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C. Brad Foley, Dean

541-346-3761
541-346-0723 fax

121 MarAbel B. Frohnmayer Music Building
1225 University of Oregon
Eugene OR 97403-1225

http://music.uoregon.edu/

Faculty

D. Tyler Abbott, instructor (double bass, jazz string bass). BM, 1999, Eastern Washington; MM, 2003, Oregon. (2003)

Donald Addison, adjunct instructor (ethnomusicology). BMus, 1965, Oregon; MA, 1971, California, Los Angeles; PhD, 1998, Oregon. (1999)

Barbara Myers Baird, instructor (piano, harpsichord, music appreciation). BMus, 1971, Texas Christian; MMus, Southern Methodist, 1976; DMA, 1988, Oregon. (1986)

Molly Barth, assistant professor (flute). BM, 1997, Oberlin College; Artist Diploma, 2000, Cincinnati; MM, 2003, Northwestern. (2008)

Craig Bender, adjunct instructor (instrument repair). (1999)

Jack Boss, associate professor (theory, composition); summer session coordinator. BMus, 1979, MMus, 1981, Ohio State; PhD, 1991, Yale. (1995)

Andiel Brown, instructor (gospel choirs). BMus, 2008, Oregon. (2008)

David R. Case, senior instructor (classical guitar). BA, 1979, MA, 1984, Oregon. (1975)

Kwan Leong "Pius" Cheung, assistant professor (percussion). BMus, 2004, Curtis Institute; Artist Diploma, 2006, Boston Conservatory; DMA, 2010, Michigan, Ann Arbor. (2011)

David Crumb, associate professor (composition, theory). BM, 1985, Eastman School of Music; MA, 1991, PhD, 1992, Pennsylvania. (1997)

Louis DeMartino, adjunct instructor (clarinet). BM, 2003, New England Conservatory of Music; MM, 2005, Rice. (2012)

Michael P. Denny, instructor (guitar, jazz studies). BA, 1992, City College of New York; MA, 1995, Oregon. (1995)

Frank M. Diaz, assistant professor (music education). BME, 1998, Florida State; MM, 2003, South Florida; PhD, 2010, Florida State. (2010)

Rodney Dorsey, associate professor (conducting); director, bands. BME, 1988, Florida State; MM, 1992, DM, 2006, Northwestern. (2013)

Alexandre Dossin, associate professor (piano, piano literature). MFA, 1996, Moscow Tchaikovsky Conservatory; DMA, 2001, Texas, Austin. (2006)

Karen Esquivel, instructor (opera, voice). BS, 1978, Nebraska, Lincoln; MM, 1990, 2006, DMA, 2009, Florida State. (2011)

C. Brad Foley, professor (saxophone); dean. BA, 1975, Ball State; MM, 1977, DMA, 1983, Michigan. (2002)

Fritz Gearhart, associate professor (violin). BM, 1986, MM 1988, Eastman School of Music. (1998)

Roger Mathew Grant, assistant professor (music theory). BM, 2005, Ithaca College; PhD, 2010, Pennsylvania. (2012)

Eliot Grasso, adjunct instructor (musicology). BA, 2005, Goucher College; MA, 2007, Limerick; PhD, 2011, Oregon. (2011)

Margret Gries, adjunct instructor (musicology. collegium musicum). BA, 1969, Pacific Lutheran; MMus, 1985, Central Washington; PhD, 2012, Oregon. (2012)

Michael Grose, associate professor (tuba, basic music). BM, 1984, MM, 1985, Northwestern. (2001)

Henry Henniger, assistant professor (trombone). BM, 2002, Indiana, Bloomington; MM, 2004, Manhattan School of Music. (2010)

Gary Hobbs, adjunct instructor (jazz drum set). (1998)

Joe Ingram, adjunct instructor (music education). BA, 1977, Seattle Pacific. (2011)

David Jacobs, assistant professor (conducting, orchestra). BM, 2000, Duquesne; MA, 2002, Central Florida; DMA, 2011, Eastman School of Music. (2012)

John Jantzi, adjunct instructor (keyboard skills). Certificat d’études supérieures d’orgue avec mention bien, 1984, Conservatoire de Musique de Geneve; AA, 1974, Hesston; BA, 1978, Seattle Pacific; MM, 1995, PhD, 2002, Oregon. (2002)

Tegan Johnson, adjunct instructor (music education). BMus, 2001, Oregon; MAT, 2006, Oregon State. (2006)

Loren Kajikawa, assistant professor (ethnomusicology). BA, 1999, California, Berkeley; MA 2003, PhD, 2009, California, Los Angeles. (2009)

Winifred Kerner, instructor (keyboard skills). BA, 1978, MA, 1980, Wesleyan; MM, 1982, Michigan. (1999)

Tobias Koenigsberg, associate professor (jazz piano, jazz studies); associate director, jazz studies. BM, 1998, Oregon; MM, 2003, Eastman School of Music. On leave winter 2014. (2003)

Dean F. Kramer, professor (piano). BMus, 1973, Oberlin Conservatory; MMus, 1976, DMA, 1992, Texas, Austin. (1983)

Lori Kruckenberg, associate professor (musicology). BA, 1985, Bethany (Kansas); MA, 1991, PhD, 1997, Iowa. (2001)

Robert Kyr, Philip H. Knight Professor of Music (composition, theory); director, Pacific Rim Gamelan, Vanguard Concert Series, Music Today Festival. BA, 1974, Yale; postgraduate certificate, 1976, Royal College of Music; MA, 1980, Pennsylvania; PhD, 1989, Harvard. (1990)

Donald R. Latarski, senior instructor (jazz and blues guitar). BS, 1979, Oregon. (1984)

Kathryn Lucktenberg, professor (violin, chamber music). BM, 1980, Curtis Institute. (1993)

Terry McQuilkin, adjunct instructor (composition). BM, 1977, MM, 1979, Southern California; DMA, 1995, Oregon. (2002)

Brian McWhorter, associate professor (trumpet). BMus, 1998, Oregon; MM, 2000, Juilliard. (2006)

Eric Mentzel, associate professor (voice, diction, collegium musicum). BM, 1980, Temple; MFA, 1983, Sarah Lawrence. (2002)

Lance Miller, adjunct instructor (audio recording); recording engineer. AA, 1982, Mt. Hood Community. (1998)

Christopher Olin, instructor (choral music education). BME, 2000, Nevada; MMus, 2008, Oregon. (2008)

Stephen W. Owen, Philip H. Knight Professor of Music (jazz studies); director, jazz studies. BMusEd, 1980, North Texas State; MMus, 1985, Northern Colorado. (1988) 

Timothy Pack, senior instructor (theory, musicianship). BA, 1993, Huntingdon College; MM, 1998, Westminster Choir College, Rider; PhD, 2005, Indiana, Bloomington. (2005)

Phyllis M. Paul, associate professor (music education); associate dean; director, undergraduate studies. BME, 1983, Lenoir-Rhyne; MME, 1990, PhD, 2003, Florida State. (2003)

Sharon J. Paul, professor (choral conducting). BA, 1978, Pomona; MFA, 1981, California, Los Angeles; DMA, 1984, Stanford. (2000)

Timothy A. Paul, associate professor (bands); associate director, bands. BM, 1983 Lenoir-Rhyne; MM, 1989, Florida State; DMA, 2006, Colorado. (2004)

Melissa Peña, assistant professor (oboe, music appreciation). BM, 1996, Illinois, Urbana-Champaign; MM, 1998, Missouri, Kansas City. (2012)

Steven Pologe, professor (cello, chamber music). BM, 1974, Eastman School of Music; MM, 1978, Juilliard School. (1993)

Robert D. Ponto, associate professor; assistant dean, admissions, recruiting. BME, 1979, Wisconsin, Eau Claire; MM, 1985, Michigan, Ann Arbor. (1992)

David Riley, associate professor (collaborative piano). BM, 1992, Ithaca College; MM, 1995, Cleveland Institute of Music; DMA, 2000, Eastman School of Music. (2004)

Stephen Rodgers, associate professor (music theory, musicianship). MPhil, 2001, PhD, 2005, Yale. (2005)

Douglas Scheuerell, adjunct instructor (tabla). BMus, 1971, Wisconsin, Madison. (1993)

Idit Shner, associate professor (saxophone, jazz studies). BM, Oklahoma City; MM, Central Oklahoma; DMA, 2007, North Texas. (2005)

Marian Elizabeth Smith, professor (musicology). BA, 1976, Carleton; BMus, 1980, Texas, Austin; PhD, 1988, Yale. (1988) 

ElRay Stewart-Cook, adjunct instructor (musicology). BA, 1981, MA, 1985, DMA, 1991, Oregon. (1999)

Jeffrey Stolet, professor (music technology, intermedia collaboration); director, Future Music Oregon, CPU Concert Series. BMus, 1977, MMus, 1979, New Mexico; PhD, 1984, Texas, Austin. (1988)

Leslie Straka, professor (viola, chamber music); director, Community Music Institute. BM, 1976, MMus, 1978, DMA, 1987, Arizona State. (1987)

Ann Tedards, professor (voice, diction, pedagogy); associate dean; director, graduate studies. AB, 1970, Sweet Briar; MM, 1972, North Carolina, Chapel Hill; DMA, 1997, Peabody Conservatory of Music, Johns Hopkins. (1987)

Chet Udell, instructor (music technology, music appreciation). BM, 2005, Stetson; MM, 2008, PhD, 2012, Florida. (2012)

Steve Vacchi, professor (bassoon, chamber music). BM, 1990, Eastman School of Music; MM, 1993, Hartt School; DMA, 1997, Louisiana State. (2000)

Lydia Van Dreel, associate professor (horn). BM, 1991, Wisconsin, Madison; MM, 1993, Juilliard. (2006)

Marc Vanscheeuwijck, associate professor (musicology, collegium musicum). BA, 1982, MA, 1984, PhD, 1995, Ghent. On leave fall 2013. (1995) 

Milagro Vargas, professor (diction, pedagogy, voice). BM, 1977, Oberlin Conservatory; MM, 1981, Eastman School of Music. (1992)

Claire L. Wachter, associate professor (piano pedagogy, piano). BM, 1975, Peabody Conservatory; MM, 1977, DMA, 1993, Texas, Austin. (1991)

Nathan Waddell, adjunct instructor (music history). AA, 1980, Lane Community; BMus, 1984, MMus, 1995, Oregon. (2002)

W. Sean Wagoner, instructor (percussion, music appreciation, scoring). BMus, 1994, MMus, 1997, DMA, 2001, Oregon. (2001)

Laura Decher Wayte, adjunct instructor (voice). BA, 1990, Vermont; MM, 1996, San Francisco Conservatory of Music. (2007)

Lawrence Wayte, adjunct instructor (musicology). BA, 1985, Wesleyan; MA, 1999, San Francisco State; PhD, 2007, California, Los Angeles. (2008)

Lillian Wells, instructor (string pedagogy); assistant director, Community Music Institute. BA, 2005, Oregon; MM, 2007, Hartt School. (2009)

Eric Wiltshire, associate professor (instrumental music education); assistant director, bands. BA, 1991, San Jose State; MA, 1994, Washington State; PhD, 2006, Washington (Seattle). (2006)

Carl Woideck, senior instructor (jazz history, rock music history, blues history). BMus, 1981, MS, 1989, Oregon. (1996)

Juan Eduardo "Ed" Wolf, assistant professor (ethnomusicology). BA, BS, 1993, Notre Dame; MS, 1995, Northwestern; MA, 2007, PhD, 2013, Indiana, Bloomington. (2013)

Laura Zaerr, adjunct instructor (harp). BMus, 1984, Oregon; MM, 1986, Eastman School of Music. (2001)

Emeriti

Wayne Bennett, professor emeritus. BME, 1968, Oklahoma State; MM, 1969, PhD, 1974, North Texas. (1978)

Peter Bergquist, professor emeritus. BS, 1958, Mannes College; MA, 1960, PhD, 1964, Columbia. (1964)

Leslie T. Breidenthal, professor emeritus. BS, 1948, MA, 1949, Columbia; AMusDoc, 1965, Michigan. (1967)

Richard G. Clark, associate professor emeritus. BS, 1964, MA, 1971, Oregon; DMA, 1977, Washington (Seattle). (1982)

David P. Doerksen, associate professor emeritus. BME, 1956, Willamette; MM, 1969, Southern California; DMA, 1972, Oregon. (1983)

John Hamilton, professor emeritus. AB, 1946, California, Berkeley; MMus, 1956, DMA, 1966, Southern California. (1959)

J. Robert Hladky, professor emeritus. BMus, 1950, Oklahoma State; MMus, performer’s certificate, 1952, AMusDoc, 1959, Eastman School of Music. (1961)

Robert I. Hurwitz, professor emeritus. AB, 1961, Brooklyn; MMus, 1965, PhD, 1970, Indiana. (1965)

Gary M. Martin, professor emeritus. BA, 1961, MA, 1963, Adams State; PhD, 1965, Oregon. (1966)

James A. Miller, professor emeritus. BA, 1952, Goshen; MMus, 1956, AMusDoc, 1963, Michigan. (1965)

J. Robert Moore, professor emeritus. BMusEd, 1961, MMus, 1962, Tulsa; DMA, 1980, Eastman School of Music. (1975)

Randall S. Moore, professor emeritus. BA, 1963, MA, 1965, Oregon; PhD, 1974, Florida State. (1974)

Harold Owen, professor emeritus. BMus, 1955, MMus, 1957, DMA, 1972, Southern California. (1966)

George W. Recker, associate professor emeritus. Former principal trumpet, Kennedy Center Opera House Orchestra, Florida State University, George Peabody College, 1964–69. (1983)

H. Royce Saltzman, professor emeritus. BA, 1950, Goshen; MMus, 1954, Northwestern; DMA, 1964, Southern California. (1964)

Victor Steinhardt, professor emeritus. BMus, 1964, Mount St. Mary’s; MA, 1967, California, Los Angeles. (1968)

Stephen Stone, associate professor and assistant dean emeritus. BS, 1949, MS, 1956, DMA, 1971, Oregon. (1976)

Richard Trombley, associate professor emeritus. BS, 1961, Juilliard School; MMus, 1962, Manhattan School; DMA, 1977, Stanford. (1963)

Monte Tubb, associate professor emeritus. BA, 1956, Arkansas; MA, 1960, Indiana. (1966)

Mary Lou Van Rysselberghe, senior instructor emerita. BMus, 1956, MMus, 1976, Oregon. (1977)

Jeffrey Williams, professor emeritus. BMus, 1965, North Texas; MS, 1966, Illinois; DMA, 1974, North Texas. (1980)

The date in parentheses at the end of each entry is the first year on the University of Oregon faculty.

Participating

John Fenn, arts and administration

Ann B. Shaffer, library

About the School

Facilities

The School of Music and Dance’s five-unit building complex includes the 540-seat Beall Concert Hall, acclaimed for its superb acoustics; separate band, choir, and orchestra rehearsal rooms with support facilities; practice rooms; a small recital hall; studio offices, classrooms, and seminar rooms.

In 2008, two new wings were added to the MarAbel B. Frohnmayer Music Building, containing state-of-the-art, acoustically isolated teaching studios, classrooms, and practice rooms. The Leona DeArmond Academic Wing provides studios for the Suzuki Strings Program, a music education teaching laboratory, twenty-eight teaching studios, classrooms, and practice rooms. The Thelma Schnitzer Performance Wing contains a symphony-size rehearsal hall, dedicated rehearsal spaces for jazz and percussion studies, a recording studio, and additional practice rooms. Significant renovations were also made to the existing facilities.

Collier House—the second-oldest building on the UO campus—has been added to the list of the school’s facilities. Built in 1885–86 by the Collier family, it is a rare example of a late Victorian house in bracketed style, with an Italianate-style interior popular in the Northwest in the late 1800s. Both the house and grounds are listed on the Inventory of Historic Sites and Structures. It has been a residence for a university president and a chancellor, a faculty club, a restaurant, and a meeting house–pub. In August 2004, music history faculty offices and the Early Music Program were moved to Collier House. A variety of courses, seminars, meetings, recitals, and programs are held there.

Music Services, located on the third floor of Knight Library, contains more than 41,000 recordings and 1,000 serials, including composers’ complete works, music reference resources, current and bound periodicals, interactive music CD-ROM programs, and a collection of more than 27,000 books and 51,000 cores. The Douglass Listening Room holds recordings (LPs, cassettes, and compact disks). Facilities include listening carrels with remote-control capability, individual listening rooms, and two group-listening rooms. The score and record collections’ strengths include music by Oregon composers, women composers, and contemporary publications provided by approval plans for recently published North American and European scores. The book collection includes a large German-language collection as well as standard music resources and most university press publications. Reference service to the collection is provided by Music Services. The complete music and recording collections are included in the UO Libraries online catalog, libweb.uoregon.edu.

The School of Music and Dance houses two pipe organs, including a nationally recognized organ by Jurgen Ahrend of East Friesland, Germany—a concert instrument unique in America—and a two-manual tracker organ by David Petty and Associates. Two of the five harpsichords available for student use are French doubles by William Dowd. The others are a German double by Keith Hill, an Italian by Owen Daly, and a Zuckerman single harpsichord. Other keyboard instruments include five Steinway concert grand pianos, one clavichord, pianos in each classroom and practice room, and a modern group piano laboratory featuring Clavinova digital keyboards.

Five studios facilitate electroacoustic and new-media creation. The main studio also serves as a classroom and performance space for sonic and videographic realization. The smaller studios are designed as learning environments utilizing smaller instrumental configurations, fully compatible with the main facility. The components in the various studios include a Sony DMX-R100 digital audio mixer, multiple Yamaha digital mixers, Symbolic Sound Kyma systems, and Pro Tools systems. In addition, the studios provide the Bias Peak digital audio editing software and the Max/MSP/Jitter programming environment. A battery of game controllers and infrared controlling devices are also available. An eight-channel Tannoy monitoring system complements the large studio.

The university owns an extensive collection of orchestral and band instruments and a distinctive collection of ethnic instruments and reproductions of early musical instruments.

The Pacific Rim Gamelan performs on the beautiful instruments of Gamelan Suranadi Sari Indra Putra, donated to the school in 1986 by John and Claudia Lynn of Eugene. The ensemble is a multicultural composing and performing orchestra, and works composed by its members use instruments from around the world as well as gamelan instruments.

Kyai Tunjung Mulya ("Noble Lotus Blossom") is a complete central Javanese court gamelan orchestra, consisting of more than eighty iron, brass, bronze, teak, and bamboo instruments. Classes and workshops in Javanese gamelan music are taught periodically by visiting musicians from Indonesia.

The Kammerer Computer Laboratory offers students the opportunity to become familiar with a variety of mainstream software for music notation as well as instructional software in music theory and aural skills. Other resources in the lab include MIDI (musical instrument digital interface), sound-generating and sequencing software programs; access to the Internet; e-mail; Microsoft Office applications; and Adobe graphic editing programs for academic use, exploration, and development of computer skills. The lab is equipped for digital audio editing. Our current software listing is Max/MSP, Microsoft Office, Apple Logic Studio, Apple Final Cut, Finale, and Sibelius.

Concerts and Recitals

More than 300 concerts and recitals are presented on campus throughout the year by visiting artists, members of the School of Music and Dance faculty (Faculty Artist Series), and more than thirty student ensembles. Other regularly scheduled concerts include performances by internationally famous artists sponsored by the Chamber Music at Beall series and the World Music Series.

Hosted events include the Northwest Percussion Festival, Northwest Horn Society regional symposium, International Tuba Euphonium Association Northwest regional conference, American Liszt Society Festival, Northwest Suzuki Institute summer camp, Community Music Institute recitals, Carl Orff workshops, three high school summer music camps, and lectures from Robert M. Trotter visiting professors.

The annual Vanguard Concert Series features 20th-century music in concerts and workshops. Nationally prominent artists give a public concert and hold workshops in which they read, rehearse, and record music composed for them by members of the Composers Forum.

The biennial Music Today Festival, founded and directed by Robert Kyr, is a series of concerts and cultural events that celebrates 20th- and 21st-century music from around the world. The festival features regional performers and ensembles as well as internationally renowned artists.

Jazz concerts and workshops by prominent artists offer opportunities for university students to perform. The Jazz Studies Program hosts the Oregon Jazz Celebration, an annual weekend festival that includes workshops for middle school, high school, and college jazz ensembles.

Since 1969, the School of Music and Dance has hosted the annual Oregon Bach Festival during a two-week period in late June and early July. The festival, founded by Helmuth Rilling and Royce Saltzman and now under artistic director and conductor Matthew Halls, combines an educational program in choral music for academic credit with the offering of some fifty public concerts and events. While the focus is Bach, major choral and instrumental works by other composers are programmed regularly. Distinguished soloists from around the world are featured with the festival chorus and orchestra. Every other year the School of Music and Dance offers a Composers Symposium in conjunction with the Oregon Bach Festival.

THEME (Theory, History, Ethnomusicology, Music Education)—a group of faculty members and graduate students interested in music research—meets three or four times a term on Friday afternoons to share the results of ongoing or recently completed research, to discuss the profession of teaching and research, and to hear guest speakers. Some recent guests are Anne Azéma, Michael Broyles, Thomas Christensen, Robert Duke, Allen Forte, Robert Gjerdingen, Douglas Hofstadter, Andrew Homzy, Vijay Iyer, Mark Johnson, Harald Krebs, Barbara Lundquist, Henry Martin, Margarita Mazo, Susan McClary, Ingrid Monson, Bruno Nettl, Alejandro Planchart, Harold Powers, Katharine Preston, Jihad Racy, Carl Schachter, Christopher Smith, Joseph Straus, Steven Strunk, Michael Tenzer, Alan Walker, and Keith Waters.

Student Organizations

The professional music fraternity, Mu Phi Epsilon, and the Kappa Kappa Psi band fraternity maintains chapters at the University of Oregon. There is also an active collegiate chapter of the National Association for Music Education.

Ensembles

University Symphony Orchestra, Chamber Choir, Oregon Wind Ensemble, Oregon Jazz Ensemble, Oregon Symphonic Band, University Singers, Women’s Choir, Men's Choir, Opera Ensemble, Repertoire Singers, Campus Band, Campus Orchestra, Oregon Marching Band, Green Garter Band, Yellow Garter Band, Oregon Basketball Band, Oregon Percussion Ensemble, University Percussion Ensemble, Trombone Choir, Jazz Guitar Ensemble, Brass Ensemble, Jazz Laboratory Bands, small jazz ensembles, University Gospel Ensemble, University Gospel Choir, Gospel Singers, Pacific Rim Balinese Gamelan, Javanese Gamelan, Celtic Ensemble, East European Folk Ensemble, and many other small chamber ensembles offer membership and performance opportunities to qualified students.

The Collegium Musicum, a vocal-instrumental group, provides opportunities for the study of Renaissance, baroque, and classical music, using the school’s collection of reproductions of Renaissance and baroque instruments. The repertory and activities of these ensembles complement school courses in history, criticism, and performance-practice studies.

Financial Assistance

See the Student Financial Aid and Scholarships section of this catalog for complete information about financial aid, including loans.

Scholarships

The University of Oregon School of Music and Dance gratefully acknowledges the generous contributions of individuals, foundations, businesses, and organizations that have established named endowed and annual scholarships for the benefit of music and dance students. More than $500,000 is awarded annually in music scholarships. While a large portion of them are allocated for undergraduate study, limited scholarship funding is also available for graduate students. Information on music scholarships is available from the Music Undergraduate and Music Graduate offices of the School of Music and Dance, on the school’s website, or by telephone, 541-346-1164 or -5664.

Admitted undergraduate and graduate music majors are eligible for scholarships, which may be granted for more than one year. Most music awards are given on the basis of musical achievement and academic accomplishment. Some are given on the basis of financial need. To determine scholarship recipients, the music and dance faculty relies on the applicant’s academic record, application file, and an audition. The audition should be in person if possible, but by CD, DVD, cassette tape, or video recording when necessary.

Graduate Teaching Fellowships

A limited number of Graduate Teaching Fellowships are available to admitted graduate music and dance majors. In addition to the fellowship stipend, tuition and health insurance coverage is paid by the university. For more information, applicants should contact the Music Graduate Office at 541-346-5664 or the Department of Dance at 541-346-3386.

Fees

The fee for private performance studies (studio instruction) is $75 per credit, per term. An additional maintenance fee of $25 per term is applied for harpsichord, organ, and classical percussion.

Students must register for at least 2 credits of performance study. The number of lessons per term is determined in consultation with the instructor. Typically, it is one less than the number of weeks of instruction in the term.

Other Fees (per term) Dollars
Ensemble fee 25
Rental of university instruments is based on use and value—maximum fee 20–60
Short-term instrument rental (per week) 10
Summer instrument rental 60
Percussion studies instrument fee 25
MIDI music lab course fee 75
Audio recording lab course fee 75
Use of electronic studio course fee 85
Use of organs and harpsichords 25
Music education course fee 25
Keyboard skills course fee 10
Oregon Marching Band uniforms and equipment fee 45–60

A student who needs an accompanist is typically charged a fee by the accompanist.

Performance Studies

Courses in performance studies are listed with the MUP subject code. MUP courses fall into two general categories:

Basic and intermediate performance studies (MUP 100–162). Fee required

Performance Studies (MUP 170–191, 271–291, 341–361, 371–391, 471–491, 611–631, 641–661, 670–691, 741–761, 771–791). Fee required

Enrollment in any performance studies sequence must be preceded by an audition. Auditions are conducted to establish details (e.g., level, credits) for registration. Auditions also precede advancement from one level to another.

Performance studies courses carry 2 to 4 credits a term. Students giving recitals must be enrolled in performance studies and may enroll in Reading and Conference (MUS 405 or 605) during the term of the recital. The number of credits, up to 4, for Reading and Conference is determined by the instructor. Prerecital hearings are required to evaluate the student’s readiness for public performance. After the recital, a faculty evaluation is required. If approval is given, the recital is formally acknowledged as a fulfilled degree requirement.

Enrollment in performance studies is sometimes limited because of faculty teaching loads. Under such circumstances, priority is given to continuing music majors. Students who are not assigned to a faculty member may study with a graduate teaching fellow for credit at extra cost.

Details concerning levels, repertory, and other matters are available upon request.

Piano studies students at the MUP 171 level or above have an accompanying requirement described under Ensemble Requirement.

General Procedures and Policies

Students are responsible for knowing about degree requirements and university and School of Music and Dance procedures and policies. This information is found in several sections of this catalog, including About the School, earlier in this section of the catalog. See also the Registration and Academic Policies and Graduate School sections.

Undergraduate Studies

Nonmajors

Courses

The School of Music and Dance offers nonmajors a variety of music courses and performance ensembles. See course listings for details. The following courses, which are open to students who haven’t had musical instruction, satisfy some of the university’s general-education requirements. See Group Requirements and Multicultural Requirement in the Registration and Academic Policies section of this catalog.

Understanding Music (MUS 125)

Rock History, 1950–1970 (MUS 264)

Rock History, 1965 to Present (MUS 265)

History of the Blues (MUS 270)

First Nights in American Music (MUS 280)

Music of the Woodstock Generation (MUS 281)

American Ethnic and Protest Music (MUS 349)

History of Jazz, 1900–1950 (MUJ 350)

History of Jazz, 1940 to Present (MUJ 351)

The Music of Bach and Handel (MUS 351)

Survey of Opera (MUS 353)

Innovative Jazz Musicians (MUS 356)

Music in World Cultures (MUS 358)

Music of the Americas (MUS 359)

Hip-Hop Music: History, Culture, Aesthetics (MUS 360)

The Beatles and Their Times (MUS 363)

Introduction to Ethnomusicology (MUS 451)

Musical Instruments of the World (MUS 452)

Folk Music of the Balkans (MUS 453)

Music of India (MUS 454)

Native American Music (MUS 457)

Celtic Music (MUS 458)

African Music (MUS 459)

Music and Gender (MUS 460)

On occasion, courses are offered under Special Studies (MUS 199), Seminar (MUS 407), and Experimental Course (MUS 410). These courses do not fulfill general-education requirements.

Ensembles

Course numbers through 499 are for undergraduates; 500-, 600-, and 700-level courses are for graduate students.

Workshop: Opera (MUS 198)

East European Folk Ensemble (MUS 390, 690)

Collegium Musicum (MUS 391, 691)

Chamber Ensemble—Brass Ensemble, Celtic Ensemble, Jazz Guitar Ensemble, Studio Guitar Ensemble, Trombone Choir, Tuba Euphonium Ensemble, Oregon Percussion Ensemble, University Percussion Ensemble, other ensembles as needed (MUS 394, 694)

Band—Oregon Wind Ensemble, Oregon Symphonic Band, Campus Band, Oregon Marching Band, Green Garter Band, Yellow Garter Band, Oregon Basketball Band (MUS 395, 695)

Orchestra—University Symphony Orchestra, Campus Orchestra (MUS 396, 696)

Chorus—Chamber Choir, University Singers, Women’s Choir, Men's Choir, Repertoire Singers, University Gospel Choir, University Gospel Ensemble, Gospel Singers  (MUS 397, 697)

Jazz Laboratory Band III (MUJ 390, 690)

Jazz Laboratory Band II (MUJ 391, 691)

Oregon Jazz Ensemble (MUJ 392, 692)

Small Jazz Ensemble (MUJ 395, 695)

Opera Workshop (MUS 398, 698)

Workshop: Javanese Gamelan (MUS 408/508)

Balinese Gamelan (MUS 490/590)

Minor Requirements

The School of Music and Dance offers a minor in music. The minor requires a minimum of 26 credits, 15 of which must be upper division. A minimum of 15 credits must be taken in residence. Courses applied to the minor must be graded C– or better. Choose courses from the subject list below.

List of Courses by Subject

Electronic or Computer Music Applications. Elements of Electronic Music (MUS 227), Digital Audio and Sound Design (MUS 447), Digital Audio Workstation Tech I (MUS 476), Audio Recording Techniques I (MUS 480)

Jazz and Popular Music. Popular Musics in Global Context (MUS 250), Rock History, 1950–1970 (MUS 264), Rock History, 1965 to Present (MUS 265), History of the Blues (MUS 270), First Nights in American Music (MUS 280), Music of the Woodstock Generation (MUS 281), American Ethnic and Protest Music (MUS 349), History of Jazz, 1900–1950 (MUJ 350), History of Jazz, 1940 to Present (MUJ 351), Innovative Jazz Musicians (MUS 356), Hip-Hop Music: History, Culture, Aesthetics (MUS 360), The Beatles and Their Times (MUS 363), Film: Drama, Photography, Music (MUS 380)

Performance and Ensemble. A maximum of 6 credits may be applied to the minor, chosen from any combination of courses in performance studies (MUP) or performance ensembles (MUS 394–397).

Science of Music. Physics of Sounds and Music (PHYS 152), Music and the Brain (PSY 348), Psychology of Music (MUE 447)

Theory. Understanding Music (MUS 125), Basic Guitar Theory (MUS 129), or as much as three terms of each of the following series: Music Theory I,II,III (MUS 131, 132, 133), Aural Skills I,II,III (MUS 134, 135, 136)

Western Art Music. Survey of Music History (MUS 267, 268, 269), Themes in the Humanities (HUM 300), The Music of Bach and Handel (MUS 351), Survey of Opera (MUS 353), Music and Gender (MUS 460)

World Music. Music in World Cultures (MUS 358), Music of the Americas (MUS 359), Introduction to Ethnomusicology (MUS 451), Musical Instruments of the World (MUS 452), Folk Music of the Balkans (MUS 453), Music of India (MUS 454), Native American Music (MUS 457), Celtic Music (MUS 458), African Music (MUS 459), Popular Musics in the African Diaspora (MUS 462)

Other music courses may be approved by petition to the undergraduate committee.

Music Major Programs

A detailed checklist of requirements for each degree is available online and in the undergraduate office in the Frohnmayer Music Building.

Bachelor’s Degrees Offered

Bachelor of Arts (BA) in Music

  • General Music
  • Music History and Literature
  • Music Theory

Bachelor of Science (BS) in Music

  • General Music
  • Music Technology

Bachelor of Music (BMus)

  • Jazz Studies
  • Music Composition
  • Music Education
  • Music Performance
  • Preteacher Licensure

Students who want strong preparation in music should work toward the bachelor of music degree. The bachelor of arts in music is primarily for students who want a broad liberal arts education while majoring in music. The bachelor of science in music is appropriate for those who want a broad education in the sciences or social sciences while majoring in music. 

Admission

Students who are eligible for admission to the university may apply to the School of Music and Dance for admission as music majors.

Auditions

In most degree programs, the audition is the single most important factor in determining admission to the School of Music and Dance. Applicants to all music degree programs must audition or submit a recorded audition as part of the admission process. Students who submit a recorded audition are required to audition in person upon arrival on campus. Auditions for admission are held in February each year or by appointment. Each student who auditions for admission is automatically considered for a music scholarship. For more detailed information about repertory and procedure, visit the School of Music and Dance website.

Jazz Studies. Students who want to enter the jazz studies major have a second audition. A placement examination specific to jazz studies is required of freshmen and transfer students who want to enter the program.

 

Placement Examinations

Placement examinations are required of first-year music majors and transfer students. The freshman placement examination determines the appropriate placement for students beginning college-level study in music theory, aural skills, and keyboard skills. The transfer placement examination determines the appropriate core courses for students who have some college-level study in music.

Admission to a Specific Degree Program

Initial admission to the School of Music and Dance is as a music major. The only exception is for jazz studies majors, who, upon acceptance, are admitted into the music: jazz studies degree program. Students who want to enter the music technology program must submit a music technology portfolio. 

Official admission to one of the degree programs listed below occurs after the student successfully completes two years of core studies. Procedures and requirements for admission to specific degree programs in the School of Music and Dance vary significantly. Details are available from the undergraduate office. A brief summary follows:

Composition (BMus). Successful completion of Composition I (MUS 240, 241, 242) with grades of B– or better.

Music—Music History and Literature Option (BA). Submit research paper and unofficial transcript to the musicology faculty; complete an interview with a member of that faculty. Before admittance to the program, one music history course must be taken in residence with a musicology faculty member and passed with a grade of B– or better. 

Music—Music Theory Option (BA). Submit research paper and unofficial transcript to the theory faculty; complete an interview with a member of that faculty. Before admittance to the program, the second-year music theory core (theory, aural skills, keyboard skills) must be taken in residence and passed with grades of B– or better.

Music—Technology Option (BS). Three audio recordings of recent compositions (cassette, DAT, or CD formats)—candidates who have completed MUS 447, 448 may submit two compositions; one- to two-page description of experience with electronic and computer musical instruments, audio recording or related software, and reasons for enrolling in this option; list of software and hardware in which the student has experience and the level of expertise with each.

Music: Preteacher Licensure (BMus). Successful completion of Foundations of Music Education (MUE 326) with grade of mid-B or better. Application to degree program, audition, interview. Students who have not made satisfactory progress may apply one time only.

Performance—Brass (BMus). Successful jury to the MUP 386, 387, 388, 389, or 390 level.

Performance—Strings (BMus). Successful jury to the MUP 375, 376, 377, or 378 level.

Performance—Voice (BMus). Successful jury to the MUP 374 level and permission to present junior recital.

Program Requirements
Ensemble Requirements

For every term of enrollment in performance studies, students also must enroll concurrently in a band, chorus, or orchestra, even if the ensemble requirement for their particular program has been completed. Students must audition for ensemble placement before each fall term. Students entering winter and spring terms audition at the time of entrance.

Ensembles that satisfy this requirement for instrumental majors are the University Symphony Orchestra, Oregon Wind Ensemble, and Oregon Symphonic Band. For voice majors, University Singers, Chamber Choir, Repertoire Singers, Opera Ensemble, Men's Choir, and Women's Choir satisfy the requirement. Assignments take into account the student’s preference, level of ability, major performance medium, educational and musical needs, and the needs of the school’s ensembles. 

Accompanying Requirement for Piano Students. Undergraduates studying piano at the MUP 171 level or higher as their primary performance medium must fulfill at least half their ensemble requirement by enrolling in Chamber Ensemble: Accompanying (MUS 394).

After the student completes the following procedure, exceptions may be considered by the ensemble personnel committee :

  1. Audition for the appropriate ensemble auditioning committee (choral or instrumental)
  2. Complete a petition
  3. Return the petition to the undergraduate office
Exceptions to Ensemble Requirements

Students who meet one of the following exceptions are not required to audition for fall term ensemble placement:

  • Harp, classical guitar, harpsichord, and organ students may enroll in a chamber ensemble instead of the large conducted ensembles
  • Jazz studies majors must enroll in three terms of classical chamber ensemble, band, chorus, or orchestra. With the approval of the director of jazz studies, the remainder of the requirement may be fulfilled by enrolling in Small Jazz Ensemble (MUJ 395) or Chamber Ensemble (MUS 394) instead of large conducted ensembles
  • Piano students enrolled in performance studies at the MUP 171 level or higher may enroll in Chamber Ensemble: Accompanying (MUS 394) or The Collaborative Pianist (MUS 421, 422, 423) instead of large conducted ensembles
  • Composition students may enroll in three terms of gamelan in partial fulfillment of the requirement
  • Studio guitar students may enroll in a chamber, studio guitar, or jazz ensemble instead of a large conducted ensemble

Each major requires a specific number of terms of ensemble. Some majors require participation in specific ensembles.

General Requirements

In addition to the general university requirements for bachelor’s degrees (see the Registration and Academic Policies section of this catalog), all undergraduate degrees in music require the following:

Core Courses credits
Music Theory I,II,III (MUS 131, 132, 133) 6
Aural Skills I,II,III (MUS 134, 135, 136) 6
Keyboard Skills I,II,III (MUS 137, 138, 139) 3
Guided Listening (MUS 168) (optional) 1
Music Theory IV,V,VI (MUS 231, 232, 233) 6
Aural Skills IV,V,VI (MUS 234, 235, 236) 6
Keyboard Skills IV,V,VI (MUS 237, 238, 239) 3
Survey of Music History (MUS 267, 268, 269) 12
One or two terms of Analysis (MUS 327) 3–6
Music in World Cultures (MUS 358) 4
Student forum (attendance at thirty forums during the student’s undergraduate career)

Students must pass a musical repertoire identification examination before enrolling in MUS 267, 268, 269. Guided Listening (MUS 168) is offered as an aid to passing the examination.

Satisfactory Progress toward the Degree

Satisfactory progress toward the degree is monitored every term by the director of undergraduate studies.

Majors must earn a C– or better in every course—including courses taken outside the School of Music and Dance—required for their degree program.

Students are allowed two attempts to earn a grade of C– or better in any course required for a music major. A student who receives a grade of D+ or lower or a mark of W (withdrawal) or I (incomplete) for a required course is placed on probation. Probationary status must be removed by the end of the next term in which the course is offered. Any student who fails to fulfill this probation contract is dropped from the major.

Students who have been in residence for two years but have not successfully completed the two-year core are placed on probation as music majors. If these courses have not been completed by the end of the third year, the student is suspended from the major. Reinstatement to the major occurs automatically once the courses have been successfully completed.

Candidates for a BMus in jazz studies, music performance, or preteacher licensure must advance to the next performance level at least once every five terms.

Undergraduate music majors reenrolling after two or more consecutive terms of nonenrollment (excluding summer session) are required to reaudition for MUP-level placement as a music major and may be required to take placement exams in theory, aural skills, and keyboard skills. Students studying abroad or in an approved exchange program are exempt from the reaudition requirement. In addition, undergraduate majors admitted to a specific degree program prior to being nonenrolled for two or more consecutive terms may also be required to reapply for admittance to that specific degree program by their major department or area.

Typical First-Year Program
Fall Term 15 credits
Music Theory I (MUS 131) 2
Aural Skills I (MUS 134) 2
Keyboard Skills I (MUS 137) 1
Music in World Cultures (MUS 358) 4
Ensemble (MUS 395, 396, or 397) 2
Performance Studies (studio instruction) 4
Winter Term 16 credits
Music Theory II (MUS 132) 2
Aural Skills II (MUS 135) 2
Keyboard Skills II (MUS 138) 1
Guided Listening (MUS 168) 1
Ensemble (MUS 395, 396, or 397) 2
Performance Studies (studio instruction) 4
College Composition I (WR 121) 4
Spring Term 15 credits
Music Theory III (MUS 133) 2
Aural Skills III (MUS 136) 2
Keyboard Skills III (MUS 139) 1
Ensemble (MUS 395, 396, or 397) 2
Performance Studies (studio instruction) 4
College Composition II or III (WR 122 or 123) 4

Specific Degree Requirements

Minimum requirements for a bachelor’s degree in music are 36 credits in the major, including 24 upper-division credits. In addition to general university requirements and the general requirements for all undergraduate music degrees, each undergraduate music degree has the following specific requirements.

Bachelor of Arts

BA in Music

Bachelor of arts degrees require proficiency in a foreign language (see the Registration and Academic Policies section of this catalog).

General Music Option credits
Performance Studies (MUP 171 or above), at least three terms with concurrent enrollment in assigned ensemble 6–12
Ensemble: at least six terms 6–12
In consultation with the major advisor, select three arts and letters group-satisfying courses 12

Senior project: a scholarly work, extensive paper, recital, presentation, lecture or lecture-recital, or composition. If a recital is chosen, three terms of performance study at the MUP 341 level or higher are required. Enrollment in Senior Project (MUS 499) is optional when the project is a recital; consult advisor for details and procedure

Music History and Literature Option credits
Three terms of Performance Studies (MUP 171 or higher) 3–9
History of Western Art I,II,III (ARH 204, 205, 206) 12
Two terms of Reading and Conference (MUS 405) 6
Two terms of Senior Project (MUS 499) 6
Three upper-division music literature courses or seminars 12
Music Theory Option credits
Six terms of Performance Studies 6–18
Three terms of Ensemble 6–12
Three terms of Analysis (MUS 327) 9
Counterpoint (MUS 433, 434, 435) 12
Choose three from Schenkerian Analysis (MUS 430, 431); Post-Tonal Theory I,II (MUS 416, 417) 9
Two from Composition I (MUS 240, 241, 242), Jazz Theory (MUJ 270), Scoring for Voices and Instruments (MUS 439), Computer Music Applications (MUS 446), Digital Audio and Sound Design (MUS 447), Interactive Media Performance (MUS 448) 8
One from Music of the Americas (MUS 359), ethnomusicology courses (MUS, 451–454, 458, 460, 462), music literature courses (MUS 464–475) 4
Two terms of Senior Project (MUS 499) 6

Demonstrated proficiency in piano (MUP 271) or three terms of piano performance (MUP 171) with grades of C– or better

A total of at least 121 music credits, including electives and required courses

College Composition III (WR 123) strongly recommended

Bachelor of Science

BS in Music

Bachelor of science degrees require competence in mathematics or computer science (see the Registration and Academic Policies section of this catalog)

General Music Option credits
Performance Studies (MUP 171 or above), at least three terms with concurrent enrollment in assigned ensemble 6–12
Ensemble: at least six terms 6–12

Senior project: a scholarly work, extensive paper, recital, presentation, lecture or lecture-recital, or composition. If a recital is chosen, three terms of performance study at the MUP 341 level or higher are required. Senior Project (MUS 499) is optional when the project is a recital; consult advisor for details and procedure

Music Technology Option credits
Performance Studies: at least three terms, with concurrent enrollment in assigned ensemble, the last term of which must be at the MUP 170 level or above 6–12
Ensemble: at least three terms 3–6
Digital Information Processing (CIS 110) 4
Web Programming (CIS 111) 4
Multimedia on the Web (CIS 115) 4
Introduction to Programming and Algorithms (CIS 122) 4
Physics of Sound and Music (PHYS 152) 4
Advanced Electronic Composition (MUS 445) 12
Computer Music Applications (MUS 446) 3
Digital Audio and Sound Design (MUS 447) 4
Interactive Media Performance (MUS 448) 3
Digital Audio Workstation Tech I,II,III (MUS 476, 477, 478) 9
Audio Recording Techniques I,II (MUS 480, 481) 6
Choose at least 20 credits from Composition I,II,III (MUS 240, 241, 242; 340, 341, 342; 440, 441, 442), Analysis (MUS 327), History of Jazz, 1900–1950 (MUJ 350), History of Jazz, 1950 to Present (MUJ 351), Schenkerian Analysis (MUS 430, 431), Counterpoint (MUS 433, 434, 435), Advanced Electronic Composition (MUS 445), History of Opera (MUS 474, 475), additional performance studies, additional ensembles, courses in the music of other cultures 20
Senior project completed under faculty guidance. Enroll in Senior Project (MUS 499); consult advisor for details and procedure 3–9

Candidates for the music technology option of the BS in music are not required to take MUS 327 (listed under General Requirements).

Bachelor of Music

BMus in Music: Jazz Studies

Candidates for the BMus in music: jazz studies are not required to take the following core courses (listed under General Requirements): MUS 234, 235, 236, 237, 238, 239, 327.

  credits
Small Jazz Ensemble (MUJ 395), nine terms 15
Three terms of classical chamber ensemble, band, orchestra, or chorus (MUS 394, 395, 396, 397) 3–6
Jazz Performance Laboratory (MUJ 180, 181, 182) 6
Performance Studies (Studio Instruction, jazz) (MUP 171 or higher, including three terms of MUP 271 or higher) 12
Performance Studies (Studio Instruction, classical) (proficiency at a level that allows enrollment in MUP 271 or higher) 0–12
Jazz Theory (MUJ 270) 2
Functional Jazz Piano I,II (MUJ 271, 272) 4
Jazz Improvisation I,II (MUJ 273, 274) 4
History of Jazz (MUJ 350 or 351) 4
Introduction to Conducting (MUS 384) 2
Jazz Repertoire I,II,III (MUJ 474, 475, 476) 9
Advanced Jazz Repertoire I,II,III (MUJ 477, 478, 479) or Advanced Jazz Arranging I,II,III (MUJ 483, 484, 485) 9
Jazz Arranging I,II,III (MUJ 480, 481, 482) 9
Electives—suggested courses include Analysis (MUS 327), Workshop: Recording Techniques (MUS 408), Electronic Music Techniques I (MUS 443), Computer Music Applications (MUS 446) 20

Senior recital: consult jazz studies advisor for details

Continuation in the jazz studies program requires successful completion of sophomore and junior proficiency examinations

A total of at least 125 music credits including electives and required courses

BMus in Music Composition
  credits
Composition I,II,III (MUS 240, 241, 242; 340, 341, 342; 440, 441, 442) 27
Ensemble: at least nine terms 18
Introduction to Conducting (MUS 384) 2
Schenkerian Analysis (MUS 430, 431) 6
Advanced Schenkerian Analysis (MUS 432) 3
Counterpoint (MUS 433, 434, 435) 12
Scoring for Voices and Instruments (MUS 439) 3
One course in electronic or computer music applications chosen from Electronic Music Techniques I,II (MUS 443, 444), Advanced Electronic Composition (MUS 445), Computer Music Applications (MUS 446) 3
One course in ethnomusicology chosen from Music of the Americas (MUS 359), Introduction to Ethnomusicology (MUS 451), Musical Instruments of the World (MUS 452), Folk Music of the Balkans (MUS 453), Music of India (MUS 454), Balinese Gamelan (MUS 490) 2–4

Proficiency in piano at a level that allows enrollment in MUP 271, as determined by the piano faculty, or proficiency in piano (MUP 171) and in another instrument or in voice (MUP 171 or above)

Proficiency in conducting

A total of at least 121 music credits including electives and required courses

Senior recital: a public performance of compositions written by the student under the guidance of the composition faculty

Final approval of the student’s recital and general qualifications by the composition faculty

BMus in Music: Preteacher Licensure
  credits
Introduction to Lyric Diction (MUS 155, 156) 4
Foundations of Music Education (MUE 326) 3
Child Development (PSY 376)  4
Teaching Laboratory I (MUE 386, 387, 388) 2–3
Instrumental Techniques (MUE 392), five to eight terms 5–8
Seminar: Band Materials (MUE 407) 3
Band Methods (MUE 411), Secondary Choral Methods (MUE 413), or String Methods (MUE 456) 3
Elementary Music Methods (MUE 412) 3
Music for Early Childhood (MUE 428) 3
Scoring for Voices and Instruments (MUS 439) 3
Teaching Singing in the Classroom (MUE 442) 3
Choral Conducting and Literature (MUS 484) 3
Instrumental Conducting (MUS 486) 3
Teaching Laboratory II (MUE 486, 487, 488) 1–3
Ensemble, at least twelve terms 24
Performance Studies with concurrent enrollment in assigned ensemble 18

A total of at least 125 music credits including required and elective courses

Minimum cumulative grade point average (GPA) of 2.75; at least two years in residence. Students must achieve a B– or better in all MUE courses. Individuals failing to do so must retake the course before enrolling in any subsequent MUE course. MUE courses may be retaken once

Admission to the music education program, for which students typically apply at the end of their sophomore year, requires a minimum cumulative GPA of 2.75, a grade of B– or better in Foundations of Music Education (MUE 326), a successfully completed audition and application, and faculty approval

Elementary Option. Students whose primary performance medium is voice must pass three terms of voice performance studies at the MUP 344 level or above. They must also pass three terms of piano performance studies (MUP 141) and pass a music education piano proficiency examination.

Students whose primary performance medium is piano must pass three terms of piano performance studies at the MUP 341 level or above. They must also pass three terms of voice performance studies (MUP 174) and pass a music education piano proficiency examination.

Students whose performance medium is a wind, percussion, or string instrument must pass three terms of voice performance studies (MUP 174) and pass a music education piano proficiency examination.

Choral Option. Students whose primary performance medium is voice must pass three terms of voice performance studies (MUP 344). They must also pass three terms of piano performance studies (MUP 141) and pass a music education piano proficiency examination.

Students whose primary performance medium is piano must pass three terms of piano performance studies (MUP 341). They must also pass three terms of voice performance studies (MUP 274).

Students whose primary performance medium is a wind, percussion, or string instrument must meet the primary and secondary voice and piano performance requirements listed above.

Instrumental Option. Students whose primary performance medium is a wind, percussion, or string instrument must pass three terms at the MUP 300 level (piano, organ, recorder, harp, guitar, or other nontraditional instruments may not be used to meet instrumental primary option requirements).

The music education checklist is available from members of the music education faculty, who have current requirements and information.

BMus in Music Performance
  credits
Introduction to Conducting (MUS 384) 2
Performance Studies: at least 36 credits including three terms at the MUP 400 level or above with concurrent enrollment in assigned ensemble 36
Upper-division MUS electives 5

Ensemble: at least twelve terms

A total of at least 121 music credits including required and elective courses

Junior and senior recitals: credit may be earned in Reading and Conference: Recital (MUS 405); consult studio teacher for details

Areas of specialization are bassoon, cello, clarinet, classical guitar, euphonium, flute, harp, harpsichord, horn, oboe, organ, percussion, piano, saxophone, double bass, studio guitar, trombone, trumpet, tuba, viola, violin, voice. Students may also specialize in more than one wind instrument. Consult studio teacher for details. Additional requirements for each option follow:

Voice Option. Proficiency in French, German, Italian equivalent to completion of one year of college study in each of two languages or two years of study in one language

Two terms of Introduction to Lyric Diction (MUS 155, 156). Consult advisor for details

Piano: three terms of Functional Piano (MUP 163) or equivalent

Chamber ensemble (MUS 394), one term

Piano Option. Six of the twelve terms of ensemble must be in Chamber Ensemble (MUS 394)

Piano Pedagogy I,II,III (MUE 471, 472, 473)

Practicum (MUE 409)

Prerecital auditions must be approved at least four weeks before the proposed recital date

Harpsichord and Organ Option. Six of the twelve terms of ensemble must be in Chamber Ensemble (MUS 394)

Strings, Woodwinds, Brass, Guitar, and Harp Option. In addition to the twelve terms of ensemble, at least three terms of Chamber Ensemble (MUS 394) are required

Percussion Option. In addition to twelve terms of ensemble, twelve terms of Chamber Ensemble (MUS 394) are required

Graduate Studies

Fifth-Year Program for Initial Teacher Licensure

Students are admitted to the fifth-year program with graduate postbaccalaureate status, which does not constitute admission to the master’s degree program in music education. Students who want to complete the master’s degree as well as licensure must apply to the university and the School of Music and Dance for graduate admission.

Music teacher licensure at the University of Oregon requires a bachelor’s degree from a college or university accredited by the National Association of Schools of Music with a major or its equivalent in music education and successful completion of the qualifying examination and the fifth-year teacher education program. This five-term program—summer through summer—combines an academic year of clinical experience in the public schools with course work at the university. During the fall and winter terms, students spend time in public school settings; in the spring term, they are full-time student teachers. Summer sessions are spent on course work that supports and builds on the activities and experiences of a year’s contact with public school students. Students are required to enroll in September Experience, which allows them to participate in the first few weeks of a public school’s academic year before university classes begin fall term.

Areas of Emphasis

Candidates for the fifth-year program are required to establish an area of emphasis. Prerequisite knowledge and skills are demonstrated through the successful completion of one or more of the following qualifying examinations:

Band (traditional wind or percussion instruments must be used)

Choir (voice and piano must be used)

Early childhood and elementary general music (voice and piano must be used)

Orchestra (violin, viola, cello, or double bass must be used)

More information is available from members of the music education faculty.

  credits
Advanced methods I,II and licensure level (see fifth-year checklist)  
Required core courses: Music in Special Education (MUE 529), Music Classroom Management (MUE 530), Music in School and Society (MUE 632), Technology of Teaching Music (MUE 637), Curricular Strategies in Music Education (MUE 638) 15
Choose courses according to area of emphasis: Seminar: Band Materials (MUE 507), Band Methods (MUE 511), Elementary Music Methods (MUE 512), Secondary Choral Methods (MUE 513), Music for Early Childhood (MUE 528), Teaching Singing in the Classroom (MUE 542), Choral Materials for Schools (MUE 544), Marching Band Methods (MUE 555), String Methods (MUE 556), Administration of School Music (MUE 636) 6–9
Field Studies (MUE 606) in music education, one or two terms 1–15
Practicum: Music September Experience (MUE 609) 1–4
Supervised Field Experience (MUE 777), two terms, 1 credit each term 2

Students must make satisfactory progress throughout the program. Two unsatisfactory grades will result in removal from the program.

Students may enroll concurrently in the fifth-year licensure program and the MMus in music education program. Courses from the fifth-year program may be used to fulfill requirements for the MMus in music education.

Applicants who do not hold a bachelor of music in music education from the University of Oregon or a bachelor’s degree from a college or university accredited by the National Association of Schools of Music with a major or its equivalent in music education may be required to complete additional course work. Such work will be determined in consultation with a faculty member in the student’s desired professional specialty area.

September Experience

Because the opening of the UO academic year does not coincide with the beginning of the K–12 school year, students in the music education licensure program miss the opportunity, as part of regularly scheduled practicums, to experience the beginning of the public school year, which typically begins the last week of August. Given that the preparation for and onset of these first weeks of instruction are a rich experience for preservice teachers, students in the music education licensure program are required to enroll in Practicum: Music September Experience (MUE 609).

The music education faculty designed this experience to augment learning acquired through other program activities and courses. In fall term, students enroll in Practicum: Music September Experience (MUE 609) for 1 to 4 credits of full-time participation, typically four weeks. Grading is pass/no pass only. To comply with contract provisions of the Oregon University System, students are considered volunteers, and public school faculty members are free to assign them tasks that may be helpful during this busy period.

Master’s Degree Programs

Master’s Degrees Offered

Master of Arts (MA)

Musicology

Music Theory

Master of Music (MMus)

Intermedia Music Technology

Music Composition

Music: Conducting

  • Choral
  • Orchestral
  • Wind Ensemble

Music Education

Music: Jazz Studies

  • Composition-Arranging
  • Instrumental Performance

Music: Piano Pedagogy

Music Performance

  • Brass: euphonium, horn, trombone, trumpet, tuba, multiple brass
  • Keyboard: harpsichord, organ, piano, collaborative piano
  • Percussion
  • Strings: cello, double bass, harp, viola, violin, violin-viola performance and pedagogy
  • Voice
  • Woodwinds: bassoon, clarinet, flute, oboe, saxophone, multiple woodwinds

Admission

Applicants must satisfy general university, Graduate School, and School of Music and Dance requirements governing admission. See the Graduate School section of this catalog for information about credits, residence, and transfer of graduate work taken elsewhere.

Submit an online Graduate Admission Application and a $50 (U.S.) nonrefundable application fee. The admission application can be printed out from the School of Music and Dance website at a link under the admissions menu.

Send to the Office of Admissions, 1217 University of Oregon, Eugene OR 97403-1217: Sealed, official transcripts from all colleges or universities where you received a bachelor’s degree and all subsequent degrees. Transcripts must show degrees awarded. International students must file the International Student Financial Statement, admissions.uoregon.edu/apply/pdf/ifinancial.pdf. In addition, if you are an international student from a non-English-speaking country and do not hold a degree from an American university, you must provide a TOEFL score of 575 or above (paper-based test) or 88 (Internet-based test) or an International English Language Testing System (IELTS) score of 7.0. The Office of Admissions will accept an electronic score or an official paper copy from the Educational Testing Service. You cannot be admitted without a qualifying TOEFL score. International students who hold degrees from English-speaking American, Canadian, or British universities are not required to provide a TOEFL score.

Send the following materials to Director of Graduate Studies, School of Music and Dance, 1225 University of Oregon, Eugene OR 97403-1225:

  1. A completed School of Music and Dance application
  2. Sealed, official transcripts showing all college-level course work and degrees earned. If a degree is granted after the application is submitted, an additional transcript showing the posted degree must be submitted
  3. Three written recommendations from people who know the applicant’s professional and personal qualifications, at least one of which should be from a professor in the proposed area of study
  4. A statement of purpose for graduate study in music in which academic studies to date are summarized, the purposes of further study are described, and career goals are defined
  5. A recent sample of the applicant’s scholarly writing, such as a term paper, major research project, or analysis paper
  6. Copies of recent concert or recital programs (optional for music theory and piano pedagogy)

Following are additional admission requirements for specific programs:

MA, Musicology. Two research or analysis papers in history or ethnomusicology (one of which will satisfy number 4 above).

MA, Music Theory. Music theory qualifying examination. Two papers in theory, history, or ethnomusicology that exemplify the applicant’s scholarship and ability to develop a single, coherent line of reasoning (one of which will satisfy number 4 above). Of the two papers, at least one should demonstrate the applicant’s ability to analyze tonal or atonal music or both.

MMus, lntermedia Music Technology. Substantial department portfolio required. See intermedia music technology admission requirements sheet for necessary recordings list, statements, and technology list (www.uoregon.edu/~gradmus/Adm_Req_IMT_MM.pdf).

MMus, Music Composition. Portfolio, including a demonstration of marked ability and technical skill in composition through scores and tapes of original works for large and small ensembles and evidence of a senior recital of the applicant’s works, a list of compositions, and a list of performances of compositions. An interview arranged directly with a member of the composition faculty is encouraged.

MMus, Music: Conducting. DVD, videotape, or live audition-interview and copies of programs conducted. Two years of successful conducting experience supported by letters of recommendation.

MMus, Music Education. Baccalaureate in music education or equivalent from an institution accredited by the National Association of Schools of Music. Copies of concert programs conducted, a résumé, detailed teaching experience, audio or video recordings of public school ensemble performances, and a video recording of teaching. A campus visit and interview with members of the music education faculty are recommended. In addition, a statement describing whether the applicant intends to pursue the master of music full time, part time, as part of licensure, or only during summer sessions. Upon acceptance into the program, any student not possessing a music teaching license must successfully complete that process as part of earning the degree.

MMus, Music: Jazz Studies. Preliminary audition tape, DVD, or CD and, if selected, a live audition and repertoire list. In addition, for the jazz arranging emphasis, representative scores and recordings of arrangements, jazz compositions, or both. See the jazz studies requirements sheet (www.uoregon.edu/~gradmus/Adm_Req_Jazz.pdf).

MMus, Music Performance. Tape, CD, DVD, or live audition, and repertoire list (see the Graduate Entrance Audition Requirements sheet at www.uoregon.edu/~gradmus/AudInfoReq.pdf); proficiency to enter MUP 670–691. A student admitted on the basis of a recorded performance may be admitted conditionally, at the discretion of the admitting faculty.

MMus, Music Performance, Multiple Woodwind or Brass Instruments. In addition to the items required for MMus, Performance, proficiency to enter MUP 621–630 in two secondary instruments.

MMus, Music: Piano Pedagogy. Tape, CD, DVD, or live audition, and repertoire list (see the Graduate Entrance Audition Requirements sheet, listed above); proficiency to enter MUP 641. DVD or videotape showing instruction of a beginning-level student and an intermediate- or advanced-level student. Any student admitted on the basis of a recorded performance must perform a live placement audition upon arrival on campus to begin studies.

Entrance Examinations

Students who are admitted into a master’s degree program, either conditionally or unconditionally, must take entrance examinations in music theory and musicology before their first term of enrollment. These examinations are given on or before the first day of classes each term. Students who do not pass the examinations (or portions of them) must complete the relevant review courses the first time they are offered.

Program Requirements

Detailed information about graduate degrees and the Procedures and Policies for Music Graduate Students booklet are available in the graduate office, 219K Frohnmayer Music Building.

Degree Requirements

A minimum of 9 credits must be taken in 600- or 700-level courses, and at least one-half of the required credits must be in courses intended for graduate students only. Degree candidates must give the coordinator of graduate studies a copy of the terminal project—written and audio or video recording—for the Music Services archive in Knight Library. In addition to Graduate School requirements for master’s degrees (see the Graduate School section of this catalog), each degree program listed below has specific requirements.

Master of Arts

MA in Musicology
  credits
Performance Studies, at least three terms 6
Thesis (MUS 503) 9
Research Methods in Music (MUS 611) 3
Introduction to Musicology (MUS 614) 4
Appropriate ensemble, at least three terms 3–6
Choose four of the following: Music in the Middle Ages (MUS 660), Music in the Renaissance (MUS 661), Music in the Baroque Era (MUS 662), Music in the Classical Period (MUS 663), Music in the Romantic Era (MUS 664), Music in the 20th Century (MUS 665) 12
Three seminars in music history (MUS 507, 607) 9–12
One graduate course in ethnomusicology 3–4
One course in music history, theory, ethnomusicology, or approved area other than music 3–4

A total of at least 52 graduate credits

Language requirement: reading proficiency in a second language (usually French, German, or Italian), demonstrated by two years of successful undergraduate study or completion of a reading knowledge course (French and German only). Language courses taken to satisfy this requirement do not count toward the 52 total credits

Completion requirements: an oral examination reviewing the thesis and degree course work

MA in Music Theory
  credits
Performance Studies, at least three terms 6–12
Appropriate ensemble, at least three terms 3–6
Thesis (MUS 503) 9
Post-Tonal Theory I,II (MUS 516, 517) 6
Schenkerian Analysis (MUS 530, 531) 6
Advanced Schenkerian Analysis (MUS 633) 3
Advanced Post-Tonal Theory (MUS 634) 3
Research Methods in Music (MUS 611) 3
Group Option. Choose three from Counterpoint (MUS 533, 534, 535), Seminar: Music Theory (MUS 607) 9–12
Choose two from Music in the Middle Ages (MUS 660), Music in the Renaissance (MUS 661), Music in the Baroque Era (MUS 662), Music in the Classical Period (MUS 663), Music in the Romantic Era (MUS 664), Music in the 20th Century (MUS 665) 6

A total of at least 56 graduate credits

Language requirement: reading proficiency in a second language (usually German), demonstrated by two years of successful undergraduate study or by two courses of the German for Reading Knowledge sequence (GER 327, 328)

Completion requirements: an oral examination reviewing the thesis and degree course work

Master of Music

MMus in Intermedia Music Technology
  credits
Choose two seminars or courses in music outside the music technology area at the 500 level or above, approved by an advisor 6–8
Advanced Electronic Composition (MUS 645) 18
Reading and Conference: History of Electroacoustic Music (MUS 605) 3
Terminal Project (MUS 609) 9
Research Methods in Music (MUS 611) 3
Choose four nonmusic courses approved in advance by the advisor 14

A total of at least 55 graduate credits

In addition to the final oral examination, three examinations are associated with the degree: proficiency exam, a juried demonstration of the student’s mastery of specific software (Pro Tools, Cubase, Peak, Kyma, and Max); technical exam, a four-hour written examination on theoretical aspects of music technology; intermedia essay, a take-home exam during which an essay is written on artistic and aesthetic issues related to music technology and other arts. The essay is written after passing the proficiency and technical exams and is read by three faculty members; final oral examination, reviewing the terminal project and degree course work

MMus in Music: Jazz Studies
Composition-Arranging Emphasis credits
Advanced Jazz Arranging I,II (MUJ 583, 584) 6
Reading and Conference: Research Presentation Preparation (MUJ 605) 4
Research Methods in Music (MUS 611) 3
Pedagogy and Practicum: Jazz Studies (MUE 639) 3
Survey of Jazz Composition (MUJ 660) 3
Jazz Program Planning and Development (MUJ 661) 3
Jazz Laboratory Band III or II (MUJ 690 or 691) or Oregon Jazz Ensemble (MUJ 692), six terms 6–12
Small Jazz Ensemble (MUJ 695), three terms 3
Choose at least four seminars or courses in music outside the jazz area (excluding individualized study and experimental courses) at the 500 level or above, approved by an advisor 12–16

Electives at the 500 level or above chosen in consultation with advisor

A total of 54 graduate credits

Completion requirements: successful completion of the graduate jazz arranging barrier exam; a recorded public recital or CD project of works composed under the guidance of a member of the jazz faculty and approved by the jazz studies committtee; a public lecture-presentation of independent research under the guidance of a member of the jazz faculty; and a final oral examination with emphasis on jazz history, literature, and pedagogy. Both the recital–CD project and lecture-demonstration must have prior approval from the jazz studies committee

Instrumental Performance Emphasis credits
Advanced Jazz Repertoire I,II,III (MUJ 577, 578, 579) 9
Research Methods in Music (MUS 611) 3
Pedagogy and Practicum: Jazz Studies (MUE 639) 3
Jazz Program Planning and Development (MUJ 661) 3
Jazz performance studies 12
Jazz Laboratory Band III or II (MUJ 690 or 691) or Oregon Jazz Ensemble (MUJ 692), three terms 3–6
Small Jazz Ensemble (MUJ 695), six terms 6
Choose at least four seminars or courses in music outside the jazz area (excluding individualized study and experimental courses) at the 500 level or above, approved by an advisor 12–16

Electives at the 500 level or above chosen in consultation with advisor

A total of 54 graduate credits

Completion requirements: successful completion of the graduate jazz performance barrier exam; a full-length, recorded public recital or CD project demonstrating mastery of jazz performance and showcasing creativity; a public lecture-presentation of independent research under the guidance of a member of the jazz faculty; and a final oral examination with emphasis on jazz history, literature, and pedagogy. Both the recital–CD project and lecture-demonstration must have prior approval from the jazz studies committee

MMus in Music: Conducting
Choral Emphasis credits
Seminar: Advanced Choral Conducting (MUS 607), three terms 6
Practicum (MUE 609), three terms 6
Choral literature courses (MUS 607), two terms 6
Performance Studies: Voice, at least three terms 6
Chorus: Chamber Choir or University Singers (MUS 697), three terms 6
Research Methods in Music (MUS 611) 3
Music history courses selected from MUS 661–665 minimum of 6
Instrumental Conducting Master Class (MUS 686) 3
Choose from Seminar: Master Class in Conducting (MUS 607) (associated with the Oregon Bach Festival); Historical Performance Practices I,II,III (MUS 680, 681, 682) 3
Choose from Seminars: Issues and Practices in Choral Music, Choral Techniques (MUS 507); Teaching Singing in the Classroom (MUE 542); Choral Materials for Schools (MUE 544); Pedagogy and Practicum: Choral Conducting (MUE 639) 3

Electives in the area of emphasis, chosen in consultation with an advisor, to complete 54 graduate credits

Three consecutive terms in residence, excluding summer sessions

Completion requirements: as a culminating demonstration of professional capability in the major field, the student must conduct a juried, concert-length public performance or the equivalent; piano proficiency examination; a final oral examination that covers degree course work

Orchestral Emphasis credits
Advanced Aural Skills (MUS 515) or Advanced Keyboard Harmony (MUS 524) 3
Orchestral Music (MUS 571, 572) 4
Research Methods in Music (MUS 611) 3
Bibliography in Instrumental Conducting (MUS 620) 3
Instrumental Conducting Laboratory (MUS 624), six terms 12
Performance Studies (MUP 641 or above), three terms 6
Two courses in music history chosen from MUS 662–665 6
Historical Performance Practices II or III (MUS 681 or 682) 3
Ensemble approved by advisor, three terms 6

Electives in the area of emphasis, chosen in consultation with an advisor, to complete 54 graduate credits

Completion requirements: as a culminating demonstration of professional capability in the major field, the student must conduct a juried, concert-length public performance or the equivalent; academic year in residence; a final oral examination that covers degree course work; and a research paper dealing with some aspect of orchestral conducting

Wind Ensemble Emphasis credits
Research Methods in Music (MUS 611) 3
Bibliography in Instrumental Conducting (MUS 620) 3
Wind Repertoire (MUS 621, 622, 623) 9
Instrumental Conducting Laboratory (MUS 624), three terms 6
Performance Studies (MUP 641 or above), three terms 6
One course in music history chosen from MUS 660–664 3
Music in the 20th Century (MUS 665) 3
Instrumental Conducting Master Class (MUS 686) 3
Band: Wind Ensemble (MUS 695), three terms 6

Electives in the area of emphasis, chosen in consultation with an advisor, to complete 54 graduate credits

Completion requirements: as a culminating demonstration of professional capability in the major field, the student must conduct a juried, concert-length public performance or the equivalent; academic year in residence; a final oral examination that covers degree course work; and a research paper dealing with some aspect of wind ensemble conducting

MMus in Music: Piano Pedagogy
  credits
Piano Literature (MUS 650, 651, 652) 9
Piano Pedagogy I: Teaching Beginners (MUE 571) 3
Piano Pedagogy II: Teaching Groups (MUE 572) 2
Piano Pedagogy III: Teaching Intermediate Levels (MUE 573) 2
Advanced Pedagogy: Piano (MUE 591) 3
Practicum (MUE 609), three terms 3
Research Methods in Music (MUS 611) 3
Performance Studies in piano (MUP 641 or above) minimum of 12
Appropriate ensemble, at least three terms 3–6
Seminars or courses in music history, theory, or literature at the 500 level or above 6
Music electives at the 500 level or above and chosen in consultation with an advisor
Research (MUE 601) project and short recital consisting of at least thirty minutes of music performance  3

A total of at least 52 graduate credits

Final oral examination reviewing the project and degree course work

MMus in Music Composition
  credits
Appropriate ensemble, at least three terms 3–6
Post-Tonal Theory I (MUS 516) 3
Choose one from the following: Post-Tonal Theory II (MUS 517), Schenkerian Analysis (MUS 531), Advanced Post-Tonal Theory (MUS 634) 3
Schenkerian Analysis (MUS 530) 3
Counterpoint (MUS 533, 534, 535) 12
Composers Forum (MUS 538), at least four terms 4
Choose one course in electronic or computer music applications from Digital Audio and Sound Design (MUS 547), Interactive Media Performance (MUS 548), Advanced Electronic Composition (MUS 645) 3–4
Choose one course in ethnomusicology from Introduction to Ethnomusicology (MUS 551), Musical Instruments of the World (MUS 552), Folk Music of the Balkans (MUS 553), Music of India (MUS 554), Balinese Gamelan (MUS 590), two terms 4
Reading and Conference: Thesis Proposal (MUS 605) 1
Research Methods in Music (MUS 611) 3
Advanced Composition Studies (MUS 640, 641, 642), six terms 18
Choose one from MUS 660–664 3
Music in the 20th Century (MUS 665) 3
Thesis (MUS 503): a composition of substantial dimension, composed under the guidance of a member of the music composition faculty, performed and recorded on campus 9

A total of at least 72 graduate credits

Proficiency in notation

Proficiency in orchestration

Proficiency in piano (MUP 271) or proficiency in piano (MUP 171) and proficiency in another instrument or in voice (MUP 170 or above)

Public performance—usually a graduate recital lasting fifty minutes—of works composed under the guidance of a composition faculty member

Final oral examination reviewing the thesis and degree course work

MMus in Music Education

Candidates are required to establish an area of emphasis.

Areas of Emphasis

Choral music education (voice and piano must be used)

Elementary general music education (voice and piano must be used)

Instrumental music education: band (traditional wind or percussion instruments must be used)

Instrumental music education: orchestra (violin, viola, cello, or double bass must be used)

  credits
Research Methods in Music (MUS 611) 3
Research Methods in Music Education (MUE 613) 3
Music in School and Society (MUE 632) 3
Curricular Strategies in Music Education (MUE 638) 3
One course in music history (MUS 660–665) 3
One course in music history or theory at the 500 level or above 3–4
Music education courses in the area of emphasis at the 500 level or above 12
Courses at the 600 level or above, chosen in consultation with advisor 6
Ensemble, three terms 3–6
Performance Studies, three terms 6–12

Electives, chosen in consultation with an advisor, to complete 51 graduate credits

Courses as needed in expository writing

Completion requirements. Choose one of the following options:

  1. 9 credits in Thesis (MUE 503) and oral examination
  2. Major project consisting of 6 credits in Research (MUE 601) and oral examination
  3. Major project consisting of a recital (if performance studies is MUP 641–661 or above) and oral examination

The oral examination in each option covers all music education course work.

MMus in Music Performance

Options are available in bassoon, cello, clarinet, euphonium, flute, harp, harpsichord, horn, multiple woodwinds or brass, oboe, organ, percussion, collaborative piano, solo piano, saxophone, double bass, trombone, trumpet, tuba, viola, violin, violin and viola performance and pedagogy, voice.

  credits
Research Methods in Music (MUS 611) 3
Performance Studies (MUP 670–691) 12
Appropriate ensemble, at least three terms (except for collaborative piano option) 3–6
Collegium Musicum (MUS 691) 1
One period survey course (MUS 660–665) 3
One music theory course at the 500 level or above 3–4
One course in music history or theory at the 600 level of above (except collaborative piano and voice) 3–4
One course in music history, theory, or literature at the 500 level or above (except for voice and collaborative piano options) 3–4

Electives, approved by an advisor, to total at least 48 graduate credits

Public recital: consult advisor for procedures. Enroll in MUP 670–691 during the term of the recital

Completion requirements: final oral examination with emphasis on history, literature, and pedagogy of the primary performance medium

Concurrent Ensemble Requirement. For every term of enrollment in performance studies, students also must enroll concurrently in a band, chorus, or orchestra, even if the ensemble requirement for their particular program has been completed. Students must audition for ensemble placement before each fall term. Students entering winter and spring terms audition at the time of entrance.

Ensembles that satisfy this requirement for instrumental majors are the University Symphony Orchestra, Oregon Wind Ensemble, and Oregon Symphonic Band. For voice majors, University Singers, Chamber Choir, Repertoire Singers, Opera Ensemble, Men's Choir, and Women's Choir satisfy the requirement. Assignments take into account the student’s preference, level of ability, major performance medium, educational and musical needs, and the needs of the school’s ensembles. 

Students studying piano, collaborative piano, harpsichord, organ, harp, or classical guitar may enroll in The Collaborative Pianist (MUS 521, 522, 523), Reading and Conference: Instrumental Duo (MUS 605), Collegium Musicum (MUS 691), or Chamber Ensemble: Accompanying (MUS 694) instead of large conducted ensembles.

Additional Requirements for Selected Options
Harpsichord credits
Reading and Conference: Harpsichord Literature 3
Piano Literature (MUS 650) 3
Multiple Woodwind or Brass Instruments credits
Reading and Conference: Wind Instrument Music (MUS 605) 3
Performance Studies (MUP 621–630), at least 3 credits in each secondary instrument 6
Pedagogy and Practicum: Woodwinds or Brass (MUE 639) 3

Completion requirements: (1) Public recital of both solo and ensemble music on the primary instrument, and performance of a substantial composition on each of the two secondary instruments during a public student recital; (2) final oral examination with emphasis on history, literature, and pedagogy of the primary and secondary instruments

Organ credits
Reading and Conference: Organ Literature (MUS 605) 1–4
Pedagogy and Practicum: Organ (MUE 639) 3
Percussion credits
Percussion Master Class (MUS 511) concurrent with performance study 3–6
Piano credits
Piano Literature (MUS 650, 651, 652) 9
Collaborative Piano credits
Introduction to Lyric Diction (MUS 155, 156) 4
The Collaborative Pianist (MUS 521, 522, 523) 6
Solo Vocal Music (MUS 567, 568) 6
Reading and Conference: Music for Chamber Ensemble (MUS 605) 2
Performance Studies: Piano (MUP 671) 4
Chamber Ensemble (MUS 694), four terms 4

Electives, approved by an advisor, to total at least 50 graduate credits

Two public recitals: consult advisor for procedures

Violin and Viola Performance and Pedagogy credits
Music for Early Childhood (MUE 528) 3
Music Classroom Management (MUE 530) 3
Suzuki Pedagogy I (MUE 559) 3
Suzuki Pedagogy II (MUE 560) 3
Suzuki Pedagogy III (MUE 561) 3
Suzuki Pedagogy IV (MUE 562) 3
Pedagogy Methods: Violin and Viola (MUE 563) 2
Practicum: CMI Preparation and Teaching (MUE 609), five terms 5
Voice credits
Lyric Diction (MUS 555, 556) 6
Solo Vocal Music (MUS 567, 568) 6
History of Opera (MUS 574, 575) 8
Pedagogy and Practicum: Voice (MUE 639) 3

Electives, approved by an advisor, to total 54 graduate credits

One year of college study in each of the following languages: Italian, French, German

Doctoral Degree Programs

Doctoral Degrees Offered

Doctor of Musical Arts (DMA)

Music Composition

Music Performance

  • Brass: euphonium, horn, trombone, trumpet, tuba
  • Keyboard: piano, collaborative piano
  • Percussion
  • Strings: cello, viola, violin
  • Voice
  • Woodwinds: bassoon, clarinet, flute, oboe, saxophone

Doctor of Philosophy (PhD)

Music Composition

Music Education

Musicology

Music Theory

Primary and supporting areas: music composition, music education, musicology, music performance, and music theory.

Supporting areas: arts administration, choral conducting, collaborative piano, ethnomusicology, historical performance practice, intermedia music technology, jazz studies, multiple woodwinds, orchestral conducting, piano pedagogy, violin and viola pedagogy, and wind ensemble conducting.

Doctoral students in music must complete one primary area and one supporting area. Details are available from the graduate office.

Admission
Conditional Admission

Applicants must satisfy general university, Graduate School, and School of Music and Dance requirements governing admission. See the Graduate School section of this catalog for information about credits, residence, and transfer of graduate work taken elsewhere.

Submit an online Graduate Admission Application and a $50 (U.S.) nonrefundable application fee. The admission application can be printed out from the School of Music and Dance website at a link under the admissions menu.

Send to the Office of Admissions, 1217 University of Oregon, Eugene OR 97403-1217: Sealed, official transcripts from all colleges or universities where you received a bachelor’s degree and all subsequent degrees. Transcripts must show degrees awarded. International students must file the International Student Financial Statement, admissions.uoregon.edu/apply/pdf/ifinancial.pdf. In addition, if you are an international student from a non-English-speaking country and do not hold a degree from an American university, you must provide a TOEFL score of 600 or above (paper-based test) or 100 (Internet-based test) or an IELTS score of 7.0. The Office of Admissions will accept an electronic score or an official paper copy from the Educational Testing Service. You cannot be admitted without a qualifying TOEFL or IELTS score. International students who hold degrees from English-speaking American, Canadian, or British universities are not required to provide a TOEFL score.

Send the following materials to Director of Graduate Studies, School of Music and Dance, 1225 University of Oregon, Eugene OR 97403-1225:

  1. A completed School of Music and Dance application
  2. Sealed, official transcripts showing all college-level course work and degrees earned. If a degree is granted after the application is submitted, an additional transcript showing the posted degree must be submitted
  3. Graduate Record Examination (GRE) scores from the General Test (verbal, quantitative, analytical)
  4. Three written recommendations from people who know the applicant’s professional and personal qualifications, at least one of which should be from a professor in the proposed area of study
  5. A statement of purpose for graduate study in music that includes the primary and supporting areas to which the applicant wishes to be admitted (chosen from the list above), a summary of academic studies to date, the purpose of further study, and a definition of career goals and plans for career development
  6. A recent sample of the applicant’s scholarly writing, such as a term paper, major research project, or analysis paper
  7. Copies of recent concert or recital programs (optional for music theory and piano pedagogy)
  8. Any other materials the applicant believes will be of interest to the School of Music and Dance graduate admission committee (i.e., résumé or curriculum vitae)

Additional requirements for admission to specific programs:

Supporting area in arts administration: administered by the Arts and Administration Program in the School of Architecture and Allied Arts. For more information, visit the website for the Arts and Administration Program (aad.uoregon.edu).

Primary or supporting area in composition: portfolio, including representative scores and recordings of original compositions, list of compositions, and list of performances of compositions.

Supporting area in conducting (choral or instrumental focus): evidence of two years’ experience as a conductor, a conducting audition, and, if available, a videotape of conducting skills.

Primary or supporting area in musicology, ethnomusicology, or historical performance practice: two writing samples exemplifying the applicant’s scholarship and research ability. One of these documents may serve as the sample of writing requested in number 4 above. Also, for historical performance practice, a recent high-quality tape or CD recording of performance (optional).

Supporting area in intermedia music technology: see the admission requirements sheet (www
.uoregon.edu/~gradmus/Adm_Req_IMT_MM.pdf) for additional necessary recordings list, statements, and technology list.

Supporting area in jazz studies: preliminary audition tape or CD, and, if selected, a live audition; repertoire list. For jazz arranging emphasis: representative scores and recordings of arrangements, jazz compositions, or both. See additional jazz studies requirements sheet (www.uoregon.edu/~gradmus/Adm_Req_Jazz.pdf).

Primary area in music education: résumé detailing evidence of at least three years of successful full-time music teaching experience in either elementary or secondary public school or both; previous bachelor's and master's degrees from institutions accredited by the National Association of Schools of Music, at least one of which must be in music education; copies of concerts or programs conducted; a video recording of public school teaching; an audio or video recording of public school ensemble performances; and an on-campus interview with members of the faculty.

Supporting area in music education: résumé detailing evidence of at least two years of successful full-time music teaching in either elementary or secondary public school or both; previous bachelor's and master's degrees from institutions accredited by the National Association of Schools of Music, at least one of which must be in music education; copies of concerts or programs conducted; a video recording of public school teaching; an audio or video recording of public school ensemble performances; and an on-campus interview with members of the faculty when visiting the UO for primary area.

Primary or supporting area in music theory: music theory qualifying examination; two papers (one of which will satisfy number 4 above) exemplifying the applicant’s scholarship and ability to develop a single, coherent line of reasoning, and the applicant’s ability to analyze tonal or atonal music or both.

Primary or supporting area in performance: proficiency to enter MUP 741–794, a personal audition or recent high-quality tape or CD recording of performance, and a list of repertoire (see the Graduate Entrance Audition Requirements sheet at www.uoregon.edu/%7Egradmus/AudInfoReq.pdf). Students admitted on the basis of a recording may be admitted conditionally, at the discretion of the admitting faculty.

Supporting area in piano pedagogy: proficiency to enter MUP 641; a tape, CD, or live audition; and a list of repertoire (see the Graduate Entrance Audition Requirements sheet, listed above). Students admitted on the basis of a recording will be required to perform a live audition during registration week upon arrival on campus.

Entrance Examinations

Students who are admitted into a graduate degree program must take entrance examinations in music theory and musicianship and musicology before or early in the first term of enrollment. These examinations are given before or during the first week of classes each term. Students who do not pass the examinations (or portions thereof) must complete the appropriate review course or courses the next time they are offered; successful completion satisfied the requirement.

General Degree Requirements

At least one-half of the required credits must be in courses intended for graduate students only.

In addition to the Graduate School’s requirements for doctoral degrees, the School of Music and Dance has the following core and general requirements:

Core Requirements credits
Repertoire and Analysis (MUS 629) 3
Research Methods in Music (MUS 611) 3
College Music Teaching (MUE 641) 3
Two period survey courses chosen from MUS 660–665 6

Students with a primary or supporting area in music theory are exempt from MUS 629. Students with a primary or supporting area in composition must take Music in the 20th Century (MUS 665).

Other Courses. Eight credits of nonmusic courses (excluding basic language courses taken to fulfill the language requirement) chosen in consultation with the faculty advisor. Students in the DMA program in music performance (collaborative piano option) must take courses in art history to fulfill this requirement. Students in the PhD program in music education are exempt from this requirement.

Ensemble. After conditional admission, students with a primary or supporting area in piano performance must enroll in three terms of The Collaborative Pianist (MUS 521, 522, 523). Students with a primary area in music performance (collaborative piano option) must enroll in three terms of Chamber Ensemble: Accompanying (MUS 694). Students with a primary or supporting area in voice, wind, string, or percussion performance must enroll in three consecutive terms of band, chorus, or orchestra, and they must audition for ensemble placement before each fall term. Students with a primary area in voice may substitute Opera Workshop (MUS 698) for chorus.

In making assignments, a faculty auditioning committee and the performance instructors give priority to the University Symphony Orchestra, University Singers, Chamber Choir, and Oregon Wind Ensemble. Assignments take into account the student’s preference, level of ability, major performance medium, educational and musical needs, and the needs of the school’s ensembles.

Language. PhD candidates, except those in music education, must demonstrate proficiency in a second and third language, usually chosen from French, German, and Italian. DMA candidates must demonstrate proficiency in a second language, usually French, German, or Italian. Students with a primary or supporting area in voice must complete two years of college study in French, German, or Italian and one year of college study in each of the other two.

Specific Area Requirements

In addition to the general requirements of the Graduate School and the School of Music and Dance for doctoral degrees, the following are specific requirements for primary and supporting areas. Courses used to fulfull primary requirements may also be used to fulfill supporting-area requirements if approved by the supporting-area advisor.

Arts Administration

Offered through the School of Architecture and Allied Arts.

Supporting Area credits
Experimental Courses: Artistic Administration in the Performing Arts; Performing Arts Management (AAD 510) 8
Art in Society (AAD 550) 4
Cultural Policy (AAD 562) 4
Marketing the Arts (AAD 565) 4
Research (AAD 601) 3
Practicum (AAD 609) 3
Cultural Administration (AAD 612) 4

Capstone synthesis or research paper and public presentation

Choral Conducting
Supporting Area credits
Supervised College Music Teaching (MUE 602), or Instrumental Conducting Master Class (MUS 686) 3
Seminar: Choral Conducting (MUS 607), three terms 6
Choral literature courses (MUS 607), two terms 6
Choose from Seminar: Master Class in Conducting (MUS 607), Historical Performance Practices I,II,III (MUS 680, 681, 682) 6
Practicum (MUE 609) 2
Performance Studies (MUP 614 or 644), three terms 6–12
Pedagogy and Practicum (MUE 639) 3
Chorus: Chamber Choir or University Singers (MUS 697), three terms 6

Piano proficiency, demonstrated by examination

One public choral conducting performance (faculty approval required)

Diction proficiency in French, German, Italian, and Latin: may be demonstrated by successful completion of Lyric Diction (MUS 555, 556) or by examination

Collaborative Piano
Supporting Area
Option A: Instrumental Emphasis credits
The Collaborative Pianist (MUS 521, 522, 523) 6
Lyric Diction (MUS 555, 556) 6
Reading and Conference: Instrumental Duo (MUS 605) 2
Pedagogy and Practicum (MUE 639) 3
Piano Accompanying (MUP 670), at least three terms 9
Chamber Ensemble (MUS 694), at least four terms 4
Option B: Vocal Emphasis credits
The Collaborative Pianist (MUS 521, 522, 523) 6
Lyric Diction (MUS 555, 556) 6
Choose either two terms of Solo Vocal Music (MUS 567, 568) or one term of Solo Vocal Music and one term of History of Opera (MUS 574, 575) 6–7
Pedagogy and Practicum (MUE 639) 3
Piano Accompanying (MUP 670), at least three terms 9

Both options require a sixty-minute public recital, which may show either vocal or instrumental emphasis, though both must be represented. The student must enroll in Piano Accompanying (MUP 670) the term before and the term of the degree recital. The recital must be performed on the UO campus

Ethnomusicology
Supporting Area credits
Introduction to Ethnomusicology (MUS 551) 4
Choose at least four from the following: seminars on topics of ethnomusicology (MUS 507), workshops on topics of ethnomusicology (MUS 508), Musical Instruments of the World (MUS 552), Folk Music of the Balkans (MUS 553), Music of India (MUS 554), Celtic Music (MUS 558), Music and Gender (MUS 560), Popular Musics in the African Diaspora (MUS 562), Reading and Conference (MUS 605), East European Folk Ensemble (MUS 690) 16
Choose one additional course from those listed above or from outside the School of Music and Dance (e.g., anthropology, folklore) in consultation with advisor 4
Pedagogy and Practicum (MUE 639) (not required if primary area is musicology) 3
Historical Performance Practice
Supporting Area credits
One art history course chosen in consultation with advisor 4
Counterpoint (MUS 533 or 534) 4
History of Rhetoric and Composition (ENG 592) 4
Introduction to Musicology (MUS 614) 4
History of Theory I or II (MUS 630 or 631) 3
Pedagogy and Practicum (MUE 639) 3
Notation of Medieval and Renaissance Music (MUS 643 or 644) 3
Music in the Middle Ages (MUS 660) 3
Music in the Renaissance (MUS 661) 3
Music in the Baroque Era (MUS 662) 3
Music in the Classical Era (MUS 663) 3
Two from Historical Performance Practices I,II,III (MUS 680, 681, 682) 6
At least four terms of Collegium Musicum (MUS 691) 4
One undergraduate or graduate course or seminar in English, French, German, Italian, Latin, or Spanish literature before 1800, chosen in consultation with advisor 3–4

Proficiency in Performance Studies courses

Intermedia Music Technology
Supporting Area credits
Computer Music Applications (MUS 446) 3
Digital Audio and Sound Design (MUS 547) 4
Interactive Media Performance (MUS 548) 3
Advanced Electronic Composition (MUS 645), three terms 9
Pedagogy and Practicum (MUE 639) 3

Choose one additional course in consultation with the advisor

A final lecture-recital

Jazz Studies
Supporting Area
Jazz Performance Emphasis credits
Jazz Repertoire I,II,III (MUJ 574–576) or Advanced Jazz Repertoire I,II,III (MUJ 577–579) 9
Pedagogy and Practicum (MUE 639) 3
Performance Studies (MUP 670–691), jazz only 12
Small Jazz Ensemble (MUJ 695), three terms 3

A full-length, recorded public recital or CD project demonstrating mastery of jazz performance and showcasing creativity, under the guidance of a member of the jazz faculty and approved by the jazz studies committee

Final comprehensive examination

Jazz Arranging Emphasis credits
Jazz Arranging I,II,III (MUJ 580–582) or Advanced Jazz Arranging I,II,III (MUJ 583–585) 9
Pedagogy and Practicum (MUE 639) 3
Survey of Jazz Composition (MUJ 660) 3
Jazz Laboratory Band III,II (MUJ 690, 691) or Oregon Jazz Ensemble (MUJ 692), three terms 3

A recorded public recital and recording or CD project of works composed under the guidance of a member of the jazz faculty and approved by the jazz studies committee

Final comprehensive examination

Multiple Woodwinds
Supporting Area credits
Performance Studies in two secondary woodwind instruments chosen from flute, oboe, clarinet, saxophone, and bassoon (MUP 621–625 or 651–655), three terms each over two years 12–24
Reading and Conference (MUS 605); one course for each secondary instrument covering the history and literature of that instrument. These courses are designed to suit the needs of the student by the faculty advisor for that area 6
Pedagogy and Practicum (MUE 639) 3

Following the completion of three terms of study on an instrument, a juried performance is given consisting of a sonata or concerto from the standard repertoire and a chamber piece that includes the instrument being studied. Literature is selected in consultation with the faculty member teaching the instrument

Students are required to give end-of-term juried performances for members of the faculty on each of the two supporting instruments as follows:

  1. Two during the first year on one instrument
  2. Two during the second year on the second instrument
  3. A final end-of-term juried performance of both woodwinds
Music Composition

Primary-area requirements are the same for the PhD and DMA degrees except for the choice of supporting area. PhD candidates choose from intermedia music technology, ethnomusicology, music education, musicology, or music theory. DMA candidates choose from collaborative piano, choral conducting, jazz studies, multiple woodwinds, music performance, orchestral conducting, piano pedagogy, violin and viola pedagogy, or wind ensemble conducting.

Primary Area credits
Post-Tonal Theory I (MUS 516) 3
Choose one course in music theory: Post-Tonal Theory II (MUS 517), Schenkerian Analysis (MUS 531), Advanced Post-Tonal Theory (MUS 634) 3
Schenkerian Analysis (MUS 530) 3
Counterpoint (MUS 533, 534, 535) 12
Composers Forum (MUS 538), at least four terms 4
Choose one from Digital Audio and Sound Design (MUS 547), Interactive Media Performance (MUS 548), Advanced Electronic Composition (MUS 645) 3–4
Choose one from Introduction to Ethnomusicology (MUS 551), Musical Instruments of the World (MUS 552), Folk Music of the Balkans (MUS 553), Music of India (MUS 554), Balinese Gamelan (MUS 590), two terms 2–4
Choose one seminar or course in music history or theory (MUS 500- or 600-level courses) 3–4
Dissertation (MUS 603) 18
Reading and Conference: Composition Dissertation Proposal (MUS 605) 1
Pedagogy and Practicum (MUE 639) 3
Advanced Composition Studies (MUS 640, 641, 642), six terms 18

Proficiency in notation

Proficiency in orchestration

Public performance of at least sixty minutes of music on the University of Oregon campus of compositions completed during doctoral study that have been approved by the music composition faculty

Reading and recording of the dissertation

Supporting Area credits
Counterpoint (MUS 533, 534, 535) 12
Composers Forum (MUS 538), four terms 4
Pedagogy and Practicum (MUE 639) 3
Advanced Composition Studies (MUS 640, 641, 642), four terms 12

Proficiency in notation

Proficiency in orchestration

Public performance of at least thirty minutes of music on the University of Oregon campus of compositions completed during doctoral study that have been approved by the music composition faculty

Music Education
Primary Area credits
Dissertation proposal research (MUE 601) 3–6
Dissertation (MUE 603) 18
Research Methods in Music Education (MUE 613) 3
Music in School and Society (MUE 632) 3
Curricular Strategies in Music Education (MUE 638) 3
Qualitative research methods 3–4
Quantitative research methods 3–4
Music education research readings 3
Additional graduate MUE courses in specialty area 6

A minimum of two consecutive academic years (not including summer sessions) in residency at the University of Oregon is required

Supporting Area credits
Statistical methods (see advisor for list of appropriate courses), one term 3
Research Methods in Music Education (MUE 613) 3
Pedagogy and Practicum (MUE 639) 3
Additional graduate MUE courses 9
Performance Studies, three terms 6–12
Musicology
Primary Area credits
Choose two from Schenkerian Analysis (MUS 530, 531), History of Theory I,II,III (MUS 630, 631, 632), Advanced Schenkerian Analysis (MUS 633) 6
Introduction to Ethnomusicology (MUS 551) 4
Dissertation (MUS 603) 18
Introduction to Musicology (MUS 614) 4
Five music history seminars (at least one 607) 15–20
Pedagogy and Practicum (MUE 639) 3
Notation of Medieval and Renaissance Music (MUS 643 or 644) 3
Choose one from Historical Performance Practices I,II,III (MUS 680, 681, 682) 3
Collegium Musicum (MUS 691) 1

Each student, in consultation with the advisor, develops a plan to remedy any deficiencies and prepare for comprehensive examinations. No credit is earned for this preparation

One public lecture (subject to faculty approval) given on the University of Oregon campus

Supporting Area credits
Introduction to Ethnomusicology (MUS 551) 4
Introduction to Musicology (MUS 614) 4
Pedagogy and Practicum (MUE 639) 3
Music in the Middle Ages (MUS 660) 3
Music in the 20th Century (MUS 665) 3
Seminar in Western art music (MUS 507, 607) 3–4
One course selected from Folk Music of the Balkans (MUS 553), Music of India (MUS 554), Music and Gender (MUS 560), History of Opera (MUS 574 or 575), Music in the Renaissance (MUS 661), Music in the Baroque Era (MUS 662), Music in the Classical Period (MUS 663), Music in the Romantic Era (MUS 664), Historical Performance Practices I,II,III (MUS 680, 681, 682); a seminar in jazz; or other course approved by the advisor 3–4
Music Performance

Options are available in bassoon, cello, clarinet, euphonium, flute, horn, oboe, percussion, collaborative piano, solo piano, saxophone, trombone, trumpet, tuba, viola, violin, and voice.

Primary Area credits
Choose two or more seminars or courses in music history or theory (MUS 507 or 600-level courses) 6
Pedagogy and Practicum (MUE 639) 3
Performance Studies (MUP 770–791), six terms 24
DMA students may complete a lecture-document (MUS 601) or write a dissertation (MUS 603) 6 or 18
Seminar in thesis organization (MUE 607) 2
Students in piano must take Piano Literature (MUS 650, 651, 652) 9

In addition, students in the collaborative piano option must meet the following requirements:

  credits
Lyric Diction (MUS 555, 556) 6
Solo Vocal Music (MUS 567, 568) 6
History of Opera (MUS 574 or 575) 4
Performance Studies: Harpsichord (MUP 612) (must be taken prior to MUS 691) 2
Collegium Musicum (MUS 691), one term 2
   
 

Three public performances (subject to prerecital approval by faculty jury) on the University of Oregon campus; one must be a solo recital

Supporting Area credits
Pedagogy and Practicum (MUE 639) 3
Students in piano must take Piano Literature (MUS 650, 651, 652) 9
Performance Studies (MUP 741–761), three terms 12

Two public performances (subject to prerecital approval by faculty jury) on the University of Oregon campus; one must be a solo recital

Music Theory
Primary Area credits
Choose at least three from Seminar: Advanced Keyboard Harmony (MUS 507), Counterpoint (MUS 533, 534, 535) 8–12
Post-Tonal Theory I,II (MUS 516, 517) 6
Three music theory seminars 9
Schenkerian Analysis (MUS 530, 531) 6
Pedagogy and Practicum (MUE 639) 3
Dissertation (MUS 603) 18
History of Theory I,II,III (MUS 630, 631, 632) 9
Advanced Schenkerian Analysis (MUS 633) 3
Advanced Post-Tonal Theory (MUS 634) 3

One public lecture (subject to faculty approval) on the University of Oregon campus

Supporting Area credits
Choose four from Post-Tonal Theory I, II (MUS 516, 517), Schenkerian Analysis (MUS 530, 531), Advanced Schenkerian Analysis (MUS 633), Advanced Post-Tonal Theory (MUS 634) 12
Choose at least three of the following: Seminars: Advanced Keyboard Harmony, Counterpoint (MUS 533, 534, 535) 8–12
Pedagogy and Practicum (MUE 639) 3
In addition to primary area requirements, at least one graduate-level course or seminar in music history or music theory 3–4
Orchestral Conducting
Supporting Area credits
Orchestral Music (MUS 571, 572) 4
Bibliography in Instrumental Conducting (MUS 620) 3
Instrumental Conducting Laboratory (MUS 624), three terms 6
Pedagogy and Practicum (MUE 639) 3
One from Historical Performance Practices II,III (MUS 681, 682) 3
Ensemble approved by advisor, three terms 6
Performance Studies (MUP 611–791), three terms 6–12

A juried rehearsal and a juried conducting performance in addition to those required at master’s level

Piano Pedagogy
Supporting Area credits
Piano Pedagogy I: Teaching Beginners (MUE 571) 3
Piano Pedagogy II: Teaching Groups (MUE 572) 2
Piano Pedagogy III: Teaching Intermediate Levels (MUE 573) 2
Practicum (609), three terms 3
Pedagogy and Practicum (MUE 639) 3
Performance: Piano (MUP 641 or above) 12

Solo thirty-minute piano recital on the University of Oregon campus if primary area is other than piano performance

Violin and Viola Pedagogy
Supporting Area credits
Music for Early Childhood (MUE 528) 3
Music Classroom Management (MUE 530) or other course approved by advisor 3
Suzuki Pedagogy I (MUE 559) 3
Suzuki Pedagogy II (MUE 560) 3
Suzuki Pedagogy III (MUE 561) 3
Suzuki Pedagogy IV (MUE 562) 3
Pedagogy Methods: Violin and Viola (MUE 563) 2
Practicum: CMI Preparation and Teaching (MUE 609), five terms 5
Pedagogy and Practicum (MUE 639) (not required if primary area is string performance) 3

A ninety-minute public master class

Wind Ensemble Conducting
Supporting Area credits
Bibliography in Instrumental Conducting (MUS 620) 3
Wind Repertoire (MUS 621, 622, 623) 9
Instrumental Conducting Laboratory (MUS 624), three terms 6
Pedagogy and Practicum (MUE 639) 3
Instrumental Conducting Master Class (MUS 686) 3
Band: Wind Ensemble (MUS 695), three terms 6
Performance Studies (MUP 611–791), three terms 6–12

A juried rehearsal and a juried conducting performance

Program Requirements

Comprehensive Examinations

A core examination of the student’s knowledge of music history and skills in music analysis is required. The examination may be taken after completion of the residency requirement, formal admission to the doctoral program, and completion of all core course work.

Written and oral comprehensive examinations in the primary and supporting areas are taken before advancement to candidacy but after meeting the following conditions:

  1. Completion of core examination
  2. Satisfaction of all general degree requirements
  3. Completion of all course work in the examination area
  4. Approval from advisor

Additional information about comprehensive examinations is available from the graduate secretary and the area chair.

Advancement to Candidacy

Advancement to candidacy is based on successful completion of comprehensive examinations, approval by the advisory committee of the dissertation or lecture-document proposal, and the recommendation of the advisor.

Dissertation

A dissertation is required in all doctoral degree programs except the DMA in performance, for which a lecture-document that focuses on some aspect of the performance medium may be substituted.

For candidates whose primary area is composition, the dissertation must be an original composition of major proportions composed during doctoral study and performed and recorded on the university campus.

Time Limit

Doctoral students have seven years from the term of matriculation to complete the degree. All course work, the comprehensive examinations, any required recitals, and the dissertation must be satisfactorily completed before the end of the seven-year period. If this period is exceeded, an additional year of residence or a new set of comprehensive examinations, or both, are required.

Research (MUE or MUS 601), Dissertation (MUE or MUS 603), and Reading and Conference (MUE, MUJ, or MUS 605) are available during summer session only with advisor’s consent.

Final Examination

A final oral examination is required in all degree programs. The candidate is expected to defend the dissertation or lecture-document and show a command of the primary area. Members of the dissertation or lecture-document advisory committee typically conduct the final examination; their appointment is subject to approval by the dean of the Graduate School.

Courses Offered

The School of Music and Dance music curriculum is divided into four general categories, each designated by a different subject code:

MUS: music courses and ensembles

MUJ: jazz studies

MUE: music education

MUP: performance studies

Music Courses (MUS)

125 Understanding Music (4) Presents the basic elements of music, historical style periods of Western art music, development of jazz and popular music. Baird, Case, DeMartino, Grasso, Grose, Pena, Udell, Wagoner.

129 Basic Guitar Theory (2) Develops skills to visualize and "think" on the fingerboard. Chords, scales and arpeggios, note location. Interval identification, chord spelling, and scale harmonizations. Students must provide own instrument. Amplifier provided. Basic music reading skills recommended. Extra fee. Latarski.

131, 132, 133 Music Theory I,II,III (2,2,2) Elementary study of musical structure, emphasizing the acquisition of descriptive, notational, compositional, and analytical capacity. Pack.

134, 135, 136 Aural Skills I,II,III (2,2,2) Elementary ear training through sight singing, dictation, and related activities. Pack.

137, 138, 139 Keyboard Skills I,II,III (1,1,1) Performance of rhythmic patterns, scales, intervals, and chord progressions. Harmonization, transposition, improvisation, and figured bass on the keyboard. Keyboard lab fee. Jantzi.

151 Popular Songwriting (4) Composing and producing songs using software applications and studying historical examples to understand how musical techniques reflect societal trends and express ideas. Music background optional. Koenigsberg.

155, 156 Introduction to Lyric Diction (2,2) Introduction to pronunciation of standard languages for students pursuing careers related to singing. The International Phonetic Alphabet is applied to the texts of simple repertoire. 155: English, Italian, Spanish. 156: German, French. Coreq: Performance Studies: Voice (MUP 174 or above).

168 Guided Listening (1) Guided listening experience designed to aid in acquisition of listening skills and experience with the most important repertoire, genres, and styles of Western music.

198 Workshop: [Topic] (1–2R) 

199 Special Studies: [Topic] (1–5R)

227 Elements of Electronic Music (4) Introduction to experimental and popular electronic music. Topics include fundamental elements of musical construction, history, technology, composers, musicians, copyright law, sampling, styles, and aesthetics. Udell.

231, 232, 233 Music Theory IV,V, VI (2,2,2) Continuation of MUS 131–133. Prereq: MUS 133 or equivalent proficiency. Grant, Rodgers.

234, 235, 236 Aural Skills IV,V,VI (2,2,2) Continuation of MUS 134–136. Prereq: MUS 136 or equivalent proficiency.

237, 238, 239 Keyboard Skills IV,V,VI (1,1,1) Continuation of MUS 137–139. Prereq: MUS 139 or equivalent proficiency. Keyboard lab fee. Kerner.

240, 241, 242 Composition I (3,3,3) Introduction to musical composition. Problems of notation, scoring for instruments, basic concepts of form; contemporary techniques; emphasis on student’s own beginning creative work. Prereq: MUS 133, 136, 139 or equivalent. McQuilkin.

250 Popular Musics in Global Context (4) Surveys the global popular music landscape of the 20th and 21st centuries, with an emphasis on identity and cultural mixture. Fenn.

264 Rock History, 1950–1970 (4) Evolution of rock emphasizing musical style and social context. Roots of rock through the British Invasion. Waddell, Woideck.

265 Rock History, 1965 to Present (4) Evolution of rock emphasizing musical style and social context. Psychedelic rock to early rap music. Waddell, Woideck.

267, 268, 269 Survey of Music History (4,4,4) Study of the history and evolution of music, principally Western art music, from the early Middle Ages to the present. Prereq: WR 121, MUS 133, pass Listening Repertoire Identification Exam. Kruckenberg, Smith, Vanscheeuwijck.

270 History of the Blues (4) Traces blues music from its African and African American roots through its 20th-century history and its influence on the values of jazz, rhythm and blues, and country music. Lawrence Wayte, Woideck.

280 First Nights in American Music (4) Focuses on issues of religion, race, gender, and "low" and "high" art by studying the origins and contexts of pieces representing different phases of American musical history.

281 Music of the Woodstock Generation (4) Examines the relationship between popular music and social upheavals in the United States during the 1960s. Lawrence Wayte.

322 Music Fundamentals (3) Music notation and terminology; learning musical rudiments through singing simple songs; introduction to simple melodic, rhythmic, and harmonic instruments. Laboratory fee. Educational foundations majors only. Johnson, Yarbro.

327 Analysis: [Topic] (3R) Techniques of analysis in various types of music. Prereq: MUS 233, 236, 239. R when topic changes. Boss, Grant, Pack, Rodgers.

340, 341, 342 Composition II (3,3,3) Composition and public performance of small works for piano, voice, and small ensembles. Prereq: MUS 242 or equivalent proficiency. Crumb.

349 American Ethnic and Protest Music (3) Social change and ethnicity reflected by music of and about Native Americans, African Americans, and women, as well as songs of protest and Spanish-speaking groups. Kajikawa.

351 The Music of Bach and Handel (4) Compositions by Bach and Handel such as organ chorales, cantatas, oratorios, operas, and masses; cultural context in Germany, France, Italy, and England for the development of their styles. Kruckenberg, Smith, Stewart-Cook.

353 Survey of Opera (4) Introduces great operas including works by Mozart, Wagner, and Verdi. Smith. Primarily for nonmajors.

356 Innovative Jazz Musicians: [Topic] (4R) Covers one or two innovative and influential jazz musicians per term. Examines issues of history, biography, multiculturalism, racism, and critical reception. R twice when topic changes for maximum of 12 credits. Woideck.

358 Music in World Cultures (4) Music of Africa, India, and Indonesia in sociocultural context. Emphasis on listening skills, relationships between music and culture, aesthetics, styles, genres, music structures and forms, and participatory music making. Grasso, Wolf.

359 Music of the Americas (4) African American, Latin American, and Native American music in sociocultural context. Includes listening skills, music-culture relationship, aesthetics, styles, genres, music structures and forms, and participatory music making. Fenn, Kajikawa.

360 Hip-Hop Music: History, Culture, Aesthetics (4) Examines the history and evolution of hip-hop and rap music in the late 20th and early 21st centuries. Grasso, Kajikawa.

363 The Beatles and Their Times (4) Presents and examines the music of the Beatles in the context of post–World War II English and United States cultures and 1960s Western youth cultures. Woideck.

380 Film: Drama, Photography, Music (4) Understanding the manner in which drama, photography, and music combine to form the whole through extensive viewing and analysis. Grasso.

384 Introduction to Conducting (2) Introduction to conducting with emphasis on the art and study of conducting, baton and left-hand technique, nonverbal communication, leadership, terminology, transpositions, and score reading.

390 East European Folk Ensemble (2R) Performance ensemble in which instrumentalists learn village-style folk dance music from Bulgaria, Macedonia, Serbia, Greece, and neighboring regions of Eastern Europe. R twice for maximum of 6 credits. 

391 Collegium Musicum (1–3R) Study of music repertoire of the Medieval, Renaissance, and Baroque periods through rehearsals and extensive sight-reading; vocal and instrumental repertoire. Ensemble fee. Prereq: audition. Gries, Mentzel, Vanscheeuwijck.

393 Oregon Electronic Device Orchestra (2) Performance ensemble that uses data-driven musical instruments in combination with software and hardware to perform music and intermedia compositions. Prereq: MUS 447 or 448.

394 Chamber Ensemble: [Topic] (1R) Accompanying, Brass Choir, Brass Ensemble, Chamber Ensemble, Jazz Guitar Ensemble, Oregon Percussion Ensemble, Studio Guitar Ensemble, Trombone Choir, Tuba and Euphonium Ensemble, University Percussion Ensemble. Prereq for all but chamber ensemble: audition. Cheung, Denny, Grose, Henniger, Latarski, Riley, Vacchi, Wagoner.

395 Band: [Topic] (1–2R) Green Garter Band, Oregon Basketball Band, Oregon Marching Band, Oregon Wind Ensemble, UO Campus Band, UO Symphonic Band, Yellow Garter Band. Ensemble fee for Oregon Wind Ensemble, UO Symphonic Band, UO Campus Band. Prereq: audition for all bands except UO Campus Band and Oregon Marching Band. Dorsey, T. Paul, Wiltshire.

396 Orchestra: [Topic] (2R) University Symphony Orchestra, Campus Orchestra. Ensemble fee. Prereq: audition. Jacobs.

397 Chorus: [Topic] (2R) Chamber Choir, Gospel Singers, Men's Choir, Repertoire Singers, University Gospel Choir, University Gospel Ensemble, University Singers, Women’s Choir. Ensemble fee. Prereq: audition or voice screening for all except Gospel Choir, Men's Choir, and Women's Choir. Brown, Olin, S. Paul.

398 Opera Workshop (2R) Traditional and contemporary repertory for musical theater through analysis, rehearsal, and performance of complete and excerpted works; training in stage movement, diction, and rehearsal techniques. Audition required. Esquivel.

399 Special Studies: [Topic] (1–5R)

401 Research: [Topic] (1–21R)

403 Thesis (1–12R)

405 Reading and Conference: [Topic] (1–4R) Prereq: completion of all regularly scheduled courses related to the topic or equivalent.

407/507 Seminar: [Topic] (1–5R)

408/508 Workshop: [Topic] (1–21R)

409 Supervised Tutoring (1–21R)

410/510 Experimental Course: [Topic] (1–5R) Recent courses include Arabic Music (offered summer session only), Instrument Design with Sensors, Meditation for Performers. Addison, McWhorter, Udell.

411/511 Percussion Master Class (1R)

412 Music Theory Review (2) Review of tonal theory. Graduate entrance examination required. Abbott, Pack.

413 Music History Review (3) Review of music history from the medieval period to the present. Graduate entrance examination required.

414 Aural Skills Review (2) Review of aural skills and sight singing. Graduate entrance examination required. Abbott, Pack, Rodgers.

415/515 Advanced Aural Skills (3) Develops students’ sight-singing and dictation skills in chromatic tonal music and introduces them to sight-singing and dictation strategies for atonal music. Boss. Offered 2013–14 and alternate years. 

416/516, 417/517 Post-Tonal Theory I,II (3,3) Introduction to theory and analysis of post-tonal music. Concepts of pitch-class set analysis and practical applications. Prereq: MUS 327. Boss. Offered alternate years; not offered 2013–14.

421/521, 422/522, 423/523 The Collaborative Pianist (2,2,2R) Comprehensive study of techniques and literature for artistic ensemble performance by pianists. Includes chamber music, art song, opera arias, accompaniment, sight-reading, and orchestral reduction skills. Prereq: MUP 271 or above. R once each, with instructor’s consent, for maximum of 4 credits per course. Riley.

424/524 Advanced Keyboard Harmony (3) Development of skills in figured bass realization, melody harmonization, and score reading at the keyboard. Kerner. Offered alternate years.

430/530, 431/531 Schenkerian Analysis (3,3) Analytical techniques, developed by Heinrich Schenker, studied through application to music of all periods and styles. Prereq: MUS 327. Boss.

433/533, 434/534, 435/535 Counterpoint (4,4,4) Study of modal and tonal counterpoint through analysis and composition. 433/533: 16th-century sacred polyphony; 434/534: baroque imitative counterpoint; 435/535: varies—typically devoted to more advanced fugal writing, 20th-century counterpoint, or other modal composition. Prereq: MUS 232, 236. Boss, Pack.

438/538 Composers Forum (1R) Formulation of a two- or three-concert series of student compositions; sessions with visiting composers and UO performers, and listening projects related to these residencies. R eleven times for maximum of 12 credits. Kyr.

439/539 Scoring for Voices and Instruments (3) Techniques of arranging and scoring for various types of choral and instrumental groups. Prereq: MUS 232, 236. Wagoner.

440/540, 441/541, 442/542 Composition III (3,3,3) Composition and public performance of works including large or chamber ensembles. Preparation of works for senior recital. Prereq: MUS 342. Kyr.

445 Electronic Composition (3R) Develops an elementary understanding about how computers and software are used to process digital audio and create musical compositions. Laboratory fee. Prereq: MUS 447/547, 448/548, 476/576. Stolet. R twenty-four times for maximum of 75 credits.

446 Computer Music Applications: [Topic] (3R) Use of computers for music notation, education, analysis, performance, research, and other applications. R three times when topic changes for maximum of 12 credits.

447/547 Digital Audio and Sound Design (4R) Examines concepts of digital audio representation, sampling, and processing; considers audio mixing, basic synthesis, and sound modification techniques and fundamentals of electroacoustic composition. Stolet.

448/548 Interactive Media Performance (3R) Examines concepts of interactive performance using MIDI, digital audio, and video processing, and considers issues related to designing performance algorithms in software. Stolet.

449/549 Creativity in Technology (3R) Explores the influences and applicants of technology in the musical, performing, and visual arts, assessing actualized works and considering their aesthetic and culture impact. R when course content changes. Stolet.

450/550 SensorMusik (3R) Examines the fundamental principles for microprocessors and sensor interface design within the context of musical performance, composition, and improvisation. R with no conditions.

451/551 Introduction to Ethnomusicology (4) World musics studied in their social and cultural contexts. Compares the varied approaches, ideas, and methods of selected American and European researchers since 1980. Grasso, Wolf. Offered 2013–14 and alternate years.

452/552 Musical Instruments of the World (4) Examines instruments of the world in their cultural contexts. Covers cross-cultural issues and focuses on particular geographic areas. Includes films, recordings, live demonstrations. Offered alternate years; not offered 2013–14.

453/553 Folk Music of the Balkans (4) Forms and styles of folk musics and dances in their cultural contexts in southeastern Europe: Albania, Bosnia, Bulgaria, Croatia, Greece, Macedonia, Romania, Serbia. Offered alternate years; not offered 2013–14.

454/554 Music of India (4) Classical music traditions of North and South India with some discussion of dance, rural folk music, and popular film music; participatory music making and demonstrations by visiting artists. Offered alternate years; not offered 2013–14.

455/555, 456/556 Lyric Diction (3,3) Analysis and International Phonetic Alphabet transcription of song and opera texts with emphasis on the singer’s approach to performance. Prereq: MUS 156. Mentzel.

457/557 Native American Music (4) Survey of ceremonial, powwow, folk, and contemporary music; women’s musical traditions; Native American film music. Powwow drumming and singing in indigenous languages, taught by a Native American. Offered summer session only. Addison.

458/558 Celtic Music (4) Explores music and culture of Ireland, Scotland, Wales, and Brittany. History, culture, and modern and old performance styles studied.

459/559 African Music (4) Authentic musical instruments, repertoire, and recordings illustrate how different societies use music to express identity in a contemporary and ever-changing Africa. Traditional and recent popular styles. Offered summer session only. Addison.

460/560 Music and Gender (4) Examines the role of gender in shaping the music that is created, performed, taught, and listened to in representative cultures of the world, including the West.

462/562 Popular Musics in the African Diaspora (4) Examines social and historical contexts of popular musics in the African diaspora from the 20th century on. Geographic focus is North America, the Caribbean, and Africa. Fenn.

467/567, 468/568 Solo Vocal Music (3,3) Solo songs with accompaniment; the lute air and Purcell; 19th-century art songs in Germany and France; 20th-century British, American, and Continental song literature; development of bases for artistic performance and sound critical judgment through study of text, voice, and accompaniment. Prereq: MUS 269 or equivalent. Vargas, Laura Wayte. Offered alternate years; not offered 2013–14.

470/570 History of Electroacoustic Music (3R) Examines the development of aesthetic movements, styles, media, instruments, and performance practice related to electroacoustic music. Prereq: Standing as a music technology major or meeting the prerequisites for history survey courses. R with no conditions.

471/571 Musical Performance Networks (3R) Examines various types of network architectures and data-processing and mapping strategies that can be applied to real-time musical outcomes. R with no conditions.

474/574, 475/575 History of Opera (4,4) Critical study of the musical and dramatic content of operas forming the standard international repertoire. 474/574: Monteverdi to Mozart. 475/575: Mozart to the present. Prereq: MUS 269 or equivalent. Smith.

476/576 Digital Audio Workstation Tech I (3R) Explores how MIDI (musical instrument digital interface) is used to compose, edit, and record using a personal computer. Sequence. Basic Mac skills recommended. R if student is not satisfied with earned grade or wishes for increased skill set. Latarski.

477/577 Digital Audio Workstation Tech II (3R) Explores the principles and techniques used in recording audio with a computer. Sequence. Prereq: MUS 476. R if student is not satisfied with earned grade or wishes for increased skill set. Latarski.

478/578 Digital Audio Workstation Tech III (3R) Explores advanced uses of plug-ins, mixing, and editing using a computer. Sequence. Prereq: MUS 477. R if student is not satisfied with earned grade or wishes for increased skill set. Latarski.

480/580 Audio Recording Techniques I (3) Hardware and software techniques for use in a recording studio environment, including microphone usage, recording techniques, and digital production. Miller.

481/581 Audio Recording Techniques II (3) Application of advanced recording techniques. Pre- or coreq: MUS 480/580. Miller.

482/582 Audio Recording Techniques III (3) Focuses on the production concepts and techniques necessary to produce a full-length, professional-quality compact disc. Sequence with 480/580, 481/581. Prereq: 481/581.  Miller.

484/584 Choral Conducting and Literature (3R) Choral conducting, gesture and communication, rehearsal technique, and choral literature appropriate for secondary school choral music programs (grades 6–12), community youth choirs, and collegiate ensembles. Prereq: MUP 140. R once for maximum of 6 credits. Olin.

486 Instrumental Conducting (3R) Conducting techniques as applied to band and orchestral music with emphasis on various styles and periods of music; study of 20th-century rhythms and related conducting problems. Major standing required. R once for a maximum of 6 credits. T. Paul.

490/590 Balinese Gamelan (2R) Pacific Rim Gamelan ensemble. Performance of original compositions and traditional music for gamelan. Three public performances a year. Kyr. R with instructor’s consent. Limited to twelve performers.

499 Senior Project (3R) Projects in music history, analysis, theory, composition, performance, or related disciplines designed by the student in consultation with the instructor. R twice for maximum of 9 credits.

Thesis, Research, Dissertation, and Reading and Conference are available during summer sessions with advisor’s consent.

503 Thesis (1–16R)

601 Research: [Topic] (1–16R)

602 Supervised College Teaching (1–5R)

603 Dissertation (1–16R)

605 Reading and Conference: [Topic] (1–4R) Prereq: completion of all regularly scheduled courses related to the topic.

607 Seminar: [Topic] (1–5R) Extra fee for Oregon Bach Festival seminars.

608 Workshop: [Topic] (1–16R)

609 Terminal Project (1–16R)

610 Experimental Course: [Topic] (1–5R)

611 Research Methods in Music (3) Use of reference, research, and bibliographical sources in music. Boss, Diaz, Schaffer.

614 Introduction to Musicology (4) Introduces musicology and several of its subfields; includes current and recent arguments. Major standing required. Kajikawa, Smith.

620 Bibliography in Instrumental Conducting (3) Survey of research in conducting. Discussion of rehearsal strategies and psychology. Dorsey.

621, 622, 623 Wind Repertoire (3,3,3) Survey and analysis of music composed for large wind groups, from 1500 to the present. Dorsey. Offered alternate years; 621 and 622 offered 2013–14; 623 offered 2014–15.

624 Instrumental Conducting Laboratory (2R) Study, preparation, and conducting of works for instrumental ensembles in rehearsals and performances. R twice for maximum of 6 credits. Dorsey.

629 Repertoire and Analysis (3R) Analytical interpretations of musical works in a context that focus on repertoire rather than on particular analytical methodologies. The pieces studied vary each time the course is offered. R with varying repertoire. Boss, Rodgers.

630 History of Theory I (3) Examination and evaluation of theories of music from ancient times to the 16th century, including Aristides Quintilianus, Boethius, Hucbald, Guido, Franco, Tinctoris, Ramis, and Aron. Grant, Kruckenberg, Pack. Offered 2013–14 and alternate years.

631 History of Theory II (3) Examination and evaluation of theories of music from the 16th to 19th centuries, including Glarean, Zarlino, Descartes, Rameau, Tartini, Kirnberger, C. P. E. Bach, Fétis, Sechter, and Helmholtz. Grant, Pack. Offered 2013–14 and alternate years.

632 History of Theory III (3) Theories of harmony and structure ranging from the mid-19th century to the present, including Hauptmann, Riemann, Schenker, Schoenberg, Hindemith, Babbitt, Forte, Lewin, Straus, and Lerdahl. Boss, Grant. Offered 2013–14 and alternate years.

633 Advanced Schenkerian Analysis (3) Advanced analytical techniques developed by Heinrich Schenker. Pre- or coreq: MUS 431/531 or equivalent.

634 Advanced Post-Tonal Theory (3) Analytic approaches to twelve-tone music. Boss.

640, 641, 642 Advanced Composition Studies (3R, 3R, 3R) Studio instruction in composition. Prereq: MUS 442/542; coreq: MUS 538. R twice with instructor’s consent for a maximum of 9 credits. Crumb, Kyr.

643, 644 Notation of Medieval and Renaissance Music (3,3) Representative examples of notational systems and practices in Western European polyphony from 900 to 1600. Kruckenberg. Offered alternate years; 643 not offered 2013–14; 644 offered 2013–14.

645 Advanced Electronic Composition (3R) Develops an advanced understanding of computers and software and how they are used to process digital audio and create musical and media compositions. Prereq: MUS 547, 548, 576. R with instructor’s consent. Stolet.

650, 651, 652 Piano Literature (3,3,3) Advanced study of solo piano literature from Bach to the present. Sequence. Dossin, Kerner. Offered 2013–14 and alternate years.

660 Music in the Middle Ages (3) Sources of Western European music in classical antiquity and the Near East; sacred monophony, secular monophony; development of polyphony. Kruckenberg. Offered 2013–14 and alternate years.

661 Music in the Renaissance (3) The central Renaissance style in 15th-century France and Italy; High Renaissance music; Late Renaissance music; developments in England and Germany; instrumental music; Renaissance music theory. Kruckenberg, Pack. Offered alternate years; not offered 2013–14.

662 Music in the Baroque Era (3) Musical genres in Italy, France, Germany, Austria, Britain, the Netherlands, Spain, Mexico, and South America in historical, social, political, and cultural contexts—early 17th century through Bach and Handel. Vanscheeuwijck. Offered alternate years; not offered 2013–14.

663 Music in the Classical Period (3) Study of galant, Emfindsamer, and classical styles from c. 1730 to Boccherini, Haydn, and Mozart. Focus on instrumental and sacred music, and on opera before Mozart. Grasso, Vanscheeuwijck. Offered 2013–14 and alternate years.

664 Music in the Romantic Era (3) Virtuosic and lyric extremes in instrumental and vocal styles. Literary romanticism, descriptive music, and the Lied; opera in France and Italy; Wagner’s music drama as Gesamtkunstwerk. Pack, Smith. Offered alternate years; not offered 2013-14.

665 Music in the 20th Century (3) Crisis of romanticism and tonality: transition of Debussy, Mahler, and others; new styles of Stravinsky, Schoenberg, Bartók; developments in the United States; implications of recent trends. Boss, Kajikawa, Pack, Lawrence Wayte. Offered 2013–14 and alternate years.

680, 681, 682 Historical Performance Practices I,II,III (3) Introduction to theory and practice of sound production, rhetoric, pronunciation, instrumentation, pitch, temperament, and ornamentation in period vocal and instrumental solo and ensemble music. 680: 12th through 16th centuries. 681: 17th and early 18th centuries. 682: Late 18th and 19th centuries. Vanscheeuwijck. Offered once every third year; offered 2013–14. 

690 East European Folk Ensemble (2R) See MUS 390. R twice for maximum of 6 credits.

691 Collegium Musicum (1–3R) See MUS 391.

693 Oregon Electronic Device Orchestra (2) Performance ensemble that uses data-driven musical instruments in combination with software and hardware to perform music and intermedia compositions. Prereq: MUS 547, 548.

694 Chamber Ensemble: [Topic] (1R) See MUS 394.

695 Band: [Topic] (1–2R) See MUS 395.

696 Orchestra: [Topic] (2R) See MUS 396.

697 Chorus: [Topic] (2R) See MUS 397.

698 Opera Workshop (2R) See MUS 398.

Jazz Studies Courses (MUJ)

180, 181, 182 Jazz Performance Laboratory (2,2,2) Drills and practical application of scales, chords, harmonic progressions, rhythmic patterns, and approach-note groups for development of skills in small jazz ensembles. S. Owen.

199 Special Studies: [Topic] (1–5R) 

270 Jazz Theory (2) Introduction to jazz harmony: chord symbols, chord voicing practices, analysis, reharmonization practices, scale choices for improvisation, creation of bass lines. Prereq: MUS 132. Denny, S. Owen.

271, 272 Functional Jazz Piano I,II (2,2) Performance of one- and two-handed comping style including common voice-leading practices, scales, and harmonic formulas. Reading from chord symbols and lead sheets. Prereq: MUJ 270. Koenigsberg.

273, 274 Jazz Improvisation I,II (2,2) Task-oriented performance of selected standard jazz repertoire. 273: chord and scale study, solo transcription, analysis, pattern practice, simple compositional forms. 274: chord alteration, chord substitution, reharmonization and chromaticism. Prereq: MUJ 270. Denny, S. Owen.

350 History of Jazz, 1900–1950 (4) History, biography, multiculturalism, and racism in early jazz and swing through modern jazz. Includes Louis Armstrong, Duke Ellington, Charlie Parker, Dizzy Gillespie, Miles Davis. Denny, Woideck.

351 History of Jazz, 1940 to Present (4) History, biography, multiculturalism, and racism in modern jazz and free jazz to present. Includes Charlie Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Ornette Coleman. Woideck.

390 Jazz Laboratory Band III (1R) Large ensembles performing repertoire associated with the jazz idiom. Performances on campus, in the community, and at jazz festivals. R six times for maximum of 7 credits.

391 Jazz Laboratory Band II (1R) See MUJ 390. R six times for maximum of 7 credits.

392 Oregon Jazz Ensemble (1–2R) Large ensembles performing repertoire associated with the jazz idiom. Performances on campus, in the community, and at jazz festivals. Prereq: audition. S. Owen.

395 Small Jazz Ensemble: [Topic] (1–2R) Improvisation group. Study current and past small-group jazz performances. Prereq: audition. R six times for maximum of 14 credits. Denny.

399 Special Studies: [Topic] (1–5R)

405 Reading and Conference: [Topic] (1–4R)

407/507 Seminar: [Topic] (1–5R)

408/508 Workshop: [Topic] (1–21R) 

474/574, 475/575, 476/576 Jazz Repertoire I,II,III (3,3,3) Development of professional performance skills in improvisation through the study of traditional jazz repertoire. Prereq: MUJ 274. S. Owen.

477/577, 478/578, 479/579 Advanced Jazz Repertoire I,II,III (3,3,3) Development of professional performance skills in improvisation through study of traditional and contemporary jazz repertoire. Prereq: MUJ 476/576. Koenigsberg.

480/580, 481/581, 482/582 Jazz Arranging I,II,III (3,3,3) Study of use of common arranging skills: reharmonization, instrumentation, block harmonization, tutti scoring techniques, five-part density. Prereq: MUJ 272. Koenigsberg.

483/583, 484/584, 485/585 Advanced Jazz Arranging I,II,III (3,3,3) Composition, arranging, and performance of works for large and chamber jazz ensembles. Preparation of works for senior and graduate degree recitals. Prereq: MUJ 482/582. S. Owen.

503 Thesis (1–16R)

605 Reading and Conference: [Topic] (1–4R)

660 Survey of Jazz Composition (3) Overview of important developments and historically significant figures in jazz composition and arranging. Analysis of their music and stylistic traits. Owen.

661 Jazz Program Planning and Development (3) Designing and nurturing a successful jazz program. Jazz curriculum, grant writing, budgets, resources, organizing student support, setting and reaching program goals. Owen.

690 Jazz Laboratory Band III (1R) See MUJ 390. R six times for maximum of 7 credits.

691 Jazz Laboratory Band II (1R) See MUJ 391. R six times for maximum of 7 credits.

692 Oregon Jazz Ensemble (1–2R) See MUJ 392. R six times for maximum of 14 credits.

695 Small Jazz Ensemble: [Topic] (1–2R) See MUJ 395. R six times for maximum of 14 credits.

Music Education Courses (MUE)

199 Special Studies: [Topic] (1–5R)

326 Foundations of Music Education (3) Professional orientation for prospective school music teachers; curricular, historical, philosophical, and social foundations of music education; ethical, professional, and social aspects of teaching; comprehensive field experience. Extra fee. P. Paul.

386, 387, 388 Teaching Laboratory I (1,1,1) Practice in teaching using microteaching techniques and music education methods in a laboratory setting. Prereq: admission to music education. Olin, T. Paul, Wiltshire.

392 Instrumental Techniques: [Topic] (1R) Elementary instruction in pedagogy and performance of various instruments. Sections in strings, woodwinds, brass, percussion, flute, clarinet and saxophone, oboe and bassoon, trumpet, trombone, horn, violin and viola, cello, guitar, and voice. Instrument rental fee. Prereq: admission to music education. Extra fee.

401 Research: [Topic] (1–21R)

403 Thesis (1–12R)

405 Reading and Conference: [Topic] (1–4R) Prereq: completion of all regularly scheduled courses related to the topic or equivalent.

406 Field Studies: [Topic] (1–21R)

407/507 Seminar: [Topic] (1–5R) Recent courses include String Materials, Band Materials.

408/508 Workshop: [Topic] (1–21R) Recent courses include Band Instrument Repair, Choral Teachers, Orff-Schulwerk. Offered summer session only.

409 Practicum: [Topic] (1–4R) Recent courses include Public Schools.

410/510 Experimental Course: [Topic] (1–5R)

411/511 Band Methods (3R) Concerns of band teachers in secondary and elementary schools. Observations, procedures, and instructional materials; planning and teaching lessons for analysis and criticism. Instrumental technique classes recommended. Prereq: admission to music education; admission to the MUP 300 level on primary instrument; MUE 392, MUS 486; coreq: MUE 388 or 488. R once for a maximum of 6 credits. Wiltshire.

412/512 Elementary Music Methods (3) Introduction to a variety of skills and techniques necessary for successful music teaching in elementary school settings. Laboratory fee. Prereq: admission to music education; admission to the MUP 300 level; MUE 411/511, 413/513; coreq: MUE 486, 609. P. Paul.

413/513 Secondary Choral Methods (3) Secondary choral music curriculum, teaching methods, sight-singing and music literacy, developing independent musicianship, philosophical and social foundation of vocal music education in the public schools. Prereq: admission to music education; admission to the MUP 300 level in voice or piano; MUS 484/584; coreq: MUE 388 or 488. Olin.

420/520 Contemporary Methods (3) Study of contemporary methodologies used in planning and implementation of musical experiences for children in elementary school, including Dalcroze, Kodály, Orff, and comprehensive musicianship. Prereq: MUE 412/512, MUS 484/584. P. Paul.

428/528 Music for Early Childhood (3R) Musical characteristics and abilities of preschool children. Suitable materials and musical experiences; techniques involving parents and children in a laboratory setting. Laboratory fee. R once for a maximum of 6 credits. P. Paul.

429/529 Music in Special Education (3) Music for disabled or gifted learners. Educational and therapeutic uses of music for mentally, physically, and emotionally disabled as well as gifted learners. P. Paul.

430/530 Music Classroom Management (3R) Techniques in classroom management; crises prevention and intervention; techniques for providing a safe and positive classroom environment; professional ethics and legal expectations. R twice for a maximum of 9 credits. Diaz.

442/542 Teaching Singing in the Classroom (3) Methods for teaching group vocal technique in the classroom with emphasis on elementary, mid-level, and emerging adult voices. Concentration on development of the adolescent changing voice. Prereq: admission to music education; coreq: MUE 386. Olin.

444/544 Choral Materials for Schools (3) Repertoire for choral groups in secondary schools; choral music from early historical periods to the avant-garde; criteria for selection of choral music; instructional program and concert planning. Prereq: admission to the MUP 300 level in voice; MUE 442/542. Olin.

447/547 Psychology of Music (3) Functions of the musical mind; knowledge and intellectual skills related to mature perception; implications for the teaching of music. Diaz.

455/555 Marching Band Methods (3) Teaching methods for secondary school marching bands. Wiltshire.

456/556 String Methods (3) Teaching methods for the beginning string class in elementary and middle schools. Development of technique sequences for string groups in secondary schools.

459/559 Suzuki Pedagogy I (3) Development of skills for teaching beginning violin students and their parents using the Suzuki method, its philosophies, and Book I repertoire. Required observation and teaching assignment with Community Music Institute. Pre- or coreq: MUE 607 (Seminar: Community Music Institute Preparation). Wells.

460/560 Suzuki Pedagogy II (3) Development of skills for teaching beginning violin students using the Suzuki method, its philosophies, and Book II repertoire; methods for introducing music-reading and basic ensemble skills. Prereq: MUE 459/559; coreq: MUE 607 (Seminar: Community Music Institute Preparation). Wells.

461/561 Suzuki Pedagogy III (3) Development of skills for teaching intermediate violin students using the Suzuki method, its philosophies, and Book III repertoire, as well as supplementary repertoire, etudes, and scale studies. Prereq: MUE 460/560; coreq: MUE 607 (Seminar: Community Music Institute Preparation). Wells.

462/562 Suzuki Pedagogy IV (3) Development of skills for teaching advanced intermediate violin students using the Suzuki method, its philosophies, and Book IV repertoire, as well as supplementary repertoire, etudes, and scale studies. Prereq: MUE 461/561. Wells.

463/563 Pedagogy Methods: Violin and Viola (2) Principles and techniques of violin and viola teaching selected from the pedagogical approaches of Flesch, Galamian, Dounis, Rolland. Straka, Lucktenberg.

471/571 Piano Pedagogy I: Teaching Beginners (3) In-depth study of beginning methods and materials for children and adults. Individual teaching experience. Wachter. Offered alternate years; not offered 2013–14.

472/572 Piano Pedagogy II: Teaching Groups (2) Methods and materials for group instruction of all ages and levels. Survey of learning theories and new technologies. Individual and group teaching experience. Prereq: MUE 471/571; coreq: MUE 409 or 609. Wachter. Offered alternate years; not offered 2013–14.

473/573 Piano Pedagogy III: Teaching Intermediate Levels (2) Study of repertoire, technique, and teaching methods appropriate for intermediate-level piano students. Individual and master-class teaching experience. Prereq: MUE 472/572; coreq: MUE 409 or 609. Wachter. Offered alternate years; not offered 2013–14.

486, 487, 488 Teaching Laboratory II (1,1,1) See MUE 386, 387, 388. Prereq: admission to music education. Olin, P. Paul, Wiltshire.

491/591 Advanced Pedagogy: [Topic] (3R) Topics include Piano. R twice in different topics for maximum of 9 credits. Piano offered 2013–14 and alternate years.

503 Thesis (1–16R)

601 Research: [Topic] (1–16R)

602 Supervised College Teaching (1–5R)

603 Dissertation (1–16R)

605 Reading and Conference: [Topic] (1–4R) Prereq: completion of all regularly scheduled courses related to the topic or equivalent.

606 Field Studies: [Topic] (1–16R) A recent topic is Field Practicum Music Education.

607 Seminar: [Topic] (1–5R) Recent topics are Thesis Organization.

608 Workshop: [Topic] (1–16R)

609 Practicum: [Topic] (1–4R) A recent topic is Music September Experience. Prereq: knowledge and competence in the substance of the activity and in curricular planning.

610 Experimental Course: [Topic] (1–5R)

613 Research Methods in Music Education (3) Experimental research including problem identification, research design, influencing variables, research tools, and the interpretation of data in relation to the teaching of music. Diaz.

632 Music in School and Society (3) Musical experiences and responses in contemporary society; standards for musical quality. Elementary and secondary school music programs, past and present, and their relationships to the communities they serve. Diaz.

636 Administration of School Music (3) Topics include facilities, budgets, capital equipment, sheet music purchase, music library, scheduling classes, school-year organization, grading, student handbooks, booster organizations, fundraising, public relations, concert preparation, and group travel. T. Paul.

637 Technology of Teaching Music (3) Use of electronic equipment and computers in teaching music. Hardware and software appropriate for classroom use and for individualized instruction. Wiltshire.

638 Curricular Strategies in Music Education (3) Procedures for developing music courses for today’s schools; determination of goals, content, instructional materials, and evaluative criteria; exploration of significant curriculum development projects in music education. Diaz.

639 Pedagogy and Practicum: [Topic] (3R) Teaching strategies and practical application. Topics include composition, conducting, ethnomusicology, jazz studies, music education, music history, music technology, music theory, performance practice, instrumental conducting, voice, keyboard, strings, woodwinds, brass, and percussion. R twice when topic changes for maximum of 9 credits.

641 College Music Teaching (3) Developing knowledge, skills, and attitudes useful for teaching music; current principles of educational psychology at the college level, instructional techniques, tests and measurements. Tedards.

777 Supervised Field Experience (1R) Discussion of problems encountered in student teaching. Preparation of required work samples. Preparation for productive job search. P. Paul.

Performance Studies Courses (MUP)

Placement in nongroup performance studies requires an audition, which may be scheduled by appointment.

Extra fee for all MUP courses; additional maintenance fees for harpsichord, organ, and classical percussion

MUP 140–791 coreq for majors: enroll in major ensemble; no coreq for jazz lessons

Percussion studies (MUP 161, 191, 291, 361, 391, 491, 631, 661, 691, 761, 791) coreq: MUS 411/511, enroll in major ensemble

100–104 Basic Performance Studies: [Topic] (2R) 100: Piano, 101: Voice, 102: Strings, 103: Woodwinds, 104: Brass. Prereq: audition for MUP 103–105. R twice for maximum of 6 credits.

108 Intermediate Guitar Skills (2R) Beginning-level group instruction in music reading, chording techniques, improvisation, scales, and simple theory. Listening is an important part of the course. R once for maximum of 4 credits. Latarski.

110 Basic Performance Studies: Classical Guitar (2R) Studio instruction. Prereq: audition. R twice for maximum of 6 credits. Case.

120 Beginning Guitar I (3R) Beginning-level group instruction in the fundamentals of guitar playing, song accompaniment, ensemble playing, reading music, basic music theory, and practice skills. Students must provide own instruments. R twice for maximum of 9 credits. Case.

121 Beginning Guitar II (3R) Chord voicings, finger-style playing, and arranging. Requires music reading and barré-chord skills. Group instruction. Students must provide own instruments. Prereq: MUP 120. R twice for maximum of 9 credits. Case.

122 Funk Guitar (2R) Fundamental techniques and theory used by guitarists to play in a funk style of music. Group instruction. Students must provide own instruments. R twice for a maximum of 6 credits. Latarski.

127 Blues Guitar I (2R) Introduction to blues chords, scales, songs, and related techniques. Designed for beginners; students must provide own instruments. Group instruction. R once for maximum of 4 credits. Latarski.

140–161 Performance Studies: [Topic] (2–4R) Studio instruction in performance for students with minimal previous training. 140: Voice, 141: Piano, 142: Harpsichord, 143: Organ, 145: Violin, 146: Viola, 147: Cello, 148: Bass, 149: Harp, 150: Guitar, 151: Flute, 152: Oboe, 153: Clarinet, 154: Saxophone, 155: Bassoon, 156: Trumpet, 157: French Horn, 158: Trombone, 159: Euphonium, 160: Tuba, 161: Percussion. Prereq: audition. R eleven times for maximum of 48 credits.

162 Performance Studies: [Topic] (1–5R) Recent topics include Beatles Guitar Music, Folk Harp, Jazz Drumset, Tabla, Baroque Cello. R when topic changes.

163 Functional Piano (2R) Group instruction in functional keyboard skills. Prereq: MUS 138. R twice for maximum of 6 credits. Baird.

171–191 Performance Studies: [Topic] (2–4R) Studio instruction. Technique and style of artistic performance. 171: Piano, 172: Harpsichord, 173: Organ, 174: Voice, 175: Violin, 176: Viola, 177: Cello, 178: Bass, 179: Harp, 180: Guitar, 181: Flute, 182: Oboe, 183: Clarinet, 184: Saxophone, 185: Bassoon, 186: Trumpet, 187: French Horn, 188: Trombone, 189: Euphonium, 190: Tuba, 191: Percussion. Prereq: audition.

199 Special Studies: [Topic] (1–5R) Recent topics include Tabla, Tuba and Euphonium Routine, Breathing Technique.

271–291 Performance Studies: [Topic] (2–4R) Studio instruction. 271: Piano, 272: Harpsichord, 273: Organ, 274: Voice, 275: Violin, 276: Viola, 277: Cello, 278: Bass, 279: Harp, 280: Guitar, 281: Flute, 282: Oboe, 283: Clarinet, 284: Saxophone, 285: Bassoon, 286: Trumpet, 287: French Horn, 288: Trombone, 289: Euphonium, 290: Tuba, 291: Percussion. Prereq: audition to demonstrate proficiency equivalent to completion of 100 level.

341–361 Performance Studies: [Topic] (2–4R) Studio instruction. 341: Piano, 342: Harpsichord, 343: Organ, 344: Voice, 345: Violin, 346: Viola, 347: Cello, 348: Bass, 349: Harp, 350: Guitar, 351: Flute, 352: Oboe, 353: Clarinet, 354: Saxophone, 355: Bassoon, 356: Trumpet, 357: French Horn, 358: Trombone, 359: Euphonium, 360: Tuba, 361: Percussion. Prereq: jury audition, proficiency equivalent to completion of 200 level.

362 Performance Studies: [Topic] (1–5R) Recent topics include Beatles Guitar Music, Folk Harp, Jazz Drumset, Tabla, Baroque Cello, Continuo. R when topic changes.

371–391 Performance Studies: [Topic] (2–4R) Studio instruction. 371: Piano, 372: Harpsichord, 373: Organ, 374: Voice, 375: Violin, 376: Viola, 377: Cello, 378: Bass, 379: Harp, 380: Guitar, 381: Flute, 382: Oboe, 383: Clarinet, 384: Saxophone, 385: Bassoon, 386: Trumpet, 387: French Horn, 388: Trombone, 389: Euphonium, 390: Tuba, 391: Percussion. Prereq: jury audition, proficiency equivalent to completion of MUP 271–291.

471–491 Performance Studies: [Topic] (2–4R) Studio instruction. 471: Piano, 472: Harpsichord, 473: Organ, 474: Voice, 475: Violin, 476: Viola, 477: Cello, 478: Bass, 479: Harp, 480: Guitar, 481: Flute, 482: Oboe, 483: Clarinet, 484: Saxophone, 485: Bassoon, 486: Trumpet, 487: French Horn, 488: Trombone, 489: Euphonium, 490: Tuba, 491: Percussion. Prereq: audition to demonstrate proficiency equivalent to completion of MUP 371–391.

611–631 Performance Studies: [Topic] (2R) Studio instruction. 611: Piano, 612: Harpsichord, 613: Organ, 614: Voice, 615: Violin, 616: Viola, 617: Cello, 618: Bass, 619: Harp, 620: Guitar, 621: Flute, 622: Oboe, 623: Clarinet, 624: Saxophone, 625: Bassoon, 626: Trumpet, 627: French Horn, 628: Trombone, 629: Euphonium, 630: Tuba, 631: Percussion. Prereq: jury audition to demonstrate proficiency required for admission to MUP 271–291. R for maximum of 6 credits.

641–661 Performance Studies: [Topic] (2–4R) Studio instruction. 641: Piano, 642: Harpsichord, 643: Organ, 644: Voice, 645: Violin, 646: Viola, 647: Cello, 648: Bass, 649: Harp, 651: Flute, 652: Oboe, 653: Clarinet, 654: Saxophone, 655: Bassoon, 656: Trumpet, 657: French Horn, 658: Trombone, 659: Euphonium, 660: Tuba, 661: Percussion. Prereq: jury audition to demonstrate proficiency required for admission to MUP 341–361 or 371–391. R for maximum of 12 credits.

662 Advanced Special Studies: [Topic] (1–5R) Recent topics include Baroque Cello, Beatles Guitar Music, Basso Continuo, Folk Harp, Jazz Drumset. R when topic changes.

670–691 Performance Studies: [Topic] (2–4R) Studio instruction. 670: Piano Accompanying, 671: Piano, 672: Harpsichord, 673: Organ, 674: Voice, 675: Violin, 676: Viola, 677: Cello, 678: Bass, 679: Harp, 681: Flute, 682: Oboe, 683: Clarinet, 684: Saxophone, 685: Bassoon, 686: Trumpet, 687: French Horn, 688: Trombone, 689: Euphonium, 690: Tuba, 691: Percussion. Prereq: jury audition to demonstrate proficiency at completion of MUP 471–491; sufficient talent and experience to justify undertaking performance at the master’s level.

741–761 Performance Studies: [Topic] (2–4R) Studio instruction. 741: Piano, 742: Harpsichord, 743: Organ, 744: Voice, 745: Violin, 746: Viola, 747: Cello, 748: Bass, 749: Harp, 751: Flute, 752: Oboe, 753: Clarinet, 754: Saxophone, 755: Bassoon, 756: Trumpet, 757: French Horn, 758: Trombone, 759: Euphonium, 760: Tuba, 761: Percussion. Prereq: jury audition to demonstrate proficiency at completion of MUP 641–661 or 671–691, sufficient talent and experience to justify undertaking performance as a doctoral supporting area.

769 Performance Studies: Data-Driven Instruments (2–4) Examines how recent technology can be performed in real time to actuate and control musical outcomes. Prereq: Sufficient talent and experience to justify undertaking performance as a doctoral primary area. 

770–791 Performance Studies: [Topic] (2–4R) Studio instruction. 770: Collaborative Piano, 771: Piano, 772: Harpsichord (Not offered 2013–14), 773: Organ (Not offered 2013–14), 774: Voice, 775: Violin, 776: Viola, 777: Cello, 778: Bass (Not offered 2013–14), 779: Harp (Not offered 2013–14), 781: Flute, 782: Oboe, 783: Clarinet, 784: Saxophone, 785: Bassoon, 786: Trumpet, 787: French Horn, 788: Trombone, 789: Euphonium, 790: Tuba, 791: Percussion. Prereq: jury audition to demonstrate proficiency at completion of MUP 671–691, sufficient talent and experience to justify undertaking performance as a doctoral primary area.