I. The Rudi E. Scheidt School of Music is a member of the National Association of Schools of Music. It offers three graduate degrees in music: Master of Music, Doctor of Musical Arts, and Doctor of Philosophy.

A. Prerequisites

1. All requirements for admission to the Graduate School must be met before a student’s application will be considered by the School of Music. See the Admissions section of this catalog for further information.
2. Admission to graduate study in the School of Music is competitive and will be based on the student's demonstrated fitness for advanced academic work in music and for the specific demands of the proposed concentration.
3. A baccalaureate degree in music or the equivalent is normally expected before entrance into a graduate program in music. Students with degrees in other disciplines will be considered for admission but may be required to make up undergraduate credits in music history, music theory, and/or other subjects as necessary for their intended concentration.
4. Applicants are normally expected to submit current GRE (general) or MAT scores with the applications materials. Students who do not wish to use standardized test scores may substitute a written personal statement of at least three pages outlining their experience and their professional and scholarly goals; applicants who have been working as professional musicians or music teachers for at least four years may submit a portfolio of their accomplishments in lieu of the test scores or personal statement.
5. Auditions and Work Samples
1. Students in performance, sacred music, or music education must perform a successful audition for the music faculty in the appropriate area. Auditions are normally on the principal instrument only; students in the woodwinds specialization within the performance concentration must audition acceptably on three woodwind instruments.
2. Students in composition must submit acceptable compositions in various media to the composition faculty.
3. Students in music education must submit a written philosophy of music education.
4. Students in musicology must submit an acceptable writing sample (not necessarily on a musical subject) to the appropriate faculty.
6. Students planning a concentration in jazz and studio music must achieve a satisfactory grade on the proficiency examination administered by that division. Students showing deficiencies may be placed in appropriate undergraduate courses. Students planning to take applied jazz instruction at the 7000 level must perform an audition of classical and jazz literature in several styles. Students planning to take jazz composition/arranging must submit tapes and scores of several works for various media.
7. All students entering master’s or doctoral programs in music education are expected to hold a current teaching license in music; all requirements for licensure must be met before admission to graduate study.
8. All students entering a master’s or doctoral program in the School of Music, regardless of concentration, must take the music history and theory proficiency examinations given in the days preceding registration in each term. Students who pass these respective examinations may take any history or theory course they wish; those who fail are required either to retake and pass the test(s) or to take remedial coursework promptly. In the case of the theory requirement, such coursework ordinarily consists of MUTC 6202; in that of history, it is some combination of MUHL 3301, 3302, and/or 3303.
9. Students taking courses in vocal pedagogy or vocal performance must satisfactorily pass the proficiency examination in diction administered by the voice faculty. Students who fail this test must take MUSE 4211 and/or 4212 at the first opportunity.

The Rudi E. Scheidt School of Music offers the Master of Music degree with concentrations in performance, sacred music, music theory, pedagogy, music history, Orff-Schulwerk, music education, jazz and studio music, and composition. The School of Music also offers a concentration in Conducting; please contact the School for details.

Program objectives are: (1) development of competency in music theory, music history, bibliography, and pedagogical areas related to the discipline; (2) preparation for advanced study in Music; (3) preparation for teaching positions at the elementary, middle and high school level; and (4) preparation for auditions at orchestra or performing ensemble.

1. Prerequisites to Master’s Degree Candidacy
1. The student shall declare a concentration area at the time of application. Admission to graduate standing in that concentration, and any subsequent changes in concentration, must be approved by the appropriate area coordinator.
2. Evidence of keyboard proficiency is required of students in the music education, composition, and voice performance concentrations.
2. Prerequisites for Graduation
1. A student with a concentration in performance must successfully complete a hearing, normally before the area faculty, for the public recital and shall perform that recital to their satisfaction. Advisors may recommend outstanding performers for the Performer’s Certificate at any time after the recital by submitting a recording of the recital to the Honors and Awards Committee of the School of Music.
2. All students must pass a comprehensive examination administered by the School of Music.
3. A student of whom a thesis is required shall submit a thesis acceptable to his or her advisor and committee and to the Graduate School.
4. Certain concentrations have language requirements; see the descriptions of the individual programs below.
5. Complete details of this outline may be obtained by writing the Associate Director for Graduate Studies in Music, Rudi E. Scheidt School of Music.

1. Core Requirements (10 Hours)
1. Ensemble (1)
2. 9 hours of coursework in Music History and/or Music Theory and Bibliography. Any graduate music theory or history course may be used for this requirement with the exception of individual studies, pedagogy, or repertory courses.
3. Program Requirements (22-26 Hours)

1. Performance (bass, bassoon, cello, clarinet, conducting, euphonium, flute, guitar, harpsichord, horn, oboe, organ, percussion, piano, saxophone, trombone, trumpet, tuba, viola, viola da gamba, violin, voice, woodwinds)
1. Applied Music (individual lessons) (14; 12 for voice)
2. Ensemble (1)
3. Music Electives (6)
4. Recital MUAP 7999 (3)

NB: for students studying voice, a minimum of 6 undergraduate hours in each of French, German, and Italian and two semesters of Song Repertory are required. If such coursework has not been fulfilled during a student’s undergraduate degree, it can be taken during his or her time in the Graduate School.
2. Sacred Music
1. Applied Music (individual lessons in organ or voice) (8)
2. Sacred Music (9)
3. Ensemble (1)
4. Electives (3)
5. Recital MUAP 7999 (3)
3. Music History
1. Music History (12)
2. Minor Concentration in Music (6)
3. Ensemble (1)
4. Thesis MUHL 7999 or Lecture Recital MUAP 7899 (3)
5. Reading knowledge of one foreign language, preferably German, must be demonstrated before graduation.
6. Students taking the option of Lecture Recital must have a minimum of one semester of individual lessons at the 6000 level.
4. Pedagogy
1. Applied Music (individual lessons) (6-8)
2. Pedagogical Area (14-17)
3. Ensemble, or elective for students studying piano (1)
5. Orff-Schulwerk
1. Level I Orff-Schulwerk MUSE 6802 (3)
2. Level II Orff-Schulwerk MUSE 7103 (3)
3. Level III Orff-Schulwerk MUSE 7104 (3)
4. Master Class in Orff-Schulwerk MUSE 7214 (2)
5. Ensembles (1)
6. Electives (9)
6. Music Education
1. History and Philosophy of Music Education MUSE 7402 (3)
2. Survey of Research in Music Education MUSE 7403 (3)
3. Music Education Electives (12)
4. Applied Music (individual lessons) (2)
5. Ensemble (1)
6. Thesis MUSE 7996 (3)
7. Jazz and Studio Music
1. Advanced Improvisatory Practices and Materials MUTC 7010 (3)
2. History of Jazz MUHL 6806 (3)
3. Jazz Pedagogy MUSE 6512 (3)
4. Analytical Studies of Jazz Styles MUTC 7104 (3)
5. Lessons in performance, composition, and/or arranging (8)
6. Jazz Ensemble MUAP 7107 or Jazz Combo MUAP 7202 (3)
7. Recital MUAP 7996, Practicum MUID 7699, or Thesis MUHL 7996 (3)
8. Composition
1. Composition MUTC 7501 (14)
2. Composition Practicum MUTC 7599 (3)
3. Ensemble (1)
4. Music Electives (6)
9. Conducting
1. Advanced Conductint MUAP 7701 (12)
2. Score Study and Aural Training for Conductors MUAP 7703 (3)
3. Ensemble as appropriate to conducting specialty (Wind, Orchestra, or University Singers) (3)
4. Music Electives (4)
5. Recital MUAP 7999 (3)

V. Doctoral Degree Programs

The Rudi E. Scheidt School of Music offers the Doctor of Musical Arts degree with concentrations in performance, composition, sacred music, and music education. A concentration in Conducting has recently been approved; please contact the School for details. The School also offers the Doctor of Philosophy degree with a concentration in musicology.

1. Admission to Doctoral Programs

All auditions, writing or composition samples, proficiency examinations, etc., described above in "I.A. Prerequisites" are required for entry into doctoral and master’s programs alike; standards for the former are naturally higher than for the latter. Completion of a master’s degree in music at the University of Memphis does not guarantee admission to a doctoral program.
2. Prerequisites for Doctoral Degree Candidacy
1. Before declaring degree candidacy, doctoral students must have completed 40 hours of graduate coursework.
2. Doctoral candidates who did not have a course in Bibliography and Research Methods at the master’s level must complete MUHL 8400 during doctoral study. (Students in the PhD in music education may substitute MUSE 8403 for this requirement.)
3. Students must fulfill all university requirements, including residency for two consecutive semesters.
4. Students must successfully pass written and oral comprehensive examinations. For students in the DMA programs, these will consist of written examinations in music history and theory, followed by an oral examination by the doctoral committee; for those in the PhD programs, comprehensive examinations will be tailored to the individual student’s course of study and dissertation interest.
5. Unless otherwise specified, all doctoral programs have language requirements which may be satisfied by (a) successful completion of a foreign-language course at the 1102 level (or the equivalent) or higher, taken at an accredited institution within five years of entry into the doctoral program, or while the student is enrolled in the Graduate School; (b) successful completion of a foreign-language examination administered by the School of Music; or (c) successful completion of a course in computer programming language at the 6000 level or higher. Students who are native speakers of a foreign language may have this requirement waived for that language.
6. Upon completion of these prerequisites, the student may file the candidacy forms and work with his or her committee on the proposal(s) for the dissertation or dissertation equivalent.
3. The Dissertation or Dissertation Equivalent
1. The PhD program requires a doctoral dissertation on an approved scholarly or experimental topic. For most DMA programs, the conventional dissertation is replaced by a dissertation equivalent appropriate to the individual disciplines.
2. Submission of the Dissertation: All regulations of the Graduate School regarding the mechanics and submission of doctoral dissertations apply to dissertations and dissertation equivalents in music. All degree recitals are taped and a copy of the tape placed on file in the Music Library.
3. Dissertation defense: every doctoral candidate must defend his or her dissertation or dissertation equivalent before the doctoral committee. Other faculty may attend the dissertation defense or be invited to participate. At the conclusion of the defense, the results will be conveyed in writing by the major professor to the Associate Director for Graduate Studies.
4. Graduation: The timetable and requirements for graduation are set by the Graduate School and published elsewhere in this Bulletin.
4. Post-Master’s Assistantships

Study at the post-master’s level involves considerable sacrifice of time and often earning power to fulfill the requirement of most institutions that a full year must be spent in residence before a degree can be awarded. By awarding assistantships at the post-master’s level, the Rudi E. Scheidt School of Music seeks to attract the very best combination of talent and scholarship available and to encourage as many talented, mature students as possible to continue learning by providing basic subsistence during the year of residence. Normally, stipends to post-master’s students will be for one to three years.

The DMA degree is structured to allow maximum flexibility in designing a program around each student’s background and needs. Although the distribution of hours is firm, program requirements are to be regarded as general rather than fixed. The student’s preparation, experience, and stated goals are carefully evaluated before an individually selected course of study is prescribed.

Program objectives are: (1) competency in music theory, music history, advanced research, and pedagogical for classroom or studio; (2) preparation for college or university teaching; (3) preparation for auditions at orchestra or performing ensemble.

1. Concentration Area Requirements
1. Performance (bass, bassoon, cello, clarinet, euphonium, flute, guitar, harpsichord, horn, oboe, organ, percussion, piano, saxophone, trombone, trumpet, tuba, viola, viola da gamba, violin, voice) (63 hours)
1. 24 hours of private lessons on the major instrument
2. 18 hours of a minor area in music
3. 12 hours of electives, to be chosen with the approval of the student’s advisor
4. 9 hours Dissertation Equivalent: Three public recitals, of repertory approved by the doctoral committee, are required. Each must be preceded by a formal hearing before the student’s doctoral committee, two to four weeks before the recital itself. A formal research document on a topic approved by the committee will also be submitted to the Graduate School after the final defense; music covered by this document will also appear on one of the recitals. (Piano majors will be required to perform a chamber music recital in addition to the three solo recitals, and a standard concerto either in one of the solo recitals or on another occasion. These requirements are part of the applied music hours.)
2. Composition (60 hours)
1. 3 hours of MUTC 8599 Composition Practicum
2. 18 hours of MUTC 8501 Composition
3. 18 hours of a minor area in music
4. 12 hours of electives, to be chosen with the approval of the student’s advisor
5. 9 hours of MUTC 8999 Dissertation: The dissertation will consist of a work of significant scope.
3. Sacred Music (60 hours)
1. 9 hours of MUSA 8801 Studies in Sacred Music (topics to vary)
2. 18 hours in voice, vocal pedagogy, conducting, choral techniques, organ, sacred music, or Orff-Schulwerk
3. 12 hours of music minor, in one area not part of the music core
4. 12 hours of electives, to be chosen with the approval of the student’s advisor
5. 9 hours Dissertation Equivalent: The final project may take different forms and will reflect the minor as well as the sacred music major. It could be a conventional dissertation, or a series of recitals plus a doctoral research document, or a composition, or some combination.
4. Music Education (60-62 hours)
1. MUSE 8402 History and Philosophy of Music Education
2. 9 further hours of course work in music education
3. 6 hours of course work in music history
4. 6 hours of course work in music theory
5. EDPR 8541 Statistical Methods Applied to Education I
6. 3 hours further course work in professional education
7. 4 hours individual study in applied music
8. 2 hours ensemble
9. 14-16 hours general electives
10. 10 hours MUSE 9000 Dissertation
5. Conducting (60 hours)
1. 15-18 hours of MUAP 8701, Conducting
2. 4-6 hours Wind Ensemble, Orchestra, or University Singers
3. 4-6 hours Conducting Practicum MUAP 8802
4. 4-6 hours MUAP electives (not Conducting)
5. 9-12 hours of coursework in choral, orchestral, or wind literature
6. 9-12 hours of coursework in a minor area in music
7. 9 hours dissertation equivalent: Three public recitals (MUAP 8999) or repertory approved by the doctoral committee are required. Each must be preceded by a formal hearing before the doctoral committee two to four weeks before the recital itself. A formal research document (MAUP 9000) on a topic approved by the committee will also be submitted to the Graduate School after the final defense; music covered by this document will also appear on one of the recitals. In certain cases, depending on repertorial considerations and with the permission of the doctoral committee, a series of small performances may be substituted for one or more of the conducting recitals.

VI. PhD Degree Program (60 hours)

The PhD degree is structured to allow maximum flexibility in designing a program around each student’s background and needs. Although the distribution of hours is firm, program requirements are to be regarded as general rather than fixed. The student’s preparation, experience, and stated goals are carefully evaluated before an individually selected course of study is prescribed.

Program objectives are: (1) competency in selected area of concentration and related research areas; (2) development of teaching skills; and (3) ability to successfully publish research in a selected music discipline.

1. Musicology Concentration Requirements

Students will follow either:
1. A program providing a broad background in historical musicology culminating in a dissertation on a musicological topic agreed upon by the student and the doctoral committee.
1. A minimum of eleven courses (33 hours) in the major area, including:
2. MUHL 8400 Bibliography and Research Methods
3. MUHL 8531 Early Musical Notations
4. MUHL 8505 Seminar in Musicology
5. 18 hours of graduate study outside musicology. At least 9 of these hours must be in an approved humanistic discipline outside music.
6. MUHL 9000 Dissertation (9 hours total)
7. A reading knowledge of two foreign languages, ordinarily including German, must be demonstrated before graduation.
OR
1. A program providing a broad background in ethnomusicology:
1. A minimum of eleven courses in the major area (33 hours), including:
2. MUHL 6800 World Musical Styles
3. MUHL 6801 American Folk and Popular Music
4. MUHL 7400/8400 Bibliography and Research Methods
5. MUHL 7800/8800 Field Methods in Ethnomusicology
6. MUHL 8801 Ethnomusicology
7. MUHL 8805 Transcription and Analysis in Ethnomusicology
8. MUHL 8806 Seminar in Southern Regional Music
9. Two of the remaining four courses in music shall have a major focus on Southern regional music.
10. 18 hours of graduate study outside musicology. At least 9 of these hours must be in an approved humanistic discipline outside music.
11. MUHL 9000 Dissertation (9 hours total)
12. A reading knowledge of two foreign languages, ordinarily including German, must be demonstrated before graduation.

6260-69. Special Topics in Commercial Music. (1-3). Topics are varied and announced in the online class listing. May be repeated with change of topics.

6603. Copyright and Licensing. (3). Detailed examination of intellectual property rights as they relate to the commercial music industry; examination of publishing and its role in the control and exploitation of the package of rights in music property; includes: publishing activities, performing rights organizations, catalog sales and acquisitions, publisher/songwriter relations, and royalty accounting; emphasis on practical applications. PREREQUISITE: MUID 2201, 3602.

‡7699. Media Music Production Practicum. (3).

7800-8800. Technology Applications in Music. (3). Advanced instruction in current technology assisting the composer, teacher, and practical musician.

‡Grades of A-F, or IP will be given.

6107. Composer’s Workshop: Jazz/Commercial. (3). Composition/arranging for various sizes of instrumental and vocal groups with emphasis on commercial writing; projects in record copies, horn and string tracks, background vocals, instrumental accompaniment for vocal solos, jingles, and radio station ID’s. (Offered spring semester of odd years.) PREREQUISITES: MUTC 2101, 2502, or permission of instructor.

6202. Seminar in Music Theory and Analysis. (3). Theory, counterpoint, and analysis of literature; contrapuntal and harmonic techniques; research; theoretical problems from a pedagogical point of view; writing in strict and free styles. NOTE: Recommended as a review course for graduate students. May not be counted toward any degree program in music except the MMu and PhD in Musicology with permission of the major advisor. (Offered fall semester.)

6260-69. Special Topics in Theory and Composition. (1-3). Topics are varied and announced in the online class listings. May be repeated with a change in topic.

6501. Composition. (3). Composition in varied forms for large and small ensembles and solo instruments; analysis of contemporary works and practical application of techniques. May be repeated for additional credit. NOTE: Composition is taught as applied music. Students receive the equivalent of one hour lesson per week. The additional fee for this instruction is $100.00 per semester.

6504. Introduction to Film and Studio Scoring. (3). Basic problems of writing music for film and video, including commercial and industrial productions, features, selection of appropriate styles, creating master music list, writing from cue sheet; introduction to editing room equipment, including conversion of film frames to video, SMPTE time code and synchronization equipment, MIDI sequence scoring from digital audio workstation. (Offered alternate years.) PREREQUISITES: MUTC 2511, MUTC 3501, and either MUTC 3801 or MUTC 4511 or 4505, or permission of instructor.

7010. Advanced Improvisatory Practices and Materials. (3). Advanced improvisational techniques, including motivic development, pan-diatonic, panchromatic, and free improvisation; practices involving pentatonic, quartal, cluster, and polychordal compositions; survey and analysis of published improvisation teaching materials. PREREQUISITE: Two semesters (or equivalent) of undergraduate improvisation, permission of instructor.

7101-8101. Pedagogy of Theory. (3). A practical course in classroom procedure; demonstrations by students and instructor in teaching the rudiments, elementary and advanced theory, various styles of counterpoint, and ear training; various theoretical systems; bibliography.

7104. Analytical Studies in Jazz Styles. (3). Directed study in selected areas of jazz historical styles; transcription and analysis of selected recordings and scores from specific jazz and popular styles; critical aural study of stylistic interpretation of major jazz big bands and combos of selected style periods. PREREQUISITE: Permission of instructor.

7201-8201. Theory I. (3). Analysis of style features of the music of the eleventh century through the Baroque period.

7202-8202. Theory II. (3). Analysis of style features of the music of the Classic, Romantic, Impressionistic, and Contemporary periods.

‡7203-8203. Studies in Music Theory. (3). Independent investigation of a research procedure or directed reading in selected areas of music theory chosen with consultation of instructor. May be repeated for credit when topic varies. PREREQUISITE: Permission of instructor.

7204-8204. History of Music Theory. (3). Development of theoretical concepts of music found in treatises and textbooks, dating from 550 BC to 1937 AD.

7260-89–8260-89. Special Topics in Theory and Composition. (1-3). Selected topics in theory or composition. May be repeated with change of topics.

‡7501-8501. Composition. (2, 3 or 6). Free composition in all forms. Applicants to this course are required to submit original works in various forms and media as proof of maturity and technical preparation for graduate work. The course may be repeated with the instructor’s permission for successive semesters. NOTE: Composition is taught as applied music. Students receive the equivalent of two half-hour lessons per week. The additional fee for this instruction is $100.00 per semester.

‡7502-8502. Electronic Compositional Techniques. (3). Emphasis on tape manipulation, synthesizer operation, and recording techniques in association with individual compositional projects. May be repeated for credit with permission of instructor. The additional fee for this instruction is $100.00 per semester.

†7599-8599. Composition Practicum. (3-6).

7801-8801. Analytical Techniques I. (3). Techniques of analysis of styles and structure of music focusing on the Middle Ages/Renaissance and tonal periods through the nineteenth century; modal analysis, hexachordal concepts, use of LaRue techniques, introduction to Schenkerian principles, and the rhythmic theories of Lester.

7802-8802. Analytical Techniques II. (3). A continuation of Analytic Techniques I, including a more detailed look at Schenkerian techniques of analysis; extension of Schenker principles through Schacter, Salzer, and others; principles of atonal analysis using Forte set theory, historical theories from Hindemith, Messiaen, and others.

†7996. Thesis. (1-3).

†9000. Dissertation. (1-9).

† Grades of S, U, or IP will be given.
‡Grades of A-F, or IP will be given.

6001. Piano Repertory. (2). Survey of stringed keyboard repertory from Bach and his contemporaries to the present; representative works analyzed in regard to historical, stylistic, formal, and aesthetic features. (Offered fall semester.)

6002. Song Repertory I. (3). Survey of solo literature from Italian, British Isles, and German schools of song. (Offered alternate years.)

6003. Song Repertory II. (3). Survey of solo literature from French, Russian and Slavic, Scandinavian, and American schools of song. (Offered alternate years.)

6005. History and Literature of the Organ. (3). Literature for the organ and its effect on and interaction with organ design.

6006. Guitar Literature I. (3). Basic repertoire from the Medieval period through the Pre-Classical period.

6007. Guitar Literature II. (3). Basic repertoire from the Classical period to the present.

6008. The Symphony. (3). A survey of the development of the symphony from the eighteenth century to the present with a focus on important composers and works, including discussion of orchestration and form, aesthetics, and performance practice.

6009. Choral Literature I. (3). Survey of choral repertories from Gregorian chant to 1700; contemporary performance practices; techniques of performing early choral music with modern mixed choirs.

6010. Choral Literature II. (3). Survey of choral repertories from 1700 to the present; contemporary performance practices; problems of modern performance.

6011. String Quartet Literature. (3). History of the string quartet; survey of its music from Haydn to the present; problems of performance.

6012. History of Chamber Music for Wind Instruments. (3). History of chamber music for brass and woodwind instruments from the medieval through the modernist periods; instruments, types of ensembles, musical sources, notation, repertory, and performance practice.

6013. Women and Music. (3). An investigation of the roles women have played throughout the history of Western art music, and the music they have composed, performed, and inspired.

6014. Chamber Music for Piano. (3). Study of the development of works for piano and one other instrument, including piano trios, piano quartets, and piano quintets; stylistic analyses of works from classic, romantic, and twentieth-century repertory.

6020. Solo Brass Literature. (3). Examination of the solo literature for brass instruments from the seventeenth century to the present.

6021. The American Amateur Brass Band. (3). History and circumstances of the American amateur brass band movement in the 19th and early 20th centuries; practical exploration of its musical repertory. PREREQUISITE: MUHL 3302 or permission of instructor.

6030. Percussion Repertory. (3). Survey of available literature for percussion instruments.

6260-69. Special Topics in Music History. (1-3). Selected topics in Music History. May be repeated with change in topic.

6407. The Opera and the Music Drama. (3). A survey of the opera before Richard Wagner; study of Wagner’s music dramas and opera of his contemporaries; dramatic and musical significance of each phase of the development of the two forms. PREREQUISITE: Permission of the instructor.

6500. String Repertory. (3). Histories, tests, methods, periodicals, orchestral studies, and solo and ensemble literature.

6800. World Musical Styles. (3). Musical styles and the role of music performance in preliterate and folk societies throughout the world. (Offered spring semester.)

6801. American Folk and Popular Music. (3). Folk and popular elements in American music; role of mass media, especially the phonograph record, in utilizing and changing folk music; historical development and interrelationships between various musical styles ranging from nineteenth century minstrelsy to the roots of rock and roll; emphasis on southern Anglo-American and Afro-American folk and popular musical styles. (Offered fall semester.)

6804. Blues. (3). Stylistic development of blues music from its beginnings; relationships to African-American and American culture and history. (Offered fall semester.)

6805. History of Rock and Roll. (3). Stylistic origins and development of rock and roll music from its beginning to the present.

6806. History of Jazz. (3). Stylistic origins and development of jazz; interaction of jazz and Western classical music styles.

6807. Memphis Music. (3). Distinctive forms of folk and popular music in Memphis in the twentieth century; relationships to the history, culture, and social patterns of the city and mid-south region; folk music background, blues, jazz, country music, gospel music, and rock and roll emphasized. (Offered spring semester.)

7260-69–8260-69. Special Topics in Music History. (1-3). Selected topics in Music History. May be repeated with change of topic.

7400-8400. Bibliography and Research Methods. (3). Survey of the fields of historical and systematic investigation in music with bibliographical studies and research analysis. Required of all students who intend to write a thesis.

7401-7406–8401-8406. Style Periods in Music History. (3). Music and historical data from various periods of Western musical history.

7401-8401. Medieval Music.

7402-8402. Renaissance Music.

7403-8403. Baroque Music.

7404-8404. Classic Music.

7405-8405. 20th Century Music.

7406-8406. Nineteenth-Century Music.

‡7408-8408. Individual Research in Musicology. (1-3). Individual research on a selected topic under faculty supervision. May be repeated when the topic varies.

7409-8409. Repertory for Collaborative Pianiists. (3). Studies in selected areas of the collaborative piana repertory. May be repeated when topic varies: PREREQUISITES: a repertory course pertinent to the topic, such as MUHl 6002, 6003, 6014 or permission of instructor.

7505-8505. Seminar in Musicology. (3). Seminars in selected areas of musicology. May be repeated when topic varies.

7506-8506. Seminar in Piano Repertory. (3). Seminars in selected areas of piano repertory. PREREQUISITES: MUHL 6001 or permission of instructor.

7531-8531. Early Musical Notations. (3). Examination of history of Western musical notations from the ninth through seventeenth centuries; transcription of medieval music from its original sources into modern notation; singing and playing renaissance and early baroque music from facsimiles of original manuscripts and prints.

7551-8551. Performance Practice I. (3). Historical techniques and conceptions of performance from Gregorian chant through the seventeenth century.

7552-8552. Performance Practice II. (3). Historical techniques and conceptions of performance since 1700.

7800-8800. Field Methods in Ethnomusicology. (3). An exploration of techniques for designing field research subjects and gathering information in the field; special attention to techniques and problems related to the study of southern musical traditions.

7802-8802. Seminar in Ethnomusicology. (3). Seminars in selected topics. May be repeated for credit when the topic varies.

‡7803-8803. Individual Research In Ethnomusicology. (1-3). Individual research on a selected topic under faculty supervision. May be repeated if the topic varies. Only 3 hours credit may be applied toward a master’s degree and only 6 hours credit toward a doctoral degree.

‡7804-8804. Internship in Southern Regional Music. (3). Practical experience in the application of knowledge and skills learned through the study of southern regional music. The student will do supervised work in an area of music production, presentation, administration, or education for a public agency or in the private sector. This course may be repeated with a different type of internship, but only 3 credit hours may be applied toward any degree. PREREQUISITE: 18 credit hours in Ethnomusicology or Southern Regional Music.

†7996. Thesis. (1-3).

8801. Ethnomusicology. (3). A survey of concepts, problems, and methods of research in the interpretation of music in different social groups; emphasis on functional and popular music rather than art music, and on cultures other than Western European and North American.

8805. Transcription and Analysis in Ethnomusicology. (3). An examination of the problems and methods of transcribing and analyzing non-Western and traditional music; the uses and limitations of staff notation; alternative descriptive systems.

8806. Seminar in Southern Regional Music. (3). Major issues in the study of southern folk and popular music; includes the relationship between Afro-American and Anglo-American styles and traditions, the relationships of these styles and traditions to African and European music, and the interplay of traditionalism and commercialism in southern music. PREREQUISITES: Completion of 18 graduate level credit hours in music, including MUHL 7400 and MUHL 6801.

†9000. Dissertation. (1-9).

† Grades of S, U, or IP will be given.
‡Grades of A-F, or IP will be given.

6104. Sacred Music in History and Practice I. (3). Jewish and Christian sacred music, exploring origins of styles, traditions, and current practices. This course may NOT be used as part of Sacred Music core. (Offered fall semester of alternate year.)

6105. Sacred-Music in History and Practice II. (3). (Offered spring semester of alternate year.)

6106. Children’s Choirs in the Church. (3). Organization and development of children’s choir program; rehearsal techniques; literature; vocal development; recruiting; contemporary approaches. (Offered fall semester.)

6107. Service Playing for Organists. (3). Playing of hymns and accompaniments, adaptation of piano and orchestra accompaniments, basic improvisation. PREREQUISITE: Upper division standing in organ or permission of instructor. (Offered spring semester of alternate year.)

6260-69. Special Topics in Sacred Music. (1-3). Selected topics in Sacred Music. May be repeated with change of topic.

6801. Individual Studies in Sacred Music. (1-3). Directed individual study in selected areas of music chosen in consultation with instructor. May be repeated for maximum of 6 hours credit with permission of department chair.

7001-8001. Oratorio and Cantata. (3). Study of large non-liturgical sacred music forms from the seventeenth century to the present.

7102-8102. Musical Passions. (3). History of musical Passions from Gregorian usage through the present.

7103-8103. Sacred Choral Music of J. S. Bach. (3). The cantatas, motets, and other sacred choral works of J. S. Bach and their stylistic development from early sectional forms to Bach’s mature style; revised chronology of cantatas and their relationship to instrumental works will be emphasized.

‡7801-8801. Studies in Sacred Music. (1-3). Directed individual or class study in selected areas of music chosen in consultation with instructor. May be repeated for a maximum of 9 hours credit with permission of department chair.

‡Grades of A-F, or IP will be given.

6205. Marching Band Techniques. (2). Organizing and conducting the marching band; gridiron charting and marching procedures with a study of precision drill, formation, and pageantry. (Offered spring semester.)

6208. Band Literature. (3). History and evolution of wind instruments and wind instrument playing; history and development of the wind band and its literature, with general background material on the specific composers involved. (Offered spring semester.)

6209. Piano Tuning and Repair. (2). Basic techniques involved in piano tuning and adjustment. Some basic tools are required.

6260-69. Special Topics in Music Education. (1-3). Selected topics in Music Education. May be repeated when topic changes. Training teachers for beginning through intermediate level piano instruction; establishing strong artistic, musical, and technical foundations; supervised practice teaching. (Offered fall semester.) PREREQUISITE: Permission of instructor.

6501. Piano Pedagogy I. (2). Training teachers for beginning through intermediate level piano instruction; establishing strong artistic, musical, and technical foundation. (Offered fall semester.) PREREQUISITE: Permission of instructor.

6503. Piano Pedagogy II. (2). Training teachers for advanced piano instruction; extensive readings from renowned artist-teachers and performers, development of ideation and memorization skills; observations and supervised practice teaching. (Offered spring semester.) PREREQUISITE: MUSE 6501 or permission of instructor.

6505. Collaborative Piano Techniques. (2). Performance class involving practical study of instrumental and vocal standard repertory and problems of ensemble playing; encourages facility in sight-reading and the ability to assimilate music rapidly; score reading, transposition, and figured-bass realization are introduced as skills necessary to well-rounded musicianship. (Offered spring semester.) PREREQUISITE: Permission of instructor.

6508. Principles of Suzuki Piano. (3). Suzuki philosophy as applied to the development of the child’s abilities and the role of the teacher and the parent; analysis of the technical and musical instruction of the beginning piano student. (Offered fall semester.) PREREQUISITE: Undergraduate upper-division piano proficiency.

6511. Class Piano Pedagogy. (3). Survey of group instruction techniques in the teaching of beginning, intermediate, and early advanced piano, emphasizing observation and practical application. For piano majors and/or prospective piano teachers. (Offered spring semester.) PREREQUISITE: Upper division level in keyboard or permission of instructor, Basic Piano Pedagogy or equivalent recommended.

6514. Brass Pedagogy. (3). Current literature, principles, methods, and psychology in brass playing and teaching.

6520. Percussion Pedagogy. (3). Selected pedagogical topics relating to the teaching of percussion instruments.

6802. Level I Orff-Schulwerk. (1-3). Basic Orff-Schulwerk techniques including body movement, soprano recorder, percussion, vocal performance, improvisation, and arranging. PREREQUISITE: Graduate standing in Music.

†7001-8001. Workshop in Music for Graduate Assistants. (1-3).

7101. Jazz Program Administration. (3). Basic administration of a college level jazz program; course and curriculum development/design, scheduling/planning, material acquisition, basic equipment needs, budgeting and budget administration, concert and festival planning/programming/production. PREREQUISITE: Permission of instructor.

7103. Level II Orff-Schulwerk. (1-3). (6803). Intermediate level Orff-Schulwerk techniques including modal harmonization, irregular rhythms, alto recorder, performance, and more extensive improvisation and arranging. PREREQUISITE: MUSE 6802 or the equivalent.

7104. Level III Orff-Schulwerk. (1-3). (6804). Advanced Orff-Schulwerk techniques including original compositions, complex form, movement and instrumental arrangements, tenor and bass recorder performance, and advanced improvisation. PREREQUISITE: MUSE 7103 or the equivalent.

7202-8202. Music in Early Childhood. (3). Research and analysis of contemporary trends in field of early childhood education with emphasis on developing appropriate music activities for three to six year olds.

7203-8203. Choral Literature and Techniques. (3). Survey of choral literature from Dunstable to the present, using scores, records, and class performance; analysis of the scores in terms of style, form, and performance problems; techniques of teaching and conducting unfamiliar styles.

7204-8204. Instrumental Literature and Techniques. (3). Specific and intensive research in each student’s major instrument, covering (1) history of the instrument; (2) tests, methods and periodicals; (3) orchestral studies; (4) solo and ensemble literature; and (5) listening and performance.

7207-8207. Tests and Measurements in Music Education. (3). The investigation of evaluative tools in music education, formulation, and utilization of measurement devices in music teaching and research.

‡7210-8210. Projects in Elementary Music Curriculum Development, Implementation, and Supervision. (3). Individualized in-depth study of a selected area in elementary school music education. Topics may include curriculum, program planning and development, evaluation of current practices, exploration of new or related fields. PREREQUISITE: Permission of instructor.

‡7211-8211. Projects in Secondary Music Curriculum Development, Implementation, and Supervision. (3). Individualized in-depth study of a selected area in secondary school music education, vocal or instrumental; may include curriculum, program planning and development, evaluation of current practices, exploration of new or related fields. PREREQUISITE: Permission of instructor.

7213-8213. Orchestration for Orff Instrumentarium. (3). An analysis of techniques used to orchestrate for Orff instruments as done in Europe, Asia, North and South America; original orchestrations in the elemental Orff style. PREREQUISITE: MUSE 4803-6803 or permission of the instructor.

7214. Master Class in Orff-Schulwerk. (2). Advanced pedagogy based on Orff-Schulwerk principles, designed to train workshop clinicians; includes orchestration techniques, ontogenetic treatment of rhythm and melody, movement improvisation, and recorder playing. PREREQUISITE: MUSE 4804-6804 or equivalent experience.

‡7216. Project in Class Piano Pedagogy. (1-3). Students, assigned to piano classes at the University and/or local secondary schools, will assist the principal teacher. May be repeated for a maximum of 3 credits when area of study varies. PREREQUISITES: MUSE 6511 or permission of instructor.

Advanced Collaborative Techniques. (3). Individualized in-depth study of techniques and skills needed by professional collaborative pianists working with instrumentalists or singers.

7221-8221. Music for Special Populations. (3). Recognition and comprehension of various disabilities and exceptionalities; techniques for teaching music to exceptional students. PREREQUISITE: MUSE 7402.

7260-79–8260-79. Special Topics in Music Education. (1-3). Selected topics in Music Education. May be repeated when topic changes.

7260-69. Special Topics in Jazz Studies. (1-3). May be repeated with change of topic.

7402-8402. History and Philosophy of Music Education. (3). An examination of the historical and philosophical foundations that underline the curricula and instructional programs in music.

7403-8403. A Survey of Research in Music Education. (3). Designed to acquaint students with theoretical and practical field research, to refine writing skills, to hypothesize, and to develop potential research problems.

7503. Introduction to Suzuki Piano. (3). Suzuki philosophy as applied to the development of a child’s abilities; particular emphasis on listening, parent-teacher relationship, tone production, posture, technique, and Suzuki Piano Volume I-A; includes observation of lessons and classes taught by experienced teachers in the University Suzuki Piano Program. PREREQUISITE: Audition or permission of instructor.

7504-8504. Suzuki Piano Literature and Technique I. (3). Analysis of pedagogical materials and fundamental techniques introduced in Volumes I-III of Suzuki Piano School; emphasis on listening, tone production, independence, independence of hands, musical forms and styles, musical expression; introduction of music reading, scales and cord progressions; observation of lessons and classes taught by experienced teachers in the University Suzuki Piano Program. PREREQUISITE: MUSE 7503 or permission of instructor.

7505-8505. Suzuki Piano Literature and Technique II. (3). Analysis of pedagogical materials and fundamental techniques introduced in Volumes IV-V of Suzuki Piano School; continuation of techniques to cover the advanced technique and understanding of musical styles required for the literature in these volumes; observation of lessons and classes taught by experienced teachers in the University Suzuki Piano Program. PREREQUISITE: MUSE 7504 or permission of instructor.

‡7506-8506. Independent Study in Suzuki Teaching. (3). Independent study of a selected topic in relation to Suzuki philosophy and method. PREREQUISITE: MUSE 7510 or permission of the instructor.

7510. Advanced Suzuki Piano Pedagogy. (3). Analysis of pedagogical materials and fundamental techniques introduced in Volumes VI-VII of the Suzuki Piano School and pieces traditionally used following Volume VII; particular emphasis on pedal technique, ornamentation, arpeggios, supplemental pieces, and preparation for auditions and competitions; continued observation of lessons and practicum teaching. PREREQUISITE: MUSE 7505 or permission of instructor.

‡7511. Projects In Piano Pedagogy. (1-3). Individual projects designed to explore problems of teaching under supervision. May be repeated for a maximum of 3 credits when the topic varies. PREREQUISITE: permission of instructor.

7512-8512. Pedagogy for the Applied Voice Teacher. (3). Prepares singers to handle the studio lesson with an emphasis on teaching all voice types; rudimentary knowledge of the physiology of singing will be learned; study of the historical approach to singing techniques and vocal methods; analyzing the tone and corrective exercises.

7601. Introduction to Suzuki Talent Education. (3). Suzuki philosophy and method; educating Suzuki parents, setting up a program; teaching beginning steps in preparing students for the Twinkle variations and Suzuki Book I.

7602. Suzuki Violin Literature and Technique I. (3). Analysis of pedagogical materials and fundamental techniques introduced in volumes I-IV of Suzuki Violin School; exploration of various reading methods, introduction of music theory concepts, two and three octave scales, two octave arpeggio series, and circle of keys.

7603. Suzuki Violin Literature and Technique II. (3). Analysis of pedagogical materials and fundamental techniques introduced in volumes V-VI of Suzuki Violin School; two octave major and minor scales and arpeggios, all three octave major and minor arpeggios, and exploration of more advanced reading methods.

7604. Advanced Suzuki Violin (3). Analysis of pedagogical materials and fundamental techniques introduced in volumes VII-VIII of Suzuki Violin School; all three octave major and minor scales in circle of keys, two octave chromatic scales, three octave arpeggio sets, all major and minor two octave doublestop scales.

†7996. Thesis. (1-3).

†7998. Orff Practicum. (1). Culminating project for degree in Orff-Schulwerk; consists of 3 videotaped lessons with children, based on appropriately detailed lesson plans that include singing, movement, playing instruments, and creativity. Videos will be reviewed by a committee of music education faculty.

†9000. Dissertation. (1-9).

†Grades of S, U, or IP will be given.
‡Grades of A-F, or IP will be given.

6004. Orchestral Excerpts. (2). Study and performance of selected orchestral excerpts suitable for auditions. PREREQUISITE: Permission of instructor.

6103. Jazz and Studio Ensemble Techniques. (3). Jazz and studio performance styles and practices, emphasizing ensemble rehearsal and conducting techniques, articulation, phrasing, balance and blend, line dominance, and recording studio performance skills. (Offered fall semester.) PREREQUISITE: MUTC 3828.

6260-69. Special Topics in Applied Music. (1-3). Selected topics in Applied Music. May be repeated with change of topics.

6263. Reed Making. (1). A laboratory course designed to help students become independent reed makers. May be repeated for credit.

6801. Individual Studies in Applied Music. (1-3). Directed individual instruction in an applied area not listed under the MUAP course prefix. May not exceed 6 hours credit. Ensembles: All ensembles may be repeated for credit.

7002. Chamber Music. (1).

‡7099. Chamber Music Recital. (1).

7101. Wind Ensemble. (1).

7102. Orchestra. (1).

7103. University Singers. (1).

7104. Opera Chorus. (1).

7105. Oratorio Chorus. (1).

7106. Concert Band. (1).

7107. Jazz Ensemble. (1).

7108. Opera Workshop. (1).

7201. Brass Ensemble. (1).

7202. Jazz Combo. (1).

7203. Chamber Music for Pianists. (1).

7204. Percussion Ensemble. (1).

7205. Contemporary Chamber Players. (1).

7206. Orff Ensemble. (1).

7207. String Ensemble. (1).

7208. Camerata Players. (1).

7209. Camerata Singers. (1).

7210. Opera Soloists. (1).

7211. Woodwind Ensemble. (1).

7212. Collegium Musicum. (1).

7213. Jazz Vocal Ensemble. (1).

7260-89–8260-89. Special Topics in Applied Music. (1-3). Selected topics in Applied Music. May be repeated with change of topic.

‡7620-8620. Independent Study in Symphonic and Operatic Conducting. (3).Detailed study of advanced conducting techniques including styles, mechanics, score reading and preparation, and rehearsal techniques and organization; practical experience in orchestral and operatic conducting. May be repeated for credit. PREREQUISITES: MUAP 7701 and/or permission of instructor.

‡7622-8622. Independent Project in Opera Direction. (3). Actual staging or musical direction of an opera workshop or opera theatre production. May be repeated for credit. PREREQUISITE: MUAP 7623 and permission of instructor.

†7699-8699. Production Practicum. (3-6). Required of majors in Opera and Conducting and Opera Production and Directing. May be repeated for credit.

‡7701-8701. Advanced Conducting. (3). Conducting the concert band, the symphony orchestra, and the chorus in the larger musical forms; emphasis on interpretation. May be repeated for credit. PREREQUISITE: Permission of instructor. $100.00 instruction and lab fee.

‡7702-7802. Conducting Practicum. (3). Supervised rehearsal and preparation of a public performance with a large ensemble.

7703-8703. Score Study and Aural Training for Conductors. (2). Skills of score reading, ear training, and score analysis for conductors.

‡7801-8801. Studies in Jazz and Commercial Music. (3). Directed individual or class study in selected areas chosen in consultation with instructor. May be repeated with change in topic for a maximum of 9 hours credit.

†7899. Lecture Recital. (1-3). Student must be concurrently enrolled in an appropriate applied music course. All policies relating to dissertations are applicable to lecture recitals.

†7996. Thesis. (1-3).

†7999-8999. Recital. (1-3). Student must be concurrently enrolled in an appropriate applied music course.

‡8002. Seminar in Performance Problems. (3). Study of literature and material for the performances necessary to prepare for the qualifying examination. Preparation of the dissertation recitals. PREREQUISITE: Admission to curriculum in performance. May be repeated for credit.

†9000.Doctoral Research Document. (1-9). Preparation of the research documents as part of the dissertation equivalent. All policies relating to dissertations are applicable to the course. Continuous enrollment is required until degree is completed..

†Grades of S, U, or IP will be given.
‡Grades of A-F, or IP will be given.

FEES: Individual lessons require an additional applied music fee of $50 per semester for each weekly one-half hour lesson. This fee is not included in the Fee Schedule.. Fees are paid to the University at the office of the Business Manager.

CREDITS AND GRADES: A full-hour lesson will be given all persons enrolled in graduate applied music, regardless of credit-hours awarded. Music Education majors, applied music minors, and applied music electives will be allowed to register for two hours of credit only. Applied majors may register for two to six hours of credit, as permitted. Grades are awarded in accordance with the jury system and have the same significance as in any other subject. All graduate applied music juries shall be scheduled for fifteen minutes.

REGISTRATION: Students will register for individual lessons at the same time and the same manner that they register for other courses.

Individual Lessons may be repeated for credit in subsequent semesters, but not for the purpose of improving the grade originally earned.

Instrument	Music Education Majors Applied Music Minors Applied Music Electives No Recital Required (1-2 Hours Credit)	Applied Music Majors Applied Music Minors Applied Music Electives Recital Required (2-6 Hours Credit)
Trumpet	6111	7111/8111
Cornett	6151
Sacbutt	6161
Horn	6121	7121/8121
Trombone	6131	7131/8131
Tuba	6141	7141/8141
Euphonium	6142	7142/8142
Piano	6311	7311/8311
Harpsichord	6321	7321/8321
Organ	6331	7331/8331
Percussion	6411	7411/8411
Violin	6511	7511/8511
Baroque Violin	6512	7512/8512
Viola	6521	7521/8521
Cello	6531	7531/8531
Bass	6541	7541/8541
Guitar	6551	7551/8551
Harp	6561	7561
Viola da Gamba	6571	7571
Voice	6611	7611/8611
Flute	6711	7711/8811
Oboe	6721	7721/8721
Clarinet	6731	7731/8731
Saxophone	6741	7741/8741
Bassoon	6751	7751/8751
Recorder	6761

† Grades of S, U, or IP will be given.