class. In
preparation for each class meeting,
students will be expected to familiarize
themselves with the available work of our
guest composers, to attend student
composition performances that are the
basis for Symposium discussions, and to
prepare adequately for any special topics
discussion that may be part of the
schedule.
CMP 292
Spring (II-1)
schedule.
CMP 293
Fall (I-1)

schedule.
CMP 294
Spring (II-1)
schedule.
CMP 295
Fall (I-1)
schedule.
CMP 296
Spring (II-1)
schedule.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
10
CMP 297
Fall (I-1)
schedule.
CMP 298
Spring (II-1)
schedule.

such as Bartok, Berg, Babbitt, Messaien,
Schoenberg, Stravinsky, Varese, Webern,
and others. Class participation, three
compositional projects, and a final exam
are required. Intended for graduate
students (undergraduates should register
for CMP 212); others by permission of the
instructor. May be taken independently
from CMP 413. Required for all Composition
MM and MA students.
CMP 413
COMPOSITIONAL PRACTICES
CIRCA 1955-1980
Spring (II-3)
Compositional Practices circa 1955 to 1980:
spring term of 2007. A writing and analysis
such as Adams, Boulez, Cage, Carter,
Feldman, Ligeti, Penderecki, Reich,
Stockhausen, Xenakis, and others. Class
participation, two compositional projects,
one aural report, and a final exam are
required. Intended for graduate students
(undergraduates should register for CMP
213); others by permission of the instructor.
May be taken independently
from CMP 412. Required for all Composition
MM and MA students.
CMP 421
CMP 401
ADVANCED COMPOSITION I
Advanced Composition I: Intensive work in
free composition for chamber groups and
orchestra. Prerequisite: CMP 204.
CMP 402
ADVANCED COMPOSITION II
Spring, Summer (II, S-3)
Advanced Composition II: Continuation.
May terminate with a master's thesis.
Composition 401 and 402 may be
repeated in the second year of the
master's degree program. Prerequisite:
CMP 401.
CMP 412
COMPOSITIONAL PRACTICES
CIRCA 1925-1955
Fall (I-3)
fall term of 2006. A writing and analysis
ADVANCED COMPUTER MUSIC I

Advanced Computer Music Techniques:
An intensive survey of advanced softwarebased techniques of digital recording,
editing, synthesis, analysis and resynthesis,
signal processing, mixing, spatial
localization, ambience and movement,
and current developments in the field.
Class lecture/demonstrations are
supplemented by weekly labs and
culminate in student compositional
projects. Prerequisites: CMP 225-6 or
equivalent.
CMP 422
ADVANCED COMPUTER MUSIC

II
Advanced Computer Music Techniques:
An intensive survey of advanced softwarebased techniques of digital recording,
editing, synthesis, analysis and resynthesis,
signal processing, mixing, spatial
localization, ambience and movement,
and current developments in the field.

Class lecture/demonstrations are
supplemented by weekly labs and
culminate in student compositional
projects. Prerequisites: CMP 225-6 or
equivalent.
CMP 440
COMPUTER
ENGRAVING/CALLIGRAPHY
Fall (I-2)
Computer Engraving and Other Forms of
Calligraphy: This graduate course is open
to all students. It will teach the standard
notation guidelines (score layout, cueing of
parts, dynamic and articulation
placements, stem length, placement of
accidentals, placement and font size for all
words on the score, etc.) such that
students can prepare materials ready for
publication. While this course will introduce
students to the various popular notation
programs, it will provide in-depth instruction
about one engraving program, and it will
include several calligraphy projects.
Undergraduate students should enroll in
6CMP 240.
CMP 490
INDEPENDENT STUDY
Fall, Spring
CMP 491
Fall (I-1)
Composition Symposium (Graduate):
schedule.
CMP 492
Spring (II-1)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
11

schedule.
CMP 493
Fall (I-1)
schedule.
CMP 494
Spring (II-1)
schedule.
CMP 495
MA THESIS
arranged)
M.A. Thesis: For the Master of Arts degree.
CMP 496
MM THESIS
arranged)
M.M. Thesis: For the Master of Music
degree.
CMP 501
ADVANCED COMPOSITION III

Advanced Composition: Free
composition, with emphasis on works for
orchestra. Limited to candidates for the
doctorate in composition. These courses

may be repeated for additional credit.
Prerequisites: CMP 402.
CMP 502
ADVANCED COMPOSITION IV
Advanced Composition: Free
composition, with emphasis on works for
orchestra. Limited to candidates for the
doctorate in composition. These courses
Prerequisites: CMP 402.
CMP 590
INDEPENDENT STUDY
Fall, Spring
CMP 591
COMPOSITION SEMINAR
Fall (I-3)
Composition Research Seminar:
Seminars on selected topics. Research and
class discussion will focus on technical,
structural, analytical and aesthetic issues
salient or unique to the selected repertory
under examination - the music of our own
time. Permission of instructor required.
CMP 592
COMPOSITION SEMINAR
Spring (II-3)
Composition Research Seminar: Seminars
on selected topics. Research and class
discussion will focus on technical, structural,
analytical and aesthetic issues salient or
unique to the selected repertory under
examination - the music of our own time.
Permission of instructor required.
CMP 595
PHD DISSERTATION PROJECT

arranged)
PhD Dissertation Project
CMP 596

arranged)
Conducting
CND 211
BASIC CONDUCTING I
Fall (I-2)
Prerequisites: TH 101, 102. Not open to
freshmen. Also requires registration for
CND 211 Basic Conducting Lab.
CND 212
BASIC CONDUCTING II
Spring (II-2)
Basic Conducting: Prerequisites: TH 101,
102. Not open to freshmen. Also requires
registration for CND 212 Basic Conducting
Lab.
CND 213
INTERMEDIATE CONDUCTING I:
INSTRUMENTAL
Fall (I-2)
Intermediate Conducting I (Instrumental):
Further refinement of basic skills.
Introduction to more advanced
techniques of subdividing and compound
meters. Repertoire studied varies from
classical through romantic repertoire. This
is a one year course & must be taken in
sequence: CND 213 Intermediate
Conducting I / CND 214 Intermediate
Conducting II. Prerequisite is Basic
Conducting or equivalent. Permission of
instructor required.
CND 214
INTERMEDIATE CONDUCTING II:

INSTRUMENTAL
Spring (II-2)
Intermediate Conducting II (Instrumental):
More advanced techniques, emphasis on
compound meters (study of Stravinsky's
l'Histoire du Soldat), and accuracy of
technique and musicality. This is a one
year course & must be taken in sequence:
CND 213 Intermediate Conducting I / CND
214 Intermediate Conducting II. Permission
of instructor required.
CND 215
ADVANCED CONDUCTING I:
INSTRUMENTAL
Fall (I-2)
Advanced Conducting I (Instrumental):
Advanced Conducting is primarily for
conducting majors only. A few exceptions
can be made, on a case by case basis, for
those with prior conducting experience
who feel they may want to eventually
pursue a degree in conducting. These
exceptions will be considered only by
audition. For the Advanced Conducting
students, there will be 4 sessions with
Conductors' Orchestra (CO) per semester.
Each student will receive approximately 15
minutes of podium time per session.
Preparation for these sessions will be during
the Tuesday class sessions (3:35 - 5:25)
when the advanced students are not
scheduled to conduct CO. Additionally, as
determined by the instructor, there will be
private lessons scheduled at some points
during the semester. PLEASE NOTE:
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
12
Permission of instructor required. This course

is not available as an elective.
practice issues from 1750 to the present.

Offered in fall semesters, alternating years
between CND 231 and CND 232.
CND 216
ADVANCED CONDUCTING II:

INSTRUMENTAL
Spring (II-2)
Advanced Conducting II (Instrumental):
CND 223
CHORAL CONDUCTING I
Fall (I-2)
Choral Conducting I: Emphasis on
methods and techniques appropriate to
rehearsal and performance of choral
music, on reading and interpretation of
choral scores, and on the development of
a professional conducting approach.
Prerequisites: CND 211, 212 (or equivalent)
and permission of the instructor.
CND 224
CHORAL TECHNIQUES &

METHODS II
Spring (II-2)
Choral Techniques and Methods II: Study
of choral/vocal techniques and methods,
including breath support and control, tone
quality, vowel uniformity, phrasing, score
study, discipline, and organization.
Continuation of CND 223.
CND 231
CHORAL LITERATURE I
Fall (I-2)
Choral Literature: A comprehensive survey
of choral materials suitable for church,
secondary education, and college
programs. CND 231 surveys repertoire and
performance practice issues from the
middle ages through 1750. CND 232
surveys repertoire and performance
CND 232
CHORAL LITERATURE II
Fall (I-2)
CND 290
INDEPENDENT STUDY
Fall, Spring
CND 415
ADVANCED CONDUCTING I:
INSTRUMENTAL
Fall (I-2)
Advanced Conducting I (Instrumental):

the Tuesday class sessions (3:35 5:25) when the advanced students are not
CND 423
CHORAL CONDUCTING II
Fall (I-2)
Choral Conducting II: Study of
representative choral and
choral/orchestral works of all periods.
Emphasis is on the interpretation of scores
and the development of refined
professional conducting techniques.
Prerequisites: CND 223, 224 (or equivalent)
and permission of the instructor.
CND 424
CHORAL TECHNIQUES &

METHODS II
Spring (II-2)
Choral Techniques and Methods II: An
extension of materials covered in CND 224,
designed for the Master of Music degree in
choral conducting.
CND 431
GRAD CHORAL LITERATURE I

Fall (I-2)
CND 432
CND 416
ADVANCED CONDUCTING II:

INSTRUMENTAL
Spring (II-2)
Advanced Conducting II (Instrumental):
GRAD CHORAL LITERATURE II

Fall (I-2)
Grad Choral Literature: A comprehensive
survey of choral materials suitable for
church, secondary education, and college
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
13
CND 441
CND 481
COLLOQUY IN CONDUCTING
ORCHESTRAL CONDUCTING
Fall (I-0.5)
Colloquy in Conducting: Study with various
members of Conducting and Ensembles
Department faculty. This course provides
an opportunity to work with conductors
outside student's own area of expertise.
Fall (I-3)
Orchestral Conducting: Focus on score
study, gesture technique, and practical
rehearsal procedure. Class sections will
focus on orchestral repertoire, and
preparing the student for regular sessions
conducting the ESM Conducting
Orchestra. Prerequisite: CND 216 or the
equivalent.
CND 442
Spring (II-0.5)
CND 443
Fall (I-0.5)
CND 482
Spring (II-3)
equivalent.
Choral Techniques and Methods III: For

doctoral students majoring in conducting.
CND 541
DMA CONDUCTING I
DMA Conducting I: Private study with
Conductor-Professor of Ensemble Specialty.
Includes attendance at large ensemble
rehearsals, section preparation, etc.;
repertory study, ensemble rehearsal
technique, interpretation, and advanced
conducting problems.
CND 542
DMA CONDUCTING II
DMA Conducting II: Private study with
Conductor-Professor of Ensemble
Specialty. Includes attendance at large
ensemble rehearsals, section preparation,
etc.; repertory study, ensemble rehearsal
CND 483
CND 543
DMA CONDUCTING III
Spring (II-0.5)
Fall (I-3)
Orchestral Conducting Focus on score
equivalent.
CND 461
CND 484
CND 544
DMA CONDUCTING IV
Fall (I-2)
Rehearsal Techniques I and II:
Concentration on freedom of movement
and manual dexterity along with
development of score study habits. Class
members will prepare musical works from
all periods of orchestral music for in-class
discussion, trial and review. Class study
culminates in the leadership of the
Conducting Orchestra. May be repeated
for credit.
Spring (II-3)
equivalent.

DMA Conducting IV: Private study with
CND 462
Fall, Spring
CND 444
REHEARSAL TECHNIQUES I
REHEARSAL TECHNIQUES II
Spring (II - 2)
Rehearsal Techniques I and II:
Concentration on freedom of movement
and manual dexterity along with
development of score study habits. Class
members will prepare musical works from
all periods of orchestral music for in-class
discussion, trial and review. Class study
culminates in the leadership of the
Conducting Orchestra. May be repeated
for credit.

DMA Conducting III: Private study with
CND 590
CND 490
INDEPENDENT STUDY
INDEPENDENT STUDY
Fall, Spring
CND 596
CND 523
CHORAL CONDUCTING III

Fall (I-2)
Choral Conducting III: For doctoral
students majoring in conducting.

arranged)
CND 524
CHORAL TECHNIQUES &

METHODS III
Spring (II-2)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
14
Double Bass
DBL 130
SEC DBL BASS

DBL 160
PRIMARY DOUBLE BASS

lesson requirement.
DBL 430
SEC DOUBLE BASS

semester.
DBL 430A
PRL 1/2 HR DOUBLE BASS

Graduate Applied Music Lessons(halfhour/week): Used to fulfill primary lesson
semester.
DBL 460A
PRIMARY DOUBLE BASS

semester.
Eastman Initiatives
Curriculum
EIC 090
STUDENT SUCCESS STRATEGIES

Fall, Spring
EIC 101
EASTMAN COLLOQUIUM
Fall (I-1)
Eastman Colloquium explores the sounds,

meanings, and uses of music within a wide
variety of contexts. Students consider ways
in which imagining and experiencing music
deepens their understandings of and
connections to themselves as musicians, as
well as to others in their communities, and
to the larger social, political, and spiritual
worlds we inhabit. The practical aspects of
music and musical institutions are
emphasized, along with philosophical,
pedagogical, historical, and social
underpinnings of music practiced in the
broadest sense. The class format consists of
weekly large group presentations by a
diverse array of Eastman faculty, students,
staff, and guests. Individual writing
assignments focus on personal reflection as
an opportunity for students to develop their
own critical thinking and writing skills.
Required of all freshmen; transfer students
are expected to take this course unless
they have had a similar experience in
previous collegiate study.
seniors present their projects in a

advertised yearly one-day colloquium, to
which Eastman students and faculty as well
as the general public would be invited. A
student will normally conceive of the senior
project as emanating from the experience
gained in the Concentration (that is, the
project would be a hands-on application)
or, with the approval of the supervisory
committee, the project may be an
exploration of another of the student's
interests.
EIC 217
ENG 115
INDIAN DRUMMING
Fall, Spring
EIC 251
SENIOR PROJECT BM/MUA

Fall (I-3)
Senior Project for BM/MUA: The senior
project is the final culmination of BM MUA
study. As such, it must be a substantial and
original contribution that is assumed to
integrate the experience and education of
the student. Students are required to
present their findings in a public forum. The
supervisory committee requires that all
seniors present their projects in a
advertised yearly one-day colloquium, to
which Eastman students and faculty as well
as the general public would be invited. A
student will normally conceive of the senior
project as emanating from the experience
gained in the Concentration (that is, the
project would be a hands-on application)
or, with the approval of the supervisory
committee, the project may be an
exploration of another of the student's
interests.
EIC 252
SENIOR PROJECT BM/MUA

Spring (II-3)
Senior Project for BM/MUA: The senior
project is the final culmination of BM MUA
study. As such, it must be a substantial and
original contribution that is assumed to
integrate the experience and education of
the student. Students are required to
present their findings in a public forum. The
supervisory committee requires that all
EIC 290
INDEPENDENT STUDY
Fall, Spring
English
ENG 080
ENG/ACAD SKILLS FOR MUSC:

RES
Summer
ENGLISH DICTION FOR VOICE

MAJORS
English Diction: The sounds and phonation
of English. Use of the International Phonetic
Alphabet. Particular attention to the
problems of singing intelligibly in English.
ENG 151
CREATIVE WRITING
Fall (I-3)
Creative Writing: Introduction to the
creative writing process, with emphasis on
poetry or short stories. Includes reading
and discussion of student work. Specific
focus may vary from semester to semester.
May be taken (with permission) more than
once if on a different topic.
ENG 205
ELIZABETHAN SHAKESPEARE
The Elizabethan Shakespeare: An intensive
study of plays and poetry from the first half
of Shakespeares career. Besides getting
to know Shakespeares characters
intimately, we will study the place of his
plays within one of the most vibrant
cultures in all of history, Elizabethan
England. As tools to help us understand
the plays, we will discuss the importance of
pageantry and spectacle in Elizabethan
politics; the place of the stage in social
struggles; the subordination (and
insubordination) of women; the nature of
the family; Elizabethan holidays; ghosts,
fairies, and other popular superstitions; anti-
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
15
Semitism in Shakespeares London; religious

conflict during the Tudor period; attacks on
the theatres by middle-class Puritans; and
significant events in Queen Elizabeths long
and fruitful reign that are reflected in
Shakespeares plays.
ENG 206
JACOBEAN SHAKESPEARE
The Jacobean Shakespeare: A
continuation of English 205: an intensive
study of plays from the second half of
Shakespeare's career, concentrating on
the tragedies and romances.
ENG 208
SHAKESPEARE'S HISTORY PLAYS
nineteenth-century poets Walt Whitman

and Emily Dickinson, the founding parents
of modern American poetry. Most of the
semester will be devoted to the twentieth
century, when an astounding variety and
number of original poetic voices
proliferated in America. We will study
selected works of a wide range of poets,
including Robert Frost, Ezra Pound, T. S.
Eliot, Wallace Stevens, Edna St. Vincent
Millay, E.E.Cummings, Langston Hughes,
and William Carlos Williams, among many
others.
ENG 248
CONTEMPORARY AMERICAN
POETRY

Shakespeare's History Plays: Englands
threat of invasion by the Spanish Armada
in 1587, followed by the Armadas defeat
in 1588 in a tempest that the English
interpreted as miraculous and providential,
produced a period of intense national crisis
followed by one of great national pride
and rejoicing. In the decade that followed
the Armadas destruction, plays about
English history became very popular on
Londons public stages. In his own lifetime,
Shakespeares history plays were the most
popular of all his plays. Shakespeares
history plays do not merely celebrate
English nationhood in the wake of
Englands great victory at sea; they also
examine the meaning of recent English
history for their time-and for subsequent
times as well. In this course we will study five
plays by William Shakespeare and one by
his contemporary, rival playwright
Christopher Marlowe.

Contemporary American Poetry: In this
course we will explore and map the rich
and varied landscape of contemporary
American poetry from the Second World
War to the present. I have designed it to
be a continuation of the course on
Modern American Poetry offered last
semester, though that course is not a
prerequisite for the current one. This
semester we will study intensively selected
works of a wide range of poets, including
A. R. Ammons, John Ashbery, Elizabeth
Bishop, Gwendolyn Brooks, Robert Creeley,
Rita Dove, Robert Lowell, James Merrill, W.
S. Merwin, Frank OHara, Robert Pinsky,
Sylvia Plath, Adrienne Rich, and Anne
Sexton, among others. Our method will be
the close study of selected poets and their
work, not a broad survey of the field.
Without losing sight-or sound-of our poets
distinctive voices, we will identify major
trends in American poetry over the past
four decades.
ENG 242
ENG 254
LYRIC POETRY
CONTEMPORARY AMERICAN
THEATER

Lyric Poetry: A study of the major forms of
lyric poetry, exploring poems from several
historical periods (Renaissance, neoclassical, romantic, modern, and
postmodern) and paying particular
attention to modern and contemporary
reinterpretations of traditional forms like the
haiku, renga, ode, elegy, sonnet, ballad,
sestina, pantoum, and villanelle. From time
to time, we will remind ourselves of lyric
poetrys historical associations with music,
and I will encourage students to explore
musical settings of the poetry we read.
ENG 244
MODERN AMERICAN POETRY

Modern American Poetry: We will devote
the first weeks of the semester to late

Contemporary American Theater: A survey
of American theater and performance of
the last few decades. Emphasis is placed
on how different identities within American
society (gendered, racial, and sexual
identity) are represented on the stage.
ENG 259
PERFORMANCE ART
Performance Art: Futurism, Dada,
Surrealism, Cages 433, Happenings,
Body Art, Performance Art: over the last
100 years a new kind of performance has
emerged. Provocative, sometimes absurd,
and often radical, a broader definition of
performance overflows traditional
Aristotelian" theater to question the

boundaries between representation and
reality, audience and stage, sense and
non-sense, music and sound, and body
and self. In this class we will depart from
traditional theater to study significant
performances of the last 100 years, and
what their creators and critics said about
them. Cross-listed with HUM 259
ENG 263
THE SHORT STORY

The Short Story: According to an old
rabbinical saying, God made people
because he loves stories. The richness and
diversity of the worlds storytelling traditions
reflects the variety of people-and peoplesin the world. We are the stories we tell,
according to the title of a recent collection
of stories by and about women. The craft
of storytelling is nothing less than the
primary way in which peoples and cultures
shape and define themselves. This course
offers a small but rich sampling of those
stories: the literary short story as it
developed over the past two centuries,
with an emphasis on modern innovators
such as Anton Chekhov, Charlotte Perkins
Gilman, James Joyce, Ernest Hemingway,
Virginia Woolf, Franz Kafka, and William
Faulkner.
ENG 266
CONTEMPORARY FICTION
Contemporary Fiction: Introduction to late
twentieth- and twenty-first century
literature, concentrating on British,
European, American, women's literature,
black writers, science fiction, or Third World
literature.
ENG 268
READING THE ABSURB

Reading the Absurb: How should we read
the following: a human being trapped in
the body of a bug, dangling from the
ceiling of a claustrophobic room, a person
riding a chainless bicycle, another one
speaking monologues while buried to his
neck in sand, a critic sitting on the same
bench in an Art museum for 23 years
contemplating the same painting, a writer
wanting to re-write Cervantes Don
Quixote? These and other absurd scenarios
will be examined in this course in an
attempt to understand the absurd as an
expression of existential crisis, a reflection
on the role of art itself but also as political
criticism. Writers studied will include Kafka,
Borges, Calvino, Ionesco, Beckett,
Bernhard and Jelinek. All readings will be
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
16
available in English; students wishing to

read in the original languages may do so.
Cross-listed as HUM 268.
ENG 274
TOPICS IN THE NOVEL

Topics in the Novel: Topics will vary. May
be repeated for credit.
ENG 275
FAULKNER & HIS HEIRS

Faulkner and His Heirs: One might have
expected modernism in American
literature to originate in the great cities of
the north. Instead it was to be a
Southerner from a small town who did
more than any other author to bring the
modernist spirit of innovation and
experimentation to American fiction. We
will immerse ourselves in the work of the
most original and powerful American
fiction writer of the twentieth century,
exploring the construction of racial and
gender differences in America; issues of
regional and national identity; competing
constructions of American's past,
particularly the Civil War and its aftermath;
and the use and abuse of individual and
collective memory. We will read several
novels and short stories by our author. We
will also briefly explore his career as a
scriptwriter in Hollywood.
ENG 276
KAFKA
Kafka: Born in Prague of German-Jewish
descent, Franz Kafka was one of the most
daring and experimental storytellers of the
modern period. Many regard him as the
first existentialist writer. In this course we will
read one of his novelsThe Trialas well as
shorter works such as his parables and
paradoxes, short stories, and excerpts from
his letters and diaries. Although all of his
novels remained unfinished and
unpublished at the time of his death, he
would become one of the most influential
figures in all of twentieth-century literature.
His works would continue to shape those of
later authors such as Samuel Beckett,
Jorge Luis Borges, Italo Calvino, Thomas
Bernhard, and Paul Auster, whose works we
will read this semester. All readings and
discussions will be in English, although
students who wish to read some or all of
the works in German will be encouraged to
do so.
ENG 278
VIRGINIA WOOLF & HER WORLD

Virginia Woolf and Her World: A study of
major fiction and selected nonfiction by
one of the world's great modern writers
and social thinkers, this course focuses on
understanding Virginia Woolfs writings in
relation both to her life and to the social,
cultural, political, and economic
developments of her time, especially the
impact of the two World Wars, the spread
of modernism across the arts, the
increasing popularity of psychoanalysis,
and the rise of the modern womens
movement. Cross-listed as HIS 278, WST
278.
ENG 279
JAMES JOYCE
James Joyce: An intensive study of two of
Joyce's major works of narrative fiction - A
Portrait of the Artist As a Young Man and
Ulysses - as well as some of his poetry,
critical writings, and letters. We
also seek to situate the works in various
historical contexts that shed light on
Joyce's fiction, including the rise of
modernism, Irish nationalism, Anglo-Irish
relations, Joyce's musical background and
its relation to his fiction, and Joyce's life.
Large Ensemble: Instrumental ensemble for

freshmen and sophomores.
ENS 120
CHORALE
Chorale
ENS 120A
REP SINGERS
Repertory Singers
ENS 120B
EASTMAN ROCHESTER CHORUS

Eastman Rochester Chorus
ENS 120C
WOMEN'S CHORUS
Women's Chorus
ENS 200
ADV INSTRUMENTAL ENSEMBLE

Advanced Large Ensemble: Instrumental
ensemble for juniors and seniors.
ENS 207
COLLEGIUM MUSICUM I
Fall (I-3)
Topics in Literature: Topics vary from year
to year. Recent topics focus on authors,
periods, genre or themes such as drama,
Romantic literature, or musicians in
literature. May be repeated for credit.
Fall (I-1)
Collegium Musicum I: Vocal and
instrumental ensemble specializing in the
performance of Renaissance and Baroque
music on period instruments. May be
repeated for credit. By audition.
(Prerequisite for keyboard players: KBD 443
Keyboard Continuo Realization or
ENG 282
ENS 208
ENG 281
TOPICS IN LITERATURE
TOPICS IN LITERATURE
Spring (II-3)
Topics in Literature: Topics vary from year
to year. Recent topics focus on authors,
periods, genre or themes such as drama,
Romantic literature, or musicians in
ENG 290
INDEPENDENT STUDY
Fall, Spring
Ensemble
ENS 100
COLLEGIUM MUSICUM II
Spring (II-1)
Collegium Musicum II: Vocal and
instrumental ensemble specializing in the
performance of Renaissance and Baroque
music on period instruments. May be
repeated for credit. By audition.
(Prerequisite for keyboard players: KBD 443
Keyboard Continuo Realization or
ENS 209
COLLEGIUM MUSICUM
Collegium Musicum I
LARGE INSTRUMENTAL
ENSEMBLE
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
17
ENS 215
ENS 246
ENS 420B
WEST AFRICAN DRUMMING ADV
EASTMAN SAXOPHONE
PROJECT
GRADUATE EASTMAN
ROCHESTER CHORUS

Eastman Saxophone Project: Preparation
and performances of various styles of
saxophone ensemble repertory.
Prerequisite: Permission of Instructor

Graduate Eastman Rochester Chorus

Mbira Ensemble: The Eastman Gamelan
(angklung) performs traditional ceremonial
music and new-style music (keybar) from
Bali as well as new compositions for
gamelan. Students studying another world
music instrument or participating in
another, non-Eastman world music
ensemble may receive credit for this
instruction on a case-by-case basis. May
be repeated for credit.
ENS 216
MBIRA ENSEMBLE
Mbira Ensemble May be repeated for
credit.
ENS 242
TROMBONE CHOIR
Trombone Choir: Preparation and
performance of trombone ensemble
music of various styles. Prerequisite:
permission of instructor.
ENS 243
TUBA MIRUM
Tuba Mirum: Preparation and
performance of all types of tuba ensemble
repertory, especially works for tuba
ensemble plus a small number of other
instruments.
ENS 244
BRASS GUILD
Brass Guild: The Brass Guild is composed of
juniors, seniors, and graduate students
selected by audition. This ensemble
provides consistent, weekly rehearsals of
brass and orchestral repertoire together
with the study of brass orchestral
techniques and performances of brass
repertoire. Prerequisite: permission of
instructor.
ENS 251
ORCHESTRA REPERTORY
GRADUATE WOMEN'S CHORUS

Graduate Women's Chorus
Fall (I-2)
Orchestral Repertory: An in-depth survey
of the standard repertory, particularly
directed at preparing students for
orchestral auditions and careers. May be
repeated once for credit provided
different repertory is covered.
ENS 421
ENS 252
ENS 421A
ORCHESTRAL REPERTORY
Spring (II-2)
ENS 260
PERCUSSION ENSEMBLE
Chamber Music (Percussion): Performance
of music for percussion ensemble.
ENS 400
GRADUATE ENSEMBLE
Graduate Ensemble: Instrumental
ensemble for graduate students.
ENS 401
GRAD COLLEGIUM MUSICUM
ENS 245

Graduate Ensemble: Same as 6ENS 400,
but for no credit and no charge. For MM
PRL instrumental students who wish to
participate in large ensembles, but do not
need credit. Requires permission of the
instructor.
HORN CHOIR
ENS 420

Horn Choir: Preparation and performance
of various types and styles of horn
ensemble repertory from quartets to octets
for 4-24 performers. Prerequisite: concurrent
enrollment in HRN 160/460 or permission of
instructor.
ENS 420C
GRADUATE CHORALE
Graduate Chorale
ENS 420A
GRADUATE REPERTORY SINGERS
GRADUATE CHORALE
Graduate Chorale: Same as 6ENS 420, but
for no credit and no charge. For MM PRL
voice students who need 2 semesters of
vocal ensemble, but not the credit.
GRADUATE REPERTORY SINGERS

Graduate Repertory Singers: Same as 6ENS
420A, but for no credit and no charge. For
MM PRL voice students who need 2
semesters of vocal ensemble, but not the
credit.
ENS 421B
GRADUATE EASTMAN
ROCHESTER CHORUS
Graduate Eastman Rochester Chorus:
Same as 6ENS 420B, but for no credit and
no charge. For MM PRL voice students who
need 2 semesters of vocal ensemble, but
not the credit.
ENS 421C
GRADUATE WOMEN'S CHORUS

Graduate Women's Chorus: Same as 6ENS
420C, but for no credit and no charge. For
MM PRL voice students who need 2
semesters of vocal ensemble, but not the
credit.
ENS 451
GRADUATE ORCHESTRAL
REPERTORY
Fall (I-2)

Graduate Repertory Singers
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
18
ENS 452
GRADUATE ORCHESTRAL
REPERTORY
Spring (II-2)
ENS 470
CONDUCTING ENSEMBLE
Conducting Ensemble: Conducting
ensemble for "Graduate Award" contract
holders only.
ENS 490
INDEPENDENT STUDY
Fall, Spring
English as a Second
Language
ESL 101
ENGLISH LANGUAGE REVIEW I

Fall (I -3)
English Language Review I: In this course,
students will review the core structures of
English in natural, real-life contexts such as
magazine articles, short stories and
videotaped conversations. Topics concern
academic culture in the United States.
Students begin to develop a portfolio of
materials to demonstrate their ability to
succeed at academic work at Eastman in
English. Instructor permission required.
ESL 101A
GRAD ENG LANGUAGE REVIEW

I
Fall (I -3)
Graduate English Language Review I: For
graduate students only. Students are billed
for 1.5 credits, but receive 3 credit hours. In
this course, students will review the core
structures of English in natural, real-life
contexts such as magazine articles, short
stories and videotaped conversations.
Topics concern academic culture in the
United States. Students begin to develop a
portfolio of materials to demonstrate their
ability to succeed at academic work at
Eastman in English. Instructor permission
required.
ESL 102
ENGLISH LANGUAGE REV II

Spring (II-3)
English Language Review II: Building upon
English Language Review I, this course
introduces more advanced level

grammatical structures in real-life contexts.
Students exit the course with a portfolio of
written assignments, a videotaped
presentation and a group project. Students
may use this portfolio as evidence of their
ability to handle rigorous academic work in
English. Instructor permission required.
confidence to communicate effectively.

Students gain familiarity with American
speech patterns through listening and
speaking tasks. Exploring American cultural
themes, students increase vocabulary and
knowledge of idioms. Instructor permission
required.
ESL 106
ESL 102A
GRAD ENG LANGUAGE REVIEW

II
Spring (II-3)
Graduate English Language Review II: For
graduate students only. Students are billed
for 1.5 credits, but receive 3 credit hours.
Building upon English Language Review I,
this course introduces more
advanced level grammatical structures in
real-life contexts. Students exit the course
with a portfolio of written assignments, a
videotaped presentation and a group
project. Students may use this portfolio as
evidence of their ability to handle rigorous
academic work in English. Instructor
permission required.
ESL 103
ESL FOR ACADEMIC STUDIES I

Fall (I-3)
ESL for Academic Studies I: This course
prepares undergraduate ESL students for
reading longer texts and writing critical
responses in English. The course introduces
the writing process, from composing essays
to revising and editing in English. Students
develop skills in critical inquiry and increase
their vocabulary through texts exploring
themes in American culture. Instructor
COMMUNICATION STRATEGIES
II
Spring (II-3)
Communication Strategies for ESL
Graduate Musicians II: This second part of
the course sequence prepares graduate
ESL students to handle the demands of
reading and writing in the English-speaking
academic environment. Working with
authentic readings, students practice
problem-solving strategies for successful
comprehension. Responding to readings,
students practice each stage of the writing
process, from planning and drafting, to
revising and editing work. Instructor
Eastman School of Music Special Registrations

ESM 201
BACHELORS DEGREE RECITAL

Fall, Spring
ESM 202
BACHELORS JCM DEGREE

RECITAL
Fall, Spring
ESM 385
ESL 104
UNDERGRAD INACTIVE STATUS
ESL FOR ACADEMIC STUDIES II
Fall, Spring
Undergraduate Inactive Status: Requires
permission from Academic Affairs Office.
Spring (II-3)
ESL for Academic Studies II: Building upon
ESL for Academic Studies I, this course
prepares ESL students for their academic
work at Eastman. Students practice skills of
annotation and summary writing. In longer
written assignments, students practice
appropriate citation of sources. In focused
discussion groups, students practice
rhetorical strategies to communicate ideas
effectively. Instructor permission required.
ESL 105
COMMUNICATION STRATEGIES I
Fall (I-3)
Communication Strategies for ESL
Graduate Musicians I: This course prepares
graduate ESL students for academic study
in English. In the first semester of the course
sequence, students increase their
ESM 399
CONTINUATION OF
UNDERGRADUATE ENROLLMENT
Fall, Spring
Continuation of Undergraduate Enrollment:
Requires permission from Academic Affairs
Office.
ESM 401
MASTERS DEGREE RECITAL

Fall, Spring
ESM 402
MASTERS JCM DEGREE RECITAL

Fall, Spring
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
19
ESM 405
MM ACCOMPANYING RECITAL
WITH VOCALIST
Fall, Spring
ESM 406
MM ACCOMPANYING RECITAL
WITH INSTRUMENTALIST
Fall, Spring
ESM 450
MM LISTENING EXAM
Fall
ESM 455
MM ORAL EXAM
Fall, Spring
ESM 501
FIRST DOCTORAL RECITAL

Fall, Spring
progress in their program of study. Requires

approval from the Associate Dean of
Graduate Studies and the International
Services Office (if applicable).
ESM 995
CONTINUATION OF GRADUATE
ENROLLMENT: PT
Fall, Spring
Continuation of Graduate Enrollment (Part
Time): For graduate students who are
completing non-credit-bearing degree
requirements (e.g. writing dissertation,
preparing recital). Students are not
considered to be in residence and
therefore comprehensive, activity, and
health fees are not charged. Carries no
credit; students are considered less than
half-time and are not eligible for financial
aid. Requires approval from the Associate
Dean of Graduate Studies and the
International Services Office (if applicable).
techniques for conducting ethnographic

research, and consider ethical aspects of
such work, exploring contemporary
debates about the practice and
production of ethnography. Also crosslisted as ANR 280.
ETH 490
INDEPENDENT STUDY
Fall, Spring
ETH 495
MA THESIS
arranged)
M.A. Thesis: Students will design and
implement a semester-long fieldwork
project carried out in the Rochester area,
or another area of the student's choice.
The project will result in a substantial paper
and oral presentation. Projects will be
monitored by the department faculty.
ESM 999
ETH 502
CONTINUATION OF GRADUATE
ENROLLMENT: FT
INTRODUCTION TO
ETHNOMUSICIOLOGY
Fall, Spring
Continuation of Graduate Enrollment (Full
Time): For graduate students who are
completing non-credit-bearing degree
requirements (e.g. writing dissertation,
preparing recital). Students are considered
to be in residence and therefore subject to
comprehensive, activity, and health fees.
Carries no credit; students are considered
full-time and are eligible for financial aid.
Requires approval from the Associate
Dean of Graduate Studies and the
International Services Office (if applicable).
Spring (II-4)
Introduction to Ethnomusicology: This
course explores some of the world's musical
cultures and the social, political and
religious systems that provide a context for
music performances of all kinds. Traditional
and classical music systems from Native
America, Europe, Africa, Asia, and the
Mediterranean will be examined with an
emphasis on listening and analytic skills.
Assignments include reading, listening,
video, and ethnographic projects, and a
mid-term and final exam.
Ethnomusicology
ETH 590
Fall, Spring
ESM 506
ETH 290
Fall, Spring
DMA ACM RECITAL WITH

INSTRUMENTALIST
INDEPENDENT STUDY
Fall, Spring
Euphonium
Fall, Spring
ETH 480
EUP 130
ESM 507
APPROACHES TO MUSIC
ETHNOGRAPHY
ESM 502
SECOND DOCTORAL RECITAL

Fall, Spring
ESM 503
DOCTORAL LECTURE RECITAL

Fall, Spring
ESM 504
DMA PIANO COLLABOR

RECITAL
Fall, Spring
ESM 505
DMA ACM RECITAL WITH

VOCALIST
DMA ACM THIRD RECITAL

Fall, Spring
ESM 950
DOCTORAL QUALIFY EXAM:

SUMMER
Summer
ESM 985
GRADUATE INACTIVE STATUS

Fall, Spring
Graduate Inactive Status: For graduate
students who must temporarily delay
Spring (II-3)
Approaches to Music Ethnography:
Ethnography offers a window into a variety
of cultural worlds, and provides the
foundation for theorizing in anthropology
and in related disciplines like
ethnomusicology. In this course, we
examine ways in which anthropologists
and ethnomusicologists conduct
ethnographic research and write
ethnography. We will look at a range of
analytic and interpretive approaches to
ethnography, learn fundamental
INDEPENDENT STUDY
SEC EUPHONIUM
EUP 160
PRIMARY EUPHONIUM
lesson requirement.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
20
EUP 430
SEC EUPHONIUM
semester.
EUP 460A
PRIMARY EUPHONIUM
semester.
Flute
FL 130
SEC FLUTE
FL 160
PRIMARY FLUTE
lesson requirement.
FL 430
SEC FLUTE
semester.
FL 430A
PRL 1/2 HR FLUTE


semester.
FL 460
PRIMARY FLUTE
semester.
FL 460A
PRIMARY FLUTE
semester.
French
FR 101
ELEMENTARY FRENCH I
Fall (I-4)
Elementary French: Introduction to French
language, emphasizing proficiency in all
four linguistic skills: speaking, listening
comprehension, reading, and writing.
Focus will be on building a basic
vocabulary, present tense verbs, and basic
grammar structures. Designed for students
with no or little previous experience with
the language.
FR 101G
GRADUATE ELEMENTARY
FRENCH REVIEW
Fall (I-1)
Graduate Elementary French Review:
Same course as FR 101, with a separate
Gdesignation for graduate students
who may take it for one credit.
FR 102
ELEMENTARY FRENCH II
Spring (II-4)
Elementary French: A continuation of FR
101, with a broadening of vocabulary
resources, and a continued emphasis on
speaking, listening comprehension,
reading, and writing. Commonly used verb
forms (past, future, conditional, and
subjunctive) are introduced, as well as
writing skills.
FR 102G
GRADUATE ELEMENTARY
FRENCH REVIEW
Spring (II-1)
Graduate Elementary French Review:
G designation for graduate students who
may take it for one credit.
FR 111
INTERMEDIATE FRENCH I
Fall (I-3)
Intermediate French I: Review and
refinement of grammatical structure.
Emphasis on both written and spoken
communication. Students read and discuss
short literary texts. Prerequisite 102 or
equivalent.
FR 111G
GRADUATE INTERMEDIATE
FRENCH REVIEW
Fall (I-1)
Graduate Intermediate French Review:
G designation for graduate students
FR 112
INTERMEDIATE FRENCH II
Spring (II-3)
Intermediate French II: A continuation of
FR 111. An advanced review of grammar.
Emphasis on broadening vocabulary and
increasing fluency. Students also read short
literary texts and write short papers in
French. Prerequisite FR 111 or equivalent.
FR 112G
FRENCH REVIEW
Spring (II-1)
Graduate Intermediate French Review:
G designation for graduate students who
FR 115
FRENCH DICTION
Fall (I-1)
French Diction: Study of the elements of
Lyric French Diction through a progressive
and holistic reading method. Application
of concepts through written assignments
and oral exercises, including several inclass performances - solos, duos, and
ensembles. Special attention is given to
proper French inflection, vowel legato, and
use of consonants for better expressing the
text.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
21
FR 116
FRENCH DICTION
Spring (I-1)
French Diction: Study of the elements of
Lyric French Diction through a progressive
and holistic reading method. Application
of concepts through written assignments
and oral exercises, including several inclass performances - solos, duos, and
ensembles. Special attention is given to
proper French inflection, vowel legato, and
use of consonants for better expressing the
text.
FR 201
ADVANCED FRENCH
Fall (I-3)
Advanced French: Intensive work on
written and spoken French, with additional
emphasis on written expression. Students
will analyze and discuss a wide range of
French cultural production, including
cinema, theater, visual arts, and literary
texts. Topic may vary from year to year.
Prerequisites: FR 112 or equivalent and
FR 211
SURVEY OF FRENCH LITERATURE

Fall (I-3)
Survey of French Literature: Reading and
discussion of French literary texts of a
selected period, movement, or genre.
Additional emphasis on developing a
broad critical vocabulary in discussion and
on perfecting written expression in
short papers. All coursework done in
French. Prerequisites: FR 201 or equivalent
or permission of the instructor. May be
FR 212
SURVEY OF FRENCH LITERATURE

Spring (II-3)
Survey of French Literature: Reading and
discussion of French literary texts of a
selected period, movement, or genre.
Additional emphasis on developing a
broad critical vocabulary in discussion and
on perfecting written expression in short
papers. All coursework done in French.
Prerequisites: FR 201 or equivalent or
permission of the instructor. May be
FR 221
ADVANCED FRENCH
Advanced French: le cinma franais:
Taught in French. In this advanced French
course, designed for students in their 5th or
6th semester of college-level study,
students will watch, discuss, and write
about important films in the history of

French cinema. Beginning with the first
screening of a film in Paris in 1895, we will
study films of Georges Mlis, Jean Renoir,
the French new wave,and contemporary
cinema. A review of French grammar
accompanies the study of film.
Prerequisite: French 112 or permission of
instructor. Cross listed with FS 221
FR 222
MODERN FRANCE
Modern France: Alternately friends and
rivals, modern France and the United
States have had a complicated
relationship ever since both nations were
born in revolution at the end of the
eighteenth century. This course will seek to
understand France on its own terms by
considering a series of formative events
such as the Revolution of 1848, the FrancoPrussian War and the Paris Commune, the
Dreyfus Affair and the birth of the
intellectual, the very different experiences
of World Wars I and II, the post-colonial
conflicts in Algeria and Vietnam, the nearrevolution of May 1968, and contemporary
arguments over French foreign and
domestic policy. Cross-listed as HIS 222
movements. Readings include plays,

novels, philosophical essays, and political
criticism. Taught in English. Cross-listed as
HIS 272, PHL 272, WST 272.
FR 281
TOPICS IN FRENCH LITERATURE

Fall (I-3)
Topics in French Literature: Topics vary
from year to year. Recent offerings include
Representing the French Revolution and
Incarnations: The Body in French Literature.
FR 282
TOPICS IN FRENCH LITERATURE

Spring (II-3)
Topics in French Literature: Topics vary
from year to year. Recent offerings include
Representing the French Revolution and
Incarnations: The Body in French Literature.
Film Studies
FS 210
EUROPEAN ART CINEMA

French Theater of the Repertoire (in
translation): A survey of French theater
works that has inspired operatic
adaptations. Emphasis on the historical
and literary movements that produced
these texts. Taught in English

European Art Cinema: An examination of
the wide array of styles and movements in
Western European cinema that had a
profound influence on American
filmmakers after the Second World War. We
will study individual films and directors-for
example, Ingmar Bergman, Vittorio de
Sica, Federico Fellini, and Luis Buuelin
the contexts of broader artistic movements
and the historical events that influenced
them. No previous study of film is required.
FR 272
FS 221
FR 231
FRENCH THEATER REPERTOIRE
EXISTENTIALISM: SARTE, DE
BEAUVOIR & CAMUS
Existentialism: Sartre, De Beauvoir, and
Camus (in translation): Existentialism is a
school of philosophy that stresses individual
choice even in the face of overwhelming
world circumstances. This course will focus
on three particularly important French
figures, all writers who tried to put
academic philosophy into action by their
decisions in personal life and political
behavior: Jean-Paul Sartre (1905-1980),
Simone de Beauvoir (1908-1986), and
Albert Camus (1913-1960). In addition to
studying their philosophical work, we will
also look at their participation in the
Resistance to German occupation during
World War II, their responses to the Cold
War, their criticisms of the Algerian War and
the Vietnam War, and their contributions to
twentieth-century socialist and feminist
ADVANCED FRENCH
Advanced French: le cinma franais
Taught in French: In this advanced French
course, designed for students in their 5th or
6th semester of college-level study,
students will watch, discuss, and write
about important films in the history of
French cinema. Beginning with the first
screening of a film in Paris in 1895, we will
study films of Georges Mlis, Jean Renoir,
the French new wave, and
contemporary cinema. A review of French
grammar accompanies the study of film.
Prerequisite: French 112 or permission of
instructor. Cross listed with FR 221
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
22
FS 224
INTRODUCTION TO ITALIAN
CINEMA
Introduction to Italian Cinema: Course
designed to provide an overview of Italian
cinema from Cabiria (1914) by Giovanni
Pastrone, to the present. The course will
explore early Italian cinema from the 1910s
-1930s, Fascist cinema, Neorealism, and
movies from the 1960s to the beginning of
the twenty-first century to examine the role
played by cinema in building Italian history
and culture. We will examine, among
others, films by Giovanni Pastrone, Carmine
Gallone, Roberto de Sica, Giuseppe De
Santis, Luchino Visconti, Federico Fellini, Pier
Paolo Pasolini, Ettore Scola, Ermanno Olmi,
Marco Bellocchio, Gianni Amelio, Marco
Tullio Giordana. Films will be in Italian with
English subtitles. All readings and class
discussions will be in English. No previous
knowledge of Italian language/culture is
necessary.
FS 225
INTRODUCTION TO GERMAN
FILM
Introduction to German Film: This course
provides an overview of cinematic
production in Germany from the 1920s to
the present. We will study the golden age
of expressionist cinema during the Weimar
inter-war years, Nazi cinema, East and
West German films as well as examples of
post-unification cinema. The course will
study the films as artifacts as well as
historical sources that reflect the rapid
political and social changes of German
society during the 20th century. We will
view films by Robert Wiene Fritz Lang, Veit
Harlan, Ernst Lubitsch, Leni Riefenstahl,
Wolfgang Staudte, Frank Beyer, Wim
Wenders, Werner Herzog, Rainer Maria
Fassbinder, Helma Sanders Brahms, Doris
Drrie and Angelina Maccarone among
others. Films are in German with English
subtitles, all readings and discussion will be
in English. No previous knowledge of
German or German culture necessary.
Cross-listed with GER 225.
FS 226
GERMAN FILM AFTER 1945

German Film After 1945: This course offers
an overview of German film after WWII, i.e.
the formation of two German national
cinemas. In the East, the state run studio
DEFA dominated all film production while
the West established a complex system of
state and privately sponsored film funding.
Students will compare East and West

German films, and learn about their
respective historical and cultural context.
Students will also study how German
unification was reflected in East and West
German films, and how unified Germany
reorganized its film production system.
Cross-listed with GER 226.
FS 243
AVANT-GARDE FILM
Avant-garde Film: This course provides an
overview of international avant-garde film
production with emphasis on the early
stages of avant-garde film from 1919 to the
1960s. Topics covered include expressionist
film, surrealist film, absolute film, abstract
animation, new objectivity, trance film,
diary film, and the political avant-garde. In
addition to analyzing films, students will
read film theory, manifestoes, and criticism
FS 250
STUDIES IN FILM GENRES

Studies in Film Genres: An exploration of
one or more major film genres. Topics will
vary, and may include the study of the
Hollywood studio system, the classical
Hollywood style, and recent developments
in genre theory. May be repeated if on a
different topic.
FS 251
HOLLYWOOD FILM: CINEMA &

SOCIETY
Hollywood Film: Cinema & Society: This
course on Hollywood film from the silent era
to the present will emphasize formal
analysis and the cultural history of
American film and the film industry.
Students will learn basic terms of film
criticism as well as how to write essays
about films. We will also explore questions
of how social, economic, and political
factors have driven the development of
film as a popular art form. We will also
focus on major genres (including screwball
comedy, film noir, and the western) and
directors, including Chaplin, von Sternberg,
Welles, Hitchcock, Wilder, Polanski, Altman,
and Lee.
FS 252
THE HOLLYWOOD WESTERN

The Hollywood Western: Between the
beginnings of cinema and the collapse of
the studio system in the 1960s, Hollywood
produced vast numbers of westerns: the
history of the western is, to some extent,
that of Hollywood itself. The western is also

for many scholars and spectators the
quintessential film genre, yet at the same
time its variety and evolution challenge
attempts to establish a single formula,
structure, or ideology that would
characterize the genre. In this course we
will study how the portrayal of landscape,
gender, nationalism, and race (the Indian
question) are shaped by the history of
Hollywood itself from the origins of cinema
to contemporary films.
FS 254
DOCUMENTARY FILM
Documentary Film: This course explores the
many facets of documentary filmmaking
from its early beginnings as actualities in
the 1910s through the romanticized
ethnographic views of Nanook of the
North (1922), propaganda films of the
1940s, cinma vrit of the 1960s to current
popular films such as An Inconvenient
Truth. Directors studied include Flaherty,
Vertov, Riefenstahl, Morris, Herzog, Moore,
Gore and Melitopolous.
FS 260
CINEMA AUTEURS
Cinema Auteurs: Directors who manage to
put their unique stamp on films are often
called auteurs. The study of a major
director (or directors) in film history, and
how they were able to find an individual
voice in a medium that is generally
collaborative. Topics might include an
investigation of auteur theory. May be
repeated if on a different topic
FS 262
FILMS OF ALFRED HITCHCOCK

Films of Alfred Hitchcock
FS 270
SILENT CINEMA
Silent Cinema: A survey of film before 1929,
from the first films ever made to the Jazz
Singer. In addition to studying the diverse
purposes of early film (attraction, narrative,
documentary) we will also explore how
these films were programmed and
exhibited, including the live musical
accompaniments (for silent film was never
truly silent).
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
23
FS 281
GER 102
GER 115
TOPICS IN FILM STUDIES
ELEMENTARY GERMAN II
GERMAN DICTION
Fall (I-3)
Topics in Film Studies: Film topics vary from
year to year. May be repeated for credit.
Prerequisite: FS 151 or 152.
Spring (II-4)
Elementary German: A continuation of
GER 101, with a broadening of vocabulary
resources, and a continued emphasis on
reading, and writing. Commonly used verb
forms (past, future, conditional) are
introduced, as well as writing skills.
Fall (I-1)
German Diction: This course focuses on
skills for pronouncing German with the
ultimate goal of expressive,
communicative singing.
FS 282
TOPICS IN FILM STUDIES

Spring (II-3)
Topics in Film Studies: Film topics vary from
Prerequisite: FS 151 or 152
Freshman Writing Seminar

FWS 121
FRESHMAN WRITING SEMINAR

Fall (I-3)
Freshman Writing Seminar: FWS 121
introduces entering Eastman students to
college-level inquiry by focusing on critical
thinking and academic writing. Students
will develop, test, and refine their analytical
and argumentative skills by means of
discussion, debate, response papers, and
three essays of 5-7 pages. No matter which
section you take, this course will help you
learn to frame compelling questions,
integrate various kinds of sources, and set
forth complex ideas in clear, concise, and
lively prose. Each fall several sections are
offered on different literary, historical,
political scientific, and art historical topics.
Please check the descriptions for individual
course sections in fall course catalog.
GER 102G
GRADUATE ELEMENTARY
GERMAN REVIEW
Spring (I, II-1)
Graduate Elementary German Review:
Same course as GER 102, with a separate
GER 111
INTERMEDIATE GERMAN I
Fall (I-3)
Intermediate German: Review and
refinement of grammatical structure.
Emphasis on both written and spoken
communication. Students read and discuss
short literary texts. Prerequisite 102 or
equivalent.
GER 111G
GERMAN REVIEW
German
Fall (I-1)
Graduate Intermediate German Review:
GER 101
GER 112
ELEMENTARY GERMAN I
Fall (I-4)
Elementary German: Introduction to
German language, emphasizing
proficiency in all four linguistic skills:
reading, and writing. Focus will be on
building a basic vocabulary, present tense
verbs, and basic grammar structures.
Designed for students with no or little
previous experience with the language.
GER 101G
GRADUATE ELEMENTARY
GERMAN REVIEW
Fall (I-1)
Graduate Elementary German Review:
INTERMEDIATE GERMAN II
Spring (II-3)
Intermediate German: A continuation of
GER 111. An advanced review of
grammar. Emphasis on broadening
vocabulary and increasing fluency.
Students also read short literary texts and
write short papers in German. Prerequisite
GER 111 or equivalent.
GER 112G
GERMAN REVIEW
Spring (II-1)
Graduate Intermediate German Review:
GER 116
GERMAN DICTION
Spring(I-1)
German Diction: This course focuses on
skills for pronouncing German with the
ultimate goal of expressive,
communicative singing.
GER 202
CULTURE POLITICS MODERN

GERMANY
Culture and Politics in Modern Germany:
This course offers an introduction to
twentieth-century German history, and
investigates current events that have
become important in the formation of the
New "unified" Germany. It focuses on some
of the pivotal issues affecting Germany
since the fall of the wall, including the
effort to consolidate a new national
identity in the face of radical social
upheaval. As a class, we attempt to
establish a picture of other challenges
facing Germany including the formation of
a multicultural society, environmental
concerns, and Germany's role in the
European Community. The class is taught in
English with readings in English. German
credit is available for students who do
readings in German and meet for extra
German-language sessions with the
instructor.
GER 203
INTRODUCTION TO THE
READING & INTREPRETATION OF
GERMAN LITERATURE
Introduction to the Reading and
Interpretation of German Literature: This
seminar introduces selected German
literary texts to students who are reading
German literature in German for the first
time. It also serves as an introduction to
different methodologies developed by
literary critics for reading texts. Beginning
with an examination of our own
relationships to texts as readers, we
investigate how meaning is created,
studying how reading is influenced by
historical context and interpretive stance.
We investigate such approaches to
interpretation as socio-historical criticism,
literary history, structuralism, and feminist
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
24
criticism exploring them as possible ways to

enhance our understanding of texts.
GER 220
GERMAN WOMEN WRITERS

German Women Writers: An introduction
to the multifaceted culture of women's
literature written in Germany from about
1700 to the present. In a seminar setting,
students explore a wide range of writing by
women, including fairy tales,
autobiography and autobiographical
fiction, letters, short stories, and novels in
the context of social, political, and
historical developments. Cross-listed as WST
220.
GER 221
ADVANCED GERMAN:
EXPLORING BERLIN
Advanced German: Exploring Berlin: This
course is designed to improve language
skills of students with at least four semesters
of college German. By focusing on the
history and culture of Germanys capital
Berlin, students will read a variety of
sources about Berlins architecture, history,
literature, sociology, and the arts. Students
will learn to analyze literary and non-literary
sources, as well as films in German and are
required to compose significant papers in
German. The focus will be on 20th century
topics
GER 222
GERMAN ROMANTIC POETRY

German Romantic Poetry in German: This
advanced German class introduces
students to major works of German
literature from the period between 1780
and 1830. In addition to reading the poetry
of Goethe, Schiller, Brentano, Eichendorff,
Tieck, Hlderlin, Heine, Novalis, and Mrike,
we will study prose and dramatic works by
Kleist, Lessing, Schiller, Goethe and
Hoffmann as well as philosophical writings
by Schlegel, and Kant. Students should
have completed four semesters of college
German. Course language is German.
GER 271
BRECHT (IN TRANSLATION)

Brecht (in translation): This course will
introduce students to the works of Bertolt
Brecht (1898-1956). As an influential
playwright, prolific poet, philosopher and
political thinker, Brecht has had a lasting
impact on generations of writers. His work
was directly affected by and responded to
the political events of his time: World Wars

1 & 2, exile and the building of socialist East
Germany. We will consider
his ideas on socialism, art and politics, art
and pedagogy, high and low culture
among others. The course will conclude
with a few examples of more recent artists,
who applied Brechtian concepts in their
own works.
GER 276
KAFKA
Kafka: Born in Prague of German-Jewish
descent, Franz Kafka was one of the most
daring and experimental storytellers of the
modern period. Many regard him as the
first existentialist writer. In this course we will
read one of his novelsThe Trialas well as
shorter works such as his parables and
paradoxes, short stories, and excerpts from
his letters and diaries. Although all of his
novels remained unfinished and
unpublished at the time of his death, he
would become one of the most influential
figures in all of twentieth-century literature.
His works would continue to shape those of
later authors such as Samuel Beckett,
Jorge Luis Borges, Italo Calvino, Thomas
Bernhard, and Paul Auster, whose works we
will read this semester. All readings and
discussions will be in English, although
students who wish to read some or all of
the works in German will be encouraged to
do so.
GER 281
TOPICS IN GERMAN
Fall (I-3)
Topics in German: Topics vary from year to
year.
GER 282
TOPICS IN GERMAN
Spring (II-3)
Topics in German: Topics vary from year to
year.
documented performance practices.

Students also acquire techniques for
researching original sources.
GTC 202
HISTORY & LITERATURE OF

GUITAR II
Spring (II-2)
History and Literature of Guitar II: A
continuation of the preceding semester,
this is a course which examines the solo,
chamber, and concerto literature for the
guitar across the classical, romantic, and
twentieth-century style periods. The
development of the instrument is discussed,
along with developments in notation and
guitar techniques as well as research
methods.
GTC 210
GUITAR PEDAGOGY
Spring (II-2)
Guitar Pedagogy: A course designed to
examine the historic and contemporary
materials and techniques available for
effectively teaching the guitar to students
at all levels. The course surveys a wide
range of method and studies, and
examines the effectiveness of various
pedagogical approaches to technique
and interpretive analysis. The history of
guitar pedagogy is also studied.
GTC 220
FRETBOARD HARMONY
Fall (I-2)
Fretboard Harmony: A course designed to
develop a full knowledge of the fretboard
through the study of fingerings, harmony,
sight reading, score reading, transposition,
and figured-bass.
GTC 221
ADVANCED FRETBOARD
HARMONY
Spring
Guitar Class
GTC 290
GTC 201
Fall, Spring
HISTORY & LITERATURE OF

GUITAR I
GTC 401
Fall (I-2)
History and Literature of Guitar I: A course
which examines the literature of guitarrelated instruments of the Renaissance and
Baroque periods, including the vihuela,
four-course guitar, Baroque guitar, Baroque
lute, and theorbo. Notation conventions
(with an emphasis on Renaissance and
Baroque tablature and figured-bass
realization) are studied, as well as
INDEPENDENT STUDY
SEM IN GUITAR STUDIES

Fall (I-2)
Seminar in Guitar Studies: Examination and
integration of guitar literature, fretboard
harmony, guitar pedagogy, and research
techniques. Students research the
instruments, styles, notation systems,
composers, and repertory of the
guitar. Professional activities are also
addressed. Required of all guitarists in the
MM PRL program.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
25
GTC 402
SEM IN GUITAR STUDIES

Spring (II-2)
Seminar in Guitar Studies: Examination and
integration of guitar literature, fretboard
harmony, guitar pedagogy, and research
techniques. Students research the
instruments, styles, notation systems,
composers, and repertory of the guitar.
Professional activities are also addressed.
Required of all guitarists in the MM PRL
program.

semester.
Renaissance to the present day. Crosslisted as WST 210.
History
HIS 220
HIS 202

Comparative Revolutions: What makes a
revolution? Why does it start? How does it
end? What difference does it make? This
course answers these questions by
comparing three great revolutionary
periods: the American Revolution through
the Civil War, the French Revolution
through the Revolutions of 1848, and the
Russian Revolution through the present.
TWENTIETH-CENTURY EUROPE
Twentieth-Century Europe: A survey of the
major political, diplomatic, and socioeconomic developments in Europe from
about 1890 to the present.
Guitar
HIS 203
GTR 130
EUROPEAN INTELLECTUAL
HISTORY
SEC GUITAR
GTR 160
PRIMARY GUITAR
lesson requirement.
GTR 430
SEC GUITAR
semester.
GTR 430A
PRL 1/2 HOUR-GUITAR

semester.
GTR 460A
PRIMARY GUITAR
Fall (II-3)
European Intellectual History: The principal
intellectual currents that have
characterized Western Europe from
antiquity to the present.
HIS 204
EUROPEAN INTELLECTUAL
HISTORY
Spring (II-3)
European Intellectual History: The principal
intellectual currents that have
characterized Western Europe from
antiquity to the present.
HIS 206
EUROPEAN CULTURAL HISTORY

European Cultural History: Novels, plays,
dance, music, poetry, painting ... How can
we use individual artistic creations as a
way of learning about the politics,
economics, social structures, and
psychological attitudes of the past? This
course will answer that question by
focusing on a series of modern European
examples from the French Revolution
through the Second World War.
HIS 210
CONSTRUCTING UTOPIAS
Constructing Utopias: This course considers
the history of real and imagined utopian
communities from medieval monasteries
through contemporary science fiction.
Sometimes utopian communities succeed,
providing interesting case studies in the
effects of social planning.
Even when they don't succeed, their
design and discussion represents an
important form of social criticism. Studying
their history provides a window into the
political, economic, and social
development of Europe and the United
States from the Middle Ages and the
COMPARATIVE REVOLUTIONS
HIS 222
MODERN FRANCE
Modern France: Alternately friends and
rivals, modern France and the United
States have had a complicated
relationship ever since both nations were
born in revolution at the end of the
eighteenth century. This course will seek to
understand France on its own terms by
considering a series of formative events
such as the Revolution of 1848, the FrancoPrussian War and the Paris Commune, the
Dreyfus Affair and the birth of the
intellectual, the very different experiences
of World Wars I and II, the post-colonial
conflicts in Algeria and Vietnam, the nearrevolution of May 1968, and contemporary
arguments over French foreign and
domestic policy. Cross-listed as FR 222
HIS 224
AMERICANS IN PARIS
Americans in Paris: This course focuses
on the wide variety of political, cultural,
and economic exchanges between the
United States and France. Topics include
the revolutionary diplomacy of the
eighteenth century, the high society
tourism of figures such as Edith Wharton
and Henry James in the nineteenth
century, the avant-garde art circles of
figures such as Gertrude Stein and Ernest
Hemingway in the early twentieth century,
and the economic expansion of
companies such as Coca Cola,
McDonalds, and Disneyland today.
HIS 226
HISTORY OF AMERICAN
EDUCATION
History of American Education: This survey
of the history of American education
examines key issues that have engaged
school reformers since the colonial period,
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
26
including pedagogy; curriculum; race,

gender, and class; beliefs about childhood
and development; religious, moral, and
character education; and economic,
political, and social goals.
HIS 228
ANTEBELLUM AMERICAN
CULTURE
Antebellum American Culture: What was it
like to live in America between 1776 and
1860? This course will focus on American
culture in northern cities. Topics will include
the market revolution, sexuality, religious
revivalism, reform movements such as
women's rights and abolitionism, urban
space and popular culture. We will
consider how Americans negotiated social
disruptions as they formed a new nation.
HIS 230
MEN, WOMEN & WAR IN THE

TWENTIETH CENTURY
Men, Women, and War in the Twentieth
Century: An exploration of major historical
changes of the twentieth century by
focusing on the social impact of modern
war, especially World Wars I and II. Topics
include the crisis of liberalism, the rise of
fascism, the horror of the Holocaust,
occupation and resistance, comparisons
of military and civilian experience, pacifist
politics, women in the military, the birth of
psychoanalysis, the spread of modernist
art and culture, the rise of the welfare
state, and contemporary international
affairs. Cross-listed as WST 230.
HIS 232
INTERNATIONAL HUMAN RIGHTS

International Human Rights: What does it
mean to be human? What different kinds
of rights might be part of different people's
working definitions? How should we act on
any or all of those different definitions
today? This course will look at both (a) the
historical development of conflicting
theories of human rights and (b) more
contemporary debates about their ideal
extent, their practical exercise, and the
preferred means of their necessary
enforcement. Cross-listed as WST 232
HIS 250
CONFLICTS IN FEMINISM
Conflicts in Feminism: People often think of
feminism as a relatively recent
phenomenon, but in fact arguments for
sexual equality have existed since at least
the eighteenth century. This course studies

the history and theory of different kinds of
feminism by considering a series of
"conflicts in feminism": historic moments
when feminists have disagreed over how to
address given social situations. Topics will
be drawn from the experience of women
and men in Europe and the United States
from the eighteenth century through the
present. Cross-listed as WST 250.
HIS 270
TOPICS IN SOCIAL THOUGHT

Topics in Social Thought: This course offers
students the chance to concentrate on
the work of one or two important social
theorists. We consider these thinkers in their
intellectual, social, and political context.
While using these thinkers as a window into
the issues of their own time, we also
consider what implications their ideas
might have for us today. Selected figures
include Jean-Paul Sartre, Simone de
Beauvoir, Karl Marx, and Sigmund Freud.
HIS 272
cultural events of 1968. Cross-listed as PSC

274.
HIS 278
VIRGINIA WOOLF & HER WORLD

movement. Cross-listed as ENG 278, WST
278.
HIS 281
TOPICS IN HISTORY
Fall (I-3)
Topics in History: History topics vary from
BEAUVOIR & CAMUS
HIS 282

Camus: Existentialism is a school of
philosophy that stresses individual choice
even in the face of overwhelming world
circumstances. This course will focus on
three particularly important French figures,
all writers who tried to put academic
philosophy into action by their decisions in
personal life and political behavior: JeanPaul Sartre (1905-1980), Simone de
Beauvoir (1908-1986), and Albert Camus
(1913-1960). In addition to
criticism. Cross-listed as FR272 and PHL 272.
Spring (II-3)
Topics in History: History topics vary from
HIS 274
HANNAH ARENDT
Hannah Arendt: This course studies the life,
world, and work of Hannah Arendt (19061975), one of the most important political
philosophers of the twentieth century, with
a special focus on her interpretations of the
American, French, and Russian Revolutions,
the Second World War, the Holocaust, and
the international political, social, and
TOPICS IN HISTORY
Harpsichord
HPC 130
SEC HARPSICHORD
HPC 430
SEC HARPSICHORD
semester.
HPC 460
PRIMARY HARPSICHORD
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
27

semester.
HPC 460A
PRIMARY HARPSICHORD
semester.
Horn
HRN 130
SEC HORN
HRN 430A
HRP 460A
PRL 1/2 HR HORN
PRIMARY HARP

semester.

semester.
HRN 460A
Humanities
PRIMARY HORN
semester.
HRN 490
NATURAL HORN STUDIES

lesson requirement.
Fall, Spring
An exploration of topics relating to the
historical horn (natural horn), including
performance technique and practice,
development of the instrument, stylistic
approach, and contemporary issues.
Repertoire will be primarily Classical,
although Baroque and Contemporary
works may be examined.
HRN 290
Harp
HRN 160
PRIMARY HORN
NATURAL HORN STUDIES

Fall, Spring
An exploration of topics relating to the
historical horn (natural horn), including
performance technique and practice,
development of the instrument, stylistic
approach, and contemporary issues.
Repertoire will be primarily Classical,
although Baroque and Contemporary
works may be examined.
HRN 430
SEC HORN
semester.
HUM 259
PERFORMANCE ART
Performance Art: Futurism, Dada,
Surrealism, Cages 433, Happenings,
Body Art, Performance Art: over the last
100 years a new kind of performance has
emerged. Provocative, sometimes absurd,
and often radical, a broader definition of
performance overflows traditional
Aristotelian" theater to question the
boundaries between representation and
reality, audience and stage, sense and
non-sense, music and sound, and body
and self. In this class we
will depart from traditional theater to study
significant performances of the last 100
years, and what their creators and critics
said about them. Cross-listed with ENG 259
HUM 268
HRP 130
SEC HARP
HRP 160
PRIMARY HARP
lesson requirement.
HRP 430
SEC HARP
semester.
READING THE ABSURD:

EXPLORATIONS IN MODERN&
POSTMODERN LITERATURE
Reading the Absurd: Explorations in
Modern and Postmodern Literature: How
should we read the following: a human
being trapped in the body of a bug,
dangling from the ceiling of a
claustrophobic room, a person riding a
chainless bicycle, another one speaking
monologues while buried to his neck in
sand, a critic sitting on the same bench in
an Art museum for 23 years contemplating
the same painting, a writer wanting to rewrite Cervantes Don Quixote? These and
other absurd scenarios will be examined in
this course in an attempt to understand the
absurd as an expression of existential crisis,
a reflection on the role of art itself but also
as political criticism. Writers studied will
include Kafka, Borges, Calvino, Ionesco,
Beckett, Bernhard and Jelinek. All readings
will be available in English; students wishing
to read in the original languages may do
so. Cross-listed as ENG 268.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
28
HUM 281
TOPICS IN HUMANITIES
Fall (I-3)
Topics in Humanities: Humanities topics
vary from year to year. May be repeated
for credit.
HUM 282
TOPICS IN HUMANITIES
Spring (II-3)
Topics in Humanities: Humanities topics
vary from year to year. May be repeated
for credit.
must contact the instructor for a

placement test.
IT 102G
GRADUATE ELEMENTARY
ITALIAN REVIEW II
Spring (II-1)
Graduate Elementary Italian Review II:
Same two-semester sequence as IT 101
and IT 102 with a separate G
designation for graduate students who
IT 111
HUM 290
INDEPENDENT STUDY
Fall, Spring
HUM 490
INDEPENDENT STUDY
Fall, Spring
Italian
IT 101
ELEMENTARY ITALIAN I
Fall (I-4)
Elementary Italian: This two-semester
sequence is an introduction to Italian
language with an emphasis on all four skillsspeaking, reading, writing, listening
comprehension-for students with no
previous knowledge of the language. The
course will focus on building a basic
vocabulary, grammar structures and
syntax. Students with prior study of Italian
must contact the instructor for a
placement test.
IT 101G
GRADUATE ELEMENTARY
ITALIAN REVIEW I
Fall (I-1)
Graduate Elementary Italian Review I:
Same two-semester sequence as IT 101
and IT 102 with a separate G
designation for graduate students who
IT 102
ELEMENTARY ITALIAN II
Spring (II-1)
Elementary Italian Review II: This twosemester sequence is an introduction to
Italian language with an emphasis on all
four skills-speaking, reading, writing,
listening comprehension-for students with
no previous knowledge of the language.
The course will focus on building a basic
vocabulary, grammar structures and
syntax. Students with prior study of Italian
INTERMEDIATE ITALIAN I
Fall (I-3)
Intermediate Italian I: This is a two-semester
sequence that reinforces and systematizes
Italian grammar and syntax. The courses
aim at an intensive review of elementary
grammatical structures and
the study of grammar exceptions, at lexical
enrichment through special uses of
language, and at the improvement of
speaking and writing ability. Students will
be exposed to a variety of genres
(literature, poetry, comics, films, newsreels,
documentaries, and music blogs) to better
grasp language through cultural material.
Prerequisite IT102 or equivalent.
IT 111G
ITALIAN REVIEW I
Fall (I-1)
Graduate Intermediate Italian I: Same
two-semester sequence as IT 111 and IT 112
with a separate G designation for
graduate students who may take it for one
credit.
IT 112
INTERMEDIATE ITALIAN II
Spring (II-3)
Intermediate Italian II: This is a twosemester sequence that reinforces and
systematizes Italian grammar and syntax.
The courses aim at an intensive review of
elementary grammatical structures and
the study of grammar exceptions, at lexical
enrichment through special uses of
language, and at the improvement of
speaking and writing ability. Students will
be exposed to a variety of genres
(literature, poetry, comics, films, newsreels,
documentaries, and music blogs) to better
grasp language through cultural material.
Prerequisite IT102 or equivalent.
IT 112G
ITALIAN REVIEW II
Spring (II-1)
Graduate Intermediate Italian II: Same
two-semester sequence as IT 111 and IT 112
with a separate G designation for
graduate students who may take it for one
credit.
IT 115
ITALIAN DICTION
Fall (I-1)
Italian Diction: This first diction course
provides students with theoretical and
applied knowledge of the International
Phonetic Alphabet-an indispensable tool
for their future careers and their future
diction courses. Students learn how to
apply IPA to the study of Italian Diction
through a progressive method based on
Italian reading and scioglilingua. They learn
how to master proper Italian vowels,
consonant clusters, and intonation in prose
and poetry through written and oral
assignments. This course is not a vocal
performing course, but a comprehensive
course focused on Italian Diction.
IT 224
INTRODUCTION TO ITALIAN
CINEMA
Introduction to Italian Cinema: Course
designed to provide an overview of Italian
cinema from Cabiria (1914) by Giovanni
Pastrone, to the present. The course will
explore early Italian cinema from the 1910s
-1930s, Fascist cinema, Neorealism, and
movies from the 1960s to the beginning of
the twenty-first century to examine the role
played by cinema in building Italian history
and culture. We will examine, among
others, films by Giovanni Pastrone, Carmine
Gallone, Roberto de Sica, Giuseppe De
Santis, Luchino Visconti, Federico Fellini, Pier
Paolo Pasolini, Ettore Scola, Ermanno Olmi,
Marco Bellocchio, Gianni Amelio, Marco
Tullio Giordana. Films will be in Italian with
English subtitles. All readings and class
discussions will be in English. No previous
knowledge of Italian language/culture is
necessary.
IT 241
STUDIES IN ITALIAN LIBRETTO

Fall (I-2)
Studies in Italian Libretto: This course is
offered on two levels: (1) for students who
have completed at least one year of
college Italian, 101-102, 111, 112, or its
equivalent, and wish to study librettos in
the original language, and (2) for more
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
29
advanced students of Italian who wish to

continue their study of Italian literature or
work on special investigations in Italian.
May be repeated for additional credit.
IT 242
STUDIES IN ITALIAN LIBRETTO

Spring (II-2)
Studies in Italian Libretto: This course is
offered on two levels: (1) for students who
have completed at least one year of
college Italian, 101-102, 111, 112, or its
equivalent, and wish to study librettos in
the original language, and (2) for more
advanced students of Italian who wish to
continue their study of Italian literature or
work on special investigations in Italian.
May be repeated for additional credit.
IT 281
TOPICS IN ITALIAN LITERATURE

Fall (I-3)
Topics in Italian Literature: Topics vary. The
most recent offering, Italian Reincarnations,
studied how Italian sources were adapted
by writers and composers from other
cultures. May be repeated for credit.
IT 282
TOPICS IN ITALIAN LITERATURE

Spring (II-3)
Topics in Italian Literature: Topics vary. The
most recent offering, Italian Reincarnations,
studied how Italian sources were adapted
by writers and composers from other
cultures. May be repeated for credit.
IT 290
INDEPENDENT STUDY
JAZ 430
SEC JAZZ
Fall, Spring, Spring (I, II, S-1.5)
semester.
JAZ 430A
1/2 HR JAZZ
Fall, Spring, Spring (I, II, S-2)
requirement for JCM graduate students.
semester.
JAZ 460
PRIMARY JAZZ
semester.
Fall, Spring
JAZ 460A
IT 590

requirement for JCM graduate students.
semester.
INDEPENDENT STUDY
Fall, Spring
Jazz Lessons
JAZ 130
SEC JAZZ
PRIMARY JAZZ
Jazz Study & Contemporary

Media
JCM 119
JAZ 160
PRIMARY JAZZ
lesson requirement.
BASIC JAZZ THEORY AND AURAL

SKILLS
Fall (I-1.5)
Basic Jazz Theory and Aural Skills: Required
for undergraduate jazz students in the first
semester of the freshman year. Offered as
a remedial course for graduate jazz
students, who upon entrance, are found to

be deficient in jazz theory and aural skills.
JCM 151
JAZZ PERFORMANCE
WORKSHOP FOR NON-MAJORS
Fall (I-1)
Jazz Performance Workshop for NonMajors: Combines the study of
improvisation, theory, aural training and
small group performance. Offered for
non-majors from both Eastman and River
Campus. This course may count as a
chamber music credit, or for the WBP
practical creative elective, only with
permission of the students' department
chair.
JCM 152
JAZZ PERFORMANCE
WORKSHOP FOR NON-MAJORS
Spring (II-1)
Jazz Performance Workshop for NonMajors: Combines the study of
improvisation, theory, aural training and
small group performance. Offered for nonmajors from both Eastman and River
Campus. This course may count as a
chamber music credit, or for the WBP
practical creative elective, only with
permission of the students' department
chair.
JCM 200
LARGE JAZZ ENSEMBLE

Large Jazz Ensemble: Jazz Ensemble, New
Jazz Ensemble, Jazz Lab Band. A
multifaceted collection of jazz "big band"
experiences that incorporate the study
and presentation of jazz from historically
significant repertory to new works
composed by Eastman student writers.
Ensembles accompany renowned jazz
soloists; showcase the music of the finest
jazz composers and arrangers, and present
educational events for audiences in
Rochester and across the country. Seating
is determined by auditions in the fall. The
70-piece Studio Orchestra (combining Jazz
Ensemble and Philharmonia/ESSO for three
weeks annually) is periodically organized
by assignment; no pre-enrollment is
required.
JCM 201
JAZZ THEORY/IMPROVISATION
FOR NON-JAZZ MAJORS
Fall (I-2)
Jazz Theory/Improvisation for Non-Jazz
Majors: Exploring both abstract elements
and essential functions of improvisation, this
course stresses jazz rudiments of chord and
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
30
scale spellings, chord/scale/mode

relationships, jazz nomenclature, basic
forms, chord substitution, and chord
voicing. Emphasis upon aural training,
vocalization, and transcription of recorded
jazz solos. Blues structures, modal
compositions, and
tunes with simple progressions are
emphasized in class performance.
JCM 202
JAZZ THEORY/IMPROVISATION
FOR NON-JAZZ MAJORS
Spring (II-2)
Jazz Theory/Improvisation for Non-Jazz
Majors: Exploring both abstract elements
and essential functions of improvisation, this
course stresses jazz rudiments of chord and
scale spellings, chord/scale/mode
relationships, jazz nomenclature, basic
forms, chord substitution, and chord
voicing. Emphasis upon aural training,
vocalization, and transcription of recorded
jazz solos. Blues structures, modal
compositions, and tunes with simple
progressions are emphasized in class
performance.
JCM 203
BASIC JAZZ BASS

Fall (I-1)
Basic Jazz Bass: Fundamental techniques
for beginners. Focuses on pedagogical
skills for future teachers, jazz students
majoring on instruments other than bass,
and composition/arranging students.
Emphasis on fundamental double bass
technique, jazz pizzicato, waking bass lines,
and concepts of rhythm section playing.
Prerequisite: JCM major or permission of
instructor. Prerequisite: JCM major or
JCM 204
BASIC JAZZ DRUMSET

Spring (II-1)
Basic Jazz Drumset: Emphasis on
fundamental drum set technique, basic
coordination between hands and feet, jazz
accompaniment w/both sticks and
brushes, concepts of rhythm section
performance, style studies including
straight ahead jazz-swing-Latinballad, Big Band chart reading concepts
pertaining to arranging/transcribing and
general drum set pedagogy. Prerequisite:
JCM major or permission from instructor.
JCM 205
FUNCTIONAL JAZZ PIANO

Fall (I-1)
Functional Jazz Piano: A keyboard
methods course designed to equip each
student with practical basic jazz piano skills

sufficient for accompaniment,
composing/arranging, and continued
study of jazz harmony. Emphasis on basic
jazz harmonic formulas, voice leading,
scales and modally derived harmonies
used in jazz, and two-hand homophonic
jazz piano style (right-hand melody, lefthand accompaniment). Lead sheet sightreading is stressed, in addition to tactile
and visual familiarity with the keyboard.
Prerequisite for non-JCM majors: JCM 201,
202 or permission of instructor. No
prerequisite for JCM majors.
JCM 206
FUNCTIONAL JAZZ PIANO

Spring (II-1)
Functional Jazz Piano: A keyboard
methods course designed to equip each
student with practical basic jazz piano skills
sufficient for accompaniment,
composing/arranging, and continued
study of jazz harmony. Emphasis on basic
jazz harmonic formulas, voice leading,
scales and modally derived harmonies
used in jazz, and two-hand homophonic
jazz piano style (right-hand melody, lefthand accompaniment). Lead sheet sightreading is stressed, in addition to tactile
and visual familiarity with the keyboard.
Prerequisite for non-JCM majors: JCM 201,
202 or permission of instructor. No
prerequisite for JCM majors.
JCM 207
WOODWIND DOUBLING (FLUTE)

Fall (I-1)
Woodwind Doubling (Flute): Group
instruction in basic technique for flute.
Required for undergraduate JCM
saxophone performance majors.
JCM 208
WOODWIND DOUBLING
(CLARINET)
Spring (II-2)
Woodwind Doubling (Clarinet): Group
instruction in basic technique for clarinet.
Required for undergraduate JCM
saxophone performance majors.
JCM 209
JAZZ MALLET PERFORMANCE

CLASS
Fall
JCM 210

CLASS
JCM 211
JAZZ COMPOSITION
Fall (I-3)
Jazz Composition: Studio Lessons in jazz
composition and arranging for
undergraduate JCM writing skills majors.
JCM 212
JAZZ COMPOSITION
Spring (II-3)
JCM 213
JAZZ COMPOSITION
Fall (I-3)
JCM 214
JAZZ COMPOSITION
Spring (II-3)
JCM 218
JAZZ PEDAGOGY
Fall (I-2)
Jazz Pedagogy: Basic rehearsal
techniques for the development of large
and small jazz ensembles. Survey of
pedagogical concepts, performance
practice, and performance repertory for
big bands and small groups. Teaching skills
pertaining to improvisation, theory, and
aural training from beginning to advanced
levels. Hands-on teaching experience and
ensemble coaching are essential
components in the course. Prerequisite:
JCM major or permission of instructor.
JCM 223
JAZZ COMPOSITION AND

ARRANGING I
Fall (I-2)
Jazz Composition and Arranging I: Basic
techniques of tune writing are presented
and explored in relation to the work of
specific jazz composers whose works are
rooted in the creative use of tonal
harmonic relationships. Students compose
original tunes using the musical vocabulary
and techniques utilized by specific
composers. Prerequisite: for non-JCM
majors, JCM 201, 202 or permission of the
instructor.
Spring
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
31
JCM 224

ARRANGING II
Spring (II-2)
Jazz Composition and Arranging II: Basic
techniques of writing for small jazz groups
are presented and explored in relation to
instrumental combinations of two to five
wind and brass instruments with rhythm
section. Homophonic and contrapuntal
textures as well as melody harmonization
techniques are studied in relation to a
variety of harmonic styles. Students arrange
a standard or an original theme.
Prerequisite: JCM 223.
JCM 225

ARRANGING III
Fall (I-2)
Jazz Composition and Arranging III: Basic
techniques of writing for standard jazz
ensemble instrumentation are presented
and explored. Traditional approaches to
orchestration, harmony, thematic
development and form are emphasized,
as exemplified in jazz writers such as Neal
Hefti, Ernie Wilkins, Frank Foster, Sammy
Nestico and Duke Ellington. Students
arrange a standard from the jazz
repertoire. Prerequisite: JCM 224.
JCM 226

ARRANGING IV
Spring (II-2)
Jazz Composition and Arranging IV:
Contemporary writing approaches for
large ensembles are presented and
explored, including the use of woodwind
doubling in the saxophone section and the
addition of horns and extra percussion
instruments. The work of writers such as Gil
Evans, Bill Holman, Thad Jones, Bob
Brookmeyer, Clare Fischer and George
Russell are emphasized, and non-jazz
rhythmic idioms such as those of Brazilian
and Afro-Cuban music are also included.
Students arrange a standard or an original
theme. Prerequisite: JCM 225.
JCM 230
JAZZ STYLES & ANALYSIS

Jazz Styles & Analysis: This course is
required of all undergraduate jazz and
contemporary media (JCM) majors in
piano, bass, trumpet, saxophone, and
trombone in any semester in which their
applied lessons are in a classical studio.
The purpose of this course is to better
prepare these students for improvising in
jazz ensembles, auditions, and juries. The
class is normally taken for four semesters by

freshmen and sophomores but can also be
taken additional times as an elective per
discretion of the instructor. The course
covers the major historic stylists as well as
other important soloists on the particular
instrument. Class activities emphasize
analysis and performances of transcribed
solos, with listening assignments as well as
class listening to a wide variety of jazz
soloists in various stylistic and historic
contexts. During the spring semester priority
is given to JCM jury preparation for
freshman and sophomore students not
studying in jazz studios.
JCM 233
FILM SCORING TECHNIQUES I

Film Scoring I: Focuses on such topics as
understanding visual drama,
synchronization of music to picture, the use
of technology in the current industry, and
the importance of film music history.
Students will compose music to several
projects, a process that includes creating
mock-ups in specially fitted workstations as
well as orchestrating and conducting their
own music in recording sessions.
JCM 234
FILM SCORING TECHNIQUES II

Film Scoring II: Focuses on such topics as
understanding visual drama,
synchronization of music to picture, the use
of technology in the current industry, and
the importance of film music history.
Students will compose music to several
projects, a process that includes creating
mock-ups in specially fitted workstations
as well as orchestrating and conducting
their own music in recording sessions.
JCM 241
JAZZ HISTORY AND ANALYSIS
theory, aural training, and small group

performance practice in seven classroom
environments built around small ensembles.
Resulting chamber ensembles perform
throughout the year in Jazz Forums, and
other school and public venues.
Participation in this course is limited to JCM
majors. (Eight semesters required for BM
JCM degrees.)
JCM 252
JAZZ PERFORMANCE
WORKSHOP (UNDERGRADUATE)
Spring (II-2)
Jazz Performance Workshop
(Undergraduate): This course combines a
thorough study of improvisation, jazz
theory, aural training, and small group
performance practice in seven classroom
environments built around small ensembles.
Resulting chamber ensembles perform
throughout the year in Jazz Forums, and
other school and public venues.
Participation in this course is limited to JCM
majors. (Eight semesters required for BM
JCM degrees.)
JCM 261
ENTREPRENEURIAL THINKING
Spring (II-2)
Entrepreneurial Thinking: An entrepreneur
takes an idea and transforms it into an
enterprise that creates value. This course
will provide tools to help you turn your
ideas into reality. What every
entrepreneurial musician needs to know
about business entities, profit vs. non-profit,
contracts and dealing with lawyers,
branding, developing a business plan,
ethics and professionalism, financial
planning, basic accounting, how to read a
balance sheet, cash flow management
and taxes. Students will work alone or in
teams to develop their real-world ideas.
JCM 281
Spring (II-3)
Jazz History and Analysis: Development of
compositional and improvisational styles in
jazz from 1900 to the present. All periods in
the development of jazz are examined.
Evolution of specific instrumental styles is
also emphasized. Prerequisites: TH 101,
102, 111, and ENS 100 or permission of the
instructor.
SPECIAL TOPICS IN JAZZ STUDIES

AND CONTEMPORARY MEDIA
JCM 251
JCM 282
JAZZ PERFORMANCE
WORKSHOP (UNDERGRADUATE)
Fall (I-2)
Jazz Performance Workshop
(Undergraduate): This course combines a
thorough study of improvisation, jazz
Fall (I-2)
Special Topics in Jazz Studies and
Contemporary Media: Specific topics and
instructors to be announced in advance.
May be repeated for credit. Permission of

_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
32

JCM 290
INDEPENDENT STUDY
Fall, Spring
JCM 291
JAZZ FORUM
(UNDERGRADUATE)
Fall (I-0)
Jazz Forum (Undergraduate): A weekly
departmental gathering in which jazz
faculty, visiting artists, and students from
JPWs appear in performance. At other
times there are discussions of departmental
and current jazz topics, and exploration of
new compositions, arrangements, and
contemporary recorded works by
professional composers and arrangers, as
well a student and faculty works. Open to
JCM majors only.
JCM 292
JAZZ FORUM
(UNDERGRADUATE)
Spring (I-0)
Jazz Forum (Undergraduate): A weekly
well a student and faculty works. Open to
JCM majors only.
JCM 400
LARGE JAZZ ENSEMBLE

Large Jazz Ensemble: Jazz Ensemble, New
Jazz Ensemble, Jazz Lab Band. A
multifaceted collection of jazz "big band"
experiences that incorporate the study
and presentation of jazz from historically
significant repertory to new works
composed by Eastman student writers.
Ensembles accompany renowned jazz
soloists; showcase the music of the finest
jazz composers and arrangers, and present
educational events for audiences across
the country. Seating is determined by
auditions in the fall. The 70-piece Studio
Orchestra (combining Jazz Ensemble and
Philharmonia/ESSO for three weeks
annually) is periodically organized by
assignment; no pre-enrollment is required.
JCM 406
GRADUATE JAZZ PEDAGOGY

Fall (I-1)
Graduate Jazz Pedagogy: Philosophical
justification and outcome expectations for
the school jazz studies program; profiles of
established programs in institutions of
various sizes; pedagogical discussions
pertaining to the teaching of jazz
improvisation, theory, history,
composition/arranging, and ensembles;
development of the curriculum vitae and
job application preparation; preparation
for the Prerequisite: MM JCM major or
JCM 407
GRADUATE JAZZ ENSEMBLE

DIRECTION
Spring (II-1)
Graduate Jazz Ensemble Direction: The
course helps to develop the essential skills
for directing a large jazz ensemble.
Students learn to select, analyze and
prepare repertoire, how to develop
transposition and relevant keyboard skills,
how to plan and carry out an organized
and productive rehearsal, and how to
relate to a specific or general type of
audience. Prerequisite: JCM 406 or
instructor's permission.
JCM 410

CLASS
Spring
JCM 431
STUDIO ORCHESTRA
ARRANGING
Fall (I-2)
Studio Orchestra Arranging: Essential
techniques of arranging for studio
orchestra are developed through the study
of jazz-related classical orchestral works
and works by jazz arrangers and
composers from a wide range of jazz styles.
Student works are read by the Eastman
Studio Orchestra and selected works are
performed on the orchestra's annual
concert. Prerequisite: JCM 225.
JCM 441
ADVANCED HISTORY &

ANALYSIS OF JAZZ STYLES
Spring (II-3)
Advanced History and Analysis of Jazz
Styles: Investigation of performance and
compositional innovations in jazz in the
twentieth century. Analysis of scores,
transcriptions, and recordings by major jazz
stylists. Prerequisite: JCM 241 or permission

of instructor.
JCM 451
JAZZ PERFORMANCE
WORKSHOP (GRADUATE)
Fall (I-2)
Jazz Performance Workshop (Graduate):
This course combines a thorough study of
improvisation, jazz theory, aural training,
and small group performance practice in
seven classroom environments built around
small ensembles. Resulting chamber
ensembles perform throughout the year in
Jazz Forums, and other school and public
venues. Participation in this course is limited
to JCM majors. (Four semesters required for
MM JCM degree, two semesters required
for MM JCW degree.)
JCM 452
JAZZ PERFORMANCE
WORKSHOP (GRADUATE)
Spring (II-2)
Jazz Performance Workshop (Graduate):
This course combines a thorough study of
improvisation, jazz theory, aural training,
and small group performance practice in
seven classroom environments built around
small ensembles. Resulting chamber
ensembles perform throughout the year in
Jazz Forums, and other school and public
venues. Participation in this course is limited
to JCM majors. (Four semesters required for
MM JCM degree, two semesters required
for MM JCW degree.)
JCM 456
JCM MM MEDIA PROJECT

JCM MM Media Project: Preparation and
finalizing a media related product which
showcases the graduate student's area of
focus.
JCM 481

Fall (I-2)
JCM 482

Spring (II-2)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
33

JCM 483
ADVANCED STUDIES IN
IMPROVISATION
Fall (I-4)
Advanced Studies in Improvisation: Jazz
improvisation and theory instruction for the
graduate DMA JCM major. Emphasis upon
development of student works and
recording production/live performance
matters pertaining to graduate recitals.
JCM 484
ADVANCED STUDIES IN
IMPROVISATION
Spring (II-4)
Advanced Studies in Improvisation: Jazz
improvisation and theory instruction for the
graduate DMA JCM major. Emphasis upon
development of student works and
recording production/live performance
matters pertaining to graduate recitals.
JCM 485
MM WRITING PROJECTS
Fall (I-3)
MM Writing Projects: Jazz composition and
arranging instruction for the graduate MM
JCW major. Emphasis upon development
of student works and recording
production/live performance matters
pertaining to the graduate recitals.
JCM 486
MM WRITING PROJECTS
Spring (II-3)
MM Writing Projects: Jazz composition and
arranging instruction for the graduate MM
JCW major. Emphasis upon development
of student works and recording
production/live performance matters
pertaining to the graduate recitals.
JCM 487
ADV STUDIES: JAZZ

COMPOSITION
Fall
JCM 490
INDEPENDENT STUDY
Fall, Spring
JCM 491
JAZZ FORUM (GRADUATE)

Fall (I-0)
Jazz Forum (Graduate): A weekly
well a student and faculty works.
Prerequisite: JCM major. Graduate students
attend and perform in forums for no
credit/no charge.
JCM 492
JAZZ FORUM (GRADUATE)

Spring (II-0)
Jazz Forum (Graduate): A weekly
well a student and faculty works.
Prerequisite: JCM major. Graduate students
attend and perform in forums for no
credit/no charge.
JCM 501
LARGE JAZZ ENSEMBLE

Large Jazz Ensemble: Same as 6JCM 400,
but for no credit and no charge. For DMA
JCM students who participate in large
ensembles, but do not need credit.
Requires permission of the instructor.
JCM 523
HARMONIC TECHNIQUES
Fall (I-3)
Harmonic Techniques: A study of harmonic
techniques and musical repertoire of ten
influential composers (Liszt, Debussy,
Szymanowski, Scriabin, Schoenberg,
Webern, Bartok, Berg, Messiaen,
Shostakovich) and their relevance to jazz.
JCM 524
THEORY OF IMPROVISATION
Fall (I-3)
Theory of Improvisation: A study of
improvisational concepts (800AD present), theoretical treatises that include
sections on pedagogy and techniques of
improvisation (Thomas de Sancta Maria,
Zarlino, Niedt, C.P.E Bach, C. Czerny, H.
Schenker), and musical compositions that
are improvisatory in nature (fantasias,

unmeasured preludes, partimenti, solo
cadenzas, suites, theme and variations).
JCM 590
INDEPENDENT STUDY
Fall, Spring
JCM 596

arranged)
Keyboard
KBD 111
PIANO SIGHT READING I

Fall (I-2)
Piano Sight-Reading: Skills necessary for
fluent sight reading of a wide variety of
literature reading open score (choral and
instrumental), alto clef, and transposing
instrumental lines and song
accompaniments
KBD 112
PIANO SIGHT READING II

Spring (II-2)
Piano Sight-Reading II: A continuation of
materials and skills presented in KBD 111.
Tenor clef reading; an emphasis on full
orchestral score realization at the piano.
KBD 201
SACRED MUSIC SKILLS I

Fall (I-2, alternate years)
Sacred Music Skills I: Focuses on the choral
responsibilities of the church musician and
the history, function, and future of liturgical
music practices in the Christian Church
tradition. The course includes sessions on
training the voice, phonetics, English and
Latin diction, chanting, conducting, and
choral rehearsal techniques. In addition to
assigned special projects, students will
participate through weekly rehearsing of
the class as choir. Lab time for honing
students skills will be available during the
semester.
KBD 202
SACRED MUSIC SKILLS II

Spring (II-2, alternate years)
Sacred Music Skills II: Focuses on choral
repertoire and anthem/motet planning
and rehearsing. Students will program
anthems/motets for the church year
(A,B,C) based on the Revised Common
Lectionary. The course will explore
innovative ways to enhance the liturgy with
music within the context of the evolution of
liturgical practices. Students will be guided
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
34
in rehearsing the class in choral repertoire,

listening to musical examples, studying
scores, class discussion, and student
presentations. Lab time for honing
students' skills will be available during the
semester.
includes reading and listening assignments,

analysis and performance projects, and
midterm and final exams. Piano majors in
the BM degree are required to enroll in this
course in the second semester of their
junior year. It may be taken at another
time only with permission of the instructor.
KBD 203
SACRED MUSIC SKILLS

Sacred Music Skills III: Focuses on essential
keyboard skills for the church/synagogue
musician, with emphasis on congregational
song in various religious environments and
traditions. Primary areas of instruction
include hymn playing (introductions,
reharmonizations, performance practices
of various styles and traditions), anthem
accompaniment, adapting
piano/orchestral accompaniments to
the organ, conducting from the organ
console, and aspects of church music
administration. Each student will receive
several individual lab coachings during
the semester. Open to keyboard majors or
by permission.
KBD 204
SACRED MUSIC SKILLS IV

Sacred Music Repertoire: This class focuses
on the training of young vocal and
instrumental musicians through early
musical training and the creation of
opportunities for their involvement in the
musical life of the church. Choral and
handbell repertoire will be explored, and
conducting techniques specific to younger
participants will be learned. In addition to
assigned special projects, each student will
participate through occasional supervised
conducting of childrens and handbell
choirs at a local church. Also included are
sessions on the administration of a large
music program.
KBD 205
ORGAN IMPROVISATION
Organ Improvisation: The purpose of this
course is to develop skills and techniques in
musical improvisation, beginning with
harmonization of hymns and chorales and
progressing to work in building skills in a
variety of genres and styles. Sections
consist of semi-private lessons in small
groups of 2-4 students.
KBD 211
PIANO LITERATURE I: 18TH C

Spring (II-3)
Piano Literature I (18th Century): A survey
of piano repertoire from the baroque and
classical periods. The course syllabus
KBD 212
PIANO LITERATURE II: 19TH C

Fall (I-3)
Piano Literature II (19th Century): A survey
of piano repertoire from the romantic
period. The course syllabus includes
reading and listening assignments, analysis
and performance projects, and midterm
and final exams. Piano majors in the BM
degree are required to enroll in this course
in the first semester of their senior year. It
may be taken at another time only with
KBD 213
PIANO LITERATURE III: 20TH C

Spring (II-3)
Piano Literature III (20th Century & Beyond):
A survey of solo piano literature from the
twentieth and twenty-first centuries. The
course syllabus includes reading and
listening assignments, analysis and
performance projects, and midterm and
final exams. Piano majors in the BM degree
are required to enroll in this course in the
second semester of their senior year. It
may be taken at another time only with
KBD 260
PIANO HISTORY, DESIGN &

MAINTENANCE
Spring (II-1)
The Piano: History, Design, & Maintenance:
Mechanics of the piano, including its
historical development, regulation,
maintenance, & repair. Includes
temperament theory, tone generation,
and ownership/ purchasing considerations.
Not vocational training.
KBD 261
ORGAN HISTORY, DESIGN &

MNTN
Historical Development of the Organ: Its
Design and Maintenance: This course will
cover pipe organ functionality and design
to include the major historic schools of
organ building. It will also include practical
tuning and maintenance techniques and
hands on participation in a pipe organ
restoration and installation project. This
class meets weekly as a group for one
hour, with one additional hour per week of
lab to be scheduled based on the
students availability. Required for
undergraduate organ majors; open to
others by permission of the instructor.
KBD 290
INDEPENDENT STUDY
Fall, Spring
KBD 401
KBD 250
JAZZ PIANO FOR KEYBOARD

MJRS
Fall (I-2)
Jazz Piano for Keyboard Majors (I:
Harmonization): For advanced keyboard
players with no experience in jazz piano
improvisation. Topics include complete
analysis of jazz harmonization, and the
creation of jazz solo improvisations; open to
ESM majors only.
KBD 251

MJRS
Spring (II-2)
Jazz Piano Improvisation for Keyboard
Majors (II: Improvisation): For advanced
keyboard players with no experience in
jazz piano improvisation. Topics include
complete analysis of jazz harmonization,
and the creation of jazz solo improvisations;
open to ESM majors only.
SACRED MUSIC SKILLS I

Sacred Music Skills I: Focuses on the choral
responsibilities of the church musician and
the history, function, and future of liturgical
music practices in the Christian Church
tradition. The course includes sessions on
training the voice, phonetics, English and
Latin diction, chanting, conducting, and
choral rehearsal techniques. In addition to
assigned special projects, students will
participate through weekly rehearsing of
the class as choir. Lab time for honing
students skills will be available during the
semester.
KBD 402
SACRED MUSIC SKILLS II

Sacred Music Skills II: Focuses on choral
repertoire and anthem/motet planning
and rehearsing. Students will program
anthems/motets for the church year
(A,B,C) based on the Revised Common
Lectionary. The course will explore
innovative ways to enhance the liturgy with
music within the context of the evolution of
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
35
liturgical practices. Students will be guided

in rehearsing the class in choral repertoire,
listening to musical examples, studying
scores, class discussion, and student
presentations. Lab time for honing
students' skills will be available during the
semester.
KBD 407
KBD 423
HARPSICHORD P&L THRU 18

CENTUR
ORGAN REPERTOIRE III
KBD 403
Spring (II-3)
of piano repertoire from the baroque and
classical periods. The course syllabus
includes reading and listening assignments,
analysis and performance projects, and
midterm and final exams. Suitable as
elective credit for graduate piano
students.
SACRED MUSIC SKILLS

Sacred Music Skills III: Focuses on essential
keyboard skills for the church/synagogue
musician, with emphasis on congregational
song in various religious environments and
traditions. Primary areas of instruction
include hymn playing (introductions,
reharmonizations, performance practices
of various styles and traditions), anthem
accompaniment, adapting
piano/orchestral accompaniments to the
organ, conducting from the organ
console, and a survey of Christian
hymnody. Each student will receive several
individual coachings during the semester.
Open to keyboard majors or by permission.
KBD 404
SACRED MUSIC SKILLS IV

Sacred Music Repertoire: This class focuses
on the training of young vocal and
instrumental musicians through early
musical training and the creation of
opportunities for their involvement in the
musical life of the church. Choral and
handbell repertoire will be explored, and
conducting techniques specific to younger
participants will be learned. In addition to
assigned special projects, each student will
participate through occasional supervised
conducting of childrens and handbell
choirs at a local church. Also included are
sessions on the administration of a large
music program.
KBD 405
GRADUATE ORGAN
IMPROVISATION
Organ Improvisation: The purpose of this
course is to develop skills and techniques in
musical improvisation, beginning with
harmonization of hymns and chorales and
progressing to work in building skills in a
variety of genres and styles. Sections
consist of semi-private lessons in small
groups of 2-4 students. Prerequisite: TH 475,
TH 476 or permission of instructor.
Spring
KBD 411
PIANO LITERATURE I: 18TH C
KBD 412
PIANO LITERATURE II: 19TH C

Fall (I-3)
of piano repertoire from the romantic
period. The course syllabus includes
reading and listening assignments, analysis
and performance projects, and midterm
and final exams. Suitable as elective credit
for graduate piano students.
KBD 413
PIANO LITERATURE III: 20TH C

Spring (II-3)
Piano Literature I (20th Century & Beyond):
A survey of solo piano literature from the
twentieth and twenty-first centuries. The
course syllabus includes reading and
listening assignments, analysis and
performance projects, and midterm and
final exams. Suitable as elective credit for
graduate piano students.
KBD 421
ORGAN REPERTOIRE I
Fall (I-2)
Organ Repertory I: A survey of solo organ
repertoire, instrument-building traditions
and performance practice studies from
Antiquity through the seventeenth century.
KBD 422
ORGAN REPERTOIRE II
Spring (II-2)
Organ Repertory II: A survey of solo organ
middle of the seventeenth century through
the eighteenth century, with special focus
on the North German and French Classic
schools, and the organ music of Johann
Sebastian Bach.
Fall (I-2)
Organ Repertory III: A survey of solo organ
nineteenth-century Germany and France.
KBD 424
ORGAN REPERTOIRE IV
Spring (II-2)
Organ Repertory IV: A survey of solo organ
nineteenth-century England and North
America, and twentieth-century Europe
and North America through the present.
KBD 442
PA REP & ITS INTERPRETERS

Fall (I-3)
Piano Repertory and Its Interpreters: An
intensive examination of a specific area of
the piano repertory; topics to vary from
year to year (e.g., Chopin solo works,
Beethoven sonatas and concertos, Bach
Well-Tempered Clavier and other solo
works, etc.) The class addresses its subject
material from the dual perspectives of the
literature itself and of the artists who have
been historically associated with the
KBD 443
KEYBOARD CONTINUO
REALIZATION
Fall (I-2)
Keyboard Continuo Realization:
Techniques of realizing continuo parts in
the music of the seventeenth and
eighteenth centuries. Special emphasis on
the various national styles. Prerequisite: TH
476 or fluency in reading figured bass.
Simultaneous enrollment in CHB 277
strongly encouraged.
KBD 450

MAJORS: HARMONIZATION
Fall (I-2)
Jazz Piano for Keyboard Majors (I:
Harmonization): For advanced keyboard
ESM majors only.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
36
KBD 451

MAJORS: IMPROVISATION
Spring (II-2)
Jazz Piano for Keyboard Majors (II:
Improvisation): For advanced keyboard
ESM majors only.
KBD 461
ORGAN HISTORY, DESIGN &

MNTN
Historical Development of the Organ: Its
Design and Maintenance: This course will
cover pipe organ functionality and design
to include the major historic schools of
organ building. It will also include practical
tuning and maintenance techniques and
hands on participation in a pipe organ
restoration and installation project. This
class meets weekly as a group for one
hour, with one additional hour per week of
lab to be scheduled based on the
students availability. Required for
undergraduate organ majors; open to
others by permission of the instructor.
Lute
LUT 130
SEC LUTE
LUT 430
SEC LUTE
semester.
LUT 430A
PRL 1/2 HR LUTE


semester.
LUT 460A
PRIMARY LUTE
semester.
Music History
MHS 070
DISCUSSION SESSION
Discussion Session: Optional listening
session for MHS 121-123. Students sign up
for any section that coincides with the
appropriate course number and instructor.
MHS 119
MUSIC HISTORY REVIEW

Fall (I-1.5)
Music History Review: A course for
graduate students who, upon entrance
into the graduate program, are found
deficient in history of music. This course
cannot be used as elective credit.
MHS 121
MUSIC & SOCIETY: 800-1750

Spring (II-3)
Music & Society: 800-1750: This course
deals with the history of Western music
traditions from the ninth century to the
music of Bach and Handel. The course
explores select representative works and
discusses the contexts into which they were
received. Students will be exposed not only
to changes in musical style, structure and
form, but also to the intellectual currents
and social climates that affect the genres
encountered in this broad period. The
course aims to introduce students to the
earlier history of their own artistic tradition
(a tradition that continues to draw on that
very history) and to expand their
conceptions of the nature and function of
music itself by exposing them to less familiar
musics and cultures. In addition to a
midterm and final examination, the course
includes two short papers assignments.
Classroom lectures are supported by
optional discussion sections.
MHS 122

Fall (I-3)
Music & Society: 1730-1880: Deals with the
history of Western music during the ClassicRomantic era. Begins with composers (such
as the sons of Bach) who broke from
Baroque styles and continues through the
achievements of Haydn, Mozart,
Beethoven, Schubert, Schumann, Chopin,
Berlioz, Liszt, Brahms, Verdi, Wagner,
Bruckner, Musorgsky, Tchaikovsky, and
Dvorak. Students learn about genres, styles,
and the historical and cultural context of
music and music-making. Also explores,
more briefly, other musical traditions
relevant to the repertoires under discussion,
such as traditional musics of Eastern
Europe (which relate to pieces by Chopin
and Liszt) or Caribbean polyrhythms (which
influenced Gottschalk). Midterm and final
examinations, one paper of medium
length, and several short writing
assignments and quizzes. Classroom
lectures are supported by optional (but
highly recommended) discussion sections,
which meet one hour per week.
MHS 123

Spring (II-3)
Music & Society: since 1880: The aim of this
course is to trace the history of twentiethcentury European and American art music;
we will also touch on the nineteenthcentury roots of modern music and the
influence of non-art traditions throughout
the era. Students will explore not only
important changes in musical style and
compositional techniques, but also the
variety of cultural contexts and social
meanings music both reflected and
created. Be prepared to ask fresh
questions about familiar pieces, to listen to
new and difficult works with open minds,
and to engage in close and careful
analysis of sounds, scores, and the written
word. Our primary goals are to gain a
broad sense of twentieth-century musical
life and to learn how to communicate our
opinions and ideas about music
thoughtfully, clearly, and persuasively.
MHS 281
SPECIAL TOPICS IN MUSIC

HISTORY
Fall (I-3)
Special Topics: Intensive study of literature
within limited topic areas. Emphasis upon
analysis and comparative studies, with
critical writing by the student. May be
repeated for credit. Recent offerings
include: Shakespeare & Music; The
Symphonies of Beethoven; 19th c.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
37
Performance Practice, Symphony after

Beethoven, Musical Borrowing, Debussy
and Paris, History of Jazz (for non-jazz
majors), Asian Classical Musics, Race and
Gender in American Music.
and notational conventions are covered,

along with strategies for locating distinctive
aesthetic features of works composed in a
variety of styles and genres.
MHS 426
MHS 423
MHS 282

HISTORY
Spring (II-3)
MHS 290
INDEPENDENT STUDY
Fall, Spring
MHS 421
MUSIC IN THE MIDDLE AGES

Spring (II-3)
Music in the Middle Ages: This course
explores Western European music traditions
from the ninth century to the early fifteenth
century. The course not only emphasizes
changes in musical style, structure and
form, but also accounts for the social
significance of composition and the
reception of music in this broad period. By
the end of the term, students will be able
to articulate the changes in genres and
musical styles over this span of history and
use the major intellectual currents and
social climates of the period to help
explain the rise and function of these
musics.
MHS 422
MUSIC IN THE RENAISSANCE

Fall (I-3)
Music in the Renaissance: Music of the
early modern period from 1400 to 1600 is
the focus of the course. Areas of emphasis
include the development of vocal genres
(motet, Mass, chanson, madrigal), as well
as distinctive types of instrumental music.
Overviews of political, artistic and social
developments will contextualize the
activity of composers and musicians. Also
addressed are issues such as the
interactions of patrons and composers,
Franco-Flemish and Italian musical styles,
and music and rhetoric. Basic theoretical
underpinnings such as mode, hexachord,
learn how to communicate opinions and

ideas about music thoughtfully, clearly,
and persuasively.
MUSIC IN THE BAROQUE

Spring (II-3)
Music in the Baroque: This course examines
the music and culture of the so-called
baroque period in music, from the birth of
monody and opera to the deaths of Bach
and Handel. In order of increasing
importance, the course aims to 1) expand
students' familiarity with baroque
repertoire; 2) trace the origin and
development of important genres; 3)
locate baroque music in its historical and
cultural contexts; 4) follow the general
development of style; and 5) explore and
understand the expressive languages
employed by baroque composers. In
addition to a midterm and final
examination, the course requires one or
two short writing assignments and one
longer paper later in the semester.
MHS 424
MUSIC IN THE CLASSIC PERIOD

Fall (I-3)
Music in the Classic Period: Although the
works of Haydn, Mozart, and Beethoven
serve as the primary "texts" of this course,
close attention is paid to the history of
styles and contexts of music-making from
the so-called early classic period through
the early 19th century. The relation of
musical style to genre, performance
venue, and audience is considered
alongside changes in systems of
patronage, dissemination of music as a
commodity, private and public concert
traditions, and performance practices
documented in contemporary treatises.
MHS 425
MUSIC IN THE 19TH CENTURY

Fall (I-3)
Music in the Nineteenth Century: This
course will not only deal with the history of
musical style in nineteenth-century Europe,
it will also explore music's cultural contexts
and social meanings. Through a study of
the major genres of the era (symphony,
Lieder, opera, piano miniatures, etc.) we
will explore how music embodied social,
political, and gendered meanings in both
public and private spheres. We will
encounter new works (as well as ask new
questions about familiar pieces) and will
engage in close and careful analysis of
sounds, scores, and the written word. Our
primary goals are to gain a broad sense of
nineteenth-century musical life and to
MUSIC SINCE 1900

Music Since 1900: This course is designed
to provide a solid grasp of twentiethcentury European and American art music
by offering both broad coverage of
significant works and in-depth examination
of the era's diverse musical trends, social
and political environments, and aesthetic
and cultural controversies. Students are
expected to contribute to class discussion,
engage closely with musical scores, listen
attentively to pieces, and write sensitively
about compositional details as well as
music's multiple roles in contemporary
culture. Major graded work includes a
midterm, final, and a paper that combines
analysis and interpretation.
MHS 435
CONCERT REPERTOIRE: MUSEUM

OR LIVING ART?
Fall (I-1.5)
Concert Repertoire: Museum or Living Art?:
This course will examine some major works
that have stood the test of time and have
entered the musical "canon," as well as
others that were originally unpopular but
are now staples in the repertoire. It will take
a prismatic approach to the study of music
in its cultural, sociological, and historical
contexts, and through formal and
theoretical analysis. By following a work
from composition to performance to
reception, and through active listening,
score study, and text reading, we will
explore what makes a work of music
"classic." A literature review paper, a
personal repertoire paper, and assigned
readings and listening make up the
workload. This class is open to all MM and
DMA students with the understanding that
there will be an increased workload for
DMA students. For MM students, the course
fulfills 1 elective credit as well as
the listening exam requirement.
MHS 441
ISSUES IN PERFORMANCE
PRACTICE: BAROQUE
Fall (I-2)
Issues in Performance Practice: Baroque:
An introduction to the study of
performance practice with an emphasis on
Baroque music. Principles of rhetoric,
phrasing, expression, articulation, rhythm,
rubato and tuning based on historical
sources. Designed to combine with MHS
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
38
443 as a comprehensive study of Baroque

performance practices.
MHS 442
PERFORMANCE PRACTICE:
MIDDLE AGES AND
RENAISSANCE
Spring
MHS 443
PERFORMANCE PRACTICE:
BAROQUE
Spring (II-2)
Performance Practice: Baroque: Dance
music, tempo, ornamentation,
improvisation, recitative, Baroque opera
practice and a special session on
performance practice issues in Bach,
based on historical sources. Prerequisite:
MHS 441 recommended
MHS 480
BIBLIOGRAPHY
Bibliography: A study of sources and
reference materials in music.
MHS 481

HISTORY
Fall (I-3)
MHS 482

HISTORY
Spring (II-3)
MHS 490
MUE 211
INDEPENDENT STUDY
EARLY CHILDHOOD MUSIC

EDUCATION
Fall, Spring
MHS 590
RESEARCH SEMINARS
Research Seminars: Seminars and
independent studies on selected topics.
May be repeated for credit. Recent
offerings include: The Bach Organ;
Handel's Italian Vocal Music; The Mass from
Chant to Stravinsky; Music and Ritual;
Reading Mozart's Operas; The Symphony,
1800-1900; Studies in the German Lied; 19th
c. Performance Practice; Romantic Music
and Critics; Song after Schubert; Operas of
Richard Wagner; Asian Classical Musics;
American Musics; Popular Music from the
Margins; Music and Postmodernism; The
Improvising Musician; Music, Gender, and
the Body; National Styles & Exoticism; 20thcentury Voice and Spectacle.
Music Education
MUE 110
INTRO TO MUSIC EDUCATION

Fall (I-1)
Introduction to Music Education: This
course is part one of the MUE 110-111
sequence that is designed as an
introduction to music teaching and
learning in our culturally diverse society.
Students will 1) develop the aural skills and
musicianship skills for teaching music; and
2) develop an understanding of the
following topics: (a) what, when, why, and
how we teach music; (b) the National
Standards for Music Education; (c) how
students learn music; (d) assessment in
music education. During
MUE 110, students begin to fulfill the 15
hours of field experience required for the
MUE 110-111 sequence.
Fall (I-2)
Early Childhood Music Education:
Orientation toward teaching music to
children aged infant to 8 years. Links home
and community environments to the music
learning environment, and examines
young children's motivation to learn music.
Language development and musical
development are compared. Observation
and guided teaching experiences
emphasize developmentally appropriate
instructional planning, assessment (formal
and informal), classroom management
and communication. This course
incorporates technology into student
assignments and requires at least 20 hours
of field experience.
MUE 212
ELEMENTARY GENERAL MUSIC

METHODS
Fall (I-2)
Elementary General Music Methods: This
course is designed to prepare students for
teaching general music to all elementary
age students, regardless of socioeconomic
status or ability, in our diverse global
society. Examines factors in the home,
community, and school that affect
students' readiness to learn music and links
language literacy with musical literacy
through singing, creating, moving, and
listening activities. Observation and guided
teaching experiences emphasize
and communication. Reflective
assignments for the teaching portfolio are
encouraged. This course incorporates
technology into student assignments and
requires least 15 hours of field experience.
MUE 213
MUE 111
FIELD EXPERIENCE IN MUSIC

EDUCATION
Spring (II-1)
Field Experiences in Music Education: This
course is Part Two of the MUE 110-111
sequence. Students will participate in a
series of lectures by faculty in the Music
Education Department at Eastman and
other specialists on topics relevant to music
teaching and learning. The remaining
hours of required field experience for the
MUE 110-111 sequence (15 hours total) are
completed during MUE 111.
SECONDARY GENERAL MUSIC

METHODS
Spring (II-2)
Secondary General Music Methods: This
teaching general music to all secondary
status, ability, or previous musical
experience. Examines the importance of
music education to an educated citizenry.
Technology for music composition and
music production is incorporated
throughout. Observation and guided
teaching experiences emphasize ageappropriate communication and
classroom management as well as
instructional planning and assessment
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
39
(formal and informal). Reflective

encouraged. At least 15 hours of field
experience are required.
MUE 214
ELEMENTARY AND MIDDLE

SCHOOL CHORAL METHODS
Spring (II-2)
Elementary and Middle School Choral
Methods: In this course, pre-service
teachers will develop increased
proficiency as instructors in vocal music
classrooms for students in grades 4-8. These
proficiencies include knowledge and skills
in group vocal pedagogy, music repertoire
selection, curriculum design, differentiated
instruction, classroom management, and
communication. Extensive observation and
teaching experiences take place in
inclusive vocal music classrooms where
assistive technology is frequently
employed. In the classroom, pre-service
teachers have opportunities to see how
parents, teachers, professional staff, and
administrators interact productively to
enhance student learning. Reflective
encouraged and at least 20 hours of field
experience are required.
MUE 215
HIGH SCHOOL CHORAL MUSIC

METHODS
Fall (I-2)
High School Choral Music Methods: In this
course, pre-service teachers will develop
increased proficiency as instructors in vocal
music classrooms for students in grade 9-12.
These proficiencies include knowledge and
skills in adolescent vocal development,
repertoire selection, lesson planning,
rehearsal techniques, curriculum design,
differentiated instruction, classroom
management and communication. This
course requires at least 40 hours of
extensive observation and supervised
teaching in a high school classroom, where
pre-service teachers have opportunity to
interact with teachers, professional staff,
parents and administrators to enhance the
music learning of high school students.
Video recording, reflective analysis and
subsequent modification of all supervised
teaching episodes in the field are required.
MUE 216
MUSIC FOR SPECIAL LEARNERS

Music for Special Learners: This course
explores the nature of music education for
students within the full range of disabilities
and special-health care needs identified
by the Individuals with Disabilities

Education Act (IDEA). Through class
sessions, readings, observation and guided
teaching, preservice teachers will identify
the characteristics of special learners and
observe how these affect musical
behaviors. Strategies will be developed for
(a) modifying existing music materials, (b)
developing original music materials, and
(c) collaborating with other professionals to
design appropriate music learning
environments and enhance the overall
education of special learners. Field
experience required, 5 hours.
MUE 217
ELEMENTARY
WINDS/BRASS/PERCUSSION
METHODS
Spring (II-2)
Elementary Winds/Brass/ Percussion
Methods: This course allows pre-service
teachers to develop an understanding of
research-validated, appropriate methods
for teaching elementary instrumental music
(what to teach, when to teach, and why),
and to develop the necessary techniques
(how to teach) to implement those
methods. The principles of music literacy
acquisition and language acquisition are
compared. Course requirements include:
facility with function-based rhythm and
tonal syllables, the ability to teach and
coach composition and improvisation
activities with elementary instrumental
students (implementing appropriate
technology), measurement and evaluation
of instrumental teaching and performance
skills. At least 20 hours of field experience
allows pre-service teachers opportunity to
observe how productive relationships
among the school, home, and community
can enhance students' music learning.
MUE 218
TEACHING GROUP STRINGS IN

ELEMENTARY SETTING
Fall (I-2)
Teaching Group Strings in the Elementary
Setting: An orientation to the design and
implementation of string programs in the
elementary school, with emphasis on
developing age appropriate instructional
strategies, classroom management,
recruitment, communication and
assessment (formal and informal) for
heterogeneous groups. Through field work,
pre-service teachers will have opportunities
to interact with students and teachers in
short supervised teaching episodes. Video
recording, reflective analysis and
subsequent modification of all teaching
episodes in the field are required. This
course incorporates technology into

student assignments and requires at least
20 hours of field experience.
MUE 219
SECONDARY INSTRUMENTAL
REHEARSALS: WINDS, BRASS,
PERCUSSION
Spring (II-2)
Secondary Instrumental Rehearsals: Winds,
Brass, Percussion: This course allows preservice teachers to develop an
understanding of research-validated,
appropriate methods for teaching
secondary instrumental music, and to
develop the necessary techniques to
implement those methods. Course
requirements include: making long-and
short-range instructional plans based on a
systematic analysis of the performance of
individuals and the ensemble, teaching
individual and small group lessons,
rehearsing and conducting small and large
ensembles. Assignments incorporate the
use of music composition and production
technologies. Through a minimum of 20
hours of field experience, pre-service
teachers have opportunity to interact with
teachers, professional staff, parents and
administrators to enhance the music
learning of secondary school students and
learn age-appropriate communication,
and assessment (formal and informal)
techniques.
MUE 220
REHEARSALS:STRINGS
Spring (II-2)
Secondary Instrumental Rehearsals: Strings:
This course allows pre-service teachers to
develop an understanding of researchvalidated, appropriate methods for
teaching secondary instrumental music,
to implement those methods. Course
private and small group lessons, rehearsing
and conducting the large ensemble.
Through a minimum of 30 hours of field
experience, pre-service teachers have
opportunity to interact with teachers,
professional staff, parents and
learning of high school students and learn
age-appropriate classroom management,
communication, and assessment (formal
and informal) techniques. Video recording,
reflective analysis and subsequent
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
40
modification of all supervised teaching

episodes in the field are required.
MUE 221
CLARINET CLASS
Clarinet Class: A laboratory class that
allows students to develop intermediatelevel performance skills on the instrument
and methods for teaching. In preparation
for teaching, students will learn to diagnose
common performance problems
associated with the clarinet and prescribe
a variety of appropriate solutions.
Additional topics covered include:
maintenance and emergency repair,
equipment and accessories, method
books and repertoire, extended range and
fingerings, and auxiliary clarinets. 2 hours
field experience required. (Previously
numbered MUE 121)
MUE 222A
WOODWIND CLASS
Fall (I-0.5)
Woodwinds Class: Extensions of 6MUE 221.
Each of these half-semester (7 week)
courses focuses on the development of
intermediate-level performance skills and
methods for teaching on a specific
woodwind instrument; flute, oboe,
saxophone, bassoon. (Previously numbered
MUE 122)
MUE 222B
WOODWIND CLASS
Fall (I-0.5)
MUE 122)
MUE 222C
WOODWIND CLASS
Spring (II-0.5)
MUE 122)

MUE 122)
MUE 231
MUE 225
TRUMPET CLASS
Trumpet Class: A laboratory class that
allows students to develop intermediate
level performance skills on the instrument
and methods for reaching. In preparation
for teaching, students will learn to diagnose
common performance problems
associated with the trumpet and prescribe
a variety of appropriate solutions.
Additional topics covered include:
maintenance and emergency repair,
equipment and accessories,
method books and repertoire,
embouchure problems, and auxiliary
trumpets. 2 hours field experience required.
(Previously numbered MUE 125)
MUE 226A
BRASS CLASS
Fall (I-0.5)
Brass Class: Extensions of 6MUE 225. Each
of these half-semester (7 week) courses
focuses on the development of
methods for teaching on a specific brass
instrument; horn, trombone, euphonium,
tuba. (Previously numbered MUE 126)
MUE 226B
Spring (II-0.5)
STRINGS CLASS I
Fall (I-2)
Strings Class I: Development of string
playing techniques on two stringed
instruments. Includes one upper and one
lower stringed instrument. 2 hours field
experience required. (Previously numbered
MUE 132)
MUE 232
STRINGS CLASS II
Spring (II-2)
Strings Class II: Development of string
playing techniques on two stringed
instruments. Includes one upper and one
lower stringed instrument. 2 hours field
MUE 132)
MUE 235
HARP CLASS I
Harp Class: Harp study especially suited for
music education majors. Emphasis on
technique and repertoire selection for
future teachers with harpists in public
school settings. One hour of instruction per
week. Permission of instructor required for
MUE 236. (Previously numbered MUE 135136)
BRASS CLASS
MUE 236
Fall (I-0.5)
HARP CLASS II
MUE 226C
BRASS CLASS
Spring (II-0.5)
MUE 222D
WOODWIND CLASS

MUE 226D
BRASS CLASS

Harp Class: Harp study especially suited for
music education majors. Emphasis on
technique and repertoire selection for
future teachers with harpists in public
school settings. One hour of instruction per
week. Permission of instructor required for
MUE 236. (Previously numbered MUE 135136)
MUE 241
VOICE CLASS I
Voice Class I: Fundamentals of voice
production: posture, breath control and
support, tone, resonance, diction,
phrasing, interpretation. Development of
technique, confidence, and control
through group and solo singing. 2 hours
field experience required. (Previously
numbered MUE 141)
Spring (II-0.5)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
41
MUE 242
VOICE CLASS II
Spring (II-1)
Voice Class II: Extension of Voice Class I,
with opportunity to continue to develop
individual skills in singing. 2 hours field
MUE 142)
MUE 255
PERCUSSION CLASS
Percussion Class: A laboratory class that
allows students to develop intermediate
level performance skills on the
instruments of the percussion family as well
as addressing methods for teaching. In
preparation for teaching, students will learn
to diagnose common performance
problems associated with percussion
instruments and prescribe a variety of
appropriate solutions. Additional topics
covered include: maintenance and
emergency repair, equipment and
accessories, and method books and
repertoire. 2 hours field experience
required. (Previously numbered MUE 155,
revised 3/6/08).
MUE 260
TEACHING INDIVIDUAL/SMALL
GROUP LESSON
Fall, Spring (I, II-1 or 2)
Teaching Individual and Small Group
Lessons: For students in any major who are
interested in learning to teach private and
small group lessons. Enrollees will be
assigned to teach for up to two hours each
week at a K-12 school. Lessons will be
observed periodically and enrollees will
meet with a faculty member to discuss
matters related to the teaching
assignment. (Previously numbered MUE
221)
MUE 261
CLASSROOM INSTRUMENTS
Spring (II-1)
Classroom Instruments: Fundamentals of
performance on instruments such as guitar,
dulcimer, recorder, and Orff Instruments for
use as music classroom tools. Observation
of classroom instrument use in local schools
required, 5 hours.
MUE 271
STUDENT TEACHING:
ELEMENTARY VOCAL/GENERAL
Student Teaching: Elementary
Vocal/General: Seven-weeks of full-time
teaching placement in classroom music
settings in area schools, under the
supervision of a master teacher. Eastman

faculty conduct on-site supervisory visits a
minimum of three times during the
assignment.
MUE 272
SENIOR PRACTICUM IN MUSIC

EDUCATION
Fall (I-1)
Senior Practicum in Music Education: A
continuation of 6MUE 226 (Brass Class)
and 6MUE 222 (Woodwind Class). Study of
two additional brass and two additional
woodwind instruments in a homogeneous
setting. As a laboratory ensemble for
student teachers, enrollees will perform
solely on secondary instruments,
teach/conduct rehearsals, and prepare
lesson plans for teaching. An application of
performance skills on all wind instruments in
a heterogeneous setting, a comparative
survey of wind instrument performance
technique, and an examination of
appropriate musical materials for use in
elementary and secondary schools.
MUE 273
STUDENT TEACHING SEMINAR

Student Teaching Seminar: Weekly
meeting of all student teachers by area of
emphasis. Readings and writing
assignments, reports and reflection papers
are incorporated into the seminar content.
Guest speakers on topics important for
certification protocols, as well as
interviewing and applying for a teaching
position.
MUE 276
STUDENT TEACHING:
SECONDARY VOCAL/GENERAL
Student Teaching: Secondary
Vocal/General: Seven weeks of full-time
teaching placement in middle school or
high school music programs, with emphasis
on choral and classroom settings in area
schools, under the supervision of a master
teacher. Eastman faculty conduct on-site
supervisory visits a minimum of two times
during the assignment.
MUE 277
STUDENT TEACHING:
ELEMENTARY INSTRUMENTAL
Student Teaching: Elementary Instrumental:
Seven-weeks of full-time teaching
placement in programs for beginning
instrumental music in area schools, under
the supervision of a master teacher.
Eastman faculty conduct on-site

MUE 278
STUDENT TEACHING:
Student Teaching: Secondary Instrumental:
Seven weeks of full-time teaching
placement in secondary school
instrumental music settings in the area,
under the supervision of a master teacher.
Eastman faculty conduct on-site
MUE 279
SUPPLEMENTARY OBSERVATION
AND STUDENT TEACHING
Supplementary Observation and Student
Teaching: For students needing additional
credits in observation and student
teaching for certification to teach in other
states.
MUE 280
SUPPLEMENTARY OBSERVATION
AND STUDENT TEACHING
Supplementary Observation and Student
Teaching: For students needing additional
credits in observation and student
teaching for certification to teach in other
states.
MUE 281

EDUCATION
Fall (I-3)
Special Topics in Music Education:
Designed primarily for undergraduate
students, these courses offer intensive study
of limited topic areas in music education
and pedagogy. May be repeated for
credit.
MUE 282

EDUCATION
Spring (II-3)
Designed primarily for undergraduate
students, these courses offer intensive study
of limited topic areas in music education
credit.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
42
MUE 285
MUE 403
PRINCIPLES OF STRING PLAYING

AND TEACHING I
INTRODUCTION TO RESEARCH
Fall (I-2)
Principles of String Playing and Teaching I:
This course enables students to organize
and present a sequence of string
instruction with special attention to the
needs of beginning and intermediate string
players. Students develop and apply their
growing knowledge of string playing and
teaching by providing weekly private
lessons to two students at School #17 of the
Rochester City School District. Students
must enroll for MUE/PED 286 following
successful completion of this course. Open
to upper-level AMU and PRL or DMA
graduate string majors.
MUE 286

AND TEACHING II
Spring (II-2)
Principles of String Playing and Teaching II:
A continuation of MUE/PED 285 with a
focus on procedures for establishing a
private studio, reviewing and developing a
collection of method books, etude books,
and solo materials. Students present case
studies of their school-age string students to
whom they continue to teach weekly
private lessons to students at School #17 of
the Rochester City School District. Prerequisite: MUE/PED 285.
MUE 290
URBAN PRACTICUM
Urban Practicum: In this course, students
teach lessons at a local urban elementary
school, Rochester City School District Enrico
Fermi School No. 17. This partnership
between the on-site teacher, Eastman
students and faculty, and the students of
School 17 creates a shared environment,
where groups benefit from one another
while students learn to play and teach
stringed instruments. Each Eastman student
is responsible for two private/small group
lessons per week at School 17. Permission of
instructor required. Two-semester
commitment is expected.
MUE 402
MEASUREMENT & EVALUATION

Measurement and Evaluation: This course
reviews published aptitude and
achievement tests and includes
interpretation of test scores, administration
of tests, and experience in developing
tests.

Introduction to Research in Music
Education: This course is designed for
graduate students to develop an overview
of the existing published research in music
education. Content includes vocabulary
and concepts related to quantitative and
qualitative research designs in music
education. Daily/weekly assignments to
critique and analyze studies lead to a final
review of literature paper and
presentation.
MUE 404
THE PSYCHOLOGICAL
FOUNDATIONS OF MUSICAL
BEHAVIOR
Spring (II-2)
The Psychological Foundations of Musical
Behavior: Although psychological issues
are touched on in both the MUE 403
(Introduction to Research) and MUE 501
(Seminar I: History and Philosophy) courses,
this one-semester course is designed to
expose graduate students to more depth
of information, current research, and to
guest experts who are equipped to
provide detailed input on certain
specialized areas of psychology related to
musical behavior.
MUE 411
EARLY CHILDHOOD MUSIC

EDUCATION
Fall (I-2)
Early Childhood Music Education:
Orientation toward teaching music to
children aged infant to 8 years. Links home
and community environments to the music
learning environment, and examines
young childrens motivation to learn music.
Language development and musical
development are compared. Observation
and guided teaching experiences
emphasize developmentally appropriate
and communication. This course
incorporates technology into student
assignments, requires at least 20 hours of
field experience, and includes advanced
readings and assignments linking theory
(classroom) to practice (field experience).
MUE 412
ELEMENTARY GENERAL MUSIC

METHODS
Fall (I-2)
Elementary General Music Methods: This
teaching general music to all elementary

status or ability, in our diverse American
society. Examines factors in the home,
community, and school that affect
students readiness to learn music and links
language literacy with musical literacy
through singing, creating, moving, and
listening activities. Observation and guided
teaching experiences emphasize
and communication. Reflective
encouraged. This course incorporates
technology into student assignments,
requires at least 20 hours of field
experience, and includes advanced
(classroom) to practice (field experience).
MUE 413
SECONDARY GENERAL MUSIC

METHODS
Spring (II-2)
Secondary General Music Methods: This
teaching general music to all secondary
status, ability, or previous musical
experience. Examines the importance of
music education to an educated citizenry.
Technology for music composition and
music production is incorporated
throughout. Observation and guided
teaching experiences emphasize ageappropriate communication and
classroom management as well as
instructional planning and assessment
(formal and informal). Reflective
encouraged. At least 20 hours of field
experience as well as advanced readings
and assignments linking theory (classroom)
to practice (field experience) are required.
MUE 414
ELEMENTARY AND MIDDLE

SCHOOL CHORAL METHODS
Spring (II, 2)
Elementary and Middle School Choral
Methods: In this course, preservice
teachers will develop increased
proficiency with musical repertoire,
curriculum design, differentiated
instruction, classroom management and
communication in vocal music classrooms
with students in grades 4-8. Extensive
observation and teaching experiences
take place in inclusive vocal music
classrooms where assistive technology is
frequently employed. In the classroom,
preservice teachers have opportunities to
see how parents, teachers, professional
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
43
staff, and administrators interact

productively to enhance student learning.
Reflective assignments for the teaching
portfolio are encouraged. At least 25 hours
of field experience as well as advanced
(classroom) to practice (field experience)
are required.
MUE 415
HIGH SCHOOL CHORAL MUSIC

Fall (I-2)
High School Choral Music: In this course,
preservice teachers will develop increased
proficiency with musical repertoire,
curriculum design, differentiated
instruction, classroom management and
communication in vocal music classrooms
with students in grades 9-12. This course
requires at least 45 hours of extensive
observation and supervised teaching in a
high school classroom, where preservice
teachers have opportunity to interact with
learning of high school students.
Advanced readings and assignments
linking professional development site
experience to educational theory are
required. Video recording, reflective
analysis and subsequent modification of all
supervised teaching episodes in the field
are also required.
MUE 419
REHEARSALS: WINDS, BRASS,
PERCUSSION
Secondary Instrumental Rehearsals: Winds,
Brass, Percussion: This course allows preservice teachers to develop an
understanding of research-validated,
appropriate methods for teaching
secondary instrumental music, and to
develop the necessary techniques to
implement those methods. Course
requirements include making long and
short range instructional plans based on
systematic analysis of individual and
ensemble performance, teaching
individual and small group lessons,
rehearsing and conducting small and large
ensembles. Assignments incorporate use of
music composition and production
technologies. Through at least 20 hours of
field experience, pre-service teachers
have opportunities to interact with
learning of secondary school students and
learn appropriate communication, and
assessment (formal and informal)
techniques. Advanced readings and
assignments linking theory (classroom)to

practice(field experience)are required.
MUE 420
REHEARSALS:STRINGS
Spring (II-2)
Secondary Instrumental Rehearsals: Strings:
This course allows preservice teachers to
develop an understanding of researchvalidated, appropriate methods for
teaching secondary instrumental music,
to implement those methods. Course
private and small group lessons, rehearsing
and conducting the large ensemble.
Through a minimum of 30 hours of field
experience, preservice teachers have
opportunity to interact with teachers,
professional staff, parents and
learning of high school students and learn
age-appropriate classroom management,
communication, and assessment (formal
and informal) techniques. Video recording,
reflective analysis and subsequent
modification of all supervised teaching
episodes in the field are required.
MUE 465
INSTRUMENTAL METHODS AND

TECHNIQUES: WIND AND
PERCUSSION
Instrumental Methods and Techniques:
Wind and Percussion: For instrumental,
vocal, and general music teachers at all
levels who wish to improve their
musicianship skill for teaching, this course
emphasizes innovative ways to address
State and National Standards in Music and
appropriately differentiate music
instruction. The principles of music literacy
acquisition and language acquisition are
compared. Assignments incorporate the
use of music composition and production
technologies. Twenty-five (25) hours of field
experience are required for students
pursuing Initial-Professional Certification.
MUE 466
INSTRUMENTAL METHODS AND

TECHNIQUES:STRINGS
Instrumental Methods and Techniques:
Strings: For instrumental, vocal, and
general music teachers at all levels who
wish to improve their musicianship skill for
teaching, this course provides an
orientation to the design and

implementation of string programs, with
emphasis on developing age appropriate
instructional strategies, classroom
management, communication and
assessment (formal and informal) for
heterogeneous groups. The principles of
music literacy acquisition and language
acquisition are compared. Video
recording, reflective analysis and
subsequent modification of all supervised
teaching episodes in the field are required.
Assignments incorporate the use of music
composition and production technologies.
25 hours of field experience are required
for students pursuing Initial-Professional
Certification.
MUE 471
TEACHING INTERNSHIP
Teaching Internship: Students are required
to demonstrate competence in teaching
and the application of concepts
presented in other courses required by the
M.M. or M.A. degrees in music education
by submitting the following: (1) audio and
video tapes of classes, (2) course
descriptions and outlines, (3) sample
examinations, (4) an annual calendar of
performances and activities, and/or (5)
sample programs. Students who are also
employed as teachers can submit
materials developed for their own classes;
full-time graduate students are assigned a
teaching responsibility to complete the
requirements under faculty supervision.
Readings are assigned individually. This
requirement may be satisfied in one of
the following ways: (1) one-on-one with a
music education faculty member; (2)
collaborative teacher study group; (3)
review of a substantial portfolio
documenting teaching competence.
MUE 472
TEACHING INTERNSHIP FOR

CERTIFICATION
Teaching Internship for Certification:
Supervised teaching experience for
graduate students preparing for
certification. Includes seminar.
MUE 473
MA PROJECT
Fall, Spring, Summer (I, II, S-1-4)
M.A. Project: The specific nature of this
master's project will be developed in
consultation with a faculty member in the
Music Education Department. Guidelines
are available in the department for project
proposals, which must be approved by the
faculty. Examples might include (a) a field-
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
44
based research study within a teacher's

own classroom setting, (b) a curriculum
project, or (c) a small-scale replication of
an existing research study with a new
population. At the completion of the
project, a student will submit a written
report, again subject to approval by the
entire faculty. Please see Guidelines for
Field Project for complete information.
Parallel to the registration for thesis credits,
the registration for this master's project may
be broken down into single credits or
enrolled as a block of four credits.
MUE 481

EDUCATION
Fall (I-1-3)
Designed primarily for graduate students,
these courses offer intensive study of
limited topic areas in music education and
pedagogy. May be repeated for credit.
MUE 482

EDUCATION
Spring (II-1-3)
limited topic areas in music education
credit.
MUE 483

EDUCATION
Fall, Spring (I, II -3)
limited topic areas in music education and
pedagogy. May be repeated for credit.
MUE 490
INDEPENDENT STUDY
Fall, Spring
MUE 495
MA THESIS
arranged)
M.A. Thesis: For the Master of Arts degree.
MUE 501
HISTORY & PHILOSOPHY

SEMINAR
History and Philosophy Seminar: Philosophy
and history of music education, with
emphasis on contemporary problems.
Required of all graduate students in music

education.
MUE 502
CURRICULUM SEMINAR
Curriculum Seminar: Inquiry into curriculum
theory and creative curriculum
development and implementation.
Attention is devoted to how schools are
organized, how processes and outcomes
of learning are evaluated, and how
conditions can be created to foster
professional growth among music teachers
and administrators.
MUE 503
COLLEGE TEACHING INTERNSHIP

College Teaching Internship: This course
will be related to one or more college level
courses which the student is presently
teaching, either as a teaching assistant or
as a faculty member at another college or
university. Students will be required to
submit (1) a course description, (2) a
course outline, (3) tests and examinations,
(4) an annotated bibliography, (5) audio
tapes of classes, and (6) a brief written
statement of relevant philosophical and
pedagogical issues. The instructor will
observe teaching and meet with the
students individually.
MUE 504
PREPARING FUTURE MUSIC

FACULTY
Fall (I-2)
Preparing Future Music Faculty: This course
will prepare those graduate students who
desire to teach in a college or community
music school, even on a part-time basis.
Each student will learn to develop a
teaching portfolio that will complement his
or her performance portfolio. Students will
also explore ways to organize music
content for learning, assess students prior
musical knowledge and experience,
communicate expectations to students,
and speak knowledgeably about teaching
with colleagues and administrators. Crosslisted as ALC 222 and ALC 422.
MUE 505
SEMINAR IN ACADEMIC
ADMINISTRATION
Fall (I-3)
Seminar in Academic Administration:
Topics and issues related to music
administration in school, community, and
higher education settings.
MUE 506
INTERNSHIP IN ACADEMIC
ADMINISTRATION
Spring (II-1-2)
Internship in Academic Administration:
Administrative project, to be carried out
under supervision of faculty or
administrative staff member, including
possible assignment to a School
administrative office. Occasional seminar
sessions with other enrollees. Prerequisite:
MUE 505.
MUE 508
CULTURAL PERSPECTIVES IN
MUSIC EDUCATION
Spring (II-3)
Cultural Perspectives in Music Education:
This course focuses on fundamental issues
that affect the teaching and learning of
music in our culturally pluralistic American
society. It is a survey and critical study of
historical, philosophical, and sociological
aspects of multicultural music education. It
is designed to provide opportunities for
graduate students to develop thinking,
inquiry, writing, and oral presentation skills
necessary for perceptive and competent
music educators. In addition, this course is
intended to provide opportunities for
graduate students to synthesize various
components of music education
scholarship. This course is addressed to all
Eastman DMA and Ph.D. students in Music
Education. Others with teaching
experience will be admitted with the
MUE 590
INDEPENDENT STUDY
Fall, Spring
MUE 591
RESEARCH FOR DMA STUDENTS

arranged)
Research for D.M.A. Students
MUE 595

arranged)
PhD Dissertation Project: For the Doctor of
Philosophy degree.
MUE 596

arranged)
DMA Dissertation Project: For the Doctor of
Musical Arts degree.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
45
Fall (I-4)
Introduction to Musicology: This course will
provide an introduction to the scope,
bibliography, and prominent
methodologies of musicology. To that end,
it will explore the history and development
of the discipline, focusing especially on the
current trends and their background:
provide a practical introduction to the
diverse sources of information in the field;
and give experience employing solid
research and writing strategies.
Ethnomusicology: Topics will vary by

semester. Recent offerings include:
Chansonniers; Opera in 17th-century
Venice; Music and the Cold War; Mode in
Balinese Music; The Motet before 1360;
Illuminated Music Manuscripts; Josquin and
his Contemporaries; Early Music Analysis
pre-1600; The 17th-century Italian Cantata;
Romantic Criticism and Aesthetics;
National Styles & Exoticism, 1600-2006; 19th
century Italian Opera; Voice and
Spectacle: Stage to Screen, 1880-1930; Kurt
Weill and his Contemporaries; Sondheim;
Postmodernism; Music and Ritual; as well as
occasional seminars taught or co-taught
by noted scholars from other departments
at Eastman and in the College of the
University of Rochester.
MUY 502
MUY 592
INTRODUCTION TO
ETHNOMUSICIOLOGY
SEMINARS IN MUSICOLOGY
AND ETHNOMUSICOLOGY
Spring (II-4)
Introduction to Ethnomusicology: This
course charts the genealogies of thought
over the last several centuries that inform
our contemporary understanding of
ethnomusicology. It will provide a historical
overview of the field, highlighting many of
the important figures and works that have
marked the disciplines history and have
led to shifts in the way ethnomusicologists
understand the relationship of music,
society, and culture. We will explore what it
is that an ethnomusicologist does (or once
did) by studying a variety of approaches to
fieldwork methods and ethnographic
representation. We will explore several
theoretical orientations drawing from the
disciplines of anthropology, linguistics,
performance theory, media studies, and
philosophy-that inform the work of past
and present ethnomusicologists, and
introduce a range of musical styles,
practices, and ways of thinking about
sound in different parts of the world
through the study of select musical
ethnographies.

Seminars in Musicology and
Ethnomusicology: Topics will vary by
semester. Recent offerings include:
Chansonniers, Opera in 17th-century
Venice, Music and the Cold War, Mode in
Balinese Music; The Motet before 1360;
Illuminated Music Manuscripts; Josquin and
his Contemporaries; Early Music Analysis
pre-1600; The 17th-century Italian Cantata;
Romantic Criticism and Aesthetics;
National Styles & Exoticism, 1600-2006; 19th
century Italian Opera; Voice and
Spectacle: Stage to Screen, 1880-1930; Kurt
Weill and his Contemporaries; Sondheim;
Postmodernism; Music and Ritual; as well as
occasional seminars taught or co-taught
by noted scholars from other departments
at Eastman and in the College of the
University of Rochester.
Musicology
MUY 501
INTRODUCTION TO
MUSICOLOGY
MUY 590
RESEARCH
Fall, Spring (I, II-credit to be arranged)
Research: Independent investigation of
problems in musicology. This course
number is used by MM and DMA students
enrolling in MUY 4-credit seminars for 3
credits.
MUY 591
SEMINARS IN MUSICOLOGY
AND ETHNOMUSICOLOGY
Seminars in Musicology and
MUY 595

arranged)
Oboe
OB 130
SEC OBOE
OB 160
PRIMARY OBOE
lesson requirement.
OB 290
BAROQUE OBOE STUDIES

Fall, Spring (I, II)
Baroque Oboe Studies Goals: to develop
familiarity with 18th-century oboes and
performance practice. Students use
Eastman's extensive range of baroque and
classical oboes, collected by Prof. Killmer.
Activities include technical studies, reed
making, solo sonatas, chamber music,
collaboration with keyboard and organ
students, and oboe band.6 hour private
lessons plus ensemble and group work to
be arranged with instructor.
OB 430
SEC OBOE

Directed Study I: Required of Ph.D.
candidates in Musicology (and can be
taken only by them). Prerequisites:
Successful completion of Qualifying Exam
or special approval of chair.

semester.
MUY 594
OB 430A
DIRECTED STUDY II
PRL 1/2 HR OBOE

Directed Study II: Required of Ph.D.
candidates in Musicology (and can be
taken only by them). Prerequisite: MUY 593.

semester.
MUY 593
DIRECTED STUDY I
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
46
OB 460A
PRIMARY OBOE
semester.
Opera
OP 209
INTRODUCTION TO LYRIC
THEATER I
Fall (I-2)
Introduction to the Lyric Theater I:
Introduces students to basic acting
techniques and stage terminology that
aid the singing-actor in dramatic
presentation on the lyric theater stage.
Character study through improvisation,
observation, word association, sensory
recall, and pantomime. Special emphasis
given to the interpretation of music and
the use of the singing voice as a necessary
part of character development. Applying
20th century acting methods (Stanislavski
and Meisner) to music sonorities and form is
explored through class activities and
exercises. An emphasis on the recitative
and text analysis (through monologue and
dialogue scene presentation) may also be
offered. Offered every fall semester.
OP 210
INTRODUCTION TO LYRIC
THEATER II
Spring (II-2)
Introduction to the Lyric Theater II: A
continuation of work of the first semester
with added emphasis on character
development through group projects.
Special consideration given to auditioning
techniques. The semester focuses on
applying the various acting techniques
(covered in the first semester) to short
musical structures and scenes, culminating
in an informal presentation at the end of
the semester. Offered every spring
semester.
OP 211
OPERA WORKSHOP I
Fall (I-3)
Opera Workshop I: Study, through
exercises and performances of specific
musical forms and acting techniques that
aid the singing-actor in the dramatic
presentation of all forms of lyric theater
(from Baroque Opera to traditional Musical
Theater). Additional musical and dramatic
coaching may be required outside the

normal weekly class meeting times.
Offered every fall semester.
OP 212
OPERA WORKSHOP II
Spring (II-3)
Opera Workshop II: Study, through
exercises and performances of specific
musical forms and acting techniques that
aid the singing-actor in the dramatic
presentation of all forms of lyric theater
(from Baroque Opera to traditional Musical
Theater). Additional musical and dramatic
coaching may be required outside the
normal weekly class meeting times.
Offered every spring semester.
OP 213
EARLY AMERICAN LYRIC

THEATRE SURVEY AND
PERFORMANCE PRACTICUM
Early American Lyric Theater Survey and
Performance Practicum: A study of early
American Musical Theater and American
Operetta. The survey will include a study of
the Princess Theater Musicals, with
emphasis given to the collaborative works
of Jerome Kern, P. G. Wodehouse and Guy
Bolton. Works by Rodgers & Hart and early
Cole Porter will also be studied. A survey of
American Operetta will include works by
Victor Herbert and Sigmund Romberg.
Students will sing ballads and ensembles
from the shows covered within the course.
The course will culminate in a performance
of a scenes program or musical review of
the works studied in the class. This course
may not be substituted for Opera
Workshop 211 or 212. Prerequisites: 2
semesters of OP 209, 210; and/or permission
of instructor. Offered every other year.
OP 214
THE PLAY WITHOUT MUSIC:

FOR SINGERS
The Play Without Music: Performance
Practicum for Singers: Exploration and
performance of monologues and scene
selected from spoken theater. The
monologues and scenes study and
rehearsed will be based on course
enrollment. The course will culminate in an
informal workshop performance of material
studied and rehearsed during the
semester. Emphasis will be given to
contemporary theater (20th and 21st
Century). Research and written
assignments will be required. The course will
culminate in an informal performance of
monologues and scenes studied in the

class. This course may not be substituted for
Opera Workshop 211 or 212. Prerequisites: 2
semesters of OP 209, 210; and/or permission
of instructor. Offered every other year.
OP 215
OPERA PERFORMANCE PROJECT

Fall, Spring (I, II - 1)
Opera Performance Project: Participation
and performance in Eastman Opera
Theatre's fall and spring productions, 804
show and Special Projects. Primary
meeting time is during the opera ensemble
time (3:35 - 6:30 M, W, TH, F). May be
substituted for 211-214 Opera Workshop
with permission of opera coordinator. OP
215 (1 credits) and 216 (2 credits) may be
repeated for additional credit.
OP 216
OPERA PERFORMANCE PROJECT

Opera Performance Project: Participation
and performance in Eastman Opera
Theatre's fall and spring productions, 804
show and Special Projects. Primary
meeting time is during the opera ensemble
time (3:35 - 6:30 M, W, TH, F). Additional
outside class coachings and stagings are
required. May be substituted for 211-212
Opera Workshop with permission of opera
coordinator. OP 215 (1 credits) and 216 (2
credits) may be repeated for additional
credit.
OP 220
PERF TECHNIQUE SINGINGACTOR

Fall
OP 290
INDEPENDENT STUDY
Fall, Spring
OP 401
SEMINAR IN LYRIC THEATER

STAGE DIRECTING
Seminar in Lyric Theater Stage Directing:
Study and practice of lyric theater stage
direction. Stage terminology, stage design
concepts, the study of historical directors
and acting teachers, stage management
principals, arts management, preparing a
conceptual proposal for a design team
and staging a scene are components
covered within the course. Opera 401
and 402 may be repeated for additional
credit.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
47
OP 402
SEMINAR IN LYRIC THEATER

STAGE DIRECTING
Seminar in Lyric Theater Stage Directing:
Study and practice of lyric theater stage
direction. Stage terminology, stage design
concepts, the study of historical directors
and acting teachers, stage management
principals, arts management, preparing a
conceptual proposal for a design team
and staging a scene are components
covered within the course. Students are
required to assist in the direction of Opera
Theatre productions or direct a scene in
the opera workshop. Opera 401 and 402
OP 410
OPERA PRODUCTION PROJECT:

STAGE MANAGEMENT
Opera Production Project: Stage
Management: Study of basic concepts
and procedures relevant to an opera
stage manager. Students are required to
participate as assistant stage managers for
the Opera Theatre productions.
Prerequisites: 2 semesters of OP 209, 210; 2
semesters OP 211-214; and/or permission of
instructor.
OP 411
OPERA WORKSHOP: FOR

GRADUATE STUDENTS
Fall (I -1)
Opera Workshop: For Graduate Students:
This course follows the same description as
the Opera Workshop 211 course. Permission
of primary voice teacher and instructor
required.
OP 412
OPERA WORKSHOP: FOR

GRADUATE STUDENTS
Spring (II - 1)
Opera Workshop: For Graduate Students:
This course follows the same description as
the Opera Workshop 212 course. Permission
of primary voice teacher and instructor
required.
OP 413
EARLY AMERICAN LYRIC

THEATER SURVEY AND
Early American Lyric Theater Survey and
Performance Practicum: A study of early
American Musical Theater and American
Operetta. The survey will include a study of
the Princess Theater Musicals, with

emphasis given to the collaborative works
of Jerome Kern, P. G. Wodehouse and Guy
Bolton. Works by Rodgers & Hart and early
Cole Porter will also be studied. A survey of
American Operetta will include works by
Victor Herbert and Sigmund Romberg.
Students will sing ballads and ensembles
from the shows covered within the course.
The course will culminate in a performance
of a scenes program or musical review of
the works studied in the class. Prerequisites:
2 semesters of OP 209, 210; and/or
permission of instructor. Offered every
other year.
OP 414
PERFORMANCE TECHNIQUES
FOR THE SINGING-ACTOR
Fall, Spring (I, II 2)
Performance Techniques for the SingingActor: Study of performances disciplines
that will aid and develop the lyric theater
performer. The material covered in the
class will be tailored to specific students
needs within the voice and opera
department. This would include (but not
limited to): Specialized Diction Instruction,
Advanced Acting Instruction, Dance
Instruction, Specialized Repertoire Survey,
Opera History Survey and Audition
Techniques. Prerequisites: Permission of
instructor and primary voice teacher. May
not be repeated for credit. Offered every
other year.
OP 415
OPERA REPERTOIRE
Fall (I-1)
Opera Repertoire: The practical study of
operatic literature from Mozart to the
present day through the musical
preparation of arias and scenes
appropriate for the enrollment. Specific
attention is given to historic performance
practice and the unique challenges of the
lyric theater: stylistic interpretation of
accompanied and secco recitative, the
basics of vocal ornamentation as it applies
to the stage, musical/ dramatic score
analysis, etc. (Offered in the fall semester
concurrently with OP 405 for pianists and
designed to musically prepare singers for
OP 416 in the spring semester.) Prerequisite:
permission of instructor and voice teacher.
OP 416
ADVANCED OPERA SEMINAR:

PERFORMANCE TECHNIQUES
Fall (I-2)
Advanced Opera Seminar: Performance
Techniques: The study, preparation, and
performance of arias and excerpts from

operatic literature. Through historical
research, character analysis, and dramatic
staging, the student prepares excerpts and
arias from the OP 415 class for public
performances. Special attention given to
the preparation of arias for professional
auditions. Prerequisites: 2 semesters of OP
209, 210; 2 semesters OP 211-214; and/or
OP 420
PERF TECHNIQUE SINGINGACTOR

Fall
OP 490
INDEPENDENT STUDY
Fall, Spring
OP 590
INDEPENDENT STUDY
Fall, Spring
Orchestration
ORC 420
RPO PRACTICUM I
Spring
ORC 420Z
RPO PRACTICUM I
Spring
ORC 421
RPO MANAGEMENT INTERNSHIP

I
Spring
Organ
ORG 130
SEC ORGAN
ORG 160
PRIMARY ORGAN
lesson requirement.
ORG 430
SEC ORGAN
Graduate Applied Music Lessons (half-
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
48
hour/week): May be used as secondary

semester.
ORG 430A
PRL 1/2 HR ORGAN

semester.
ORG 460
PRIMARY ORGAN: DAVIDSSON

semester.
ORG 460A
PRIMARY ORGAN
semester.
Piano
PA 130
SEC PIANO
PA 160
PRIMARY PIANO
lesson requirement.
PA 430
PCL 102
SEC PIANO
PIANO CLASS II

semester.
Fall, Spring
Please type the following link into a
browser:
http://www.esm.rochester.edu/classpiano/
pcl101/
PA 430A
PRL 1/2 HR PIANO

semester.
PA 460
PRIMARY PIANO
semester.
PA 460A
PRIMARY PIANO
semester.
Piano Class
PCL 101
PIANO CLASS I
Fall, Spring
browser:
pcl101/
PCL 103
PIANO CLASS III

Fall, Spring
browser:
pcl101/
PCL 104
PIANO CLASS IV
Fall, Spring
browser:
pcl101/
PCL 105
PIANO CLASS V
Fall, Spring
browser:
pcl101/
PCL 106
PIANO CLASS VI
Fall, Spring
browser:
pcl101/
Pedagogy
PED 210
HARP PEDAGOGY I
Fall (I-1)
Harp Pedagogy: Fundamentals of harp
technique, including the exploration of
methods and repertory for teaching
harpists of all ages. (Required for
undergraduate harp students in the junior
year but open to other harp students.)
PED 211
HARP PEDAGOGY II
Spring (II-1)
Harp Pedagogy: Fundamentals of harp
technique, including the exploration of
methods and repertory for teaching
harpists of all ages. (Required for
undergraduate harp students in the junior
year but open to other harp students.)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
49
PED 233
PED 262
PED 421
SUZUKI VIOLIN PEDAGOGY I
PRACTICAL PIANO PEDAGOGY
Fall (I-1)
Suzuki Violin Pedagogy I: Intensive study of
the concepts, philosophy, and approach
of the Suzuki method. Thorough study of
Books 1 and 2 of the Suzuki Violin School.
Exploration of techniques of working with
parent and child at beginning and
intermediate levels through observation of
Community Education Division Suzuki
program.
Spring (II-2)
Practical Piano Pedagogy:
Course includes (a) examination of
intermediate level piano literature; (b) class
piano teaching; teaching the adult
beginner; electronic keyboards and
related technology; (c) jazz piano
improvisation; how to teach and interpret
elementary to advanced jazz piano
literature.
PEDAGOGY OF
ACCOMPANYING
PED 234
PED 281
SUZUKI VIOLIN PEDAGOGY II
VOICE PEDAGOGY I
Spring (II-1)
Suzuki Violin Pedagogy II: Continuation of
the study of concepts and teaching
procedures appropriate to Books 3 and 4
(Suzuki Violin School). Pedagogy of
technique and music reading. Continuing
observation of Eastman School Suzuki
program, with practice teaching
assignments.
Fall (I-1)
Voice Pedagogy I: Pedagogy of Solo
Voice. Fundamentals of voice production:
posture, breath control, tone, diction. Class
participants will work directly with their own
students.
PED 235
HISTORY OF PERCUSSION
Fall (I -2)
History of Percussion: "Percussion is to be
understood backwards but it must be
played forward." The history of percussion
course is designed to provide historical
knowledge of the major events in the
development of percussion from the
beginning to the present with a look at the
future.
PED 282
VOICE PEDAGOGY II
Spring (II-1)
Voice Pedagogy II: Pedagogy of Solo
Voice. Fundamentals of voice production:
posture, breath control, tone, diction. Class
participants will work directly with their own
students.
PED 285

& TEACHING I
PED 239
Fall (I-2)
Principles of String Playing and Teaching I:
Crosslisted as MUE 285, 286.
ORGAN PEDAGOGY
PED 286

Organ Pedagogy: Required of organ
majors in the senior year and open to
graduate students. Offered alternate
years.
PED 261
PRACTICAL PIANO PEDAGOGY

Fall (I-2)
Practical Piano Pedagogy: teaching the
Beginning and Elementary level Student:
complete overview of beginning and
elementary level piano instruction, with an
in-depth exploration of lesson interviews;
goals for first lesson; lesson planning for first
month, and first term; practicing;
musicianship; technique; supplemental
music; practice suggestions;
class presentations of Internet sites
related to Pedagogy/Piano topics
class use of Blackboard Academic Suite

& TEACHING II
Spring (II-2)
Principles of String Playing and Teaching II:
Crosslisted as MUE 285, 286.
PED 290
INDEPENDENT STUDY
Fall, Spring
PED 420
PEDAGOGY OF
ACCOMPANYING
Fall (I-2)
Pedagogy of Accompanying: Establishing
and administering courses or degree
programs in sight reading and
accompanying; basic curricula and
materials; required reading; observations;
creation of CV, bio and repertoire lists.
Prerequisite: permission of instructor.
(Offered every 2-3 years.)
Spring (II-2)
Pedagogy of Accompanying: Required
reading continues; observations continue;
business aspects; possibility of some
supervised teaching experience.
Prerequisite: permission of instructor and
PED 420. (Offered every 2-3 years.)
PED 431
STRING PEDAGOGY &

LITERATURE I
Fall (I-2)
String Pedagogy and Literature I: For
graduate students in string performance
who wish to teach in private studio settings.
Topics covered will vary, but will include:
beginning to advanced sequenced music
literature, various string teaching methods,
evolution of the instrument's technique
over the past two-and-a-half centuries
through players and composers, physical
aspects of playing and it's evolution.
PED 432
STRING PEDAGOGY &

LITERATURE II
Spring (II-2)
String Pedagogy and Literature II: For
who wish to teach in private studio settings.
Topics covered will vary, but will include:
beginning to advanced sequenced music
literature, various string teaching methods,
evolution of the instrument's technique
over the past two-and-a-half centuries
through players and composers, physical
aspects of playing and it's evolution.
PED 433
HISTORY OF STRING
INSTRUMENTS, PLAYERS &
PEDAGOGUES
Spring (II-2)
History of String Instruments, Players and
Pedagogues: This course is designed for
who wish to teach their instrument. Topics
covered will include a history of the
instruments and their development over
the past 400 years; instrument and bow
makers and their innovations; famous
performers and their repertoire;
developments in technique over the years;
and contributions of famous pedagogues.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
50
PED 435
HISTORY OF PERCUSSION
Fall (I -2)
History of Percussion: "Percussion is to be
understood backwards but it must be
played forward." The history of percussion
course is designed to provide historical
knowledge of the major events in the
development of percussion from the
beginning to the present with a look at the
future.
PED 440
SURVEY CHILD'S MUSICAL

DEVELOPMENT
Fall (I-2)
Survey of Child's Musical Development:
Overview of pertinent methods and
teaching aids from a child's early years
through High School that would help to
provide a solid basis for the developing
music student, as well as knowledge to aid
the teacher or parent guiding this student.
PED 451
RENAISSANCE LUTE LITERATURE

AND PEDAGOGY
Fall (I-2)
Renaissance Lute Literature and
Pedagogy: Literature and pedagogy for
lute and other plucked instruments from
the fourteenth through the sixteenth
centuries. Works will be performed from
original sources in French, Italian,
Neapolitan, and German tablature, as well
as mensural notation in all clefs. Major
treatises of the period will be studied and
the playing techniques and performance
practices explored. Offered alternate
years.
PED 452
BAROQUE LUTE LITERATURE AND

PEDAGOGY
Spring (II-2)
Baroque Lute Literature and Pedagogy:
Literature and pedagogy for lute, archlute,
theorbo, and Baroque guitar in the
seventeenth and eighteenth centuries.
Works will be performed from original
sources in French and Italian tablature,
and guitar alfabeto, as well as from
mensural notation in all clefs. Major
treatises of the period will be studied and
the playing techniques and performance
practices explored. Offered alternate
years.
PED 461
GRADUATE PRACTICAL PIANO

PEDAGOGY
Fall (I-2)
Graduate Practical Piano Pedagogy: In

addition to the coursework involved in 261262, graduate students would be
responsible for one of the following
in-depth analysis of current piano
pedagogy curricula in various music-school
degree programs
creation of a pedagogy syllabus for one
semester, and two semesters sequences
construction of a personal teaching
philosophy
thorough examination of web sites
devoted to piano pedagogy
the Independent studio teacher:
Professional Studio Documents, Office
Technology, The Art of Performance,
Setting Rates, Studio Recitals, Tuition and
Payment Plans, Composition and
Improvisation, Marketing, Communications
with Parents, Make-up Policies, Zoning and
Business Licenses, Teaching Materials and
Learning Styles, The Art of Practice, Arts
Funding.
PED 462
GRADUATE PRACTICAL PIANO

PEDAGOGY
Spring (II-2)
Graduate Practical Piano Pedagogy: In
addition to the coursework involved in
261-262, graduate students would be
responsible for one of the following
in-depth analysis of current piano
pedagogy curricula in various music-school
degree programs
creation of a pedagogy syllabus for one
semester, and two semesters sequences
construction of a personal teaching
philosophy
thorough examination of web sites
devoted to piano pedagogy
the Independent studio teacher:
Professional Studio Documents, Office
Technology, The Art of Performance,
Setting Rates, Studio Recitals, Tuition and
Payment Plans, Composition and
Improvisation, Marketing, Communications
with Parents, Make-up Policies, Zoning and
Business Licenses, Teaching Materials and
Learning Styles, The Art of Practice, Arts
Funding.
PED 471
TEACHING INTERNSHIP
Teaching Internship: This internship is the
culminating experience for candidates
pursuing the Certificate in Collegiate
and/or Community Music teaching.
Individual teaching situations are arranged
and a faculty supervisor is assigned.
Students must show competence in
teaching and demonstrate application of
concepts presented in the certificate
curriculum. Expectations for students

include the preparation of a teaching
portfolio with (1) audio and video
recordings of teaching; (2) course
descriptions, outlines, syllabi; (3) sample
assessment documents; (4) sample plans
for teaching; and (5) written reports of
observation by the supervisor. Readings,
observations of teaching, and other
related experience may also be assigned
by the supervisor.
PED 481
PRINCIPLES OF VOCAL
PEDAGOGY
Fall (I-2)
Principles of Vocal Pedagogy: Designed to
advance the student's knowledge of the
structure and function of the vocal
mechanism. The class addresses issues of
both performance and the teaching of
singing. Topics include exploring the
relationship of function to artistry,
breathing, and coordination of vocal
process, historic traditions, vocal
health/longevity, and methods for selfevaluation, performance challenges,
teaching skills and studio management.
Prerequisite: PED 281-282, Undergraduate
Vocal Pedagogy or its equivalent.
PED 482
ADVANCED VOCAL
PEDAGOGY
Spring (II-2)
Advanced Vocal Pedagogy: Seminar
discussions of selected readings and
practical application of the principles
discussed in PED 481 through supervised
teaching. Each member of the class will be
assigned two students, each of whom will
be taught one hour per week. A diary will
be maintained recording the progress of
the student and a typed summary from this
record will be turned in at the end of the
semester. Twice during the semester, a PED
482 student will teach his or her student
during class time with a discussion to follow.
In addition, each student will spend time in
the studios of several voice teachers,
observing a lesson and then teaching the
student observed a minimum of thirty
minutes under the supervision of the studio
teacher. Prerequisite PED 481 or its
equivalent.
PED 490
INDEPENDENT STUDY
Fall, Spring
PED 590
INDEPENDENT STUDY
Fall, Spring
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
51
Philosophy
PHL 111
INTRO TO PHILOSOPHY I
Fall (I-3)
Introduction to Philosophy I: Introduction to
some of the main problems, concepts, and
figures in Western philosophy concerning
metaphysics, theory of knowledge, and
ethics. Readings from Descartes, Ayer,
Austin, Hume, Kant, and others.
PHL 112

Albert Camus (1913-1960). In addition to
criticism. Taught in English. Cross-listed as FR
272, HIS 272, WST 272.
INTRO TO PHILOSOPHY II
PHL 281
Spring (II-3)
Introduction to Philosophy: Introduction to
some of the main problems, concepts, and
figures in Western philosophy concerning
metaphysics, theory of knowledge, and
ethics. Readings from Descartes, Ayer,
Austin, Hume, Kant, and others.
TOPICS IN PHILOSOPHY
PHL 205
THE ANCIENT GREEKS

The Ancient Greeks: Tragedy, Philosophy,
and Politics: An examination of the major
ideas in Ancient Greek political thought,
from the early tragedians to Aristotle.
Topics may include the theory and
practice of democracy, justice, civil
disobedience, conservatism, and the ideas
of human inequality. Cross-listed as PSC 205
PHL 209
POWER, VIOLENCE & VIRTUE

Power, Violence, and Virtue: Themes in
early modern political thought: This course
examines some of the core themes and
concepts in early modern political thought,
from Machiavelli to Kant. Topics include
the nature and origin of the state, the
proper role of state violence, pluralism, the
relationship between virtue and politics,
and how one should evaluate the
legitimacy of a political order. Cross-listed
as PSC 209.
PHL 272
BEAUVOIR & CAMUS
Fall (I-3)
Topics in Philosophy: Topics are chosen
from both contemporary and historical
philosophy and vary from year to year.
PHL 282
TOPICS IN PHILOSOPHY
Spring (II-3)
Topics in Philosophy: Topics are chosen
from both contemporary and historical
philosophy and vary from year to year.
Percussion
PRC 130
SEC PERCUSSION
PRC 160
PRIMARY PERCUSSION
lesson requirement.
PRC 430
SEC PERCUSSION
Fall, Spring, Spring (I, II, S-1.5)
semester.
Piccolo
PRC 430A
PIC 130
PRL 1/2 HR PERCUSION
SEC PICCOLO
PIC 160
PRIMARY PICCOLO
lesson requirement.
PIC 430
SEC PICCOLO
semester.

semester.
PRC 460A
PRIMARY PERCUSSION
semester.
Performance
PRF 290
INDEPENDENT STUDY
Fall, Spring
PRF 490
INDEPENDENT STUDY
Fall, Spring
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
52
PRF 590
INDEPENDENT STUDY
Fall, Spring
PRF 596

arranged)
DMA Dissertation Project For Performance
& Literature majors.
Political Science
PSC 205
THE ANCIENT GREEKS

The Ancient Greeks Tragedy, Philosophy,
and Politics: An examination of the major
ideas in Ancient Greek political thought,
from the early tragedians to Aristotle.
Topics may include the theory and
practice of democracy, justice, civil
disobedience, conservatism, and the ideas
of human inequality. Cross-listed as PHL 205
PSC 209
POWER, VIOLENCE & VIRTUE

Power, Violence, and Virtue: Themes in
early modern political thought: This course
examines some of the core themes and
concepts in early modern political thought,
from Machiavelli to Kant. Topics include
the nature and origin of the state, the
proper role of state violence, pluralism, the
relationship between virtue and politics,
and how one should evaluate the
legitimacy of a political order. Cross-listed
as PHL 209.
PSC 210
MARX, DOSTOEVSKY,
NIETZSCHE, & FREUD
Marx, Dostoevsky, Nietzsche, and Freud:
This course investigates some of the core
thinkers in 19th century political thought.
Topics may include the idea of historical
progress, the role of reason and the loss of
the sacred in modern life, and the
relationship between universal principles
(human rights, democracy) and the
problematic aspects of modern life
(capitalist exploitation, slavery, and
colonialism, for instance).
PSC 220
THE CONCEPT OF POWER

The Concept of Power: This course
introduces some of the main figures in
social theory by way of an investigation of
how they conceptualize political power.

Readings may include Karl Marx, Max
Weber, Hannah Arendt, and Michel
Foucault.
Psychology
PSC 230
Fall (I-3)
General Psychology: An introduction to
the methods, aims, and achievements of
psychology as an academic discipline.
Clinical and experimental approaches, as
well as the range of psychological sub
disciplines, from cognition and perception
to abnormal psychology and personality
theory are considered.
THE POLITICS OF POVERTY

The Politics of Poverty: This course explores
the political conflicts that emerge over the
phenomenon of poverty in American
politics. Topics include the ways in which
the figure of the poor is depicted and
contested in political life, the theory and
practice of the welfare state, and the
various controversies over how to solve the
problem of poverty.
PSC 240
DEMOCRATIC THEORY
Democratic Theory: This course
investigates some of the key questions
democratic practice: what is democracy
and why is democracy such a valuable
form of social organization? In exploring
these questions, we will examine the
meaning and value of the concepts of
majority rule, the common good, individual
rights, the need for homogeneity or
diversity, and popular sovereignty.
Readings may include Rousseau, Burke,
Tocqueville, J.S. Mill, Carl Schmitt, and
other more contemporary political thinkers.
PSC 274
HANNAH ARENDT
Hannah Arendt: This course studies the life,
world, and work of Hannah Arendt (19061975), one of the most important political
philosophers of the twentieth century, with
a special focus on her interpretations of the
American, French, and Russian Revolutions,
the Second World War, the Holocaust, and
the international political, social, and
cultural events of 1968. Cross-listed as HIS
274.
PSC 281
TOPICS IN POLITICAL SCIENCE

Fall (I-3)
Topics in Political Science: Political Science
topics vary from year to year. May be
PSY 111
GENERAL PSYCHOLOGY
PSY 112
EDUCATIONAL PSYCHOLOGY
Spring (II-3)
Educational Psychology: This course will
focus on theories of child development,
learning, and motivation, building on
concepts introduced in the general
psychology course. Students will explore a
variety of theories and apply them to
educations situations to achieve a deeper
understanding of how children develop as
learners. The course will center on a range
of concepts, both cognitive and social,
and on ways students might use these to
become more insightful, sensitive, and
skilled as educators. Prerequisite: PSY 111
PSY 281
TOPICS IN PSYCHOLOGY
Fall (I-3)
Topics in Psychology: Study of a particular
area of psychology, such as Behavioral
Management, The Unconscious Revolution:
Rousseau to Freud, or Group Dynamics. To
be offered once each year. May be
repeated for credit. Prerequisites: PSY 111,
112.
PSY 282
TOPICS IN PSYCHOLOGY
Spring (II-3)
Topics in Psychology: Study of a particular
area of psychology, such as Behavioral
Management, The Unconscious Revolution:
Rousseau to Freud, or Group Dynamics. To
be offered once each year. May be
repeated for credit. Prerequisites: PSY 111,
112.
Study Abroad
PSC 282
SAB 200
TOPICS IN POLITICAL SCIENCE
STUDY ABROAD
Spring (II-3)
Topics in Political Science: Political Science
Fall, Spring (I, II-16 credits for undergrad

students)
Eastman Conservatory Exchange Program:
The Conservatory Exchange Program
enables students to spend a year studying
at a leading European conservatory in
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
53
Freiburg, London, Lyon, Paris, or Vienna.

Students will receive credit and pay tuition
to Eastman, but will receive free tuition at
the host school. Requires permission of the
Dean of Academic Affairs; apply by
November 1.
SAB 400
STUDY ABROAD
Fall, Spring (I, II-12 credits for grad students)
Eastman Conservatory Exchange Program:
The Conservatory Exchange Program
enables students to spend a year studying
at a leading European conservatory in
Freiburg, London, Lyon, Paris, or Vienna.
Students will receive credit and pay tuition
to Eastman, but will receive free tuition at
the host school. Requires permission of the
Dean of Academic Affairs; apply by
November 1.
Saxophone
SAX 130
SEC SAXOPHONE
SAX 160
PRIMARY SAXOPHONE
lesson requirement.
SAX 430
SEC SAXOPHONE
semester.
SAX 430A
PRL 1/2 HR SAXOPHONE

semester.
SAX 460
PRIMARY SAXOPHONE
semester.
SAX 460A
PRIMARY SAXOPHONE
semester.
Sacred Music
SMU 210
SCHOLA CANTORUM
Schola Cantorum: This singing group
specializes in Gregorian chant, renaissance
polyphony, and choral improvisation, and
also performs romantic and contemporary
music. Performance practice issues are
approached as an aesthetic system of
possibilities that generates expressive music
making through informed choices.
Students expand their listening, reading,
and performance skills through rehearsals
and subsequent public performance each
week, singing the weekly Office of
Compline at Christ Church on Sunday
evenings at 9:00 p.m. (October through
April). Rehearsals are Sunday evenings
from 7:30 - 8:45 p.m. (rehearsals begin at
7:00 p.m. on first Sundays of the month)
Permission of instructor Stephen Kennedy
required following audition.
SMU 407
PERSPECTIVES IN SACRED MUSIC

Fall (I-2)
Perspectives in Sacred Music: These
courses focus on the history, function, and
future of liturgical music in the Christian
Church by examining theological,
liturgical, historical, and philosophical issues
pertaining to the practice of sacred music.
Students will explore both church year and
lectionary as contextual parameters for the
function of music within the liturgy. The
course also includes a comprehensive

survey of Christian hymnody.
SMU 408
PERSPECTIVES IN SACRED MUSIC

Spring (II-2)
Perspectives in Sacred Music: These
courses focus on the history, function, and
future of liturgical music in the Christian
Church by examining theological,
liturgical, historical, and philosophical issues
pertaining to the practice of sacred music.
Students will explore both church year and
lectionary as contextual parameters for the
function of music within the liturgy. The
course also includes a comprehensive
survey of Christian hymnody.
SMU 410
SCHOLA CANTORIUM
Schola Cantorum: This singing group
specializes in Gregorian chant, renaissance
polyphony, and choral improvisation, and
also performs romantic and contemporary
music. Performance practice issues are
approached as an aesthetic system of
possibilities that generates expressive music
making through informed choices. Students
expand their listening, reading, and
performance skills through rehearsals and
subsequent public performance each
week, singing the weekly Office of
Compline at Christ Church on Sunday
evenings at 9:00 p.m. (October through
April). Rehearsals are Sunday evenings
from 7:30 - 8:45 p.m. (rehearsals begin at
7:00 p.m. on first Sundays of the month)
Permission of instructor Stephen Kennedy
required following audition.
SMU 471
SACRED MUSIC INTERNSHIP

Fall (I-1)
Sacred Music Internship: Students in the
internship will normally be employed in a
church music position in the greater
Rochester area. For those students who do
not seek a paid position, placement as an
intern in a large, local congregation is
required. The internship is intended to
provide students with opportunities to
apply knowledge and skills under the
guidance of faculty members teaching in
organ, sacred music, conducting, and
music education. The internship may
include service playing, directing choirs,
administration, and working as a member
of a team ministry. Students, with the
assistance of the professor of Sacred Music,
will set individualized plans/goals of study
for the internship. Each student can expect
to be observed at least twice per semester
by the faculty mentors, and can expect to
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
54
participate in regular colloquia on current

issues in church music.
SMU 472
SACRED MUSIC INTERNSHIP

Spring (II-1)
Sacred Music Internship: Students in the
internship will normally be employed in a
church music position in the greater
Rochester area. For those students who do
not seek a paid position, placement as an
intern in a large, local congregation is
required. The internship is intended to
provide students with opportunities to
apply knowledge and skills under the
guidance of faculty members teaching in
organ, sacred music, conducting, and
music education. The internship may
include service playing, directing choirs,
administration, and working as a member
of a team ministry. Students, with the
assistance of the professor of Sacred Music,
will set individualized plans/goals of study
for the internship. Each student can expect
to be observed at least twice per semester
by the faculty mentors, and can expect to
participate in regular colloquia on current
issues in church music.
Strings
STR 101
HARP TECHNIQUE I
Fall (I-1)
Harp Technique I: A course for
undergraduate harpists in the freshman
year. Harp technique, and its practical
application to the demands of solo,
chamber, and orchestral literature, will be
studied at the instrument. This course is
designed to strengthen and enhance
existing technique. Topics to be covered
include arpeggios, irregular fingering
patterns, tone production, and tuning.
STR 102
HARP TECHNIQUE II
Spring (II-1)
Harp Technique II: A course for
undergraduate harpists in the freshman
year. Harp technique, and its practical
application to the demands of solo,
chamber, and orchestral literature, will be
studied at the instrument. This course is
designed to strengthen and enhance
existing technique. Topics to be covered
include arpeggios, irregular fingering
patterns, tone production, and tuning.
Trombone
TBN 130
SEC ALTO TROMBONE

TBN 160
PRIMARY TROMBONE
lesson requirement.
TBN 430
SEC ALTO TROMBONE

semester.
TBN 430A
PRL 1/2 HR TROMBONE

semester.
TBN 460
PRIMARY TROMBONE
semester.
TBN 460A
PRIMARY TROMBONE

semester.
Theory
TH 101
MODEL COMPOSITION AND

TONAL ANALYSIS I
Fall (I-2)
Model Composition and Tonal Analysis I:
This course is an introduction to the vertical
and linear dimensions of tonal music. After
a review of musical fundamentals, in which
students will be expected to demonstrate
facility and speed in naming and spelling
basic tonal materials, the course will
introduce traditional contrapuntal
exercises, basic diatonic harmony, and the
paradigmatic construction of formal
phrase units. A major concern of this
course is the relationship between
harmonic, contrapuntal, and formal
prototypes and actual pieces of music
from the 18th and 19th centuries.
TH 101H
MODEL COMPSITION AND

TONAL ANALYSIS I: HONORS
Fall
TH 102

TONAL ANALYSIS II
Spring (II-2.5)
Model Composition and Tonal Analysis II: In
this coursethe second semester of the
undergraduate theory sequencewe will
continue the study of tonal harmony and
voice leading, both through written work
and analysis. We will continue to focus
mostly on diatonic harmony (chords
available within the prevailing key);
however, we will also begin to explore
techniques of tonicization and modulation
(moves to different keys). In the second
half of the semester we will learn about
some new forms: binary, ternary, and
theme-and-variations. As a final
composition project, every student will
write a minuet for string quartet in Classical
style, which will be performed by students
in the class.
TH 102H
MODEL COMP/TONAL ANAL II:

HONORS
Spring
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
55
TH 102I
TH 161I
MODEL COMP/TONAL ANAL II:

INTENSIVE
AURAL MUSICIANSHIP I:
INTENSIVE
Spring
Fall
TH 117
TH 162
THEORY, ANALYSIS,
MUSICIANSHIP REVIEW
AURAL MUSICIANSHIP II
Fall (I -1.5)
Theory, Analysis, Musicianship Review: The
first semester of an accelerated review
course designed for graduate students
who are found to be deficient on the
entrance theory placement examination.
With a focus on eighteenth-century
diatonic procedures, the course integrates
conceptual and aural components of
music theory, including writing, analysis,
listening, singing, keyboard, and model
improvisation.
TH 118
THEORY, ANALYSIS,
MUSICIANSHIP REVIEW
Spring (II-1.5)
Aural Musicianship II: In this second course
in the aural musicianship sequence,
students will complete their aural
understanding of diatonic harmony, will
expand their improvisatory capabilities, will
experience simple modulations, and will
master most of the rhythmic gestures
necessary for performance of Renaissance
and common-practice European art
music. Alto clef will be introduced with
emphasis on rapid and accurate reading,
along with associated transpositions. All
harmonic, melodic, rhythmic, and formal
procedures build on materials mastered in
TH161.
TH 162H
Spring (II - 1.5)

Theory, Analysis, Musicianship Review:
The second semester of an accelerated
course designed for graduate students
who are found to be deficient on the
entrance theory placement examination.
With a focus on late eighteenth- and early
nineteenth-century chromatic procedures,
the course integrates conceptual and
aural components of music theory,
including writing, analysis, listening, singing,
keyboard, and model improvisation. Please
note that students must pass TH 118 before
they will be allowed to register for a 400- or
500-level theory course
AURAL MUSICIANSHIP II:

HONORS
TH 161
TH 201H
AURAL MUSICIANSHIP I

TONAL ANALYSIS III: HONORS
Fall (I-2)
Aural Musicianship I: The primary goal of
aural musicianship study at the Eastman
School of Music is instant, one-to-one
mapping of sound to symbol. In other
words, musicianship training enables
musicians to put the right notes in the right
place with the right expression. The first
course in the sequence will emphasize
strategies for accurate and expressive
reading, improvising, singing, and dictation
using elementary rhythms and diatonic
pitch materials in treble and bass clefs.
TH 161H
AURAL MUSICIANSHIP I:
HONORS
Fall
Spring
TH 162I
AURAL MUSICIANSHIP II:

INTENSIVE
Spring
TH 201

TONAL ANALYSIS III
Fall
Fall
TH 202

TONAL ANALYSIS IV
Spring (II-2.5)
Model Composition and Tonal Analysis IV:
Semester IV of the Eastman four-semester
core curriculum is a course in harmony and
analysis that moves from early nineteenthcentury tonal practice to the forms that
"tonality" took in the late nineteenth and
early twentieth centuries. The later forms of
tonality began to take full advantage of
the equally-tempered, twelve-tone scale,
as does jazz harmony, and thus the course
will conclude with an introduction to jazz
harmony, where many of these "extendedtonal" techniques survive to the present
day. The course is divided into four units: 1.

The Romantic Style: Harmony, Form and
Texture; 2. 19th-century chromatic
harmony; 3. tonality at the turn of the 20th
Century; 4. introduction to jazz harmony.
There will be one compositional project:
students will compose either a 19-century
style Lied, or a "character piece" for piano,
or for solo instrument with piano
accompaniment.
TH 202H

TONAL ANALYSIS IV: HONORS
Spring
TH 202J
HISTORY, ANALYSIS, AND

THEORY OF EARLY JAZZ
Spring (II-2.5)
History, Analysis, and Theory of Early Jazz
(1900-1940): A comprehensive study of
early jazz styles (Ragtime, New Orleans,
Swing), their most significant
representatives (Armstrong, Morton,
Ellington, among others) and their various
contributions to the development of
modern jazz. Major emphases will include
examination of formal design, tonal syntax,
improvisation techniques, and harmonic
vocabulary using several analytical and
contextual perspectives.TH 202J is required
for undergraduate JCM majors in place of
TH 202. Non-jazz majors may NOT use this
course to fulfill their TH 202 requirement.
However, they may take it as an elective
with the instructor's permission.
TH 205

NON-TONAL ANALYSIS
Fall (I-4)
Model Composition and Non-Tonal
Analysis: This course combines a survey of
non-tonal compositional styles with
advanced musicianship exercises focusing
on the relevant repertoire. Analysis and
model composition assignments will
address aspects of pitch-class set and
serial theory, as well as other techniques
developed by composers from about 1880
to the present day. Pre-requisite: TH 202
and 262 or placement by examination.
Category: Theory
TH 205J
ANALYSIS AND THEORY OF

CONTEMPORARY MUSIC AND
JAZZ
Fall (I-4)
Analysis and Theory of Contemporary
Music & Jazz: This course offers a
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
56
comprehensive study of contemporary

music and jazz with an in-depth
examination of compositional styles,
analytical methods, improvisation
techniques, and advanced harmony. This
course is required for undergraduate Jazz
and Contemporary Media (JCM) majors
only, to be taken during junior or senior
year. Recommended for undergraduate
theory majors. Others may take the course
with permission of the instructor.
Baroque style, but with work in later

eighteenth- and early nineteenth-century
styles as well. Review of chorale setting,
writing of chorale preludes and variations,
inventions and suite movements,
introduction to fugue. Relevant analysis
provides context for compositional study.
Prerequisite: TH 202.
TH 260
MUSIC AND THE MIND

Acoustics: An introductory course in the
physical properties of sound, including
vibrating systems, wave propagation, room
acoustics, tuning and temperament, the
psychology of hearing, the physics of
musical instruments and the voice, digital
synthesis and recording, and computer
manipulation of sound. Prerequisite: TH
202. May not be used as a
humanities/science elective.
Spring (II-3)
Music and the Mind: An introduction to the
discipline of music cognition. Topics
surveyed include empirical methods,
psycho-acoustic principles, influence of
Gestalt psychology, music and language,
metric and tonal hierarchies, music and
the brain, aspects of musical development,
and research on musical memory,
expectation, and emotion. Lecture and
discussion format, with exams and final
literature-review research paper. Crosslisted as TH 460. Pre-requisite: TH 101 or MUR
110 or 111.
TH 241
TH 261
COMPUTER APPLICATIONS IN
MUSIC RESEARCH
AURAL MUSICIANSHIP III
TH 212
ACOUSTICS
Fall, Spring (I, II-3 alternate years) Computer

Applications in Music Research: An
introduction to computer programming
and data mining for music research.
Course topics will include object-oriented
programming in C++, Java, and Javascript,
data structure definition and manipulation,
information theory, and topics from
computer science and the computer
music literature. Prerequisite: A basic
familiarity with computers. Student unsure
about their level of experience with
computers should meet with the instructor
before enrolling in this course. May be used
as a humanities/science elective.
TH 251
COUNTERPOINT I
Fall (I-3)
Counterpoint I: A course in modal
counterpoint, focusing on the study of twothree- and four-part compositional
techniques. Writing is primarily in the sacred
styles, but some work in secular styles may
be undertaken. Analysis of masterpieces of
the sixteenth-century repertory provides
context for compositional study.
Prerequisite: TH 202.
TH 252
COUNTERPOINT II
Spring (II-3)
Counterpoint IIL: A course in tonal
counterpoint, focusing primarily on the
Fall (I-1.5)
Aural Musicianship III: In this, the third
course in the aural musicianship curriculum,
students will continue to build on skills
acquired in the earlier courses. New
material in this course emphasizes tenor
clef and its associated transpositions, a
systematic introduction to chromatic
processes in tonal music, various problems
associated with changing meter signatures
and polyrhythms, and perception of tonal
processes in complete movements
composed in larger forms.
TH 261H
AURAL MUSICIANSHIP III:

HONORS
Fall
TH 262
AURAL MUSICIANSHIP IV
Spring (II-1.5)
Aural Musicianship IV: In this, the fourth
course in the aural musicianship curriculum,
students will complete their formal studies
of common-practice tonal relationships
and begin exploration of post-tonal idioms.
In addition, students will learn audiation
strategies for tonal vernacular music from
post-1900. Facility in five clefs and score
reading techniques will be stressed, along
with an examination of multiple strategies
for successfully learning and notating
highly chromatic music. Students will also
learn to read and perform music in
asymmetrical meters, and music that

changes meter asymmetrically. Category:
Theory
TH 262H
MUSICIANSHIP IV: HONORS

Spring
TH 262J
JAZZ AURAL MUSICIANSHIP IV

Spring (II-1.5)
Jazz Aural Musicianship IV: TH 262J is
required for undergraduate JCM majors in
place of TH 262. Non-jazz majors may NOT
use this course to fulfill their TH 262
requirement. However, they may take it as
an elective with the instructor's permission.
TH 281

THEORY
Fall (I-3)
Special Topics in Music Theory: Theory
TH 282

THEORY
Spring (II-3)
Special Topics in Music Theory: Theory
TH 285
COMPREHENSION AND
ANALYSIS
Spring (II-3)
Comprehension and Analysis: An analysis
seminar required for undergraduate theory
majors, and open to all undergraduates. (If
taken by a non-theory major, this course
satisfies the requirement for an upperdivision music academic elective course.)
The course incorporates readings and
analytical procedures from wide-ranging
sources. The focus of the course is on the
analysis of large tonal and post-tonal
works. The coursework culminates in a
large-scale analytical project. Prerequisite:
TH 205 (fifth semester of the theory core)
TH 290
INDEPENDENT STUDY
Fall, Spring
TH 295
SENIOR THESIS
Senior Thesis: This two-semester course is
designed as preparation for graduate
school in music theory. To accomplish
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
57
this, the first semester will focus on

bibliographic and research skills, with the
goal that students will develop a topic,
thesis, and proposal for their senior thesis
project. In the second semester, students
will complete work on their undergraduate
thesis. Students will present and discuss
their work in class. Various members of the
department serve as the primary advisors
for the thesis projects; the instructor of the
thesis course will serve as the second
reader. Prerequisite: TH 285
Comprehension and Analysis.
TH 400
SURVEY OF ANALYTICAL
TECHNIQUES
Analytical Techniques: An introduction to
the basic techniques of both tonal and
non-tonal repertories designed with the
particular needs of the performance major
in mind. The course introduces students to
a broad range of techniques of analysis
and insofar as possible, their implications
for performance. Short assignments and
papers explore the basic analytical
literature and evaluate the results of
various analytical techniques.
TH 401
TOPICS IN TONAL LITERATURE

AND ANALYSIS
Topics in Tonal Literature and Analysis: This
course introduces and explores analytical
techniques and issues relevant to the
traditional tonal musical literature,
addressing as well the performance
implications of analytical decisions insofar
as possible. The course deals with the
analysis of various musical dimensions in a
core repertoire that will vary from semester
to semester. Topics include meter/ rhythm,
harmonic syntax, motivic structure, deeperlevel linear structure, formal processes, and
text/music relationships.
TH 402
TOPICS IN NON-TONAL MUSIC

LITERATURE AND ANALYSIS
Topics in Non-Tonal Music Literature and
Analysis: This course introduces and
explores a broad range of analytical
techniques and issues relevant to non-tonal
music. The course deals with the analysis of
various musical dimensions in a core
repertoire that will vary from semester to
semester. Topics include meter/ rhythm,
harmonic syntax, motivic structure, deeperlevel linear structure, formal processes, and
text/music relationships.
TH 411
TH 441
INTRODUCTION TO THEORY &

ANALYSIS TONAL MUSIC
MUSIC RESEARCH
Fall (I-3)
Introduction to Theory and Analysis of Tonal
Music: Introduction to the theories of
Heinrich Schenker and their application to
the analysis of tonal music. Intensive
analytical work and selected readings.
Prerequisite: at least one upper-level
undergraduate form and analysis course.
Open to DMA, MM, MA, and qualified
undergraduates by permission.
Fall, Spring (I, II-3, alternate years)

Computer Applications in Music Research:
An introduction to computer programming
music literature. For TH 441 additional
programs and readings beyond the
specifications for TH 241 are required.
Prerequisite: A basic familiarity with
computers. Student unsure about their
level of experience with computers should
meet with the instructor before enrolling in
this course.
TH 412
ACOUSTICS
Acoustics: An introductory course in the
physical properties of sound, including
vibrating systems, wave propagation, room
acoustics, tuning and temperament, the
psychology of hearing, the physics of
musical instruments and the voice, digital
synthesis and recording, and computer
manipulation of sound. A research paper
on an approved topic is required.
Prerequisite: TH 202. Students who have
received credit for TH 212 may not enroll in
this course.
TH 421
PEDAGOGY OF THEORY
Pedagogy of Theory: A course in the
materials, organization, techniques, and
problems of the first two years of theory
teaching, designed for DMA students.
Bibliographical survey of texts and sample
teaching. Observation and teaching of
freshman and sophomore classes.
TH 451
COUNTERPOINT I
Fall (I-3)
Modal Counterpoint: Study of the practice
of sixteenth-century modal counterpoint.
Includes development of written skills
through species counterpoint, and study of
stylistic counterpoint as found in the sacred
vocal polyphony of such masters of the
period as Palestrina, Victoria, and Lasso.
Composition of two-, three-, and four-voice
pieces in counter-Reformation style.
TH 452
EIGHTEENTH-CENTURY
COUNTERPOINT
Spring
Spring (II-3)
Eighteenth-Century Counterpoint: Study of
contrapuntal practice of the mature and
late Baroque periods, with emphasis
on the style of J.S. Bach. Composition of
two-, three-, and four-voice chorale
preludes, binary dances, inventions, and
fugues.
TH 431
TH 460
TH 422
PEDAGOGY OF THEORY:
ADVANCED
SEMINAR IN ANALYSIS &

PERFORMANCE
Seminar in Analysis and Performance: This
course deals primarily with the relationship
between analysis and performance
decisions. It also draws upon the history of
performance practice, contemporaneous
sources on the subject, and comparative
evaluation of recorded performances.
Specific works studied are determined by
the instructor in consultation with the
students. A major analysis of an approved
work is required. Prerequisite: TH 400 or the
equivalent.
MUSIC AND THE MIND

Spring (II-3)
Music and the Mind: An introduction to the
discipline of music cognition. Topics
surveyed include empirical methods,
psycho-acoustic principles, influence of
Gestalt psychology, music and language,
metric and tonal hierarchies, music and
the brain, aspects of musical development,
and research on musical memory,
expectation, and emotion. Lecture and
discussion format, with exams and final
literature-review research paper. Crosslisted as TH 260. Pre-requisite: TH 101 or MUR
110 or 111
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58
TH 471
APPRENTICESHIP IN PEDAGOGY
Fall (I-1)
Apprenticeship in Pedagogy: A twosemester student-mentor relationship in
which the student will learn first-hand
about the workings of the undergraduate
curriculum and then design a project. In
the first semester, the student will observe
each of the undergraduate core courses
and keep a journal which reflects selfawareness of pedagogical technique and
materials. The student will submit a written
summary of each of the c. 30 observations
at the end of the semester. In the second
semester, the student will create, design,
and craft an original project that focuses
on some pedagogical aspect of the
written or aural curricula. A teaching recital
and a skills exam are also required as final
projects for TH 472. Open only to M.A. in
Theory Pedagogy majors.
TH 472
APPRENTICESHIP IN PEDAGOGY
Spring (II-2)
Apprenticeship in Pedagogy: A twosemester student-mentor relationship in
which the student will learn first-hand
about the workings of the undergraduate
curriculum and then design a project. In
the first semester, the student will observe
each of the undergraduate core courses
and keep a journal which reflects selfawareness of pedagogical technique and
materials. The student will submit a written
summary of each of the c. 30 observations
at the end of the semester. In the second
semester, the student will create, design,
and craft an original project that focuses
on some pedagogical aspect of the
written or aural curricula. A teaching recital
and a skills exam are also required as final
projects for TH 472. Prerequisites: Open
only to M.A. in Theory Pedagogy majors.
TH 475
INTERMEDIATE KEYBOARD SKILLS

Fall (I-3)
Intermediate Keyboard Skills: Practical
experience in score reading, figured bass
realization, transposition, melody
harmonization, and pop symbols. All
students are expected to perform weekly
assignments at the keyboard.
Prerequisites: TH 202 or equivalent and
Piano 104 proficiency; or permission of
instructor.
TH 476
ADVANCED KEYBOARD SKILLS

Spring (II-3)
Advanced Keyboard Skills: Intensive
practical experience in the realization of
figured bass, score reading with emphasis

on C-clefs, transposition, modulation, and
improvisation. All students are expected to
perform weekly assignments at the
keyboard. Prerequisites: TH 475 or
equivalent. An audition with the instructor,
to be scheduled during the first week of
spring semester, is required of all students.
Instructor's signature required.
TH 480
ADVANCED HARMONY &

COMPOSITION
Fall (I-3)
Advanced Harmony and Composition: A
course that seeks to build a bridge
between undergraduate theory studies
and composition. The advanced material
in Aldwell/Schacter, "Harmony and Voiceleading," furnishes a point of departure for
the course. Assignments begin with melody
harmonization but lead quickly into
sophisticated chorale settings. More
advanced compositional projects include
text setting in Lieder styles of the later
nineteenth century or composition of short
"character" pieces. (Primarily for Theory
majors. Available as an elective for other
students with permission of the instructor.)
TH 481

THEORY
Fall (I-3)
Special Topics in Music Theory: A variety of
analytical and theoretical topics of
changing focus. Specific topics and
TH 481A
WEBSITE CONSTRUCTION I
Summer
TH 482

THEORY
Spring (II-3)
Special Topics in Music Theory: A variety of
analytical and theoretical topics of
changing focus. Specific topics and
TH 490
INDEPENDENT STUDY
Fall, Spring
TH 511
INTRODUCTION TO THEORY &

ANALYSIS TONAL MUSIC
Fall (I-4)
Introduction to Theory and Analysis of Tonal
Music: Introduction to the theories of
Heinrich Schenker and their application to
the analysis of tonal music. Intensive
analytical work and selected readings.
Prerequisite: at least one upper-level
undergraduate form and analysis course.
Preference given to Ph.D. Candidates; MA,
MM, and DMA candidates should take
TH411.
TH 513
INTRODUCTION TO THE THEORY

& ANALYSIS OF 20TH CENTURY
MUSIC
Spring (II-4)
Introduction to the Theory and Analysis of
Twentieth-Century Music: Introduction to
the theory and analysis of non-tonal music.
Topics include cyclic, set, serial, contour,
and transformational theories.
TH 520
PROSEMINAR IN ANALYSIS OF
EARLY MUSIC
Proseminar in Analysis of Early Music:
Study and application, in seminar format,
of analytical techniques appropriate to the
music of the fourteenth through the early
seventeenth centuries. Includes critical
discussion of analytical methodologies,
selective survey of the analytical literature,
and analysis of representative composers
from the Ars Nova to Monteverdi.
Knowledge of music history and literature
of this period is presumed. Familiarity with
techniques of linear analysis is desirable.
Weekly reading assignments, analytical
assignments, class presentations, research
paper. Prerequisite: TH 401 or TH 511 or
TH 521
PEDAGOGY OF THEORY
Pedagogy of Theory: The materials,
organization, techniques, and problems of
undergraduate theory teaching, designed
for Ph.D. students in theory who will be
teaching in the ESM core curriculum.
Intensive review of counterpoint, harmony,
keyboard, and aural skills. Bibliographical
survey of texts and anthologies.
Observation and teaching of freshman
and sophomore classes.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
59
TH 522
PEDAGOGY OF THEORY:
ADVANCED
Spring
TH 523
HISTORY OF MUSIC THEORY,

PART I
Fall (I-4)
History of Music Theory, Part I: Part I of a
two-semester survey of the history of music
theory. The semester will start with the
ancient Greeks and end in the early 18th
century, covering such topics as division of
the pitch continuum, consonance and
dissonance, rhythm/meter, mode/scale,
counterpoint, and figured bass.
TH 524
HISTORY OF MUSIC THEORY,

PART II
Spring (II-4)
History of Music Theory, Part II: Part II of a
two-semester survey of the history of music
theory. The semester will start with early
18th century theory and end in the early
20th century, covering such topics as
counterpoint, figured bass, functional
harmony, tonal form, acoustics, Schenker,
and chromaticism
TH 531
SEMINAR IN ANALYSIS &

PERFORMANCE
Seminar in Analysis and Performance: This
course deals primarily with the relationship
between analysis and performance
decisions. It also draws upon the history of
performance practice, contemporaneous
sources on the subject, and comparative
evaluation of recorded performances.
Specific works studied are determined by
the instructor in consultation with the
students. A major analysis of an approved
work is required. Prerequisite: TH 400 or the
equivalent.
TH 541
MUSIC RESEARCH
Computer Applications in Music Research:
An introduction to computer programming
music literature. For TH 541, additional
programs and readings beyond the
specifications for TH 441 are required.

Prerequisite: A basic familiarity with
computers. Student unsure about their
level of experience with computers should
meet with the instructor before enrolling in
this course.
TH 542
PROSEMINAR IN COMPUTER
APPLICATIONS
Proseminar in Computer Applications:
Topics in object-oriented programming
with Java or C++. Stacks, Queues, and
Graphs; searching and sorting techniques;
recursive algorithms; linked data structures;
advanced music coding languages; and
more sophisticated applications in theory,
musicology, and composition. A substantial
final programming project is required.
Prerequisite: TH 441 or permission of
instructor.
TH 560
PROSEMINAR IN MUSIC
COGNITION
Proseminar in Music Cognition: The
objective of this course is to engage in
professional-level music-cognitive research.
The course surveys primary research in the
field of music cognition and functions as a
"laboratory" course in experimental
method. Students discuss and critique
experimental studies published in journals
and monographs. In addition, the class
works collaboratively to build skills in
experimental design and data analysis via
readings and class
demonstrations/activities. Each student is
expected to design and run an empirical
experiment or computational project as a
final research paper.
TH 581
THEORY SEMINAR
Fall (I-4)
Theory Seminar: Seminar discussion and
research into theoretical topics at the
doctoral level. Subjects covered change
from year to year, depending upon the
mutual interests of faculty and students.
Exploration of recent developments and
articles in the area of theory. Prerequisite:
TH 582
THEORY SEMINAR
Spring (II-4)

TH 583
THEORY SEMINAR
Fall (I-4)
TH 584
THEORY SEMINAR
Spring (II-4)
TH 590
INDEPENDENT STUDY
Fall, Spring
TH 591
THEORY COLLOQUIUM
Theory Colloquium: Attendance and
participation in Department colloquia.
TH 595

arranged)
Trumpet
TPT 130
SEC TRUMPET
TPT 160
PRIMARY TRUMPET
lesson requirement.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
60
TPT 430
VCE 130
SEC TRUMPET
SEC VOICE

semester.

TPT 430A
VCE 430
PRL 1/2 HR TRUMPET

semester.
TPT 460
PRIMARY TRUMPET
semester.
TPT 460A
PRIMARY TRUMPET
semester.
Voice
VCE 160
PRIMARY VOICE
lesson requirement.
SEC VOICE
semester.
VCE 430A
PRL 1/2 HR VOICE

semester.
VCE 460
PRIMARY VOICE
semester.
VCE 111
VOICE CLASS: RC NON-MUSIC

MAJ
Fall, Spring
VCE 112
VOICE CLASS: RC NON-MUSIC

MAJ
Fall, Spring
VCE 460A
PRIMARY VOICE
semester.
Violoncello
VCL 130
SEC CELLO
VCL 160
PRIMARY CELLO
lesson requirement.
VCL 430
SEC CELLO
semester.
VCL 430A
PRL 1/2 HR CELLO

semester.
VCL 460
PRIMARY CELLO
semester.
VCL 460A
PRIMARY CELLO
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
61

semester.

Viola
VLN 160
VLA 130

lesson requirement.
SEC VIOLA
VLA 160
PRIMARY VIOLA
lesson requirement.
VLA 430
SEC VIOLA
semester.
PRIMARY VIOLIN
VLN 430
SEC VIOLIN
semester.
VLN 430A
PRL 1/2 HR VIOLIN
VLA 430A

semester.
PRL 1/2 HR VIOLA
VLN 460

semester.
VLA 460A
PRIMARY VIOLA
semester.
Violin
VLN 130
SEC VIOLIN
PRIMARY VIOLIN
semester.
VLN 460A
PRIMARY VIOLIN
semester.
Wellness
WLN 101
YOGA FOR MUSICIANS

Fall
Women's Studies
WST 210
CONSTRUCTING UTOPIAS
Constructing Utopias: This course
considers the history of real and imagined
utopian communities from medieval
monasteries through contemporary
science fiction. Sometimes utopian
communities succeed, providing
interesting case studies in the effects of
social planning. Even when they don't
succeed, their design and discussion
represents an important form of social
criticism. Studying their history provides a
window into the political, economic, and
social development of Europe and the
United States from the Middle Ages and
the Renaissance to the present day. Crosslisted as HIS 210.
WST 220
GERMAN WOMEN WRITERS

German Women Writers: An introduction
to the multifaceted culture of women's
literature written in Germany from about
1700 to the present. In a seminar setting,
students explore a wide range of writing by
women, including fairy tales,
autobiography and autobiographical
fiction, letters, short stories, and novels in
the context of social, political, and
historical developments. Cross-listed as GER
220.
WST 230
MEN, WOMEN & WAR IN THE

20TH CENTURY
Men, Women, and War in the Twentieth
Century: An exploration of major historical
changes of the twentieth century by
focusing on the social impact of modern
war, especially World Wars I and II. Topics
include the crisis of liberalism, the rise of
fascism, the horror of the Holocaust,
occupation and resistance, comparisons
of military and civilian experience, pacifist
politics, women in the military, the birth of
psychoanalysis, the spread of modernist art
and culture, the rise of the welfare state,
and contemporary international affairs.
Cross-listed as HIS 230.
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
62
WST 232
INTERNATIONAL HUMAN
RIGHTS
International Human Rights: What does it
mean to be human? What different kinds
of rights might be part of different people's
working definitions? How should
we act on any or all of those different
definitions today? This course will look at
both (a) the historical development of
conflicting theories of human rights and (b)
more contemporary debates about their
ideal extent, their practical exercise, and
the preferred means of their necessary
enforcement. Cross-listed as HIS 232.
WST 240
WOMEN AND RELIGION

Women and Religion: A study of
conceptions of women embodied in the
imagery of various religious traditions, the
role of women in worship, and the impact
of religious traditions on feminine
experience and social definitions of gender
roles. For each region, we consider both
religious doctrine and the lives of women in
the context of societies holding to these
religious beliefs. Cross-listed as AR 240.
WST 250
CONFLICTS IN FEMINISM

Albert Camus (1913-1960). In
addition to studying their philosophical
work, we will also look at their participation
in the Resistance to German occupation
during World War II, their responses to the
Cold War, their criticisms of the Algerian
War and the Vietnam War, and their
contributions to twentieth-century socialist
and feminist movements. Readings
include plays, novels, philosophical essays,
and political criticism. Taught in English.
Cross-listed as FR 272, HIS 272, PHL 272.
WST 278
VIRGINIA WOOLF & HER

WORLD
movement. Cross-listed as ENG 278, HIS
278.

Conflicts in Feminism: People often think of
feminism as a relatively recent
phenomenon, but in fact arguments for
sexual equality have existed since at least
the eighteenth century. This course studies
the history and theory of different kinds of
feminism by considering a series of
"conflicts in feminism": historic moments
when feminists have disagreed over how to
address given social situations. Topics will
be drawn from the experience of women
and men in Europe and the United States
from the eighteenth century through the
present. Cross-listed as HIS 250.
WST 272
EXISTENTIALISM: SARTRE, DE
BEAUVOIR, & CAMUS (IN
TRANSLATION)
_____________________________________________________________________________________________________________________________________________________________________________________________________________________________
63

EASTMAN SCHOOL OF MUSIC COURSE CATALOG

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Accompanying

Jazz Studies and Contemporary Media

Arts Leadership Curriculum

Applied Music Lessons (Summer)

Eastman Initiatives Curriculum

English as a Second Language

Eastman School of Music (Speical Registrations)

Freshman Writing Seminar

PRL 1/2 HR ACCOMPANYING

totaling 6 semesters at the end of their

the instructor. Strong interest in languages

ENGLISH LYRIC DICTION

GERMAN LYRIC DICTION

FRENCH LYRIC DICTION

Fall, Spring (I, II-1)

ITALIAN LYRIC DICTION

DMA DISSERTATION PROJECT

HISTORY OF AMERICAN ART

the narrative of American art. In addition

HISTORY OF WESTERN ART

an introduction to modern architecture

TOPICS IN THE VISUAL ARTS

TOPICS IN THE VISUAL ARTS

semester and may be half-semester (early

Fall, Spring (I, II-1)

Arts Leadership Curriculum

THE HEALTHY MUSICIAN

THE HEALTHY MUSICIAN

semester courses. All graduate students

ARTS LEADERSHIP INTERNSHIP

required to register for other than the ALC

course may be used to fulfill certificate,

THE HEALTHY MUSICIAN

THE HEALTHY MUSICIAN

ARTS LEADERSHIP INTERNSHIP

Applied Music LessonsSUMMER

GRADUATE APPLIED LESSON

GRADUATE APPLIED LESSON:

RELIGIONS OF THE WORLD

MEANING IN EVERYDAY LIFE

WOMEN AND RELIGION

Fall, Spring (I, II-3)

Fall, Spring (I, II-3)

THE NATURE OF LOVE

RELIGION AND CULTURE

PRL 1/2 HR BASSOON

BAROQUE CHAMBER MUSIC

Fall, Spring (I, II-1)

INTRO TO WOODWIND QUINTET

INTRO TO STRING QUARTET

VOICE REPERTOIRE JUNIOR

VOICE REPERTOIRE SENIOR

DUO PIANO SEMINAR

DUO PIANO SEMINAR

VOCAL CHAMBER MUSIC

INSTRUMENTAL SONATA & DUO

VOICE REPERTOIRE FOR PIANIST

PIANO CHAMBER MUSIC

song up to circa 1900. CHB 432 continues

GRAD BAROQUE CHAMBER

DUO PIANO SEMINAR

PRL 1/2 HR CLARINET