School of Music

Ross Garin, Acting Executive Director
Location: Hall of Arts 102
www.cmu.edu/cfa/music

The School of Music at Carnegie Mellon University offers the best aspects of conservatory training within a great university, combining preparation for a lifetime in performance, composition, electronic music, or music and technology with the advantages of learning in an intense academic environment. Every student in the School of Music is a performance, composition, electronic music, or music and technology major. The School of Music is an accredited institutional member of the National Association of Schools of Music.

Each performance major is challenged to develop through individual instruction with a master teacher. The School’s relationship with the renowned Pittsburgh Symphony Orchestra is among the strongest conservatory–symphony orchestra relationships in the United States, and Pittsburgh’s uniquely strong sense of musical community fosters close relationships with the Pittsburgh Opera, Pittsburgh Chamber Music Society, and a host of other professional musical organizations.

Regular performing ensembles include the Carnegie Mellon Philharmonic, Wind Ensemble, Bagpipe and Drum Band, Baroque Ensemble, Contemporary Ensemble, Exploded Ensemble, Jazz Orchestra, Jazz Vocal Ensemble, Chorus, and Opera. Some of the School’s ensembles are instrument specific: Chamber Music ensembles and the Percussion Ensemble, among others. Opportunities for performance are stressed – undergraduate performance majors perform junior and senior recitals, chamber music is publicly presented, frequent performance opportunities on and off campus are provided, and community outreach is vigorously supported.

The School of Music has an intense commitment to new music, led by composition faculty, conductors who devote fully rehearsed cycles of the Philharmonic to works by student composers, and studio faculty whose own performing careers regularly feature new works, and including performances of student works on Contemporary Ensemble programs, and opportunities with the Wind Ensemble and Chorus and on student recitals. The School’s state-of-the-art recording facilities are an especially important resource for composers beginning their public careers.

All teaching is entrusted to professional faculty — there are no assistant studio teachers or doctoral teaching fellows — and specialists in Musicology, Theory, Analysis, Counterpoint, Composition, Computer Music, Electronic Music, Eurhythmics, Solfege, Music Education, Pedagogy, Collaborative Piano and Coaching, Acting and Movement, Diction, Literature and Repertoire, Baroque Music, Chamber Music, Conducting, and Sound Recording and Production provide a broad and rich platform for comprehensive musical preparation. At the same time, the university provides the greatest possible support for students combining their majors with minors in all disciplines, unique joint degree programs, and double major programs. These opportunities significantly increase a student’s career options and marketability in the changing professional world of music.

School of music Facilities

The teaching facilities of the School of Music are located on the ground, main, and mezzanine floors of the College of Fine Arts, on the ground, main, and second floors of the Hall of Arts, on the first floor of Margaret Morrison Hall, and in WQED Studio A and B. Teaching, rehearsal, and practice rooms are equipped with Steinway pianos. Music students also have access to a state-of-the-art recording studio and music technology cluster. Performances take place in Alumni Concert Hall, Kresge Recital Hall, Carnegie Music Hall, and other venues. The Hunt Library houses a fine collection of books, records, and scores. Listening and conference rooms are also available in the library.

School of Music Options

The School of Music offers a Bachelor of Fine Arts in the following areas:

Performance (Instrumental, Organ, Piano, Voice)
Composition
Electronic Music

The School of Music jointly with the School of Computer Science and the Carnegie Institute of Technology offers a Bachelor of Science in the following area:

Music and Technology

To earn a Bachelor’s degree in any of these options, a candidate must satisfactorily fulfill all the requirements of the School of Music.

Within the options listed above eligible students may apply for specializations in the following areas:

Dalcroze Eurhythmics Certificate
Piano Pedagogy Certificate
Collaborative Piano Minor
Conducting Minor
Music Education Minor
Music Technology Minor
Music Theory Minor
Sonic Arts Minor

Dalcroze Eurhythmics Certificate

This program is designed to prepare teachers in the Dalcroze approach to music learning. The course of study includes eurhythmics, piano improvisation, and Dalcroze pedagogy. Carnegie Mellon undergraduates may enter the Dalcroze Training Program during their junior year. However, the certificate will be granted only upon completion of their undergraduate degree. This program is recommended particularly to students who would like to incorporate Dalcroze principles into their teaching and to those who want to obtain more experience in this field.

Piano Pedagogy Certificate

A two-year program leads to certification in piano pedagogy. Students learn to teach piano in a closely supervised environment of class piano instruction. This program has received national acclaim as a model of excellence, with Carnegie Mellon children consistently capturing prestigious awards in national piano competitions.

Collaborative Piano Minor

The collaborative piano minor consists of a six-semester sequence of courses designed to give the student experience with instrumentalists and vocalists. There are individual coaching sessions as well as practical experience in instrumental and vocal studios.

Conducting Minor

This minor is designed for students who are interested in acquiring conducting skills, in anticipation of either graduate study in conducting or a music education career. It includes required courses in conducting techniques for both choral and instrumental ensembles, orchestration, score reading/keyboard harmony, and elective courses in instrumental and vocal methods, diction, and literature and repertoire.

Music Education Minor

This minor is designed for students who are interested in music education, who may wish to complete the requirements for music education certification. Students who complete the requirements for music education certification and pass the Praxis tests will receive Pennsylvania state certification in music (K-12), which is recognized in almost all other states.

Music Technology Minor

The student will take a series of courses which may include electronic and computer music, recording technology, the physics of musical sound, and computer programming. A rich computer music research environment enables talented students to work as programmers with outstanding faculty researchers, whose current projects are gaining international recognition in the areas of computer music and artificial intelligence.

Music Theory Minor

This minor is designed for students who are interested in advanced theory and analysis skills, in anticipation of either graduate study in theory or graduate study that requires a substantial level of theory knowledge. The student will take advanced theory and analysis courses and also support courses in the physics of musical sound and the psychology of music.

Sonic Arts Minor

Students in this minor will explore the processes and products of digital sound and music. They will receive basic training in key component areas: principles of computer music, hybrid instrument building, concepts in sound design. Combining this training with courses that bring together experts from many disciplines, they will create experimental music or explore new, technology-enabled, applications and markets for sound design, music creation, and performance.

Performances and Activities of the School of Music

The School of Music sponsors performances, master classes, and lectures by outstanding national and international guest artists. Announcements of faculty, student, and guest performances are published for the students and the community.

General Requirements for BFA Candidates

Candidates for the Bachelor of Fine Arts degree in composition are required to complete a composition for orchestra in their senior year.

Candidates for the Bachelor of Fine Arts degree in electronic music are required to complete an ambitious capstone project in their senior year that may take the form of an evening length concert, a multimedia experience, an interactive exhibition or app, or some other project that exhibits the student’s research and creative output.

Candidates for the Bachelor of Fine Arts degree in performance are required to give public performances in their junior and senior years. Candidates for the Bachelor of Fine Arts degree in string performance are required to give public performances in their sophomore, junior, and senior years.

Candidates for the Bachelor of Fine Arts degree have opportunities to develop teaching skills, particularly as related to their major area of study, in the classes below.

Instrumental majors: 57-023 Bassoon Studio Performance Class, 57-448 Brass Pedagogy, 57-022 Clarinet Studio Performance Class, 57-018 Double Bass Studio Performance Class, 57-020 Flute Studio Performance Class, 57-021 Oboe Studio Performance Class, 57-030 Percussion Studio Performance Class, 57-016 Viola Studio Performance Class, 57-015 Violin Studio Performance Class, 57-437 Literature and Repertoire.
Bagpipe, organ and saxophone majors: 57-522 Major Studio (Bagpipe), 57-502 Major Studio (Organ) and 57-514 Major Studio (Saxophone).
Piano majors: 57-273 Piano Pedagogy I and 57-274 Piano Pedagogy II.
Voice majors: 57-010 Voice Studio Performance Class.
Composition majors: 57-627 Independent Study in Supervised Teaching

Candidates for the Bachelor of Fine Arts degree in applied areas other than piano are required to pass a piano proficiency test.

Candidates for Bachelor of Fine Arts degrees in composition and performance are required to pass a major choral ensemble or a major instrumental ensemble as assigned and to pass Convocation every semester of residence in the School of Music.

Candidates for the Bachelor of Fine Arts degree in electronic music are required to to pass Exploded Ensemble or Contemporary Ensemble as assigned every semester of residence and to pass Convocation four semesters of residence in the School of Music.

BFA Curriculum

The music curriculum is based on the following five building blocks:

Studio
Theory
History
Ensemble
Academics

1. Studio — This is the heart of the school. Students receive individualized instruction with senior faculty in their major area of study: performance or composition or electronic music.

2. Theory — These courses are designed to help students develop listening skills, to acquire theoretical knowledge, to recognize structural techniques and manipulate technological resources. It includes courses in sight-reading, ear-training, eurhythmics, harmony, contrapuntal techniques, analysis of musical forms, 20th-21st century techniques, orchestration, score reading, and electronic and computer music. One music support course in the piano, organ, and instrumental curricula must be a theory course.

3. History - These courses cover in depth the music of the western world and survey the styles and musical structures of non-western music.

4. Ensemble — This area includes student participation in some of the following ensembles: Carnegie Mellon Philharmonic, Wind Ensemble, Bagpipe and Drum Band, Baroque Ensemble, Contemporary Ensemble, Exploded Ensemble, Jazz Orchestra, Jazz Vocal Ensemble, Chorus, Opera, Chamber Music ensembles, and Percussion Ensemble.

5. Academics — The School of Music requires general studies courses (academic courses outside of the School) and elective courses for graduation. These accumulated credits may be applied to minors or majors in other disciplines. Exceptional students in good academic and musical standing within the School are permitted to take additional courses beyond the number required for graduation. There is no charge for extra credits taken at Carnegie Mellon.

Minimum units required for B.F.A. in Music
Voice majors	432
Electronic Music majors	406
Composition majors	386
Instrumental, Organ, and Piano majors	386

Piano

First Year

Fall		Units
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-196	Collaborative Piano Skills I	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3
57-101	Introduction to Music Technology	6
99-101	Core@CMU	3
76-101	Interpretation and Argument	9
		55

Spring
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-197	Collaborative Piano Skills II	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
57-190	Repertoire and Listening for Musicians I	3
57-283	Music History I	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
		55

Second Year

Fall		Units
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-672	Chamber Music: Woodwind and Mixed	3
57-151	Counterpoint in Theory and Application	6
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-289	Repertoire and Listening for Musicians II	3
57-284	Music History II	9
xx-xxx	General Studies Course	6
		49

Spring
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-672	Chamber Music: Woodwind and Mixed	3
57-408	Form and Analysis	6
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-290	Repertoire and Listening for Musicians III	3
57-285	Music History III	9
xx-xxx	Elective Course	6
		49

Third Year

Fall		Units
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-672	Chamber Music: Woodwind and Mixed	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	6
		46

Spring
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-4xx	Major Ensemble	6
57-672	Chamber Music: Woodwind and Mixed	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	6
		46

Fourth Year

Fall		Units
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-xxx	Performance Elective	9
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Spring
57-100	Convocation	1
57-501	Major Studio (Piano)	9
57-xxx	Performance Elective	9
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Organ

First Year

Fall		Units
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3
57-101	Introduction to Music Technology	6
99-101	Core@CMU	3
76-101	Interpretation and Argument	9
		55

Spring
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
57-190	Repertoire and Listening for Musicians I	3
57-283	Music History I	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
		55

Second Year

Fall		Units
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-151	Counterpoint in Theory and Application	6
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-289	Repertoire and Listening for Musicians II	3
57-284	Music History II	9
xx-xxx	General Studies Course	6
		49

Spring
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-408	Form and Analysis	6
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-290	Repertoire and Listening for Musicians III	3
57-285	Music History III	9
xx-xxx	Elective Course	6
		49

Third Year

Fall		Units
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-459	Score Reading for Composition Majors and Conducting Minors	6
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		46

Spring
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	9
		46

Fourth Year

Fall		Units
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-xxx	Performance Elective	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Spring
57-100	Convocation	1
57-502	Major Studio (Organ)	9
57-4xx	Major Ensemble	6
57-xxx	Performance Elective	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Voice

First Year

Fall		Units
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-467	Production: Crew	3
57-191	Keyboard Studies	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
82-161	Elementary Italian I	12
99-101	Core@CMU	3
57-240	Acting I	3
57-111	Movement and Dance I	3
		60

Spring
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-468	Production: Crew	3
57-192	Keyboard Studies	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
82-162	Elementary Italian II	12
57-221	Italian Diction	3
57-241	Acting II	3
57-112	Movement and Dance II	3
		60

Second Year

Fall		Units
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-193	Keyboard Studies	3
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-189	Introduction to Repertoire and Listening for Musicians	3
82-121	Elementary German I	12
76-101	Interpretation and Argument	9
57-151	Counterpoint in Theory and Application	6
57-339	Acting III	3
57-211	Movement and Dance III	3
		63

Spring
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-194	Keyboard Studies	3
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-190	Repertoire and Listening for Musicians I	3
57-283	Music History I	9
82-122	Elementary German II	12
57-223	German Diction	3
57-408	Form and Analysis	6
57-340	Acting IV	3
57-212	Movement and Dance IV	3
		66

Third Year

Fall		Units
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-xxx	Production Course	6
57-289	Repertoire and Listening for Musicians II	3
57-284	Music History II	9
82-101	Elementary French I	12
57-101	Introduction to Music Technology	6
57-222	French Diction	3
		57

Spring
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-xxx	Production Course	6
57-290	Repertoire and Listening for Musicians III	3
57-285	Music History III	9
82-102	Elementary French II	12
		48

Fourth Year

Fall		Units
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-xxx	Production Course	6
57-473	Survey of Vocal Repertoire I	3
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
xx-xxx	Elective Course	3
		39

Spring
57-100	Convocation	1
57-500	Major Studio (Voice)	9
57-593	Vocal Coaching	1
57-010	Voice Studio Performance Class	1
57-417	Major Vocal Performance Ensemble	6
57-xxx	Production Course	6
57-474	Survey of Vocal Repertoire II	3
xx-xxx	Elective Course	12
		39

Instrumental

A string major must also complete two semesters of Chamber Music in the sophomore year.

First Year

Fall		Units
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3
57-101	Introduction to Music Technology	6
99-101	Core@CMU	3
76-101	Interpretation and Argument	9
		55

Spring
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-192	Keyboard Studies	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
57-190	Repertoire and Listening for Musicians I	3
57-283	Music History I	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
		55

Second Year

Fall		Units
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-193	Keyboard Studies	3
57-151	Counterpoint in Theory and Application	6
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-289	Repertoire and Listening for Musicians II	3
57-284	Music History II	9
xx-xxx	General Studies Course	6
		49

Spring
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-194	Keyboard Studies	3
57-408	Form and Analysis	6
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-290	Repertoire and Listening for Musicians III	3
57-285	Music History III	9
xx-xxx	Elective Course	6
		49

Third Year

Fall		Units
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-xxx	Chamber Music	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Couirse	6
		46

Spring
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-xxx	Chamber Music	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	6
		46

Fourth Year

Fall		Units
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-xxx	Chamber Music	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Spring
57-100	Convocation	1
57-xxx	Studio	9
57-4xx	Major Ensemble	6
57-xxx	Chamber Music	3
57-xxx	Music Support Course (Theory/History)	12
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	3
		43

Composition

First Year

Fall		Units
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-191	Keyboard Studies	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3
57-101	Introduction to Music Technology	6
99-101	Core@CMU	3
76-101	Interpretation and Argument	9
		55

Spring
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-192	Keyboard Studies	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
57-190	Repertoire and Listening for Musicians I	3
57-283	Music History I	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
		55

Second Year

Fall		Units
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-193	Keyboard Studies	3
57-151	Counterpoint in Theory and Application	6
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-289	Repertoire and Listening for Musicians II	3
57-284	Music History II	9
57-257	Orchestration I	6
xx-xxx	Elective Course	6
		55

Spring
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-194	Keyboard Studies	3
57-408	Form and Analysis	6
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-290	Repertoire and Listening for Musicians III	3
57-285	Music History III	9
57-271	Orchestration II	6
57-258	20th-21st Century Techniques	6
		55

Third Year

Fall		Units
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-234	Performance for Composers	3
57-332	Introduction to Conducting	6
57-347	Electronic and Computer Music	6
57-xxx	Music Support Course	6
xx-xxx	General Studies Course	12
		43

Spring
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-236	Performance for Composers	3
57-336	Instrumental/Choral Conducting	6
57-459	Score Reading for Composition Majors and Conducting Minors	6
57-xxx	Music Support Course	6
xx-xxx	General Studies Course	12
		43

Fourth Year

Fall		Units
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-xxx	Music Support Course	6
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	12
		43

Spring
57-100	Convocation	1
57-521	Major Studio (Composition)	9
57-4xx	Major Ensemble	6
57-xxx	Music Support Course	6
xx-xxx	General Studies Course	9
xx-xxx	Elective Course	6
		37

ELECTRONIC MUSIC

First Year

57-100	Convocation	1
57-560	Electronic Music Seminar	3
57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
76-101	Interpretation and Argument	9
57-358	Introduction to Electronic Music	9
99-101	Core@CMU	3
57-421	Exploded Ensemble	6
57-523	Major Studio (Electronic Music)	9
57-191	Keyboard Studies	3

57-100	Convocation	1
57-560	Electronic Music Seminar	3
57-153	Harmony II	9
57-162	Eurhythmics II	3
57-182	Solfege II	3
57-102	Twisted Signals: Multimedia Processing for the Arts	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9
57-421	Exploded Ensemble	6
57-523	Major Studio (Electronic Music)	9
57-192	Keyboard Studies	3

Second Year

57-100	Convocation	1
57-560	Electronic Music Seminar	3
57-421	Exploded Ensemble	6
57-163	Eurhythmics III	3
57-183	Solfege III	3
57-257	Orchestration I	6
57-xxx	Music Elective	9
57-xxx	Electronic Music support course/Special Topics	9
57-523	Major Studio (Electronic Music)	9
57-193	Keyboard Studies	3

57-100	Convocation	1
57-560	Electronic Music Seminar	3
57-421	Exploded Ensemble	6
57-408	Form and Analysis	6
57-164	Eurhythmics IV	3
57-184	Solfege IV	3
57-xxx	Electronic Music support course/Special Topics	9
57-523	Major Studio (Electronic Music)	9
xx-xxx	General Studies Course	10
57-194	Keyboard Studies	3

Third Year

57-523	Major Studio (Electronic Music)	9
57-560	Electronic Music Seminar	3
57-332	Introduction to Conducting	6
15-104	Introduction to Computing for Creative Practice	10
57-xxx	Electronic Music support course/Special Topics	9
57-421	Exploded Ensemble	6
57-173	Survey of Western Music History	9
57-188	Repertoire and Listening for Musicians	1

57-523	Major Studio (Electronic Music)	9
57-560	Electronic Music Seminar	3
57-344	Experimental Sound Synthesis	9
57-359	Audiovisual Composition	9
57-xxx	Electronic Music support course/Special Topics	9
57-421	Exploded Ensemble	6
xx-xxx	General Studies Course	10

Fourth Year

57-523	Major Studio (Electronic Music)	9
57-560	Electronic Music Seminar	3
57-421	Exploded Ensemble	6
57-xxx	Electronic Music support course/Special Topics	9
xx-xxx	General Studies Course	12
57-xxx	Music Elective	9

57-523	Major Studio (Electronic Music)	9
57-560	Electronic Music Seminar	3
57-421	Exploded Ensemble	6
57-xxx	Electronic Music support course/Special Topics	6
xx-xxx	General Studies Course	9
57-xxx	Music Elective	9

Dalcroze Eurhythmics Certificate33 units

57-465	Eurhythmics Applications for Performing and Teaching	6
xx-xxx	Creative Movement/Choreography	3

Piano Pedagogy Certificate36 units

57-273	Piano Pedagogy I	6
57-274	Piano Pedagogy II	6
57-275	Piano Pedagogy III	6
57-276	Piano Pedagogy IV	6
57-429	Beginning Piano for Children I	6
57-449	Beginning Piano for Children II	6

Bachelor of Science in Music and Technology

The Bachelor of Science in Music and Technology is offered jointly by the School of Music, the School of Computer Science, and the College of Engineering.

This program consists of a set of courses that span both music and technology, as well as a capstone composition/design/performance project. Courses in all three areas of study are stipulated in the music and technology undergraduate curriculum and provide for students coming from any of the three areas. In other words, regardless of a student’s entry point — an interest in computer science, electrical engineering, or music — the coursework prescribed will allow the student to gain the requisite knowledge and experience in all three areas. Students will work closely with advisors and will be guided in both course selection and capstone projects.

Curriculum

Minimum units required for B.S. in Music and Technology380

General Requirements85 units

Seminar

57-570

Music and Technology Seminar
(8 semesters for a total of 8 units)

University

99-101	Core@CMU	3
76-101	Interpretation and Argument	9
xx-xxx	Global, Cultural, and Diverse Perspectives Course	9

Humanities

xx-xxx	Cognition, Choice and Behavior course	9
xx-xxx	English, History, Modern Languages, Philosophy, or Psychology course	9

Mathematics

21-120	Differential and Integral Calculus	10
21-122	Integration and Approximation	10

Science

33-114	Physics of Musical Sound	9
33-141	Physics I for Engineering Students	12

Electives33 or 37 units

Music Core81 units

57-152	Harmony I	9
57-153	Harmony II	9
57-408	Form and Analysis	6
57-151	Counterpoint in Theory and Application	6
57-258	20th-21st Century Techniques	6
57-257	Orchestration I	6
57-189	Introduction to Repertoire and Listening for Musicians	3
57-190	Repertoire and Listening for Musicians I	3
57-289	Repertoire and Listening for Musicians II	3
57-290	Repertoire and Listening for Musicians III	3
57-181	Solfege I	3
57-182	Solfege II	3
57-183	Solfege III	3
57-184	Solfege IV	3
57-161	Eurhythmics I	3
57-162	Eurhythmics II	3
57-173	Survey of Western Music History	9

Music and Technology Core121 units

15-112	Fundamentals of Programming and Computer Science	12
15-122	Principles of Imperative Computation	12
15-322	Introduction to Computer Music	9
18-100	Introduction to Electrical and Computer Engineering	12
18-202	Mathematical Foundations of Electrical Engineering	12
18-290	Signals and Systems	12
57-101	Introduction to Music Technology	6
57-347	Electronic and Computer Music	6
57-337	Sound Recording	6
57-338	Sound Editing and Mastering	6
57-438	Multitrack Recording	9
57-571	Music and Technology Project	12
57-572	Music and Technology Project	12

Concentration

Students complete either the Music Concentration or the Technical Concentration:

Music Concentration60 units

57-5xx	Studio (4 semesters)	36
57-4xx	Major Ensemble (4 semesters)	24

Technical Concentration58 or 56 units

21-127	Concepts of Mathematics	12
15/18-213	Introduction to Computer Systems	12

AND EITHER:

18-220	Electronic Devices and Analog Circuits	12
18-240	Structure and Design of Digital Systems	12
15-2xx/18-3xx Electives in ECE or CS		12
or above

OR:

15-210	Parallel and Sequential Data Structures and Algorithms	12
15-323	Computer Music Systems and Information Processing	9
15-2xx/18-3xx Electives in ECE or CS		12
or above

Minors

Minor in Collaborative Piano for Students in the School of Music

Admission Requirements:

The student must apply to enter the program in the office of the Director of Student Services (HOA 141A).

36 unitsRequired Courses

57-381	Collaborative Piano I	6
57-382	Collaborative Piano II	6
57-383	Collaborative Piano III	6
57-384	Collaborative Piano IV	6
57-385	Collaborative Piano V	6
57-386	Collaborative Piano VI	6

18 unitsElectives

(choose from the following courses)

57-220	English Diction	3
57-221	Italian Diction	3
57-222	French Diction	3
57-223	German Diction	3
57-332	Introduction to Conducting	6
57-336	Instrumental/Choral Conducting	6
57-459	Score Reading for Composition Majors and Conducting Minors	6
57-557	Vocal Methods	3

Minimum units required for Collaborative Piano Minor:

Minor in Conducting for Students in the School of Music

Admission Requirements:

The student must apply to enter the program in the office of the Director of Student Services (HOA 141A).
A 3.0 cumulative overall QPA and good academic standing are required.
In addition to passing the prerequisite courses listed below, the student must display superior solfege skills, by passing Advanced Solfege I and II with “A” or “B” grades or by passing Solfege I and II with "A" or "B" grades and with the recommendation of the student's solfege instructor; and the student must also pass Introduction to Conducting with an "A" grade or with a "B" grade and with the recommendation of the student's conducting instructor.

ACADEMIC REQUIREMENTS:

Immediately after acceptance into the minor in conducting, the student must schedule an advising appointment with the faculty supervisor of the conducting minor.
Instrumental/Choral Conducting must be completed before the senior year with an "A" grade or with a "B" grade and with the recommendation of the student's conducting instructor before the student can register for the advanced conducting courses (see #3).
Conducting Practicum must be taken during the same semester as Independent Study in Conducting. Both courses must be taken after completing Introduction to Conducting and Instrumental/Choral Conducting.
A 3.0 cumulative overall QPA is required for graduation with the minor in conducting.

30 unitsPrerequisite Courses

57-152	Harmony I	9
57-153	Harmony II	9
57-161	Eurhythmics I	3
57-162	Eurhythmics II	3
57-189	Introduction to Repertoire and Listening for Musicians	3
57-191	Keyboard Studies	3

39 unitsRequired Courses

Choose two of the following five courses immediately below as recommended by the faculty supervisor of the conducting minor:

57-360	Brass Methods	3
57-361	Percussion Methods	3
57-362	Woodwind Methods	3
57-363	String Methods	3
57-557	Vocal Methods	3

57-332	Introduction to Conducting	6
57-336	Instrumental/Choral Conducting	6
57-257	Orchestration I	6
57-459	Score Reading for Composition Majors and Conducting Minors	6
57-364	Conducting Practicum	3
57-618	Independent Study in Conducting	6

15 unitsElectives

(choose from the following courses)

57-220	English Diction	3
57-221	Italian Diction	3
57-222	French Diction	3
57-223	German Diction	3
57-258	20th-21st Century Techniques	6
57-337	Sound Recording	6
57-338	Sound Editing and Mastering	6
57-491	Solfege for Conductors I	3
57-492	Solfege for Conductors II	3
57-227	Jazz Instrumental Ensemble	3
57-230	Baroque Ensemble	3
57-420	JIVE - CMU Jazz Choir	3
57-423	Repertoire Orchestra	3
57-675	Chamber Ensemble	3

Minimum units required for Conducting minor:

Minor in Music Education for Students in the School of Music

Admission Requirements:

The student must apply to the music education faculty no earlier than spring of the freshman year.

Corequisite General Courses36 units

76-101	Interpretation and Argument	9
21-xxx	Mathematics Course #1	9
21-xxx	Mathematics Course #2	9
76-xxx	English Literature Course	9

Corequisite Music Courses18 units

57-391	Keyboard Studies (Music Ed)	3
57-392	Keyboard Studies (Music Ed)	3
57-332	Introduction to Conducting	6
57-336	Instrumental/Choral Conducting	6

General Education Courses18 units

57-331	Principles of Education	9
57-643	Diverse Populations in Inclusive Settings	9

Music Education Methods Courses45 units

General Methods Courses

57-375	Music in the Elementary School	6
57-356	Elementary Guided Teaching	3
57-376	Music in the Secondary School	6
57-355	Secondary Guided Teaching	3

Applied Area Methods Courses

57-207	Music Studio	Var.
57-360	Brass Methods	3
57-361	Percussion Methods	3
57-363	String Methods	3
57-362	Woodwind Methods	3
57-557	Vocal Methods	3

Band Methods Courses

Stage Direction is optional.

57-333	Band and Choral Arranging	6
57-334	Fundamentals of Marching Band	3
57-370	Stage Direction	3

Music Education Teaching Courses12 units

57-603	Practice Teaching (Elementary)	6
57-604	Practice Teaching (Secondary)	6

Minimum units required for Music Education Minor:

129

Minor in Music Technology for Students in the School of Music

Admission Requirements:

The student must apply to enter the program in the office of the Director of Student Services (HOA 141A).

Prerequisite Courses18 units

57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3

Sound Recording Courses21 units

57-337	Sound Recording	6
57-338	Sound Editing and Mastering	6
57-438	Multitrack Recording	9

Music Technology/Sound Courses (choose 3)21 units

Choose at least three courses. One of the three courses must be either Introduction to Computer Music or Electronic and Computer Music. (Note that 15-112 is a prerequisite for 15-322; 57-101 or 57-171 is a prerequisite for 57-347.) Other courses may be taken with the permission of the minor in music technology advisor.

15-104	Introduction to Computing for Creative Practice	10
15-322	Introduction to Computer Music	9
33-114	Physics of Musical Sound	9
54-166	Introduction to Sound Design for Theatre	6
54-666	Production Audio	6
57-102	Twisted Signals: Multimedia Processing for the Arts	9
57-344	Experimental Sound Synthesis	9
57-347	Electronic and Computer Music	6
57-421	Exploded Ensemble	6
57-478	Survey of Historical Recording	6

Minimum units required for Music Technology Minor:

Minor in Music Theory for Students in the School of Music

Admission Requirements:

The student must apply to enter the program in the office of the Director of Student Services (HOA 141A).

Prerequisite Courses18 units

57-152	Harmony I	9
57-161	Eurhythmics I	3
57-181	Solfege I	3
57-189	Introduction to Repertoire and Listening for Musicians	3

Upper Level Theory Courses (choose 3)21 units

See theory courses on the Music Support Courses Two-Year Rotation list. It is available on the Current Students website. A graduate course may be taken with the permission of the instructor.

Graduate Theory Courses (choose 1)6–9 units

See graduate theory courses on the Music Support Courses Two-Year Rotation list. It is available on the Current Students website. The course is to be chosen with the approval of the minor in music theory advisor.

General Education Courses18 units

33-114	Physics of Musical Sound	9
57-377	Psychology of Music	9

Minimum units required for Music Theory Minor:

Sonic Arts Minor – IDeATe

Sonic Art is a creative expression that uses sound as its primary medium. Just as visual artists create landscapes, portraits, and narratives through light, color, and form, sonic artists craft transformative experiences through sound, noise, and music.

Students in the Sonic Arts minor explore the processes and products of digital sound design and music production. They receive basic training in key component areas: principles of computer music, sound synthesis, spatialization, and core practices in sound design. Combining this training with courses that bring together experts from many disciplines, they create experimental music and explore emerging applications and markets for sound design, music creation, and performance.

Curriculum

One Computing Course - Minimum of 9 Units

		Units
15-104	Introduction to Computing for Creative Practice	10
15-110	Principles of Computing	10
15-112	Fundamentals of Programming and Computer Science	12
60-212	Intermediate Studio: Creative Coding	12

One IDeATe Portal Course - Minimum of 9 Units

		Units
18-090	Twisted Signals: Multimedia Processing for the Arts Other IDeATe Portal Course by permission only. Consult the IDeATe advisor.	10

IDeATe Sonic Arts Courses - Minimum of 27 Units

		Units
15-322	Introduction to Computer Music	9
33-114	Physics of Musical Sound	9
54-166	Introduction to Sound Design for Theatre	6
54-267	Conceptual Sound Design	9
54-509	Theatrical Sound System Design 2	9
57-337	Sound Recording	6
57-344/60-407	Experimental Sound Synthesis	9
57-347	Electronic and Computer Music	6
57-358	Introduction to Electronic Music portfolio required for registration	9
57-359	Audiovisual Composition	9
57-421	Exploded Ensemble	6
57-458	Business of Music	6
Additional course options as available. Please refer to the IDeATe website for courses for the current and upcoming semester.

Double-Counting

Students may double-count up to two of their Sonic Arts minor courses for other requirements.

Course Descriptions

About Course Numbers:

Each Carnegie Mellon course number begins with a two-digit prefix that designates the department offering the course (i.e., 76-xxx courses are offered by the Department of English). Although each department maintains its own course numbering practices, typically, the first digit after the prefix indicates the class level: xx-1xx courses are freshmen-level, xx-2xx courses are sophomore level, etc. Depending on the department, xx-6xx courses may be either undergraduate senior-level or graduate-level, and xx-7xx courses and higher are graduate-level. Consult the Schedule of Classes each semester for course offerings and for any necessary pre-requisites or co-requisites.

57-010 Voice Studio Performance Class: Fall and Spring: 1 unit
Vocal Studio Performance Class is a required class for both undergraduate and graduate voice majors. Each student must participate in two singing rotations each semester and will receive written comments from the voice faculty. Students are also required to attend four studio classes each semester. Grading is pass/fail based on attendance.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-015 Violin Studio Performance Class: Fall and Spring: 1 unit
Once a week throughout the semester a "violin studio performance class" takes place. A studio class is a most important performance opportunity as it is a step between the studio lessons and the concert stage. Students perform the repertoire they are working on in front of the class and Prof. Forough. Along with comments from the class, Prof. Forough works one on one with each student. The repertoire performed can be solo pieces or accompanied pieces. This class is for violin majors who are studying with Prof. Forough. Other students may audit the class.

57-016 Viola Studio Performance Class: Fall and Spring: 1 unit
TBA

57-018 Double Bass Studio Performance Class: Fall and Spring: 1 unit
TBA

57-020 Flute Studio Performance Class: Fall and Spring: 1 unit
TBA

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-021 Oboe Studio Performance Class: Fall and Spring: 1 unit
TBA

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-022 Clarinet Studio Performance Class: Fall and Spring: 1 unit
The purpose of this class is to perform before an audience (studio class members) to ease performance anxiety. The class meets once a week. In addition to playing, the class listens to recordings of various styles of clarinet playing.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-023 Bassoon Studio Performance Class: Fall and Spring: 1 unit
TBA

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-030 Percussion Studio Performance Class: Fall and Spring: 1 unit
TBA

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-100 Convocation: Fall and Spring: 1 unit
A weekly meeting for all music students that features lectures, concerts, and other presentations related to professional development.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-101 Introduction to Music Technology: Fall and Spring: 6 units
This course gives an overview of music technology through practical information and several hands-on projects. Concepts such as MIDI and digital audio are introduced and specific topics are covered in detail including sequencing, music notation, digital recording, mixing, and production. Throughout the course, students are required to complete several projects and create musical compositions in styles of their own choosing. The student is not graded on the "musicality" of these compositions, but instead on how well they meet the stated project goals by correctly using specific equipment and/or computer programs.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-102 Finale: Spring: 6 units
This course provides hands-on and in-depth instruction of the Finale music notation program by Coda Music Software. Students will learn how to efficiently use the various notation tools that Finale has to input, edit, and manipulate music. MIDI input, playback, and transcription will also be covered to allow students to quickly notate and hear their music. The goal is to create professional-looking printed scores and parts in a variety of styles from Classical to Contemporary. Open to music majors only except by instructor permission. Introduction to Music Technology (57801/871) or equivalent experience required.
Prerequisites: 57-171 or 57-101

57-103 Elective Studio (Beginning Piano Class): Fall and Spring: 3 units
TBA

57-104 Elective Studio (Beginning Piano Class): Spring: 3 units
To be determined

57-109 Elective Studio (Guitar Class): Fall and Spring: 3 units
Using classical and jazz guitar methods, this course is designed to provide a basic set of techniques that will allow students to pursue the avenue of guitar playing that most interests them. While emphasis will be on developing skills in playing the guitar, a basic understanding of the principles of music theory as applied to the guitar will also be acquired. While few students will find it possible to master all of the materials presented, an exposure to the many possibilities of musical expression available on the guitar and an understanding of basic music theory will help to broaden the students' perspective and make future musical experiences, such as listening and performing, more rewarding. Each student is expected to have his/her own instrument. A guitar in good working condition is essential. An acoustic classical or steel string is preferred, an electric with a small battery operated amp is acceptable. Students having no previous training on the guitar will find this class most valuable.

57-110 Elective Studio (Voice Class): Fall and Spring: 3 units
Students enrolled in group voice will gain an understanding of basic vocal technique and a variety of singing styles. Students will learn about proper breathing, tone production and posture. Vocal styles will include pop, jazz, musical theater and classical. Students will also explore harmonization, improvisation and audition techniques for the singer. This class is geared towards the beginning student.

57-111 Movement and Dance I: Fall: 3 units
The CMU School of Music movement curriculum is designed to expose students to various styles and genres of contemporary and traditional forms of dance and movement. Students will increase their technical proficiency and personal artistry in dance in order to expand their physical skills as vocal performance artists. Courses will: Improve students' posture and strength, Increase proficiency in dance vocabulary, Increase ability to recognize, interpret and execute choreography, movement and staging direction, Enhance kinesthetic awareness and physical confidence and Improve overall health. With a focus on creativity and expression in movement, these courses concentrate on using the body as a tool in the creative process. Throughout "Movement and Dance I - IV", courses will include movement fundamentals, modern dance, ballet, partnering, dance composition/improvisation; as well as mini-courses in dance forms which can include stage combat, Flamenco dance, pilates and ballroom dance.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-112 Movement and Dance II: Spring: 3 units
The CMU School of Music movement curriculum is designed to expose students to various styles and genres of contemporary and traditional forms of dance and movement. Students will increase their technical proficiency and personal artistry in dance in order to expand their physical skills as vocal performance artists. Courses will: Improve students' posture and strength, Increase proficiency in dance vocabulary, Increase ability to recognize, interpret and execute choreography, movement and staging direction, Enhance kinesthetic awareness and physical confidence and Improve overall health. With a focus on creativity and expression in movement, these courses concentrate on using the body as a tool in the creative process. Throughout "Movement and Dance I - IV", courses will include movement fundamentals, modern dance, ballet, partnering, dance composition/improvisation; as well as mini-courses in dance forms which can include stage combat, Flamenco dance, pilates and ballroom dance.
Prerequisite: 57-111

57-149 Basic Harmony I: Fall: 9 units
This course deals with common-practice harmony. It includes triads and their inversions, tonality and modality, non-harmonic tones, cadences, and the basic concepts of modulation. Section assignment is determined by a placement test. It includes work on fundamentals for inexperienced students.

Course Website: https://www.andrew.cmu.edu/user/johnito/music_theory/harmony1and2/HarmMain.html

57-150 Basic Harmony II: Spring: 9 units
This course deals with common-practice harmony. It includes triads and their inversions, tonality and modality, non-harmonic tones, cadences, and the basic concepts of modulation. It includes work on fundamentals for inexperienced students.
Prerequisite: 57-149
Course Website: https://www.andrew.cmu.edu/user/johnito/music_theory/harmony1and2/HarmMain.html

57-151 Counterpoint in Theory and Application: Fall: 6 units
In Counterpoint in Theory and Application, students begin by learning the traditional five species of counterpoint in a tonal context. They then build on this foundation, learning to analyze music in terms of the underlying counterpoint and to apply this analysis to performance, and producing original tonal compositions in two voices.
Prerequisites: 57-150 or 57-153
Course Website: https://www.andrew.cmu.edu/user/johnito/music_theory/CTP/CTPMain.html

57-152 Harmony I: Fall: 9 units
This course deals with common-practice harmony. It includes triads and their inversions, tonality and modality, non-harmonic tones, cadences, and the basic concepts of modulation. Section assignment is determined by a placement test.

Course Website: https://www.andrew.cmu.edu/user/johnito/music_theory/harmony1and2/HarmMain.html

57-153 Harmony II: Spring: 9 units
This course is a continuation of the study of common practice harmony, exploring dissonant and chromatic harmony.
Prerequisite: 57-152
Course Website: https://www.andrew.cmu.edu/user/johnito/music_theory/harmony1and2/HarmMain.html

57-161 Eurhythmics I: Fall: 3 units
Dalcroze Eurhythmics is a unique approach to music learning based on the recognition that meaningful rhythmic movement experience, associated with ear-training and improvisation, reinforces understanding of music concepts, enhances musicianship, and focuses awareness on the physical demands of artistic performance. All concepts are experienced in a musical context. Rhythm reading, notation, analysis, and improvisation are integral to the course. Eurhythmics I covers basic binary and ternary metric units and rhythm patterns in relation to these metric units within simple and compound meters.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-162 Eurhythmics II: Spring: 3 units
Eurhythmics II introduces combinations of binary and ternary metric units, mixed meters, changing meters, and notation and performance of cross-rhythms.
Prerequisite: 57-161

57-163 Eurhythmics III: Fall: 3 units
Eurhythmics is a unique approach to music learning developed by the Swiss composer and educator Emile Jaques-Dalcroze (1865-1950). Dalcroze discovered that meaningful rhythmic movement experiences away from their instrument allows students to focus awareness on the physical demands of artistic performance while demonstrating knowledge and understanding of the expressive/interpretive as well as the theoretical aspects of music. Sight reading, conducting, notation, analysis and improvisation are integral to the course. Eurhythmics III Course Content: Divisive vs Additive rhythm, Metric transformation, Irregular subdivisions of metric units, Cross rhythms of 3 against 4, 3 against 5, 4 against 5.
Prerequisite: 57-162
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-164 Eurhythmics IV: Spring: 3 units
Eurhythmics is a unique approach to music learning developed by the Swiss composer and educator Emile Jaques-Dalcroze (1865-1950). It is a process for awakening, developing and refining innate musicality through rhythmic movement, ear training and improvisation. Through rhythmic movement, students demonstrate knowledge and understanding of the expressive/interpretive as well as the metrical/structural aspects of music. Sight reading, conducting, notation, analysis and improvisation are integral to the course. Eurhythmics IV Course Content: More complex rhythmic problems encountered in composed music, Changing meters and changing metric units within a composition, Rhythm reading of patterns using small note values, Messiaen rhythm techniques.
Prerequisite: 57-163

57-171 Introduction to Music Technology (self-paced): Fall and Spring: 6 units
This course gives an overview of music technology through practical information and several hands-on projects. Concepts such as MIDI and digital audio are introduced and specific topics are covered in detail including sequencing, music notation, digital recording, mixing, and production. Throughout the course, students are required to complete several projects and create musical compositions in styles of their own choosing. The student is not graded on the "musicality" of these compositions, but instead on how well they meet the stated project goals by correctly using specific equipment and/or computer programs. This is a self-paced version of 57-101. Material will be covered during weekly class sessions, though students are expected to make time in the evenings or weekends to work on their projects in either the MTC (MM119A) or some other cluster. Students with prior experience may pass out of certain classes and projects by providing teacher with equivalent work (pending teacher approval). In addition to the required projects, there is a final exam which is administered during the last class session.

57-173 Survey of Western Music History: Fall and Summer: 9 units
This course surveys the development and contexts of European art music and its global adaptation. While keeping in view the chronology from Gregorian chant to the present, this survey emphasizes key personalities and issues, particularly issues relating to period style and interpretive decisions in performance.

Course Website: https://cmu.app.box.com/files/1/f/9350209729/1/f_33705395781

57-180 Basic Solfege I: Fall: 3 units
This course improves the student's ability to analyze music aurally and to sing at sight in traditional meters and tonalities using the "fixed do" system. Solfege is the integration of the three cognitive skills: reading music, hearing music, and writing what one hears. Section assignment is determined by a placement test. It includes work on fundamentals for inexperienced students.

57-181 Solfege I: Fall: 3 units
This course improves the student's ability to analyze music aurally and to sing at sight in traditional meters and tonalities using the "fixed do" system. Solfege is the integration of the three cognitive skills: reading music, hearing music, and writing what one hears. Section assignment is determined by a placement test.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-182 Solfege II: Spring: 3 units
Continues 57-181 Solfege I.
Prerequisites: 57-181 or 57-180

57-183 Solfege III: Fall: 3 units
Continues 57-182 Solfege II. Students are given assignments of classical music written in the treble, bass, soprano, alto, and tenor clefs. Writing consists of two-part contrapuntal dictations.
Prerequisite: 57-182
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-184 Solfege IV: Spring: 3 units
Continues 57-183 Solfege III. Students learn to read atonal music and practice three-part contrapuntal dictations as well as harmonic dictations.
Prerequisite: 57-183

57-185 Advanced Solfege I: Fall: 3 units
This course improves the student's ability to analyze music aurally and to sing at sight in traditional meters and tonalities using the "fixed do" system. Solfege is the integration of the three cognitive skills: reading music, hearing music, and writing what one hears. Section assignment is determined by a placement test. It includes advanced work for experienced students and those with perfect pitch.

Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285566497

57-186 Advanced Solfege II: Spring: 3 units
Continues 57-185 Advanced Solfege I.
Prerequisite: 57-185

57-188 Repertoire and Listening for Musicians: Fall and Summer: 1 unit
This course is the required listening component for Survey of Western Music History (57-173). In this course, students listen critically to essential music which has stood the test of time and to superior performances. It features 2-3 hours of listening per week.

57-189 Introduction to Repertoire and Listening for Musicians: Fall: 3 units
One of the most important ways of achieving musical excellence is to listen. In this course, students listen critically to essential music which has stood the test of time and to superior performances. This on-line course features listening and discussion in a virtual coffee shop atmosphere. 2-3 hours of listening per week. Midterm and final listening tests. Proficiency requirement for freshman music majors.

57-190 Repertoire and Listening for Musicians I: Spring: 3 units
One of the most important ways of achieving musical excellence is to listen. In this course, students listen critically to essential music which has stood the test of time and to superior performances. This on-line course features listening and discussion in a virtual coffee shop atmosphere. 2-3 hours of listening per week. This semester introduces full scores for chamber and orchestral music. Midterm and final listening tests. This course contains midterm and final listening tests. Proficiency requirement for freshman music majors. Other students admitted with instructor's permission.

57-191 Keyboard Studies: Fall and Spring: 3 units
All undergraduate music students are required to take four semesters of keyboard studies during their freshman and sophomore years. The emphasis of this course is to develop a practical keyboard facility, which includes keyboard theory and technique, sightreading, solo and ensemble repertoire, transposition, and a variety of creative activities such as harmonization and improvisation.

57-192 Keyboard Studies: Fall and Spring: 3 units
All undergraduate music students are required to take four semesters of keyboard studies during their freshman and sophomore years. The emphasis of this course is to develop a practical keyboard facility, which includes keyboard theory and technique, sightreading, solo and ensemble repertoire, transposition, and a variety of creative activities such as harmonization and improvisation.
Prerequisite: 57-191

57-193 Keyboard Studies: Fall: 3 units
All undergraduate music students are required to take four semesters of keyboard studies during their freshman and sophomore years. The emphasis of this course is to develop a practical keyboard facility, which includes keyboard theory and technique, sightreading, solo and ensemble repertoire, transposition, and a variety of creative activities such as harmonization and improvisation.
Prerequisite: 57-192
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-194 Keyboard Studies: Spring: 3 units
All undergraduate music students are required to take four semesters of keyboard studies during their freshman and sophomore years. The emphasis of this course is to develop a practical keyboard facility, which includes keyboard theory and technique, sightreading, solo and ensemble repertoire, transposition, and a variety of creative activities such as harmonization and improvisation.
Prerequisite: 57-193

57-196 Collaborative Piano Skills I: Fall: 3 units
A required course for first year piano majors. The skills include sightreading, basic keyboard harmony, transposition, and improvised accompaniments for popular or musical theater songs from either a piano reduction or a lead sheet. The students participate in collaborative situations such as juries, recitals, and class presentations. The presentations are critiqued by the instructor and by other students.

57-197 Collaborative Piano Skills II: Spring: 3 units
No course description provided.
Prerequisite: 57-196

57-207 Music Studio: Fall
Provides the opportunity for students to pursue study in a secondary instrument or area. By special permission only.

57-208 Music Studio: Spring
Provides the opportunity for students to pursue study in a secondary instrument or area. By special permission only.

57-209 The Beatles: Intermittent: 6 units
This course will focus on the phenomenon of the Beatles. Their songs will be studied, with analysis of the musical and lyrical content and structural elements. What musical styles do the songs address? What were their musical influences? In what ways did their music change over the years? Also, the music's social context will be studied. Why were the Beatles so popular and influential? What exactly caused Beatlemania? How did the group form, grow, and end? The Beatles are the most famous rock group in history; the reasons for this are as much cultural as musical, and we'll study the two elements simultaneously. Open to all undergraduate students.

Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285571361

57-211 Movement and Dance III: Fall: 3 units
The CMU School of Music movement curriculum is designed to expose students to various styles and genres of contemporary and traditional forms of dance and movement. Students will increase their technical proficiency and personal artistry in dance in order to expand their physical skills as vocal performance artists. Courses will: Improve students' posture and strength, Increase proficiency in dance vocabulary, Increase ability to recognize, interpret and execute choreography, movement and staging direction, Enhance kinesthetic awareness and physical confidence and Improve overall health. With a focus on creativity and expression in movement, these courses concentrate on using the body as a tool in the creative process. Throughout "Movement and Dance I - IV", courses will include movement fundamentals, modern dance, ballet, partnering, dance composition/improvisation; as well as mini-courses in dance forms which can include stage combat, Flamenco dance, pilates and ballroom dance.
Prerequisite: 57-112
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-212 Movement and Dance IV: Spring: 3 units
The CMU School of Music movement curriculum is designed to expose students to various styles and genres of contemporary and traditional forms of dance and movement. Students will increase their technical proficiency and personal artistry in dance in order to expand their physical skills as vocal performance artists. Courses will: Improve students' posture and strength, Increase proficiency in dance vocabulary, Increase ability to recognize, interpret and execute choreography, movement and staging direction, Enhance kinesthetic awareness and physical confidence and Improve overall health. With a focus on creativity and expression in movement, these courses concentrate on using the body as a tool in the creative process. Throughout "Movement and Dance I - IV", courses will include movement fundamentals, modern dance, ballet, partnering, dance composition/improvisation; as well as mini-courses in dance forms which can include stage combat, Flamenco dance, pilates and ballroom dance.
Prerequisite: 57-211

57-213 Let's Dance: Intermittent: 3 units
Whether you have studied dance, are a performer, dance enthusiast or just ready to move, "Let's Dance" is a new course open to the CMU community. Ready to step away from your computer and start your day with physicality, creativity, and new ways of moving? "Let's Dance" offers a joyful approach to a variety of dance styles. Integrating concepts of modern/contemporary, ballet, improvisation, jazz and more; this class is open to all abilities and levels of movers. "Let's Dance" will build strength, flexibility, coordination and creative thinking in a collaborative and approachable learning environment.

57-220 English Diction: Fall: 3 units
This one semester course helps singers sing English songs from the Classical and Musical Theater repertoire with clarity, accuracy, ease, uniformity, and expressiveness; to illuminate meaning; and to improve tonal quality through diction.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-221 Italian Diction: Fall: 3 units
A study of the fundamentals of Italian diction and development of legato vocal style through the analysis of grammatical usage, word construction, vowel colorization, and consonant articulation. Included are in-class performance evaluations, listening assignments, critiques, and private coachings.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-222 French Diction: Fall: 3 units
This course is designed primarily for singers specializing in French Art Songs of the 19th and 20th centuries. It deals with the use of the International Phonetic Alphabet, its application to singing in French, the use of the liason and the preparation of the text of a song or aria. One-third of the course is theory and two-thirds of the course is spent on application by performance with piano accompaniment.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-223 German Diction: Fall: 3 units
In-depth study of German diction - development of legato vocal style in German through the analysis of grammatical usage, word construction, vowel colorization and consonant articulation. Included are in-class German diction evaluations, peer assessment, and emphasis on competency in using the International Phonetic Alphabet.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-226 Jazz Improvisation and Performance: Fall and Spring: 3 units
This course provides students, both music and non-music majors, with the tools and techniques for jazz improvisation that enables them to progress toward an intermediate to advanced level. Analysis of harmonic and melodic materials, extensive listening and performance exercises will assist the student in his/her development as an improvisor. The course will culminate in a performance of small group/combo pieces on the Jazz Orchestra concert. Students need to audition by performing a jazz etude or standard of their choice and demonstrate any improvisational skills they might have. Please contact the jazz orchestra director at ms86@andrew.cmu.edu to set up an audition.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-227 Jazz Instrumental Ensemble: Fall and Spring: 3 units
This ensemble incorporates a comprehensive approach to Big Band performance and study. The music performed is drawn from all eras of big band repertoire with occasional programs of specific composers and genres. The ensemble is carefully coordinated with the Jazz Vocal Ensemble and major ensembles in order to challenge and prepare students for professional music career opportunities. The ensemble performs on the regular School of Music concert series (2-3 shows per semester) and for on-campus events. Admission of undergraduate and graduate students is by competitive audition and placement is by the director. Grading is based on attendance, preparation, and consistent progress.
Prerequisite: 57-227
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-230 Baroque Ensemble: Fall and Spring: 3 units
Carnegie Mellon Baroque is a performing ensemble of 15-25 players consisting of winds, strings and keyboard. Students in this ensemble explore the orchestral and chamber music of the 18th Century. The Ensemble performs on modern instruments, incorporating performance practice ideals of the Baroque era. Throughout the rehearsal process, students are encouraged to study original source materials and arrive at historically informed and musically satisfying performances.

57-232 Chamber Music: Guitar: Fall and Spring: 3 units
Provides an opportunity for students to play in small ensembles, advised by faculty coaches. The performers will develop effective rehearsal techniques, explore chamber music repertoire, deal with issues of intonation and balance, and arrive at interpretive conclusions that are stylistically sound, yet individualistic and creative.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-234 Performance for Composers: Fall: 3 units
This course is for composition majors who choose to fulfill the performance elective requirement in the junior year by completing an independent performance project in the fall semester. Examples of projects can include producing a recital of his/her compositions, or pursuing other performing interests, such as writing music for a School of Drama production. Registration by composition faculty permission only.

57-236 Performance for Composers: Spring: 3 units
This course is for composition majors who choose to fulfill the performance elective requirement in the junior year by completing an independent performance project in the spring semester. Examples of projects can include producing a recital of his/her compositions, or pursuing other performing interests, such as writing music for a School of Drama production. Registration by composition faculty permission only.
Prerequisite: 57-234

57-240 Acting I: Fall: 3 units
The basics of acting will be established throughout the first year following the guideposts described in Audition, by Michael Shurtleff and #237;s. Structured improvisations, monologues, scene work, songs, and arias will provide a platform for the development of stage presence and effective communication. Each semester will finish with a group project that provides an opportunity for the students to begin to work together as a cast.

Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285564193

57-241 Acting II: Spring: 3 units
Continues 57-240 Acting I.
Prerequisite: 57-240

57-257 Orchestration I: Fall: 6 units
This is an introductory course for all music majors and required for sophomore composition majors. The characteristics of each instrument of the orchestra are studied thoroughly. Orchestral textures from the classics to contemporary music are studied and analyzed.
Prerequisites: 57-150 or 57-153
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-258 20th-21st Century Techniques: Spring: 6 units
This course is open to all music majors and required for sophomore composition majors. The most important techniques from Debussy to the present will be reviewed in terms of melody, harmony, and form. Tonality, serialism, and aleatoric devices will be studied. Compositional techniques of the 20th Century are put into perspective and compared with other developments in the arts. The class is conducted as an open forum in which discussions are encouraged.
Prerequisite: 57-151

57-271 Orchestration II: Fall: 6 units
Students will analyze music from the Classical to Avant-Garde and use the knowledge acquired to orchestrate piano scores in the appropriate style. Style, practicality, color, and imagination are encouraged. This course is designed for junior composition majors. Other students may register with instructor permission after an interview.
Prerequisite: 57-257

57-273 Piano Pedagogy I: Fall: 6 units
This course offers an historical overview of piano pedagogy including its significant developments over the past forty years. Topics covered include beginning piano techniques, the sequencing of concepts and materials, common problems among beginning pianists, practicing, motivation, and parental involvement. Current representative beginning piano methods will be surveyed.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-274 Piano Pedagogy II: Spring: 6 units
Beyond the beginning years: this course covers piano pedagogy of intermediate and early advanced level students. Topics include "What is a good piece?" Standard literature and technical development repertoire lists will be studied. The business of piano teaching and the instruction of college keyboard skills for non-piano majors will be discussed.
Prerequisite: 57-273

57-275 Piano Pedagogy III: Fall: 6 units
Continuation of 57-274. Intermediate literature, analysis, teaching, and performance will be covered. Topics include "What is style?"
Prerequisite: 57-274
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-276 Piano Pedagogy IV: Spring: 6 units
Continuation of 57-275. Early advanced literature, analysis, teaching, and performance will be covered.
Prerequisite: 57-275

57-283 Music History I: Spring: 9 units
This class will be an in-depth analytical study of music of the Medieval, Renaissance, and Baroque Periods. It will emphasize selected genres and forms by representative composers in order to trace the evolution of musical style and to clarify the main characteristics of these periods, to set the musical developments in broader cultural contexts, and to apply this knowledge to practical decisions made by today's musician.

57-284 Music History II: Fall: 9 units
This class will be an in-depth analytical study of music of the Classical and Romantic periods. It will emphasize selected genres and forms by representative composers in order to trace the evolution of musical style, to clarify the main characteristics of these periods, to set the musical developments in broader cultural contexts, and to apply this knowledge to practical decisions made by today's musician.
Prerequisite: 57-283
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-285 Music History III: Spring: 9 units
This class will be an in-depth analytical study of music from the 20th and 21st centuries. It will emphasize selected genres and approaches by representative composers in order to trace the various threads of musical style, to clarify the main characteristics of the period's music, to set the musical developments in broader cultural contexts, and to apply this knowledge to the lives and musical practices of musicians today.
Prerequisites: 57-283 and 57-284

57-289 Repertoire and Listening for Musicians II: Fall: 3 units
This is a continuation of the School of Music's four-semester listening curriculum. Students listen critically to essential music which has stood the test of time and to superior performances. This semester's repertoire includes units focusing on contrapuntal masterpieces from the Middle Ages through 20th Century, and further builds score-reading experience. This on-line course features listening and discussion in a virtual coffee shop atmosphere. 2-3 hours of listening per week. Midterm and final listening tests. Proficiency requirement for sophomore music majors. Other students admitted with instructor's permission. Repertoire and Listening for Musicians I and II are not prerequisites.

57-290 Repertoire and Listening for Musicians III: Spring: 3 units
This is the culmination of the School of Music's four-semester listening curriculum. Students listen critically to essential music which has stood the test of time and to superior performances. Highlights of this semester's repertoire include units on Middle and Late Beethoven as well as a decade-by-decade survey of the 20th Century. This on-line course features listening and discussion in a virtual coffee shop atmosphere. 2-3 hours of listening per week. Midterm and final listening tests. Proficiency requirement for sophomore music majors. Other students admitted with instructor's permission. Repertoire and Listening for Musicians I-III are not prerequisites.

57-299 Bagpipe and Drum Band: Fall and Spring
TBD

57-300 Advanced Bagpipe and Drum Band: Fall and Spring: 6 units
The Pipe Band at Carnegie Mellon is a competitive Grade 3 band in the Eastern United States Pipe Band Association. The band competes at various Scottish festivals and Highland Games during the school year. The band also performs at university activities throughout the year. These include Convocation, Homecoming, Spring Carnival, and Commencement. Other engagements are Spring Concert at CMU and the St. Patrick's Day Parade in Pittsburgh. The band has also played as an opening act for the Pittsburgh Steelers and a Rod Stewart concert.
Prerequisite: 57-299

57-301 Bagpipe History: Intermittent: 3 units
This course covers all types of bagpipe music, including Ceol Mor and Ceol Beag, and studies the prominent composers from MacCrimmon to the present day. Students compose their own material in all time signatures commonly used. The course covers Piobaireachd, Marches, Strathspeys, Reels, Hornpipes, and Jigs, as well as harmony and the ability to write out tunes from repetitive listening.

57-303 Bagpipe Literature and Repertoire: Intermittent: 3 units
This course will cover the origins of the bagpipe and Piobaireachd, bagpipe music in competition, military, and dance. We will also cover major piping competitions, famous bagpipe players, and piping today.

57-304 Bagpipe Maintenance: Intermittent: 3 units
All aspects of bagpipe maintenance are covered in this course, from basic hemping and tying in bags to reeds set-up and manipulation. The course includes study of all types of reeds, cane and synthetic, as well as drone and chanter, and recognition of pipemakers' patterns and distinctive hallmarks.

57-305 Bagpipe Reedmaking: Intermittent: 3 units
This is a hands-on course where the student learns how to make pipe chanter reeds by the traditional method of gouging, shaping, and tying up. This course follows 57-304, Bagpipe Maintenance. Further analysis of chanter and drone reeds will be covered also.
Prerequisite: 57-304

57-306 World Music: Intermittent: 9 units
A study of major musical traditions from around the world, including classical music from Asia (broadly defined) and the Middle East, as well as traditional musics in Africa, Europe, and the Americas. This course will examine music in its socio-cultural context, and will demonstrate how learning about music from diverse cultures increases cross-cultural understanding. This course will engage with readings, listening examples, multi-media presentations, in-class discussions, music-making activities, and special guests (virtual and in person).

57-307 Bagpipe Theory: Intermittent: 3 units
This course prepares students for 57-302, Bagpipe Construction. All aspects of Bagpipe Theory are covered, including time signatures, grand staff, musical rudiments, musical terms and definitions, and writing of simple tunes from memory.

57-329 Beginning Piano for Minors: Fall: 3 units
This is a small group lesson for music performance, music composition, music technology, and music theory minors who cannot pass the required beginning piano test.

57-330 Beginning Piano for Minors: Spring: 3 units
This is a small group lesson for music performance, music composition, music technology, and music theory minors who cannot pass the required beginning piano test.

57-331 Principles of Education: Fall: 9 units
This course introduces students to the art and science of being an educator. Content includes views of the academic and social structure of the school, physiological and amp; social characteristics of learners that influence instruction, widely recognized research on learning and amp; teaching, and appropriate and amp; effective class preparation and teaching strategies.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-332 Introduction to Conducting: Fall: 6 units
This course develops the basic skills needed to conduct instrumental ensembles or a small orchestra. It is primarily focused on conducting technique, body language and body coordination and communication. It also deals with learning and translating an instrumental or orchestral score into actual music. The goal is to achieve a clear and communicative technique upon which an artistic interpretation can be built. The student works periodically with a pianist or a small chamber ensemble.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-333 Band and Choral Arranging: Spring: 6 units
The main purpose of the course is to enable students to compose arrangements suitable for public performance for a cappella choir, instrumental chamber groups, and concert band. By the end of the course, students should achieve a satisfactory level of competence in regard to: 1. Effective writing through knowledge of instrumental and vocal performance techniques. 2. Writing homophonic, polyphonic, homorhythmic and monophonic textures for effective ensemble sound and variation. 3. Identifying and creating effective orchestration for instrumental and vocal ensembles. 4. Identifying expected music knowledge, performance ability, and attitudes of middle and high school music ensemble students.
Prerequisites: 57-150 or 57-153

57-334 Fundamentals of Marching Band: Fall: 3 units
A marching band, due to its visibility and high degree of student involvement, is an integral part of secondary school music programs. The well-schooled music education graduate must have knowledge of this unique form of music performance. This course, designed primarily for those seeking a career in teaching, will accommodate students with no experience and others who have participated in marching band. Among the many areas of concentration will be: philosophy, show charting, marching fundamentals and commands, logistical awareness, and budget formulation. Observation of and active assistance with Carnegie Mellon Kiltie Band will be part of the course content.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-336 Instrumental/Choral Conducting: Spring: 6 units
This course is a continuation of Introduction to Conducting. The course offers a more detailed conducting technique, adding those subjects related to choral conducting. This is followed by the study and the analysis of interpretation from the point of view of the conductor and ends stressing a set of important practical items, including the psychological attitude and the leadership a conductor must develop as well as the organization and achievement of a fruitful rehearsal technique. The students work periodically with a pianist, a soloist or a chamber ensemble on traditional works and on their own compositions in the case of composition majors.
Prerequisite: 57-332

57-337 Sound Recording: Fall and Spring: 6 units
Sound Recording is the first (and required) course in the sequence that includes Sound Editing and amp; Mastering and Multitrack Recording. Sound Recording centers around the Vlahakis Recording Studio in the College of Fine Arts: how the studio works, and how to record various types of music. The method of instruction is to learn by doing, and the goal is to achieve professional-sounding results. Equipment includes a complete 24-track Pro-Tools system, professionally designed control room that can accommodate up to 24 people, outboard preamps and other gear, and an interesting array of microphones. All recording is direct to hard disc. Grading is based on recording projects, class attendance, mastering studio hardware and software, and several quizzes. Work outside of class requires about 3 to 5 hours a week to complete projects and take-home quizzes.

57-338 Sound Editing and Mastering: Fall and Spring: 6 units
The raw recording is just the first step in the process of creating a professional finished audio product. "Editing" is the art of piecing together different takes to make one final 'good take.' "Mastering" is the art of polishing the 'good take' to perfection and #8212;balancing all the instruments and tracks, adding special effects, setting final levels. If 'recording' seems like an high-energy activity and #8212;involving engineers, musicians, producers and #8212;'editing and mastering' are the necessary counterparts and #8212;long tedious hours of solitary confinement honing the skills of the mastering engineer. Those taking this course are expected to have significant music skills: actively playing a musical instrument (or composition), and/or the ability to read a piano score at the least, and a full orchestra score from any recent century, including our own, at the most. Class attendance is essential; work outside of class is necessary.
Prerequisites: 57-651 or 57-337 or 57-341 or 57-342

57-339 Acting III: Fall: 6 units
This course will build upon the foundation laid in the first year, with a more concentrated look at scene work, an audition workshop that focuses on cold readings as well as monologues, and a character-development project that works to identify specific issues that inhibit freedom on stage. More in-depth work on songs and arias will lead into a musical scene project. The semester will close with a classical text project in which the students will work with verse.
Prerequisite: 57-241
Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285564705

57-340 Acting IV: Spring: 6 units
Continues 57-339 Acting III.
Prerequisite: 57-339

57-343 Music, Technology, and Culture: Intermittent: 9 units
Music has been a part of our individual and communal lives for 40,000 years. We developed the technology to record and playback music for about 140-years ago. In this seminar we will study the relationship of music, technology and culture from a variety of disciplinary approaches including science and technology studies, musicology and ethnomusicology, neuroscience, sound studies, critical race and ethnicity studies, political economy, cultural studies and media archeology. The course will focus on the impact mediating technologies like vinyl, cassette tapes, mp3s, film and television, the development of music journalism and of course live human performance have had on our social, political and personal interactions with music. We have built the course around case studies that illustrate the intersection of music, technology and culture such as audio analgesia devices, movie soundtracks, streaming services, the rise of internet "listicles" and other crucial moments in twentieth and twenty-first century musical culture. Students in this course will develop critical projects that cross technological, humanistic, and musical boundaries. We hope that students come away from this class with better a host of critical tools to better think about what music means to us and how mediating technologies redefine these meanings.

57-344 Experimental Sound Synthesis: Intermittent: 9 units
This is a course that will guide students into the world of experimental approaches to music and sound production, with particular emphasis in some of the key practices and concepts developed in the 20th and 21st centuries. We will examine a variety of ways in which sound works are made and perceived; understanding the historical perspectives and critical viewpoints of each approach through the application of hands-on practicum. The topics covered in the course are divided into three large areas: the art of sound, the use of technology in the production of sound works, and the creation of interdisciplinary sound installation. Students from different disciplines will work together to collaborate on the designing, prototyping and execution of a series of ambitious projects in response to the topics covered in class.

57-347 Electronic and Computer Music: Fall and Spring: 6 units
This course builds on the concepts learned in Introduction to Music Technology (57-101) and gives added knowledge in the areas of composition using digital and analog devices as well as various computer programs. Building computer models of both analog and digital synthesizers as well as drum machines, loop players and various other sound processing effects will be covered in detail. Students will be required to produce several projects throughout the course demonstrating their understanding of various concepts in electronic music. More emphasis is placed on the overall quality of the end musical product than in 57-101 in order to prepare students for music production in a professional setting.
Prerequisites: 57-101 or 57-171
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-350 Strauss Wind Serenade: Fall and Spring: 3 units
TBA

57-355 Secondary Guided Teaching: Spring: 3 units
This course enables students to apply instructional strategies in local secondary school music classes. School visits provide opportunities to work with band, choral, and amp; orchestral ensembles and general music classes. Seminar discussions with the cooperating teachers familiarize students with both school-wide and classroom management issues that affect teaching, learning, motivation, and the administration of music programs.

57-356 Elementary Guided Teaching: Fall: 3 units
This is the second level of field experience in the public schools. This course provides for observation and closely supervised teaching experiences with elementary age children in a school setting.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-358 Introduction to Electronic Music: Intermittent: 9 units
This course will allow students to produce original works of electronic music composition in response to strategic listening assignments presented within their historical context. Students will learn critical listening and analytical skills, and be assessed on their electronic music production as well as on their ability to articulate context and structure. This course is for undergraduate music students. Other students may register for it with the permission of the instructor.

57-359 Audiovisual Composition: Intermittent: 9 units
TBA
Prerequisite: 57-358

57-360 Brass Methods: Fall: 3 units
This music education course develops basic brass playing and teaching techniques for beginning and intermediate instrument classes. The course includes training in beginning band program design, aural and amp; visual diagnosis of individual and ensemble playing problems, and methods of accelerating music reading independence in young players. The course requires two off-campus field teaching experiences in local schools. Each field teaching experience will require about 3 hours to complete and #8212; students should allow enough time in their schedules to complete this requirement.

Course Website: https://cmu.app.box.com/files/1/f/11681158556/1/f_106285571873

57-361 Percussion Methods: Fall: 3 units
This class gives the non-percussion major a background in the fundamentals of teaching percussion. The main focus of the course is snare drum. The students spend most of their time learning the basic concepts of beginning snare drum so they will be prepared to teach beginning students of any grade level. Much time is devoted to proper stance, grip, and stroke in order to insure a good foundation for a beginning student. Also covered are the various mallet instruments, timpani, and all small hand percussion. Students will learn about purchasing proper equipment for the various levels of learning in common school programs.

57-362 Woodwind Methods: Spring: 3 units
This music education course develops basic woodwind playing and teaching techniques for beginning and intermediate instrument classes. The course includes training in beginning band program design, aural and amp; visual diagnosis of individual and ensemble playing problems, and methods of accelerating music reading independence in young players. The course requires two off-campus field teaching experiences in local schools. Each field teaching experience will require about 3 hours to complete and #8212; students should allow enough time in their schedules to complete this requirement.

57-363 String Methods: Spring: 3 units
String Methods prepares music educators for work in the public schools. A major portion of class time will be applied to violin and cello techniques. Upon completion of the course, the student will be expected to demonstrate the technical skills of a second year beginning string student. Students will also be introduced to various method books, string supplies, and repairs.

57-364 Conducting Practicum: Fall and Spring: 3 units
This course provides applied conducting experience for the conducting minor.

57-370 Stage Direction: Spring: 3 units
This course provides an internship working with a middle or high school music theater production. Students may participate in coaching, direction, and choreography. In addition, they keep a journal of their experience and submit a final paper describing what they have learned from working with the teachers or professional directors who were responsible for the production. It is suggested that this course be taken during the spring semester when most music theater productions are scheduled.

57-374 Music in the Urban School: Spring: 9 units
This course will involve workshops with nationally known instructors in eurhythmics, world drumming, contemporary popular music, and classroom management. The course will require attendance at workshops, classroom observations and closely supervised teaching experiences, including up to 12 hours of practicum visitation to be fulfilled scheduled by the Instructor. This course fulfills the Community Engagement requirement in the Master's of Music degree program. Schools involved are all inner city schools with a poverty level of 75% or above. This course is offered as the result of a grant received from the Federal Department of Education by the School of Music, the Pittsburgh Public Schools, and the Wilkinsburg School District.

57-375 Music in the Elementary School: Fall: 6 units
This course is designed to provide a philosophical background for teaching music in the elementary school and to provide a variety of pedagogical techniques, which are essential when teaching music from Preschool through Grade 6.
Prerequisite: 57-331 Min. grade C

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-376 Music in the Secondary School: Spring: 6 units
This course covers a variety of topics related to the development and the management music programs in secondary schools. Emphasis is placed on the leadership, classroom management, general music and amp; performance course content, and routine administrative planning.
Prerequisite: 57-375 Min. grade C

57-377 Psychology of Music: Intermittent: 9 units
Music cognition is an interdisciplinary approach to understanding the mental processes that support musical behaviors, including perception, comprehension, memory, attention, and performance. Like language, music is a uniquely human capacity that arguably played a central role in the origins of human cognition. This course is a survey of current approaches to and theories about the perception and cognition of music. Topics covered include psychoacoustics; the cognitive neuroscience of music; relationships between music and language; the nature of musical knowledge; and debates about aesthetics, evolutionary psychology, and musical universals. At the end of this course a student should be able to identify key theories and hypotheses in music cognition as they relate to memory, emotion, physiology, neurology, acoustics, language, and evolution. They will be able to comparatively evaluate hypotheses and place them in an intellectual context. These objectives will be achieved though critical reading, discussions, and written exercises. There are no prerequisites for this course. It will be helpful for you to know some basic elements of music theory (such as the names for chords, Roman numerals, and so on), but some extra help will be available to cover these topics. Some notational basics will be covered in the first lecture.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-378 Introduction to Music Cognition Research: Intermittent: 9 units
This course explores the roles of cognitive processes in the experience of music with a focus on carrying out a collaborative laboratory project in order to understand first-hand the challenges of the experimental study of music. In readings, lectures, discussions, and demonstrations we will become acquainted with the relevant psychological theories of perception, memory and learning, and review and critically analyze selected experimental findings on the psychology of music. We will examine the use of psychological principles (e.g. Gestalt laws of perception, limitations on working memory, categorical perception, chunking, schemas, modularity) to explain musical phenomena. The emphasis will be on applying an experimental approach to music perception and cognition, but we will also consider ongoing debates about larger issues (such as musics adaptive value to the human species, and the determinants of musical taste). Prerequisite: either Harmony 1 or Intro to Cognitive Psychology.
Prerequisites: 57-149 or 57-152

57-381 Collaborative Piano I: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-382 Collaborative Piano II: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.
Prerequisite: 57-381
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-383 Collaborative Piano III: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.
Prerequisite: 57-382
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-384 Collaborative Piano IV: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.
Prerequisite: 57-383
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-385 Collaborative Piano V: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.
Prerequisite: 57-384
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-386 Collaborative Piano VI: Fall and Spring
These are a series of courses which allow the student the opportunity to accumulate experience in a professional setting with students and faculty. The pianist will be assigned to a voice studio(s) and play for students and their professional mentors, supervised by a Collaborative Piano faculty member. Assignments may include playing voice juries. This course is open to Music Majors and Non-Music Majors, based upon a mandatory audition prior to approval.
Prerequisite: 57-385
Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-391 Keyboard Studies (Music Ed): Fall and Spring: 3 units
This course develops piano skills necessary for work in the elementary and secondary schools. Special emphasis is placed on transposition, score reading, harmonization and sight-reading. This course is required for all music education majors.
Prerequisite: 57-191

57-392 Keyboard Studies (Music Ed): Fall and Spring: 3 units
Continues 57-391 Keyboard Studies V. This course is required for all music education majors.
Prerequisite: 57-391

57-399 Music-Cinema-Culture: Intermittent: 9 units
The first 100 years of the 20th Century's only original art form, whose advent has brought about tremendous social and cultural changes. Students view selected films, learning first the basics of film theory, cinema's working structures and the function of music. Ultimately, they are able to analyze, in the form of a written essay, the function and value of the music in a particular film and the impact such music has had on society.

57-403 Yoga for Musicians: Fall and Spring: 3 units
TBA

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-404 String Quartet: A Social History: Intermittent: 9 units
The string quartet is at once a medium and a genre, even a form which for more than two hundred years has had a special, unparalleled place in Western music. This course examines the development of the string quartet - from its function as an intimate and conversational social setting for amateurs, to its role as a secret repository of composers' most daring thoughts. The string quartet repertoire under discussion spans the first attempts at string quartet writing in the 17th Century, to serialism and microtonal disintegration in the 1960's, to contemporary Pop-Rock fusion experiments. This course also deals with the social and personal histories of four individuals who freed themselves from hegemonic orchestral rules in favor of an instrumental democratic microcosm.

57-405 Concerto: Virtuosity and Contrast: Intermittent: 9 units
The Concerto, one of the most popular forms of music, is also a dramatic form, a drama of contrast between the strength of one body of sound and another (volume), between one type of sound and another (tonal distinction), between the individual and the masses, and finally, between the "Solo" virtuoso and the less gifted "Tutti" players. The goal of this course is to examine the greatest concerti written for all instruments; from Vivaldi's "Concerto for Two Mandolins" to John Adams's "Grand Pianola Music," and much more, while dealing with the social and personal histories of unforgettable virtuosi and the concerti that became their "Battle Horses." The program analyzes great concerti performed by the world's greatest soloists and orchestras.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-408 Form and Analysis: Spring: 6 units
This course provides a working understanding of all styles and genres of Western classical and contemporary repertoire. Students will explore various aspects of the compositional process, from basic organizational structures to the details of individual musical phrases. They will learn to see and to hear the most important compositional features of a piece of music and will develop a deeper understanding of the music they perform, conduct, and compose.
Prerequisites: 57-150 or 57-153

57-409 Puccini's Operas: Intermittent: 9 units
Standing between the 19th and 20th Centuries, Puccini witnessed extraordinary socio-political and cultural shifts sweeping across Europe. His operas reflect such changes through their gradual stylistic adherence to modernity. From theatrical and literary plots to complex relationships with poets, publishers, impresarios, singers, conductors, and political censors, Puccini's operas offer excellent grounds for interdisciplinary dialogue and cultural analysis.

57-411 Musical Theatre on Stage and Screen: Intermittent: 9 units
Defining what musical theater "is" is no easy task. The genre/form/phenomenon as we know it today represents an evolution of embodied practices and interdisciplinary creativity spanning cultures, geographies, traditions, media, and time. Similarly, the history of musical theateror, more appropriately, the histories of musical theatershould not be reduced to simple narratives or linear chronologies. Following this idea, this course offers a topical exploration of musicals on stage and screen, focusing on historical developments, production practices, and artistic agency from the mid-nineteenth century to the present. We will not offer a conventional "survey" of musicals starting from an arbitrary point "way back when" and ending with the state of things in 2022. Like the "concept musicals" of the mid-twentieth century, a non-linear structure allows us to consider broader connections across our subject(s). In addition to repertoire case studies, we will explore the historiography of musical theater; the process of developing musicals from page to stage; the function and labor of performers, administrators, stage directors, stage designers, and technical personnel in making musicals happen; musicals in various media; musicals in the time of the coronavirus pandemic; and concerns of social justice in reviving established works and producing new works. Assignments will include short analysis presentations and written responses. There is no performance component with this course.

57-412 The Operas of Richard Strauss: Intermittent: 9 units
Across a lifetime that spanned the nineteenth and twentieth centuries, Richard Strauss blazed a trail as a composer for the dramatic stage that was aesthetically eclectic, commercially successful, and critically divisive. His operas were "modernist" creations that presented musical, thematic, dramaturgical, and production challenges to the artists and audiences of his time. They still test the ingenuity of those who approach them today worldwide. This course offers students a survey of all fifteen of Strauss's completed operas as both musical and theatrical texts, working through at least one example per week. The emphasis on the composer's entire oeuvre corrects the familiar neglect of the middle and late works and views them all through a range of aesthetic and critical lenses. Though the primary emphasis of the course is musicological in nature and not musical theory, we will still examine Strauss's evolving stylistic approaches to form, harmony, orchestration, and vocal writing. Listening to complete recordings and viewing streaming productions will be important requirements. Assignments will include response papers, two short presentations presented in small groups, a take-home midterm exam, and a final exam.

57-417 Major Vocal Performance Ensemble: Fall and Spring: 6 units
There are two choral ensembles. Concert Choir is a select ensemble of approximately 40 voices of superior vocal/musical talent and experience in the choral idiom. Performance requirements are more stringent than those of the Repertory Chorus. Repertory Chorus is an ensemble of undetermined size. Emphasis is placed on vocal technique and development, musical skills in the rehearsal with minimum performance requirements. Audition required.

57-418 Major Instrumental Ensemble: Fall and Spring: 6 units
There are two instrumental ensembles: Orchestra and Wind Ensemble. Rotating seating plans, within and between ensembles, will prevail at the discretion of the Director of Orchestral Studies and the Director of the Wind Ensemble. The instrumental faculty will be consulted. All music majors who are required to enroll in an instrumental ensemble must audition for placement and enroll in Major Instrumental Ensemble. Audition required.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-420 JIVE - CMU Jazz Choir: Fall and Spring: 3 units
A highly selective group of mixed voices who perform contemporary jazz and pop vocal arrangements. Open to all CMU students. Previous registration or a successful audition for Jazz Vocal Ensemble will meet the prerequisite requirement. Contact the director, Betsy Lawrence and lt;blawrenc@andrew.cmu.edu and gt;, to schedule an audition.
Prerequisite: 57-420

57-421 Exploded Ensemble: Fall and Spring: 6 units
Exploded Ensemble is a group dedicated to the performance of music that pushes the boundaries of traditional performance and composition. The ensemble has a strong emphasis on electro-acoustic performance technique, experimental approaches to staging and amplification, and visuals (live video, computer controlled lighting, wearable technology, etc.). The group will perform works by new/experimental/electro-acoustic composers and will create new arrangements of works for which scores may not currently exist - for example, music by rock bands, electronic musicians, and sound artists. The overall goal of the ensemble is to explode the idea of traditional concert music performance. In so doing we shall advance student skills in music performance, music appreciation, and to advance the very important conversation on the future of concert music. Students interested in this course who have not had the prerequisite should contact the instructors.

Course Website: https://courses.ideate.cmu.edu/57-421

57-423 Repertoire Orchestra: Fall and Spring: 3 units
This course thoroughly acquaints participants with the standard works one would expect to encounter as part of a career as an orchestral player. Assigned repertoire will be read each class session. All students are eligible to register for this course by special permission. Students who are not placed in the Carnegie Mellon Philharmonic are given priority for registration.

57-424 Percussion Ensemble: Fall and Spring: 3 units
This ensemble is open to all percussion majors.

57-427 Advanced Seminar in Film Musicology: Intermittent: 9 units
This course has been designed primarily for advanced students wishing to apply to film scores analytical methodologies pertaining to historical musicology, cultural studies, and genetic criticism. The films screened and the music analyzed in this course follow at first the historical development of cinema. Then, the syllabus focuses on the film music of Ennio Morricone in honor of his 90th birthday and on final presentations of film soundtracks selected by the students. Prerequisites include some knowledge of music history, theory, practice, or the instructor's permission.

57-429 Beginning Piano for Children I: Fall and Spring: 6 units
This course is the first of two courses in a year-long internship in the piano teaching of young children, combining class and private instruction: a study of the basic teaching/learning process as applied to piano teaching, covering comprehensive step-by-step presentation in reading, rhythm, ear training, sight reading, technique, and musicianship. Under supervision, students will teach the weekly group class and private lessons. Weekly conferences will be held for learning the presentation of materials for class teaching, analyzing pedagogical problems, and developing communication skills with both young pupils and their parents.
Prerequisite: 57-273

57-433 Musical Theatre Literature and Repertoire: Intermittent: 3 units
If you enjoyed participating in your high school musicals, this class is for you! Learn and perform songs from the musical theater repertoire, beginning with operetta to present day contemporary pieces. PDFs and practice tracks will be provided. Class performances will be live with a pianist.

57-434 Musical Theatre Literature and Repertoire: Intermittent: 3 units
Continues 57-433 Musical Theatre Literature and Repertoire.
Prerequisite: 57-433

57-436 English/Contemporary Literature and Repertoire: Intermittent: 3 units
The course provides a bibliography of repertoire in the English language. Material will be limited to art songs and will be presented via individual student or group performances in class, and recorded performances. Research assignments will be required for selected anthologies or for works by specific composers. Repertoire will be examined according to vocal requirements, musical style, and programmatic function. The repertoire will consist primarily of works by British and American composers, but works by Russian and Spanish composers will also be included.

57-437 Literature and Repertoire: Fall and Spring
This course deals with literature and repertoire for instruments. There are multiple sections organized by instrument categories or specific instruments. Section D - Woodwind Literature and Repertoire, open to undergraduate and graduate woodwind students, focus on standard orchestral repertoire. Each session covers at least one symphony, overture, tone poem, or concerto accompaniment. Special consideration is given to orchestra audition material generally required for flute, oboe, clarinet, and bassoon. Students are encouraged to request repertoire they wish to cover. Non woodwind students and non-registered students may request to participate if there is particular interest in a class or classes. Following are examples of repertoire from 2023-2024 classes: Brahms - Symphonies 2 and amp; 3; Academic Festival Overture Berlioz - Roman Carnival Overture Strauss - Don Juan Rimsky-Korsakov - Scheherezade Mozart - Marriage of Figaro Overture Tchaikovsky - Romeo and Juliet Overture Fantasy Rossini - La Gazza Ladra and amp; Barber of Seville Overtures Stravinsky - Firebird Suite Ravel - Daphnis and Chloe Suite No. 2

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-438 Multitrack Recording: Fall and Spring: 9 units
This course builds upon the ideas learned in Sound Recording (57-337), but with an emphasis on close microphone techniques and popular music styles. Students will work in small groups and complete at least two recording projects. $10.00 materials fee.
Prerequisites: 57-341 or 57-342 or 57-651 or 57-337

57-441 Analysis of 19th Century Music: Intermittent: 9 units
This course will provide students with a variety of tools for the analysis of music from Schubert to Mahler and early Schoenberg. The primary emphases will be on small-scale (chord-to-chord) harmonic organization, on the larger-scale organization of tonal centers, and on form, but other issues will also be explored (e.g. rhythm and meter, text/music relations). The course will sample a wide range of repertoires, including solo piano music, orchestral music, and opera, and it will have a special emphasis on chamber music including the German Lied.

57-442 Analytical Techniques: Fall: 9 units
What is music analysis and why is it important? How do we talk about our experiences with music? If I can analyze music, will it help get a job? An analytical technique is a way to perceive or embody music with someone else: to find resonance or even difference without presenting one's perception as objective and universal. We use analytical technics all the time in explicit ways and implicit ways when we make and listen to music. In this course, we will study western analytical techniques in their application to western classical, jazz, popular, and non-western musics. When appropriate, we will discuss non-western techniques, but they will not be a focus. We will learn traditional analytic methodologies and explore philosophical and cultural relationships between value, culture, identity, and analysis. There will be weekly readings, listening, and analysis assignments. In the first seven weeks we will focus on the analysis of western classical tonal music. In the second half of the semester we will focus on transcription and improvisation in diverse musical contexts. Students will complete a project in each of these three areas. This course utilizes in-class discussion and performance by all participants. The goal of this course is to improve your ability to conceptualize and perform new music and to enhance your engagement with your current repertoire.
Prerequisite: 57-408
Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285568801

57-444 Principles of Counterpoint: Intermittent: 9 units
This course explores the development of Western music composed with multiple independent parts. The first half of the course traces the history of part-writing from medieval organum to the twenty-first century. Emphasis is given to study of pre-Baroque and twentieth-century music, and to the conceptual shifts that occurred moving in and out of the common-practice period. The second half of the course examines, across multiple musical styles, specific contrapuntal techniques such as imitation and ground bass forms. Assignments include both writing exercises and analysis, culminating in a term project on a topic selected by the student.
Prerequisites: 57-152 or 57-149

57-445 Counterpoint in 18th Century Composition: Intermittent: 6 units
In this course the student will study how to write two-part counterpoint within the harmonic framework of 18th-century instrumental music. The focus of study will be J.S. Bach's inventions, and writing will be directed towards composing several complete inventions in that style. Prerequisites: Harmony I and Harmony II or permission of the instructor. This course is designed for composers, theory minors, Bach lovers, keyboard majors, and anyone who wants to seriously sharpen their tonal writing skills.
Prerequisite: 57-408

57-446 Renaissance Counterpoint: Intermittent: 6 units
In this course the student will study how to write vocal counterpoint using the classic "species" approach, based on the style of Renaissance masters Palestrina, Lassus, and Victoria. The latter part of the course will extend the study to instrumental music of the 16th century, and explore the development of chromaticism in avant-garde composers of the time. Reading about and listening to Renaissance music and composers will be included as background context for the theory work. Daily writing exercises in the first part of the course will lead to a term project producing a performable piece of music by the end of the semester. This course is designed for composers (both for writing technique and college teaching preparation), theory minors, early music lovers, choral singers and conductors, church musicians, and anyone who wants to sharpen their writing skills. Prerequisite: Harmony I or permission of the instructor (demonstrated competence in reading treble and bass clef, and intervals).
Prerequisite: 57-408

57-447 Harp Pedagogy: Fall and Spring: 3 units
TBA

57-448 Brass Pedagogy: Fall: 3 units
In this course we introduce the "Art of Teaching". In this case, to teach, develop and encourage young brass players just starting an instrument or who are in their early stages of development. Concepts of basic brass pedagogy will involve the following topics: Music as Metaphor; Teaching young students; Listening; Developing a Concept of Sound; Posture; Breathing; Embouchure; Articulation: Single Tonguing, Multiple Tonguing; Mouthpiece playing; The Warm-up; Slurring; Intonation; The Upper Register; Endurance; Vibrato; Dental Braces; Orchestral Playing; Performance Preparation; Taking Auditions Brass students will leave CMU with a basic understanding of the pedagogical needs and requirements of beginning and inexperienced students, so that they may begin private teaching studio upon graduation.

57-449 Beginning Piano for Children II: Fall and Spring: 6 units
This course is the second of two courses in a year-long internship in the piano teaching of young children, combining class and private instruction: a study of the basic teaching/learning process as applied to piano teaching, covering comprehensive step-by-step presentation in reading, rhythm, ear training, sight reading, technique, and musicianship. Under supervision, students will teach the weekly group class and private lessons. Weekly conferences will be held for learning the presentation of materials for class teaching, analyzing pedagogical problems, and developing communication skills with both young pupils and their parents.
Prerequisite: 57-429

57-450 Audience Development: Intermittent: 6 units
TBA

57-451 The Citizen Artist: Intermittent: 6 units
This course celebrates the intersection of artistry and citizenship by engaging in conversation around social justice and exploring ways in which music can uplift our Pittsburgh community. We will collaborate with Autism Pittsburgh and the Lullaby Project to create artful musical experiences that engage families with autism and foster connection between parents and babies. Musicians, artists, and social advocates across campus are invited to participate.

57-452 Collaborative Project in Music Entrepreneurship: innovation in music & wellness: Intermittent: 6 units
The project for Fall 2024 is to develop a new performance modality at the intersection of music and wellness for CMU's new Highmark Wellness Center. Students will explore the effects of music on mental health in order to create musical experiences that appeal to new audiences and enhance well-being in the community. Students with skills in project management, social media, business, music technology, lighting design, and experience design are encouraged to join. Music performance is not required. A high level of personal initiative and professionalism is expected. Deliverables are: beta-version of innovative music and amp; wellness experience, documentation of the process, budget, and panel presentation to faculty.

57-454 The Freelance Musician: Intermittent: 6 units
This course will put you in touch with innovative artists, managers, web designers, career consultants, and other professionals who want to help you succeed. There is nothing theoretical about this course: you'll perform "real gigs for real clients" who will offer feedback on your professionalism. You'll build a website with expert support and gain clarity on how music fits into your higher purpose. The objective of this course is to make you "roadworthy" as a professional musician, equipping you with the tools, skills, and mindset that would make people want to work with you again and again. You can think of it in three stages: "building the car" (professional portfolio), "tuning the engine" (communication); and "mapping the route" (strategy) to put you on the road to success. No prior knowledge or experience is required to take this course. You have already spent thousands of hours practicing to become a fine musician. Turning your artistry into a livelihood requires an entirely different skillset, which can be jumpstarted (in only about 50 hours) so let's get going!

57-455 Shaping Time in Performance: Intermittent: 9 units
This course will look at basic questions that performers face: Which level of pulse do I want to feel as the main one? How can I shape a pulse expressively? Which measure in a phrase is felt as a main goal, especially when the phrase contains an unusual number of measures? How can multiple tempi be meaningfully related? Among many important formal arrival points, which are the most important? In addition to these questions, we will also look at recent work on ways in which 18th-century musicians may have understood meter very differently from most musicians today. These alternate perspectives open new possibilities for hearing and shaping the flow of musical time in baroque and classical music. These issues will be pursued from two directions. We will develop simple theoretical tools that can make score analysis a helpful input to the decisions that performers make about such questions. We will also examine audio and video recordings by famous artists to see both how they dealt with these issues and what new questions are raised. Week-to-week work will include reading, listening, and score analysis. Students will write term papers that either use one of the main perspectives developed in class (starting from scores or starting from recordings) or else combine the two. They will also give presentations about their projects to the class.

57-456 Marketing for Musicians: Intermittent: 6 units
What is your message? Who is your audience? How do you reach them? These are among the topics we'll explore in this course. Group projects and case studies help us identify the key aspects of one of the most important aspects of any music career. Being a great musician won't do you any good if no one knows you exist! By the end of the semester, students should be able to understand such concepts as branding, marketing, reach and advertising; identify audience segments and target messages to those segments; create compelling marketing materials, including bios, group and program descriptions, websites and flyers; work with teams to try out a variety of marketing strategies in real-world circumstances; learn to capitalize on social media and use it to effectively build and communicate to an audience; learn to write effective and powerful marketing copy (bios, sales pieces, etc.); examine competitors and market leaders to look for opportunities and best practices.

57-457 Mental training for peak performance: Intermittent: 6 units
Perform in Kresge Theatre regularly and gain tools for overcoming performance anxiety to own the stage and play your best. Everyone gets nervous, but it doesn't need to be debilitating. Learn how to calm your mind and turn nervous energy into mental focus. Guest faculty, PSO musicians, and visiting artists share their challenges and offer strategies for audition preparation, effective practicing, self-care, conflict resolution, and other mind-body topics.

57-458 Business of Music: Intermittent: 6 units
This class will teach you the fundamentals of how to survive in the music industry. A diverse set of speakers, hands-on projects tailored to your interests and needs and group activities will introduce you to the challenges you'll face during your career. How to manage your money, what you need to know about copyright, whom do you need on your side? We'll cover all of these and more!

Course Website: https://cmu.app.box.com/files/1/f/11681158556/1/f_106285572641

57-459 Score Reading for Composition Majors and Conducting Minors: Spring: 6 units
This course is a practical, hands-on learning experience. Students learn by doing and observing other students. All work is done at the keyboard. It is for graduate collaborative piano majors, junior and senior composition majors, and junior and senior conducting minors with good keyboard skills who have completed Keyboard Studies or have otherwise satisfied the requirement. Other music majors with good keyboard skills who have completed Keyboard Studies or have otherwise satisfied the requirement can take this course with instructor permission.
Prerequisites: 57-194 or 57-192 or 57-191 or 57-193

57-461 Aural Analysis and Basic Improvisation: Intermittent: 9 units
Where are we now? Musicians often face analytical questions in performing situations. What scale degree is the trumpet playing? What chord are we playing now? What countermelody are the altos singing? What is the form, and where are we in it? The purpose of this course is to enhance students' abilities to answer these kinds of questions in real-time, real-world performance situations, apart from the score. The primary skills developed in the course will be hearing melodic scale degrees, hearing harmonies, memorizing short melodic fragments, identifying short harmonic idioms by ear, hearing two-voice contrapuntal music, and improvising over repeated chord progressions. A variety of conventional and unconventional games and exercises will be employed, involving notating, singing, and using the students' main instruments. We will also put these skills to use in doing larger-scale analysis by ear of longer passages, focusing especially on form, including entire movements. Improvisation comes into the course because perception and production are deeply intertwined; fun improvisation exercises, mostly using the idioms of popular music, will strengthen aural abilities much more than passive identification and dictation exercises could alone.
Prerequisite: 57-408

57-463 Consumer Driven Composition for Contemporary Media: Intermittent: 3 units
This course aims to augment each student's compositional skill set with technological skills and industry-specific knowledge that will provide them the flexibility and confidence to interface with consumers and more readily monetize their music. This course is intended to be part lecture to allow for quick and concise transfer of information, and part seminar to allow all class participants the ability to learn from each other as they pitch ideas, receive feedback, and evaluate the success of their peers' work. The course is for Sophomore, Junior, Senior, and Graduate Composition Majors. For undergraduate students, the only required prerequisite is 57-101 Introduction to Music Technology.

57-464 Music & Money: Intermittent: 6 units
This course is intended to develop in the student a broad knowledge of the music business, an entrepreneurial mindset applicable to it, and to encourage curiosity about future possibilities in the field. Students will examine the musical groups, ensembles, and institutions from the standpoint of economic, business and marketplace realities. Musical entities will be considered and studied not for their inherent artistic merit but as commodities affected by the same forces as any other consumable. Students will acquire a basic understanding of the forces - economic, financial, psychological, societal - that affect entities in the music field. They will also be called upon to think creatively and entrepreneurially about possible directions for existing musical entities. Students will become familiar with current methods of musical content creation, delivery platforms, advertising and marketing avenues, and revenue streams. Students will consider the history, economic structure, opportunities, and the challenges faced by each. Students will encounter and react to case studies taken from the music field about individuals and groups and the decision-making mechanisms at work in each, and the outcomes of the decisions taken by these individuals and groups.

57-465 Eurhythmics Applications for Performing and Teaching: Fall: 6 units
Rhythm is about time and timing. Dalcroze Eurhythmics is an exploration of the rhythm inside us. Experiencing rhythm through music and movement brings awareness and understanding of our own inner rhythm as well as rhythm in all the arts and beyond. For musicians, meaningingful rhythmic movement reinforces understanding of music concepts while focusing awareness on the physical demands of artistic performance. This approach to musical problem solving is applicable also to studio and classroom teaching.
Prerequisite: 57-164

57-467 Production: Crew: Fall: 3 units
Technical crew learning backstage operations for the fully staged productions presented by the Production: Performance class. Class participants serve as install, strike and run crew for the production.

Course Website: https://canvas.cmu.edu/courses/36963

57-468 Production: Crew: Spring: 3 units
Technical crew learning backstage operations for the fully staged productions presented by the 57-471 Production: Performance class. Class participants serve as install, strike and run crew for the production.

Course Website: https://canvas.cmu.edu/courses/36963

57-471 Production: Performance: Fall: 6 units
Preparation of an operatic or musical theatre production with a fully staged public performance of the production at the end of the class.
Prerequisites: 57-212 and 57-340

57-472 Production: Performance: Spring: 6 units
Preparation of an operatic or musical theatre production with a fully staged public performance of the production at the end of the class.
Prerequisites: 57-212 and 57-340

57-473 Production: Performance: Fall and Spring: 3 units
TBA

57-476 How Music Works: An Affective History: Intermittent: 6 units
This is an historical survey of (a) aesthetic theories about music and human agency and #8212;music's affects and effects, thus its significance and even its very existence and #8212;and of (b) actual utilizations of music. Theories range from Aristotle's catharsis to trauma theory and neuromusicology in our time. The applications range from the biblical David's therapeutic harp playing in the court of King Saul (11th C. BCE) to U.S. interrogators in Iraq (21st C. CE); from Vodun and exorcisms in other cultures to MUZAK in our own. In short, it's a chronological survey of what peoples have believed about music's powers and, consequently, how music has been used and abused. The dialectic between theory and applications is reflected in the assignments. This seminar is heavily focused on reading, as well as written and verbal discussion. There is also a long-term field project.

57-477 Music of the Spirit: Intermittent: 6 units
This guided listening course is a musical exploration of spirituality, a musicological and ethnomusicological survey organized around comparative religions. While the majority of repertoire will be from the Western Classical tradition, musics of a variety of cultures will be included. The music will be organized by particular religious traditions and by universal themes, such as community, death/afterlife, birth/new birth, martyrs/heroes, transcendence /immanence, meditation/contemplation/trance, etc. Most course materials, including streaming audio, are online, with one meeting per week in the classroom. Will include participatory introductions to numerous forms of chant. Requires oral and written reports.

57-478 Survey of Historical Recording: Intermittent: 6 units
The histories of music and technology have long been intertwined. Their symbiosis intensified with the harnessing of electricity in the third wave of the Industrial Revolution. This course will expose you to many of the best practitioners of music. But it will do so with an eye and #8212;an ear and #8212;towards the media by which we have known them. In short ... The music. The personalities. The media. This seminar is heavy on listening (guided playlists online via Canvas). Writing includes reviews and a researched feature article.

57-480 History of Black American Music: Fall and Spring: 6 units
Come and explore the rich musical heritage of Black America. This course will survey the music of Black America beginning with the African legacy and continuing through the music of the Twentieth Century. Class sessions will involve discussions, listening, viewing of films, and reports by students on topics of individual interest. Discussions will involve, historical, cultural and political perspective, as well as the music and composers themselves. Lecturing will be at a minimum. Innovative testing in quiz show format will be used. No prerequisites required. Open to all upper level undergraduate students.

57-485 History of the Symphony: Intermittent: 9 units
This course is a study of major symphonic works from 1750 to the modern period. For reasons we will examine, symphonic literature, and the symphony in particular, has long been considered Western art music's greatest monument to its history. Composers have agonized over its composition, conductors have devoted careers to it, and audiences have deeply and zealously expressed their admiration for it. We want to understand why this music is so revered and long-lasting. And we want to understand how the aesthetics of these works have been shaped by their historical, socio-cultural contexts, and how their meaning and value continue to change. Over the course of the term, we will analyze some of the great examples of this genre. We will place them in their historical, socio-cultural contexts with primary sources and insightful academic scholarship. Your critical listening, reading, and thinking skills will be expanded as we delve into almost three centuries of music and writings.

57-487 Advanced Solfege III: Fall: 3 units
Covers the same concepts as Solfege IV in more challenging material, from Bach chorales in open score to excerpts by Bartok, Honegger, Stockhausen, or Boulez. Dictations are three-part contrapuntal and difficult harmonic three and four parts.
Prerequisite: 57-186
Course Website: https://cmu.app.box.com/files/0/f/11681158556/1/f_106285567265

57-488 Advanced Solfege IV: Spring: 3 units
Continues 57-487 Advanced Solfege III.
Prerequisite: 57-487

57-489 Practice Teaching (Elementary): Fall and Spring
Experience in working with elementary students in a public school setting. The teaching is supervised by an experienced public school teacher and members of the CMU music education faculty.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-490 Practice Teaching (Secondary): Fall and Spring
Experience in working with secondary students in a public school setting. The teaching is supervised by an experienced public school teacher and members of the CMU music education faculty. Students may choose a vocal or instrumental emphasis in the secondary placement.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-491 Solfege for Conductors I: Intermittent: 3 units
TBA
Prerequisites: 57-184 or 57-488

57-492 Solfege for Conductors II: Intermittent: 3 units
TBA
Prerequisites: 57-491 or 57-488

57-496 BXA Studio (1st semester): Fall and Spring: 9 units
TBA

57-497 BXA Studio (2nd semester): Fall and Spring: 9 units
TBA
Prerequisite: 57-496

57-498 BXA Studio (3rd semester): Fall and Spring: 9 units
TBA
Prerequisite: 57-497

57-499 BXA Studio (4th semester): Fall and Spring: 9 units
TBA
Prerequisite: 57-498

57-500 Major Studio (Voice): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-501 Major Studio (Piano): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-502 Major Studio (Organ): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-503 Major Studio (Harp): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-505 Major Studio (Violin): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-506 Major Studio (Viola): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-507 Major Studio (Cello): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-508 Major Studio (Double Bass): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-509 Major Studio (Guitar): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: http://www.music.cmu.edu/pages/insidemusic-coursesyllabi

57-510 Major Studio (Flute): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-511 Major Studio (Oboe): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-512 Major Studio (Clarinet): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-513 Major Studio (Bassoon): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-514 Major Studio (Saxophone): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-515 Major Studio (Horn): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-516 Major Studio (Trumpet): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-517 Major Studio (Trombone): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-518 Major Studio (Euphonium/Baritone): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-519 Major Studio (Tuba): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-520 Major Studio (Percussion): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-521 Major Studio (Composition): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-522 Major Studio (Bagpipe): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-523 Major Studio (Electronic Music): Fall and Spring: 9 units
A one hour private lesson per week for all music majors.

57-557 Vocal Methods: Spring: 3 units
This course enables each student to develop a pleasant, healthy, and musically expressive voice and effective vocal pedagogy.

57-559 Music and Triads: Before/Beyond Roman Numerals in Western Music: Intermittent: 9 units
In many western traditions, the triad is a foundational element for musical construction. Though the ingredient is consistent across many styles, how it is used changes according to time, place, and even for the individual piece. This course is a deep dive into the ways in which triads are used in a variety of western traditions. We will track common practices and notable manipulations across diatonic music, modal, non- and poly- and pan-tonal repertories, and use different methods of notation, annotation, and engagement to better understand how the triad is used in music. Through listening, annotation, performance, and discussion, students will develop methods to identify triad and triad-expanding material, and to build usable analytical practices that are sensitive to the unique sonic footprints of specific musical styles. They will hone skills to communicate their findings, and transfer their interpretation into performance and creative practice. Students will be assessed through regular listening, analytical, and creative assignments, as well as in-class discussion and a final project or paper.

57-560 Electronic Music Seminar: Fall and Spring: 3 units
tba

57-570 Music and Technology Seminar: Fall and Spring: 1 unit
The Music and Technology Seminar is a weekly meeting to discuss topics in the areas of computer music, electronic music, musical acoustics, music perception, music technology, music information retrieval, music interfaces, music systems and software, and music theory. Presentations on these various topics are made by graduate students and faculty. The seminar is open to the University and broader community, but students should only enroll if the seminar is part of their degree requirements.

57-571 Music and Technology Project: Fall and Spring: 12 units
TBA

57-572 Music and Technology Project: Fall and Spring: 12 units
TBA

57-587 Sophomore Review: Fall and Spring: 1 unit
TBA

57-588 Junior Recital Voice: Fall: 1 unit
tba

57-589 Senior Recital Voice: Fall: 1 unit
tba

57-590 Internship: All Semesters
TBA

57-591 Dalcroze Pedagogy/Practice Teaching: Fall: 3 units
This course gives hands-on experience in applying Dalcroze principles in teaching situations. It is designed for students interested in learning about the teaching of Eurhythmics, general Music Education, and for those considering the Dalcroze Certificate. The class will meet in a three week rotation of two Thursday evenings followed by a Saturday morning with the Preparatory School children's classes.

57-593 Vocal Coaching: Fall and Spring: 1 unit
TBA

57-595 Senior Electronic Music Project: Fall and Spring: 1 unit
TBA

57-597 Senior Composition Project: Fall and Spring: 1 unit
A composition for orchestra required of all senior composition majors.

57-598 Junior Recital: Fall and Spring: 1 unit
A half recital required of all junior performance majors.

57-599 Senior Recital: Fall and Spring: 1 unit
A full recital required of all senior performance majors.

57-603 Practice Teaching (Elementary): Fall and Spring
Experience in working with elementary students in a public school setting. The teaching is supervised by an experienced public school teacher and members of the CMU music education faculty.
Prerequisites: 57-355 and 57-393

57-604 Practice Teaching (Secondary): Fall and Spring
Experience in working with secondary students in a public school setting. The teaching is supervised by an experienced public school teacher and members of the CMU music education faculty. Students may choose a vocal or instrumental emphasis in the secondary placement.
Prerequisites: 57-355 and 57-393

57-610 Internship: Fall and Spring
A student can receive credit for an unpaid internship in a music related field. The amount of credit is determined by the number of internship hours.

57-611 Independent Study in History: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-612 Independent Study in Theory: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-613 Independent Study in Research: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-614 Independent Study in Performance: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-615 Independent Study in Literature and Repertoire: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-616 Independent Study in Sound Studies: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-617 Independent Study in Electronic and Experimental Music: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-618 Independent Study in Conducting: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-619 Independent Study in Opera: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-620 Independent Study in Solfege: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-621 Independent Study in Eurhythmics: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-622 Independent Study in Sound Recording Production: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-623 Independent Study in Studio Recording Project: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-624 Independent Study in Special Music Project: Fall and Spring
Students undertake a critical examination of some aspects of music on an independent basis under the supervision of a full-time faculty member. They choose their topic and contract with the Project Director (faculty sponsor) as to when and how the project will be completed. Open to upperclassmen.

57-627 Independent Study in Supervised Teaching: Fall and Spring
TBA

57-643 Diverse Populations in Inclusive Settings: Fall: 9 units
tba

57-670 Chamber Music: Brass: Fall and Spring: 3 units
Provides an opportunity for students to play in small ensembles, advised by faculty coaches. The performers will develop effective rehearsal techniques, explore chamber music repertoire, deal with issues of intonation and balance, and arrive at interpretive conclusions that are stylistically sound, yet individualistic and creative. A performance is required each semester.

57-671 Chamber Music: String Quartet: Fall and Spring: 3 units
Provides an opportunity for students to play in small ensembles, advised by faculty coaches. The performers will develop effective rehearsal techniques, explore chamber music repertoire, deal with issues of intonation and balance, and arrive at interpretive conclusions that are stylistically sound, yet individualistic and creative. A performance is required each semester.

57-672 Chamber Music: Woodwind and Mixed: Fall: 3 units
Provides an opportunity for students to play in small ensembles, advised by faculty coaches. The performers will develop effective rehearsal techniques, explore chamber music repertoire, deal with issues of intonation and balance, and arrive at interpretive conclusions that are stylistically sound, yet individualistic and creative. A performance is required each semester.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

57-675 Chamber Ensemble: Fall and Spring: 3 units
Provides an opportunity for students to play in small ensembles, advised by faculty coaches. The performers will develop effective rehearsal techniques, explore chamber music repertoire, deal with issues of intonation and balance, and arrive at interpretive conclusions that are stylistically sound, yet individualistic and creative. Low Brass Ensemble: The low brass ensemble pushes the boundaries of what is "supposed" to be played by an ensemble of this type. Players will be involved in the programming, arranging and planning pf performances and will learn valuable musical, creative, promotional and organizational skills.

57-874 Music in the Urban School: Spring: 9 units
This course will involve workshops with nationally known instructors in eurhythmics, world drumming, contemporary popular music, and classroom management. The course will require attendance at workshops, classroom observations and closely supervised teaching experiences, including up to 12 hours of practicum visitation to be fulfilled scheduled by the Instructor. This course fulfills the Community Engagement requirement in the Master's of Music degree program. Schools involved are all inner city schools with a poverty level of 75% or above. This course is offered as the result of a grant received from the Federal Department of Education by the School of Music, the Pittsburgh Public Schools, and the Wilkinsburg School District.
Prerequisite: 57-831

57-911 Music Since 1945: Intermittent: 9 units
A survey of Western art music from WWII to the present, with a focus on compositional techniques, influential trends, and experimental approaches. This course will address total serialism, aleatory music, the rise of technology, minimalism, and soundscape composition, among others. Students will engage with primary sources, close listening, multi-media resources, and secondary sources, and demonstrate competency through varied assessments, including in-class performance activities and presentations.

Course Website: https://cmu.box.com/s/8e23hqzsk3e6bj1s7fhhj49to2lilzk2

Part-Time Faculty

FREIDA ABTAN, Assistant Professor of Electronic Music Composition – Ph.D., Brown University; Carnegie Mellon, 2021–

CHRISTOPHER ALLEN, Artist Lecturer in Percussion – M.M. , Temple University; Carnegie Mellon, 2014–

ALBERTO ALMARZA, Associate Professor of Flute – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1991–

DONNA AMATO, Artist Lecturer in Piano and Staff Pianist – B.M., University of Arizona; Carnegie Mellon, 1998–

JENNIFER AYLMER, Assistant Professor of Voice – M.M, Westminster Choir College; Carnegie Mellon, 2012–

NEAL BERNTSEN, Artist Lecturer in Trumpet – M.M., Northwestern University; Carnegie Mellon, 2003–

JOANNA BOSSE, Interim Head and Visiting Professor – Ph.D., University of Illinois; Carnegie Mellon, 2023–

JEREMY BRANSON, Artist Lecturer in Percussion – M.M., Temple University; Carnegie Mellon, 2009–

WILLIAM CABALLERO, Associate Teaching Professor in Horn – B.M., New England Conservatory; Carnegie Mellon, 2007–

ANDREW CARLISLE, Director of Piping

L. MARK CARVER, Associate Teaching Professor in Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 1995–

TATJANA CHAMIS, Artist Lecturer in Viola – B.M., Curtis Institute of Music; Carnegie Mellon, 2016–

REBECCA CHERIAN, Artist Lecturer in Trombone – M.M., Yale University; Carnegie Mellon, 1993–

FREDERIC CHIU, Assistant Professor of Piano – M.M., Juilliard; Carnegie Mellon, 2020–

DENIS COLWELL, Associate Professor – M.M., Carnegie Mellon University; Carnegie Mellon, 1980–

MARIANNE CORNETTI, Artist Lecturer in Voice – B.M., Duquesne University; Carnegie Mellon, 2019–

DANIEL CURTIS, Resident Conductor – M.M. , Carnegie Mellon University; Carnegie Mellon, 2015–

MICHELE DE LA REZA, Assistant Teaching Professor of Dance – M.S., University of Pittsburgh; Carnegie Mellon, 2007–

CYNTHIA DEALMEIDA, Associate Teaching Professor in Oboe – M.M., Temple University; Carnegie Mellon, 1991–

JEFF DEE, Artist Lecturer in Bass Trombone – M.M, The Juilliard School; Carnegie Mellon, 2017–

HIRAM DIAZ, Artist Lecturer in EuphoniumCarnegie Mellon, 2024–

MARK DOMENCIC, Artist Lecturer in Music Theory – M.M., Carnegie Mellon University; Carnegie Mellon, 2007–

THOMAS DOUGLAS, Teaching Professor of Voice – M.M., Duquesne University; Carnegie Mellon, 1991–

JOCELYN DUECK, Assistant Professor of Collaborative Piano – D.M.A., University of Minnesota; Carnegie Mellon, 2017–

PAUL EVANS, Artist Lecturer in Percussion – M.M., Temple University; Carnegie Mellon, 1995–

DONNA FOX, Artist Lecturer of Music EducationCarnegie Mellon, 2023-–

NANCY GALBRAITH, Professor of Composition – M.M., West Virginia University; Carnegie Mellon, 1984–

PAUL GERLACH, Artist Lecturer in Music Education – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1982–

JAMES GORTON, Artist Lecturer in Chamber Music – B.M., Eastman School of Music; Carnegie Mellon, 2020-–

SARI GRUBER, Artist Lecturer in Voice – M.M., Juilliard School; Carnegie Mellon, 2018–

PETER GUILD, Artist Lecturer in Double Bass – M.M., University of Michigan; Carnegie Mellon, 2015–

DAVID HARDING, Associate Professor in Viola and Chamber Music – B.M., The Juilliard School; Carnegie Mellon, 2012-–

JAMES HOULIK, Artist Lecturer in Saxophone Eastman School of Music; Carnegie Mellon, 2018–

MICAH HOWARD, Artist Lecturer in Double Bass – M.M., Duquesne University; Carnegie Mellon, 2010–

JACK HOWELL, Artist Lecturer in ClarinetCarnegie Mellon, 2023-–

ANNIE HSIEH, Assistant Teaching Professor of Music Theory – Ph.D., University of California, San Diego; Carnegie Mellon, 2018-–

ROSEANNA IRWIN, Associate Teaching Professor of Coaching and Accompanying – M.M., Duquesne University; Carnegie Mellon, 1990–

JOHN PAUL ITO, Assistant Professor of Music Theory – Ph.D., Columbia University; Carnegie Mellon, 2011–

PAUL JOHNSTON, Artist Lecturer in Music History – B.M.E., Andrews University; Carnegie Mellon, 2005–

KENNETH KEELING, Associate Head and Professor Emeritus of Music – D.M.A., Catholic University of America; Carnegie Mellon, 1996–

ADRIANNE DAVIS KELLY, Artist Lecturer of Music Education Duquesne University; Carnegie Mellon, 2019–

SUNG-IM KIM, Staff Pianist – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

CRAIG KNOX, Artist Lecturer in Tuba – B.M., Curtis Institute of Music; Carnegie Mellon, 2005–

PETER KOPE, Assistant Teaching Professor of Dance University of Dayton; Carnegie Mellon, 2007–

STEPHEN KOSTYNIAK, Artist Lecturer in French Horn – B.M., The Juilliard School; Carnegie Mellon, 2008–

JASON KUSH, Artist Lecturer in Saxophone – D.M.A., University of Miami; Carnegie Mellon, 2017–

CARLA LAROCCA, Associate Teaching Professor of Keyboard Studies – M.F.A., Carnegie Mellon University; Carnegie Mellon, 1991–

ELIZABETH LAWRENCE, Artist Lecturer in Jazz Voice and Director of Jazz Vocal Ensemble – M.M., Manhattan School of Music; Carnegie Mellon, 1996–

VICTORIA LUPERI, Artist Lecturer in ClarinetCarnegie Mellon, 2024-–

LUZ MANRIQUEZ, Associate Teaching Professor in Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 1992–

JOHN MARCINIZYN, Artist Lecturer in Guitar and Composition – Ph.D., University of Pittsburgh; Carnegie Mellon, 1991–

DAVID MCCARROLL, Artist Lecturer in ViolinCarnegie Mellon, 2024-–

LORNA MCGHEE, Artist Lecturer in Flute Royal Scottish Academy of Music and Drama; Carnegie Mellon, 2015–

MONIQUE MEAD, Director of Music Entrepreneurial Studies – M.M., Indiana University-Bloomington; Carnegie Mellon, 2012–

ANNE MOSKAL, Artist Lecturer in Solfege – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

STEPHEN NEELY, Artist Lecturer in Eurhythmics – M.M., Carnegie Mellon University; Carnegie Mellon, 1998–

RODRIGO OJEDA, Assistant Teaching Professor of Collaborative Piano – M.M., Carnegie Mellon University; Carnegie Mellon, 2011–

JEREMY OLISAR, Artist Lecturer in Music EducationCarnegie Mellon, 2021–

BENJAMIN OPIE, Artist Lecturer in Music Technology – M.M., Duquesne University; Carnegie Mellon, 2005–

PHILIP PANDOLFI, Artist Lecturer in Bassoon – M.M., Temple University; Carnegie Mellon, 2024–

DIMITRI PAPADIMITRIOU, Assistant Teaching Professor of Chamber Music and Piano – D.M.A., Royal Irish Academy of Music; Carnegie Mellon, 2015–

ANGELA PARK, Adjunct InstructorCarnegie Mellon, 2023–

RYAN PRENDERGAST, Assistant Teaching Professor – Ph.D., University of Illinois; Carnegie Mellon, 2022–

KATHERINE PUKINSKIS, Assistant Professor of Composition and Theory – Ph.D., University of Chicago; Carnegie Mellon, 2022–

RICHARD RANDALL, Assistant Professor of Music Theory – Ph.D., Eastman School of Music; Carnegie Mellon, 2008–

SUSAN RAPONI, Assistant Professor of Music – Ph.D., University of Toronto; Carnegie Mellon, 2019–

VAHAN SARGSYAN, Staff Pianist – M.M, Yerevan Komitas State Conservatoire;

SERGEY SCHEPKIN, Associate Professor of Piano – D.M.A., New England Conservatory; Carnegie Mellon, 2003–

STEPHEN SCHULTZ, Associate Teaching Professor of Music History and Flute – M.M., San Francisco State University; Carnegie Mellon, 2002–

RICCARDO SCHULZ, Associate Teaching Professor and Director of Recording Activities – M.A., University of Pittsburgh; Carnegie Mellon, 1988–

FRANCO SCIANNAMEO, Associate Teaching Professor of Film Musicology and CFA Associate Dean – D.M, Conservatorio di Musica, Santa Cecilia; Carnegie Mellon, 2014–

MARK SNYDER, Director of Jazz Orchestra – M.M., Carnegie Mellon University; Carnegie Mellon, 2022–

MARIA SPACAGNA, Associate Professor of Voice – M.M., New England Conservatory; Carnegie Mellon, 2012–

SARAH STERANKA, Woodwind & Mixed Chamber Music Coordinator – M.M., Duquesne University; Carnegie Mellon, 2023–

STEPHEN STORY, Associate Conductor of Wind Ensemble – M.M., Carnegie Mellon University; Carnegie Mellon, 2015–

PETER SULLIVAN, Artist Lecturer in Trombone Aspen School of Music; Carnegie Mellon, 2000–

DANIEL TEADT, Artist Lecturer in Voice – M.M, University of Illinois; Carnegie Mellon, 2011–

KELLY TRUMBULL, Artist Lecturer in Acting – M.A., New York University; Carnegie Mellon, 2015–

WILLIAM VAN DER SLOOT, Assistant Teaching Professor of Violin – Diploma, International Institute for Chamber Music; Carnegie Mellon, 2017–

GRETCHEN VAN HOESEN, Artist Lecturer in Harp – M.M., The Juilliard School; Carnegie Mellon, 1985–

GEORGE VOSBURGH, Artist Lecturer in Trumpet and Co-Director of Wind Ensemble – B.A., University of Rochester; Carnegie Mellon, 2003–

JANE WALL, ArtistLecturer in Elementary Education

JAMES WHIPPLE, Artist Lecturer in Music Theory – B.A., Carnegie Mellon University; Carnegie Mellon, 1995–

ANNE MARTINDALE WILLIAMS, Artist Lecturer in Cello – Diploma, Curtis Institute of Music; Carnegie Mellon, 1987–

ALEXA WOLOSHYN, Assistant Professor of Musicology – Ph.D, University of Toronto; Carnegie Mellon, 2016–

CHRISTOPHER WU, Artist Lecturer in Violin – B.A., Eastman School of Music; Carnegie Mellon, 2009–

LENNY YOUNG, Artist Lecturer in Solfege – M.M., Carnegie Mellon University; Carnegie Mellon, 2015–

MONICA YUNUS, Artist Lecturer in Voice Entrepreneurship – M.M., The Juilliard School; Carnegie Mellon, 2018–

Undergraduate Catalog

School of Music

School of music Facilities

School of Music Options

Dalcroze Eurhythmics Certificate

Piano Pedagogy Certificate

Collaborative Piano Minor

Conducting Minor

Music Education Minor

Music Technology Minor

Music Theory Minor

Sonic Arts Minor

Performances and Activities of the School of Music

General Requirements for BFA Candidates

BFA Curriculum

Piano

First Year

Second Year

Third Year

Fourth Year

Organ

First Year

Second Year

Third Year

Fourth Year

Voice

First Year

Second Year

Third Year

Fourth Year

Instrumental

First Year

Second Year

Third Year

Fourth Year

Composition

First Year

Second Year

Third Year

Fourth Year

ELECTRONIC MUSIC

First Year

Dalcroze Eurhythmics Certificate33 units

Piano Pedagogy Certificate36 units

Bachelor of Science in Music and Technology

Curriculum

Minimum units required for B.S. in Music and Technology380

General Requirements85 units

Seminar

University

Humanities

Mathematics

Science

Electives33 or 37 units

Music Core81 units

Music and Technology Core121 units

Concentration

Music Concentration60 units

Technical Concentration58 or 56 units

Minors

Minor in Collaborative Piano for Students in the School of Music

Admission Requirements:

36 unitsRequired Courses

18 unitsElectives

Minor in Conducting for Students in the School of Music

Admission Requirements:

ACADEMIC REQUIREMENTS:

30 unitsPrerequisite Courses

39 unitsRequired Courses

15 unitsElectives

Minor in Music Education for Students in the School of Music

Admission Requirements:

Corequisite General Courses36 units

Corequisite Music Courses18 units

General Education Courses18 units

Music Education Methods Courses45 units

General Methods Courses

Applied Area Methods Courses

Band Methods Courses

Music Education Teaching Courses12 units