Music
2018-19 General Catalog
244 Music Center
(831) 459-2292
music@ucsc .edu
http://music.ucsc.edu
Lower-Division Courses
1A. Women's Chorale (2 credits). *
Study of vocal and choral techniques in the context of ensemble rehearsals, often culminating in public performance. Repertoire to include varied works for treble choir, both a cappella and with instrumental accompaniment. Familiarity with basic music notation recommended. Some additional rehearsal time, both individually and with the group is required. Students are billed a materials fee. Admission by audition with conductor prior to first class meeting. May be repeated for credit. The Staff
1C. University Concert Choir (2 credits). F,W,S
A study of selected works for mixed chorus, with emphasis on masterworks for chorus and orchestra, culminating in one or more public concerts. Familiarity with basic music notation recommended. Admission by audition with conductor prior to first class meeting. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-E.) N. Berman
2. University Orchestra (2 credits). F,W,S
A study of selected works for orchestra, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-E.) B. Kiesling
3. Large Jazz Ensemble (2 credits). F,W,S
Instruction in performance in large jazz ensembles with written arrangements. Prepares a specific repertory for public performance. Admission by audition with instructor prior to first class meeting. Students are billed a materials fee. Enrollment limited to 25. May be repeated for credit. C. Hamilton
4A. Latin American Ensemble: "Voces" (2 credits). *
Instruction in diverse musical traditions, and their culturally-grounded performance contexts, of Native American, Ibero-American, and African American music cultures of Latin America, including texted music in Spanish and Quechua or other regional languages. The class forms an ensemble that prepares varying cultural and national repertoires for public performance. Some Spanish language ability is recommended. Attend first class meeting. Enrollment limited to 25. May be repeated for credit. The Staff
4B. Latin American Ensemble: "Taki Ñan" (2 credits). *
Development of Latin American, Native American, Ibero-American, African American, and/or Nueva Canción (New Song) repertoire in a small ensemble setting. Three quarters of course 4A or previous enrollment in course 4B required prior to enrolling in this course. Admission by audition with instructor at first class meeting. Enrollment limited to 10. May be repeated for credit. The Staff
5A. West Javanese Gamelan Ensemble: Beginning (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. May be repeated for credit. (General Education Code(s): PR-C.) U. Sumarna
5B. West Javanese Gamelan Ensemble: Intermediate (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting. May be repeated for credit. (General Education Code(s): PR-C.) U. Sumarna
5C. West Javanese Gamelan Ensemble: Advanced (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting. May be repeated for credit. (General Education Code(s): PR-C.) U. Sumarna
6. Classical Guitar Ensemble (2 credits). *
Study of selected repertoire and instruction in performance for classical guitar ensemble. Ensembles for guitar and other instruments will prepare works for public performances both on and off campus. All students enrolled in individual guitar lessons are expected to enroll. Students of other instruments or voice may also audition. Some additional rehearsal time, individually and with the group, is required. Admission by audition with instructor prior to first class meeting. May be repeated for credit. W. Coulter
7. Music, Mind, Evolution, Language. *
An interdisciplinary examination of various topics and issues in music, featuring an array of guest speakers. Part of the spring quarter Arts Division Dean's Lecture Series. May be repeated for credit. (General Education Code(s): IM.) L. Polansky
8A. Beginning Balinese Gamelan (2 credits). F,W,S
Instruction in Balinese gamelan. Utilizes pitched percussion instruments to learn highly ornate and complex pieces through rote learning; students are not required to read music. Focuses on traditional repertoire and basic gamelan techniques for public performance. Enrollment by permission of the instructor at the first class meeting. (Formerly Balinese Gamelan Ensemble.) Enrollment limited to 25. May be repeated for credit. (General Education Code(s): PR-C.) B. Baumbusch
8B. Advanced Balinese Gamelan (2 credits). F,W,S
Instruction in Balinese gamelan. Utilizes pitched percussion instruments to learn highly ornate and complex pieces through rote learning; students are not required to read music. Focuses on advanced traditional and contemporary repertoire for public performance. Prerequisite(s): course 8A. Enrollment limited to 25. May be repeated for credit. (General Education Code(s): PR-C.) B. Baumbusch
9. Wind Ensemble (2 credits). F,W,S
A study of selected advanced-level works for wind ensemble, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-C.) N. Berman
10. Eurasian Ensemble (2 credits). F,W
Performing ensemble focusing on the vernacular and art musics of the Eurasian continent, with emphasis on Central Asia. Admission by instructor determination at first class meeting. Enrollment limited to 25. May be repeated for credit. (General Education Code(s): PR-C.) T. Merchant
11A. Introduction to Western Classical Music. F
A study of significant works of classical music from Gregorian chant to the present day in relation to the historical periods they represent. Emphasizes the listening experience and awareness of musical style and structure. Illustrated lectures and directed listening. (Formerly Classical Music from the Middle Ages to the Present.) (General Education Code(s): IM.) A. Leikin, N. Treadwell, L. Miller
11B. Introduction to Jazz. F
Designed to provide students with thorough and comprehensive background in history and roots of jazz as a musical style from its African roots to the present. Essential jazz styles and traditions are discussed through lectures, required listening, readings, lecture demonstrations, and film presentations. K. Hester
11C. Popular Music in the United States. W
U.S.-based popular music from the 1850s through the 2010s. Emphasizes: narratives of race, class, and immigration in jazz, country, and blues genres; television and the cultivation of teen audiences; diverse late-20th Century cultural revolutions; and the contemporary role of social media. (Formerly Introduction to American Popular Music.) (General Education Code(s): ER.) G. Fiore, B. Carson
11D. Introduction to World Music. F
Covers topics reflecting distinctive features of selected world music cultures. Introduces content, scope, and method of ethnomusicology. Focuses on understanding the musical styles, performance practices, and cultural functions of these musical traditions. Incorporates live class performance of selected music. (General Education Code(s): CC.) T. Merchant
12. Mariachi Ensemble (2 credits).
Focuses on the stylistic practice of mariachi music of Mexico. Centralizes efforts learning dance music as the son jalisciense, as well as popular singing genres that include the huapango, canci�n ranchera, corridos, and boleros. Students must have previous experience with music performance and applicable instruments. May be repeated for credit. (General Education Code(s): PR-C.) R. Rodriguez
12B. Mexican Folklorico Music and Dance (2 credits). F,W,S
Instruction in the aesthetic, cultural, and historical dimensions of Mexican Folklorico dance and music. Brings together a dance ensemble and a music ensemble. Enrollment is by permission of the instructor. Enrollment limited to 70. May be repeated for credit. (General Education Code(s): PR-C.) R. Rodriguez
15. Preparatory Musicianship. S
Basic studies in musicianship related to Western European notation and literature. Students with prior training in music notation develop literacy in basic tonal melody and harmony. Skills include dictation and sight-reading. Simple composition and analysis exercises accompany the training. Enrollment by placement examination and permission of instructor. May be repeated for credit. D. Jones
16. Theoretical Foundations of Music. S
Explores the physics and socio-historical foundations of music so that students are effectively equipped to undertake further culturally informed study in music theory. No prior formal music education is required for this class, though students should have some experience singing or playing an instrument. Enrollment limited to 15. N. Hammond
30A. Theory, Literature, and Musicianship. F
Integrated musicianship, theory, and analysis. Species counterpoint and fundamentals of tonal harmony. Analysis of literature from the Middle Ages and Renaissance. Ear-training, taught in smaller sections, emphasizes recognition of triad and dominant-seventh inversions, dictation of diatonic melodies, and aural analysis of simple diatonic interval and chord progressions. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite: admission by core curriculum placement examination. Enrollment limited to 60. A. Leikin, C. Pratorius
30B. Theory, Literature, and Musicianship. W
Integrated musicianship, theory, and analysis. Diatonic harmony and fundamentals of chromatic harmony and musical form, with an emphasis on early 18th-century styles. Ear-training, taught in smaller sections, emphasizes recognition of triad and seventh-chord qualities and inversions, dictation of moderately complex melodies and multi-voice chorales, and aural analysis of chord progressions including secondary functions. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite(s): course 30A; instructor determination at first class meeting. Enrollment limited to 60. A. Leikin
30C. Theory, Literature, and Musicianship. S
Integrated musicianship, theory, and analysis. Chromatic harmony and large forms, with emphasis on late 18th- and early 19th-century styles. Ear-training, taught in smaller sections, emphasizes melodic and multi-voice dictation, as well as aural analysis of chord progressions, with materials including digressions, modulations, and advanced chromatic idioms. Most of the ear-training materials consist of homophonic and polyphonic examples from music literature performed live in class. Prerequisite(s): course 30B; instructor determination at first class meeting. Enrollment limited to 60. A. Leikin
42. Student-Directed Seminar. *
Seminars taught by upper-division students under faculty supervision. (See course 192.) Students submit petition to sponsoring agency. The Staff
51. Vocal Repertoire Class (2 credits). F,W,S
The study and performance of vocal repertoire from 1400 to the present, including solo song, oratorio, opera, ensemble music. Emphasis is given to the development of effective performance skills, culminating in public performance. Attend first class meeting; concurrent enrollment in individual voice lessons with instructor of this course is required. Enrollment limited to 20. May be repeated for credit. E. Sinclair, S. Willey
54. North Indian Music Workshop (2 credits). S
A course covering the music of North India taught using the oral traditions of Indian music. For beginners as well as more experienced students, this course is well suited for instrumentalists and vocalists. Interview; instructor determination at first class meeting. May be repeated for credit. A. Khan
55. Rhythms of North India (2 credits). W,S
Introduces students to the richness of North Indian rhythms. Includes hands-on exploration of the language of rhythm that is specific to learning the tabla. Enrollment limited to 20. May be repeated for credit. (General Education Code(s): PR-C.) A. Batish
56. Collaborative Music-Making for Beginners (2 credits). W
An active, hands-on introduction to music where no previous musical experience is needed. Using pitched and non-pitched percussion, students are placed into small groups where they create and perform new pieces. Within this framework, students learn about scales, modes, rhythmic structures and form. May be repeated for credit. (General Education Code(s): PR-C.) C. Pratorius
59. Introductory Keyboard Skills (2 credits). *
Introductory instruction in piano technique, staff notation, and music theory. Includes group and individual performance experience. A minimum of six hours per week individual practice required. Appropriate for students with little/no piano experience. Students are billed a materials fee. Enrollment is by permission of the instructor. Students audition to determine their skill level. May be repeated for credit. F. Lanam
60. Fundamental Keyboard Skills (2 credits). F,W,S
Elementary instruction in piano technique, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Curriculum is coordinated with keyboard requirements of course 30A. Concurrent enrollment in course 30A is required. Students are billed a course fee. Prerequisite(s): Instructor determination at first class meeting. (Formerly Group Instruction in Piano.) Enrollment limited to 8. May be repeated for credit. F. Lanam
61. Individual Lessons: Half Hour (2 credits). F,W,S
One-half hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of six hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff
62. Individual Lessons: One Hour (3 credits). F,W,S
One hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff
63. Group Instrumental and Vocal Lessons (2 credits). F,W,S
Elementary group instruction in instrumental (excluding piano) or vocal techniques, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment limited to 6. May be repeated for credit. The Staff
75. Beginning Improvisational Theory. W
Studies in the modes, scales, chord alternations and extensions, chord voicings, chord progressions, and forms that underlie jazz improvisation, composition, and arranging in a variety of styles. Enrollment limited to 30. May be repeated for credit. K. Hester
80A. Music of the Silk Road. *
Exploration of the commonalities between music cultures found along ancient trade routes through Asia. (General Education Code(s): CC.) T. Merchant
80C. History, Literature, and Technology of Electronic Music. F
This survey of electronic music from previous centuries to the present studies the works and aesthetics of important composers, acoustics, musical perception, the effects of technological innovation on cultural evolution, and the development of synthesizers and computer music. (General Education Code(s): PE-T.) The Staff
80E. Race and American Music. *
Survey of American music and its dynamic formation through cultural constructions of racial difference. Students hear music as contentious signals of identity, power, and transgressions, contextualized by wide-ranging testimony on racial difference, ethnicity, gender, sexuality, and musical practice. (General Education Code(s): ER.) B. Carson
80F. Music in Latin American Culture: Regional Traditions. *
In-depth study of select music cultures of Mexico, Central America, and Caribbean, Brazil, Chile, Argentina, Colombia, and Peru. Characteristic regional genres, ensembles, instruments, and music rituals. Case studies by ethnomusicologists with expertise in specific regional musics. Also Latin American Nueva Canción, women's musics, and overarching themes in Latin American music, as a whole. Offered on a rotational basis with other non-Western courses in the 80 series. (General Education Code(s): ER.) R. Rodriguez
80G. American Musical Theater. *
Surveys American musicals from operetta through rock musicals with a historical approach focusing on selected examples from the literature. Music reading or musical experience helpful but not required. (General Education Code(s): IM.) The Staff
80H. The Hollywood Musical. W
Introductory study of the Hollywood music film, exploring the theory of film sound, the musical genre, and representative works from the 1920s to the present. Students expected to view about two films each week, read assigned section of texts, and contribute to class discussions. N. Hammond
80I. Music of Modern Israel. *
Historical, musicological, and anthropological study of the many (and often conflicting) worlds brought together by Israeli popular and art music: Jewish and Arabic traditions, Western ideals, and modern beats. Enrollment limited to 40. (General Education Code(s): CC.) A. Tchamni
80J. American Folk Music. *
Surveys American folk music, both instrumental and vocal, by region and period. Approach is primarily through listening. Previous musical experience helpful, but not required. The Staff
80K. Sound in Art, Science, and the Environment. S
Study the role of sound in artistic creation and scientific research related to the environment. Topics include: environmental sound monitoring, increasing environmental awareness, social activism, discovery of sound phenomena, knowledge of audio tools and techniques, sound and environmental problem-solving. (General Education Code(s): PE-E.) D. Dunn
80L. Artificial Intelligence and Music. W
An introduction to basic concepts in music and artificial intelligence, and to algorithmic composition (composition by a set of explicit instructions, often using the computer). Other topics include basic introductions to related concepts in linguistics, mathematics, neural nets, pattern matching, genetic algorithms, fuzzy logic, and interactive systems. Previous experience in one or more of these topics is helpful but not required. Students produce a project based on one of the models presented in class. (General Education Code(s): MF.) The Staff
80M. Film Music. *
A survey of film music including a discussion of current trends and film composers. Techniques and styles of film music are explored through lectures, required listenings, readings, and viewing of relevant films. A musical background, including the ability to read music, is helpful but not necessary. (General Education Code(s): IM.) N. Treadwell
80N. Music of the Grateful Dead. *
In-depth exploration of the music of the Grateful Dead. Contextual study of the sociology and history of the late 1960s psychedelic movement supplies background for study of the music as the band evolved through time. (General Education Code(s): IM.) The Staff
80O. Music, Politics, and Protest. W
Examination of relationship between music, politics, and protest in the U.S. in the 20th century, with focus on how music commented upon and reflected different eras in American cultural and political life. (General Education Code(s): PE-H.) D. Neuman
80P. History of Jewish Music. *
Survey of the diverse and rich musical traditions of Jewish music in the diaspora from biblical times to the present. Examines the historical, social, and anthropological aspects of the different communities from sacred music through art and popular songs. Enrollment limited to 40. (General Education Code(s): CC.) A. Tchamni
80Q. A Survey of African Music.
Traces the various stylistic musical areas throughout the African continent and explores the development of traditional African music from antiquity into the 20th century. (General Education Code(s): CC.) K. Hester
80R. Music in the Digital Age. *
A survey of how the Internet has influenced how music is made, transmitted, and consumed. Students discuss the history and ethics of file sharing and open source software, telematics and methods of music-making via the Internet, virtual communities, and social media. Students explore these topics through research and creative projects. (Formerly Music and the World Wide Web.) Enrollment limited to 44. (General Education Code(s): PE-T.) M. Heying
80S. Women in Music. *
An exploration of the sociological position of women as composers and performers in Western and non-Western musics, with a focus on both ethnographic and historical sources. (Also offered as Feminist Studies 80S. Students cannot receive credit for both courses.) (General Education Code(s): CC.) T. Merchant
80T. Mizrach: Jewish Music in the Lands of Islam. W
A survey of the musical traditions of the Jews of North Africa and the Middle East. Based on the "Maqamat," the Arabic musical modes, Jewish music flourished under Islamic rule, encompassing the fields of sacred, popular, and art music. (General Education Code(s): CC.) A. Tchamni
80U. Physics and Psychophysics of Music. W
Fundamental theory of vibration, sound waves, sound propagation, diffraction, and interference. Free, coupled, and driven oscillations. Resonance phenomena and modes of oscillation. Fourier's theorem. Anatomy and psychophysics of the ear. Musical scales and intervals. Nature of plucked and bowed strings; guitar, violin, piano. Woodwind and brass instruments. Architectural acoustics. High school algebra and basic knowledge of musical notation recommended. (Also offered as Physics 80U. Students cannot receive credit for both courses.) (General Education Code(s): MF.) C. Gaskell
80V. The Music of the Beatles. S
The most significant group in the history of popular music, the Beatles spanned the gamut of styles from hard-edged R & B to sophisticated art-rock. This course explores their work in detail, in its own terms, and in the historical/cultural/technological contexts. Students cannot receive credit for both this course and course 180V in the same quarter. Course 11C is recommended but not required as preparation. (General Education Code(s): IM.) G. Fiore
80W. Music Business. *
Explores the many facets of the music industry: history, technology, economics, sociology, and legislation. Provides both a broad understanding of the industry and a pragmatic survey of available career paths. Students cannot receive credit for both this course and course 180W in the same quarter. The Staff
80X. Music of India. S
A survey course in Hindustani (North Indian) and Karnatak (South Indian) music covering the Raga (modal system) and Tala (metric system) as they have developed in the two traditions. Consideration is given to the historical development of the music, from Vedic chanting to the modern Raga system; social functions of the music throughout history; and instrumental and vocal forms with an emphasis on listening. (General Education Code(s): CC.) D. Neuman, I. Kaur
80Y. Music, Anti-Semitism, and the Holocaust. *
The musical legacy of the Holocaust: music and anti-Semitism in the 19th century; morality, collaboration, and composing in the Third Reich; music in the ghettos and concentration camps; impact on post-war music; second-generation composers' trauma; music in Holocaust films. Enrollment limited to 85. (General Education Code(s): IM.) A. Tchamni
80Z. Laptop Music. F
Basic digital audio editing and mixing; related concepts in the physics of sound, psychoacoustics, and the digital representation and computer control of audio. Musical notation of musical pulse, meter, and rhythm, and sonic realization via MIDI (musical instruction digital interface). Using their own computers, students complete projects involving recording and spectral analysis, creative editing and mixing of existing recordings, composition of polyphonic drum rhythms, and constructing a collaborative sonic environment. Enrollment limited to 30. (General Education Code(s): PR-C.) D. Jones
81C. Global Popular Music. F
This cultural study of global popular musics explores musical sounds, practices, and discourse via an examination of the development of the category "world music." It explores how music and mass media engage broader issues around globalization, ethnic, national, and transnational identities; popular resistance; censorship; and cultural hegemony. Enrollment limited to 385. (General Education Code(s): ER.) N. Hammond, T. Merchant
81J. Jazz Mirror of Global Interconnection. S
Examines global cultural history through the primary lens of jazz music evolution from its traditional African source through the nexus of the primary elements of sound. Students use music to examine and explore the intersections between many global cultural developments. (General Education Code(s): CC.) K. Hester
81M. Chicano/Latino Music in the United States. F
Examines the process of music making and how it is tied to the notion of space, place, identity and ethnicity, focusing on musical styles, genres, forms, and repertoires in Chicana/o and Latina/o communities in the United States. (General Education Code(s): ER.) R. Rodriguez
81R. The 1970's: A Decade in Rock (3 credits). S
Rock in the 1970s topped music charts while expanding far beyond the radio single. Many 70s artists, such as Elton John, Led Zeppelin, and Pink Floyd, enjoy continuing popularity today. Students examine this decade of rock, its roots, and its biases. C. Pratorius
94. Group Tutorial. F,W,S
Provides a means for a small group of students to study a particular topic in consultation with a faculty sponsor. Admission requires approval of department. The Staff
99. Tutorial. F,W,S
A program of directed study arranged with a department faculty member. Students submit petition to sponsoring agency. The Staff
99F. Tutorial (2 credits). F,W,S
A program of directed study arranged with a department faculty member. Class time is proportionally less than a five-credit course. Students submit petition to sponsoring agency. The Staff
Upper-Division Courses
101A. History of Western Art Music. W
First quarter of a three-quarter chronological study of Western art music. Coordinated lectures, readings, listening, and analysis of representative works: Medieval, Renaissance, Baroque. Prerequisite(s): course 30A and satisfaction of the Entry Level Writing and Composition requirements. N. Treadwell, L. Miller
101B. History of Western Art Music. S
Second quarter of a three-quarter chronological study of Western art music. Coordinated lectures, readings, listening, and analysis of representative works: Baroque, Classical, Romantic. Prerequisite(s): course 30B. A. Beal, A. Leikin
101C. History of Western Art Music. F
Third quarter of a three-quarter chronological study of Western art music. Coordinated lectures, readings, listening, and analysis of representative works: Romantic, 20th Century. Prerequisite(s): course 30C and satisfaction of the Entry Level Writing and Composition requirements. A. Beal
102. University Orchestra (2 credits). F,W,S
A study of selected works for orchestra, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting. Students are billed a materials fee. Enrollment restricted to juniors and seniors. May be repeated for credit. B. Kiesling
103. University Concert Choir (2 credits). F,W,S
A study of selected works for orchestra, culminating in one or more public concerts. Prerequisite(s): admission by audition with conductor prior to first class meeting. Students are billed a materials fee. May be repeated for credit. N. Berman
105. Special Topics in History.
The Staff
105A. Music of the United States. *
Traces major developments in the history of American music since the Revolutionary Era, focusing on what makes music in the United States unique. Material drawn from classical, popular, religious, jazz, and avant-garde traditions. Prerequisite(s): course 101A, 101B, or 101C, or by permission of the instructor. Enrollment is restricted to juniors and seniors. Enrollment limited to 35. A. Beal, L. Miller
105E. Early Keyboard Music. *
Survey of four centuries of early keyboard music, including representative genres, instruments, composers, and compositions from the late-Gothic to the Classical period. Harpsichord, virginal, organ and fortepiano works studied through scores, recordings, and live performance. Social context, instrument tuning and representative performance practices will coordinate each unit. Prerequisite(s): course 101A or 101B or 101C. Enrollment is restricted to junior and senior music majors. The Staff
105I. Improvisation and Collaborative Practices in the 20th Century. *
Study of music repertories and performance practices based on improvisation and collaborative approaches to real-time composition in the areas of jazz and other new music. Prerequisite(s): courses 30A, 30B, and 30C, and at least one course from the 101 series. Enrollment is restricted to music majors. Enrollment limited to 40. A. Beal, K. Hester
105M. Solo Song: from Monophony to Monody. *
Traces the changing landscape of the secular solo song from the earliest notated examples of the troubadours through the explosion of monody in print at the beginning of the 17th century. Prerequisite(s): course 30A and 101A. Enrollment is restricted to music majors. Enrollment limited to 30. N. Treadwell
105O. Opera from Peri to Pergolesi. *
Traces the development of opera from its origins in the late 16th century through the works of the early 18th century. Explores all aspects of this multimedia genre, with significant research and writing components. Prerequisite(s): courses 30C and 101A, or by permission of the instructor. N. Treadwell
105Q. The String Quartet from Haydn to the Present. *
Traces the development of the string quartet from its origins in the mid-18th Century through the works of the mid-late 20th Century. Emphasis is on listening and analysis with significant research and writing component. (Formerly The String Quartet from Haydn to Shostakovich.) Prerequisite(s): course 30C and course 101B, or by permission of instructor. Enrollment limited to 35. L. Miller
111B. Seminar in Jazz Analysis. *
Analytic exploration of the evolution of "jazz" in America. The process involves independent listening, analysis, transcription, weekly seminar discussions, and oral presentation to students in course 11B. Prerequisite(s): course 30B and course 11B. Enrollment limited to 20. K. Hester
120. Seminar in Music Composition. W
Instruction in individual composition offered in the context of a group; composition in traditional large and small forms. Counts as one of two choices for a capstone course. Prerequisite(s): course 30C. Enrollment limited to 20. D. Jones, D. Dunn, L. Polansky, H. Kim
121. Orchestration. F
A study of the nature of each instrument of the orchestra. Scoring for various small instrumental combinations, culminating in a transcription for full orchestra. (Formerly course 130.) Prerequisite(s): course 30C. Enrollment limited to 20. H. Kim, B. Carson
122. Conducting (2 credits). W
The development of basic conducting techniques, including understanding and demonstration of the conductor's posture, best practices of dynamics, left hand usage, mixed meter, and breath. Prerequisite(s): course 130. Enrollment is restricted to sophomores, juniors, and seniors Enrollment limited to 25. B. Kiesling
123. Electronic Sound Synthesis. W
Introduction to electronic music studio techniques, relevant electroacoustical studies, and procedures of electronic music composition. Practical experience in the UCSC electronic music studio with an analog synthesizer; mixing, equalization, multitrack recording equipment, and other sound processing. Application form available at department office during last two weeks of the previous quarter. Preference given to music majors, students in the film/video major, and those with substantial musical experience. Prerequisite(s): instructor determination via application; course 80C or course 30A placement. Enrollment limited to 25. D. Jones
124. Intermediate Electronic Sound Synthesis. S
Composition with the use of small computers in the electronic music studio. Techniques covered include hybrid synthesis, digital synthesis, and MIDI-controlled systems. No programming is involved, but basic computer literacy is helpful. Prerequisite(s): course 123. Enrollment limited to 25. L. Polansky
125. Advanced Electronic Sound Synthesis. F
Continuing study in the electronic music studio, with concentration on compositional development. Includes advanced applications of skills developed in courses 123 and 124, expansion of background knowledge and relevant electroacoustical studies. Prerequisite(s): course 124. Enrollment limited to 25. D. Dunn
129. Live Electroacoustic Music Ensemble (2 credits). S
Explores the live performance practice of electroacoustic music, including historical repertoire, improvisation, and compositions by participants. All manner of electronic audio resources are applied to real-time performance. Participants need a basic proficiency in electronic audio and computer tools. Enrollment is restricted to juniors, seniors, and graduate students. Enrollments is by permission of the instructor at first class meeting. Enrollment limited to 15. May be repeated for credit. D. Dunn
130. Harmony and Form in 19th-Century and Early 20th-Century Music. F
Analysis, theory, musicianship, and aural skills associated with advanced tonal music. Study of chromaticism, larger forms, and other features of 19th-Century and early 20th-Century music. Prerequisite(s): course 30C and Piano Proficiency Exam. Enrollment limited to 20. (General Education Code(s): MF.) C. Pratorius, H. Kim, D. Jones, B. Carson
150. Special Topics in Theory.
The Staff
150A. Music Analysis for Performers. W
A study of homophonic forms in tonal music. Architectonic, thematic, harmonic, and hermeneutic analyses of instrumental and vocal compositions in their historical context. Deliberations of various interpretational solutions and comparative analyses of historical and modern performances. (Formerly course 100B, Theory, Literature, and Musicianship II.) Prerequisite(s): course 30C. A. Beal, A. Leikin
150C. Special Topics in Music Theory: Tonal Counterpoint. *
Tonal counterpoint modeled on the music of J.S. Bach. Imitative and non-imitative forms including binary dance, invention, canon, and fugue. Discussion and analytical application of generalized intervallic and harmonic models. Development of related keyboard, singing, and aural skills, including dictation in two and three voices. Prerequisite(s): course 130. (General Education Code(s): IM.) D. Jones, B. Carson
150I. Special Topics in Music Theory: Hindustani Music. *
In-depth introduction into the music, culture, and theory of Hindustani music. Prerequisite(s): course 130. Enrollment is restricted to junior and senior music majors. (General Education Code(s): CC.) D. Neuman
150P. Special Topics in Music Theory: 20th-Century Popular Song. *
Analysis and composition in two 20th-century popular song genres. Part one (of two) is drawn from 1930s swing or Tin-Pan Alley standards. Part two varies according to instructor and may include genres outside the United States. Prerequisite(s): course 30C or permission of instructor. Enrollment is restricted to music majors. (General Education Code(s): IM.) B. Carson
150S. Focus on Spontaneous Composition. *
Examines both music and musical composition, and the characteristics they share with science, mathematics, and the natural world. Written for upper-division and graduate courses, the course text shows that music is part of an interdisciplinary collection of artistic modes of expression, and that these modes can be better understood in the context of what students observe in the real world. Thinking about music, through a variety of angles, students aim to understand that creativity is a vehicle through which to explore the evolution and interconnectedness of music as well as other phenomena in our universe. Prerequisite(s): course 130. Enrollment is restricted to sophomores, juniors, and seniors. Enrollment limited to 35. K. Hester
150T. Post Tonal Analysis. *
Examines the analytic and compositional techniques associated with selected post tonal styles including the linear, harmonic, rhythmic, and textural elements of music by composers, such as Schoenberg, Stravinsky, Bartok, Debussy, Messiaen, Carter, Cage, and Reich. Students attend weekly keyboard/ear-training laboratories. (Formerly Post Tonal Composition and Analysis.) Prerequisite(s): course 130. Enrollment limited to 20. (General Education Code(s): IM.) D. Jones
150X. Theoretical Practices of American Music. S
Examines theoretical practices and compositional methods of 20th-Century American composers including Charles Ives, Henry Cowell, Ruth Crawford, Johanna Beyer, Harry Partch, Conlon Nancarrow, John Cage, James Tenney, Kenneth Gaburo, George Russell, and Ornette Coleman. Prerequisite(s): courses 30A, 30B, and 30C. Enrollment is restricted to music majors. Enrollment limited to 25. (General Education Code(s): IM.) D. Jones, D. Dunn, L. Polansky
158. South African Music Ensemble (2 credits). W,S
Introduces music and performance practice from South Africa. Covers a selection of repertoire in many languages and many traditions, with strong emphasis on vocal music. Enrollment is by permission of the instructor. Students must audition for the class in order to provide information about their skill level. May be repeated for credit. N. Hammond
159A. Opera Workshop (2 credits). F,W
A workshop for singers, accompanists, and directors, the course develops a wide variety of skills related to opera through scenework. Attention will be given to movement, acting, coaching, and operatic stage-directing technique. Instruction culminates in studio productions of scenes from operas and musicals. Admission by permission of vocal instructor, or by audition with instructor prior to first class meeting. Students are billed a materials fee. Enrollment limited to 30. May be repeated for credit. S. Willey
160. University Opera Theater. S
A production workshop, culminating in one or more staged performances of an entire opera or selected scenes from the operatic repertory. Admission by audition with instructor prior to first class meeting; auditions usually take place in fall quarter. Students are billed a materials fee. May be repeated for credit. S. Willey
161. Individual Lessons: One Hour (3 credits). F,W,S
One hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff
162. Advanced Individual Lessons: One Hour. F,W,S
One hour of individual instruction for advanced students. Study of repertory, technique, and performance practice. A minimum of 18 hours per week of individual practice and at least one 30-minute recital are required. May be taken three times for credit. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed a course fee. Admission by juried audition. May be repeated for credit. The Staff
163. Early Music Ensemble (2 credits). F,S
A study of selected works for varied early music instrumental and vocal resources, culminating in one or more public concerts. Individual lessons are recommended in conjunction with consort work. Recommended for students who have instrumental or vocal competence and music literacy. Admission by audition with instructor prior to first class meeting. (Formerly Early Music Consort.) May be repeated for credit. (General Education Code(s): PR-C.) N. Treadwell
164. Jazz Ensembles (2 credits). F,W,S
Instruction in combo performance and techniques of the jazz idiom. The class forms several ensembles that prepare a specific repertory for public performance. Admission by audition with instructor prior to first class meeting. May be repeated for credit. S. Poplin
165. Chamber Music Workshop (2 credits). F,W,S
A study of selected works for various small combinations of instruments, culminating in one or more public concerts. Admission by audition with instructor prior to first class meeting. May be repeated for credit. The Staff
166. Chamber Singers (2 credits). F,W,S
The study of selected works for small vocal ensemble from the 15th through 20th centuries, with performances on and off campus throughout the academic year. Students must have demonstrated vocal and music reading skills. Admission by audition with instructor prior to first class meeting. Students are billed a materials fee. May be repeated for credit. (General Education Code(s): PR-C.) B. Kiesling, M. McGushin
167. Workshop in Electronic Music (2 credits). F,W,S
Continuing studio work in electronic music. Students carry out individual projects, meeting in weekly seminar to share problems and discoveries. Relevant advanced topics are covered, including new developments in the art. Prerequisite(s): course 124. Enrollment limited to 20. May be repeated for credit. The Staff
168. Experimental Music Ensemble (2 credits). W,S
A study of selected works for various small combinations of instruments and voice, culminating in one or more public concerts. Admission by audition with instructor prior to first class meeting. (Formerly Contemporary Music Ensemble.) May be repeated for credit. A. Beal
174. Intermediate Jazz Improvisation. *
Develops basic skills through a range of advanced bop, quasi-modal and post-bebop styles—including selected free jazz and "avant-garde" repertoire. Prerequisite(s): course 75; audition with instructor at first class meeting. Enrollment limited to 20. May be repeated for credit. K. Hester
175. Jazz Theory II. S
Through transcription, analysis, and performance of "jazz" standards, composition, arranging, improvisation, and spontaneous creation explored. Students write a series of improvisations, short compositions, and arrangements throughout the course. Prerequisite(s): course 75. Enrollment limited to 30. K. Hester
180A. Studies in World Musics: Asia and the Pacific. *
In-depth ethnomusicological studies of selected music cultures of East Asia, Southeast Asia, and the Pacific. Emphasizes comparison of historical, theoretical, contextual, and cultural features. Includes basic ethnomusicological points of reference, as regards organology, music ritual, notation and transcription, and aspects of field research. Prerequisite(s): course 30B. Concurrent enrollment in a non-Western performing ensemble is strongly recommended. Enrollment is restricted to music majors and graduate students. Anthropology majors may enroll with permission of instructor. Enrollment limited to 30. T. Merchant, D. Neuman
180B. Studies in World Musics: Africa and the Americas. *
In-depth ethnomusicological studies of selected music cultures of sub-Saharan Africa and South and North America, including Native America. Emphasizes comparison of historical, theoretical, contextual, and cultural features. Includes basic ethnomusicological points of reference, as regards organology, music ritual, notation and transcription, and aspects of field research. Prerequisite(s): course 30B; concurrent enrollment in a non-Western performing ensemble is strongly recommended. Enrollment is restricted to music majors and graduate students. Anthropology majors may enroll with permission of instructor. Enrollment limited to 30. The Staff
180C. Studies in World Musics: Central Asia. *
In-depth, ethnomusicologically oriented course on select music cultures in Central Asia. Compares theoretical, historical, and cultural aspects of music and culture from Uzbekistan, Tajikistan , Afghanistan, Kyrgyzstan, Kazakhstan, the Xinjiang region of China, Mongolia, and Tuva. Prerequisite(s): course 30A. Enrollment is restricted to music majors. Enrollment limited to 36. T. Merchant
180D. Music of Insular Southeast Asia. S
Comparative studies of selected music cultures focusing on the cosmology, music rituals, and organology of varied cultures in Malaysia, Indonesia, Papua New Guinea, and the Philippines. Introduction to ethnomusicology field research and transcription, and hands-on ensemble workshops. Prerequisite(s): course 30A; concurrent enrollment in course 5B, 5C, or 8. Enrollment is restricted to music majors. Anthropology majors may enroll with permission of instructor. (General Education Code(s): CC.) T. Merchant
192. Directed Student Teaching. F,W,S
Teaching of a lower-division seminar under faculty supervision. (See course 42.) Upper-division standing and a proposal supported by a music faculty member willing to supervise required. The Staff
195A. Senior Thesis. F,W,S
Preparation of senior thesis over one or two quarters. If taken as a multiple-term course, the grade and evaluation submitted for the final quarter applies to the previous quarter. Students submit petition to sponsoring agency. The Staff
195B. Senior Thesis. F,W,S
Preparation of senior thesis over one or two quarters. If taken as a multiple-term course, the grade and evaluation submitted for the final quarter applies to the previous quarter. Students submit petition to sponsoring agency. The Staff
196A. Senior Recital Preparation (without individual lessons). F,W,S
Prerequisite(s): juried audition or approved composition portfolio. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
196B. Senior Recital Preparation (with individual lessons). F,W,S
Students are billed a course fee. Prerequisite(s): juried audition. May be repeated for credit. The Staff
199. Tutorial. F,W,S
A program of directed study arranged with a department faculty member. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
199F. Tutorial (2 credits). F,W,S
A program of directed study arranged with a department faculty member. Class time is proportionally less than a five-credit course. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
Graduate Courses
200. Introduction to Research Methods. F
Practical introduction to graduate study in music focusing on research methods, music sources and bibliography, techniques of scholarly writing, and critical readings in the discipline. Culminates in a public oral presentation on the model of a professional conference paper. N. Treadwell
201. History of Music Theory from the Greeks Through Rameau. W
Study and analysis of pre-tonal and tonal music from the Greeks through the 18th century. Course combines a history of theory with analyses that utilize contemporaneous theoretical concepts. Enrollment is restricted to graduate students. L. Miller, B. Carson
202. Tonal and Posttonal Analysis. *
Encompasses various forms of linear analysis, set theory, and selected topics in current analytical practice. B. Carson, H. Kim, D. Jones, P. Nauert
203. Special Topics in Performance Practice. *
Investigation of primary and secondary sources of information about the culturally and historically accurate performance of music in various times and places. Undergraduates who have completed the appropriate course 101 courses may enroll in 203 courses by interview with the instructor. The Staff
203A. Performance Practice in the Middle Ages. *
A study of performance practices in medieval music from Gregorian chant to the 14th century. History of instruments and notation. Rhythmic interpretations of chant and a study of improvised practices in organum. Editing and performance of representative works. Offered on a rotational basis with other courses in the 203 series. N. Treadwell, L. Miller
203B. Performance Practice in the Renaissance. *
A study of performance practices in Renaissance music, including concepts of mode, musica ficta, ornamentation, text underlay, tempo, and articulation. Basic principles of white notation and a brief history of instruments. Transcription, editing, and performance of a Renaissance work. Offered on a rotational basis with other courses in the 203 series. N. Treadwell, L. Miller
203C. Performance Practice in the Baroque. *
An examination of historically informed performance practice techniques in Baroque music, with attention to aspects of ornamentation, articulation, figured bass realization, dance choreography, rhythm and tempo, and organology. In-class performances and editing of source materials are included. Offered on a rotational basis with other courses in the 203 series. The Staff
203D. Performance Practice in the Classic Period. *
Issues in performance practice focusing on selected topics and styles from the time of C.P.E. Bach through Haydn. Development of selected genres and ensembles, sources and editing, and interpretation and improvisation. Offered on a rotational basis with other courses in the 203 series. The Staff
203E. Performance Practice in the Romantic Period. *
Interpretation of music from Beethoven to Scriabin through examinations of both the musical texts (form, genre, harmony, texture, orchestration, etc.) and the period performance practices. Topics range from interpretative analyses of selected compositions to critical assessments of modern as well as documented 19th- and early 20th-century performances. Offered on a rotational basis with other courses in the 203 series. A. Leikin
203F. Performance Practice in the 20th Century. *
Projects in analysis, notational studies, extended instrumental techniques, and the aesthetics and performance practices associated with composers from Debussy to the present. Reading and listening focuses on the writings and performances of the composers themselves and upon interpretive writings by informed performers of 20th-century music. Offered on a rotational basis with other courses in the 203 series. May be repeated for credit. B. Carson, A. Beal, D. Jones
203G. Concepts, Issues, and the Practice of Ethnomusicology. W
Ethnomusicological field methodology; vocal and instrumental performance practices as related to the ethnomusicological endeavor. Specific topics: philosophical paradigms, historical overview, and definitional issues of ethnomusicology; field research concepts and procedures; studies in instrumental and vocal performance practices of diverse cultures; selected writings of Charles Seeger; transcription and analysis issues; studies in micromusics. Offered on a rotational basis with other courses in the 203 series. T. Merchant
203H. Area Studies in Performance Practice. F,S
Intensive examination of the vocal and instrumental performance practices of living musical traditions of Indonesia, Latin America, or other regions. Topics may incorporate soloistic and ensemble traditions, secular and sacred traditions. Research rubrics include tuning, tone quality, performance posture and rhetoric, and improvisational and fixed patterns, as dictated by regional norms. May be repeated for credit in a different area. Offered on a rotational basis with other courses in the 203 series. May be repeated for credit. K. Hester, D. Neuman, H. Kim
205. Conceptual Foundations in Music Repertoire and Analysis. *
A series of two-credit courses that build upon and advance the depth and breath of analytical skills with the aim of preparing graduate students fro advanced work in cultural musicology. The Staff
205A. Conceptual Foundations in Western Music Analysis (2 credits). *
Focused analysis of selected works from the Western classical music repertoire, Emphasis is on aural and analytical skills, the modal and tonal foundations of Western music, and the evolution of form and expression. Enrollment is restricted to graduate students. L. Miller, A. Leikin
205B. Conceptual Foundations in World Music (2 credits). *
A broad survey of traditional and vernacular musical practices from around the world with an emphasis on aural analysis and critical listening skills. Enrollment is restricted to graduate students. Enrollment limited to 15. N. Hammond, T. Merchant
206A. World Music Composition. W
Studies in the history, structure, and cultural function of music from cultures as diverse as Global African, central European, Korean, Latin American, Indonesian, and Indian traditions. Examines ways in which composers such as Bartok, Anthony Braxton, Chou Wen-Chung, Lou Harrison, and Takemitsu sought and integrated such influences. Students choose to write critical and analytic essays on musics exhibiting diverse cultural influences, or to compose music that takes a vernacular or non-European music as a model for a compositional/improvisational approach. Enrollment is restricted to graduate students. Enrollment limited to 12. May be repeated for credit. D. Jones, H. Kim, K. Hester
206B. Computer-Assisted Composition. *
Study of techniques of algorithmic and computer-assisted composition in a variety of contemporary idioms. Topics may include stochastic methods, generative grammars, search strategies, and the construction of abstract compositional designs and spaces. Final project for course involves students formulating and algorithmically implementing their own theoretical assumptions and compositional strategies. (Also offered as Digital Arts and New Media 217. Students cannot receive credit for both courses.) Enrollment is restricted to graduate students. L. Polansky
206D. Music Perception and Cognition. *
Investigations in the psychology of musical listening and awareness. Topics include time and rhythm perception, auditory scene analysis, pattern recognition, and theories of linguistics applied to harmony, melody, and form in the music of diverse cultures. Explores applications of the cognitive sciences to music transcription, analysis, composition, interpretation, and performance practice. Students apply existing knowledge in the cognitive sciences to a developing creative or analytical project, or develop and conduct new experiments. Enrollment is restricted to graduate students. Enrollment limited to 16. May be repeated for credit. B. Carson
219. Techniques in Composition. F
Short compositional exercises incorporating diverse contemporary techniques with emphasis on problem solving and development of compositional skills. Exercises focus on particular strategies for organizing and coordinating aspects of pitch, rhythm, timbre, and other musical dimensions, depending on interests of instructor and students. (Formerly course 219A.) Enrollment is restricted to graduate students. May be repeated for credit. D. Jones, L. Polansky, H. Kim
220. Graduate Seminar in Music Composition. S
Instruction in individual composition offered in the context of a group; composition in large forms of the 20th century with emphasis on techniques since 1950. May be taken by upper-division undergraduates for credit. Interview with instructor at first class meeting. Prerequisite(s): course 219. Enrollment limited to 16. May be repeated for credit. L. Polansky, D. Jones
228. Techniques of Modernity and Aesthetic Formations. *
Explores the transformations and aesthetic possibilities of the digital age through a study of perceptual shifts of the past, from orality to literacy, gift to commodity, pre-colonial to colonial, "pre-modern" to "modern," and the technological revolutions that accompanied these shifts. Enrollment is restricted to graduate students; upper-division undergraduates may enroll with permission of instructor. Enrollment limited to 18. D. Neuman
252. Current Issues Colloquium (no credit). F,W,S
An interactive colloquium featuring presentations by faculty, graduate students, and visiting scholars on research projects in composition, musicology / ethnomusicology, and performance practice, followed by focused discussion. Enrollment is restricted to graduate students. Undergraduate students may enroll with permission of instructor. A. Beal
253A. Historical Perspectives in Musicology and Ethnomusicology. *
Explores trends in musical scholarship in the 20th and 21st centuries, focusing on broad questions and modes of inquiry within historical musicology and ethnomusicology. (Formerly Pitch, Melody, and Tuning Systems) Enrollment is restricted to graduate students. Enrollment limited to 20. T. Merchant
253B. Rhythm, Time, and Form. S
Traditional and experimental rhythmic and temporal systems representing diverse cultures, with emphasis on unmeasured, divisive, additive, and multilayer practices in cultural context. Students examine rhythmic composition, improvisation, and rubato performance in selected cultures, including rhythmic notation and transcription systems. Prerequisite(s): course 200 or the equivalent, or consent of instructor. Enrollment is restricted to graduate students. Enrollment limited to 10. B. Carson
253C. Music and Discourse. *
Addresses both song and musical performance as modes of discourse. For song: musical and textual phrase and verse structures and their interrelationships. For musical performances: musical performance as rhetoric and emblem. Enrollment is restricted to graduate students. Enrollment limited to 5. N. Hammond
253D. Issues in the Ethnography of Music. W
Explores ethnography—the description of culture—as it relates to musicology and ethnomusicology, particularly where "culture" and cultural production are historically dynamic and geographically porous. Examines music with sensitivity to such complexities of context, and the disciplinary points of reference from which cultural difference is calculated. Considers the ideological imprint of methodology on cultural analysis: how to study an unfamiliar music in a way that transcends the measure of "difference from the familiar," and, conversely, how to conduct an "objective" study of a familiar music. Enrollment is restricted to graduate students. Enrollment limited to 10. N. Hammond, D. Neuman
254C. Performativity and Music. *
"Performance" can describe activities in the arts, humanities, and social sciences. Recognizing the mappings of this concept, this course examines selected performances and performative behavior through theoretical and critical lenses. Emphasis is on investigating the act and practice of musical performance in multicultural context, and on analyzing scholarly writing as performative discourse. (Formerly Performance Theory and Practice.) Enrollment is restricted to graduate students. Enrollment limited to 10. N. Treadwell
254D. Organology and Acoustics. *
Comprehensive study of musical instruments including, but not limited to, physical and engineering concepts; theory and methods of description, analysis, systematic, and cultural classifications; physiology and performance techniques; cultural significance; anthropomorphic and zoomorphic symbolism; ritual usage; and more. Previous enrollment in introductory ethnomusicology course (e.g., course 11D) helpful, but not required. Enrollment by interview only, except music M.A. and Ph.D. students. Enrollment restricted to junior and senior music majors, electronic music minors, anthropology majors, or physics majors,and graduate students. Enrollment limited to 15. The Staff
254E. Asian Resonances in 20th-Century American and European Music. F
Explores the influence of Asian musics on Western composers from Debussy to Britten to American experimentalists such as Harrison, Cage, Riley, and Rudyard. Questions of cultural appropriation and originality are addressed through specific examples and critical readings. Enrollment is restricted to graduate students. Enrollment limited to 10. D. Neuman, L. Miller
254I. Empirical Approaches to Art Information. *
Reading and practice in empirical methods, as applied to the study of music, visual art, multimedia production, and performance arts. Topics include semiotics, critiques of empiricism, cultural determinants and contingents of perception, the psychophysics of information, sensory perception (visual and auditory), memory, pattern recognition, and awareness. Students apply existing knowledge in the cognitive sciences to a developing creative project, or develop and conduct new experiments. (Also offered as Digital Arts and New Media 254I. Students cannot receive credit for both courses.) Enrollment is restricted to graduate students. Enrollment limited to 17. May be repeated for credit. B. Carson
254J. Jazz Historiography. *
Introduces the ways jazz history has been conceptualized, evaluated, and transmitted. Examines the social, intellectual, and cultural formations that have influenced this historiography. Considers the interdisciplinary project of "new jazz studies" in relation to established and alternative historical narratives. Enrollment is restricted to graduate students. Enrollment limited to 10. The Staff
254K. Music, Gender, and Sexuality. S
Seminar focuses on musicological and ethnomusicological work incorporating feminist and queer theories published since the late 1980s. Cross-cultural approach to the examination of music, gender, and sexuality, drawing examples from both Western and non-Western traditions. Enrollment is restricted to graduate students. Enrollment limited to 10. N. Hammond, T. Merchant
254L. John Cage: Innovation, Collaboration, and Performance Technologies. *
In-depth examination of John Cage's interdisciplinary work, his pioneering activity in live electronic technology, and his influence in current multimedia creativity. Approximately one-half of the seminary is devoted to student research and creative projects and reflect Cage's legacy. (Also offered as Digital Arts and New Media 254L. Students cannot receive credit for both courses.) Enrollment is restricted to juniors, seniors, and graduate students. Upper-division undergraduates may enroll with permission of instructor. Enrollment limited to 12. A. Beal
254M. Music in San Francisco, 1850-1950. *
Explores San Francisco's musical life during the city's first century, including opera, symphony, Chinese music, musical theater, and other genres. Considerable emphasis on music and society, including issues of race. Enrollment is restricted to graduate students. Enrollment limited to 15. L. Miller
254N. Cruising the Postcolony. *
Drawing on Jose Esteban Munoz's suggestion that queer politics is most radical when it is looking to the possibilities of the future rather than the pragmatics of the present, this course interrogates the radical vision of postcolonial and queer music-making. Enrollment is restricted to graduate students. Enrollment limited to 18. N. Hammond
254O. Historiography of American Music. *
Covers the period in United States history between the Revolutionary Era and the Civil War (approximately 1770-1865). Examines historical and contemporary writings about music in the United States, its composers, musicians, musical institutions, economics, and performance practices. Prerequisite(s): course 200 or equivalent. Enrollment is restricted to graduate students. Enrollment limited to 10. A. Beal
254Q. Dialogues and Questions in Digital Arts and Culture. S
Students engage in dialogues at the intersection of theory and practice with the goal of producing a pre-thesis proposal and essay. Readings and seminar discussions inform the development of project proposals and essays, which theoretically contextualize students' work. (Formerly Digital Arts and New Media 203.) (Also offered as Digital Arts and New Media 202. Students cannot receive credit for both courses.) Enrollment is restricted to graduate students. The Staff
254R. Research Design and Grant Writing for Music Scholars. W
Dissertation research grant applications and their attenuating dissertation proposals represent the first time most graduate students think through the theoretical issues and strategic planning of a major project and convince others within and outside their field of its academic validity. This seminar (primarily for Ph.D. and D.M.A. students in their 2nd, 3rd, or 4th year who are applying for grants to support doctoral research) provides guidance on topics about dissertation research, professional development, and grant applications. Enrollment is restricted to graduate students. T. Merchant
261. Graduate Applied Instruction (3 credits). F,W,S
One hour of individual instrumental or vocal instruction for graduate students. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting. May be repeated for credit. The Staff
265. Graduate Ensemble Participation (2 credits). F,W,S
Participation by graduate students in ensembles. Enrollment limit appropriate to the size of each ensemble. Admission by audition with the instructor prior to first class meeting. May be repeated for credit. The Staff
267. Workshop in Computer Music and Visualization (2 credits). W
Graduate-level techniques and procedures of computer music composition and visualization. Practical experience in the UCSC electronic music studio with computer composition systems and software, including visualization and interactive performance systems. Extensive exploration of music and interactive graphic programs such as Max/MSP/Jitter. Enrollment is by permission of instructor; appropriate graduate experience required. Enrollment is restricted to graduate students. (Also offered as Digital Arts and New Media 267. Students cannot receive credit for both courses.) Enrollment limited to 12. May be repeated for credit. D. Dunn, L. Polansky
295. Directed Reading. F,W,S
Directed reading, which does not involve a term paper. May be repeated once for credit. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
297. Independent Study. F,W,S
Independent study, creative work, or research for graduate students who have not yet begun work on their thesis. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
298. Graduate Recital. F,W,S
A public performance in the student's primary area of interest, related to the thesis or dissertation project, under the supervision of a faculty member. Students submit petition to sponsoring agency. Enrollment is restricted to graduate students. The Staff
299. Thesis Research. F,W,S
A thesis consisting of a substantive and original creative or scholarly work, related to the graduate recital, under the supervision of a faculty member. Students submit petition to sponsoring agency. May be repeated for credit. The Staff
Revised: 07/15/18
