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

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

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

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

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

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

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

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

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

Elementary note reading, meter, intervals; diatonic harmony including key signatures, major & minor scales, triads, 7th chords and accompanying chord symbols. For non-music majors only.

Harmonic & melodic minor scales, compound intervals, modes, C clefs, symmetrical scales, dynamics, harmonic series, instrument transpositions, form, cadences, part writing. For non-music majors only.

Music fundamentals. Elementary counterpoint. Basic principles of diatonic harmony, voice leading and analysis. All diatonic triads and their inversions. Primarily for music majors.

Diatonic harmony and voice leading continued. Seventh chords. Nonharmonic tones. Common chord modulation. Melody harmonization. Analysis of music literature.

Sight singing with diatonic melodies. Rhythmic reading and dictation with simple and compound meter. Melodic and harmonic dictation using all diatonic triads and their inversions.

Sight singing with diatonic melodies continued. Rhythmic reading and dictation with triplet subdivisions, hemiola, and syncopation. Melodic and harmonic dictation using seventh chords and non-harmonic tones.

Introductory composition. Exploration of contemporary compositional methods, emphasizing solo works and works for small ensembles. Open to students with evidence of previous compositional experience. Required of music students planning to major in composition. Permission of instructor

Introductory composition. Exploration of contemporary compositional methods, emphasizing solo works and works for small ensembles. Open to students with evidence of previous compositional experience. Required of music students planning to major in composition. Permission of instructor

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

Chromatic harmony and voice leading. Secondary dominants, altered chords and all forms of modulation. Introduction to musical form. Analysis of repertoire through early 19th century.

Chromatic harmony continued. Late 19th century chromaticism, 20th century methods. Analysis of repertoire from 19th and 20th centuries.

Sight singing melodies with chromatic alterations and modulation. Rhythmic reading and dictation with quintuplet and septuplet subdivisions. Melodic and harmonic dictation using secondary dominants, altered chords and modulation.

Sight singing and dictation with highly chromatic and nontonal melodies. Rhythmic reading and dictation with complex meter and changes in meter. Melodic and harmonic dictation using nontonal harmony.

Continuation of Composition I. Primarily for students planning to major in composition.

Continuation of Composition I. Primarily for students planning to major in composition.

Exploration of a problem, or problems, in depth. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor(s) and the department.

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

Advanced composition with emphasis on larger forms and works for larger ensembles. Open only to composition majors.

Advanced composition with emphasis on larger forms and works for larger ensembles. Open only to composition majors.

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.

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

Students teach help sections of undergraduate theory classes. Meet with professor to discuss pedagogy and techniques. Register for one credit for each two hours with students. Does not satisfy upper division theory elective requirement.

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.

Preparation of works sufficient in scope and technical advancement for senior recital. Open to senior composition majors.

Preparation of works sufficient in scope and technical advancement for senior recital. Open to senior composition majors.

Exploration of a problem, or problems, in depth. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor(s) and the department.

Completion of an Honors Capstone Project under the supervision of a faculty member.

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.