Professor Garry Owens, Director.
Horn Professors Gillas and van Appledorn; Professors Barber, Bogle, Brittin, Cutter, Davis, Henry, Hobbs, Meek, Shinn, Stoune, Tanner, and Westney; Associate Professors Arnold, Bearden, Birdwell, Deahl, Dent, Dolter, Fried, Gettel, Hughes, Lewis, Paxton, Strieder, and Wilson; Assistant Professors Anderson, Brumfield, Dees, Ezerman, Garner, Gilbert, Lucas, McNeil, Neumann, Rogers, Santa, and Sharpe; Visiting Assistant Professor LeVelle.
The school offers study in the following graduate degree programs: MUSIC HISTORY AND LITERATURE, MUSIC THEORY, and PERFORMANCE, Master of Music; MUSIC EDUCATION, Master of Music Education; FINE ARTS, Doctor of Philosophy with an option in music.
The Master of Music degree consists of 30 hours of graduate work including recitals for the performance major or thesis for the music history and literature or music theory major. The Master of Music Education degree may be attained with a 30-hour program including a thesis or a 36-hour program without a thesis. For the performance or the accompanying-chamber music major, two public performances are required. Both performances must be judged satisfactory by the student's applied music faculty committee. The conducting student may present either two performances or one with a paper in support of the performance. A student whose recital is judged unsatisfactory will be permitted to present another recital program no earlier than four months from the date of the previous recital. The Master of Music degree in performance with a string pedagogy or a keyboard pedagogy specialization may be attained with a 36-hour program without thesis or recitals.
The music history specialization in the doctoral program requires one foreign language. Other specializations may or may not, depending upon the dissertation area. Except for the music history major (one foreign language), there is no foreign language requirement for the Master of Music degrees or for the Master of Music Education degree; however, vocal performance majors must demonstrate singing proficiency in French, German, and Italian.
All applicants for admission to graduate programs in music are required to submit scores for the Aptitude Test of the Graduate Record Examination. Students beginning a master's degree program take placement tests in music history and music theory, as well as in applied music if the major is performance or in music education if the major is music education. Texas Tech graduates with a bachelor's degree in music or music education are required to take the placement examinations. All students beginning doctoral study must complete preliminary examinations. All placement and preliminary examinations are administered by the School of Music during the registration period of each semester. Deficiencies, if any, may be removed by appropriate leveling work. The prospective graduate student should also consult the section of this catalog entitled "Admission to the Graduate School."
The music option in the Fine Arts doctoral program consists of a minimum of 63 semester hours including fine arts requirements and electives, an individualized music curriculum, and a dissertation. Specializations are in composition, music history, theory, conducting, music education, administration, performance, and pedagogy. See the section of this catalog entitled "Opportunities for Interdisciplinary StudyFine Arts" for further description of the program. Additional information may be obtained from the School of Music.
Courses in Music. (MUSI)
5100. Teaching Music in College (1).
5310. Historical and Critical Perspectives in Music (3:3:0). Historical and critical overview of the field including introduction to major theories and methodologies, study of particular artists, works or movements that provide insight into specific creative techniques, basic media and techniques of the field; and interdisciplinary relationships with the other arts. Not for music majors.
5314. Music in Contemporary Context (3:3:0). Focus on contemporary issues in the field including current artistic trends, theory and criticism, organization (e.g., funding, administration), and cultural policy (e.g., education, assessment, multicultural issues, censorship).
5341. Introduction to Technology for Musicians (3:3:0). Introduction to technological resources for all aspects of the musical experience, primarily from the standpoint of the Macintosh operating system. Topics covered include computer-assisted instruction, music printing, MIDI sequencing, digital sampling, HyperCard software development, and nonmusic topics such as word processing, graphics, multimedia, and electronic communication.
5342. Advanced Technology for Musicians (3:3:0). Prerequisite: MUSI 3341 or 5341 or consent of instructor. Intensive and extensive student-centered study topics to be selected from programming and software development in music, MIDI sequencing, multimedia development, advanced music notation, and digital sampling and synthesis.
7000. Research (V1-12).
7301. Music Bibliography and Research (3). Required of all doctoral students.
8000. Doctor's Dissertation (V1-12).
Courses in Applied Music. (MUAP)
Applied music instruction is offered in bassoon, clarinet, cornet or trumpet, double bass, euphonium, flute, guitar, harp, harpsichord, horn, oboe, percussion, piano, saxophone, trombone, tuba, viola, violin, violoncello, and voice.
5001. Applied Music (V1-4).
5101. Dimensions of Performance (1:1:1). Prerequisite: Consent of instructor. An interactive course open to all performers. Expressive movement, group dynamics, and free improvisation are used to maximize the spontaneity, confidence, and creativity of performers. May be repeated for credit.
5205. Jazz Improvisation (2). Prerequisite: Consent of instructor. Study and application of techniques of improvisation in jazz performance. May be repeated for credit.
5302. Applied Music Literature (3). Prerequisite: The undergraduate music literature courses required on the B.M. or B.M.E. degree. Advanced study of literature for the various applied music areas. Individual research projects and class performance.
5303. Pedagogy of Applied Music (3). Advanced study in the pedagogy of applied instrumental or vocal masterworks from easy-moderate to difficult. Emphasis in the pedagogy of interpretation, technique, and memorization.
5304. Techniques of String Education (3). Study of the latest trends in individual and group string instruction. Laboratory observation and analysis.
5305. String Methods and Etude Materials (3). Advanced studies in the materials, methods, procedures, philosophies, and/or techniques of string pedagogy. Final demonstration project, research paper, and/or recital required.
5306, 5307. Conducting Techniques and Analysis (3 each). Structural analysis and study of conducting problems. Individual instruction course. Participation in a major ensemble required. May be repeated with consent of instructor.
5313. Materials and Methods of Keyboard Instruction (3). Investigation of elementary and intermediate levels of piano methods, repertoire, and pedagogical procedures.
5314. Problems in Keyboard Pedagogy (3). Advanced studies in the materials, methods, procedures, philosophies, and/or techniques of keyboard pedagogy. Final demonstration project, research paper, and/or recital required.
5315. Techniques of Group Piano Instruction (3). Materials, methods, and procedures for teaching class piano, with particular attention to managing electronic keyboard laboratories.
5323. Singers' Diction I (3). Singers' diction in Latin, Italian, and English utilizing the International Phonetic Alphabet (IPA).
5324. Singers' Diction II (3). Prerequisite: MUAP 5323. Singers' diction in French and German utilizing the International Phonetic Alphabet (IPA).
6000. Thesis Recital (V1-6).
Courses in Music Composition. (MUCP)
5307. Contemporary Techniques (3). A study of current musical practices and the materials of new music, emphasizing the work of living composers. May be an individual study course.
5308, 5309. Composition (3 each). Prerequisite: MUCP 4402, MUTH 4303, or equivalent. Advanced writing for chamber ensembles, orchestra, band, chorus, or electronic media. May be individual study courses. May be repeated for credit.
5312. Advanced Orchestration (3). Scoring for large instrumental, choral, and dramatic ensembles. May be an individual study course.
Courses in Music Education. (MUED)
5211, 5212, 5213. Teaching Applied Music in the Public Schools I, II, III (2 each). Techniques, materials, and procedures for class and individual instruction of applied areas in the public schools. I. Woodwinds; II. Brass; III. Percussion.
5326. Instrumental Music Workshop (3:3:0). Prerequisite: Departmental approval. Emphasis upon the organization and development of instrumental groups in the public schools, and upon development of performance excellence by these groups. May be repeated in a new section.
5332. Learning and Music (3:3:0). A study of aesthetic, sociological, and psychological foundations of music education applied to teaching. An emphasis is given to historical development and present day applications.
5333. Tests, Measurements, and Evaluations in Music (3:3:0). A study of general descriptive statistical measures as applied to music testing. Emphasis is placed upon existing music aptitude and achievement tests used in the discipline.
5337. Workshop of Contemporary Trends in Elementary Music Education (3:3:0). For graduates in elementary education and for specialists in music at the elementary level. Music activities for elementary school students stressing techniques and materials of current pedagogical approaches. Topics will vary. May be repeated for credit.
5340. Introduction to Graduate Studies in Music Education (3:3:0). A study of historical perspectives, basic concepts, and present research practices in music education.
5344. Special Problems in Music Education (3). Prerequisite: Consent of advisor. Investigation and execution of special problems in the field of music education. May be repeated with a new problem.
6000. Master's Thesis (V1-6).
Courses in Music Ensemble. (MUEN)
5101. Choir (1:0:5).
5102. Music Theatre (1:0:5).
5103. Band (1:0:5).
5104. Orchestra (1:0:5).
5105. Jazz Ensemble (1:0:5).
5106. Chamber Ensemble (1:0:5).
5107. New Music Ensemble (1:0:5). The rehearsal and performance of twentieth-century music, with an emphasis upon the works of living composers. Audition required.
Courses in Music History and Literature. (MUHL)
5311. Symphonic Literature (3:3:0). Studies in the development of orchestral music from the Classic Period to the present.
5312. Chamber Music Literature (3:3:0). Studies in the development of chamber music from the Classic Period to the present.
5313. Great Composer Seminar (3:3:0). Critical examination of the works of a single composer, e.g., Bach, Haydn, Mozart, Beethoven, Wagner, Verdi, Brahms, or Stravinsky. A different composer will be studied each time the course is offered. May be repeated for credit.
5330. Music in the United States (3:3:0). A study of twentieth-century American music together with its historical and cultural background.
5332, 5333, 5334, 5335, 5336. Seminar in the History and Literature of Music; Renaissance (5332), Baroque (5333), Classic Period (5334), Romantic Period (5335), Twentieth Century (5336) (3:3:0 each). May be repeated with consent of instructor.
6000. Master's Thesis (V1-6).
Courses in Music Theory. (MUTH)
5300. Studies in Harmony and Voice Leading (3). Common-practice harmony, counterpoint, and figured bass. Prerequisite to enrollment in graduate music theory unless waived by placement or preliminary examination or by consent of the Division of Theory-Composition. Not intended to fulfill major or minor graduate degree requirements.
5303, 5304. Styles (3:3:0 each). A study of the development of harmonic, melodic, rhythmic, modal, and tonal practices from Gregorian Chant to the present.
5306. Pedagogy of Theory (3). A survey of the materials, organization, techniques, and problems of college freshman and sophomore theory courses.
5310. Modal Counterpoint (3). A study of sixteenth-century vocal counterpoint, beginning with the principles of melodic writing and concentrating on the analysis and synthesis of polyphonic textures, as found in the motet and the Mass.
5311. Tonal Counterpoint and Fugue (3). The analysis and synthesis of eighteenth-century counterpoint in two to four voices, concentrating upon the instrumental style and techniques of the invention and the fugue.
5313. Dictation and Sight-Singing (3). Studies in melodic, harmonic, and contrapuntal dictation, complemented by the sight-singing of equivalent materials. Prerequisite to enrollment in graduate music theory unless waived by placement or preliminary examination or by consent of the Division of TheoryComposition. Does not fulfill graduate degree requirements.
5314. Critical Approaches to Music Theory and Analysis (3). An introduction to advanced studies in music theory and analysis through a survey of current philosophical orientations, methodologies, and techniques; relationship between theory, analysis, criticism, and performance.
5315. Analytical Techniques (3:3:0). Topics will alternate between tonal music (Schenkerian analysis) and post-tonal music. May be repeated once for credit as the topic varies.
5320. Special Topics in Music Theory (3). Topics include history of music theory, advanced analysis projects, and other topics as needed. Some topics offered on-line. May be repeated for credit on different topic.
6000. Master's Thesis (V1-6).
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LAST UPDATE: 11-22-99