Selected aspect of music theory. Content and method of instruction may vary for each workshop.

Scoring for individual instruments and small ensembles. Analysis of selected instrumental compositions.

Review of music fundamentals, tonal harmony, and aural skills. Entering graduate students failing written portion of theory diagnostic exam attend classes on fundamentals and harmony. Those failing aural skills portion attend ear training classes. Passing this course satisfies diagnostic exam requirements. Not applicable to any degree.

Grounding in species counterpoint and 16th-century practice, moving into a comprehensive study of contrapuntal techniques through the 20th century.

Twentieth-century compositional methods, analysis of selected works. Introduction to 12-tone set theory.

For students not majoring in composition. Permission of instructor

A comprehensive approach to the craft of popular songwriting. Analysis includes historical perspectives, song form, style, content, lyric writing, lead sheet and demo creation, copyright, recording, and marketing techniques.

Beginning jazz theory; simple harmonic functions. Improvisation with Ionian, Dorian, and Mixolydian modes. Arranging for small ensembles. Permission of instructor.

Improvisation with II to V progressions, diminished chords, augmented triads, and related scales. Composing and arranging for small ensembles.

Improvisation with half-diminished seventh chord and related scale. Application of improvisational techniques to pop and jazz tunes. Recordings and transcriptions of major artists. Preparation of charts for larger ensembles.

Improvisation with pentatonic and lydian scales and turn-around patterns. Improvisational principles using chord scales, guide tones, and other techniques. Preparation of charts for larger ensembles.

Introduction to techniques, repertoire, and history of electroacoustic/computer generated music. Projects include three compositions for electronic sounds; electronics alone, with soloist, and with small ensemble. Required course for music composition majors.

An exploration of techniques for live performance with computers: interactive, multimedia, installation, DJ and others, using a broad array of software and hardware combinations, focusing on their actual and potential creative uses.

Intensive focus on a composer, genre or stylistic development, to be chosen by the instructor. Emphasis on analytical understanding, aesthetic issues and interdisciplinary context.

Offered through SUAbroad by educational institution outside the United States. Student registers for the course at the foreign institution and is graded according to that institution's practice. SUAbroad works with the S.U. academic department to assign the appropriate course level, title, and grade for the student's transcript.

Preparation of a project paper under guidance of a member of the appropriate faculty, who introduces the student to tools of research. Presented for reading and grading to a group of three faculty, one of whom is the advisor.

Exploration of a topic (to be determined) not covered by the standard curriculum but of interest to faculty and students in a particular semester.

Ranges and idiomatic uses of wind, percussion, and string instruments in bands and orchestras and of voices in choral ensembles and choirs. Elementary scoring for choral combination instrumental and choral groups.

Contemporary techniques. Innovative forms of instrumentation and nonstandard use of instruments.

Tonal harmony and its extensions from circa 1830 to the present. Introduction to Schenker analysis. Required of all graduate students in the School of Music.

Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.

Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.

Individual instruction emphasizing larger forms and works for larger ensembles.

Individual instruction emphasizing larger forms and works for larger ensembles.

Participation in a discipline or subject related experience. Student must be evaluated by written or oral reports or an examination. Permission in advance with the consent of the department chairperson, instructor, and dean. Limited to those in good academic standing.

In-depth exploration of a problem or problems.  Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor or instructors and the department.

Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.

Listening and discussion of creative issues and strategies in music composition. Two to four presentations by visiting composers per semester. Required of all graduate composition majors.

Continuation of MTC 655,656.

Continuation of MTC 655,656.