Music

1A. Women’s Chorale (2 credits). *
Study of vocal and choral techniques in the context of ensemble rehearsals, often culminating in public performance. Repertoire to include varied works for treble choir, both a cappella and with instrumental accompaniment. Familiarity with basic music notation recommended. Some additional rehearsal time, both individually and with the group is required. Admission by audition with conductor prior to first class meeting. See enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) The Staff

1C. University Concert Choir (2 credits). F,W,S
A study of selected works for mixed chorus, with emphasis on masterworks for chorus and orchestra, culminating in one or more public concerts. Familiarity with basic music notation recommended. Admission by audition with conductor prior to first class meeting. See enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) The Staff

2. University Orchestra (2 credits). F,W,S
A study of selected works for orchestra, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting. See enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) N. Paiement

3. Large Jazz Ensemble (2 credits). F,W,S
Instruction in performance in large jazz ensembles with written arrangements. Prepares a specific repertory for public performance. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 25. May be repeated for credit. (General Education Code(s): A.) The Staff

4A. Latin American Ensemble: “Voces” (2 credits). F,W,S
Instruction in diverse musical traditions, and their culturally-grounded performance contexts, of Native American, Ibero-American, and African American music cultures of Latin America, including texted music in Spanish and Quechua or other regional languages. The class forms an ensemble that prepares varying cultural and national repertoires for public performance. Some Spanish language ability is recommended. Attend first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 25. May be repeated for credit. (General Education Code(s): A.)
The Staff

4B. Latin American Ensemble: “Taki Ñan” (2 credits). F,W,S
Development of Latin American, Native American, Ibero-American, African American, and/or Nueva Canción (New Song) repertoire in a small ensemble setting. Three quarters of course 4A or previous enrollment in course 4B required prior to enrolling in this course. Admission by audition with instructor at first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 10. May be repeated for credit. (General Education Code(s): A.)
The Staff

5A. West Javanese Gamelan Ensemble: Beginning (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) U. Sumarna

5B. West Javanese Gamelan Ensemble: Intermediate (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) U. Sumarna

5C. West Javanese Gamelan Ensemble: Advanced (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Java or Sunda. Preparation of several works for public presentation. Attend first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) U. Sumarna

8. Balinese Gamelan Ensemble (2 credits). F,W,S
Instruction in practice and performance of gamelan music from Bali and Indonesia, including ritual and new music. Preparation of several works for public presentation. Attend first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes.(Formerly Balinese Gamelan Angklung.) May be repeated for credit. (General Education Code(s): A.) L. Burman-Hall

9. Wind Ensemble (2 credits). F,W,S
A study of selected advanced-level works for wind ensemble, culminating in one or more public concerts. Admission by audition with conductor prior to first class meeting. May be repeated for credit. (General Education Code(s): A.) R. Klevan

11. Introduction to Western Music. F,W
A study of selected masterworks in relation to the periods which they represent. Emphasis upon the listening experience and awareness of musical style and structure. Illustrated lectures and directed listening. (General Education Code(s): IH, A.) A. Beal, D. Cope, A. Leikin, L. Miller

13. Beginning Theory and Musicianship I. F,W,S
Fundamentals of music and notation. Major, minor scales, intervals, triads, and inversions, root-position 7th chords, and the beginning harmonic analysis. Emphasis on the development of the ear and coordination. Exercises of pulse, rhythm, pitch, and coordination. Dictation and sight singing. Enrollment restricted to first-year students, sophomores, and juniors. Enrollment limited to 35.
L. Burman-Hall, K. Hester, H. Kim, J. Sackett, J. Schechter

14. Beginning Theory and Musicianship II. W,S
Continuation of course 13. Triads and 7th chords and their inversions. Introduces Church modes, melodic and harmonic analysis, four-part harmony, and keyboard harmony. Sight-singing, ear training, and dictation. Knowledge of musical notation and scales required. Students who wish to take this course and have not taken course 13 or the placement exam should consult the instructor. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment priority to freshmen, sophomores, and juniors. Prerequisite(s): course 13 or music core curriculum placement exam. Enrollment limited to 25. L. Burman-Hall, H. Kim, J. Sackett

30A. Theory, Literature, and Musicianship I. F
An integrated and intensive approach to musicianship, harmony, species counterpoint, and analysis, including live class performance of all materials. Includes sight-singing, singing of atonal melody, score reading, keyboard harmony, dictation. Covers sixteenth through early eighteenth centuries. Specified keyboard skills must be demonstrated at the end of each quarter (see undergraduate Music Student Handbook for a complete listing of skills). Prerequisite(s): admission by core curriculum placement examination or by passing course 14 with a final examination score of approximately 80% or higher. Concurrent enrollment in 30L required; concurrent enrollment in course 60 unless prior keyboard training can be demonstrated. Enrollment limited to 20. A. Leikin,
J. Schechter, H. Kim, P. Nauert

30B. Theory, Literature, and Musicianship I. W
An integrated and intensive approach to musicianship, harmony, species counterpoint, and analysis, including live class performance of all materials. Includes sight-singing, singing of atonal melody, score reading, keyboard harmony, dictation. Covers early eighteenth-century style. Specified keyboard skills must be demonstrated at the end of each quarter (see undergraduate Music Student Handbook for a complete listing of skills). Prerequisite(s): course 30A; instructor determination at first class meeting. Concurrent enrollment in 30M required; concurrent enrollment in course 60 unless prior keyboard training can be demonstrated. Enrollment limited to 20. H. Kim,
A. Leikin, P. Nauert, J. Schechter

30C. Theory, Literature, and Musicianship I. S
An integrated and intensive approach to musicianship, harmony, species counterpoint, and analysis, including live class performance of all materials. Includes sight-singing, singing of atonal melody, score reading, keyboard harmony, dictation. Covers late eighteenth-century style. Specified keyboard skills must be demonstrated at the end of each quarter (see undergraduate Music Student Handbook for a complete listing of skills). Prerequisite(s): course 30B; instructor determination at first class meeting. Concurrent enrollment in 30N required; concurrent enrollment in course 60 unless prior keyboard training can be demonstrated. Enrollment limited to 20. H. Kim,
A. Leikin, P. Nauert, J. Schechter

30L. Theory, Literature, and Musicianship I Laboratory (2 credits). F
Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, atonal melody, rhythm) laboratory sequence illustrating topics covered in courses 30A-B-C, respectively. Two 1-hour laboratory sessions per week. Prerequisite(s): admission by core curriculum placement examination or by passing course 14 with a final examination score of approximately 80% or higher. Concurrent enrollment in course 30A required. Enrollment limited to 6. The Staff

30M. Theory, Literature, and Musicianship I Laboratory (2 credits). W
Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, atonal melody, rhythm) laboratory sequence illustrating topics covered in courses 30A-B-C, respectively. Two 1-hour laboratory sessions per week. Prerequisite(s): instructor determination at first class meeting of course 30B; concurrent enrollment in courses 30B required. Enrollment limited to 6. The Staff

30N. Theory, Literature, and Musicianship I Laboratory (2 credits). S
Keyboard (score-reading, figured-bass, progressions, chorales) and musicianship (sight-singing, atonal melody, rhythm) laboratory sequence illustrating topics covered in courses 30A-B-C, respectively. Two 1-hour laboratory sessions per week. Prerequisite(s): instructor determination at first class meeting of course 30C. Concurrent enrollment in courses 30C required. Enrollment limited to 6. The Staff

42. Student-Directed Seminar. F,W,S
Seminars taught by upper-division students under faculty supervision. (See course 192.) Students submit petition to sponsoring agency. The Staff

51. Vocal Repertoire Class (2 credits). F,W,S
The study and performance of vocal repertoire from 1400 to the present, including solo song, oratorio, opera, ensemble music. Emphasis is given to the development of effective performance skills, culminating in public performance. Attend first class meeting; concurrent enrollment in individual voice lessons with instructor of this course is required. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 20. May be repeated for credit. (General Education Code(s): A.) P. Maginnis, B. Staufenbiel

54. North Indian Music Workshop (2 credits). S
A course covering the music of North India taught using the oral traditions of Indian music. For beginners as well as more experienced students, this course is well suited for instrumentalists and vocalists. Interview; instructor determination at first class meeting. May be repeated for credit. (General Education Code(s): A.) The Staff

60. Group Instruction in Piano (2 credits). F,W,S
Elementary instruction in piano technique, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Curriculum is coordinated with keyboard requirements of courses 30A-B-C. Students are billed for a course fee. Instructor determination prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 8. May be repeated for credit. The Staff

61. Individual Lessons: Half Hour (2 credits). F,W,S
One-half hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of six hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed for a course fee. Admission by audition with the instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff

62. Individual Lessons: One Hour (3 credits). F,W,S
One hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed for a course fee. Admission by audition with the instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff

63. Group Instrumental and Vocal Lessons (2 credits). F,W,S
Elementary group instruction in instrumental (excluding piano) or vocal techniques, including group and individual performance experience. A minimum of six hours per week of individual practice is required. Students are billed for a course fee. Admission by audition with the instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 6. May be repeated for credit. The Staff

75. Jazz Theory. S
Studies in the modes, scales, chord alternations and extensions, chord voicings, chord progressions, and forms that underlie jazz improvisation, composition, and arranging in a variety of styles. Prerequisite(s): course 14. Enrollment limited to 30. (General Education Code(s): A.) K. Hester

80A. Music Cultures of Asia. *
A survey designed to introduce several music cultures from Asia. Focus on understanding and appreciating the musical styles, the performance practices, and the cultural functions of music and dance in the Orient. Performance in a related music culture is strongly recommended and may be satisfied by concurrent enrollment in course 5A, 5B, 5C, or 8, as available. Offered on a rotational basis with other non-Western music courses in the 80 series. (General Education Code(s): T4-Humanities and Arts, A, E.) L. Burman-Hall, F. Lieberman

80B. Music Cultures of Africa, South and North America, and Europe. *
Topics reflecting distinctive features of selected music cultures of Europe, Africa, and the Americas. Focuses on understanding and appreciating the musical styles and cultural functions in the performing arts of these areas. Incorporates live class performance of musics discussed. Offered on a rotational basis with other non-Western music courses in the 80 series. (General Education Code(s): T4-Humanities and Arts, A, E.) J. Schechter

80C. History, Literature, and Technology of Electronic Music. F
This survey of electronic music from previous centuries to the present studies the works and aesthetics of important composers, acoustics, musical perception, the effects of technological innovation on cultural evolution, and the development of synthesizers and computer music. (General Education Code(s): T6-Natural Sciences or Humanities and Arts, A.) G. Bassermann

80D. Music of Indonesia. *
A detailed study of musical style in cultural context in Indonesia, including court and village traditions and recent developments. The comparative approach includes reference to Balinese, Javanese, and Sundanese music cultures, and traditions of other regions, such as Madura, Cirebon, and/or the outer islands. Performance in a related music culture is strongly recommended and may be satisfied by concurrent enrollment in course 5A, 5B, 5C, or 8, as available. Offered on a rotational basis with other non-Western music courses in the 80 series. (General Education Code(s): T4-Humanities and Arts, A, E.) L. Burman-Hall

80E. History of Jazz. F
Designed to provide students with thorough and comprehensive background in history and roots of jazz as a musical style from its African roots to the present. Essential jazz styles and traditions are discussed through lectures, required listening, readings, lecture demonstrations, and film presentations. (General Education Code(s): T4-Humanities and Arts, A, E.) K. Hester

80F. Music in Latin American Culture: Regional Traditions. *
In-depth study of select music cultures of Mexico, Central America, and Caribbean, Brazil, Chile, Argentina, Colombia, and Peru. Characteristic regional genres, ensembles, instruments, and music rituals. Case studies by ethnomusicologists with expertise in specific regional musics. Also Latin American Nueva Canción, women’s musics, and overarching themes in Latin American music, as a whole. Offered on a rotational basis with other non-Western courses in the 80 series. (General Education Code(s): T4-Humanities and Arts, A, E.) J. Schechter

80G. American Musical Theater. W
Surveys American musicals from operetta through rock musicals with a historical approach focusing on selected examples from the literature. Music reading or musical experience helpful but not required. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80H. American Popular Music. F
Covers vernacular styles including Stephen Foster, vaudeville, Tin Pan Alley, the Hit Parade, blues, gospel, soul, rhythm and blues, Anglo-American folk ballads, country music, bluegrass, hillbilly, and the merger of these roots into rock and roll in the mid-1950s, the parallel development of doo-wop, girl groups, and the rise of rock with the British invasion in the mid-60s—mainly the Beatles. Musical experience helpful but not required. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80J. American Folk Music. *
Surveys American folk music, both instrumental and vocal, by region and period. Approach is primarily through listening. Previous musical experience helpful, but not required. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80K. Opera and Drama. *
A survey of opera from its beginnings ca. 1600 to the present, with emphasis on the ways in which opera’s formal structures express dramatic content. Class screenings and critical readings provide the basis for discussion of specific operas. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) The Staff

80L. Artificial Intelligence and Music. W
An introduction to basic concepts in music and artificial intelligence, and to algorithmic composition (composition by a set of explicit instructions, often using the computer). Other topics include basic introductions to related concepts in linguistics, mathematics, neural nets, pattern matching, genetic algorithms, fuzzy logic, and interactive systems. Previous experience in one or more of these topics is helpful but not required. Students produce a project based on one of the models presented in class. Offered in alternate academic years. (General Education Code(s): T6-Natural Sciences or Humanities and Arts, A.) D. Cope

80M. Film Music. *
A survey of film music by the major film composers. Includes study of film scores by, among others, Alfred Newman, Max Steiner, Bernard Herrmann, Toru Takemitsu, and Ennio Morricone, as well as a discussion of current trends and film composers. Discussion of the contribution of composers such as Aaron Copland, Serge Prokofiev, and Leonard Bernstein. Techniques and styles of film music are explored through lectures, required listenings, readings, and viewing of relevant films. A musical background, including the ability to read music, is helpful but not necessary. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) D. Cope

80N. Music of the Grateful Dead. *
In-depth exploration of the music of the Grateful Dead. Contextual study of the sociology and history of the late 1960s psychedelic movement supplies background for study of the music as the band evolved through time. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80P. Wagner’s Operas. *
Introduction to operas of Richard Wagner including their artistic, mythic, and political dimensions. Primary course work includes careful study of the late operas from the Ring Cycle through Parsifal. Previous experience in music and/or German is helpful but not required. Enrollment limited to 15. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.)
F. Lieberman

80Q. A Survey of African Music. S
Traces the various stylistic musical areas throughout the African continent and explores the development of traditional African music from antiquity into the twentieth century. (General Education Code(s): T4-Humanities and Arts, A, E.) K. Hester

80R. Music and the World Wide Web. *
A survey of musical applications of the World Wide Web and the technologies they employ: tools for musical research, playback, composition, performance, and publishing. Historical perspectives and artistic ethics also discussed. Students prepare a creative project using software tools, techniques, sound sources available on the web, and learn how to publish the results on the web. Enrollment limited to 44. Offered in alternate academic years. (General Education Code(s): T6-Natural Sciences or Humanities and Arts, A.) G. Bassermann

80S. Women in Music. F
An exploration of the sociological position of women as composers and performers in Western music history with a focus on specific figures from the Middle Ages to present. (Also offered as Women’s Studies 80S. Students cannot receive credit for both courses.) Offered in alternate academic years. (General Education Code(s): T4-
Humanities and Arts, A.) L. Miller

80T. Celtic Music. *
An introduction to traditional folk music of Ireland, Scotland, Brittany, and Wales. Covers the history of Celtic music beginning in the sixteenth century and finishing with the contemporary Celtic music, with an emphasis on traditional Irish music. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) The Staff

80V. The Music of the Beatles. S
The most significant group in the history of popular music, the Beatles spanned the gamut of styles from hard-edged R & B to sophisticated art-rock. This course explores their work in detail, in its own terms, and in the historical/cultural/technological contexts. Course 80H is recommended but not required as preparation. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80W. Music Business. *
Explores the many facets of the music industry: history, technology, economics, sociology, and legislation. Provides both a broad understanding of the industry and a pragmatic survey of available career paths. Offered in alternate academic years. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

80X. Music of India. W
A survey course in Hindustani (North Indian) and Karnatak (South Indian) music covering the Raga (modal system) and Tala (metric system) as they have developed in the two traditions. Consideration is given to the historical development of the music, from Vedic chanting to the modern Raga system; social functions of the music throughout history; and instrumental and vocal forms with an emphasis on listening. (General Education Code(s): T4-Humanities and Arts, A, E.) The Staff

80Y. Music of Bob Dylan. *
In-depth exploration of Bob Dylan’s music and lyrics focusing both on their artistic value and their significant influences on the development of popular music. Musical contemporaries, historical and cultural context, and biographical information enrich the story. Course 80H is recommended but not required. (General Education Code(s): T4-Humanities and Arts, A.) F. Lieberman

81. Electronic Sound Synthesis. W
Introduction to electronic music studio techniques, relevant electroacoustical studies, and procedures of electronic music composition. Practical experience in the UCSC electronic music studio with an analog synthesizer; mixing, equalization, multitrack recording equipment, and other sound processing. Prerequisite(s): see the enrollment conditions section in the quarterly Schedule of Classes; completion of course 80C. Application available at department office during last two weeks of previous quarter. Preference given to music majors, film and digital media majors, and students with substantial musical experience. Enrollment limited to 25. P. Elsea

94. Group Tutorial. F,W,S
Provides a means for a small group of students to study a particular topic in consultation with a faculty sponsor. Admission requires approval of department. The Staff

99. Tutorial. F,W,S
A program of directed study arranged with a department faculty member. Students submit petition to sponsoring agency. The Staff

99F. Tutorial (2 credits). F,W,S
A program of directed study arranged with a department faculty member. Class time is proportionally less than a five-credit course. Students submit petition to sponsoring agency. The Staff

Upper-Division Courses

100A. Theory, Literature, and Musicianship II. F
Tonal counterpoint. Chromatic harmony and its ramifications. Prerequisite(s): courses 30C and 30N and Piano Proficiency Exam; instructor determination at first class meeting. Enrollment limited to 20. B. Carson, D. Cope, D. Jones, H. Kim, P. Nauert

100B. Theory, Literature, and Musicianship II. W
Chromatic harmony and its ramifications. Introduction to twentieth-century methods of composition, including serial techniques. Prerequisite(s): course 100A; instructor determination at first class meeting. Enrollment limited to 20. B. Carson, D. Cope, D. Jones, H. Kim, P. Nauert

100C. Theory, Literature, and Musicianship II. S
Twentieth-century methods of composition. Prerequisite(s): course 100B; instructor determination at first class meeting. Enrollment limited to 20. B. Carson, D. Cope, D. Jones, H. Kim, P. Nauert

101A. History of Western Art Music. W
First quarter of a four-quarter, detailed chronological study of Western art music from antiquity to the present. Coordinated lectures, readings, listening assignments, and analysis of representative works: Antiquity, Middle Ages, Renaissance. Prerequisite(s): course 30A. L. Miller, N. Treadwell

101B. History of Western Art Music. S
Second quarter of a four-quarter, detailed chronological study of Western art music from antiquity to the present. Coordinated lectures, readings, listening assignments, and analysis of representative works: Baroque. Prerequisite(s): course 30B. L. Miller, N. Treadwell

101C. History of Western Art Music. F
Third quarter of a four-quarter, detailed chronological study of Western art music from antiquity to the present. Coordinated lectures, readings, listening assignments, and analysis of representative works: Classical and Romantic. Prerequisite(s): course 30C. A. Beal, A. Leikin

101D. History of Western Art Music. W
Fourth quarter of a four-quarter, detailed chronological study of Western art music from antiquity to the present. Coordinated lectures, readings, listening assignments, and analysis of representative works: twentieth century. Prerequisite(s): course 30C. A. Beal, D. Jones, P. Nauert

120. Seminar in Music Composition. W
Instruction in individual composition offered in the context of a group; composition in traditional large and small forms. Prerequisite(s): course 30C. Enrollment limited to 16. D. Cope, D. Jones, H. Kim, P. Nauert

124. Intermediate Electronic Sound Synthesis. S
Composition with the use of small computers in the electronic music studio. Techniques covered include hybrid synthesis, digital synthesis, and MIDI-controlled systems. No programming is involved, but basic computer literacy is helpful. Prerequisite(s): course 81. Enrollment limited to 25. P. Elsea

125. Advanced Electronic Sound Synthesis. F
Continuing study in the electronic music studio, with concentration on compositional development. Includes advanced applications of skills developed in courses 81 and 124, expansion of background knowledge and relevant electroacoustical studies. Prerequisite(s): course 124. Enrollment limited to 25. P. Elsea

130. Orchestration. F
A study of the nature of each instrument of the orchestra. Scoring for various small instrumental combinations, culminating in a transcription for full orchestra. Prerequisite(s): course 30C. Enrollment limited to 15. H. Kim

140. Film Music Composition. *
Covers basic principles of film composition, terminology, general technology, and strategies for film scoring. Consists of discussions of particular film types, and students will compose music appropriate to the genre and mood of the film clips. Enrollment limited to 20. D. Cope

159A. Opera Workshop (2 credits). F,W
A workshop for singers, accompanists, and directors, the course develops a wide variety of skills related to opera through scenework. Attention will be given to movement, acting, coaching, and operatic stage-directing technique. Instruction culminates in studio productions of scenes from operas and musicals. Admission by permission of vocal instructor, or by audition with instructor prior to first class meeting. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): A.)
P. Maginnis, B. Staufenbiel

159B. Opera Workshop (3 credits). F,W
A workshop for singers, accompanists, and directors, the course develops a wide variety of skills related to opera through scenework. Attention will be given to movement, acting, coaching, and operatic stage-directing technique. Instruction culminates in studio productions of scenes from operas and musicals. Admission by permission of vocal instructor, or by audition with instructor prior to first class meeting. Enrollment limited to 30. May be repeated for credit. (General Education Code(s): A.)
P. Maginnis, B. Staufenbiel

160. University Opera Theater. S
A production workshop, culminating in one or more staged performances of an entire opera or selected scenes from the operatic repertory. Admission by audition with instructor prior to first class meeting; auditions usually take place in fall quarter. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) P. Maginnis, B. Staufenbiel

161. Individual Lessons: One Hour (3 credits). F,W,S
One hour of individual instrumental or vocal instruction. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed for a course fee. Admission by audition with the instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment priority given to music majors and minors. May be repeated for credit. The Staff

162. Advanced Individual Lessons: One Hour. F,W,S
One hour of individual instruction for advanced students. Study of repertory, technique, and performance practice. A minimum of 18 hours per week of individual practice and at least one 30-minute recital are required. May be taken three times for credit. Concurrent enrollment in an ensemble in the lesson instrument or voice is required. Students are billed for a course fee. Admission by juried audition. See the enrollment conditions section of the quarterly Schedule of Classes. The Staff

163. Early Music Consort (2 credits). W
A study of selected works for varied early music instrumental and vocal resources, culminating in one or more public concerts. Individual lessons are recommended in conjunction with consort work. Recommended for students who have instrumental or vocal competence and music literacy. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. L. Burman-Hall, L. Miller, N. Treadwell

164. Jazz Ensembles (2 credits). F,W,S
Instruction in combo performance and techniques of the jazz idiom. The class forms several ensembles that prepare a specific repertory for public performance. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. The Staff

165. Chamber Music Workshop (2 credits). F,W,S
A study of selected works for various small combinations of instruments, culminating in one or more public concerts. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. The Staff

166. Chamber Singers (2 credits). F,W,S
The study of selected works for small vocal ensemble from the fifteenth through twentieth centuries, with performances on and off campus throughout the academic year. Students must have demonstrated vocal and music reading skills. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. (General Education Code(s): A.) N. Paiement

167. Workshop in Electronic Music (2 credits). F,W,S
Continuing studio work in electronic music. Students carry out individual projects, meeting in weekly seminar to share problems and discoveries. Relevant advanced topics are covered, including new developments in the art. Prerequisite(s): course 124. Enrollment limited to 20. May be repeated for credit. P. Elsea

168. Contemporary Music Ensemble (2 credits). W
A study of selected works for various small combinations of instruments and voice, culminating in one or more public concerts. Admission by audition with instructor prior to first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. A. Beal, D. Cope, D. Jones, H. Kim

170. Gender Wayang Ensemble (2 credits). *
Techniques and repertory of Gender Wayang, a traditional Balinese ensemble of metal-keyed percussion instruments. Works may include music for shadow plays and ritual pieces. Intermediate to advanced level skills in mallet percussion (individual lessons, gamelan, or percussion ensemble experience). Admission by audition with instructor at first class meeting. See the enrollment conditions section of the quarterly Schedule of Classes. Enrollment limited to 4. May be repeated for credit. (General Education Code(s): A.) L. Burman-Hall

174A. Beginning Jazz Improvisation. F
Introduction to the basics of jazz improvisation, including theory, harmony, rhythm, improvisation techniques, aesthetics and idiomatic devices. Exposure to jazz repertoire through in-class performances of swing, blues, modal and Latin styles. Admission by audition with instructor at first class meeting. Enrollment limited to 20. May be repeated for credit. K. Hester

174B. Intermediate Jazz Improvisation. W
Continued development of basic skills in jazz improvisation through in-class performances, including theory, harmony, rhythm, improvisation techniques, aesthetics, and idiomatic devices. Introduction of intermediate materials and approaches; extended harmony; bebop, ballad, and jazz-rock/fusion styles. Admission by audition with instructor at first class meeting. Enrollment limited to 20. May be repeated for credit. K. Hester

180A. Studies in World Musics: Asia and the Pacific. *
In-depth ethnomusicological studies of selected music cultures of East Asia, Southeast Asia, and the Pacific. Emphasizes comparison of historical, theoretical, contextual, and cultural features. Includes basic ethnomusicological points of reference, as regards organology, music ritual, notation and transcription, and aspects of field research. Prerequisite(s): course 30B. Concurrent enrollment in a non-Western performing ensemble is strongly recommended. Enrollment restricted to music majors and graduate students. Anthropology majors may enroll with permission of instructor. Enrollment limited to 30. (General Education Code(s): A, E.) L. Burman-Hall,
F. Lieberman

180B. Studies in World Musics: Africa and the Americas. S
In-depth ethnomusicological studies of selected music cultures of sub-Saharan Africa and South and North America, including Native America. Emphasizes comparison of historical, theoretical, contextual, and cultural features. Includes basic ethnomusicological points of reference, as regards organology, music ritual, notation and transcription, and aspects of field research. Prerequisite(s): course 30B; concurrent enrollment in a non-Western performing ensemble is strongly recommended. Enrollment restricted to music majors and graduate students. Anthropology majors may enroll with permission of instructor. Enrollment limited to 30. (General Education Code(s): A, E.) J. Schechter

180V. Seminar in the Music of the Beatles. S
Detailed study of the Beatles’ music. While course 80V introduces the Beatles to general students, this course is designed for music majors, music minors, students able to read music, or non-majors with strong knowledge of the Beatles’ repertory. Interview only; instructor determination at or before first class meeting. Prerequisite(s): course 80H or equivalent experience; basic knowledge of Beatles repertory. Enrollment limited to 30. F. Lieberman

180W. Seminar in Music Business. *
An exploration of the many facets of the music industry: history, technology, economics, sociology, and legislation. Intended to provide both a broad understanding of the industry and a pragmatic survey of available career paths. While designed for general students, this seminar is specifically directed to those students desiring to pursue a music business career, whether in performance, management, the record business, writing about music (journalism, criticism), or entertainment law. Admission by permission of instructor at or before first class meeting. Enrollment limited to 25. F. Lieberman

192. Directed Student Teaching. F,W,S
Teaching of a lower-division seminar under faculty supervision. (See course 42.) Upper-division standing and a proposal supported by a music faculty member willing to supervise required. The Staff

195A. Senior Thesis. F,W,S
Preparation of senior thesis over one or two quarters. If taken as a multiple-term course, the grade and evaluation submitted for the final quarter applies to the previous quarter. Students submit petition to sponsoring agency. The Staff

195B. Senior Thesis. F,W,S
Preparation of senior thesis over one or two quarters. If taken as a multiple-term course, the grade and evaluation submitted for the final quarter applies to the previous quarter. Students submit petition to sponsoring agency. The Staff

196A. Senior Recital Preparation (without individual lessons). F,W,S
Prerequisite(s): juried audition or approved composition portfolio. May be repeated for credit. The Staff

196B. Senior Recital Preparation (with individual lessons). F,W,S
Students are billed for a course fee. Prerequisite(s): juried audition. May be repeated for credit. The Staff

197. Senior Exit Seminar (2 credits). S
Designed for music majors in their final quarter. Focuses on music in social context while seeking to integrate knowledge from previous music courses in preparation of a series of analytical projects. Admission by instructor determination at first class meeting. L. Burman-Hall, D. Cope, D. Jones, H. Kim, A. Leikin, L. Miller

199. Tutorial. F,W,S
A program of directed study arranged with a department faculty member. Students submit petition to sponsoring agency. The Staff

199F. Tutorial (2 credits). F,W,S
A program of directed study arranged with a department faculty member. Class time is proportionally less than a five-credit course. Students submit petition to sponsoring agency. The Staff

Graduate Courses

200. Introduction to Research Methods. F
A practical introduction to graduate study in music. Beginning with the kinds of questions asked, exploring the various strategies for finding answers, and finally presenting results in varied public forms (lecture, performance, research paper). A. Beal, L. Burman-Hall, B. Carson, A. Leikin, L. Miller

201. Pretonal and Tonal Analysis. W
A study and analysis of pre-tonal and tonal music from the Greeks through the mid-nineteenth century. The course combines a history of theory with analyses that utilize contemporaneous theoretical concepts. Enrollment restricted to graduate students. Offered in alternate academic years. L. Burman-Hall, D. Cope, A. Leikin, L. Miller, P. Nauert

202. Tonal and Posttonal Analysis. *
Encompasses various forms of linear analysis, set theory, and selected topics in current analytical practice. Offered in alternate academic years. B. Carson, D. Cope, D. Jones, H. Kim, P. Nauert

203. Special Topics in Performance Practice.
Investigation of primary and secondary sources of information about the culturally and historically accurate performance of music in various times and places. Undergraduates who have completed the appropriate course 101 courses may enroll in 203 courses by interview with the instructor. The Staff

203A. Performance Practice in the Middle Ages. *
A study of performance practices in medieval music from Gregorian chant to the 14th century. History of instruments and notation. Rhythmic interpretations of chant and a study of improvised practices in organum. Editing and performance of representative works. Offered on a rotational basis with other courses in the 203 series. E. Houghton, L. Miller

203B. Performance Practice in the Renaissance. *
A study of performance practices in Renaissance music, including concepts of mode, musica ficta, ornamentation, text underlay, tempo, and articulation. Basic principles of white notation and a brief history of instruments. Transcription, editing, and performance of a Renaissance work. Offered on a rotational basis with other courses in the 203 series. E. Houghton, L. Miller

203C. Performance Practice in the Baroque. W
An examination of historically informed performance practice techniques in Baroque music, with attention to aspects of ornamentation, articulation, figured bass realization, dance choreography, rhythm and tempo, and organology. In-class performances and editing of source materials are included. Offered on a rotational basis with other courses in the 203 series. L. Burman-Hall, L. Miller

203D. Performance Practice in the Classic Period. *
Issues in performance practice focusing on selected topics and styles from the time of C.P.E. Bach through Haydn. Development of selected genres and ensembles, sources and editing, and interpretation and improvisation. L. Burman-Hall

203E. Performance Practice in the Romantic Period. S
Interpretation of music from Beethoven to Scriabin through examinations of both the musical texts (form, genre, harmony, texture, orchestration, etc.) and the period performance practices. Topics range from interpretative analyses of selected compositions to critical assessments of modern as well as documented nineteenth- and early twentieth-century performances. Offered on a rotational basis with other courses in the 203 series. A. Leikin

203F. Performance Practice in the Twentieth Century. *
Projects in analysis, notational studies, extended instrumental techniques, and the aesthetics and performance practices associated with composers from Debussy to the present. Reading and listening focuses on the writings and performances of the composers themselves and upon interpretive writings by informed performers of twentieth-century music. Offered on a rotational basis with other courses in the 203 series. May be repeated for credit. A. Beal, B. Carson, D. Cope, D. Jones

203G. Concepts, Issues, and the Practice of Ethnomusicology. *
Ethnomusicological field methodology; vocal and instrumental performance practices as related to the ethnomusicological endeavor. Specific topics: philosophical paradigms, historical overview, and definitional issues of ethnomusicology; field research concepts and procedures; studies in instrumental and vocal performance practices of diverse cultures; selected writings of Charles Seeger; transcription and analysis issues; studies in micromusics. Offered on a rotational basis with other courses in the 203 series. J. Schechter

203H. Area Studies in Performance Practice. W
Intensive examination of the vocal and instrumental performance practices of living musical traditions of Indonesia, Latin America, or other regions. Topics may incorporate soloistic and ensemble traditions, secular and sacred traditions. Research rubrics include tuning, tone quality, performance posture and rhetoric, and improvisational and fixed patterns, as dictated by regional norms. May be repeated for credit in a different area. Offered on a rotational basis with other courses in the 203 series. May be repeated for credit. L. Burman-Hall,, H. Kim, J. Schechter

204. Graduate Seminar on Music Education. *
Designed to provide a coherent and integrated approach to classroom music teaching. Students have part-time responsibility for public elementary school classes under the supervision of the instructor. Weekly seminars cover the practical application of music knowledge to young people in a systematic and comprehensive manner. Interview with instructor at first class meeting. Enrollment restricted to graduate students. Enrollment limited to 6. The Staff

206D. Perception and Cognition. F
Applications of experimental mind science research to questions about perception, attention, and awareness in the experience of music. Topics include multidimensional aural perception, studies of memory and linguistics, applied to questions of music theory and analysis. Enrollment restricted to graduate students. Enrollment limited to 16. May be repeated for credit. B. Carson

220. Graduate Seminar in Music Composition. S
Instruction in individual composition offered in the context of a group; composition in large forms of the twentieth century with emphasis on techniques since 1950. May be taken by upper-division undergraduates for credit. May be repeated for credit with a different instructor. Interview with instructor at first class meeting. Enrollment limited to 16. May be repeated for credit. D. Cope, D. Jones, H. Kim, P. Nauert

225. Computer Assisted Composition. *
An introduction to techniques of algorithmic and computer assisted composition in a variety of contemporary idioms. Topics include stochastic methods, advanced constructions such as probability and Markov chains, fuzzy logic or generative grammars, and the realization of abstract compositional design. Pioneering algorithmic work by composers such as Hiller and Xenakis will be studied. Students will be introduced to a widely used compositional language such as Lisp or Max and use it to implement a series of studies and compositions. Admission by interview with instructor; composition portfolio required. Enrollment restricted to graduate students. Enrollment limited to 10. D. Cope

261. Graduate Applied Instruction (3 credits). F,W,S
One hour of individual instrumental or vocal instruction for graduate students. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting; see the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. The Staff

265. Graduate Ensemble Participation (2 credits). F,W,S
Participation by graduate students in ensembles. Enrollment limit appropriate to the size of each ensemble. Admission by audition with the instructor prior to first class meeting; see the enrollment conditions section of the quarterly Schedule of Classes. May be repeated for credit. The Staff

281. Electronic Sound Synthesis. W
Introduction to electronic music studio techniques, relevant electroacoustical studies, and procedures of electronic music composition. Practical experience in the UCSC electronic music studio with an analog synthesizer; mixing, equalization, multitrack recording equipment, and other sound processing. Prerequisite(s): permission of instructor; course 80C. Enrollment restricted to graduate students. Enrollment limited to 5. P. Elsea

295. Directed Reading. F,W,S
Directed reading which does not involve a term paper. May be repeated once for credit. Students submit petition to sponsoring agency. The Staff

297. Independent Study. F,W,S
Independent study, creative work, or research for graduate students who have not yet begun work on their thesis. Students submit petition to sponsoring agency. The Staff

298. Graduate Recital. F,W,S
A public performance in the student’s primary area of interest, related to the thesis project, under the supervision of a faculty member. Students submit petition to sponsoring agency. The Staff

299. Thesis Research. F,W,S
A thesis consisting of a substantive and original creative or scholarly work, related to the graduate recital, under the supervision of a faculty member. Students submit petition to sponsoring agency. May be repeated for credit. The Staff

Additional Courses of Interest

Check the quarterly Schedule of Classes for 2004–05 course offerings.
Physics 80A, Physics and Psychophysics of Music
Economics 80G, Money and Art: Two All-Consuming Passions
Economics 137, Performing Arts in the Public and Private Economy

*Not offered in 2004-05