Music majors must enroll in this course to document forum and recital attendance each semester. Grades on a pass/fail basis. For credit, attendance at six (6) recitals is required and a maximum of two (2) Forum absences are permitted. Students admitted to the Department of Music are required to register for this course (unless enrolled in EDUC 4494, EDUC 4497, or MUSI 4090). Recital credit is not granted for a student performing on all/part of a concert or recital. Transfer students should review current Department of Music Handbook policies for specific details.
All Department of Music students (except Bachelor of Music piano majors) must enroll in Class Piano 1143, 1144, 1145, or 1146 until this proficiency is passed. Music majors must enroll in this course in order to take the piano proficiency exam, which is grades on a pass/fail basis. Students who pass Piano Proficiency upon entrance audition must enroll during their first semester. Transfer students should review current Department of Music Handbook policies for specific details.
Includes an essay, performance, interview, and the Theory I-IV Cumulative Exam. Two failed attempts to pass all four sections will result in the student being advised toward the Music Minor and an alternative major. All Music Majors MUST file a degree plan upon passing MUSI 0003, Sophomore Review, at which point they will become eligible to enroll in MUSI 3000 and 4000 level courses. Transfer students should review current Department of Music Handbook policies for specific details. MUSI 0003 should be taken in the spring semester of the sophomore or just prior to completing 60 credit hours.
A basic course designed only for conditional admit students to the Department of Music who do not meet the minimum level score required on the Audition Theory Placement Exam for entrance into Music Theory I (MUSI 1322). MUSI 0222 is not applicable to degree requirements for a music major or minor. Students placed in MUSI 0222 will continue on with MUSI 1322, Theory I, and MUSI 1122, Theory I Lab, only after they pass this course. It will be only offered in the summer at HBU. As another option, conditional admit students may choose to enroll in and pass an approved Fundamentals of Music Theory on-line course or elsewhere with written permission from the Director of the Department of Music or the Office of the Dean of the School of Fine Arts. An official transcript for the course (whether taken on-line or elsewhere) must also be sent to and received in the Office of Academic Records prior to full Department of Music admission and scholarship eligibility.
A course designed to teach the aural and sight singing skills needed to complement MUSI 1322.
A course designed to teach the aural skills needed to complement MUSI 1323.
An instrumental ensemble rehearing 3-4 hours per week, performing primarily for University basketball games and other HCU functions.
Rehearsal and performance of the finest music written for choral ensembles.
Group guitar performance of classical guitar literature.
Basic technical preparation and performance of individual scenes or complete operas, including dramatic exercises, improvisations, and the integration of music, acting, and opera staging, allowing students to experience all facets of production technique.
Basic keyboard instruction for music majors and music minors whose applied instrument is not piano.
Continued basic keyboard instruction for non-piano majors.
Intermediate instruction in keyboard skills for non-piano majors.
Advanced keyboard instruction directed toward demonstrated completion of Piano Proficiency requirements.
One half-hour private lesson per week. A minimum of one hour per day of individual practice is required.
One half-hour private lesson per week in music composition.
One half hour private lesson per week. A minimum of one hour per day of individual practice is required.
Introduction to the speech sounds and rhythms of the English and Italian languages as applied to vocal literature.
Introduction to the speech sounds and rhythms of German and French languages as applied to vocal literature.
One hour private lesson per week. A minimum of two hours per day of individual practice and solo performance on Department of Music Forum once annually is required.
One hour private lesson per week. A minimum of two hours per day of individual practice and solo performance on Department of Music Forum one annually is required.
One hour private lesson per week in music composition.
One hour private lesson per week. A minimum of two hours per day of individual practice and solo performance on the Department of Music Forum once annually is required.
Music Theory I begins with a review of the rudiments of music (intervals, scales, keys, rhythm notation). Also covered are: an introduction to species counterpoint, basic triadic harmony, voice-leading principles, and non-chord tones. Additionally, ear-training and sightseeing lab includes aural/vocal work in parallel topics. Music Theory courses must be taken in sequence.
An integrated course involving more in-depth analysis and elementary composition of melody, two-part, three-part, and four-part homophonic textures, binary and ternary forms, tonal harmony through secondary dominant chords, and near-related modulations. Music Theory courses must be taken in sequence.
An entry level music course for all non-music majors, surveying a variety of musical styles. No music reading skills are required.
A course designed to teach the aural skills needed to complement MUSI 2322.
A course designed to teach the aural skills needed to complement MUSI 2323.
A select chamber ensemble which may be divided into smaller groups of quartets, sextets, and octets, studying and performing chamber choral literature.
The study and performance of the major chamber music literature written for combinations of instruments including the piano.
The study of technical problems, teaching materials, and basic performance problems of brass instruments. Teaching each instrument at the elementary level is included.
The study of technical problems, teaching materials, and basic performance problems of percussion instruments. Teaching each instrument at the elementary level is included.
The study of technical problems, teaching materials, and basic performance problems of string instruments. Teaching each instrument at the elementary level is included.
The study of technical problems, teaching materials, and basic performance problems of woodwind instruments. Teaching each instrument at the elementary level is included.
Devoted to the development of keyboard skills covered in Class Piano I-IV including improvisation, harmonization, realization of figured bass, transposition, sigh-reading, accompanying, and basic score reading. Observation and guided field experience is included.
This course examines the rudiments of analysis of larger 17th-19th Century forms, Chromatic Harmony (altered and borrowed harmony in particular) integrated with analysis and basic composition techniques. It includes Theme and Variations (Cantus Firmus or Continuous Variations) and Sectional Theme and Variations. Music Theory courses must be taken in sequence.
This course includes the study of chromatic harmony/remote modulation techniques, large-scale form analysis (Sonata-Allegro and Sonata-Rondo), study of contrapuntal forms, and comprehensive analysis with attention to thematic growth processes. Music Theory courses must be taken in sequence.
Techniques for collaboration with singers are taught through the exploration of repertoire for piano and voice. Additionally, students learn rehearsal and vocal coaching techniques through performance and individualized instruction in a performance class setting.
In-depth survey of European music from the Medieval through the Renaissance periods. Emphasis on the lives, representative works, and cultural context of major composers from historical, analytical, and critical perspectives. Development of skills necessary to identify, define, and analyze the various musical genres, forms, and style characteristics.
In-depth survey of European music from the Baroque through the Classical periods. Emphasis on lives, representative works, and cultural context of major composers from historical, analytical, and critical perspectives. Development of skills necessary to identify, define, and analyze the various musical genres, forms, and style characteristics.
A solo recital of at least thirty minutes but not more than forty minutes of music usually performed at the end of the sixth semester of study. Required of all students majoring in music. A pre-recital hearing must be passed at least two weeks prior to the performance date.
Guided practical experience in Collaborative Arts for Piano Majors through assigned studio accompaniment and performance.
Topics are selected on basis of student need and academic qualifications of staff. If regular lectures are not given, a minimum of 30 hours of work for each hour credit must be included. This course may be repeated for credit.
One half-hour private lesson per week. This course is eligible only for fulfilling degree requirements with permission of the Program Coordinator of Music and the Chair of the Department of Music. A minimum of one hour per day of individual practice is required.
One half hour private lesson per week. This course is eligible only for fulfilling degree requirements with permission of the Program Coordinator of Music and the Chair of the Department of Music. A minimum of one hour per day of individual practice is required.
One half hour private lesson per week in music composition. This course is eligible only for fulfilling degree requirements with permission of the Program Coordinator of Music and the Chair of the Department of Music.
This course covers skills such as transposition, modulation, improvisation, sight-reading, reharmonization, accompanying, open score reading and dealing with transcriptions. Applies to both pianist and organist.
Service literature, techniques, accompanying, and conducting from the keyboard. Organ proficiency requirements are covered.
Advanced training and continued development in service playing skills. Organ Proficiency will be administered at the conclusion of this course.
The course seeks to develop skill in conducting small and larger works for chorus and orchestra and to develop the necessary conducting grammar to accomplish this task.
The course provides practical study of the techniques needed for arranging choral music. Includes setting music for worship, secular situations, choral counterpoint, chorale textures, and study of varying accompaniment styles.
This course seeks to develop basic technique, style, and interpretation in order to conduct small and large works for ensembles.
This course continues to develop advanced techniques, style, and interpretation as it applies to conducting ensembles.
One hour private lesson per week. A minimum of two hours per day of individual practice and solo performance of a required recital before graduation is required.
One hour private lesson per week. One hour private lesson per week in music composition.
One half-hour private lesson per week. This course is eligible only for fulfilling degree requirements with permission of the Program Coordinator and the Chair of the Department of Music. A minimum of one hour per day of individual practice is required.
This course is a study of new compositional materials and analytical techniques in the 20th Century and includes intensive work in aural skills. It is a continuation of skills and techniques introduced in MUSI 2322 and MUSI 2323. Music Theory courses must be taken in sequence.
An introduction to the principles of instrumentation and orchestration.
Through the exploration of repertoire for piano and other instruments, this course encompasses techniques for collaboration with instrumentalists. Rehearsal and instrumental coaching techniques are developed through performance and individualized instruction in a performance class setting.
Study of the construction and design of the organ, minor organ repairs and registration guidelines.
In-depth survey of European music of the Romantic period. Emphasis on the lives, representative works, and cultural context of major composers from historical, analytical, and critical perspectives. Development of skills necessary to identify, define, and analyze the various music genres, forms, and style characteristics.
In-depth survey of European music of the 20th and 21st centuries. Emphasis on the lives, representative works, and cultural context of major composers from historical, analytical, and critical perspectives. Development of skills necessary to identify, define, and analyze the various musical genres, forms, and style characteristics.
This course covers aspects of solo vocal art song in German, Italian, and lesser known languages, from its origins to the 20th century. An emphasis will be placed on the poetry and music from an historical and cultural perspective.
This course covers aspects of solo vocal art song in French and English, from both the United Kingdom and the United States, from its origins to the 20th century. An emphasis will be placed on the poetry and music from an historical and cultural perspective.
A solo recital of at least fifty minutes of music, usually performed at the end of the eighth semester of study. A pre-recital hearing must be passed at least two weeks prior to the performance date.
This course assists students in developing competencies for the vast array of technical skills required for today’s church musician. Areas explored may include the church organ, hand bells, keyboards, multi-media computer technology including music notation and sequencing software, sound reinforcement systems, and microphone techniques. Visiting consultants will augment instruction.
Topics are selected on basis of student need and academic qualifications of staff. If regular lectures are not given, a minimum of 30 hours of work for each hour credit must be included. Laboratory may or may not be included. This course may be repeated for credit.
An advanced study, critical analysis, and/or research-oriented course required for all BM and BA majors covering one or more of the following rotating special topics/areas: musicological or theoretical studies, musical works or literature, sacred music, notable composers, or advanced applied techniques. Should be taken during the final year of a student’s undergraduate music program.
Covers aspects of piano pedagogy including instruction for beginning and advanced students, as well as business considerations needed for private studio instruction. Field experience is included.
While the technique of playing the piano and organ are distinctive, learning to teach keyboard instruments are analogous. Students will learn to teach both instruments. Piano and organ method books will be examined and students will have the opportunity to teach on both instruments.
This course covers aspects of organ pedagogy including instruction for beginning and advanced students, as well as business considerations needed for private studio instruction.
Piano Literature I is an intensive literature study of the music by the predecessors of the pianoforte: harpsichord, clavichord, and fortepiano (but not organ). Included is the study of historical structure and style elements, and performance practices from pre-Baroque to early Classical periods. Taking Piano Literature I prior to Piano Literature II is recommended.
Piano Literature II is an intensive literature study of the music of the early and modern-day pianoforte. Included is study of historical structure and style elements of the late-Classical period through present day compositions. Taking Piano Literature I prior to Piano Literature II is recommended.
Survey of organ literature from 1300-1750.
Survey of organ literature from 1750 through the present.
A historical and practical approach to the art of teaching voice. Emphasis is on research, writing, and observation, involving some student teaching as directed by the instructor.
