2010-2011 Courses

Fall 2010

Undergraduate Academic Courses

MUSI 1040: Exploring the Orchestra

Kate Tamarkin
3.0 credits
Lecture: TR / 11:00-11:50 am / OCH 107
Class Number: 26443

Discussion Sections:

Section 101 (Lanier Sammons): F / 9:00-9:50 am / OCH 113
Class Number: 26444

Section 102 (Lanier Sammons): F / 10:00-10:50 am / OCH 113
Class Number: 26445

Section 103 (Lanier Sammons): F / 1:00-1:50 pm / OCH S008
Class Number: 26446

An introduction to the tradition and repertory of the symphony orchestra. Topics include the development and instrumental makeup of the modern symphony orchestra, forms and genres, and the role of the conductor.

MUSI 1310: Basic Musical Skills

 

3.0 credits

Lecture / Section 1 (Stephanie Doktor): MWF / 9:00-9:50 am / OCH 107
Class Number: 12703

Lecture / Section 2 (Erik DeLuca): MWF / 10:00-10:50 am / OCH 107
Class Number: 12705

Lecture / Section 3 (Braxton Sherouse): MWF / 11:00-11:50 am / OCH 107
Class Number: 12707

Study of the rudiments of music and training in the ability to read music. Prerequisite: No previous knowledge of music required.

MUSI 1993: Independent Study

1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 2070: Popular Musics: History of Rock

Elizabeth Lindau
3.0 credits
Lecture: MW / 1:00-1:50 pm / OCH 107
Class Number: 28808

Discussion Sections:

Section 101 (Emily Gale): M / 2:00-2:50 pm / OCH 113 
Class Number: 28809

Section 102 (Emily Gale): W / 2:00-2:50 pm / OCH 113
Class Number: 28810

Section 103 (Emily Gale): W / 3:00-3:50 pm / OCH 113
Class Number: 28811

This course surveys Rock from its roots in Blues, Folk, and Country music to the latest albums by Radiohead and Coldplay. In addition to the “classic” sounds of artists such as the Beatles, Bob Dylan, the Rolling Stones, Janis Joplin, Jimi Hendrix, Led Zeppelin, and Bruce Springsteen, we will explore Rock's splintering into subgenres like Glam, Prog, Punk, and Indie. We will discuss issues that have occupied Rock musicians, scholars, and critics over the past 50 years. These include: Rock’s appropriation of African-American musical styles, the precarious place of women in Rock, the genre’s supposed “authenticity” and distinctiveness from commercial “pop” music, and how technology has affected its production and consumption. Through extensive listening assignments, students will become familiar with landmark recordings. No previous knowledge of music required.

MUSI 2080: American Music

Jason Kirby
3.0 credits
Lecture: TR / 12:00-1:20 pm / OCH 107
Class Number: 28812

Discussion Sections:

Section 101 (Matt Jones): M / 1:00-1:50 pm / OCH 113 
Class Number: 28813

Section 102 (Matt Jones): W / 1:00-1:50 pm / OCH 113
Class Number: 28814

Section 103 (Matt Jones): M / 11:00-11:50 am / OCH S008 
Class Number: 28815

This course examines the rich cultural heritage of "roots" genres such as blues, country, gospel, bluegrass and folk in American musical life. We'll take an historical approach to the subject, one which identifies the term "roots" as a late-20th-century invention used by journalists and fans to help explain the rise of more recent, related genres like rock and hip-hop. The course will examine the relationship of "roots" music to modern identity politics--particularly representations of African-Americans, working-class white Southerners, and rural Americans more broadly. We will track these representations in 20th century film, popular journalism, and musical performance itself. This is a lecture survey course, with weekly discussion sections.

MUSI 2110: Music in Everyday Life

Michelle Kisliuk
3.0 credits
Lecture: T / 2:00-4:00 pm / OCH 107
Class Number: 12711

Discussion Sections:

Section 101 (Liza Sapir): W / 11:00-11:50 am / OCH S008
Class Number: 12713

Section 102 (Liza Sapir): T / 9:30-10:20 am / OCH 113
Class Number: 12715

Section 103 (Liza Sapir): W / 10:00-10:50 am / OCH S008 
Class Number: 12717

What is the soundscape of our quotidian (everyday) experience? How does it condition our consciousness, and what implicit cultural messages circulate within our ever-changing daily soundtracks? This course focuses our attention not on music highlighted in performance, but on that which we usually take for granted. A close look at how music works in our everyday lives can offer a new awareness of our ongoing experience, open us to choices we never thought we had, and get us wondering about the depths of aesthetic experience.

MUSI 2302: Keyboard Skills (Beginning)

Peter D'Elia
2.0 credits, instructor permission
Lecture: TR / 11:00-11:50 am / OCH 113
Class Number: 12719

Introductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.

MUSI 2340: Learn to Groove

 

Robert Jospe
2.0 credits, instructor permission

Lecture / Section 1: MW / 11:00-11:50 am / OCH B018
Class Number: 16259

Lecture / Section 2: MW / 10:00-10:50 am / OCH B018
Class Number: 27716

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn To Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have or purchase a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate.

MUSI 2600: Jazz Improvisation

John D'earth
3.0 credits
Lecture: TR / 3:30-5:00 pm / OCH B012
Class Number: 26447

MUSI 2993: Independent Study

1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 3030: Studies in 19th-Century Music

Heather Wiebe
3.0 credits
Lecture: TR / 9:30-10:45 am / OCH 107
Class Number: 26448

This course examines the history of 19th-century vocal and instrumental music. Looking closely at a range of musical works and writing about music, it addresses topics such as gender and domesticity, virtuosity and spectacle, nationalism and revolutionary politics, Romantic interiority, modernity and the urban, and monumentality.

MUSI 3050: Music and Discourse Since 1900

Peter Tschirhart
3.0 credits
Lecture: MWF / 11:00-11:50 am / OCH 113
Class Number: 12723

Studies the range of music that has flourished in the twentieth century, including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches.

MUSI 3310: Theory I

Victor Szabo, Yury Spitsyn and David Cosper
3.0 credits

Lecture / Section 1: Victor Szabo / MWF / 9:00-9:50 am / OCH B012
Class Number: 12725

Lecture / Section 2: Yury Spitsyn / MWF / 1:00-1:50 pm / OCH B012
Class Number: 12727

Lecture / Section 3: Dave Cosper / MWF / 11:00-11:50 am / OCH B012
Class Number: 12729

Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significant compositions by period composers. (Y)

MUSI 3332, 3334, and 3336: Musicianship I, II and III

1.0 credit

All students must take a placement exam for entrance into the Musicianship courses. This placement exam will be held on Wednesday Aug. 25th from 12:00 to 12:50 in OCH 107. There are no exemptions from this exam, please email Adam Carter, createEmail('acc8v'); with any questions.

These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 3332, 3334, and 3336 are co-requisites for MUSI 3310, 3320, and 4331. This means that students pre-registering in the latter courses must also pre-register in MUSI 3332, 3334, and 3336 unless they have already taken the highest level course and have been passed out of further co-requisite requirements. Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 3332, 3334, or 3336 as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.

MUSI 3332: Musicianship I

Lecture / Section 1: (Adam Carter) M / 12:00-12:50 pm / OCH 107 and (Chris Peck) F / 12:00-12:50 pm / OCH B012
Class Number: 12733

Lecture / Section 2: (Adam Carter) M / 12:00-12:50 pm / OCH 107 and (Chris Peck) W / 12:00-12:50 pm / OCH 113
Class Number: 12731

MUSI 3334: Musicianship II

Lecture / Section 1: (Adam Carter) W / 12:00-12:50 pm / OCH 107 and (Kevin Davis) F / 12:00-12:50 pm / OCH 113
Class Number: 12737

Lecture / Section 2: (Adam Carter) W / 12:00-12:50 pm / OCH 107 and (Kevin Davis) M / 12:00-12:50 pm / OCH B012
Class Number: 12735

MUSI 3336: Musicianship III

Lecture / Section 1: (Adam Carter) F / 12:00-12:50 pm / OCH 107 and (Courtney Kleftis) M / 12:00-12:50 pm / OCH 113
Class Number: 12739

Lecture / Section 2: (Adam Carter) F / 12:00-12:50 pm / OCH 107 and (Courtney Kleftis) W / 12:00-12:50 pm / OCH B012
Class Number: 12741

MUSI 3370 Songwriting

Juraj Kojs
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH B012
Class Number: 26449

Discussion Sections:

Section 101 (Jay Zolle): M / 3:30-4:20 pm / OCH B011
Class Number: 26450

Section 102 (Jay Zolle): T / 3:30-4:20 pm / OCH B011
Class Number: 26451

Section 103 (Jay Zolle): T / 2:00-2:50 pm / OCH B011
Class Number: 26452

The goal of this course is to delve into songwriting; to develop your aural, analytic and creative abilities and to join them together in understanding and composing songs. You will learn about rhythm, melodic design, harmonic progression, lyrics and song forms. You will also work on eartraining, so that concepts you learn will be sonically meaningful. We will consider examples from a broad musical spectrum: blues, folk, tin pan alley, musicals, R & B, rock & roll, hip hop. We will also discuss the issues that songwriters encounter. You will have the opportunity to suggest songs for study, and some assignments will be done in groups. In these situations, we will organize groups that have complementary abilities for in-class performances. The Lab is a required part of the class, and you must sign up for a lab section. During the lab you will go over concepts we are covering in class, as well as work on additional eartraining, analysis and creative projects.

Prerequisite: MUSI 3310 and Instructor permission.

MUSI 3380: Introduction to Post-Tonal Composition

Jonathan Zorn
3.0 credits
Lecture: MWF / 10:00-10:50 am / OCH B012
Class Number: 28816

This course is an introduction to post-tonal compositional techniques in Western concert music of the 20th and 21st centuries. The course will survey a multiplicity of innovative approaches to harmony, rhythm, timbre, texture, and compositional form. Topics will include atonal, serial, chance, experimental, spectral, electronic, minimal, and improvised music. Coursework will focus on instrumental composition and creative assignments, as well as analytic listening and writing assignments.

Proficiency on an instrument or voice is highly recommended but not required.

Prerequisites: MUSI 3310 or Instructor Permission

MUSI 3390: Introduction to Music and Computers

Ted Coffey
3.0 credits
Lecture: TR / 11:00am-12:15 pm / OCH B012
Class Number: 12743

Discussion Sections:

Section 101 (Sarah O'Halloran): T / 12:30-1:20 pm / OCH B011
Class Number: 26747

Section 102 (Sarah O'Halloran): F / 12:00-12:50 pm / OCH B011
Class Number: 26745

Section 103 (Sarah O'Halloran): F / 1:00-1:50 pm / OCH B011
Class Number: 26749

Introduction to Music and Computers in an upper-level introductory course in music technology. Students gain theoretical, historical and practical knowledge of electronic and computer music. An emphasis is placed on creative hands-on experience composing computer music.

Theoretical and practical topics include acoustics, recording, editing and mixing, MIDI, sound synthesis, and audio DSP. Programs used will include Audacity, Spear, SoundHack, Pro Tools, Logic, and MaxMSP. Note that you MUST register for the Lab (0 credits) as well as the course.

3390 fulfills the composition requirement of the Music Major. This is a composition class and most assignments are creative in nature.

MUSI 3993: Independent Study

1.0-3.0 credits
Instructor permission and instructor number required to enroll.

MUSI 4331: Theory III

Michael Puri
3.0 credits
Lecture: TR / 9:30-10:45 am / OCH B012
Class Number: 12753

Studies in 18th-, 19th-, and 20th-century techniques and styles through analysis and composition. Prerequisite: MUSI 3320 or instructor permission; Corequisite: MUSI 3332, 3334, or 3336, except for students who have already passed the exit test for MUSI 3336.

MUSI 4507, Section 1: Composers: Berlioz, Liszt, and Strauss

Michael Puri
3.0 credits
Lecture: TR / 11:00am-12:15 pm / OCH S008
Class Number: 26453

This is an upper-level major seminar devoted to the music of three of the most imaginative, ambitious, and virtuosic composers of the nineteenth and twentieth centuries: Hector Berlioz (1803-69), Franz Liszt (1811-86), and Richard Strauss (1864-1949), all adherents to the “New German School” and its literary conception of music. We will listen to their signature works, while also reading relevant sources: biography, autobiography, reviews, analyses, and recent scholarly attempts to interpret this music and situate it within various cultural-historical contexts. No formal course prerequisites, but it will be helpful for you to have some knowledge of tonal theory and analysis, and to be able to decipher orchestral scores.

This course fulfills the first CCS degree requirement (history of classical music).

MUSI 4507, Section 2: Composers: Leonard Bernstein

Michael Slon
3.0 credits
Lecture: T / 4:00-6:30 pm / OCH S008
Class Number: 26454

This seminar will focus on the man and musician considered one of the most widely influential American musicians of the 20th century. Our studies fill focus on several aspects of Bernstein's life and career. Music covered will includeCandideWest Side Story, the Symphonies, Chichester Psalms, and Mass. We'll review his interpretive impact as a conductor, influence as a nationally televised teacher, and religious and political interests. Bernstein was also a prolific writer, so in addition to biographical materials, class readings will consider his published works includingThe Joy of Music,The Unanswered Question: Six Talks at Harvard, and Findings.

This class is intended for upper level majors.

MUSI 4509: Cultural & Historical Studies: Worlds of Jewish Music

Joel Rubin
3.0 credits
Lecture: MW / 3:30-4:45 pm / New Cabell Hall B031
Class Number: 14483

This course will provide an in depth look at sacred and secular Jewish musical traditions as they have developed in Israel and in the various diaspora communities throughout the past 2,000 years. The course will use a case-study approach: concentrating especially on Jewish musical traditions today, it will focus on a small number of diverse traditions and styles within the framework of the three main groupings of Ashkenazic, Sephardic and Mizrahi Jewry. Dynamic changes in world Jewry since World War II have brought forth a number of flourishing Jewish musical genres globally which reflect the direction of Jewish culture at the turn of the 21st century. The most visible of these perhaps is the klezmer movement, which has reached far beyond its roots in medieval minstrelsy and Jewish ritual and into the sphere of both popular and art music and culture. Beyond klezmer, a number of other secular music movements have emerged in recent decades, such as the Radical Jewish Culture Movement of New York’s Downtown music scene led by John Zorn since the early 90s, and Israeli Mediterranean music. Religious Jewish popular music, too, has flourished since the 60s. All of these will be seen to be different ways of establishing a Jewish identity via music. They have also had a profound effect on mainstream popular culture, influencing popular television shows such as “Sex and the City” and “The Nanny,” films like “Dummy,” and musicians as diverse as Carlos Santana, Ray Charles, Madonna and Mare Winningham. Each unit will be supplemented by musical examples available on Collab. When possible, field trips will be taken to internal communal events such as synagogue services and holiday celebrations, as well as to concerts and other public events. Attendance of at least two out-of-class events will be required. These will be announced during the course of the semester. The texts will be drawn from a number of book chapters and articles on digital reserve which draw on writings from the literature of ethnomusicology and musicology, folklore, anthropology, sociology, Jewish studies, history and other fields.

Prerequisite: Instructor permission.

MUSI 4523: Issues in Ethnomusicology: The Fantastic in Music

Julia Cook
3.0 credits
Lecture: TR / 2:00-3:15 pm / OCH B012
Class Number: 28817

This broadly defined course will look at some of the ways in which music and fantasy have been linked. We will begin in 19th and early 20th-century art music, including music from Wagner, Berlioz, and Stravinsky. We will then move into music used for fantasy and science fiction film soundtracks. Finally, we will look at connections between fantasy/science fiction and popular music artists, including Enya and various metal bands.

MUSI 4543: Sound Studio

Ted Coffey
3.0 credits
Lecture: R / 5:00-7:30 pm / OCH B012
Class Number: 15185

Discussion Sections:

Section 101 (Paul Turowski): T / 4:40-5:30 pm / OCH B011
Class Number: 15187

Section 102 (Paul Turowski): T / 5:40-6:30 pm / OCH B011
Class Number: 26442

This course will focus on theory and implementation of computer music instruments for application in live performance contexts. For the first half of the semester we'll work through a set of studies addressing: general computing algorithms in computer music; techniques and paradigms of analog synthesis and their extension into more macroscopic musical processes and structures; and key topics such as sampling, the FFT, physical models and 'microsound' synthesis.

Building on this foundation, each class member will design and build a performance-ready software instrument for making music in various ensemble combinations. These will be continually developed and refined. This is a composition course: our central goal will be making music with the instruments we've developed.

MUSI 4571: Instrumental Conducting I

Kate Tamarkin
3.0 credits
Lecture: TR / 2:00-3:15 pm / OCH 113
Class Number: 26455

Studies the theory and practice of conducting, score analysis, and rehearsal technique.

Prerequisite: MUSI 3320 and instructor permission.

MUSI 4993: Independent Study

1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.

 

Graduate Courses

MUSI 7509: Cultural and Historical Studies of Music: Modernism and Sentimentality

Heather Wiebe
3.0 credits
Lecture: R / 2:00-4:30 pm / OCH S008
Class Number: 15191

The sentimental—aligned with kitsch, femininity, mass culture, and middlebrow taste—has often seemed musical modernism’s rejected other. This seminar, however, aims to uncover curious overlaps and engagements with the discarded term. How did femininity and domesticity emerge in the modernisms of Schoenberg or Cage? How did Britten, Poulenc, and Barber both flirt with sentimentalism and distance themselves from it? How did a popular discourse linking music and the sentimental—in 1940s women’s pictures, for instance—influence the terms of modernist resistance? The course will address these questions by looking closely at individual works and primary sources from the twentieth century, as well as the central literature on sentimentalism and its longer history.

MUSI 7511: Introduction to Music Research

Richard Will
3.0 credits
Lecture: W / 2:00-4:30 pm / TBA
Class Number: 15193

Prerequisite: Instructor permission.

MUSI 7519: Current Studies in Research and Criticism

Fred Maus
3.0 credits
Lecture: M / 2:00-4:30 pm / OCH S008
Class Number: 26456

MUSI 7543: Sound Studio

Ted Coffey
3.0 credits
Lecture: R / 5:00-7:30 pm / OCH B012
Class Number: 15195

Studies in computer music studio techniques, sound synthesis using a variety of software packages based on the Macintosh platform, and the creation of original music using new technologies. Prerequisite: Instructor permission.

MUSI 7547: Materials of Contemporary Music

Juraj Kojs
3.0 credits
Lecture: W / 3:30-5:45 pm / OCH S008
Class Number: 14487

The course is intended for graduate students in music. Topics in contemporary music that will focus on different areas in rotation. Each will involve focused readings, analysis of selected works, and the creation of original compositions that reflect the issues under discussion. Prerequisite: Instructor permission.

MUSI 8810: Advanced Composition

3.0 credits

MUSI 8910: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.

MUSI 8960: Thesis

3.0 credits

MUSI 8993: Independent Study

1.0-3.0 credits

Independent study dealing with a specific topic. Requirements will place primary emphasis on independent research.

MUSI 8998: Non-topical Research

3.0-12.0 credits

MUSI 9910: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by second year graduate students.

MUSI 9930: Independent Research

3.0 credits

Research carried out by graduate student in consultation with an instructor.

MUSI 9998: Non-topical Research

3.0-12.0 credits

Preliminary research directed towards a dissertation in consultation with an instructor.

MUSI 9999: Non-topical Research

3.0-12.0 credits

For doctoral dissertation, taken under the supervision of a dissertation director.

Music Ensembles and Performance Instruction

For information on auditions, please visit ourauditions website.

MUBD 2610, 2620, 2630, and 2640: Marching Band I-IV

Bill Pease
2.0 credits
TRF 6:00-8:25 pm, TBA

The Cavalier Marching Band is open to all students at the University of Virginia by audition. The band is comprised of members from nearly every major at UVA. A normal practice schedule is twice a week, with additional Friday practices on home game weeks. Attendance is mandatory at our band camp in August. There are no fees to be in the Cavalier marching Band. IF you are interested please contact the band office at 434.982.5347 or email William PeasecreateEmail('pease');.

MUEN 2690, 3690 and 4690: African Music and Dance Ensemble

(registration number depends on student seniority in the ensemble)

Michelle Kisliuk
2.0 credits
Lecture: TR / 5:15-7:15 pm / OCH 107

MUEN 2690 / Level I
Class Number: 27903

MUEN 3690 / Level II
Class Number: 12589

MUEN 4690 / Level III
Class Number: 27904

The African Music and Dance Ensemble is a practical, hands-on course focusing on several music/dance forms from Western and Central Africa with performances during and at the end of the semester. Though no previous experience with music or dance is required, we will give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, and faithful attendance are required of each class member, the goal being to develop an ongoing U.Va. African Music and Dance Ensemble.

MUEN 3600: Jazz Ensemble

John D'earth
2.0 credits
Lecture: TR / 7:30-9:30 pm / OCH B018
Class Number: 12517

Led by internationally recognized jazz trumpeter/composer John D'earth, the Jazz Ensemble is a full-sized jazz big band, whose focus includes “head arrangements” group improvisation, world music and original compositions from within the band, along with music ranging from swing to bop to fusion. You'll gain valuable experience in ensemble playing and in the art of solo improvisation, and may take private instruction in jazz improvisation, perform in small combos and participate in jazz workshops held by such major figures as Michael Brecker, John Abercrombi, Dave Leibman, Bob Moses, Clark Terry, and Joe Henderson.

Restricted to: Instructor permission by audition.

MUEN 3610: Orchestra

Kate Tamarkin, Conductor
2.0 credits

Strings

Lecture / Section 100: W / 7:30-10:00 pm / OCH 101
Class Number: 12519

Sectionals: M / 5:30-7:00 pm

Section 101: Pete Spaar (Double Bass) / OCH B012
Class Number: 12523

Section 102: Adam Carter (Cello) / OCH S004
Class Number: 12525

Section 103: Ayn Balija (Viola) / OCH 113
Class Number: 12527

Section 104: David Colwell (Violin) / OCH 107
Class Number: 12529

Section 105: David Sariti (Violin) / OCH B018
Class Number: 12531

 

Brass / Woodwinds / Percussion

Lecture / Section 200: W / 7:30-10:00 pm / OCH 101
Class Number: 12521

Sectionals: W / 5:15-6:15 pm

Section 201: Susan Fritts (Horn) / OCH 113
Class Number: 12539

Section 202: Tasha Warren (Clarinet) / OCH 107
Class Number: 12535

Section 203: Aaron Hill (Oboe) / TBA
Class Number: 12541

Section 204: Elizabeth Roberts (Bassoon) / OCH B020
Class Number: 12533

Section 205: Angela Kelly (Flute) / TBA
Class Number: 12537

Section 206: Paul Neebe (Trumpet) / 107
Class Number: 12547

Section 207: Nathan Dishman (Trombone) / B012
Class Number: 12545

Section 208: I-Jen Fang (Percussion) / B018
Class Number: 12543

Restricted to: Instructor permission by audition.

MUEN 3620: Wind Ensemble

Bill Pease
2.0 credits
Lecture: M / 7:00-9:00 pm / OCH 101
Class Number: 14469

The Wind Ensemble is a 45-member ensemble that features the most outstanding brass, woodwind, and percussion players at the University. The focus of this ensemble is to explore new literature as well as perform the masterworks of the wind band era. The wind ensemble also works with outstanding guest performers and conductors. This group is predominately made up of non-music majors who enjoy the genre of the wind band. Open to all University of Virginia students, auditions are held prior to the start of each semester. For more information on the Wind Ensemble, please visit our webpage at: www.virginia.edu/music/ensembles/windensemble/.

Restricted to: Instructor permission by audition.

MUEN 3630, Section 1: Clarinet Ensemble

Tasha Warren
1.0 credit
Lecture: T / 3:30-5:00 pm / OCH S004 
Class Number: 12553

MUEN 3630, Section 2: Double Reed Ensemble

Aaron Hill
1.0 credit
Lecture: T / 5:15-6:45 pm / OCH 113
Class Number: 12551

Restricted to: Instructor permission by audition.

MUEN 3630, Section 3: Flute Ensemble

Angela Kelly
1.0 credit
Lecture: T / 3:30-5:00 pm / OCH 113
Class Number: 12549

Restricted to: Instructor permission by audition.

MUEN 3630, Section 4: Woodwind Ensemble

Elizabeth Roberts
1.0 credit
Lecture: TBA
Class Number: 12555

Explore, rehearse and perform woodwind chamber music, including both standard and more obscure works. Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music! Instructor permission and audition required.

MUEN 3630, Section 5: Brass Quintet

Paul Neebe
1.0 credit
Lecture: W / 3:30-4:30 pm / OCH 107
Class Number: 12561

Restricted to: Instructor permission by audition.

MUEN 3630: Jazz Chamber Ensemble

1.0 credit

Lecture / Section 7: Pete Spaar / R / 5:30-7:00 pm / OCH B018
Class Number: 12569

Lecture / Section 12: Pete Spaar / F / 12:30-2:00 pm / OCH B018
Class Number: 12571

Lecture / Section 21: Mike Rosensky / T / 5:30-7:00 pm / OCH B018
Class Number: 16261

Lecture / Section 22: Jeff Decker / F / 2:30-3:30 pm / OCH B018
Class Number: 16263

MUEN 3630, Section 8: Horn Ensemble

Susan Fritts
1.0 credit
Lecture: R / 2:00-3:30 pm / OCH B018
Class Number: 12557

Restricted to: Instructor permission by audition.

MUEN 3630, Section 9: Klezmer Ensemble

Joel Rubin
2.0 credits
Lecture: MW / 7:30-9:30 pm / OCH 107
Class Number: 12565

Klezmer, originally the ritual and celebratory music of the Yiddish-speaking Jews of Eastern Europe, was brought to North America by immigrants around the turn of the last century. Since the 1970s, a dynamic revival of this tradition has been taking place in America and beyond. Klezmer’s recent popularity has brought it far from its roots in medieval minstrelsy and Jewish ritual and into the sphere of mainstream culture. The traditional klezmer style presents the experienced instrumentalist with a range of technical challenges with its characteristic note bends, rubati, Baroque-style embellishments and other micro-improvisational techniques, opening up a world of expressive possibilities not available to them from either classical music or jazz. This music was passed on orally from generation to generation, and many of the ornaments which are so integral to the klezmer sound can only be approximated by Western staff notation – not to mention the patterns of improvised variation which are the cornerstone of the style. There will therefore be an emphasis on learning by ear as much as possible, but we will be using music in the form of lead sheets and other written instructional materials to supplement sound examples.

The class focuses on the study and performance of various traditions, including the klezmer traditions of New York between the two world wars, 19th century Eastern Europe, as well as original contemporary compositions. Emphasis will be on learning by ear, improvisation within a modal context, and learning to develop a cohesive ensemble sound. Concentration, practice, and good attendance are required of each ensemble member. Our planned outside guest artists for 2010-11 are clarinetist-composer Michael Winograd (Fall 2010; residency Nov. 8-11 with concert on Nov. 11, 2010) and violinist-composer Steven Greenman (Spring 2011; residency Apr. 11-14 with concert on Apr. 14, 2011). We will be learning and performing their original klezmer compositions.

Admission is by audition during first class period of semester or prior to that, by appointment with the instructor.

MUEN 3630, Section 10: Percussion Chamber Ensemble

I-Jen Fang
1.0 credit
Lecture: T / 9:30-10:50 am / OCH B018
Class Number: 12567

Restricted to Instructor permission by audition on first day of class.

Re-established in spring 2005 by I-Jen Fang, principal timpanist and percussionist with CUSO, the Percussion Ensemble is a chamber group that performs literature ranging from classical transcriptions to contemporary music. The ensemble draws upon a large family of pitched and non-pitched percussion instruments, and the number of players and amount of equipment varies greatly from piece to piece. Music reading skills and basic percussion technique on all percussion instruments is required. Previous percussion ensemble experience is highly recommended. If you are interested in joining please contact I-Jen Fang.

MUEN 3630, Section 15: Trombone Ensemble

Nathan Dishman
1.0 credit
Lecture: TBA
Class Number: 12563

Restricted to: Instructor permission by audition. Contact Nathan Dishman ( createEmail('nathandishman', 'yahoo.com');) to schedule an audition.

MUEN 3630, Section 16: Chamber Music Ensemble

David Colwell
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 12575

MUEN 3630, Section 17: Chamber Music Ensemble

Ayn Balija
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 12577

MUEN 3630, Section 18: Palladian Chamber Orchestra

David Sariti
1.0 credit, Instructor permission by audition
Lecture: R / 5:00-6:30 pm / OCH 113
Class Number: 12579

MUEN 3630, Section 20: Chamber Music Ensemble

Adam Carter
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 12581

MUEN 3630, Section 23: Chamber Music Ensemble

Mimi Tung
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 12561

MUEN 3650: University Singers

Michael Slon
2.0 credits
Lecture: MW / 3:30-5:30 pm / OCH 101
Class Number: 12585

The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from chant to the works of contemporary composers. Past repertoire has included Handel's Messiah, Bernstein's Chichester Psalms, the Brahms Requiem, and Mozart's Mass in C minor, as well as shorter a cappella works. Recent trips have taken the group to Atlanta, Charlotte, New York City, Philadelphia, Chicago, Cincinnati, and the National Cathedral in Washington D.C., as well as the campuses of other American universities for collaborative concerts. The group has also been heard on European tours in England, Italy, Belgium, Germany, and Switzerland. Recent highlights have included performances with the Charlottesville Symphony at the University of Virginia, a concert and workshop with Bobby McFerrin, and a concert tour of the Midwest.

Students in the University Singers come from all six of UVA's undergraduate schools, including Arts and Sciences, Education, and Engineering, as well as several of the University's graduate and professional schools. Together, they enjoy an esprit de corps that arises from the pursuit of musical excellence and the camaraderie the singers develop offstage.

All singers at the University - undergraduates, graduate students, staff, and faculty are encouraged to audition. University Singers is offered for two hours academic credit. Michael Slon, who has conducted choruses at the Oberlin Conservatory and Indiana University School of Music, is the conductor. For more information on the University Singers, please visit our webpage at: www.virginia.edu/music/usingers/. Restricted to: Instructor permission by audition.

MUEN 3651: Chamber Singers

Michael Slon
2.0 credits
Lecture: F / 1:00-3:15 pm / OCH 107
Class Number: 12583

Chamber Singers is a select ensemble drawn from the University Singers. The ensemble meets once a week and focuses on music for chamber choir ranging from the Renaissance to contemporary pieces. Recent performances have included the Palestrina Missa Brevis, Britten's Hymn to St. Cecilia, and Bach's Cantata 150, as well as contemporary works by Meredith Monk and Eric Whitacre, and arrangements of classic jazz standards by Harold Arlen, Jerome Kern, and the King's Singers.Interested singers will be considered for the chamber ensemble as part of their University Singers audition.

Restricted to: Instructor permission

MUEN 3670: Baroque Orchestra

David Sariti
1.0 credit
Lecture: R / 7:30-9:00 pm / OCH 113
Class Number: 15197

The Baroque Orchestra, directed by David Sariti, offers students the rare opportunity to perform music of the 17th and 18th centuries on the instruments for which it was written, at low pitch. Students use period instruments from the University's extensive collection, receiving personal instruction on the special techniques necessary, and must be accomplished on their modern counterparts.

MUEN 3680: New Music Ensemble

I-Jen Fang
1.0 credit
Lecture: R 3:45-5:15 pm, OCH B018
Class Number: 12587

Restricted to Instructor permission by audition on first day of class.

Performance of vocal and instrumental music of the twentieth century.

A one-credit course at the University of Virginia, the New Music Ensemble explores and performs exciting music of our time. The ensemble consists of dedicated instrumentalists, singers and UVa performance faculty. We perform a wide variety of contemporary music suitable to our instrumentation, including new works created by UVa composers.

The New Music Ensemble seeks dedicated instrumentalists and singers to explore and perform a wide variety of contemporary music. To audition, come to the first class with your instrument. If you are interested in joining please contact I-Jen Fang.

Open to UVA students, community musicians and advanced high school students.

 

Private Performance Instruction

For more information on registration procedures, please visit the lessons website.

Lesson Levels

There are three levels of private performance instruction.

200-level

For students playing at a beginner to intermediate level or with limited time to practice. One hour or one-half hour lessons, CR/NC (pass-fail), ½ or 1 credit. No jury, but optional performance opportunities will be available. Individual instructors may, as they wish, set definite performance requirements for their students. A limited number of scholarships may be possible, as funding permits, but normally students at this level should expect to pay for their lessons.

300-level

Advanced performance, for students working at the level of a music major, though not necessarily majoring in music. Prerequisite: at least one semester of 200-level study and a successful audition. Normally auditions take place during fall or spring juries; if this is not possible, students audition at the beginning of the semester. One hour lessons, graded, 2 credits. Students at this level should make a time-commitment to practicing appropriate for major-level study. We suggest a norm of at least 6 hours/week, though individual performance instructors may set a different (lower or higher) expectation of practice time as appropriate. Students play a jury at the end of the semester. Students at this level are often on scholarship, but scholarship support is always contingent on availability of funds.

400-level

Honors performance, to be taken for two semesters, by fourth year students preparing a senior recital or, in cases of unusual ability, by students preparing a full recital to be given before their fourth year. Prerequisite: 300-level study, successful written application in the semester before enrolling, and a successful audition (to be included in juries) at the end of the semester before applying. One hour lessons, graded, 2 credits. Jury at the end of the first semester, recital near the end of the second semester. Normally on scholarship, but scholarship support is always contingent on availability of funds.

Offerings

Lessons are offered in the following areas (See the Course Catalog for complete listings):

* Voice
* Piano, Organ, and Harpsichord
* Violin, Viola, Cello, Doublebass
* Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra-Bassoon
* Trombone, Trumpet, Tuba, French Horn, Saxophone, Jazz Improv
* Percussion, Jazz Drumming, Tabla, Afro-Cuban percussion
* Guitar, Chapman Stick, Banjo, Harp, Mandolin
* Supervised Performance (For students involved in types of solo or ensemble performance not offered through the department.)

 

Spring 2011

Undergraduate Academic Courses

MUSI 1310: Basic Musical Skills

3.0 credits
Lecture / Section 1 (Julia Cook): MWF / 11:00-11:50 am / OCH 107
Class Number: 13546

Lecture / Section 2 (Kevin Davis): MWF / 9:00-9:50 am / OCH 107
Class Number: 13549

Lecture / Section 3 (Jay Zolle): MWF / 10:00-10:50 am / OCH 107
Class Number: 13552

Not open to students already qualified to elect MUSI 3310 or 3320. Study of the rudiments of music and training in the ability to read music.

MUSI 1620: History of the Wind Band

William Pease
2.0 credits
Lecture: TR / 11:00-11:50 am / OCH B012
Class Number: 36588

 

MUSI 2020: Opera

Heather Wiebe
3.0 credits
Lecture: TR / 11:00-11:50 am / OCH 107
Class Number: 36602

Discussion Sections:

Section 101 (Stephanie Doktor): F / 9:00-9:50 am / OCH S008
Class Number: 36603

Section 102 (Stephanie Doktor): F / 10:00-10:50 am / OCH S008
Class Number: 36604

Section 103 (Stephanie Doktor): F / 11:00-11:50 am / OCH S008 
Class Number: 36605

This course will explore the history of opera primarily through a set of representative works, including Don Giovanni, The Barber of Seville, Carmen, La Traviata, and Wagner’s Ring Cycle. We will address the changing conventions of operatic music and dramaturgy, as well as the ways particular operas engaged with the societies that produced them, but we will also be concerned with the contemporary life of these operas, exploring issues raised by their staging for modern audiences and their mediation by film, recordings, digital media, and simulcast. No previous musical knowledge is required.

MUSI 2080: American Music

Joel Rubin
3.0 credits
Lecture: MW / 1:00-1:50 pm / TBA
Class Number: 18433

Discussion Sections:

Section 101 (Liza Sapir): R / 9:30-10:20 am / OCH 113
Class Number: 18436

Section 102 (Liza Sapir): R / 11:00-11:50 am / OCH 113 
Class Number: 18439

Section 103 (Liza Sapir): R / 12:30-1:20 pm / OCH 113
Class Number: 18442

This course will look at American vernacular (i.e. traditional and popular) musics from a cross-cultural, multi-ethnic perspective in an attempt to arrive at new understandings of American-ness and American music at the close of the first decade of the 21st century. We will start by examining the older paradigm of ³American roots music,² which in its classic definition comprises various African-American and white Anglo-Saxon Protestant rural traditions ­ particularly those such as blues and old-time string band music ­ that influenced the development of modern popular music traditions such as rock and roll and country and western. Over the course of the semester we will broaden our view of American vernacular musics ­ and consequently of American-ness ­ to include various other ethnic musical traditions, from Native American pow wows and Cajun to eastern European Jewish klezmer and Balkan-Gypsy-punk, in order reflect some of the developments in popular music making of the past 15 to 20 years in the wake of the emergence of such trends as multiculturalism, world music, indie rock and neo-cabaret. Along the way we will treat a complex and shifting web of concepts and factors such as folk, authenticity, revival, insider/outsider issues, appropriation, mediation and commercialization, agency, as well as ethnicity, race, gender, class, religion, regionalism, politics and nationalism, and popular tastes, looking at how they have influenced and interacted with the development of traditional and popular musical styles over the course of the 20th and 21st centuries. At the end, we will ask whether these trends represent signs of America¹s transforming itself into a post-ethnic, post-racial socity. This course is designed for non-music majors. There are no prerequisites, and musical literacy is not assumed.

MUSI 2120: History of Jazz Music

Scott DeVeaux
4.0 credits
Lecture: TR / 11:00-12:15 pm / Wilson 402
Class Number: 13555

Discussion Sections:

Section 101 (Erik DeLuca): W / 9:00-9:50 am / OCH 113
Class Number: 13558

Section 102 (Erik DeLuca): W / 10:00-10:50 am / OCH 113
Class Number: 13561

Section 103 (Erik DeLuca): W / 11:00-11:50 pm / OCH 008 
Class Number: 13564

Section 104 (Sara O'Halloran): W / 9:00-9:50 am / OCH S008
Class Number: 13567

Section 105 (Sara O'Halloran): W / 10:00-10:50 am / OCH S008
Class Number: 13570

Section 106 (Sara O'Halloran): T / 12:30-1:20 pm / OCH 113
Class Number: 13573

Section 107 (Paul Turowski): T / 9:30-10:20 am / OCH 113 
Class Number: 13576

Section 108 (Chris Peck): F / 9:00-9:50 am / OCH 113
Class Number: 13579

Section 109 (Chris Peck): T / 12:30-1:20 pm / OCH B012
Class Number: 13582

Section 110 (Braxton Sherouse): F / 11:00-11:50 am / OCH 113 
Class Number: 13606

Section 111 (Braxton Sherouse): F / 1:00-1:50 pm / OCH 113
Class Number: 13607

Section 112 (Braxton Sherouse): F / 12:00-12:50 pm / OCH S008 
Class Number: 13608

Section 113 (Paul Turowski): F / 1:00-1:50 pm, OCH S008 
Class Number: 13609

Section 114 (Paul Turowski): F / 2:00-2:50 pm / OCH S008
Class Number: 13610

Section 115 (Chris Peck): F / 10:00-10:50 pm / OCH 113 
Class Number: 13611

Survey of jazz music from before 1900 through the stylistic changes and trends of the twentieth century; important instrumental performers, composers, arrangers, and vocalists.

MUSI 2302: Keyboard Skills (Beginning)

Peter D'Elia
2.0 credits, Instructor Permission
Lecture: MW / 1:00-1:50 pm / OCH 113
Class Number: 18415

Introductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.

MUSI 2304: Keyboard Skills (Intermediate)

Peter D'Elia
2.0 credits, Instructor Permission
Lecture: MW / 11:00-11:50 am / OCH 113
Class Number: 18418

Intermediate keyboard skills for students with some previous musical experience. Satisfies the performance requirement for music majors. Restricted to: Instructor permission by audition.

MUSI 2306: Fretboard Harmony

Mike Rosensky
2.0 credits, Instructor Permission
Lecture: MWF / 1:00-1:50 / OCH B012

The level of this course will vary, anywhere from beginning to advanced, each semester depending on the guitar experience of students who enroll. Students should contact Mike Rosensky (createEmail('mlr5q');) during pre-registration letting him know of their interest in the course and of their intent to show up for the first class of the semester when the level and the make-up of the class will be ultimately determined - please save questions for the first day of class because I won't have any specifics about the course until I see who shows up.

In Fretboard Harmony a theory-based approach will be taken to understanding how musical materials (scales, arpeggios, chord voicings) "fit" on the guitar. The majority of class meeting time is spent with guitars in hand "drilling" new material. Practice methods will be explored, with an emphasis on learning how to practice effectively and efficiently.

MUSI 2340: Learn to Groove

Robert Jospe
2.0 credits

Lecture / Section 1: MW / 11:00-11:50 am / OCH B018
Class Number: 18427

Lecture / Section 2: MW / 10:00-10:50 am / OCH B018
Class Number: 36612

"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn To Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have or purchase a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate.

MUSI 2350: Technosonics: Digital Music and Sound Art Composition

Ted Coffey
3.0 credits
Lecture: MW / 12:00-12:50 / Wilson 301 
Class Number: 18391

Discussion Sections:

Section 101 (Yuri Spitsyn): M / 9:00-9:50 am / Wilson 306 
Class Number: 20278

Section 102 (Yuri Spitsyn): M / 10:00-10:50 am / Wilson 306
Class Number: 20281

Section 103 (Jonathan Zorn): M / 11:00-11:50 am / Wilson 306
Class Number: 20284

Section 104 (Yuri Spitsyn): R / 1:00-1:50 pm / Wilson 306
Class Number: 20287

Section 105 (Jonathan Zorn): T / 10:00-10:50 am / Wilson 306
Class Number: 20290

Section 106 (Jonathan Zorn): M / 1:00-1:50 pm / Wilson 306
Class Number: 20293

This class (www.technosonics.net) explores the history, theory and practice of digital music and sound art. Students learn tools and techniques of music technology that inform many genres and traditions. In addition to historical and theoretical concerns, students will experiment with digital tools for musical creation.

MUSI 2600: Jazz Improvisation

John D'earth
3.0 credits
Lecture: TR / 2:00-3:30 pm / OCH B012
Class Number: 23601

The Jazz Improvisation Workshop explores the basic techniques and procedures for improvising in jazz and other musical contexts. No previous jazz or improvising experience is required but students must demonstrate a degree of fluency on their main instrument, an ability to read music and some familiarity with the basics of music theory. An individual interview/audition with the instructor is required before registering for this class.

MUSI 3040: Studies in Twentieth Century Music

Heather Wiebe
3.0 credits
Lecture: TR / 2:00-3:15 pm / OCH 107
Class Number: 18409

An exploration of European and American art music from WW1 to 2000. This course is organized around a set of debates that have occupied composers, critics, and listeners throughout the 20th century. How should musical art relate to popular music, film music, and cultural commodification? How should new music situate itself in relation to the weighty tradition of the 19th century, and how should it connect with the musical traditions of distant times and places? How could the limits of music be pushed, and how could its basic cultural and social function be re-imagined, especially through new technology? What kind of political efficacy could and should musical art have? For each of these questions, we will look at a set of musical works and criticism from across the century, while thinking simultaneously about the specific historical concerns that shape each response.

Fulfills part of the "Critical and comparative studies in music" requirement for majors.

Prerequisite: MUSI 3310

MUSI 3050: Music and Discourse Since 1900

Fred Maus
3.0 credits
Lecture: MWF / 12:00-12:50 pm / OCH 107
Class Number: 13585

Studies the range of music that has flourished in the twentieth century, including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches.

Required of all majors; fulfills the "Introductory course" requirement for majors.

Prerequisite: The ability to read music, or any three-credit course in music, or instructor permission.

MUSI 3080: American Musics

Jason Kirby
3.0 credits
Lecturer: TR / 12:30-1:45 pm /OCH 107
Class Number: 37769

Popular Music as “Alternative” Culture, 1964 to the present

Punks. Hippies. Rude boys. B-Boys. Where do they all come from?

This course is an historical overview of popular musicians who present themselves as “outside of society”. Although “alternative” music as a genre category did not break through commercially until 1991, the concept dates back at least to the rock counterculture of the 1960s, which is where this course begins. Investigating musical genres ranging from hardcore punk to bluegrass to classic rock to house, and performers ranging from Prince to Public Enemy to Bob Dylan to Lady Gaga, this course considers questions such as: How can popular music, created and consumed in a capitalist marketplace, consider itself rebellious? Are fans of this rebel music autonomous free-thinkers, commercial trend-hoppers, both, or neither? In what ways is the history of “alternative” popular music also the history of movements toward political and social change, from the Civil Rights movement of the 1960s to the Riot Grrrl feminist movement of the 1990s? How has the development of new musical technologies, from the cassette tape to the mp3, continuously changed our understanding of “alternative” popular music?

MUSI 3090: Performance in Africa

Michelle Kisliuk
4.0 credits
Lecturer: TR / 4:00-4:50 pm /OCH 107
Class Number: 13588

This course explores performance in Africa through reading, discussion, audio and video examples, hands-on practice, and – new this semester – teaching and performing with local school children. The course meets together with MUSI 3690 (African Drumming and Dance Ensemble), but is a full academic course. Students in Music 3090 are automatically part of the UVA African Music and Dance Ensemble. Your role in the Ensemble as learner and performer is crucial to your overall work in the course. This semester, the Community Engagement initiative will involve students participating once a week in an after-school club, teaching and mentoring children from two area schools.

We will explore African music/dance styles – focusing on Ewe music from Ghana and Togo and BaAka music from the Central African Republic, but branching to other forms and genres – their sociomusical circumstances and processes, as well as performed resistances and responses to the colonial and post/neo-colonial encounter. In addition, we will address the politics and processes involved in translating performance practices from one cultural context to another. Each students’ personal relationship to the material/experience will be integrated into study. Readings, discussions, and written work will focus heavily on topics and issues related to the main music/dance traditions that we are learning to perform this semester, though we may venture beyond those areas from time to time. The course will explore both "traditional" and "popular" styles, leading us to question those categories.

There is an informal audition for this course. No experience is expected, just come to the first evening class meeting (5:15) ready to sing and dance (in groups).

Co-Prerequisite: MUSI 3690

Prerequisite: Instructor permission.

MUSI 3320: Theory II

3.0 credits

Lecture / Section 1: Peter Tschirhart / MWF / 10:00-10:50 am / OCH B012
Class Number: 13591

Lecture / Section 2: Victor Szabo / MWF / 9:00-9:50 am / OCH B012
Class Number: 13594

Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significant compositions by period composers.

MUSI 3332, 3334 and 3336: Musicianship I, II and III

1.0 credit

These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 333A, B, and C are co-requisites for MUSI 331, 332, and 431. This means that students pre-registering in the latter courses must also pre-register in MUSI 333A, B, or C unless they have already taken the highest level course and have been passed out of further co-requisite requirements. Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 333A, B, or C as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.

MUSI 3332: Musicianship I

Matt Jones
Lecture: MW / 12:00-12:50 pm / OCH 113
Class Number: 13597

MUSI 3334: Musicianship II

Emily Gale
Lecture: WF / 12:00-12:50 pm / OCH B012
Class Number: 13600

MUSI 3336: Musicianship III

Courtney Kleftis
Lecture: M / 12:00-12:50 pm / OCH B012 and F / 12:00-12:50 pm / OCH 113
Class Number: 13603

MUSI 3370 Songwriting

Steve Kemper
3.0 credits
Lecture: TR / 9:30-10:45 am / OCH 107 
Class Number: 37300

The goal of this course is to delve into songwriting; to develop aural, analytic and creative abilities and to join them together in understanding and composing songs. Students will learn about rhythm, melodic design, harmonic progression, lyrics and song forms. We will consider examples from a broad musical spectrum: blues, folk, art song, musicals, R & B, rock & roll, hip hop. Students will also perform songs they have composed during the semester.

MUSI 3380: Introduction to Post-Tonal Composition

Judith Shatin
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH B012
Class Number: 36613

This course is an introduction to post-tonal compositional techniques in Western concert music of the 20th and 21st centuries. The course will survey a multiplicity of innovative approaches to harmony, rhythm, timbre, texture, and compositional form. Topics will include atonal, serial, chance, experimental, spectral, electronic, minimal, and improvised music. Coursework will focus on instrumental composition and creative assignments, as well as analytic listening and writing assignments. We will perform pieces in class ourselves, and will also have some visiting performers.

Proficiency on an instrument or voice is required, as is the ability to read scores.

MUSI 4510: Cultural and Historical Studies: Music and Sexuality

Fred Maus
3.0 credits
Lecture: MW / 2:00-3:15 pm / OCH 113
Class Number: 18412

Drawing on queer and feminist studies, we will examine a range of topics in popular music and classical music. We will consider relationships between classical composers’ sexualities and their music; queer fandom of opera and musical theater; women’s relations to popular music; “women’s music” and riot grrrl; disco and dance club cultures; queer participation in punk subcultures; and more.

MUSI 4520: Critical Studies of Music: Musical Avant-gardes

Liz Lindau
3.0 credits
Lecture: TR / 11:00-12:15 pm / OCH S008
Class Number: 36614

What does it mean to describe music as “avant-garde”? Since the 1910s, this term has been used to praise (or deride) music and art that is new, irreverent, innovative, or challenging. Journalists have described popular as well as “classical” music as “avant-garde” since the 1960s. This course will explore avant-gardism within a variety of different musical genres. We’ll look at experimental composers John Cage and Edgard Varèse, as well as seminal “out” jazz recordings like John Coltrane’s Ascension and Ornette Coleman’s Free Jazz. We’ll discuss rock ’n’ roll’s relationship with the avant-garde, exemplified by songs like the Beatles’ “Revolution No. 9,” and the Velvet Underground’s “Sister Ray.” We’ll investigate folk music’s unlikely alliance with the avant-garde through satirical 1960s band the Fugs and more recent “freak folk” acts. Throughout the course, we will contextualize musical examples with related developments and techniques in film, literature, and visual art. No previous musical training required.

MUSI 4524: Field Research and Ethnography of Performance

Michelle Kisliuk
3.0 credits
Lecture: M / 2:00-4:30 pm / OCH S008
Class Number: 37771

Writing ethnography is writing life. A redoubled attention to field experience is reshaping the nature of ethnographic inquiry, arising in particular ways within performance studies and ethnomusicology. This course serves as a graduate introduction to field research and to ethnographic writing, via ethnomusicology and performance studies/theory. Working with and critiquing ideas such as those presented by Stoller, Rice, Clifford, Kirshenblatt-Gimblett and Schechner, we will spend the semester exploring epistemological, ethical, and aesthetic issues as they relate to field research, pushing the envelope of "creative non-fiction" in the ethnographic realm, including the idea of addressing ethnography within performance. As a group we will discuss ethnographic texts such as those by Hahn, Bithel, Slkar, and Hagedorn. This is a highly interactive seminar in which we develop a trusting, challenging, and dynamic intellectual community.

 

MUSI 4533: Advanced Musicianship

Michael Slon
2.0 credits
Lecture: MWF / 11:00-11:50 am / OCH B012 
Class Number: 36616

This class is intended to extend students' musicianship skills beyond the parameters of the 333x Musicianship classes. (Students should have already completed these classes to enroll in Advanced Musicianship.) The class will include practical experience in the following areas: score reading at the piano with attention to multiple clefs; harmonic, melodic, and rhythmic dictation from played excerpts and recordings; advanced sight-singing (including excerpts from Modus Novus); aural error detection in comparing printed scores with played examples; and exercises in improvisation and musical memory.Depending on enrollment, regular individual meetings with the instructor may be set up in lieu of some group class time.

MUSI 4540: Computer Sound Generation

Judith Shatin
3.0 credits
Lecture: W / 3:30-5:45 am / OCH B011
Class Number: 36618

Discussion Sections:

Section 101 (Lanier Sammons): TBA / OCH B011
Class Number: TBA

Section 102 (Lanier Sammons): TBA / OCH B011
Class Number: TBA

Section 103 (Lanier Sammons): TBA / OCH B011
Class Number: TBA

This course is designed to teach you about music perception, computer music composition and spatialization mainly using the tools of a flexible, open-source program called RT-Cmix, as well as some other applications. You will have listening and reading assignments that are linked to classwork in the study of music perception, computer music composition and orchestration, as well as assignments that will give plenty of hands-on experience in understanding how we hear and offering the opportunity to ccompose. For this class, you need to sign up both for the regular class meeting and one of the labs. Music that you create in the class will be considered for performance on our spring Digitalis concert. We will determine lab times in relation to student schedules. YourPrerequisite: MUSI 3390 or equivalent.

MUSI 4720: Instrumental Conducting II

Kate Tamarkin
3.0 credits
Lecture: TR / 2:00-3:15 pm / OCH 113 
Class Number: 36617

 

Graduate Courses

MUSI 7510: Studies in Music and Memory

Michael Puri
3.0 credits
Lecture: T / 2:00-4:30 pm / OCH S008 
Class Number: 36620

Memory and music are kindred phenomena that touch equally upon issues of selfhood, language, narrative, ethics, history, ecology, temporality, truth, and representation. Despite their evident entanglement, research into one has hardly begun to benefit from study of the other. In this course, we address this gap by immersing ourselves in memory studies and putting these discoveries and insights into fresh dialogue with current musical research.

Readings include texts by Aristotle, Augustine, Freud, Foucault, Halbwachs, Nietzsche, Nora, and Proust, among many others.

MUSI 7512: Studies in Jazz Literature

Scott DeVeaux
3.0 credits
Lecture: W / 2:00-4:30 pm / OCH S008 
Class Number: 36621

 

MUSI 7524: Field Research and Ethnography of Performance

Michelle Kisliuk
3.0 credits
Lecture: M / 2:00-4:30 pm / OCH S008
Class Number: 23598

Writing ethnography is writing life. A redoubled attention to field experience is reshaping the nature of ethnographic inquiry, arising in particular ways within performance studies and ethnomusicology. This course serves as a graduate introduction to field research and to ethnographic writing, via ethnomusicology and performance studies/theory. Working with and critiquing ideas such as those presented by Stoller, Rice, Clifford, Kirshenblatt-Gimblett and Schechner, we will spend the semester exploring epistemological, ethical, and aesthetic issues as they relate to field research, pushing the envelope of "creative non-fiction" in the ethnographic realm, including the idea of addressing ethnography within performance. As a group we will discuss ethnographic texts such as those by Hahn, Bithel, Slkar, and Hagedorn. This is a highly interactive seminar in which we develop a trusting, challenging, and dynamic intellectual community.

Prerequisite: Graduate standing or instructor permission

MUSI 7532: Musical Analysis

Ted Coffey
3.0 credits
Lecture: T / 5:30-8:00 pm / OCH S008 
Class Number: 36622

 

MUSI 7581: Composition

Judith Shatin
3.0 credits
Lecture: W / 3:30-5:45 pm / OCH B011 
Class Number: 36619

In this seminar we will consider the concept of counterpoint and its evolution and application in Renaissance polyphony, Baroque and Contemporary music. We will examine changing concepts of dissonance and its relation to temporal design, the changes in theoretical presentations, and the continued role of counterpoint in non-tonal frameworks. Coursework will include compositional exercises, analysis, and performance.

Prerequisite: MUSI 3390 or equivalent.

MUSI 8820: Advanced Composition

3.0 credits

MUSI 8840: Advanced Computer Music Composition

3.0 credits

MUSI 8910: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.

MUSI 8920: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.

MUSI 8960: Thesis

3.0 credits

MUSI 8993: Independent Study

1.0-3.0 credits

MUSI 8998: Non-topical Research

3.0-12.0 credits

MUSI 8999: Non-topical Research

3.0-12.0 credits

MUSI 9010: Directed Readings

3.0 credits

MUSI 9020: Directed Readings

3.0 credits

MUSI 9910: Supervised Research

3.0 credits

MUSI 9920: Supervised Research

3.0 credits

MUSI 9940: Independent Research

3.0 credits

 

MUSI 9998: Non-topical Research

3.0-12.0 credits

For doctoral dissertation, taken under the supervision of a dissertation director.

MUSI 9999: Non-topical Research

3.0-12.0 credits

For doctoral dissertation, taken under the supervision of a dissertation director.

 

Music Ensembles and Performance Instruction

For information on auditions, please visit our auditions website.

MUBD 2601: Basketball Band

Bill Pease
1.0 credits
Lecture: TW / 6:00-8:00 pm / TBA
Class Number: 25597

MUEN 2600: Concert Band

Andrew Koch
1.0 credits
Lecture: M / 6:00-7:45 pm, OCH 101
Class Number: 13255

MUEN 2690, 3690 and 4690: African Music and Dance Ensemble

(registration number depends on student seniority in the ensemble)

Michelle Kisliuk
2.0 credits
Lecture: TR / 5:00-7:15 pm / OCH 107

MUEN 2690 / Level I
Class Number:
 36635

MUEN 3690 / Level II
Class Number:
 13329

MUEN 4690 / Level III
Class Number:
 36636

The African Music and Dance Ensemble is a practical, hands-on course focusing on several music/dance forms from Western and Central Africa with performances during and at the end of the semester. Though no previous experience with music or dance is required, we will give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, and faithful attendance are required of each class member, the goal being to develop an ongoing U.Va. African Music and Dance Ensemble.

MUEN 3600: Jazz Ensemble

John D'earth
2.0 credits
Lecture: MR / 7:30-9:30 pm / OCH B018
Class Number: 13228

Led by internationally recognized jazz trumpeter/composer John D'earth, the Jazz Ensemble is a full-sized jazz big band performing the entire range of the jazz tradition (swing, bop, fusion) There is also a focus on “head arrangements,” group improvisation, world music and original compositions from within the band. You'll gain valuable experience in ensemble playing and in the art of solo improvisation. Private instruction in jazz improvisation and the opportunity to perform in small combos are offered in conjunction with this class. The Jazz Ensemble has presented guest artist concerts/residencies with such major figures as Michael Brecker, Joe Henderson, John Abercrombie, David Leibman, Bob Moses, Clark Terry, and Terrence Blanchard, among many others.

Restricted to: Instructor permission by audition.

MUEN 3610: Orchestra

Kate Tamarkin, Conductor
2.0 credits

Strings

Lecture / Section 100: W / 7:30-10:00 pm / OCH 101
Class Number: 13231

Sectionals: M / 5:30-7:00 pm

Section 101: Pete Spaar (Double Bass) / OCH B012
Class Number: 13237

Section 103: Ayn Balija (Viola) / OCH 113
Class Number: 13240

Section 104: David Colwell (Violin) / OCH 107
Class Number: 13243

Section 105: David Sariti (Violin) / OCH B018
Class Number: 13246

Section 106: Adam Carter (Cello) / OCH S004
Class Number: 26966

Brass / Woodwinds / Percussion

Lecture / Section 200: W / 7:30-10:00 pm / OCH 101
Class Number: 13234

Sectionals: W / 5:15-6:15 pm

Section 201: Elizabeth Roberts (Bassoon) / OCH B020
Class Number: 13248

Section 202: Tasha Warren (Clarinet) / TBA 
Class Number: 13251

Section 203: Angela Kelly (Flute) / TBA
Class Number: 13254

Section 204: Susan Fritts (Horn) / OCH 113
Class Number: 13256

Section 205: Aaron Hill (Oboe) / TBA
Class Number: 13259

Section 206: I-Jen Fang (Percussion) / B018
Class Number: 13262

Section 207: Nathan Dishman (Trombone) / S004
Class Number: 13265

Section 208: Paul Neebe (Trumpet) / OCH 107
Class Number: 13268

Restricted to: Instructor permission by audition.

MUEN 3620: Wind Ensemble

Bill Pease
2.0 credits
Lecture: M / 8:00-10:00 pm / OCH 101
Class Number: 18370

The Wind Ensemble is a 45-member ensemble that features the most outstanding brass, woodwind, and percussion players at the University. The focus of this ensemble is to explore new literature as well as perform the masterworks of the wind band era. The wind ensemble also works with outstanding guest performers and conductors. This group is predominately made up of non-music majors who enjoy the genre of the wind band. Open to all University of Virginia students, auditions are held prior to the start of each semester. For more information on the Wind Ensemble, please visit our webpage at: www.virginia.edu/music/ensembles/windensemble/.

Restricted to: Instructor permission by audition.

MUEN 3630, Section 1: Percussion Chamber Ensemble

I-Jen Fang
1.0 credit
Lecture: T / 7:30-10:00 pm / OCH B018
Class Number: 13271

Restricted to Instructor permission by audition on first day of class.

Re-established in spring 2005 by I-Jen Fang, principal timpanist and percussionist with CUSO, the Percussion Ensemble is a chamber group that performs literature ranging from classical transcriptions to contemporary music. The ensemble draws upon a large family of pitched and non-pitched percussion instruments, and the number of players and amount of equipment varies greatly from piece to piece. Music reading skills and basic percussion technique on all percussion instruments is required. Previous percussion ensemble experience is highly recommended. If you are interested in joining please contact I-Jen Fang.

MUEN 3630, Section 2: Woodwind Ensemble

Elizabeth Roberts
1.0 credit
Lecture: TBA
Class Number: 13274

MUEN 3630, Section 3: Trombone Ensemble

Nathan Dishman
1.0 credit
Lecture: TBA / OCH S004
Class Number: 13277

Restricted to: Instructor permission by audition. Contact Nathan Dishman (createEmail('nathandishman', 'yahoo.com');) to schedule an audition.

MUEN 3630, Section 4: Klezmer Ensemble

Joel Rubin
1.0 credit
Lecture: MW / 7:30-9:30 pm / OCH 113
Class Number: 13280

Klezmer, originally the ritual and celebratory music of the Yiddish-speaking Jews of Eastern Europe, was brought to North America by immigrants around the turn of the last century. Since the 1970s, a dynamic revival of this tradition has been taking place in America and beyond. Klezmer’s recent popularity has brought it far from its roots in medieval minstrelsy and Jewish ritual and into the sphere of mainstream culture. The traditional klezmer style presents the experienced instrumentalist with a range of technical challenges with its characteristic note bends, rubati, Baroque-style embellishments and other micro-improvisational techniques, opening up a world of expressive possibilities not available to them from either classical music or jazz. This music was passed on orally from generation to generation, and many of the ornaments which are so integral to the klezmer sound can only be approximated by Western staff notation – not to mention the patterns of improvised variation which are the cornerstone of the style. There will therefore be an emphasis on learning by ear as much as possible, but we will be using music in the form of lead sheets and other written instructional materials to supplement sound examples.

The class focuses on the study and performance of various traditions, including the klezmer traditions of New York between the two world wars, 19th century Eastern Europe, as well as original contemporary compositions. Emphasis will be on learning by ear, improvisation within a modal context, and learning to develop a cohesive ensemble sound. Concentration, practice, and good attendance are required of each ensemble member. Our planned outside guest artists for 2010-11 are clarinetist-composer Michael Winograd (Fall 2010; residency Nov. 8-11 with concert on Nov. 11, 2010) and violinist-composer Steven Greenman (Spring 2011; residency Apr. 11-14 with concert on Apr. 14, 2011). We will be learning and performing their original klezmer compositions.

Admission is by audition during first class period of semester or prior to that, by appointment with the instructor.

MUEN 3630, Section 5: Flute Ensemble

Angela Kelly
1.0 credit
Lecture: TBA
Class Number: 13283

MUEN 3630: Section 6: Double Reed Ensemble

Aaron Hill
1.0 credit
Lecture: TBA
Class Number: 13286

MUEN 3630: Section 7: Clarinet Ensemble

Tasha Warren
1.0 credit
Lecture: TBA
Class Number: 13289

MUEN 3630, Section 8: Brass Quintet

Paul Neebe
1.0 credit
Lecture: W / 3:30-5:00 pm / OCH 107
Class Number: 13292

MUEN 3630: Jazz Chamber Ensemble

1.0 credit

Lecture / Section 10: Pete Spaar / R / 5:30-7:00 pm / OCH B018
Class Number: 13294

Lecture / Section 11: Mike Rosensky / T / 5:30-7:00 pm / OCH B018
Class Number: 13297

Lecture / Section 12: Jeff Decker / F / 2:00-3:30 pm / OCH B018
Class Number: 13300

Lecture / Section 13: Peter Spaar / F / 12:30-2:00 pm / OCH B018
Class Number: 13303

MUEN 3630, Section 14: Chamber Music Ensemble

Mimi Tung
2.0 credits, Instructor permission by audition
Lecture: TBA
Class Number: 13306

MUEN 3630, Section 15: Chamber Music Ensemble

David Colwell
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 13309

 

MUEN 3630, Section 16: Palladian Chamber Orchestra

David Sariti
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 13311

 

MUEN 3630, Section 17: Chamber Music Ensemble

Ayn Balija
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 13314

MUEN 3630, Section 18: Chamber Music Ensemble

Adam Carter
1.0 credit, Instructor permission by audition
Lecture: TBA
Class Number: 13317

MUEN 3630, Section 19: Horn Ensemble

Susan Fritts
1.0 credit
Lecture: TBA
Class Number: 36637

MUEN 3650: University Singers

Michael Slon
2.0 credits
Lecture: MW / 3:30-5:30 pm / OCH 101
Class Number: 13323

The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from chant to the works of contemporary composers. Past repertoire has included Bernstein's Chichester Psalms, the Brahms Requiem, Handel's Messiah, and Mozart's Mass in C minor, as well as shorter a cappella and accompanied works, including a recent co-commission from Eric Whitacre. Recent trips have taken the group to Atlanta, Charlotte, New York City, Philadelphia, Chicago, Cincinnati, and the National Cathedral in Washington D.C., as well as the campuses of other American universities for collaborative concerts. The group has also been heard on European tours in England, Italy, Belgium, Germany, and Switzerland. Recent highlights have included performances with the Charlottesville Symphony at the University of Virginia, a workshop with Bobby McFerrin, performances of the Bach Mass in B minor, and a concert tour of the Midwest.

Students in the University Singers come from all six of UVA's undergraduate schools, including Arts and Sciences, Education, and Engineering, as well as several of the University's graduate and professional schools. Together, they enjoy an esprit de corps that arises from the pursuit of musical excellence and the camaraderie the singers develop offstage.

All singers at the University - undergraduates, graduate students, staff, and faculty are encouraged to audition. University Singers is offered for two hours academic credit. Michael Slon, who has conducted choruses at the Oberlin Conservatory and Indiana University School of Music, is the conductor. For more information on the University Singers, please visit our webpage at: www.virginia.edu/music/usingers/. Restricted to: Instructor permission by audition.

MUEN 3651: Chamber Singers

Michael Slon
2.0 credits
Lecture: F / 1:00-3:15 pm / OCH 107
Class Number: 13320

Chamber Singers is a select ensemble drawn from the University Singers. The ensemble meets once a week and focuses on music for chamber choir ranging from the Renaissance to contemporary pieces. Recent performances have included the Palestrina Missa Brevis, Britten's Hymn to St. Cecilia, and Bach's Cantata 150, as well as contemporary works by Meredith Monk and Eric Whitacre, and arrangements of classic jazz standards by Harold Arlen, Jerome Kern, and the King's Singers. Interested singers will be considered for the chamber ensemble as part of their University Singers audition.

Restricted to: Instructor permission

MUEN 3670: Early Music Ensemble: Baroque Orchestra

David Sariti
1.0 credit
Lecture: R / 7:30-9:00 pm / OCH 113
Class Number: 18376

The Baroque Orchestra, directed by David Sariti, offers students the rare opportunity to perform music of the 17th and 18th centuries on the instruments for which it was written, at low pitch. Students use period instruments from the University's extensive collection, receiving personal instruction on the special techniques necessary, and must be accomplished on their modern counterparts.

MUEN 3680: New Music Ensemble

I-Jen Fang
1.0 credit
Lecture: R / 7:30-9:00 pm / OCH B018
Class Number: 13326

Restricted to Instructor permission by audition on first day of class.

Performance of vocal and instrumental music of the twentieth century.

A one-credit course at the University of Virginia, the New Music Ensemble explores and performs exciting music of our time. The ensemble consists of dedicated instrumentalists, singers and UVa performance faculty. We perform a wide variety of contemporary music suitable to our instrumentation, including new works created by UVa composers.

The New Music Ensemble seeks dedicated instrumentalists and singers to explore and perform a wide variety of contemporary music. To audition, come to the first class with your instrument. If you are interested in joining please contact I-Jen Fang.

Open to UVA students, community musicians and advanced high school students.

Private Performance Instruction

For more information on registration procedures, please visit the lessons website.

Lesson Levels

There are three levels of private performance instruction.

200-level

For students playing at a beginner to intermediate level or with limited time to practice. One hour or one-half hour lessons, CR/NC (pass-fail), ½ or 1 credit. No jury, but optional performance opportunities will be available. Individual instructors may, as they wish, set definite performance requirements for their students. A limited number of scholarships may be possible, as funding permits, but normally students at this level should expect to pay for their lessons.

300-level

Advanced performance, for students working at the level of a music major, though not necessarily majoring in music. Prerequisite: at least one semester of 200-level study and a successful audition. Normally auditions take place during fall or spring juries; if this is not possible, students audition at the beginning of the semester. One hour lessons, graded, 2 credits. Students at this level should make a time-commitment to practicing appropriate for major-level study. We suggest a norm of at least 6 hours/week, though individual performance instructors may set a different (lower or higher) expectation of practice time as appropriate. Students play a jury at the end of the semester. Students at this level are often on scholarship, but scholarship support is always contingent on availability of funds.

400-level

Honors performance, to be taken for two semesters, by fourth year students preparing a senior recital or, in cases of unusual ability, by students preparing a full recital to be given before their fourth year. Prerequisite: 300-level study, successful written application in the semester before enrolling, and a successful audition (to be included in juries) at the end of the semester before applying. One hour lessons, graded, 2 credits. Jury at the end of the first semester, recital near the end of the second semester. Normally on scholarship, but scholarship support is always contingent on availability of funds.

Offerings

Lessons are offered in the following areas (See the Course Catalog for complete listings):

* Voice
* Piano, Organ, and Harpsichord
* Violin, Viola, Cello, Doublebass
* Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra-Bassoon
* Trombone, Trumpet, Tuba, French Horn, Saxophone, Jazz Improv
* Percussion, Jazz Drumming, Tabla, Afro-Cuban perucssion
* Guitar, Chapman Stick, Banjo, Harp, Mandolin
* Supervised Performance (For students involved in types of solo or ensemble performance not offered through the department.

 

Summer 2011

Undergraduate Academic Courses

Session I: May 16 - June 11

MUSI 2570 / 4509: Gender, Sexuality and Race in Music Videos

3.0 credits
MTWRF 1:00-3:15 pm, OCH B012

 

Session II: June 13 - July 9

MUSI 1310: Basic Musical Skills

Victor Szabo
3.0 credits
MTWRF 10:30 am - 12:45 pm, OCH 107

 

MUSI 2390 / 3390: Music and Computers

Ted Coffey
3.0 credits
MTWRF 1:00-3:15 pm, OCH B012

MUSI 2390/3390 will introduce you to the dynamic field of computer music. You will learn about topics including acoustics; digital sound, editing, and processing; recording and multi-track mixing; and MIDI. You will also learn about the historical evolution of electronic and computer music, and will study selected examples of both. We will cover elements of compositional design and hear them applied in a range of styles. You will have ample hands-on experience, and the opportunity to create original music. This course counts for the composition component of the Music Major. Programs to be used include Bias Peak, Frequency, Digital performer and Sound Hack. We will be working on the Mac platform, though the concepts you learn will be broadly applicable.

 

Session III: July 11 - August 5

MUSI 1010: Introduction to Music

Peter Tschirhart
3.0 credits
MTWRF 10:30 am - 12:45 pm, OCH 107

 

MUSI 2120 / 3120: History of Jazz

Scott DeVeaux
3.0 credits
MTWRF 1:00-3:15 pm, OCH 107

This course examines the rich cultural heritage of "roots" genres such as blues, country, gospel, bluegrass and folk in American musical life. We'll take an historical approach to the subject, one which identifies the term "roots" as a late-20th-century invention used by journalists and fans to help explain the rise of more recent, related genres like rock and hip-hop. The course will examine the relationship of "roots" music to modern identity politics--particularly representations of African-Americans, working-class white Southerners, and rural Americans more broadly. We will track these representations in 20th century film, popular journalism, and musical performance itself. Extensive listening, writing and discussion will be required in this small seminar-style course.

MUSI 2570 / 4510: Music in Film and Video Games

Lanier Sammons
3.0 credits
MTWRF 1:00-3:15 pm

Address

McIntire Department of Music
112 Old Cabell Hall
P.O. Box 400176 Charlottesville, VA 22904-4176

Email: music@virginia.edu