Faculty

D. Tyler Abbott, instructor (double bass, jazz string bass). B.M., 1999, Eastern Washington; M.M., 2003, Oregon. (2003)

Barbara Myers Baird, instructor (organ, harpsichord). B.Mus., 1971, Texas Christian; M.Mus., Southern Methodist, 1976; D.M.A., 1988, Oregon. (1986)

Wayne Bennett, professor (orchestra, graduate-level instrumental conducting, clarinet); director, orchestral activities; conductor, University Symphony Orchestra. B.M.E., 1968, Oklahoma State; M.M., 1969, Ph.D., 1974, North Texas. (1978)

Jack Boss, associate professor (theory, composition); summer session coordinator. B.Mus, 1979, M.Mus., 1981, Ohio State; Ph.D., 1991, Yale. (1995)

David R. Case, adjunct instructor (classical guitar). B.A., 1979, M.A., 1984, Oregon. (1975)

David Crumb, associate professor (composition, theory). B.M., 1985, Eastman School of Music; M.A., 1991, Ph.D., 1992, Pennsylvania. (1997)

Michael P. Denny, instructor (guitar, jazz studies). B.A., 1992, City College of New York; M.A., 1995, Oregon. (1995)

Ruth Dobson, adjunct instructor (voice). B.M.E., 1968, Montana; M.M., 1970, College-Conservatory of Music, Cincinnati. (2006)

Alexandre Dossin, assistant professor (piano, piano literature). M.F.A., 1996, Moscow Tchaikovsky Conservatory; D.M.A., 2001, Texas at Austin. (2006)

Charles Dowd, Philip H. Knight Professor of Music (timpani, percussion); conductor, Oregon Percussion Ensemble; director, percussion studies. B.A., 1970, San Jose State; M.A., 1971, Stanford. (1974)

John Fenn, adjunct assistant professor (ethnomusicology). B.A., 1992, California, San Diego; M.A., 1998, Ph.D., 2004, Indiana, Bloomington. (2005)

C. Brad Foley, professor (saxophone); dean. B.A., 1975, Ball State; M.M., 1977, D.M.A., 1983, Michigan. (2002)

Fritz Gearhart, associate professor (violin). B.M., 1986, M.M. 1988, Eastman School of Music. (1998)

Amy Goeser Kolb, assistant professor (oboe, theory). B.M., 1985, Wisconsin, Madison; M.M., 1991, Staatliche Hochschule für Musik, Cologne; D.M.A., 1999, State University of New York, Stony Brook. (2005)

Michael Grose, associate professor (tuba, basic music). B.M., 1984, M.M., 1985, Northwestern. (2001)
Gary Hobbs, adjunct instructor (jazz drumset). (1998)

John Jantzi, adjunct instructor (keyboard skills). Certificat d’études supérieures d’orgue avec mention bien, 1984, Conservatoire de Musique de Genève; A.A., 1974, Hesston; B.A., 1978, Seattle Pacific; M.M., 1995, Ph.D., 2002, Oregon. (2002)

Tegan Johnson, instructor (music education). B.Mus., 2001, Oregon; M.A.T., 2006, Oregon State. (2006)
Winifred Kerner, adjunct instructor (keyboard skills). B.A., 1978, M.A., 1980, Wesleyan; M.M., 1982, Michigan. (1999)

Tobias Koenigsberg, assistant professor (jazz piano, jazz studies); associate director, jazz studies. B.M., 1998, Oregon; M.M., 2003, Eastman School of Music. (2003)

Dean F. Kramer, associate professor (piano). B.Mus., 1973, Oberlin Conservatory; M.Mus., 1976, D.M.A., 1992, Texas at Austin. On leave winter and spring 2008. (1983)

Lori Kruckenberg, assistant professor (musicology). B.A., 1985, Bethany (Kansas); M.A., 1991, Ph.D., 1997, Iowa. (2001)

Robert Kyr, professor (composition, theory); director, Pacific Rim Gamelan, Vanguard Concert Series, Music Today Festival. B.A., 1974, Yale; postgraduate certificate, 1976, Royal College of Music; M.A., 1980, Pennsylvania; Ph.D., 1989, Harvard. (1990)

Steve Larson, Robert M. Trotter Memorial Chair in Music; associate professor (musicianship and theory). B.A., 1979, M.A., 1981, Oregon; Ph.D., 1987, Michigan. (1993)

Donald R. Latarski, adjunct instructor (jazz and blues guitar). B.S., 1979, Oregon. (1984)

Mark Levy, instructor (ethnomusicology, world music). B.A., 1969, Chicago; M.A., 1978, Ph.D., 1985, California, Los Angeles. (1986)

Kathryn Lucktenberg, associate professor (violin, chamber music). B.M., 1980, Curtis Institute. (1993)

Anne Dhu McLucas, professor (musicology, ethnomusicology). B.A., 1965, Colorado; M.A., 1968, Ph.D., 1975, Harvard. (1992)

Terry McQuilkin, adjunct instructor (composition). B.M., 1977, M.M., 1979, Southern California; D.M.A., 1995, Oregon. (2002)

Brian McWhorter, assistant professor (trumpet). B.Mus., 1998, Oregon; M.M., 2000, Juilliard. (2006)

Eric Mentzel, associate professor (voice, diction). B.M., 1980, Temple; M.F.A., 1983, Sarah Lawrence. (2002)

Lance Miller, recording engineer. A.A., 1982, Mt. Hood Community. (1998)

Debra Noel, adjunct instructor (music education). B.A., 1973, M.E., 2001, Oregon State. (2003)

Stephen W. Owen, professor (jazz studies); director, jazz studies. B.Mus.Ed., 1980, North Texas State; M.Mus., 1985, Northern Colorado. (1988)

Timothy Pack, instructor (theory, musicianship). B.A., 1993, Huntingdon College; M.M., 1998, Westminster Choir College, Rider; Ph.D., 2005, Indiana, Bloomington. (2005)

Phyllis M. Paul, assistant professor (elementary music education). B.M.E., 1983, Lenoir-Rhyne; M.M.E., 1990, Ph.D., 2003, Florida State. (2003)

Sharon J. Paul, associate professor (choral conducting). B.A., 1978, Pomona; M.F.A., 1981, California, Los Angeles; D.M.A., 1984, Stanford. (2000)

Timothy A. Paul, assistant professor (bands, instrumental music education); associate director, bands. B.M., 1983 Lenoir-Rhyne; M.M., 1989, Florida State; D.M.A., 2006, Colorado. (2004)

Kathleen L. Pengelly, adjunct instructor (music education). B.M., 1967, Lawrence (Wisconsin); M.Mus., 1977, Oregon. (2000)

Steven Pologe, associate professor (cello, chamber music). B.M., 1974, Eastman School of Music; M.M., 1978, Juilliard School. (1993)

Robert D. Ponto, associate professor; director of bands. B.M.E., 1979, Wisconsin, Eau Claire; M.M., 1985, Michigan, Ann Arbor. (1992)

Harry E. Price, professor (music education). B.M.E., 1974, M.M.E., 1975, Florida State; Ed.D., 1981, Syracuse. (2004)

David Riley, assistant professor (collaborative piano). B.M., 1992, Ithaca College; M.M., 1995, Cleveland Institute of Music; D.M.A., 2000, Eastman School of Music. (2004)

Helmuth Rilling, Helmuth Rilling Chair at the Oregon Bach Festival; conductor in residence; courtesy professor. State Music Academy, Stuttgart; Conservatorio Santa Cecilia, Rome. (1970)

Stephen Rodgers, assistant professor (theory, musicianship). M.Phil., 2001, Ph.D., 2005, Yale. (2005)

Douglas Scheuerell, adjunct instructor (tabla). B.Mus., 1971, Wisconsin, Madison. (1993)

Idit Shner, instructor (saxophone, jazz studies). B.M., Oklahoma City; M.M., Central Oklahoma. (2005)

Marian Elizabeth Smith, associate professor (musicology). B.A., 1976, Carleton; B.Mus., 1980, Texas at Austin; Ph.D., 1988, Yale. (1988)

Jeffrey Stolet, Philip H. Knight Professor of Music (music technology, intermedia collaboration); director, Future Music Oregon, CPU Concert Series. B.Mus., 1977, M.Mus., 1979, New Mexico; Ph.D., 1984, Texas at Austin. On leave fall 2007. (1988)

Leslie Straka, professor (viola, chamber music). B.M., 1976, M.Mus., 1978, D.M.A., 1987, Arizona State. (1987)

Ann Tedards, associate professor (voice, diction, pedagogy); associate dean; director, graduate studies. A.B., 1970, Sweet Briar; M.M., 1972, North Carolina at Chapel Hill; D.M.A., 1997, Peabody Conservatory of Music, Johns Hopkins. On leave winter, spring, and summer 2008. (1987)

Steve Vacchi, associate professor (bassoon, chamber music). B.M., 1990, Eastman School of Music; M.M., 1993, Hartt School; D.M.A., 1997, Louisiana State. (2000)

Lydia Van Dreel, assistant professor (horn). B.M., 1991, Wisconsin, Madison; M.M., 1993, Juilliard. (2006)

Marc Vanscheeuwijck, associate professor (musicology, collegium). B.A., 1982, M.A., 1984, Ph.D., 1995, Ghent. On leave fall 2008. (1995)

Milagro Vargas, associate professor (diction, pedagogy, voice). B.M., 1977, Oberlin Conservatory; M.M., 1981, Eastman School of Music. (1992)

Claire L. Wachter, associate professor (piano pedagogy, piano). B.M., 1975, Peabody Conservatory; M.M., 1977, D.M.A., 1993, Texas at Austin. (1991)

W. Sean Wagoner, instructor (percussion). B.Mus., 1994, M.Mus., 1997, D.M.A., 2001, Oregon. (2001)

Jeffrey Williams, professor (trombone, brass chamber music); associate dean; director, undergraduate studies; director, Brass Choir. B.Mus., 1965, North Texas; M.S., 1966, Illinois; D.M.A., 1974, North Texas. (1980)

Eric Wiltshire, assistant professor (instrumental music education); assistant director, bands. B.A., 1991, San Jose State; M.A., 1994, Washington State; Ph.D., 2006, Washington (Seattle). (2006)

Carl Woideck, instructor (jazz history, rock music history, blues history). B.Mus., 1981, M.S., 1989, Oregon. (1996)

Laura Zaerr, adjunct instructor (harp). B.Mus., 1984, Oregon; M.M., 1986, Eastman School of Music. (2001)

Emeriti

Exine Anderson Bailey, professor emerita. B.S., 1944, Minnesota; M.A., 1945, professional diploma, 1951, Columbia. (1951)

Peter Bergquist, professor emeritus. B.S., 1958, Mannes College; M.A., 1960, Ph.D., 1964, Columbia. (1964)

Leslie T. Breidenthal, professor emeritus. B.S., 1948, M.A., 1949, Columbia; A.Mus.Doc., 1965, Michigan. (1967)

Richard G. Clark, associate professor emeritus. B.S., 1964, M.A., 1971, Oregon; D.M.A., 1977, Washington (Seattle). (1982)

David P. Doerksen, associate professor emeritus. B.M.E., 1956, Willamette; M.M., 1969, Southern California; D.M.A., 1972, Oregon. (1983)

John Hamilton, professor emeritus. A.B., 1946, California, Berkeley; M.Mus., 1956, D.M.A., 1966, Southern California. (1959)

J. Robert Hladky, professor emeritus. B.Mus., 1950, Oklahoma State; M.Mus., performer’s certificate, 1952, A.Mus.Doc., 1959, Eastman School of Music. (1961)

Robert I. Hurwitz, professor emeritus. A.B., 1961, Brooklyn; M.Mus., 1965, Ph.D., 1970, Indiana. (1965)

Gary M. Martin, professor emeritus. B.A., 1961, M.A., 1963, Adams State; Ph.D., 1965, Oregon. (1966)

John C. McManus, professor emeritus. B.Mus.Ed., 1943, Northwestern; M.A., 1950, Columbia. (1967)

James A. Miller, professor emeritus. B.A., 1952, Goshen; M.Mus., 1956, A.Mus.Doc., 1963, Michigan. (1965)

J. Robert Moore, professor emeritus. B.Mus.Ed., 1961, M.Mus., 1962, Tulsa; D.M.A., 1980, Eastman School of Music. (1975)

Randall S. Moore, professor emeritus. B.A., 1963, M.A., 1965, Oregon; Ph.D., 1974, Florida State. (1974)

Harold Owen, professor emeritus. B.Mus., 1955, M.Mus., 1957, D.M.A., 1972, Southern California. (1966)

George W. Recker, associate professor emeritus. Former principal trumpet, Kennedy Center Opera House Orchestra, Florida State University, George Peabody College, 1964–69. (1983)

Morrette L. Rider, professor and dean emeritus. B.Mus., 1942, M.Mus., 1947, Michigan; D.Ed., 1955, Columbia. (1975)

H. Royce Saltzman, professor emeritus. B.A., 1950, Goshen; M.Mus., 1954, Northwestern; D.M.A., 1964, Southern California. (1964)

Victor Steinhardt, professor emeritus. B.Mus., 1964, Mount St. Mary’s; M.A., 1967, California, Los Angeles. (1968)

Stephen Stone, associate professor and assistant dean emeritus. B.S., 1949, M.S., 1956, D.M.A., 1971, Oregon. (1976)

Richard Trombley, associate professor emeritus. B.S., 1961, Juilliard School; M.Mus., 1962, Manhattan School; D.M.A., 1977, Stanford. (1963)

Monte Tubb, associate professor emeritus. B.A., 1956, Arkansas; M.A., 1960, Indiana. (1966)

Mary Lou Van Rysselberghe, senior instructor emerita. B.Mus., 1956, M.Mus., 1976, Oregon. (1977)

William C. Woods, professor emeritus. B.Mus., 1948, M.Mus., 1949, Southern California. (1950)

The date in parentheses at the end of each entry is the first year on the University of Oregon faculty.

Participating

Leslie K. Bennett, UO Libraries

About the School [back to top]

Facilities

The School of Music and Dance’s five-unit building complex includes the 550-seat Beall Concert Hall; separate band, choir, and orchestra rehearsal rooms with support facilities; more than thirty practice rooms; a small recital hall; studio offices, classrooms, and seminar rooms.

Collier House—the second-oldest building on the UO campus—has been added to the list of the school’s facilities. Built in 1885–86 by the Collier family, it is a rare example of a late Victorian house in bracketed style, with an Italianate-style interior popular in the Northwest in the late 1800s. Both the house and grounds are listed on the Inventory of Historic Sites and Structures. It has been a residence for university administrators, a faculty club, a restaurant, and a meeting house–pub. In August 2004, music history faculty offices and the Early Music Program were moved to Collier House, and a variety of courses, seminars, meetings, and programs are held there.

Music Services, located on the third floor of Knight Library, has composers’ complete works, music reference resources, current and bound periodicals, interactive music CD-ROM programs, and a large collection of books and scores. The Douglass Listening Room holds recordings (LPs, cassettes, and compact disks). Facilities include listening carrels with remote-control capability, individual listening rooms, and two group-listening rooms. The score and record collections’ strengths include music by Oregon composers, women composers, and contemporary publications provided by approval plans for recently published North American and European scores. The book collection includes a large German-language collection as well as standard music resources and most university press publications. Reference service to the collection is provided by Music Services. The complete music and recording collections are included in the UO Libraries online catalog, libweb.uoregon.edu.

The School of Music and Dance houses three pipe organs, including a nationally recognized organ by Jürgen Ahrend of East Friesland, Germany—a concert instrument unique in America—and other tracker organs by Flentrop and Schlicker. Two of the four harpsichords available for student use are French doubles by William Dowd.

Three computer-music studios, maintained for qualified students, contain the most recent music technology including programs for an array of synthesis techniques, algorithmic composition, MIDI sequencing and composition, and digital recording and editing in a fully automated mixing environment.

The university owns an extensive collection of orchestral and band instruments and a distinctive collection of ethnic instruments and reproductions of early musical instruments.

The Pacific Rim Gamelan performs on the beautiful instruments of Gamelan Suranadi Sari Indra Putra, donated to the school in 1986 by John and Claudia Lynn of Eugene. The ensemble is a multicultural composing and performing orchestra, and works composed by its members use instruments from around the world as well as gamelan instruments.

Kyai Tunjung Mulya (“Noble Lotus Blossom”) is a complete central Javanese court gamelan orchestra, consisting of more than eighty iron, brass, bronze, teak, and bamboo instruments. Classes and workshops in Javanese gamelan music are taught periodically by visiting musicians from Indonesia.

The Kammerer Computer Lab offers students the opportunity to become familiar with a variety of music notation and sequencing software programs. Users have access to the Internet; e-mail; computer-assisted instructional materials; and word-processing, desktop-publishing, and graphics programs for academic use, exploration, and development of computer skills. The lab is equipped for digital audio editing and recording.

Concerts and Recitals

More than 250 concerts and recitals are presented on campus throughout the year by visiting artists, members of the School of Music and Dance faculty (Faculty Artist Series), and more than twenty student ensembles. Other regularly scheduled concerts include performances by internationally famous artists sponsored by the Chamber Music Series and the World Music Series.

The annual Vanguard Concert Series features 20th-century music in concerts and workshops. Nationally prominent artists give a public concert and hold workshops in which they read, rehearse, and record music composed for them by members of the Composers Forum.

The biennial Music Today Festival, founded and directed by Robert Kyr, is a series of concerts and cultural events that celebrates 20th- and 21st-century music from around the world. The festival features regional performers and ensembles as well as internationally renowned artists.

Jazz concerts and workshops by prominent artists offer opportunities for university students to perform. The Jazz Studies Program hosts the Oregon Jazz Celebration, an annual weekend festival that includes workshops for middle school, high school, and college jazz ensembles.

Since 1969 the School of Music and Dance has hosted the annual Oregon Bach Festival during a two-week period in late June and early July. The festival, under artistic director and conductor Helmuth Rilling, combines an educational program in choral music for academic credit with the offering of some fifty public concerts and events. While the focus is Bach, major choral and instrumental works by other composers are programmed regularly. Distinguished soloists from around the world are featured with the festival chorus and orchestra. Every other year the School of Music and Dance offers a Composers Symposium in conjunction with the Oregon Bach Festival.

THEME (Theory, History, Ethnomusicology, Music Education)—a group of faculty members and graduate students interested in music research—meets three or four times a term on Friday afternoons to share the results of ongoing or recently completed research, to discuss the profession of teaching and research, and to hear guest speakers. Some recent guests are Michael Broyles, Thomas Christensen, Allen Forte, Robert Gjerdingen, Douglas Hofstadter, Andrew Homzy, Mark Johnson, Harald Krebs, Henry Martin, Susan McClary, Bruno Nettl, Harold Powers, Jihad Racy, Carl Schachter, Steven Strunk, Michael Tenzer, and Keith Waters.

Student Organizations

The professional music fraternity, Mu Phi Epsilon, maintains a chapter at the University of Oregon. There is also an active student chapter of the Music Educators National Conference.

Ensembles

University Singers, Concert Choir, Chamber Choir, Repertoire Singers, Oregon Wind Ensemble, Oregon Percussion Ensemble, Oregon Marching Band, Symphonic Band, Oregon Basketball Band, Campus Band, Campus Orchestra, Green Garter Band, Yellow Garter Band, University Symphony Orchestra, University Percussion Ensemble, Brass Choir, Trombone Ensemble, Jazz Guitar Ensemble, Brass Ensemble, Oregon Jazz Ensemble, Jazz Laboratory Bands, small jazz ensembles, University Gospel Ensemble, University Gospel Choir, Gospel Singers, Opera Ensemble, Pacific Rim Balinese Gamelan, Javanese Gamelan, Celtic Ensemble, East European Folk Ensemble, and many other small chamber ensembles offer membership and performance opportunities to qualified students.

The Collegium Musicum, a vocal-instrumental group, provides opportunities for the study of Renaissance, baroque, and classical music, using the school’s collection of reproductions of Renaissance and baroque instruments. The repertory and activities of these ensembles complement school courses in history, criticism, and performance-practice studies.

Financial Assistance

See the Student Financial Aid and Scholarships section of this catalog for complete information about financial aid, including loans.

Scholarships

The University of Oregon School of Music and Dance gratefully acknowledges the generous contributions of individuals, foundations, businesses, and organizations that have established named endowed and annual scholarships for the benefit of music and dance students. More than $200,000 is awarded annually in music scholarships. While a large portion of them are allocated for undergraduate study, limited scholarship funding is also available for graduate students. Information on music scholarships is available from the Music Undergraduate and Music Graduate offices of the School of Music and Dance, on the school’s website, or by telephone, (541) 346-1164 or -5664.

Admitted undergraduate and graduate music majors are eligible for scholarships, which may be granted for more than one year. Most music awards are given on the basis of musical achievement and academic accomplishment. Some are given on the basis of financial need. To determine scholarship recipients, the music and dance faculty relies on the applicant’s academic record, application file, and an audition (for music performance applicants). The audition should be in person if possible, but by CD, DVD, cassette tape, or video recording when necessary.

Graduate Teaching Fellowships

A limited number of Graduate Teaching Fellowships are available to admitted graduate music and dance majors. In addition to the fellowship stipend, tuition and health insurance coverage is paid by the university. For more information, applicants should contact the Music Graduate Office at (541) 346-5664 or the Department of Dance at (541) 346-3386.

Fees

The fee for private performance studies (studio instruction) is $50 per credit, per term.

Students must register for at least 2 credits of performance study. The number of lessons per term is determined in consultation with the instructor. Typically, it is one less than the number of weeks of instruction in the term.

A student who needs an accompanist is typically charged a fee by the accompanist.

Performance Studies

Courses in performance studies are listed with the MUP subject code. MUP courses fall into two general categories:

Basic and intermediate performance studies (MUP 100–162). Fee required

Performance Studies (MUP 170–191, 271–291, 341–361, 371–391, 471–491, 611–631, 641–661, 670–691, 741–761, 771–791). Fee required

Enrollment in any performance studies sequence must be preceded by an audition. Auditions are conducted to establish details (e.g., level, credits) for registration. Auditions also precede advancement from one level to another.

Performance studies courses carry 2 to 4 credits a term. Students giving recitals must be enrolled in performance studies and may enroll in Reading and Conference (MUS 405 or 605) during the term of the recital. The number of credits, up to 4, for Reading and Conference is determined by the instructor. Prerecital auditions are required to evaluate the student’s readiness for public performance. After the recital a faculty evaluation is required. If approval is given, the recital is formally acknowledged as a fulfilled degree requirement.

Enrollment in performance studies is sometimes limited because of faculty teaching loads. Under such circumstances, priority is given to continuing music majors. Students who are not assigned to a faculty member may study with a graduate teaching fellow for credit at extra cost.

Details concerning levels, repertory, and other matters are available upon request.

Piano studies students at the MUP 171 level or above have an accompanying requirement described under Ensemble Requirement.

General Procedures and Policies

Students are responsible for knowing about degree requirements and university and School of Music and Dance procedures and policies. This information is found in several sections of this catalog, including About the School, earlier in this section of the catalog. See also the Registration and Academic Policies and Graduate School sections.

Undergraduate Studies [back to top]

Nonmajors

Courses

The School of Music and Dance offers nonmajors a variety of music courses and performance ensembles. See course listings for details. The following courses, which are open to students who haven’t had musical instruction, satisfy some of the university’s general-education requirements. See Group Requirements and Multicultural Requirement in the Registration and Academic Policies section of this catalog.

Understanding Music (MUS 125)

Rock History, 1950–1970 (MUS 264)

Rock History, 1965 to Present (MUS 265)

History of the Blues (MUS 270)

Themes in the Humanities (HUM 300)

American Ethnic and Protest Music (MUS 349)

History of Jazz, 1900–1950 (MUJ 350)

History of Jazz, 1940 to Present (MUJ 351)

The Music of Bach and Handel (MUS 351)

Survey of Opera (MUS 353)

Beethoven (MUS 355)

Innovative Jazz Musicians (MUS 356)

Music in World Cultures (MUS 358)

Music of the Americas (MUS 359)

Music for Dancing (MUS 379)

Film: Drama, Photography, Music (MUS 380)

Art Film (MUS 381)

Introduction to Ethnomusicology (MUS 451)

Musical Instruments of the World (MUS 452)

Folk Music of the Balkans (MUS 453)

Music of India (MUS 454)

Native American Music (MUS 457)

Celtic Music (MUS 458)

African Music (MUS 459)

Music and Gender (MUS 460)

Courses are occasionally offered under Special Studies (MUS 199), Seminar (MUS 407), Experimental Course (MUS 410). These courses do not fulfill general-education requirements.

Ensembles

Course numbers through 499 are for undergraduates; 500-, 600-, and 700-level courses are for graduate students.

East European Folk Ensemble (MUS 390, 690)

Collegium Musicum (MUS 391, 691)

Chamber Ensemble—Brass Choir, Brass Ensemble, Celtic Ensemble, Studio Guitar Ensemble, Trombone Ensemble, Tuba Euphonium Ensemble, other ensembles as needed (MUS 394, 694)

Band—Green Garter Band, Oregon Basketball Band, Oregon Marching Band, Oregon Wind Ensemble, UO Campus Band, UO Symphonic Band, Yellow Garter Band (MUS 395, 695)

Orchestra—Campus Orchestra, Symphony Orchestra (MUS 396, 696)

Chorus—Chamber Choir, Concert Choir, Repertoire Singers, University Gospel Choir, University Gospel Ensemble, Gospel Singers, University Singers (MUS 397, 697)

Percussion Master Class—Oregon Percussion Ensemble, University Percussion Ensemble (MUS 411/511)

Jazz Laboratory Band III (MUJ 390, 690)

Jazz Laboratory Band II (MUJ 391, 691)

Oregon Jazz Ensemble (MUJ 392, 692)

Small Jazz Ensemble (MUJ 395, 695)

Opera Workshop (MUS 398, 698)

Workshop: Javanese Gamelan (MUS 408/508)

Balinese Gamelan (MUS 490/590)

Minor Requirements

The School of Music and Dance offers two minors: a minor in music and a minor in music education: elementary education.

Minor in Music

The minor in music requires a minimum of 26 credits, 15 of which must be upper division. A minimum of 15 credits must be taken in residence. Courses applied to the minor must be graded C– or better. Choose courses from the subject list below.

List of Courses by Subject

Jazz and Popular Music. Rock History, 1950–1970 (MUS 264), Rock History, 1965 to Present (MUS 265), History of the Blues (MUS 270), History of Jazz, 1900–1950 (MUJ 350), History of Jazz, 1940 to Present (MUJ 351), Innovative Jazz Musicians (MUS 356)

Performance and Ensemble. A maximum of 6 credits may be applied to the minor.

Theory. Understanding Music (MUS 125) or Music Theory I,II,III (MUS 131, 132, 133), Aural Skills I,II,III (MUS 134, 135, 136)

Western Art Music. Survey of Music History (MUS 267, 268, 269), Themes in the Humanities (HUM 300), The Music of Bach and Handel (MUS 351), Survey of Opera (MUS 353), Beethoven (MUS 355), Music and Gender (MUS 460)

World Music. Music in World Cultures (MUS 358), Music of the Americas (MUS 359), Introduction to Ethnomusicology (MUS 451), Musical Instruments of the World (MUS 452), Folk Music of the Balkans (MUS 453), Music of India (MUS 454)

Other music courses approved by petition to the undergraduate committee

Minor in Music Education: Elementary Education

The minor in music education: elementary education requires 26 credits, 9 of which must be upper division, in addition to the prerequisites. As a component of this minor, students must complete 23 credits of prerequisites or pass waiver examinations. Nine credits may be transferred from another college or university at the discretion of the coordinator for the music education: elementary education minor. These credits must have been completed in the past seven years. Up to 6 credits in the minor program may be taken pass/no pass (P/N); letter-graded courses applied to the minor must be passed with grades of C– or higher. At least 18 credits must be taken at the University of Oregon.

Choose from Contemporary Methods (MUE 420); Music Classroom Management (MUE 430); technique courses or performance studies in piano, recorder, guitar, or another instrument; summer workshops in music education with the consent of the minor coordinator

Music Major Programs

A detailed checklist of requirements for each degree is available in the undergraduate office, 140 Music Building.

Bachelor’s Degrees Offered

Bachelor of Arts (B.A.) in Music

Bachelor of Science (B.S.) in Music

Bachelor of Music (B.Mus.)

Jazz Studies

Music Composition

Music Education

Music Performance

The bachelor of arts in music is primarily for students who want a broad liberal-arts education while majoring in music. The bachelor of science in music is appropriate for those who want a broad education in the sciences or social sciences while majoring in music. Students who want strong preparation in music should work toward the bachelor of music degree.

Admission

Students who are eligible for admission to the university may apply to the School of Music and Dance for admission as music majors.

Auditions

The audition is the single most important factor in determining admission to the School of Music and Dance in most degree programs. Applicants to most music degree programs must audition or submit an audition tape as part of the admission process. Students who submit a tape are required to audition in person upon arrival on campus. Auditions, both for admission and for scholarships, are held in February each year or by appointment. A brochure describing the audition process is available from the undergraduate office.

Students who plan on seeking a B.A. with the history and literature option are not required to audition as part of the admission process, although an audition is required later for placement in performance studies. Admission to this degree program requires additional application materials. Details are available in the undergraduate office.

Admission to a Specific Degree Program

Initial admission to the School of Music and Dance is as a music major. Official admission to a degree program occurs after the student successfully completes two years of core studies.

Students who have been in residence for two years but have not successfully completed the two-year core are placed on probation as music majors. If these courses have not been completed by the end of the third year, the student is suspended from the major and must pay for lessons. Reinstatement to the major occurs ­automatically once the courses have been successfully completed.

Procedures and requirements for admission to specific degree programs in the School of Music and Dance vary significantly. Details are available from the undergraduate office. A brief summary follows:

Composition (B.Mus.). Successful completion of Composition I (MUS 240, 241, 242) with grades of B- or better.

Music Education (B.Mus.). Application to degree program, audition, interview. Students who have not made satisfactory progress may apply one time only.

Music—Music History and Literature Option and Music Theory Option (B.A.). Thorough review of student’s record and interview.

Music—Technology Option (B.S.). Three audio recordings of recent compositions (cassette, DAT, or CD formats)-candidates who have completed MUS 443, 444 may submit two compositions; one- to two-page description of experience with electronic and computer musical instruments, audio recording or related software, and reasons for enrolling in this option; list of software and hardware in which the student has experience and the level of expertise with each.

Performance—Brass (B.Mus.). Successful jury to the MUP 386, 387, 388, 389, or 390 level.

Performance—Strings (B.Mus). Successful jury to the MUP 375, 376, 377, or 378 level.

Performance—Voice (B.Mus). Successful jury to the MUP 374 level and permission to present junior recital.

Placement Examinations

Placement examinations are required of first-year music majors and transfer students. The freshman placement examination determines the appropriate placement for students beginning college-level study in music theory, aural skills, and keyboard skills. Students are placed either in preparatory courses or in undergraduate core courses. The transfer placement examination determines the appropriate core courses for students who have some college-level study in music. Study guides for these examinations are available in the undergraduate office.

Performance Studies. Placement in performance studies requires an audition, which can be scheduled by appointment. Dates for auditions, usually held winter term, are available in the undergraduate office. Details about repertory and procedure are available on request from the undergraduate office. Applicants who are unable to arrange an on-campus audition may submit a tape recording.

Jazz Studies. Students who want to enter the jazz studies major have a second audition. A placement examination specific to jazz studies is required of freshmen and transfer students who want to enter the program.

Program Requirements

Ensemble Requirements

There are two parts to the ensemble requirement: (1) each degree program requires the satisfactory completion of a specific number of terms of ensemble; (2) music majors enrolled in performance studies must enroll concurrently in a band, chorus, or orchestra, even if the ensemble requirement for their particular program has been completed. Students must audition for ensemble placement before each fall term. Students entering winter and spring terms audition at the time of entrance.

In making assignments, a faculty auditioning committee and the performance instructors give priority to the University Symphony Orchestra, University Singers, Chamber Choir, and Oregon Wind Ensemble. Assignments take into account the student’s preference, level of ability, major performance medium, educational and musical needs, and the needs of the school’s ensembles. Exceptions may be considered by the ensemble personnel committee after the student completes the following procedure:

1. Audition for the appropriate ensemble auditioning committee (choral or instrumental)

2. Complete a petition

3. Return the petition to the undergraduate office

Accompanying Requirement for Piano Students. Undergraduates studying piano at the MUP 171 level or higher as their primary performance medium must fulfill at least half their ensemble requirement by enrolling in Chamber Ensemble: Accompanying (MUS 394).

Exceptions to Ensemble Requirements

Students who meet one of the following exceptions are not required to audition for fall term ensemble placement.

• Harp, classical guitar, harpsichord, and organ students may enroll in a chamber ensemble instead of the large conducted ensembles

• Jazz studies majors must enroll in three terms of classical chamber ensemble, band, chorus, or orchestra. With the approval of the director of jazz studies, the remainder of the requirement may be fulfilled by enrolling in Small Jazz Ensemble (MUJ 395) or Chamber Ensemble (MUS 394) instead of large conducted ensembles

• Piano students enrolled in performance studies at the MUP 171 level or higher may enroll in Chamber Ensemble (MUS 394) or The Collaborative Pianist (MUS 421, 422, 423) instead of large conducted ensembles

• Composition students may enroll in three terms of Gamelan in partial fulfillment of the requirement

• Studio guitar students may enroll in a chamber, studio guitar, or jazz ensemble instead of the large conducted ensembles

Each major requires a specific number of terms of ensemble. Some majors require participation in specific ensembles.

General Requirements

In addition to the general university requirements for bachelor’s degrees (see the Registration and Academic Policies section of this catalog), all undergraduate degrees in music require the following:

Students must pass a musical repertoire identification examination before enrolling in MUS 267, 268, 269. Guided Listening (MUS 168) is offered as an aid to passing the examination.

Satisfactory Progress toward the Degree

Satisfactory progress toward the degree is monitored every term by the director of undergraduate studies.

Majors must earn a C- or better in every course—including courses taken outside the School of Music and Dance—required for their degree program.

Students are allowed two attempts to earn a grade of C– or better in any course required for a music major. A student who receives a grade of D+ or lower or a mark of W (withdrawal) or I (incomplete) for a required course is placed on probation. Probationary status must be removed by the end of the next term in which the course is offered. Any student who fails to fulfill this probation contract is dropped from the major.

Candidates for a B.Mus. in jazz studies, music education, or music performance must advance to the next performance level at least once every five terms.

Undergraduate music majors reenrolling after two or more consecutive terms of nonenrollment (excluding summer session) are required to reaudition for MUP-level placement as a music major and may be required to take placement exams in theory, aural skills, and keyboard skills. Students studying abroad or in an approved exchange program are exempt from the reaudition requirement. In addition, undergraduate majors admitted to a specific degree program prior to being nonenrolled for two or more consecutive terms may also be required to reapply for admittance to that specific degree program by their major department or area.

Typical First-Year Program

Specific Degree Requirements

Minimum requirements for a bachelor’s degree in music are 36 credits in the major, including 24 upper-division credits. In addition to general university requirements and the general requirements for all undergraduate music degrees, each undergraduate music degree has the following specific requirements.

Bachelor of Arts

B.A. in Music

Bachelor of arts degrees require proficiency in a foreign language (see the Registration and Academic Policies section of this catalog)

Demonstrated proficiency in piano (MUP 271) or three terms of piano performance (MUP 171) with grades of C- or better

Senior project; consult adviser for details

A total of at least 121 music credits, including electives and required courses

College Composition III (WR 123) strongly recommended

Bachelor of Science

B.S. in Music

Bachelor of science degrees require competence in mathematics or computer science (see the Registration and Academic Policies section of this catalog)

Bachelor of Music

B.Mus. in Jazz Studies

Candidates for the B.Mus. in jazz studies are not required to take the following core courses (listed under General Requirements, above): MUS 234, 235, 236, 237, 238, 239, 324, 325, 326.

Senior recital: consult jazz studies adviser for details

Continuation in the jazz studies program requires successful completion of sophomore or junior proficiency examinations

A total of at least 125 music credits including electives and required courses

B.Mus. in Music Composition

A total of at least 121 music credits including electives and required courses

Senior recital: a public performance of compositions written by the student under the guidance of the composition faculty

Final approval of the student’s recital and general qualifications by the composition faculty

B.Mus. in Music Education

A total of at least 125 music credits including required and elective courses

Minimum cumulative grade point average (GPA) of 2.50; at least two terms in residence

Admission to the music education program requires a completed application and faculty approval at the end of the sophomore year

Elementary Option. Students whose primary performance medium is piano must pass at least three terms at the MUP 341 level or above and pass at least three terms of voice performance studies at the MUP 274 level or above. Students whose primary performance medium is voice must pass at least three terms at the MUP 344 level or above and pass at least three terms of piano performance studies at the MUP 271 level or above. Students whose performance medium is a wind, percussion, or string instrument must pass at least three terms of voice at the MUP 274 level. Students must also pass three terms of Functional Piano (MUP 163).

Choral Option. Students must satisfy proficiency in both voice and piano studies. Students whose primary performance medium is piano must pass at least three terms of Performance Studies: Voice (MUP 344) or above and pass three terms of Performance Studies: Voice (MUP 274). Students whose primary performance medium is voice must pass at least three terms of MUP 344 level or above and pass three terms of Performance Studies: Piano (MUP 271). In addition, choral-option students must complete three terms of Functional Piano (MUP 163). Students whose primary performance medium is a wind, percussion, or string instrument must meet the performance and ensemble requirements listed above to fulfill the choral option.

Instrumental Option. Students whose primary performance medium is a wind, percussion, or string instrument must pass at least three terms at the MUP 300 level or above (piano, organ, recorder, harp, and guitar may not be used to meet instrumental option requirements)

The music education checklist is available from the music education chair, who has current requirements and information.

B.Mus. in Music Performance

Areas of specialization are bassoon, cello, clarinet, classical guitar, euphonium, flute, harp, harpsichord, horn, oboe, organ, percussion, piano, saxophone, string bass, studio guitar, trombone, trumpet, tuba, viola, violin, voice. Students may also specialize in more than one wind instrument. Consult studio teacher for details. Additional requirements for each option follow:

Voice Option. Proficiency in French, German, Italian equivalent to completion of one year of college study in each of two languages or two years of study in one language

Two terms of Introduction to Lyric Diction (MUS 155, 156). Consult adviser for details

Piano: three terms of Functional Piano (MUP 163) or equivalent

Chamber ensemble (MUS 394), one term

Piano Option. Six of the twelve terms of ensemble must be in Chamber Ensemble (MUS 394)

Piano Pedagogy I,II,III (MUE 471, 472, 473)

Practicum (MUE 409)

Prerecital auditions must be approved at least six weeks before the proposed recital date

Harpsichord and Organ Option. Six of the twelve terms of ensemble must be in Chamber Ensemble (MUS 394)

Strings, Woodwinds, Brass, Guitar, and Harp Option. In addition to the twelve terms of ensemble, at least three terms of Chamber Ensemble (MUS 394) are required

Percussion Option. In addition to twelve terms of ensemble, twelve terms of Percussion Master Class (MUS 411) and one term of Instrumental Techniques: Percussion (MUE 392) are required

Graduate Studies [back to top]

Fifth-Year Program for Initial Teacher Licensure

Students are admitted to the fifth-year program with graduate postbaccalaureate status, which does not constitute admission to the master’s degree program in music education. Students who want to complete the master’s degree as well as licensure must apply to the School of Music and Dance for graduate admission.
Music teacher licensure at the University of Oregon requires a bachelor’s degree in music education and completion of a fifth-year teacher education program. This five-term program—summer through summer—combines an academic year of clinical experience in the public schools with course work at the university. During the fall and winter terms, students spend time in public school settings; in the spring term they are full-time student teachers. Summer sessions are spent on course work that supports and builds on the activities and experiences of a year’s contact with public school students. Students are required to enroll in September Experience, which allows them to participate in the first few weeks of public school’s academic year before university classes begin fall term.

September Experience

Because the opening of the UO academic year does not coincide with the beginning of the K–12 school year, students in the music education licensure program miss the opportunity, as part of regularly scheduled practicums, to experience the beginning of the public school year, which typically begins the last week of August. Given that the preparation for and onset of these first weeks of instruction are a rich experience for preservice teachers, the School of Music and Dance requires students in the music education licensure program to enroll in September Experience.

The music education faculty designed this experience to augment learning acquired through other program activities and courses. However, since many program faculty members are not available for advising, coordination, or instruction during August and early September, the usual options of practicum and field study for such professional-practice experiences are not possible. Instead, this special enrollment opportunity offered during September Experience allows students to participate in these first few weeks of a typical school year without requiring supervision from the UO music faculty.

Using a course offered by the UO College of Education, Field Studies (MSEC 606), students enroll for 1 credit in fall term for full-time participation, typically four weeks. Grading is pass/no pass only. To comply with contract provisions of the Oregon University System, students are considered volunteers, and public school faculty members are free to assign them tasks that may be helpful during this busy period.

Areas of Emphasis

Band

Choir

Early childhood and elementary general music

Orchestra

More information is available from the chair of the music education area.

Students must make satisfactory progress throughout the program. Two unsatisfactory grades will result in removal from the program.

Students may enroll concurrently in the fifth-year licensure program and the M.Mus. in music education program. Courses from the fifth-year program may be used to fulfill requirements for the M.Mus. in music education.

Master’s Degree Programs

Master’s Degrees Offered

Master of Arts (M.A.)

Music History

Music Theory

Master of Music (M.Mus.)

Intermedia Music Technology

Jazz Studies

Composition-arranging

Instrumental performance

Music: Conducting

Choral

Orchestral

Wind ensemble

Music: Piano Pedagogy

Music Composition

Music Education

Music Performance

Brass: euphonium, horn, trombone, trumpet, tuba, multiple brass

Keyboard: harpsichord, organ, piano, collaborative piano

Percussion

Strings: cello, double bass, harp, viola, violin, violin-viola performance and pedagogy

Voice

Woodwinds: bassoon, clarinet, flute, oboe, saxophone, multiple woodwinds

Admission

Applicants must satisfy general university, Graduate School, and School of Music and Dance requirements governing admission. See the Graduate School section of this catalog for information about credits, residence, and transfer of graduate work taken elsewhere.

Submit an online Graduate Admission Application and a $50 (U.S.) nonrefundable application fee. The admission application can be printed out from the School of Music and Dance website at a link under the admissions menu.

Send to the Office of Admissions, 1217 University of Oregon, Eugene OR 97403-1217: Sealed, official transcripts from all colleges or universities where you received a bachelor’s degree and all subsequent degrees. Transcripts must show degrees awarded. International students must file the International Student Financial Statement, http://admissions.uoregon.edu/apply/pdf/ifinancial.pdf. In addition, if you are an international student from a non-English-speaking country and do not hold a degree from an American university, you must provide a TOEFL score of 575 or above (paper-based test) or 233 (computer-based test). The Office of Admissions will accept an electronic score or an official paper copy from the Educational Testing Service. You cannot be admitted without a qualifying TOEFL score. International students who hold degrees from English-speaking American, Canadian, or British universities are not required to provide a TOEFL score.

Send the following materials to Director of Graduate Studies, School of Music and Dance, 1225 University of Oregon, Eugene OR 97403-1225:

1. Sealed, official transcripts showing all college-level course work and degrees earned. If a degree is granted after the application is submitted, an additional transcript showing the posted degree must be submitted

2. Three written recommendations from people who know the applicant’s professional and personal qualifications, at least one of which should be from a professor in the proposed area of study

3. A statement of purpose for graduate study in music in which academic studies to date are summarized, the purposes of further study are described, and career goals are defined

4. A recent sample of the applicant’s scholarly writing, such as a term paper, major research project, or analysis paper

5. Copies of recent concert or recital programs (optional for music theory and piano pedagogy)

Following are additional admission requirements for specific programs:

M.A., Music History. Two research or analysis papers in history or ethnomusicology (one of which will satisfy #4 above).

M.A., Music Theory. Two papers in theory, history, or ethnomusicology, which exemplify the applicant’s scholarship and ability to develop a single, coherent line of reasoning (one of which will satisfy #4 above). Of the two papers, at least one should demonstrate the applicant’s ability to analyze tonal or atonal music or both.

M.Mus., Composition. Portfolio, including a demonstration of marked ability and technical skill in composition through scores and tapes of original works for large and small ensembles and evidence of a senior recital of the applicant’s works, a list of compositions, and a list of performances of compositions. An interview arranged directly with a member of the composition faculty is encouraged.

M.Mus., Conducting. Videotape or live audition-interview and copies of programs conducted. Two years of successful conducting experience supported by letters of recommendation, a live audition or videotape of conducting skills and programs.

M.Mus., lntermedia Music Technology. Substantial department portfolio required. See intermedia music technology admission requirements sheet for necessary recordings list, statements, and technology list, http://darkwing.uoregon.edu/%7Egradmus/IMTrequirements.pdf.

M.Mus., Jazz Studies. Preliminary audition tape or CD and, if selected, a live audition and repertoire list. In addition, for the jazz arranging emphasis, representative scores and recordings of arrangements, jazz compositions, or both. See the jazz studies requirements sheet, http://darkwing.uoregon.edu/%7Egradmus/jazzreq.pdf.

M.Mus., Music Education. Copies of programs conducted, a résumé, and a videotape of teaching. A campus visit and evidence of teaching experience are recommended. In addition, a statement describing whether the applicant intends to pursue the master of music full time, part time, as part of licensure, or only during summer sessions.

M.Mus., Performance. Tape, CD, or live audition, and repertoire list (see the Graduate Entrance Audition Requirements sheet, http://darkwing.uoregon.edu/%7Egradmus/Gradaudreq.pdf); proficiency to enter MUP 670–691. Any student admitted on the basis of a recorded performance must perform a live placement audition upon arrival on campus to begin studies.

M.Mus., Performance, Multiple Woodwind or Brass Instruments. In addition to the items required for M.Mus., Performance, proficiency to enter MUP 621–630 in two secondary instruments.

M.Mus., Piano Pedagogy. Tape, CD, or live audition, and repertoire list (see the Graduate Entrance Audition Requirements sheet, listed above); proficiency to enter MUP 641. Any student admitted on the basis of a recorded performance must perform a live placement audition upon arrival on campus to begin studies.

Entrance Examinations

Students who are admitted into a master’s degree program, either conditionally or unconditionally, must take entrance examinations in music theory and music history before their first term of enrollment. These examinations are given on or before the first day of classes each term. Students who do not pass the examinations (or portions of them) must complete the relevant review courses the first time they are offered.

Program Requirements

Detailed information about graduate degrees and the Procedures and Policies for Music Graduate Students booklet are available in the graduate office, 154 Music Building.

Ensemble Requirements

There are two parts to the ensemble requirement: (1) each degree program requires the satisfactory completion of a specific number of terms of ensemble; (2) for the M.Mus. in music performance, students enrolled in performance studies must enroll concurrently in a band, chorus, or orchestra, even if the ensemble requirement for their particular program has been completed. Students must audition for ensemble placement before each fall term. Students entering winter and spring terms audition at the time of entrance.

In making assignments, a faculty auditioning committee and the performance instructors give priority to the University Symphony Orchestra, University Singers, Chamber Choir, and Oregon Wind Ensemble. Assignments take into account the student’s preference, level of ability, major performance medium, educational and musical needs, and the needs of the school’s ensembles. Exceptions may be considered by the graduate committee and the ensemble personnel committee after the student completes the following procedure:

1. Audition for the appropriate ensemble auditioning committee (choral or instrumental)

2. Complete a petition

3. Return the petition to the graduate office

Exceptions to the Ensemble Requirements

• Students studying piano, collaborative piano, harpsichord, organ, harp, or classical guitar may enroll in The Collaborative Pianist (MUS 521, 522, 523), Reading and Conference: Instrumental Duo (MUS 605), Collegium Musicum (MUS 691), or Chamber Ensemble: Accompanying (MUS 694) instead of large conducted ensembles

• Voice majors must enroll in at least three terms of Chorus (MUS 697), but may enroll in Opera Workshop (MUS 698) for the remaining terms

Degree Requirements

A minimum of 9 credits must be taken in 600- or 700-level courses. Degree candidates must give the coordinator of graduate studies a copy of the terminal project—written and audio or video recording—for the Music Services archive in Knight Library. In addition to Graduate School requirements for master’s degrees (see the Graduate School section of this catalog), each degree program listed below has specific requirements.

Master of Arts

M.A. in Musicology

Language requirement: reading proficiency in a second language (usually German), demonstrated by two years of successful undergraduate study, one year of German for Reading Knowledge (GER 327, 328, 329), or by passing an examination

Completion requirements: an oral examination reviewing the thesis and degree course work

M.A. in Music Theory

Language requirement: reading proficiency in a second language (usually German), demonstrated by two years of successful undergraduate study or by passing an examination

Completion requirements: an oral examination reviewing the thesis and degree course work

Master of Music

M.Mus. in Intermedia Music Technology

In addition to the final oral examination, three examinations are associated with the degree: proficiency exam, a juried demonstration of the student’s mastery of specific software (Pro Tools, Cubase, Peak, Kyma, and Max); technical exam, a four-hour written examination on theoretical aspects of music technology; intermedia essay, a take-home exam during which an essay is written on artistic and aesthetic issues related to music technology and other arts. The essay is written after passing the proficiency and technical exams and is read by three faculty members; final oral examination, reviewing the terminal project and degree course work

M.Mus. in Jazz Studies

A total of 54 graduate credits including 18 in the area of emphasis and 18 in other music courses

Completion requirements: compositions or arrangements of substantial dimension composed under the guidance of a member of the jazz faculty. Public recital and recording of works composed under the guidance of a member of the jazz faculty and approved by the jazz studies committee. Final oral examination with emphasis on jazz history, literature, and pedagogy

A total of 54 graduate credits including 18 in the area of emphasis and 18 in other music courses

Completion requirements: two full-length public recitals, one of which demonstrates mastery of improvisation in historically significant styles. Each recital must have prior approval from the jazz studies committee. Final oral examination with emphasis on jazz history, literature, and pedagogy

M.Mus. in Music: Conducting

Electives in the area of emphasis, chosen in consultation with an adviser, to complete 54 graduate credits

Three consecutive terms in residence, excluding summer sessions

Completion requirements: conduct at least two public performances of choral ensembles (faculty approval required), piano proficiency examination, final oral examination that covers degree course work

Electives in the area of emphasis, chosen with an adviser, to complete 54 graduate credits

Completion requirements: academic year in residence, final oral examination that covers degree course work, juried rehearsal, juried conducting performance, and a research paper dealing with some aspect of orchestral conducting

Electives in the area of emphasis, chosen with an adviser, to complete 54 graduate credits

Completion requirements: academic year in residence, final oral examination that covers degree course work, juried rehearsal, juried conducting performance, and research paper dealing with some aspect of wind ensemble conducting

M.Mus. in Music: Piano Pedagogy

A total of at least 52 graduate credits

Final oral examination reviewing the project and degree course work

M.Mus. in Music Composition

Proficiency in notation

Proficiency in orchestration

Proficiency in piano (MUP 271) or proficiency in piano (MUP 171) and proficiency in another instrument or in voice (MUP 171 or above)

Public performance—usually a graduate recital lasting fifty minutes—of works composed under the guidance of a composition faculty member

Final oral examination reviewing the thesis and degree course work

M.Mus. in Music Education

Candidates are required to establish an area of emphasis.

Areas of Emphasis

Choral music education

Elementary general music education

Instrumental music education (band or orchestra)

Other areas of emphasis within or outside the School of Music and Dance can be arranged (consult music education chair and graduate committee)

Electives, chosen with an adviser, within or outside the School of Music and Dance to complete 51 graduate credits

Courses as needed in expository writing

Completion requirements. Choose one of the following options:

1. 9 credits in Thesis (MUS 503) and oral ­examination

2. Major project consisting of 2 to 4 credits in Research (MUE 601) and oral examination

3. Major project consisting of a recital (if performance studies is MUP 641-661 or above) and oral examination

The oral examination in each option covers all music education course work.

M.Mus. in Music Performance

Options are available in bassoon, cello, clarinet, early keyboard instruments, euphonium, flute, harp, horn, multiple woodwinds or brass, oboe, organ, percussion, collaborative piano, solo piano, saxophone, string bass, trombone, trumpet, tuba, viola, violin, violin and viola performance and pedagogy, voice.