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DIVISION OF MUSIC

Nancy Cochran, Director

Samuel S. Holland, Associate Director for Academic Affairs

Alan Wagner, Assistant Director for Admissions

Algur H. Meadows Professor of Violin and Chamber Music: Eduard Schmieder; Joel Estes Tate Professor of Piano: Joaquin Achucarro; Professors: Jack Delaney, Virginia Dupuy, Samuel Holland, David Karp, Barbara Hill Moore, Alfred Mouledous, James Ode, Larry Palmer, Paul Phillips, Simon Sargon, Thomas Tunks; Associate Professors: Alfred Calabrese, Robert Frank, Kevin Hanlon, Michael Hawn, Carol Leone, David Mancini, Donna Mayer-Martin, Carol Reynolds, Martin Sweidel, Norman Wick; Assistant Professors: Marciem Bazell, Stuart Cheney, Jacquelyn Hale, Robert Krout, Caroline Stupple, Alan Wagner; Senior Lecturer: Joan Heller; Lecturers: Matthew Kline, Catharine Lysinger, Jamal Mohamed; Adjunct Professors: Robert Guthrie, Greg Hustis; Adjunct Associate Professors: Christopher Adkins, Eric Barr, Thomas Booth, Kalman Cherry, Donald Fabian, Paul Garner, Matthew Good, Erin Hannigan, Douglas Howard, Barbara Hustis, John Kitzman, Jean Larson, Thomas Lederer, Ronald Neal, Wilfred Roberts, Ellen Rose, Jan Sloman; Adjunct Assistant Professors: Deborah Baron, Alessio Bax, Kim Corbet, Susan Dederich-Pejovich, Vesselin Demirev, Hayley Hoops, Diane Kitzman, Deborah Perkins, Timothy Seelig; Adjunct Lecturers: Mary Cates, Kevin Gunter, Lynne Jackson, Peter Jutras, Drew Lang, Jon Lee, Akira Sato, Edward Smith, James Tran; Piano Technician: David Porritt; Accompanists: Wesley Beal, Tara Emerson; Vocal Coach/Accompanist: Hank Hammett.

Instructional Facilities

Concert performances are presented in Caruth Auditorium, a 490-seat concert hall that can be acoustically "tuned" for any type of musical presentation, and the 185-seat Robert J. O'Donnell Lecture-Recital Hall. Opera productions are presented in the 295-seat Bob Hope Theatre. The Jake and Nancy Hamon Arts Library houses an inspiring collection of over 110,000 books and scores, over 30,000 audio and video recordings, and over 100,000 items in Special Collections of research materials such as the Van Katwijk Music Collection.

The electronic keyboard laboratory, used for class instruction in piano, theory, and improvisation, is equipped with Yamaha 88-key digital pianos, a MLC 100 Communications Center, computers at each station, and a variety of sequencers, tone modules, and software applications.

Student recitals and faculty and ensemble performances are digitally recorded. All recordings are mastered as a CD and are of a quality acceptable for auditions, competitions, applications, and archival purposes.

The Meadows Center for Instructional Technology in the Arts features some of the most current instructional software in music theory, analytical research, music printing, music therapy, and music education.

The Group and Individual Music Therapy Clinics, connected by an observation room, offer student therapists opportunities for clinical practicum experiences under faculty supervision.

The Division of Music has an impressive inventory of grand pianos including 30 Steinways, three harpsichords (two-manual instruments by Dowd and Schuetze, a single-manual by Martin), and nine pipe organs (an original Iberian organ built by Caetano in 1762; a four-stop continuo and an eight-stop practice organ built by Alfred Kern; a three-manual 51-stop tracker organ built by C. B. Fisk; a 22-stop Holtkamp; a three-manual tracker built by Robert Sipe; and three tracker organs by von Beckerath).

The Electronic Music Studio is a digital multi-track facility featuring the latest hardware and software on a Macintosh/ProTools-based platform. The studio is also equipped with a full range of MIDI equipment for synthesis, sampling, sequencing, signal processing, video post scoring, and recording (digital and analog).

Artist Certificate

The Artist Certificate is available in several areas for the exceptional performer who already holds a Bachelor of Music degree or equivalent credential and who is in the final stages of preparation to enter major competitions, to audition for major orchestras or opera companies, and to begin a professional career. Entrance requires a personal audition with at least one member of the faculty, supported by tape recordings for review by an audition committee. The certificate normally encompasses a four-term residency, and at least 20 credits are required for completion of the certificate. Non-English speaking students may be required to take the TOEFL examination prior to, or within, the first term of study. The Artist Certificate is available in piano, strings, voice, harpsichord, organ, woodwind, brass, or percussion. Additional information is available by request.

Admission

Persons seeking admission to the graduate programs of the Division of Music must have earned a Bachelor of Music degree (or the equivalent) from an accredited institution and must submit complete transcripts of previous college work, along with three letters of recommendation.

Incoming graduate students are required to take the Graduate Music Diagnostic Examinations upon matriculation. The results of these examinations are used to identify any deficiencies in the area of music history/literature and music theory. The results of these examinations will be used to help determine the program of study. Students found to be deficient in the areas of music history/literature and/or music theory will be required to take appropriate review courses.

The standard required for admission is a cumulative minimum G.P.A. of 3.00 (on a 4.00 scale) in all undergraduate work. Under rare circumstances, acceptance on probation may be granted to a student whose cumulative G.P.A. is less than 3.00. In such instances, nine to 12 credit hours in approved course work must be completed during the first term of residence, and a G.P.A. of 3.00 must be achieved.

A student who does not meet these criteria will be dropped automatically from the University and may not enroll in the following term. The student may reapply after a lapse of one term.

No more than six credit hours of transfer credit may be applied to any degree program other than the Master of Sacred Music program. Such credits must have been earned in graduate-level courses and cannot have been taken in order to fulfill undergraduate degree requirements. The acceptance of transfer credits is subject to the approval of the student's adviser, the Director of Graduate Studies, and the head of the department offering the comparable SMU course if it is a required course.

Applicants to the Master of Sacred Music program may apply up to nine credit hours of transfer hours of nonperformance music or theological study. Approval by the Director of Graduate Studies of the Division of Music is required if such hours are in music, and approval by the Perkins Committee on Academic Procedures is necessary if such hours are in theology.

Applicants should consult the audition information form for material beyond the following guidelines:

A performance audition is required in each field except Music Education, Music Therapy, Music Composition, Music Theory, and Music History. Applicants in these fields may elect to audition for placement in ensembles. Music History, Theory, and Composition applicants are required to submit evidence of competency and creativity in the form of term papers, compositions, or analyses. Music History majors are expected to have a reading ability in at least one foreign language. Music Education and Music Therapy applicants are highly encouraged to come to campus for a personal interview.

Performance and Pedagogy majors are strongly encouraged to audition and interview in person. In addition to a graduate performance audition, applicants to this program are required to present a live or videotaped teaching demonstration.

Choral and Instrumental Conducting majors are required to submit a video recording of a recent conducting rehearsal. A video recording of a performance will be accepted if a rehearsal is not available. Video recordings should be VHS or DVD format.

Music Therapy Majors

An on-campus visit with music therapy faculty and students is highly recommended. If the applicant holds a degree in an area other than music therapy or a diploma from a foreign institution, then work equivalent to the B.M. degree in music therapy from SMU must be verified and/or courses must be taken prerequisite to or concurrent with graduate courses leading to the M.M.T. Completion of the equivalency course of study is approved by the American Music Therapy Association and provides eligibility for taking the board certification exam. Completion of the board certification exam results in the health care designation Board-Certified Music Therapist (MT-BC).

Sacred Music Majors

Acceptance by both the Perkins School of Theology and the Division of Music is necessary for admission to the M.S.M. program. The Division of Music requires a cumulative G.P.A. of 3.00 on all undergraduate work and an audition or recent recording demonstrating performance proficiency in voice or organ. Entrance with a performance concentration in conducting is possible if the applicant not only auditions but also demonstrates an acceptable proficiency in voice or organ. Admission to Perkins School of Theology requires a minimum G.P.A. of 2.50 in 30 credit hours of liberal arts courses and a Bachelor of Music or Bachelor of Music Education degree (or equivalent) that includes credited work in choral conducting. Those seeking admission to the Master of Sacred Music degree program must apply by writing the Director, Master of Sacred Music Degree Program, Southern Methodist University, 100 Kirby Hall, Dallas TX 75275-0133.

Act of Enrollment

When a student enrolls with the Meadows School of the Arts Division of Music for participation in a music course whether as a music major, music minor, or through elective study by the act of enrollment and in consideration of the right to participate in such course, the student (1) acknowledges his or her willingness to accept and comply with the standards and policies set forth in the Division of Music Handbook, the Graduate Supplement to the Division of Music Handbook, and all other University rules and regulations; (2) assigns to the University the exclusive right to use the proceeds from any curricular or extracurricular promotional, publicity, or entertainment activities associated with the course, including but not limited to photographs, television, recordings, motion pictures, concerts, and theatrical productions, and any right the student may have to receive any royalties and/or other sums that may be due to the student from such activities; (3) releases the University, its trustees, officers, agents, employees, and assigns from any obligation to pay any proceeds, royalties, and/or other sums that may be due to the student in connection with the course; and (4) agrees, on request of the University, to periodically execute all documents necessary to acknowledge the assignment and release set forth herein.

Degree Requirements

Any required remedial work in music history/literature and/or music theory must be completed before students may enroll in graduate courses in those areas. Introduction to Graduate Studies may be taken concurrently with remedial course work and should be taken during the first year of graduate study. Music education and music therapy majors must take Research in Music Psychology (MPSY 6340) instead of Introduction to Graduate Studies. Piano pedagogy majors may take Research in Music Psychology instead of Introduction to Graduate Studies.

No electives outside of music or below the 5000 level will be counted toward the degree without prior written approval of the Graduate Records Office. Such courses will be examined for their professional relevance to the student's course of study. Exceptions to this rule are foreign language courses and courses in the Music Therapy Certification Plan ("equivalency" program).

During the first term of residency, each student must file a proposed Course of Study with the Graduate Records Office. The proposal should be prepared in consultation with the student's adviser. It may be altered subsequently, should circumstances warrant a change. To change a proposal, the student should make a written request, obtain the adviser's signature, and submit the request to the Director of Graduate Studies for approval.

Students must enroll in a minimum of one performing organization for each of two terms (for zero or one credit hour per term). Exceptions for music therapy and music education majors may be considered. A maximum of five credits of chamber ensembles and/or repertory classes will be accepted for graduate elective credit, with approval of the adviser.

Students may obtain two Master's degrees by combining two major areas: this will result in a program of studies containing a minimum of 10 additional hours beyond the first degree. Master of Music students who have received the Artist Certificate are required to complete only 20 credit hours for the Master of Music.

No more than five credit hours in directed studies will be permitted for any degree program, except for conducting degrees.

Specific courses of study leading to the Master of Music, Master of Music Therapy, and Master of Sacred Music degrees will be determined by the results of the Graduate Music Diagnostic Examinations and the student's educational and professional objectives. Requirements for Master's degrees are stated in terms of minimums.

The Division of Music requires attendance at all scheduled class meetings, lessons, and ensemble rehearsals. The instructor determines in all instances the extent to which absences affect each student's grade. Students should become thoroughly acquainted with the class attendance policy established by their teachers and ensemble directors. Instructors are in no way obligated to make special arrangements for the student to accommodate any level of absence. All reasons for absence should be submitted in advance to the instructor. Failure to do so may result in a student being dropped from a course with a grade of WP (before the calendar deadline to drop) or receiving a grade of F for the course.

Graduation Requirements

All graduate degree programs require the completion of a recital, composition, thesis, professional project, or formal committee review. With the approval of the adviser, each student selects a committee of at least three faculty members to supervise and evaluate his or her work on this requirement. This committee must be appointed before work on the recital, composition, thesis, or professional project has begun.

The thesis project or recital will be conducted under the supervision of the student's committee. A proposal must be submitted for the committee's approval by the conclusion of the first term in which the student enrolls for thesis credit. The first draft must be submitted 12 weeks before graduation. The final draft must be completed eight weeks before graduation. Specific guidelines for the preparation of a thesis or project may be obtained from the Graduate Records Office. Following initial enrollment for thesis, project, or recital credit, graduate students are required to enroll for at least one credit hour of thesis, project, or recital each term until the thesis, project, or recital has been completed and accepted.

Students in degree programs with a recital requirement are required to perform at least one piece representing each major style period in which solo music was composed for the student's performing medium. This is meant to encourage performance of contemporary works, including music written during the student's lifetime.

All candidates must pass a comprehensive examination. The policies and procedures regarding these exams are detailed in the Graduate Supplement to the Division of Music Handbook. All graduate students are expected to have knowledge of the information presented in the Graduate Supplement to the Division of Music Handbook and the Division of Music Handbook; available on the Division of Music Web site. Students may not take their comprehensive exams any sooner than their last term of residency and until all required review work has been completed successfully.

Candidates are required to complete all degree requirements within seven years of the initial date of matriculation.

Degree Programs

Graduate degree programs in music are designed to provide increased specialization in the major field beyond the baccalaureate level, and at the same time to assure that students continue to develop the breadth of competencies required to function as well-rounded musicians. Although specific degree requirements will vary according to the major field pursued, all Master of Music degree programs include the following components in some demonstrable form: performance, research, pedagogy, music history, and music theory. Detailed degree plans are presented below.

Master of Music in Choral Conducting

*Or MUCO 6109 and MUCO 6284 as determined by the conducting faculty.

**Score Reading (MUCO 6222) may be exempted by examination; otherwise, the number of electives will be reduced accordingly. Performance study will be encouraged.

Additional Degree Requirement

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed.

Master of Music in Instrumental Conducting

 

Master of Music in Voice Performance

Additional Degree Requirements

All graduate voice majors are expected to have English, French, Italian, and German diction courses on their undergraduate transcripts. PERB 2106: Italian Diction, PERB 2108: English Diction, PERB 2107: German Diction, and PERB 2109: French Diction may be assigned when deficiencies exist. These hours will not count toward the 30-hour Master's degree program.

All graduate voice majors are expected to have a minimum of three terms of foreign language study on their undergraduate transcripts. Any deficiency can be met during graduate study, with a maximum of six credit hours counting toward the degree.

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed.

Master of Music in Instrumental Performance

Additional Degree Requirement

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed.

Master of Music in Organ Performance

 

Master of Music in Harpsichord Performance

Additional Degree Requirement

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed.

Master of Music in Piano Performance

Additional Degree Requirement

At least three credit hours of the required course work in MUHI, MUTH, or electives must be from 6000-level courses that are not double-listed.

Master of Music in Piano Performance and Pedagogy

*Chosen from MUAC 6001, 6002, 6101, 6102, PERE 6071, 6171, or other PERE course with adviser and instructor approval

Additional Degree Requirement

At least three credit hours of the required course work in MUHI, MUTH, and/or electives must be from 6000-level courses that are not double-listed.

Master of Music in Music History and Literature

Master of Music in Music Theory

Additional Degree Requirements

Successful completion of the departmental Keyboard Proficiency Examination or MUTH 6010.

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed.

Master of Music in Music Composition

Additional Degree Requirements

Attendance at regularly scheduled seminars is expected. Failure to attend will be reflected in the grade given in composition courses.

Successful completion of MUTH 6010 or the departmental Keyboard Proficiency Examination.

It is expected that the student will actively study composition every term in residence at SMU.

The thesis work may be for any medium and must be equivalent in complexity and accomplishment to an eight-to-10 minute concert work for orchestra. A brief proposal of the work must be submitted for approval to the thesis committee upon enrollment for thesis credit.

A degree recital (MURE 6001) consisting of works completed during graduate study is to be presented for approval by the student's committee.

Master of Music in Music Education

*Full-time music education graduate students must take MUAS 6010 during fall and spring terms (maximum of four terms). Part-time students are not required to enroll in MUAS 6010.

**Part-time music education graduate students are not required to take performance studies. Extra fees will apply for private study.

***Part-time music education graduate students are not required to perform in an ensemble.

The Master of Music in Music Education may be earned in the traditional four terms, in an accelerated program of two summers and two terms, or on a part-time basis (especially for the employed educator). With the guidance of a faculty adviser, the candidate may use elective choices to build a concentration in one of five areas: Choral Conducting, Instrumental Conducting, General Music, Piano Pedagogy, or String Pedagogy. All students will complete a professional project or formal committee review.

At least nine credit hours of the required course work in MUHI, MUTH, or electives must be from 6000-level courses that are not double-listed.

Master of Music Therapy (M.M.T.)

Additional Degree Requirements

Applicants who possess the undergraduate degree in music therapy from SMU will be advised on an individual basis, with the specific courses determined jointly by the adviser and the applicant.

The student who is an RMT-BC may elect MUTY 6145 and/or 6146 with approval from the adviser. A practicum must be done every term the candidate is enrolled full-time.

At least three credit hours of the required course work in MUHI and/or MUTH must be from 6000-level courses that are not double-listed. This program is on a temporary hiatus.

Master of Sacred Music (M.S.M.)

Program Director: C. Michael Hawn

All M.S.M. students are required to take entrance exams in the areas listed below before beginning their first term of study. Students who do not pass a particular exam are required to take the following course(s) listed below:

MUTH 6023, 6124, 6125 Graduate Theory Review
MUHI 5100 Music History Review
MUCO 3208, 5210 Choral Conducting

The requirements for the M.S.M. total 48 term hours, normally completed in three years, and are distributed as follows:

¹ For United Methodist students pursuing Deacon's Orders, these 12 hours may count toward the 24-hour requirement. It may be possible to use elective hours (#4 below) to satisfy more of the 24-hour requirement.

² The prerequisite course, XS 6310, The Church in Its Social Context, is not required for the MSM degree.

³ For the organ concentration, a portion of these hours may be used for choral conducting depending on the placement evaluation. Not more than three elective hours of applied study in Meadows may be counted toward the degree requirements.

⁴ As determined by placement evaluation with the Director of Choral Activities.

⁵ A keyboard proficiency exam or equivalent course must be passed before taking this course.

⁶ Private vocal instruction for MSM students will be offered only for those who have also been accepted into the MM in Voice major as a concurrent degree program or by audition with the voice faculty. Private vocal instruction for MSM students is subject to the availability of voice faculty.

The Courses

Music Pedagogy (MPED)

5114. Organ/Harpsichord Pedagogy. A survey of teaching materials and pedagogical methods, both historical and modern, for organ and harpsichord students. Class projects include compilation of graded repertoire lists and preparation/presentation of a supervised private lesson. Fall term of even-numbered years.

5216. Vocal Pedagogy I. A study of vocal techniques. Information useful to the singer, studio voice teacher, and choral director. Vocal acoustics, breathing, and laryngeal function are studied. Fall term.

5217. Vocal Pedagogy II.. Teaching strategies and philosophies, diagnosis of vocal problems, stage deportment, vocal repertoire, and ethics for teachers are studied. Students gain practical, supervised experience in teaching. Spring term. Prerequisite: PERB 5216.

6184, 6284, 6384. Directed Study ­ Pedagogy. Prerequisite: Permission of instructor.

6303. Guitar Pedagogy. Prepares guitarists for studio teaching. Fall term of odd-numbered years.

6305. Introduction to Instrumental Pedagogy. Prepares instrumental private teachers for studio teaching. Fall term.

6308. String Pedagogy I. A survey of methods, materials, and curriculum for teaching strings at the beginning level. Focus on the philosophical, psychological, and developmental bases of string study. Review and evaluation of current educational materials. Additional topics include current trends, history of string education, and pedagogical situations. Prerequisites: Proficiency on a string instrument as a major, or techniques courses equivalent to MUAS 3146 Upper Strings and 3147 Lower Strings, or permission of the instructor. Fall term.

6309. String Pedagogy II. Continuation of the skills and concepts developed in String Pedagogy I, as well as an in-depth study of methods, materials, and curriculum for teaching strings at the intermediate and advanced levels. Prerequisite: MPED 6308. Spring term.

Music Psychology (MPSY)

5102. Management of Performance Stress. Experiential study of learning to deal with stage fright. Offered irregularly.

5340. Acoustics of Music. Study of acoustical foundations of music. Topics covered include basic acoustics, acoustics of musical instruments and voice, room and auditorium acoustics, acoustical principles of sound synthesis, and psychoacoustics. Three hours of lecture and one laboratory period (MPSY 5340-N10) per week. Fall term.

6340. Research in Music Psychology. Study of experimental methods in music psychology with emphasis on experimentally controlled research design. Three hours of lecture per week. Spring term.

6341. Music Psychology. Study of the acoustical and psychological aspects of musical behavior with emphasis on perception and responses to musical stimuli, and of measurement and diagnosis of music ability and achievement. Fall term.

Music Repertoire (MREP)

5030, 5130. Guitar Repertoire. Student performances of solo repertoire and individual instruction in a master class setting.

5040, 5140. Orchestral Repertoire ­ Woodwinds.

5050, 5150. Orchestral Repertoire ­ Brass.

5060, 5160. Orchestral Repertoire ­ Strings.

5210. Twentieth-Century Song Literature. A survey of repertoire and performance practices of song literature from the 20th century. The course is designed to provide a general knowledge of the literature, to acquaint students with performance notational practices, and to develop the musical skills necessary to perform this literature.

6114, 6115. Advanced Piano Repertoire. A broad survey of piano literature including lectures and performances by the students enrolled. Performance styles and practices of every historical period are emphasized. Fall terms.

6122, 6222. Chamber Music for Organ or Harpsichord. Intensive research into the chamber literature for organ or harpsichord and from one to four instruments. One or two hours weekly of scheduled rehearsal time with assisting instrumentalists.

6209. Classical and Romantic Song Literature. An overview of song literature from the Classical and Romantic periods. Students will prepare repertoire for performance in class and make presentations on topics of specialized interest. Lectures will focus on specific developmental trends such as the genesis of the song cycle, the evolution of the piano accompaniment in the 19th century, and links between poets and composers.

6288. Directed Studies in Advanced Organ Repertoire.

Music Accompanying (MUAC)

6001. Techniques of Instrumental Accompanying. A course designed to acquaint pianists with the various skills associated with accompanying, and to familiarize them with some of the instrumental repertoire. Students earn one-half credit hour each term. Fall term.

6002. Techniques of Vocal Accompanying. A course designed to acquaint pianists with the various skills associated with accompanying and familiarize them with some of the vocal repertoire. Students earn one-half credit hour each term. Spring term.

6101. Techniques of Instrumental Accompanying. Required of Artist Certificate pianists to acquaint them with the various skills associated with accompanying, and to familiarize them with some of the instrumental repertoire. Fall term.

6102. Techniques of Vocal Accompanying. Required of Artist Certificate pianists to acquaint them with the various skills associated with accompanying and familiarize them with some of the vocal repertoire. Spring term.

6103. Practicum in Collaborative Performance. Practical application of accompanying skills through studio assignments and performance. Fall and spring terms. Prerequisites: MUAC 6001 and 6002, or 6101 and 6102.

Music Arts and Skills (MUAS)

5110. Computers, Keyboards, and MIDI for Musicians. Introductory concepts and functional skills in contemporary electronic music technology. Operation of tone generators - samplers, synthesizers. Digital sequencing and music notation software. Basic applications in composition, performance, and pedagogy.

5145. Piano Technology for Pianists. Basic skills to enable a pianist to solve problems and tune his or her own piano. Spring term.

5154. Marching Band and Jazz Techniques. For music education majors, this course develops techniques for designing and teaching marching band shows, and methods and materials for teaching jazz. Resources include state-of-the-art software and audio and video materials. The development of fundamental skills and improvisation on the jazz rhythm instruments will be required. Fall term of even-numbered years.

6010. Recital Attendance. Required of all full-time music majors.

6020. Language Skills. Instruction in the English language for Artist Certificate students who have not passed the Test of English as a Foreign Language.

Conducting (MUCO)

5210. Choral Conducting Practicum. Stresses development of rehearsal techniques in a laboratory setting. Choose, prepare, and rehearse music with other students in class to develop skills in error detection, rehearsal pacing, sequencing, and ordering of music for optimum rehearsals. Spring term.

5309. Advanced Instrumental Conducting. Stylistic analysis of a range of large ensemble repertoire, with emphasis on historical context, performance practice, interpretive issues, performance techniques, and conducting problems. Study of baton and rehearsal technique. Spring term.

6109. Seminar in Conducting. Stylistic analysis of repertoire. Discussion of performance practice and rehearsal techniques. Observation of professional ensemble rehearsals. (May be repeated for credit.)

6184, 6284, 6384. Directed Study in Conducting. Individual technical development and score preparation for the advanced conductor.

6189, 6289. Conducting Practicum. Preparation and public performance of instrumental or choral ensemble. (May be repeated for credit.)

6209. Choral Conducting II. Further development of conducting techniques as they apply to a variety of repertoires; study and application of rehearsal techniques; application of vocal and choral techniques. Spring term.

6210. Seminar: Major Choral Works. An in-depth study of selected choral works. Spring term of even-numbered years.

6222. Score Reading. Sight playing in two to four clefs; all transpositions. Piano proficiency is required. Spring term.

6252. Vocal and Choral Techniques. A study of vocal and choral tone, its production, and its effect in both solo and choral singing, especially with regard to quality, dynamics, blending, intonation, and diction. Fall term of even-numbered years.

6307. Choral Conducting I. Continued development and refinement for choral conducting techniques. Fall term.

Music Education (MUED)

5115. Music Education Methods and Materials in the Church. The principles and practices of music education useful to church music professionals and others who may be interested in church work. Spring term of odd-numbered years.

5149, 5150, 5151, 5152, 5153, 5154. Workshop in Music Education.

5159. Instrument Repair. The study of techniques used in the repair of orchestral instruments.

5252. Wind Literature for the Secondary School. Survey of new and standard literature suitable for secondary school students. Music for instrumental solo, ensemble, band, and orchestra will be examined. Fall term.

5253. Vocal and Choral Literature for the Secondary School. Survey of new and standard vocal solo, ensemble, and choral literature suitable for the secondary school. Fall term.

5257. Computer Applications in Music Education. The investigation of the potential for computer use in music education, including computer-assisted instruction, information storage and retrieval, book and record keeping, and specialized uses such as computer-assisted management of schools of music and the development of basic techniques for designing and implementing such uses. Offered irregularly.

5353. Music in Early Childhood Education. A study of the role of music in teaching young children, including planning music experiences for preschool and early elementary levels. Offered irregularly.

6150, 6250, 6350. Project in Music Education. Independent work on thesis or professional project.

6194, 6294, 6394. Directed Studies in Music Education.

6310. Music Education Methods and Materials. Development and practice of music education techniques for choral-vocal programs. Includes basic skills in Kodály, Orff, and recorder, as well as materials on vocal development and curriculum analysis for use in the church and/or public schools. This course is intended for graduate music students not majoring in Music Education and M.S.M. students with a Music Education concentration.

6320. Motivation, Discipline, and Management. Techniques of classroom discipline and time management using standard behavior modification techniques. Offered irregularly.

6352. Seminar in Music Education. Philosophical and historical foundation of music education with implications for organization of school music. Fall term.

6353. Topics in Elementary Music Education. Course focuses on special topics, problem areas, and methods for elementary school classes. Application of known childhood characteristics and current learning theories will be made, with an emphasis on the sequencing, analyzing, and creating activities of a master teacher. The current or past music education situations of the students will be used for some of the classroom examples. Offered irregularly.

6354. Special Topics in Secondary Music Education. This course will focus on special topics, problem areas, and methods for secondary school music classes. Offered irregularly.

6355. Administration and Supervision of Music Education. A study of the effective operation and planning of school music programs. Included are organization, management, personnel, scheduling, budget, and leadership considerations. Offered irregularly.

Music History and Literature (MUHI)

5100. Music History Review. A review course required of all students scoring below 70 percent on the entrance assessment. Students required to take this course must complete it within their first year of residency. The course must be completed prior to enrollment in any other MUHI course with the exception of Introduction to Graduate Studies. Fall term.

5206. Performances Practices in Early Music. Studies in the interpretation of Baroque music from a stylistic point of view.

5207. Organ Survey. Organ building ­ fundamentals of construction and design; organ history as it relates to the development of a style-conscious concept of enrollment. Recommended elective for M.M. and M.S.M. degree.

5214. Harpsichord in the 20th Century. A survey of the 20th-century harpsichord revival and harpsichord literature, both solo and ensemble, composed from c. 1896 until the present.

6150. Russian for Musicians. Students will learn the Cyrillic alphabet and transliteration while building a vocabulary of Russian musical terms. Course materials are drawn from authentic Russian-language scores, recordings, and books.

6182, 6282, 6382, 6682. Research in Music History: Thesis. Culminating research project for music history majors. Emphasis is placed upon methodology, stylistic procedures, and writing skills. Subject determined by student's interests, background, and availability of source material.

6192, 6292, 6392. Directed Studies in Music History.

6309. Seminar in Medieval and Renaissance Sources and Styles. This course examines principle genres of composition during the Middle Ages and Renaissance by means of score analysis, listening, and contextual readings. Also included are studies in basic notational techniques in both eras with specific transcription exercises. Prerequisite: MUHI 6335.

6310. Seminar in Medieval Music. The music of Greece and Rome; the Jewish and Syrian heritage of early Christian music; the notational practices, musical forms, and compositional procedures of sacred and secular music to the mid-14th century.

6311. Seminar in Renaissance Music. Major secular and sacred music forms of the 15th and 16th centuries examined in terms of the contemporary political, religious, and social structures of the Renaissance.

6312. Seminar in Music of the Baroque Period. Rise and evolution of musical forms and compositional procedures from the Venetian School of the late 16th century through the culminating figures of Bach and Handel in 18th century. Interaction with other art forms, political developments, social conditions, and religious activities.

6313. Seminar in Music of the Classic Period. Musical style from the pre-classic period through the early works of Beethoven. "Classic" characteristics and compositional procedures as expressed in the symphony, sonata, concerto, opera, chamber music, and sacred music.

6314. Seminar in Music of the Romantic Age. The romantic impulse in music as revealed in the works of Beethoven through the music of the "post-romantic" composers of the early 20th century.

6315. Seminar in Contemporary Music. An examination of the various stylistic movements of the 20th century. Representative composers and compositions will be studied.

6316. Chamber Music of the 18th and 19th Centuries. An examination of chamber music literature from Haydn to Debussy and Ravel, by means of analysis, recorded performances, open rehearsals, and live concerts

6319. Seminar in Aesthetics. This course examines the ideas and concepts of philosophers and aestheticians concerning the fine arts, their function and purpose in society, the values attributed to them, and the criteria by which they have been judged. Attention will be given to views expressed by composers, critics, performers, and music historians.

6320. Organ History and Literature. A survey of the literature for the organ, Renaissance to contemporary. Required of organ majors and concentrations.

6334. Survey of Vocal Literature. This course examines Western secular art song. Representative literature from the Renaissance, Baroque, Classic, and Romantic periods and the 20th century in terms of stylistic characteristics, text-music relationships, and performance practices.

6335. Introduction to Graduate Studies. A course designed to survey and evaluate music reference and research materials, to develop methodology in the use of these materials, and to define and discuss the disciplines related to graduate study and research in music.

6336. Seminar in Music History. Area or topic will be determined each term for intense examination. Emphasis is on the practical application of research techniques, knowledge of materials and sources, and varied methods of presentation.

6337. Music, History, and Ideas. A broadly based study of the basic elements, ideas, and cultural patterns of the Western world as they apply to music from the Middle Ages to our own times. Summer.

6345. Survey of Opera History. A chronological survey of opera, beginning with a brief introduction to Medieval and Renaissance precedents, followed by an in-depth presentation of selected Baroque and Classical masterworks. The study of 19th-century opera will emphasize the many ways Romantic opera served to synthesize music, literature, and art, as well as elements of politics and culture. The musical language and dramatic substance of selected works from 20th-century operatic repertoire will be investigated. Students will be expected to spend a significant amount of time viewing operas on video and laser disc, and in certain cases making comparative studies of productions.

6346. Survey of Piano Literature. Historical and stylistic study of the music for the piano.

6347. Symphonic Literature. An examination of representative orchestral works from the late Baroque period to the present day. Attention will be directed to the forms, compositional procedures, and orchestration devices employed by selected composers who reflect the various stylistic orientations within this time frame.

6348. Guitar History and Literature. The course examines the history of guitar and its music from the early 16th century to the present. Included are the vihuela and Baroque guitar, four-string Spanish guitar, and related literature. Emphasis will be given to the evolution of the modern instrument and its repertoire.

6350. History of Russian Music. This seminar will examine the Russian repertoire from the earliest chant to the music of the Soviet period. Particular attention will be paid to Orthodox choral music, the Italianization of Russian music in the 18th century, Russian nationalism in the 19th century, and the drastic changes of style imposed beginning with the Stalinist period.

6384. Survey of Choral Literature. A survey of choral music from the medieval era to the present day. Examination of representative compositions will be made with regard to genre, form, compositional procedures and stylistic aspects. Discussion of the works will also include the social-political conditions, intellectual-artistic states of mind of patrons and composers, and other external influences. Spring term of odd-numbered years.

Piano Pedagogy (MUPD)

5103, 5203. Creative Piano Teaching. Pedagogical projects designed to meet the needs of the piano teacher. Offered in conjunction with the National Piano Teachers Institute each July. Pedagogy majors are limited to one credit.

5210. Class Piano Procedures. The psychological principles operative in group and class environments are explored through student participation and observation, with an emphasis on teacher effectiveness. Survey of college-level keyboard texts. Spring term of even-numbered years.

5312. Survey of Precollege Piano Literature. Survey and performance of standard piano literature in all style periods for precollege students. Emphasis on technical preparation and curriculum-building. Spring term of odd-numbered years.

5325, 5326. Piano Pedagogy Internship I and II. Supervised teaching experience. Specific goals and projects are agreed upon for the term. Required of all undergraduate piano pedagogy majors.

6021, 6022, 6121, 6122. Internship/Assistantship in Piano Pedagogy. Required for all graduate assistants in piano pedagogy. Supervised private and group instruction of Piano Preparatory Department and undergraduate students. Includes observation, pre-teaching conferences with faculty, and participation in all phases of departmental activity. Fifteen hours per week as assigned by the department head.

6125. Piano Pedagogy Practicum. Specific supervised teaching and/or research projects are designed for the term.

6130, 6230. Composition of Pedagogical Music for Keyboard. Designed to develop skill in composition of pedagogically effective keyboard literature. The student will become familiar with a wide gamut of supplementary teaching materials, which will be examined from a pianistic and musical perspective with reference to the various levels of instruction. Directed composition assignments, survey projects, class performance, analysis, and discussion. One or two credit hours based on projects undertaken. Spring term of odd-numbered years. Prerequisite: Successful completion of Graduate Theory Review.

6196, 6296. Directed Studies in Piano Pedagogy.

6396. Piano Pedagogy I. An in-depth study of methods and curriculum for teaching piano at elementary level. Focus on philosophical, psychological, and physiological bases of piano study. Survey and evaluation of current educational materials. Fall term of even-numbered years.

6397. Piano Pedagogy II. In-depth study of methods, materials, and curriculum for teaching piano at the intermediate and advanced levels. Additional topics: current trends (including technology), professionalism, history of piano pedagogy, employment opportunities. Fall term of odd-numbered years.

Private Studies (MUPR)

The following numbers for private study apply to all instruments and voice.

The following numbers for private study apply to all instruments and voice.

6100. One-Credit Courses. One-half hour lesson each week (14 per term) with a jury examination at the conclusion of each term. These repeatable course numbers are offered each fall, spring, and summer. Students are required to accept internships in performance or private teaching, subject to availability and/or scheduling conflicts with other SMU courses.

6200. Two-Credit Courses. One hour lesson each week (14 per term) with a jury examination at the conclusion of each term. These repeatable course numbers are offered each fall and spring. Students are required to accept internships in performance or private teaching, subject to availability and/or scheduling conflicts with other SMU courses.

The following subject prefixes will be used to designate study in the specific instrument or in voice. Section numbers which indicate the specific teacher with whom the student should enroll are listed in the Schedule of Classes for each term.

BSSN	Bassoon	HARP	Harp	TROM	Trombone
CELL	Cello	HARS	Harpsichord	TRPT	Trumpet
CLAR	Clarinet	OBOE	Oboe	TUBA	Tuba
DBBS	Double Bass	ORG	Organ	VLA	Viola
FLUT	Flute	PERC	Percussion	VIOL	Violin
FRHN	French Horn	PIAN	Piano	VOIC	Voice
GUIT	Guitar	SAX	Saxophone

Vocal Coaching course numbers are:

VOIC 6005, 6106, 6007, 6108. Intensive and detailed work on language inflection and diction; phrasing, style and interpretation as applied to art songs, Lieder, operatic arias, and the concert repertoire.

Recitals (MURE)

6001, 6002, 6101, 6102, 6103, 6104. Graduate Recital. Solo performance of approximately one hour of music. Graded Pass/Fail by committee.

6201. Graduate Recital. Solo performance of approximately one hour of music. Graded Pass/Fail by committee.

6202. Graduate Lecture Recital. Option for Piano Performance and Pedagogy candidates. Approximately 30 minutes of music performance with 30 minutes of scholarly presentations as approved by applied teacher and Head of Piano Pedagogy. Graded Pass/Fail by committee.

Music Composition and Theory (MUTH)

5350. Advanced Musicianship. This course seeks to develop the student's musicianship skills beyond the level attained in the basic aural skills sequence of courses. Activities of the course include: sightreading and improvisation studies in a range of musical styles for both voice and instruments, advanced melodic and harmonic dictation exercises, aural analysis of musical examples from a wide range of style periods, and the use of the keyboard to support the continued development of skills. Prerequisites: Graduate students must pass the Graduate Music Theory Placement Examination or complete the Graduate Theory Review. Permission of instructor.

5360. Orchestration and Arranging. The practical fundamentals of orchestration and arranging are explored through a series of projects for a variety of ensembles.

5370. Survey of Counterpoint. Through exercises in analysis and composition, this course provides a study of contrapuntal techniques from the Middle Ages to the 20^th century, with emphasis on traditional modal and tonal styles.

6010. Keyboard Skills. A review of basic score reading, keyboard harmony, sightreading, and figured-bass realization for graduate students in music theory or composition who require additional competency in those areas.

6023. Graduate Theory Review I. Intensive work in aural perception and/or music theory for graduate students who must complete 1-7 competencies as determined by the Graduate Music Theory Diagnostic Examination. (0.5 credit hr.) Fall and summer terms.

6124. Graduate Theory Review II. Intensive work in aural perception and/or music theory for graduate students who must complete 8-12 competencies as determined by the Graduate Music Theory Diagnostic Examination. (1 credit hr.) Fall and summer terms.

6125. Graduate Theory Review III. Intensive work in aural perception and/or music theory for graduate students who must complete 13-17 competencies as determined by the Graduate Music Theory Diagnostic Examination. (1.5 credit hrs.) Fall and summer terms.

6181, 6281, 6381, 6481, 6681. Thesis in Composition or in Theory. Prerequisite: Permission of instructor.

6184, 6284, 6384. Directed Studies in Theory. Prerequisite: Permission of instructor.

6190, 6290, 6390. Directed Studies in Composition. Prerequisite: Permission of instructor.

6300. Analysis of Contemporary Music. Detailed analysis of recent music written in a variety of styles and using diverse techniques. The course will also explore early 20th-century antecedents of more recent music. Analysis and discussion will be supported by readings from theoretical articles and composers' writings. Prerequisite: Successful completion of the Graduate Music Theory Diagnostic Examination or Graduate Theory Review.

6310. Introduction to Electro-Acoustic Music. An introduction to the techniques, concepts, and historical perspective of composing, performing, and listening to electro-acoustic music. Topics covered include acoustics, psychoacoustics, sound reproduction systems, recording techniques, analog and digital synthesis, and the history and literature of electronic music. Students have three hours of studio time each week to complete required projects. Fall term. Prerequisite: Permission of instructor.

6311. Advanced Electro-Acoustic Music. Continuation of the introductory course with an emphasis on mastery of the studio equipment and its application to compositional problems. Students will complete individual or group composition projects in the studio. Spring term. Prerequisite: MUTH 6310 or permission of instructor.

6326. Seminar in Music Theory. Advanced studies in special areas of music theory. A variety of topics may be offered including aesthetics, rhythm and meter, or in-depth analysis of a particular style or composer. Offered irregularly. Prerequisite: Successful completion of the Graduate Music Theory Diagnostic Examination or Graduate Theory Review.

6328, 6329. Composition. Individual study with the composition faculty and regularly scheduled seminars with faculty and visiting guests. Student will be assigned additional analytical and/or compositional projects. Fall and spring terms.

6330. Analytical Techniques. A survey of analytical methods applicable to music from the Middle Ages to the 20th century. Prerequisite: Successful completion of the Graduate Music Theory Diagnostic Examination or Graduate Theory Review.

6331. History of Theory. A survey of theoretical writing on music from antiquity through the 20th century. Emphasis on primary sources (in translation) with additional secondary readings. Prerequisite: Successful completion of the Graduate Music Theory Diagnostic Examination or Graduate Theory Review.

6355. Pedagogy of Theory. A systematic review of materials and resources available to the instructor of theory at various levels; curriculum and syllabus design; practice teaching experience; exploration of philosophies and methods. Prerequisite: Successful completion of the Graduate Music Theory Diagnostic Examination or Graduate Theory Review.

6360. Analysis of Tonal Music. This course combines the study of harmony, voi