Music History and Musicology
A MUS 100 Introduction to Music (3)
Designed to acquaint students with important concepts and terminology underlying western music from the Middle Ages through the present. Active listening and discussion of relevant musical examples will help students enhance their enjoyment of music, develop critical perspectives, and understand the role of music in the humanities. No previous musical experience needed.
A MUS 102 The Golden Age of Piano Music (3)
This course will survey some of the great literature for piano with a special emphasis on specific works by Haydn, Mozart, Beethoven, Schubert, Weber, Chopin, and Brahms; we will explore piano repertoire from the 20th and 21st centuries as well. In addition to hearing performances of this music we will discuss our subjective responses to the music and also study the historical context and the architectural structure of the pieces, with an emphasis on sonata allegro form, minuet and trio form, and variation form. The course will include some discussion of the history of keyboard instruments, the great pianists, and some basic music theory. The piano in the context of duets, chamber music, and the concerto will also be discussed, and both student and faculty guests will come in to demonstrate this ensemble music. The course is designed to be integrated into the specific concert offerings at the University each term, and attendance at certain concerts of music for piano is mandatory. Near the end of the term we will devote some time to the music of today and the keyboard outside of the realm of classical music. Students will give presentations on a piece of their choosing (that includes keyboard of some type) and discuss it for the class in terms of the language learned during the course of the semester.
A MUS 105 Choral Music (3)
Although the first half of the course will cover the main forms of choral music, sacred and secular, and the most important composers from Handel to Brahms. The second half will include units on music and poetry, and on national styles in music. The final unit will be devoted to contemporary choral music, both "classical" and folk, with some emphasis on choral music around the world. The course will involve a combination of lecture, discussion and listening. Students will be expected to participate frequently in class to explain their reactions to the music we are listening to. Students will also be expected to write several short papers and a term paper. Attendance at concerts of choral music will be arranged. Some facility with music and music notation is helpful but not required; a love of listening to music is most important!
A MUS 115 Jazz: America’s Music (3)
An overview of the history of Jazz, its origins and evolution. Emphasis will be placed on the music of well-known Jazz performers and composers. Numerous illustrations, listening examples and other appropriate materials will be included as part of the course content.
A MUS 208 Introduction to Opera (3)
Defining the medium, its premises and problems, its gradual formation through history, and its function as a dramatic art form. Only one of A MUS 208 or 338 may be taken for credit.
A MUS 209 (= A AAS 209) Black American Music (3)
An introduction to Black American Music. Study will include music from West Africa as well as musical/social influences throughout American History. Musical styles will include spirituals, gospel, blues, jazz and classical. Only one version of A MUS 209 may be taken for credit.
A MUS 211 The Concerto (3)
Study of the concerto grosso and solo concerto from the 17th century onward, and the resulting classical forms and variations.
A MUS 212 Chamber Music (3)
History of the musical literature for small instrumental ensembles; the trio sonata, the divertimento, the string quartet, and other forms of chamber music. Prerequisite(s): one 100 or 200 level music lecture course or equivalent experience.
A MUS 213 Survey of Symphonic Music (3)
Study of symphonic literature. The growth of the orchestra, symphonic forms and major symphonies. Only one of A MUS 213 or 313Z may be taken for credit.
A MUS 214 American Music (3)
American music from 1620 to the present. Prerequisite(s): one 100 or 200 level music lecture course or equivalent experience. Only one of A MUS 214, T MUS 214, or A MUS 334 may be taken for credit.
T MUS 214 American Music (3)
Formerly A MUS 214H. T MUS 214 is the Honors College version of A MUS 214. Only one of A MUS 214, T MUS 214, or A MUS 334 may be taken for credit.
A MUS 216/216Z (= A LCS 216/216Z) Music and Society in Latin America: Past and Present (3)
This course will deal with two basic issues: the evolution of musical thought throughout Latin America from pre-Hispanic times to the present, and the relationship between musical manifestations and the prevailing social order in which those activities took place. Only one version of A MUS 216 may be taken for credit.
A MUS 217 (= A WSS 217) Women and Music (3)
An examination of the contributions of women in music through a historical survey of Western art music and a brief survey of popular and non-Western music. Works by women composers as well as other phases of women’s activities as musicians will be studied. Live performances and interviews will be arranged when possible. Only one version of A MUS 217 may be taken for credit.
A MUS 218 Special Topics in Music (1–4)
Consult fall and spring schedule of classes for specific topics. May be repeated for credit if content varies.
A MUS 219 Rock Music in Historical Perspective (3)
This course surveys rock styles from the 1950s through the early 1990s focusing on records and their historical context. The material covers a broad range of artists and topics representing rock’s stylistic diversity and cultural significance. In addition to historical analysis, emphasis will be placed on active listening with an ear for elements of record production as well as musical style. Only one of A MUS 219 or 319Z may be taken for credit.
A MUS 223 Modern Jazz: Bebop to Free Jazz and Beyond (3)
This course will explore the major composer/performers and musical ideas of this improvisatory art form, with an emphasis on Charlie Yardbird Parker and his influence on the post-bop, modal and impressionistic forms that followed in the music of Miles Davis, John Coltrane, and Ornette Coleman. It will survey special topics including singers, Latin Jazz, Jazz Fusion, the creative movements from Chicago, and current trends. Only one of A MUS 223, T MUS 223 or A MUS 323 may be taken for credit.
T MUS 223 Modern Jazz: Bebop to Free Jazz and Beyond (3)
T MUS 223 is the Honors College version of A MUS 223. Only one of A MUS 223, T MUS 223 or A MUS 323 may be taken for credit.
A MUS 226 Hip Hop Music and Culture (3)
This course examines the evolution of Hip Hop music and culture (Graffiti art, B-Boying [breakdancing], DJ-ing, and MC-ing) from its birth in 1970s New York to its global and commercial explosion in the late 1990s. Students learn to think critically about both Hip Hop culture, and about the historical and political contexts in which Hip Hop culture took, and continues to take, shape. Particular attention is paid to questions of race, gender, authenticity, consumption, commodification, and globalization.
A MUS 229 Jazz Fusion: History and Repertory (3)
This course will trace the evolution of the musical genre called jazz fusion, which emerged from the meeting, in the late 1960s and 1970s, of jazz, rock, blues, and funk, using listening examples, video clips, narratives and musical criticism. The role of its initial guiding force, Miles Davis, will be explored, along with the work of those who influenced its beginnings: British blues-inflected rock and Jimi Hendrix, American blues, rhythm and blues, and early funk. Particular attention will be on the participants in Miles Davis’ seminal “Bitches Brew” sessions and early touring bands – and the groups that they spawned, including Herbie Hancock, Joe Zawinul, Wayne Shorter, John McLaughlin, and Chick Corea. Only one of A MUS 229 or 329 may be taken for credit.
A MUS 230 Music History I (3)
An in–depth study of the written tradition of European music from antiquity to 1750 with an emphasis on the evolution of notation. Topics include music of the Church, Ars Nova, the courtly love tradition, Renaissance polyphony, Baroque opera and instrumental forms, Bach and Handel. Prerequisite(s): A MUS 100. Offered fall semester only.
A MUS 231 Music History II (3)
An in–depth study of the written musical traditions of Europe and the United States from the mid–eighteenth through the twentieth centuries with an emphasis on score reading. Topics include Viennese classicism from Mozart to Beethoven; Romanticism from Schubert to Wagner and Verdi; and Modernism from Schoenberg, Stravinsky, and Bartok to John Cage and Steve Reich. Prerequisite(s): A MUS 100. Offered spring semester only.
A MUS 313Z Survey of Symphonic Music (3)
Study of symphonic literature. The growth of the orchestra, symphonic forms and major symphonies. Covers the same material as A MUS 213, but on a more advanced level. In addition to all other course work, students do music analysis, readings in musicology, and a research paper in consultation with the instructor. Only one of A MUS 213 or 313Z may be taken for credit. Prerequisite(s): A MUS 230 and A MUS 231.
A MUS 316 The American Piano: Rachmaninoff to Rock and Roll (3)
A study of the piano in American society: as a vehicle for different musical styles and idioms; as an economic force in 19th and 20th century America, as an element of domestic and social life, as a career path; as a tool for teaching and learning; as a status symbol; and as entertainment. The course will explore different styles of piano music: composed and improvisatory; classical, jazz, pop, and rock. Students will compile short profiles of piano composers and performers, presenting them to the class both orally and in writing, and illustrating them with audio and video recorded performances. Each student will write a 15-20 page paper as a final project, and make an oral presentation to the class based on the final project. Students may also perform selections from the repertory studied.
A MUS 319Z Rock Music in Historical Perspective (3)
This course surveys rock styles from the 1950s through the early 1990s focusing on records and their historical context. The material covers a broad range of artists and topics representing rock’s stylistic diversity and cultural significance. In addition to historical analysis, emphasis will be placed on active listening with an ear for elements of record production as well as musical style. Covers the same material as A MUS 219, but on a more advanced level. In addition to all other course work, students do music analysis, readings in musicology, and a research paper in consultation with the instructor. Only one of A MUS 219 or 319Z may be taken for credit. Prerequisite(s): A MUS 100 or permission of the instructor.
A MUS 323 Modern Jazz: Bebop to Free Jazz and Beyond (3)
This course will explore the major composer/performers and music ideas of this improvisatory art form, with an emphasis on Charlie Yardbird Parker and his influence on the post-bop, modal and impressionistic forms that followed in the music of Miles Davis, John Coltrane, and Ornette Coleman. It will survey special topics including singers, Latin Jazz, Jazz Fusion, the creative movements from Chicago, and current trends. Covers the same material as A MUS 223 but on a more advance level. In addition to course work required in A MUS 223, students engage in musical analysis, additional readings in musicology, and complete a more extensive final paper. Only one of A MUS 223, T MUS 223, or A MUS 323 may be taken for credit.
A MUS 329 Jazz Fusion: History and Repertory (3)
This course will trace the evolution of the musical genre called jazz fusion, which emerged from the meeting, in the late 1960s and 1970s, of jazz, rock, blues, and funk, using listening examples, video clips, narratives and musical criticism. The role of its initial guiding force, Miles Davis, will be explored, along with the work of those who influenced its beginnings: British blues-inflected rock and Jimi Hendrix, American blues, rhythm and blues, and early funk. Particular attention will be on the participants in Miles Davis' seminal "Bitches Brew" sessions and early touring bands - and the groups that they spawned, including Herbie Hancock, Joe Zawinul, Wayne Shorter, John McLaughlin, and Chick Corea. Covers the same material as A MUS 229 but on a more advanced level. In addition to course work required in A MUS 229, students engage in musical analysis, additional readings in musicology, and complete a more extensive final paper. Only one of A MUS 229 or A MUS 329 may be taken for credit.
A MUS 332 (= A JST 332; formerly A MUS 225 & A JST 215) Music of the Jewish People (3)
A survey of significant features and trends emerging from the evolving history, musical literature, and aesthetics of Jewish musical expression. Issues to be addressed include musical implications of the multi-national, multi-ethnic nature of Jewish peoplehood; the complex interplay between Jewish identity and musical expression; the multi-faceted nature of the term "Jewish", and the dynamic interaction between Jewish communities and surrounding host cultures, as diverse influences have been perpetually refracted through the lens of the Jewish experience. Course work will include listening, reading and writing assignments, integrated within a lecture and discussion format. Only one version A MUS/A JST 332, A MUS 225 or A JST 215 may be taken for credit.
A MUS 334 Survey of American Music (3)
A historical survey of American music, from its roots in the early 17th century to contemporary times. Only one of A MUS 214 or 334 may be taken for credit. Prerequisite(s): A MUS 100.
A MUS 335/335W/335Y/335Z Music Since 1900: Art and the Popular (3)
This course examines the reciprocal relationship between “high” and “popular” culture during the past hundred years. Twentieth century art music topics such as atonality, nationalism and minimalism will be considered in conjunction with vernacular genres such as folk music and Tin Pan Alley. The effects of mass–mediation and technology on aesthetics and perception will be explored through writings by composers, critics and sound artists as well as assigned listening. Additional topics include the culture industry, modernism, the experimental tradition, and the music appreciation movement. Class format is based on lectures, discussion, oral presentations and independent writing projects. Only one version of A MUS 335 may be taken for credit. Prerequisite(s): A MUS 100 or permission of instructor.
A MUS 336/336W/336Y/336Z (= A WSS 336/336W/336Y/336Z) Representations: Music, Gender, Race, and Class (3)
This course will examine portrayals of gender, race and class across a wide range of musical media, including film, opera, theater and song. Through a series of theoretical readings and listening/viewing assignments, we will investigate historical and contemporary issues concerning self-representation and the representation of others. Who has the right to speak, and for whom? How can music convey ideas about identity? The many ways music communicates meaning will be explored through lectures, discussion, small-group presentations, and independent writing projects. Only one version of A MUS 336 may be taken for credit. Prerequisite(s): A MUS 100 or permission of instructor.
A MUS 338 Survey of Opera (3)
An introduction to the forms and conventions of musical dramas. Selected works from its Florentine beginning through the 20th century. Video presentations and live performances will be arranged when possible. Only one of A MUS 208 or 338 may be taken for credit. Prerequisite(s): A MUS 100.
A MUS 375 Analysis and Synthesis: The Performer’s World (3)
This course is designed for students who are performance majors or have considerable experience performing on their major instrument. We will dive into the world of preparing for a performance: repertoire selection and programming skills; practice habits and theoretical analysis; memorizing and performance anxiety; and lastly, program note writing and lecture/recitals. Music will be analyzed in detail and put into its historical context before the synthesis of performance can take place. Topics will vary from term to term and will be chosen to reflect the interests and instruments of the people in the class. The class will attend concerts en masse and discuss them. Each student’s final project will consist of a presentation in the Recital Hall, which will include a performance, written document, and lecture to the class. Prerequisite(s): Music 245 or permission of instructor.
A MUS 432Z Music of the Baroque Period (3)
Study of the music of the period, approximately 1600–1750, from the invention of opera through the works of J.S. Bach and Handel. Prerequisite(s): A MUS 230.
A MUS 433Z Music of the Classical and Romantic Periods (3)
Intensive study of the music and the composers of these periods, emphasizing the various forms of genres. The music from J.S. Bach’s sons and Gluck to the symphonic works of Brahms, Mahler, and Richard Strauss. May not be taken for credit by students with credit for A MUS 434Z. Prerequisite(s): A MUS 230 and 231.
A MUS 435Z Music of the 20th Century (3)
Identifying and examining the major musical genres of the century, the literature of the principal media and the masterworks, as well as the influence of electronic instruments and sound, and non-Western music. Prerequisite(s): A MUS 230 and 231.
A MUS 436 Music Since 1950 (3)
The literature, aesthetics and techniques of contemporary music for instruments, voices and electronic media. Prerequisite(s): A MUS 230 and 231.
A MUS 451 (= A AAS 451) Jazz, Identity and the Human Spirit (3)
This course will explore issues of identity, spirituality, entrepreneurship, cultural transmission and politics viewed through the lens of the musical tradition called jazz. Topics will include saxophonist John Coltrane's musical-spiritual search, the musical-mythos of bandleader Sun Ra, musician-led organizations and movements with a focus on the Chicago-based Association for the Advancement of Creative Music (AACM), jazz and social protest, ideas about black experimentalist traditions and controversies about the use of electronics in the work of Miles Davis and Herbie Hancock, the cultural roots of jazz and questions about the nature of musical genres and boundaries. The course will include lecture, listening, small group presentations and class discussion. Only one version of A MUS 451 may be taken for credit.
Music Theory
A MUS 110 Rudiments of Music (3)
Consideration of the rhythmic, melodic and harmonic elements of music through writing, dictation and analysis of rhythm, modes, intervals, keys, scales, triads in progression and form. Analysis of a variety of musical styles. Previous musical experience helpful but not necessary. Students with credit for A MUS 245 will not, subsequently, receive additional credit for A MUS 110. A MUS 110 and 245 may not be taken concurrently.
A MUS 245 Theory I (4)
An examination of fundamental materials basic to tonal music including chord structures harmonic function, and simple part writing with root position diatonic chords. Introduction to musical notation software. Ear-training and sight-singing work coordinated with written and analytical work. A MUS 110 or 245 may not be taken concurrently. Offered fall semester only.
A MUS 247 Theory II (4)
Inverted triads, nonharmonic tones, part-writing with seventh chords. Ear-training and sight-singing work coordinated with written and analytical work. Prerequisite(s): A MUS 245. Offered spring semester only.
A MUS 265 Keyboard Harmony and Performance (2)
A course aimed at developing basic keyboard skills, including hand technique, grand staff reading, and keyboard harmony. The course is reserved primarily for students enrolled in A MUS 245 (Theory I), which forms the theoretical basis for the keyboard work. Assignments include root position triads and seventh chords in every key, harmonizing major and minor scales, and seventh chords in chorales, as well as solo and duet repertoire and sight reading. The course is a corequisite for A MUS 245 and must be taken simultaneously; however, students already possessing sufficient keyboard skills may be exempted by placement examination. May not be taken by students with credit for A MUS 165 or 166. Corequisite(s): A MUS 245; must be completed before taking A MUS 345.
A MUS 345 (formerly A MUS 240) Theory III (4)
Basic Chromatic Harmony: secondary chords, modulation and basic form from the harmonic standpoint, mode mixture chords, and an introduction to fugal analysis. Ear-training and sight-singing work coordinated with written and analytical work. Prerequisite(s): A MUS 247. Offered fall semester only.
A MUS 347 (formerly A MUS 242) Theory IV (4)
Advanced Chromatic Harmony and 20th Century Techniques: Augmented Sixth Chords, Enharmonic Modulation, and other Chromatic Chords. Study of Sonata Form from a harmonic standpoint. Ear-training and sight-singing work coordinated with written and analytical work. Prerequisite(s): A MUS 345. Offered spring semester only.
A MUS 352 Tonal Counterpoint
The art of combining musical lines in a tonal idiom. Analysis of models from the literature of the 18th and 19th centuries. Prerequisite(s): A MUS 247.
A MUS 455Y Form and Analysis of Tonal Music (3)
Analysis of selected works of instrumental and vocal literature and their compositional techniques, with emphasis on the important formal types. Prerequisite(s): A MUS 345.
Composition and Electronic Music and Media
A MUS 321 Composition I (3)
Individual instruction in the fundamentals of music composition. Prerequisite(s): A MUS 245 or equivalent and permission of instructor.
A MUS 322 Advanced Composition (3)
A continuation of studies initiated in A MUS 321. Credit does not apply toward departmental programs in composition or music technology. May be repeated for a total of 12 credits. Prerequisite(s): A MUS 321 and permission of instructor.
A MUS 325 Introduction to Electronic Music and Media (3)
An integrated approach to the history, theories, and aesthetics of electronic music, sound, and radiophonic art and multi-media, including basic acoustics, compositional techniques, and sensitive listening skills. This course is a prerequisite for A MUS 426.
A MUS 327 Computer Applications in Music I (3)
This course provides students with practical experience using music notation software and MIDI arranging. May not be taken by students with credit for A MUS 227. Prerequisite(s): A MUS 245.
A MUS 333 Songwriters and Songwriting (3)
This course delves into the nuts and bolts of songwriting in several popular idioms. All aspects of music and lyric writing will be explored using songs from the popular repertory as models. The learning will be active, a combination of analysis and composition.
A MUS 350 Orchestration I (3)
Basic instrumental techniques, principles of orchestration and scoring for various instrumental ensembles. Prerequisite(s): A MUS 247.
A MUS 420 Composition II (3)
Individualized instruction in musical composition to develop technical skills in creative expression. Limited to department majors in composition. May be repeated for a total of 12 credits. Prerequisite(s): A MUS 321.
A MUS 426 (= A ART 426 & A THR 426) Studio Work in Electronic Music and Media (3)
This course will provide students with basic studio techniques for field recording, digital audio editing, signal processing, and composition. Projects will reflect a variety of aesthetic approaches and disciplines from the experimental tradition in Electronic Music to sound art, multimedia applications, and related fields. Only one version of A MUS 426 may be taken for credit. Prerequisite(s): A MUS 325 or equivalent and/or permission of instructor.
A MUS 427 (= A ART 427 & A THR 427) Seminar in Electronic Music and Media (3)
This course is an advanced seminar in sound design, audio art, electronic musical composition, and related fields, with an emphasis on evaluation and discussion of creative studio work produced by students. A continuation of studies initiated in A MUS 426/ A ART 426, with a focus on advanced techniques and aesthetics. Only one version of A MUS 427 may be taken for credit. Prerequisite(s): A MUS 426.
A MUS 428 (= A ART 428 & A THR 428) Sound Design and Multimedia (3)
Theory and techniques of how sound and music are composed for use in multimedia fields, including Theatre, the World Wide Web, installation art, CD-ROM, and video. Students will work on original projects in their respective disciplines. The focus of this course will vary. Only one version of A MUS 428 may be taken for credit. Prerequisite(s): A MUS 426 or equivalent.
A MUS 429 (= A ART 429 & A THR 429) Live Electronic Performance (3)
A survey of the history, techniques, and aesthetics of live electronic music and sound installation art, beginning in the 1960s. The course will include instruction in interactive and other forms of performance practice, as well as techniques for live sound production. Students will perform and "tech" original works and re-creations of historical works. May be repeated for a total of 12 credits. Prerequisite(s): A MUS 426 or equivalent.
A MUS 430 Electronic Music Studio Assistantship (2-4)
Faculty directed student supervision in the Electronic Music Studios. Course meets one hour each week in a seminar setting to discuss issues in electronic music computing, applications, and techniques. Students devote two hours for each credit hour (minus one hour for the weekly seminar session) to student supervision. May be repeated for a total of six credits. Prerequisite(s): permission of instructor.
Performance Classes
A MUS 360 Conducting I (3)
Introduction to the elements of conducting, including score-reading, baton technique and aural perception. Emphasizes choral and orchestral literature of the 18th and 19th centuries. Concurrent participation in a university ensemble is required. Prerequisite(s): A MUS 247 or permission of instructor.
A MUS 361 Conducting II (Choral) (3)
Individual instruction in conducting. Further study of baton technique, rehearsal techniques, ensemble vocal techniques, and score study, covering literature of a broad spectrum but emphasizing the literature performed by department ensembles. Concurrent enrollment in an appropriate ensemble is required. Conducting and/or assisting with an ensemble may be part of a student’s work. Prerequisite(s): A MUS 360; A MUS 347 or concurrent enrollment therein; A MUS 270 or concurrent enrollment therein; and permission of instructor.
A MUS 373 String Instruments I (3)
Performance on the string instruments. Course includes the basic techniques and the fundamental problems involved in playing and teaching the violin, viola, cello and contrabass. Open to all students who can read music. Prerequisite(s): permission of instructor.
A MUS 375 Analysis and Synthesis: The Performer's World (3)
This course is designed for students who are performance majors or have considerable experience performing on their major instrument. We will dive into the world of preparing for a performance: repertoire selection and programming skills; practice habits and theoretical analysis; memorizing and performance anxiety; and lastly, program note writing and lecture/recitals. Music will be analyzed in detail and put into its historical context before the synthesis of performance can take place. Topics will vary from term to term and will be chosen to reflect the interests and instruments of the people in the class. The class will attend concerts en masse and discuss them. Each student's final project will consist of a presentation in the Recital Hall, which will include a performance, written document, and lecture to the class. Prerequisite(s): A MUS 245 or permission of the instructor.
A MUS 461 Conducting III (Choral) (3)
Advanced individual instruction in choral conducting. Further study of the areas defined in A MUS 361. Concurrent enrollment in an appropriate ensemble is required. Students at this level will be expected to function as assistant conductors of an ensemble. Normally, students will give a conducting recital at the end of their senior year, or participate as conductor in recitals several times over the year. Prerequisite(s): A MUS 361 at B- or better; concurrent enrollment in an appropriate ensemble; and permission of instructor.
Performance Study
The study of keyboard, voice or orchestral instruments. Secondary Performance Study is available for majors or minors and students in performing ensembles when funding or scheduling permits. Major Performance Study is limited to music majors accepted into the Departmental Program in Performance. Both Major and Secondary Performance Study require concurrent enrollment in an appropriate performing ensemble (keyboard & guitarists excepted) and permission of the instructor and the department chair.
A MUS 170 Secondary Performance (1)
May be repeated for credit.
A MUS 178 Major Performance Study I (3)
A MUS 270 Secondary Performance (3)
May be repeated for credit.
A MUS 278 Major Performance Study II (3)
Prerequisite(s): A MUS 178.
A MUS 378 Major Performance Study III (3)
Prerequisite(s): A MUS 278.
A MUS 379 Major Performance Study IV (3)
Prerequisite(s): A MUS 378.
A MUS 478 Major Performance Study V (3)
Prerequisite(s): A MUS 379.
A MUS 479 Major Performance Study VI (3)
Prerequisite(s): A MUS 478.
Performing Ensembles
Open to all students by audition except where noted otherwise. May be repeated for credit.
A MUS 180 Chamber Ensembles (1)
A MUS 182 University Percussion Ensemble (1)
A MUS 183 Pep Band (1)
S/U graded.
A MUS 184 University-Community Jazz Ensemble (1)
A MUS 185 University-Community Symphony Orchestra (1)
A MUS 186 University-Community Symphonic Band (1)
A MUS 187 University-Community Chorale (1)
No audition required.
A MUS 287 University Chamber Singers (2)
Audition required.
