MUS 100 CONVOCATION (1-0-1)
This course (required for music majors/minors each semester) is designed to expose students to a variety of repertory styles and to give students an opportunity to practice individual performance skills. Emphasis is placed on exposure to performances and lectures by guest artists, faculty or students, and on personal performance(s) in class each semester.

MUS 101 MUSIC APPRECIATION (3-0-3)
This course is designed for non-music majors and requires no previous musical experience. It is a survey course that incorporates several modes of instruction including lecture, guided listening, and similar experiences involving music. The course will cover a minimum of three (3) stylistic periods, provide a multi-cultural perspective, and include both vocal and instrumental genres. Upon completion, students should be able to demonstrate a knowledge of music fundamentals, the aesthetic/stylistic characteristics of historical periods, and an aural perception of style and structure in music. CORE

MUS 111 MUSIC THEORY I (3-0-3)
PREREQUISITE: Advisor approval
COREQUISITE: MUS 113, if ear training lab is a separate course.
This course introduces the student to the diatonic harmonic practices in the Common Practice Period. Topics include fundamental musical materials (rhythm, pitch, scales, intervals, diatonic harmonies) and an introduction to the principles of voice leading and harmonic progression. Upon completion, students should be able to demonstrate a basic competency using diatonic harmony through analysis, writing, sight singing, dictation and keyboard skills.

MUS 112 MUSIC THEORY II (3-0-3)
PREREQUISITE: MUS 111
COREQUISITE: MUS 114, if ear training lab is a separate course.
This course completes the study of diatonic harmonic practices in the Common Practice Period and introduces simple musical forms. Topics include principles of voice leading used in three- and four-part triadic harmony and diatonic seventh chords, non-chord tones, cadences, phrases and periods. Upon completion, students should be able to demonstrate competence using diatonic harmony through analysis, writing, sight singing, dictation and keyboard skills.

MUS 113 MUSIC THEORY LAB I (0-2-1)
PREREQUISITE: Advisor approval
COREQUISITE: MUS 111, if ear training lab is a separate course.
This course provides the practical application of basic musical materials through sight singing; melodic, harmonic and rhythmic dictation; and keyboard harmony. Topics include intervals, simple triads, diatonic stepwise melodies, basic rhythmic patterns in simple and compound meter and fourpart triadic progressions in root position. Upon completion, students should be able to write, sing and play intervals, scales, basic rhythmic patterns, diatonic stepwise melodies, simple triads and short four-part progressions in root position.

MUS 114 MUSIC THEORY LAB II (0-2-1)
PREREQUISITE: MUS 113
COREQUISITE: MUS 112, if ear training lab is a separate course.
This course continues the practical application of diatonic musical materials through sight singing; melodic, harmonic and rhythmic dictation; and keyboard harmony. Topics include intervals, scales, diatonic melodies with triadic arpeggiations, more complex rhythmic patterns in simple and compound meter and four-part diatonic progressions in all inversions. Upon completion, students should be able to write, sing and play all intervals, rhythmic patterns employing syncopations and beat divisions, diatonic melodies and four-part diatonic progressions.

MUS 115 FUNDAMENTALS OF MUSIC (3-0-3)
This course is designed to teach the basic fundamentals of music and develop usable musical skills for the classroom teacher. Topics include rhythmic notation, simple and compound meters, pitch notation, correct singing techniques, phrases, keyboard awareness, key signatures, scales, intervals and harmony using I, IV, and V with a chordal instrument. Upon completion, students should be able to sing a song, harmonize a simple tune, demonstrate rhythmic patterns and identify musical concepts through written documentation.

MUS 170 INTRODUCTION TO CHURCH MUSIC (3-0-3)
This course provides an overview of church music as a career choice, and includes the organization and operation of a graded church choir program. Topics include an introduction to conducting, rehearsal techniques, administrative skills, and may include a supervised practicum field experience. Upon completion, students should be able to select, prepare, teach and conduct a simple anthem for a graded church choir and demonstrate a knowledge of church music administration through written documentation.

MUS 211 MUSIC THEORY III (3-0-3)
PREREQUISITE: MUS 112
COREQUISITE: MUS 213, if ear training lab is a separate course.
This course introduces the student to the chromatic harmonic practices in the Common Practice Period. Topics include secondary functions, modulatory techniques, and binary and ternary forms. Upon completion, students should be able to demonstrate competence using chromatic harmony through analysis, writing, sight singing, dictation and keyboard skills.

MUS 212 MUSIC THEORY IV (3-0-3)
PREREQUISITE: MUS 211
COREQUISITE: MUS 214, if ear training lab is a separate course.
This course completes the study of chromatic harmonic practices in the Common Practice Period and introduces the student to twentieth-century practices. Topics include the Neapolitan and augmented sixth chords, sonata form, late nineteenth-century tonal harmony and twentieth-century practices and forms. Upon completion, students should be able to demonstrate competence using chromatic harmony and basic twentieth century techniques through analysis, writing, sight singing, dictation and keyboard skills.

MUS 213 MUSIC THEORY LAB III (0-2-1)
PREREQUISITE: MUS 114
COREQUISITE: MUS 211, if ear training lab is a separate course.
This course provides the practical application of chromatic musical materials through sight singing; melodic, harmonic and rhythmic dictation; and keyboard harmony. Topics include melodies with simple modulations, complex rhythms in simple and compound meter, and secondary function chords. Upon completion, students should be able to write, sing and play modulating melodies, rhythmic patterns with beat subdivisions and four-part chromatic harmony.

MUS 214 MUSIC THEORY LAB IV (0-2-1)
PREREQUISITE: MUS 213
COREQUISITE: MUS 212, if ear training lab is a separate course.
This course provides the practical application of chromatic musical materials and simple twentieth-century practices through sight singing; melodic, harmonic and rhythmic dictation; and keyboard harmony. Topics include chromatic and atonal melodies; complex rhythmic patterns in simple, compound and asymmetric meters; chromatic chords and twentiethcentury harmony. Upon completion, students should be able to write, sing and play chromatic and atonal melodies, complex rhythms and meters, fourpart chromatic harmony and simple twentieth-century chord structures.

MUS 251 INTRODUCTION TO CONDUCTING (3-0-3)
PREREQUISITE: Advisor approval.
This course introduces the fundamentals of conducting choral and/or instrumental ensembles. Topics include a study of simple and compound meters, score reading and techniques for conducting effective rehearsals. Upon completion, students should be able to prepare and conduct a choral and/or instrumental score in a rehearsal or performance setting.

Music Ensemble

MUL 101-02; 201-02 CLASS PIANO I, II, III, IV (0-2-1)
MUL 111-12; 211-12 CLASS VOICE I, II, III, IV (0-2-1)
Group instruction is available in voice and piano for students with little or no previous training. Emphasis is placed on the rudiments of music, basic performance technique and general musicianship skills. Upon completion of one or a sequence of courses, students should be able to demonstrate a basic proficiency in singing or playing and a knowledge of music fundamentals.

MUL 172-73; 272-73 MUSICAL THEATRE WORKSHOP I, II, III, IV (0-2-1)
PREREQUISITE: Advisor approval.
This course includes the study of musical theatre history, styles, perf o rmance and technical production. Emphasis is placed on the supervised study, preparation, production and performances of scenes or complete works of musical theatre. Upon completion, students should be able to effectively participate in a public presentation of the prepared scenes or work in an assigned performance or technical role.

MUL 180-81; 280-81, CHORUS I, II, III, IV (0-2-1)
MUL 182-83; 282-83, VOCAL ENSEMBLE I, II, III, IV (0-2-1)
MUL 190-91; 290-91, CONCERT BAND I, II, III, IV (0-2-1)
MUL 192-93; 292-93, INSTRUMENTAL ENSEMBLE I, II, III, IV (0-2-1)
MUL 196-97; 296-97, JAZZ/SHOW BAND I, II, III, IV (0-2-1)
PREREQUISITE: Advisor approval.
This course provides an opportunity for students to participate in a performing ensemble. Emphasis is placed on rehearsing and performing literature appropriate to the mission and goals of the group. Upon completion, students should be able to effectively participate in performances presented by the ensemble.

Music Performance

MUP 101-02; 201-02, PRIVATE PIANO I, II, III, IV (0-.5-1)
MUP 103-04; 203-04, PRIVATE ORGAN I, II, III, IV (0-.5-1)
MUP 111-12; 211-12, PRIVATE VOICE I, II, III, IV (0-.5-1)
MUP 133-34; 233-34, PRIVATE GUITAR I, II, III, IV (0-.5-1)
MUP 141-42; 241-42, PRIVATE FLUTE I, II, III, IV (0-.5-1)
MUP 143-44; 243-44, PRIVATE CLARINET I, II, III, IV (0-.5-1)
MUP 145-46; 245-46, PRIVATE SAXOPHONE I, II, III, IV (0-.5- 1)
MUP 151-52; 251-52, PRIVATE OBOE I, II, III, IV (0-.5-1)
MUP 153-54; 253-54, PRIVATE BASSOON I, II, III, IV (0-.5-1)
MUP 161-62; 261-62, PRIVATE TRUMPET I, II, III, IV (0-.5-1)
MUP 163-64; 263-64, PRIVATE FRENCH HORN I, II, III, IV (0-.5-1)
MUP 171-72; 271-72, PRIVATE TROMBONE I, II, III, IV (0-.5- 1)
MUP 175-76; 275-76, PRIVATE TUBA I, II, III, IV (0-.5-1)
MUP 181-82; 281-82, PRIVATE PERCUSSION I, II, III, IV (0-.5-1)
PREREQUISITE: Advisor approval.
Individual performance instruction is available in keyboard instruments, voice, strings, woodwinds, brass, percussion and fretted instruments. Emphasis is placed on developing technique, repertoire and performance skills commensurate with the student’s educational goals. Students are required to practice a minimum of five hours per week for each credit hour. Upon completion, students should be able to effectively perform assigned repertoire and technical studies in an appropriate performance evaluation setting.