Music SLOs

The following are the Music Department's Student Learning Outcomes (SLOs) for all current courses offered. Click on a course number or name to view the SLOs (or simply scroll down the page):

MUSIC THEORY

MUS 1A – Musicianship

MUS 1B – Musicianship

MUS 3A – Diatonic Harmony

MUS 3B – Chromatic Harmony

MUS 4 – Fundamentals

MUS 5A – Introduction to Composition

MUS 5B – Composition

INSTRUMENTAL & VOCAL TRAINING

MUS 6A – Beginning Classical Guitar

MUS 6B – Advanced Beginning Classical Guitar

MUS 6C – Intermediate Classical Guitar

MUS 6D – Advanced Intermediate Classical Guitar

MUS 7C1 – Beginning Cello

MUS 7C2 – Advanced Beginning Cello

MUS 7C3 – Intermediate Cello

MUS 7C4 – Advanced Intermediate Cello

MUS 7P1 – Beginning Percussion

MUS 7P2 – Advanced Beginning Percussion

MUS 7P3 – Intermediate Percussion

MUS 7P4 – Advanced Intermediate Percussion

MUS 7T1 – Beginning Brass

MUS 7T2 – Advanced Beginning Brass

MUS 7T3 – Intermediate Brass

MUS 7T4 – Advanced Intermediate Brass

MUS 7V1 – Beginning Violin

MUS 7V2 – Advanced Beginning Violin

MUS 7V3 – Intermediate Violin

MUS 7V4 – Advanced Intermediate Violin

MUS 7W1 – Beginning Woodwind

MUS 7W2 – Advanced Beginning Woodwind

MUS 7W3 – Intermediate Woodwind

MUS 7W4 – Advanced Intermediate Woodwind

MUS 8A – Beginning Jazz & Other Popular Piano

MUS 8B – Intermediate Jazz & Other Popular Piano

MUS 9A – Beginning Piano

MUS 9B – Intermediate Piano

MUS 9C – Keyboard Harmony

MUS 10A – Beginning Voice

MUS 10B – Advanced Beginning Voice

MUS 10C – Intermediate Voice

MUS 10D – Advanced Intermediate Voice

PERFORMANCE COURSES

MUS 11 – Guitar Workshop

MUS 12 – Choir

MUS 13A – Jazz/Rock Improvisational Workshop

MUS 13B – Jazz/Rock Arranging & Composition Workshop

MUS 14 – Chorale

MUS 15 – Orchestra

MUS 17 – Woodwind Ensemble

MUS 18 – Brass Ensemble

MUS 19 – Piano Ensemble

MUS 20 – String Ensemble

MUSIC SURVEYS

MUS 21 – Traditional African Music

MUS 23 – Jazz History: Musical Traditions of the African American

MUS 24 – Music of East Asia

MUS 25 – Music of Latin America & The Caribbean

MUS 26 – Music in American Culture

MUS 27A – Musical Appreciation

MUS 27B – Musical Awareness

MUS 29 – Electronic Music

MUS 30 – Electronic Music Laboratory

OTHER MUSIC PERFORMANCE COURSES

MUS 41 – African Drumming Ensemble

MUS 42 – Gospel Choir

MUS 46 – Stage Band

MUS 47 – Pep Band

MUS 48A – Beginning Labor Heritage Choir

MUS 48B – Intermediate Labor Heritage Choir

MUS 48C – Advanced Labor Heritage Choir

MUS 200A – Ensemble Musical Theater

MUS 200B – Supporting Musical Theater

MUS 200C – Leading Musical Theater

MUSIC THEORY

MUS 1A - Musicianship

A. Visually analyze the use of all major and minor scales and I, IV/iv and V chords in musical excerpts, and sing them at first sight, using correct pitch relationships and rhythm while conducting.

B. Aurally analyze the use of all major and minor scales and I, IV/iv, V, and V7 chords in musical excerpts, and notate them in dictation, using correct pitch relationships and note values.

C. Aurally identify, as well as sing, all simple intervals from minor second through perfect octave.

D. Perform a melodic line on the piano while singing another.

E. Sing an independent melody while another is sung by a classmate.

MUS 1B - Musicianship

A. Visually analyze the use of both functional and non-functional chromaticism in musical excerpts, and sing them at first sight, using correct pitch relationships and rhythm while conducting.

B. Aurally analyze the use of both functional and non-functional chromaticism in musical excerpts, and notate them using correct pitch relationships and note values.

C. Aurally analyze the harmonic progression of four-part chorales, notate the outer two voices, and provide Roman numerals.

D. Perform on the piano with both hands while singing an independent chromatic melody.

E. Sing an independent, chromatic melody while another is sung by a classmate.

F. Evaluate one's own and others' performances for rhythmic, intervallic, and conducting accuracy.

MUS 3A - Diatonic Harmony

A. Analyze the harmonies in musical excerpts primarily from the 18th century.

B. Analyze primarily 18th-century compositions for large-scale structures and forms.

C. Compose either the upper or lower three parts of a four-part chorale based on a given diatonic bass or melody, evaluating and choosing the most appropriate among the possible harmonic progressions, using correct voice-leading and appropriate non-harmonic tones.

D. Arrange C described above into an instrumental composition.

E. Compose all four parts of a chorale from figured bass symbols, using correct voice-leading and appropriate non-harmonic tones.

F. Compose an instrumental accompaniment to a given diatonic melody.

MUS 3B - Chromatic Harmony

A. Analyze the harmonies presented in printed excerpts primarily from 19th-century music literature.

B. Analyze primarily 19th-century compositions for increasingly complex, large-scale structures and forms.

C. Compose either the upper or lower three parts of a four-part chorale based on a given chromatic and/or modulating bass or melody, choosing the appropriate harmonic progression and using correct voice-leading and appropriate non-chord tones.

D. Arrange C (above) into an instrumental composition.

E. Compose all four parts of a modulating chorale from figured bass symbols, using correct voice-leading and appropriate non-harmonic tones.

F. Compose an instrumental accompaniment using a modulating melody.

MUS 4 – Fundamentals

A. Translate beginning level music notation examples into sound through rhythmic or singing performance.

B. Write music notation transcriptions of specific rhythmic, melodic, and harmonic patterns in simple musical settings.

C. Discriminate simple and compound meter in notation and sound examples.

D. Distinguish the quality of major and minor in scale patterns and melodic material.

E. Evaluate the qualitative harmonic functions of intervals, triads, and seventh chords.

F. Construct properly notated scales intervals, triads, and seventh chords.

MUS 5A – Intro to Composition

A. Analyze a simple traditional piece of music, appraise its musical structure or form, and formulate this knowledge compositionally.

B. Appraise the structure, form, harmonic and melodic qualities of a musical composition.

C. Evaluate and select the fundamental procedures of harmony.

D. Select the principles of music notation practically.

E. Create and properly notate a variety of musical pieces for solo instrumental, vocal or small ensemble performance, applying the principles of melody, form, and other practical musical techniques.

MUS 5B – Composition

A. Distinguish and differentiate how any piece of music is constructed and demonstrate an intermediate grasp of the subject of composition.

B. Analyze complex and contemporary musical pieces in terms of style and compositional devices, identify musical structure and/or form, and apply this knowledge compositionally.

C. Distinguish and select advanced harmonic procedures.

D. Assemble and construct advanced contrapuntal procedures.

E. Assess and formulate subtle details of music notation.

F. Develop a portfolio of compositions for future professional use in seeking compositional opportunities.

INSTRUMENTAL & VOCAL TRAINING

MUS 6A – Beginning Classical Guitar

A. Describe and apply basic classical guitar technique and musicianship.

B. Diagram and perform commonly used chords.

C. Summarize the construction, adjustment and care of the guitar.

D. Assess critical aspects of right-hand arpeggio and strum techniques.

E. Select appropriate repertoire for practice and performance.

MUS 6B – Advanced Beginning Classical Guitar

A. Describe and demonstrate classical guitar technique and musicianship at an advanced beginning level.

B. Select appropriate repertoire for practice and performance.

C. Prepare and practice solo and ensemble pieces for the guitar.

D. Interpret and play notes in multi-voiced textures on the guitar.

E. Judge the performance of a given work for guitar according to standard aesthetic and technical criteria.

MUS 6C – Intermediate Classical Guitar

A. Demonstrate an intermediate-level knowledge of music theory as applied to the guitar.

B. Select intermediate repertoire for practice and performance.

C. Formulate simple guitar arrangements based on principles of voice-leading.

D. Prepare and practice solo and ensemble pieces for the guitar.

E. Interpret and play notes in multi-voiced textures on the guitar.

F. Judge the performance of a given intermediate work for guitar according to standard aesthetic and technical criteria.

MUS 6D – Advanced Intermediate Classical Guitar

A. Demonstrate an advanced intermediate level knowledge of music theory as applied to the guitar.

B. Select appropriate repertoire for practice and performance.

C. Formulate advanced intermediate guitar arrangements based on principles of voice-leading and chromatic harmonization.

D. Prepare and practice solo and ensemble pieces for the guitar.

E. Interpret and play notes in multi-voiced textures on the guitar.

F. Judge the performance of a given advanced intermediate work for guitar according to standard aesthetic and technical criteria.

MUS 7C1 – Beginning Cello

A. Demonstrate cello technique and musicianship at a beginning level.

B. Select beginning literature for performance and practice.

C. Prepare and practice solo cello pieces at the beginning level.

D. Perform beginning solo cello pieces with pleasing tone and accurate intonation.

E. Judge the performance of a beginning cello piece according to common aesthetic and technical criteria.

MUS 7C2 – Advanced Beginning Cello

A. Demonstrate cello technique and musicianship at an advanced beginning level.

B. Select advanced beginning literature for performance and practice.

C. Prepare and practice solo cello pieces at the advanced beginning level.

D. Perform advanced beginning solo cello pieces with pleasing tone and accurate intonation.

E. Judge the performance of an advanced beginning cello piece according to common aesthetic and technical criteria.

MUS 7C3 – Intermediate Cello

A. Demonstrate an intermediate-level knowledge of music theory as applied to the cello.

B. Select intermediate repertoire for practice and performance.

C. Prepare and practice intermediate pieces and studies for the cello.

D. Judge the performance of a given intermediate work for cello according to standard aesthetic and technical criteria.

MUS 7C4 – Advanced Intermediate Cello

A. Demonstrate an advanced intermediate level knowledge of music theory as applied to the cello.

B. Select advanced intermediate repertoire for practice and performance.

C. Prepare and practice solo pieces and studies for the cello, using notes from first through fifth position.

D. Use the bow cleanly and with relaxed power in studies and pieces combining string-crossings with 16th-note patterns.

E. Demonstrate knowledge and playing ability on the bass, tenor and treble clefs.

F. Judge the performance of a given advanced intermediate work for cello according to standard aesthetic and technical criteria.

MUS 7P1 – Beginning Percussion

A. Correlate knowledge of selected percussion instruments with common playing techniques at a beginning level.

B. Demonstrate rudimentary percussion performance techniques at a beginning level.

C. Identify all components of a standard stationary drum set, and explain their functions.

D. Prepare and perform drills and pieces on a drum set at a beginning level.

E. Judge the performance of an advanced beginning work for percussion according to standard aesthetic and technical criteria.

MUS 7P2 – Advanced Beginning Percussion

A. Correlate knowledge of selected percussion instruments with common playing techniques at an advanced beginning level.

B. Demonstrate rudimentary percussion performance techniques at an advanced beginning level.

C. Identify all components of a standard stationary drum set, and explain their functions.

D. Prepare and perform drills and pieces on a drum set at an advanced beginning level.

E. Judge the performance of an advanced beginning work for percussion according to standard aesthetic and technical criteria.

MUS 7P3 – Intermediate Percussion

A. Correlate knowledge of selected percussion instruments with common playing techniques at an intermediate level.

B. Demonstrate rudimentary percussion performance techniques at an intermediate level.

D. Diagram and explain written parts for a selected combination of percussion instruments at an intermediate level.

E. Prepare and perform drills and pieces on a drum set at an intermediate level.

F. Judge the performance of an intermediate work for percussion according to standard aesthetic and technical criteria.

MUS 7P4 – Advanced Intermediate Percussion

A. Correlate knowledge of selected percussion instruments with common playing techniques at an advanced intermediate level.

B. Demonstrate rudimentary percussion performance techniques at an advanced intermediate level.

C. Diagram and explain written parts for a selected combination of percussion instruments at an advanced intermediate level.

D. Prepare and perform drills and pieces on a drum set at an advanced intermediate level.

E. Judge the performance of an advanced intermediate work for percussion according to standard aesthetic and technical criteria.

MUS 7T1 – Beginning Brass

A. Describe the parts of the trumpet and their functions, and care of the instrument.

B. Formulate the correct embouchure and relate it to tone production on the instrument.

C. Summarize the correct use of tongue, palate, diaphragm, posture and the muscles of the hand and wrist in trumpet, trombone or tuba performance.

D. Prepare and perform long tones for breath and lip control through the low register at a beginning level using correct fingering.

E. Perform a beginning level melody spanning one octave at a public recital.

MUS 7T2 – Advanced Beginning Brass

A. Prepare and perform long tones for breath and lip control from low F# (transposed) to C on the treble or bass staff at an advanced beginning level using correct fingering.

B. Perform an advanced beginning level melody spanning 1.5 octaves at a public recital.

C. Interpret trills, slurs and other music notation markings at an advanced beginning level.

D. Practice and perform rhythmic notation including eighth note triplets at an advanced beginning level.

E. Evaluate a trumpet, trombone or tuba performance at the advanced beginning level according to standard aesthetic and technical criteria.

MUS 7T3 – Intermediate Brass

A. Prepare and perform long tones for breath and lip control from low F# (transposed) to C on the treble or bass staff at an intermediate level using correct fingering.

B. Perform an intermediate level melody spanning 1.5 octaves at a public recital.

C. Interpret trills, slurs and other music notation markings at an intermediate level.

D. Practice and perform rhythmic notation including quarter note triplets at an intermediate level.

E. Evaluate a trumpet performance at the intermediate level according to standard aesthetic and technical criteria.

MUS 7T4 – Advanced Intermediate Brass

A. Prepare and perform long tones for breath and lip control from low F# (transposed) to A above the treble or bass staff at an advanced intermediate level using correct fingering.

B. Perform an advanced intermediate level melody spanning 1.5 octaves at a public recital.

C. Interpret trills, slurs and other music notation markings at an advanced intermediate level.

D. Practice and perform rhythmic notation including compound meter at an advanced intermediate level.

E. Evaluate a trumpet performance at the advanced intermediate level according to standard aesthetic and technical criteria.

MUS 7V1 – Beginning Violin

A. Describe and apply violin technique and musicianship at a beginning level.

B. Diagram and perform selected basic scales and intervals.

C. Explain the construction, adjustment and care of the violin.

D. Demonstrate critical aspects of bow grip and left-hand technique.

E. Practice and perform beginning repertoire.

MUS 7V2 – Advanced Beginning Violin

A. Describe and apply violin technique and musicianship at an advanced beginning level.

B. Diagram and perform selected scales and intervals at advanced beginning positions.

C. Interpret and perform advanced beginning melodies and melodic passages/fragments.

D. Select advanced beginning repertoire for practice and performance.

E. Judge the performance of an advanced beginning work for violin according to standard aesthetic and technical criteria

MUS 7V3 – Intermediate Violin

A. Describe and apply violin technique and musicianship at an intermediate level.

B. Diagram and perform selected scales and intervals at intermediate positions.

C. Interpret and perform intermediate melodies and melodic passages/fragments.

D. Select intermediate repertoire for practice and performance.

E. Judge the performance of an intermediate work for violin according to standard aesthetic and technical criteria.

MUS 7V4 – Advanced Intermediate Violin

A. Describe and apply violin technique and musicianship at an advanced intermediate level.

B. Diagram and perform selected scales and intervals at advanced intermediate positions.

C. Interpret and perform advanced intermediate melodies and melodic passages/fragments.

D. Select advanced intermediate repertoire for practice and performance.

E. Judge the performance of an advanced intermediate work for violin according to standard aesthetic and technical criteria.

MUS 7W1 – Beginning Woodwind

A. Explain the physical design, assembly and functions of the instrument at a beginning level.

B. Demonstrate facility with scales at a beginning level through two octaves.

C. Generate accurate pitch and dynamic control at a beginning level.

D. Demonstrate sight-reading skills at slow practice tempi and precise rhythm at a beginning level.

E. Prepare and perform with a beginning level ensemble in a live public setting.

F. Interpret music associated with Classic and Pop styles using expressive elements at a beginning level.

MUS 7W2 – Advanced Beginning Woodwind

A.  Explain the physical design, assembly and functions of the instrument at an advanced beginning level.

B.  Demonstrate facility with scales at an advanced beginning level through two octaves.

C.  Generate accurate pitch and dynamic control at an advanced beginning level.

D.  Demonstrate sight-reading skills at slow practice tempi and precise rhythm at an advanced beginning level.

E.  Prepare and perform at an advanced beginning level ensemble in a live public setting.

F.   Interpret music associated with Classic and Pop styles using expressive elements at an advanced beginning level.

MUS 7W3 – Intermediate Woodwind

A. Explain the physical design, assembly and functions of the instrument at an intermediate level.

B. Demonstrate facility with scales at an intermediate level through two octaves.

C. Generate accurate pitch and dynamic control at an intermediate level.

D. Demonstrate sight-reading skills at slow practice tempi and precise rhythm at an intermediate level.

E. Prepare and perform with an intermediate level ensemble in a live public setting.

F. Interpret music associated with Classic and Pop styles using expressive elements at an intermediate level.

MUS 7W4 – Advanced Intermediate Woodwind

A. Explain the physical design, assembly and functions of the instrument at an advanced intermediate level.

B. Demonstrate facility with scales at an advanced intermediate level through two octaves.

C. Generate accurate pitch and dynamic control at an advanced intermediate level.

D. Demonstrate sight-reading skills at slow practice tempi and precise rhythm at an advanced intermediate level.

E. Prepare and perform with an advanced intermediate level ensemble in a live public setting.

F. Interpret music associated with Classic and Pop styles using expressive elements at an advanced intermediate level.

MUS 8A – Beginning Jazz & Other Popular Piano

A. Distinguish and select of the skills involved in playing a variety of popular jazz piano styles.

B. Formulate basic popular piano harmony for a given melody.

C. Prepare the melody in various ways using rhythmical variation.

D. Assemble elementary left hand accompaniments integrating right hand melodic material.

E. Differentiate and construct stylistic differences in playing jazz, blues, Brazilian, Afro-Cuban and other musical styles.

F. Choose rhythmic variety in the interpretation of pieces.

G. Prepare and play a piece of music from the standard Jazz piano repertoire.

MUS 8B – Intermediate Jazz & Other Popular Piano

A. Select and prepare the skills involved in learning to play a variety of popular piano styles.

B. Construct more advanced level popular piano harmony and manage transposition of exercises and pieces in several keys.

C. Formulate more distinct left hand accompaniments while integrating right hand melodic material.

D. Prepare and interpret stylistic differences in playing jazz, blues, Brazilian, Afro-Cuban and other styles of music.

E. Create increasingly complex rhythmic variety in the interpretation of pieces.

MUS 9A – Beginning Piano

A. Distinguish the elements of basic musical notation

B. Formulate and interpret notation into sound at the keyboard, playing with precise rhythm and the correct pitches

C. Prepare and perform the appropriate physical skills at the keyboard

D. Play with the articulation, dynamics, phrasing, and expression appropriate to the elementary literature being studied, using the full capacity of the instrument including touch control and pedal coloring.

E. Prepare and perform a piece of music from the standard beginning piano repertoire.

MUS 9B – Intermediate Piano

A. Analyze the structure and study the composer of a chosen piece;

B. Prepare and perform music at the intermediate level with correct pitch, rhythm, fingering and notational accuracy, using the articulation, dynamics, phrasing and expression appropriate to the literature being studied.

C. Employ touch control, proper phrasing and pedaling in a stylistically appropriate manner suitable to the genre, period and style of the literature

D. Prepare and perform a selection of music from the standard intermediate level piano repertoire such as a Chopin Nocturne.

E. Demonstrate the ability to sight-read.

MUS 9C – Keyboard Harmony

A. Demonstrate a level of complete musicianship skills.

B. Analyze the underlying harmonic structure of a melody.

C. Create an accompaniment for a given melody.

D. Experiment with a variety of accompaniment patterns for a given melody.

E. Compose a melody at the keyboard based on a given harmonic structure.

F. Interpret printed musical notation through improved sight-reading skills.

MUS 10A – Beginning Voice

A. Demonstrate the physical aspects required for singing; applying good breath control, mouth formation of vowels, correct posture, and stage presence.

B. Practice vocal technique that extends pitch and dynamic range, coordinating with flexibility and agility, as well as legato technique for comfort and ease in tone production.

C. Interpret the melody in various ways; utilizing proper attack and release of tone, changing pitch, volume, and timbre.

D. Analyze the performance of self and others, using constructive criticism, valuing change.

E. Differentiate and interpret stylistic differences in singing classical, pop, jazz, gospel, and other styles of singing

F. Assess the work of professional singers, developing an artistic sense of what constitutes a beautiful sound and/or exciting performance in a variety of mediums.

G. Perform selections of simple vocal music, working with an accompanist, maintaining pitch and balanced tonal production with piano, guitar or other suitable instrument.

MUS 10B – Advanced Beginning Voice

A.    Demonstrate and more fully understand the physical aspects required for singing at the advanced beginning voice level, applying good breath control, mouth formation of vowels, correct posture, and stage presence.

B.     Practice vocal technique that extends pitch and dynamic range at the advanced beginning voice level, coordinating with flexibility and agility, as well as legato technique for comfort and ease in tone production, showing progress in range.

C.     Interpret the melody in various ways at the advanced beginning voice level, utilizing proper attack and release of tone, changing pitch, volume, and timbre and exhibiting control.

D.    Analyze the performance of self and others, using constructive criticism, entering into dialogue with others at the advanced beginning voice level.

E.     Differentiate and interpret stylistic differences in singing classical, pop, jazz, gospel, and other styles of singing and be able to demonstrate them at the advanced beginning voice level.

F.      Assess the work of professional singers at the advanced beginning voice level, developing an artistic sense of what constitutes a beautiful sound and/or exciting performance in a variety of mediums.

G.    Perform advanced beginner level selections of vocal music at the advanced beginning voice level, working with an accompanist, maintaining pitch and balanced tonal production with piano, guitar or other suitable instrument; working more subtly with a duet partner.

MUS 10C – Intermediate Voice

A.    Demonstrate the physical aspects required for singing at the intermediate voice level, applying good breath control, mouth formation of vowels, correct posture, and stage presence.

B.    Practice and show continued progress in the elements of vocal technique that extend pitch and dynamic range at the intermediate voice level, coordinate notes with flexibility and agility, and express more beauty of tone.

C.     Interpret the melody in various ways indicating understanding at the intermediate voice level, utilizing proper attack and release of tone, changing pitch, volume, and timbre through more varied styles of music at the intermediate voice level.

D.    Analyze the performance of self and others, using constructive criticism, entering into a dialog with others at the intermediate voice level.

E.     Differentiate and interpret stylistic differences in singing classical, pop, jazz, gospel, and other styles of singing and demonstrate them to others at the intermediate voice level.

F.      Assess the work of professional singers at a level that is expected at the intermediate voice level, developing an artistic sense of what constitutes a beautiful sound and/or exciting performance in a variety of mediums including classical, music theatre, jazz and other styles.

G.    Perform selections of vocal music at an intermediate voice level, working with an accompanist, maintaining pitch and balanced tonal production with piano, guitar or other suitable instrument; or work with a duet partner on a project from the Renaissance or Baroque period.

MUS 10D – Advanced Intermediate Voice

A.    Demonstrate the physical aspects required for singing at the advanced intermediate voice level, applying good breath control, mouth formation of vowels, correct posture, and stage presence.

B.     Practice and display vocal technique with extended pitch and dynamic range at the advanced intermediate voice level, coordinating the voice and body for comfort and ease throughout the voice.

C.     Interpret the melody in various ways and styles of singing indicating understanding singing at the advanced intermediate voice level, utilizing proper attack and release of tone, changing pitch, volume, and timbre.

D.    Analyze the performance of self and others, using constructive criticism, entering into a dialogue with others at the advanced intermediate voice level.

E.     Differentiate and demonstrate stylistic differences in singing classical, pop, jazz, gospel, and other styles of singing and demonstrate them to others singing at the advanced intermediate voice level.

F.      Assess the work of professional singers at a level that is expected of the advanced intermediate voice level, developing an artistic sense of what constitutes a beautiful sound and exciting performance as well as individual style.

G.    Perform selections of vocal music singing at the advanced intermediate voice level, working with an accompanist, maintaining pitch and balanced tonal production with piano, guitar or other suitable instrument; or work with a duet partner on a project from the Classical or Romantic Period.

PERFORMANCE COURSES

MUS 11 – Guitar Workshop

A. Demonstrate performance skills appropriate for intermediate to advanced guitar ensembles to accepted standards.

B. Prepare and perform a variety of musical functions within the guitar ensemble to accepted standards.

C. Prepare and perform right hand techniques suitable for intermediate to advanced repertoire in a range of styles.

D. Analyze the construction of triads, seventh chords, and chord progressions, and apply these theoretical concepts to the performance of intermediate to advanced level guitar ensemble music to accepted standards.

E. Evaluate an ensemble recording or performance using standard technical and aesthetic criteria.

MUS 12 – Choir

A. Prepare and perform large choral works that involve reading music notation and following a conductor according to accepted standards.

B. Demonstrate mastery of individual and sectional part-singing in a choir according to accepted standards.

C. Demonstrate mastery of aural skills in a choral ensemble context, using correct singing technique, proper intonation, rhythm, dynamics, and expression to accepted standards.

D. Demonstrate awareness of the rhythmic, melodic, and harmonic elements that comprise a large choral ensemble sound under the direction of a conductor.

E. Evaluate a performance or recording of a large choral work according to standard technical and aesthetic criteria.

MUS 13A – Jazz/Rock Improvisational Workshop

A. Prepare and perform music in a variety of jazz, rock and blues settings as a soloist and as part of an ensemble.

B. Demonstrate basic techniques of improvisation in these genres.

C. Compare and contrast nuances of style between leading figures in the music as demonstrated by recordings or live instruction.

D. Interpret well-known musical selections in these genres.

E. Compose original studies to use as a basis for improvisation.

MUS 13B – Jazz/Rock Arranging & Composition Workshop

A. Analyze melodies, rhythms and harmonies in musical excerpts from the jazz and rock traditions according to accepted standards.

B. Compose three or four-part jazz pieces based on given chord progressions, utilizing correct voice-leading and other appropriate techniques.

C. Arrange selected standard jazz and popular melodies for a rhythm section and two transposing horns according to accepted standards.

D. Arrange appropriate accompaniment to a given vocal melody for a rhythm section and two transposing horns according to accepted standards.

E. Demonstrate mastery of the conventions of music preparation using current music engraving software according to accepted standards.

MUS 14 – Chorale

A. Acquaint him or herself with choral music for small ensembles or vocal chamber music such as madrigals, motets, cantatas, polyphonic masses and the like from all periods of music history.

B. Assume responsibility for the perfecting of his or her vocal part.

C. Incorporate style and sensitivity to his or her ensemble part.

D. Hone his or her note-reading skills, although it is assumed the student will have already acquired good note-reading skills.

MUS 15 – Orchestra

A. Perform a variety of pieces, occasionally in public concerts.

B. Rehearse consistently.

C. Receive instruction in ensemble techniques.

D. Develop sensitivity towards stylistic eras from the Baroque to the present.

E. Practice instrumental technique and musicianship under the tutelage of the instructor.

F. Acquaint him/herself with possible new literature.

G. Develop greater sensitivity towards the baton and the conductor’s gestures.

H. Improve sight-reading skills.

I. Audition possible selections for a semester program.

MUS 17 – Woodwind Ensemble

A. Relate their musical skills via audition.

B. Compare their level of musicianship to that required in performing for the semester by sight-reading the first rehearsal.

C. Evaluate the performance of other students.

D. Collaborate with fellow classmates in choosing the best musical parts for each student based on an evaluation of his/her skills.

E. Identify during each weekly rehearsal those sections of each piece that require home practice.

F. Construct an assemblage of pieces for performance.

G. Predict the demands necessary of embouchure endurance, flexibility and range.

H. Organize the pieces into a viable concert order.

MUS 18 – Brass Ensemble

A. Construct an assemblage of pieces for performance, occasionally in public concerts.

B. Rehearse consistently.

C. Receive instruction in ensemble techniques.

D. Develop sensitivity toward stylistic eras from the Baroque to the present.

E. Practice instrumental technique and musicianship under the tutelage of the instructor.

F. Develop greater sensitivity toward the baton and the conductor’s gestures.

G. Improve sight-reading skills.

MUS 19 – Piano Ensemble & Repertoire

A. Choose and practice four-hand and two-piano literature as well as solos.

B. Understand and interpret the music of various historical eras.

C. Employ touch control, proper phrasing and pedaling.

D. Apply appropriate and comfortable use of fingers, hands, wrists and arms at the piano.

E. Manage the complexities of working with another musician or musicians, keeping a steady rhythm and creating a common interpretation of musical nuance; enjoy the results.

F. Demonstrate an understanding of the music as a whole through public performances.

G. Use your musical knowledge by assessing other students’ skills through the coaching 9A/9B pianists.

MUS 20 – String Ensemble

A. Increase his/her mastery of the instrument and musicianship in general.

B. Enhance his/her sight-reading ability through exposure to first readings of a score.

C. Transpose music.

D. Combine the refinement of solo playing with the skills of group participation.

MUSIC SURVEYS

MUS 21 – Traditional African Music

A.  Explain the development of traditional African music as a mode of expression useful in many types of communication.

B.  Analyze speech melody in performance of Talking Drum.

C.  Differentiate between religious and secular music.

D.  Appraise the cultural and social values of African music.

E.  Demonstrate an understanding of the role of music structures in African societies as part of an overall African philosophy.

MUS 22C – Romanticism

A. Analyze the historical roots of Western musical culture during the Romantic period.

B. Compare and contrast between music prior to the 19th century to music within this period with respect to tonal structure, historical development and aesthetic value.

C. Identify religions, philosophies and lifestyles within this period.

D. Assess the major stylistic developments of music within the Romantic period.

E. Identify musical instruments used in this period from photographs, drawings and recordings.

MUS 23 – Jazz History: Musical Traditions of the African American

A.  Explain the historical roots of Jazz.

B.   Summarize the major stylistic developments of Jazz from 1900 to the present.

C.   Compare/contrast the contributions of various important figures in the music.

D.  Appraise the musical value of relevant recorded work in this field, and describe aesthetic preferences using appropriate terminology.

E.   Relate current trends in American popular music to their historical antecedents in Blues and Jazz.​

MUS 24 – Music of East Asia

A. Analyze the historical roots of China, Korea and Japan, focusing on musical aspects.

B. Compare and contrast between East Asian and Western music with respect to tonal structure, historical development and aesthetic value.

C. Identify religions, philosophies and a brief historical overview of the three East Asian countries through the ages.

D. Assess the major stylistic developments of Peking Opera, Cantonese Opera, Kabuki, Noh, Bunraku, Gagaku, Ritual music, and religious music.

E. Identify East Asian musical instruments from photographs, drawings and recordings.

MUS 25 – Music of Latin America & The Caribbean

A. Analyze, criticize and compare the music of diverse geographical regions and cultural groups in Latin America, the Caribbean and the United States.

B. Analyze the social function of music in Latin American and Caribbean culture.

C. Appraise the historical origins of different musical forms and the ways in which culture is reflected in musical traditions.

D. Distinguish and compare the characteristics of various genres of Latin American and Caribbean music.

E. Differentiate forms of music using concepts and correct terminology of musicology.

MUS 26 – Music in American Culture

A. Analyze the historical roots of American Indian, African American, European American, Asian American, European American, and Native American musical cultures.

B. Compare and contrast between music in America and World music with respect to tonal structure, historical development and aesthetic value.

C. Identify religions, philosophies and lifestyles of the United States through the ages.

D. Assess the major stylistic developments of music in the United States.

E. Identify musical instruments used in music of America from photographs, drawings and recordings.

MUS 27A – Music Appreciation

A. Identify meters, modes, textures, phrases, modulations, and formal designs in music.

B. Identify musical instruments and various performance ensembles.

C. Correctly employ musical terminology to discuss music.

D. Compare and contrast the stylistic features of each historical period, as well as the individual characteristics of its representative composers.

E. Evaluate the social, cultural and political influences on compositions and vice versa.

F. Assess the composers' ability to express their personal convictions through their compositions.

G. Evaluate and critique a live concert or opera in concert report(s), for both the music and the quality of the performance.

MUS 27B – Musical Awareness

A.   Recognize and compare the forms and styles of opera (Fall) and musical theatre (Spring).

B.   Describe the origins of opera and musical theatre, and their historical context.

C.   Identify opera and musical theatre works from different time periods.

D.  Use correct terminology in explaining and discussing music and theatre works.

E.   Express in writing and verbally well-informed opinions about opera and musical theatre works.

MUS 29 – Electronic Music

A. Describe and evaluate specific electronic music elements in audio recordings using appropriate terminology.

B. Recognize, define, and apply the functions of the basic tools of the electronic music studio.

C. Recognize, define, and apply the modular elements of a synthesizer.

D. Analyze and critique recordings and performances by professional electronic musicians.

E. Apply the basic tools of the electronic music studio to create a piece of electronic music.

F. Analyze and critique his/her own recordings and recordings made by his/her fellow students.

G. Recognize significant social, cultural, aesthetic, and historical trends in electronic music.

MUS 30 – Electronic Music Laboratory

A. Recognize, define, and apply the functions of advanced tools of the electronic music studio.

B. Recognize significant social, cultural, aesthetic, and historical trends in electronic music and assess the implications of these trends.

C. Identify societal issues associated with the production, dissemination, and consumption of electronic music.

D. Apply research skills necessary to learn about new equipment, and find information on specific devices, software, music, or composers.

E. Apply tools of the advanced electronic music studio to create a piece of electronic music.

F. Analyze and critique recordings and performances by professional electronic musicians.

G. Analyze and critique his/her own recordings and recordings made by his/her fellow students.

OTHER MUSIC PERFORMANCE COURSES

MUS 41 – African Drumming Ensemble

A.   Analyze the integral functions of drumming, dance, folklore, and other African art forms in the context of the social systems and philosophies of everyday African life.

B.   Interpret the symbolism in African folklore by playing drums and other percussion instruments such as shekeres, cowbells, mbiras and balafones.

C.   Analyze and interpret the symbolic and practical use of each drum in addition to learning to play them.

D.  Appraise African people through uses of rhythms, dance and song as communication in the African culture.

E.   Assess the contribution of African polyrhythms to world and popular music such as jazz, rhythm and blues, rap, salsa, samba and gospel.

F.   Demonstrate diverse drumming art forms in regional African sub-cultures.

G.   Interpret proverbs and folktales using drum language.

MUS 42 – Gospel Choir

A.     Prepare and sight-read simple repertoire from the major scale.

B.     Demonstrate breath control and vocal projection.

C.     Distinguish call and response and other appropriate characteristics.

D.    Create rhythm figures in selected meters using syncopation.

E.     Prepare and perform appropriate repertoire in a public concert.

MUS 46 – Stage band

A.    Interpret style characteristics of musical eras from Swing to the present.

B.    Comply with sight-reading requirements for concert performances.

C.    Design, model and direct rehearsals for different-sized groups.

D.    Prepare and perform various styles of big band jazz at public events.

E.    Assess how to provide accompaniment for other musicians in a group setting.

MUS 47 – Pep Band

A. Rehearse and perform various styles of marching, popular and ensemble music at public events.

B. Practice ensemble techniques for both small and large groups.

C. Develop a sensitivity towards the stylistic eras from Dixieland to the present.

D. Improve sight-reading and reading skills.

MUS 48A – Beginning Labor Heritage Chorus

A. Define proper vocal techniques and apply them to their own singing.

B. Demonstrate and employ choral singing techniques.

C. Examine and identify songs from working people’s cultural heritage and demonstrate a rudimentary awareness of the links between American cultural traditions and labor history.

D. Evaluate the influence of working people’s musical traditions on American history and contemporary U.S. society.

E. Choose a selection of American working people’s songs to be performed.

MUS 48B – Intermediate Labor Heritage Chorus

A. Expand beyond Labor 98A/Music 48A with students' ability to define proper vocal techniques and apply them to their own singing.

B. Enlarge on their ability to demonstrate and employ choral singing techniques.

C. Formulate a well-grounded appraisal of working people's cultural heritage and the links between American cultural traditions and labor history.

D. Develop a more sophisticated ability to evaluate the influence of working people's musical traditions on American history and contemporary U.S. society.

E. Create through practice an ability to choose and prepare a more advanced performance of American working people's songs.

MUS 48C – Advanced Labor Heritage Chorus

A. Exhibit advanced competence in proper vocal techniques and apply them to their own singing by singing solos and leading part rehearsals.

B. Demonstrate and employ advanced choral singing techniques and be able to share them with singers in their section.

C. Illustrate a deeper understanding of the creative process through students' ability to organize and conduct section rehearsals.

D. Choose songs from working people's cultural heritage with an eye to using updated nontraditional materials to analyze the linkage between American cultural traditions and labor history.

E. Synthesize a contemporary analysis of American labor history and society from the perspective of being a participant in working people's musical traditions.

MUS 200A – Ensemble Musical Theater

A. Analyze, research, prepare, and interpret a song and a characterization within an ensemble role in a designated musical theatre work.

B. Prepare and rehearse the musical and dramatic elements of the chosen material using techniques of theatre improvisation, theatre games, and work on vocal and dramatic technique.

C. Integrate elements of vocal style, musical accuracy, and dramatic gesture and movement into a memorized and completed performance.

D. Perform the memorized material in a group setting, working towards attaining dramatic ease and equanimity onstage.

E. Learn to measure one’s own performance parameters and independently make informed decisions in choosing material for work beyond the class.

MUS 200B – Supporting Musical Theater

A. Analyze, research, prepare, and interpret a song and a characterization within a supporting role in a designated musical theatre work.

B. Prepare and rehearse the musical and dramatic elements of the chosen material using techniques of theatre improvisation, theatre games, and work on vocal and dramatic technique.

C. Integrate elements of vocal style, musical accuracy, and dramatic gesture and movement into a memorized and completed performance.

D. Perform the memorized material in a group setting, working towards attaining dramatic ease and equanimity onstage.

E. Learn to measure one’s own performance parameters and independently make informed decisions in choosing material for work beyond the class.

MUS 200C – Leading Musical Theater

A. Analyze, research, prepare, and interpret songs and a characterization for a principal (leading) role in a designated musical theatre work.

B. Prepare and rehearse the musical and dramatic elements of the chosen material using techniques of theatre improvisation, theatre games, and work on vocal and dramatic technique.

C. Integrate elements of vocal style, musical accuracy, and dramatic gesture and movement into a memorized and completed performance.

D. Perform the memorized material in a group setting, working towards attaining dramatic ease and equanimity onstage.

E. Learn to measure one’s own performance parameters and independently make informed decisions in choosing material for work to transition to professional environment.