Courses by semester
Courses for
Complete Cornell University course descriptions are in the Courses of Study .
| Course ID | Title | Offered |
|---|---|---|
| MUSIC1100 |
Elements of Musical Notation
This four-week course fulfills the requirement of basic pitch, rhythm, and score-reading skills needed for some introductory courses and 2000-level courses with prerequisites.
|
Fall (weeks 2-5 and 8-11). |
| MUSIC1105 |
An Introduction to Western Music Theory and African Diaspora Music of the Caribbean and Americas
This course is divided into two parts: The first is a self-contained, experiential introduction to Western European functional counterpoint and harmony. The second part examines the intersection and synthesis of Western European and African Diaspora music through forced migration and enslavement during the French, Spanish, and Anglo-American colonial eras in the Caribbean and the Americas. A diverse collection of musical examples, from the 17th century Western European canon to Haitian roots music to blues, are analyzed on their own terms.
|
Spring. |
| MUSIC1108 |
Technological Musicianship
The persistent cultural disruption of the Covid-19 pandemic has made one thing very clear to waylaid musicians: concert presentation and musical events generally will be making a very slow comeback, at best, and may sustain long-lasting changes from this crisis no matter what. As the Italian composer Luciano Berio once said about the musical impact of WWII, "Culture and its dynamics, however, are also made of these privations," this course is offered as a technological stopgap for those who are interested in engaging with technology in musically substantive ways. Best practices (and attitudes) for audio engineering, mixing, editing, video production, and synchronous/asynchronous collaboration will be outlined in a series of video lectures, with individual support available for enrolled students.
|
Spring. |
| MUSIC1201 |
European Music from the Middle Ages, Renaissance, and Baroque
This listening-intensive course will introduce students to key styles in European art music from before 1750 through a focus on several important musical centers at different historical moments: medieval Paris (chant, organum, monophonic songs), 15th-century Burgundy (sacred and secular polyphony), late 16th-century Mantua (madrigals, instrumental genres, early opera), late 17th-century Versailles (court ballet, instrumental suite), Leipzig around 1740 (organ music, cantata), and London around 1750 (concerto, opera, oratorio). Works by composers such as Perotin, Dufay, Monteverdi, Bach, and Handel will be studied within the cultural contexts that allowed them to flourish.
Full details for MUSIC 1201 - European Music from the Middle Ages, Renaissance, and Baroque |
Spring. |
| MUSIC1212 |
Music on the Brain
This course is for anyone who listens to music or plays music and wonders what's happening in your brain that makes you feel the way you do. Starting with the music each of you knows and loves—the soundtrack to your life—we'll tackle questions like: What is the relationship between speech and music? Do animals have music, too? How does the brain process aspects of music, including rhythm, melody, harmony, and form? Why does some music trigger an emotional response? What does it mean to say that music is an embodied behavioral act? What is the relationship between music and memory? Through lectures, discussions, experiments, compositions, recording technologies, student presentations/performances and writing assignments we'll explore how/why you've chosen the particular tunes on the soundtrack of your life, and how your brain processes musical thoughts and experiences.
|
Spring. |
| MUSIC1312 |
History of Rock Music
This course examines the development and cultural significance of rock music from its origins in blues, gospel, and Tin Pan Alley up to alternative rock and hip hop. The course concludes with the year 2000.
|
Spring. |
| MUSIC1313 |
A Survey of Jazz
This course addresses jazz from two perspectives: the various sounds of jazz, as well as the historical streams-musical and cultural-that have contributed to its development. Listening and writing assignments are major components of the course.
|
Spring. |
| MUSIC1466 |
Physics of Musical Sound
This course explores the physics of musical sound. How and what do our ears hear? How does that determine the kinds of sounds we find pleasant and not so pleasant? How is sound generated by strings, pipes, and plates, and what determines the characteristics – pitch, timbre, attack, consonance, or dissonance – of that sound? How do the major families of musical instruments (string, wind, reed, brass, percussion) and specific examples (violin, guitar, piano, flute, oboe, trumpet, chimes, pipe organ) work, and how does that affect how they are played and the sounds they produce? How do we generate sound when we sing, and how does that vary in different kinds of singing? What makes for a good concert hall or listening space? These are explained using physical and mathematical concepts including vibrations, standing waves, harmonic series, beats, spectra, and logarithms, and illustrated using demonstrations, audio clips, and musical selections from a wide variety of genres. This course is a Writing In The Majors course: both science writing and physics problem-solving skills are developed through weekly assignments. Student activities include hands-on investigations of musical instruments and field trips. At the level of The Science of Sound by Rossing, Moore, and Wheeler.
|
Spring. |
| MUSIC1701 |
FWS: Sound, Sense and Ideas
This First-Year Writing seminar provides the opportunity to write extensively about music's place in our world. Topics vary by section.
|
Fall, Spring. |
| MUSIC2102 |
Theory, Materials and Techniques II
Theory, Materials, and Techniques II surveys tonal music as conceived and practiced throughout late-eighteenth and nineteenth-century Europe. The course combines modern pedagogical methods with the study of relevant historical sources and incorporates active learning at the keyboard. Topics to be covered include the analysis of form and genre; advanced techniques of modulation; transformational theory and other approaches to the configuration of diatonicism and chromaticism; and the relationship of words and music in nineteenth-century song. During section meetings, the concepts and skills introduced in lecture will be practiced at the keyboard as well as vocally. Other topics to be covered in sections include advanced aural skills; sight singing; score reading; and the improvisation of preludes.
Full details for MUSIC 2102 - Theory, Materials and Techniques II |
Spring. |
| MUSIC2111 |
Songwriting
Songwriting introduces students to the practice of songwriting through workshop-formatted classes. We will explore the ingredients of song (lyrics, melody, delivery, harmony, rhythm, form, texture, timbre, and arrangement) through analysis, composition, recording technologies, performance, and concert reports. Proficiency on one or more musical instruments is required. Songwriting can be taken as a stand-alone course or as part of the Songwriting sequence with Collaborative Songwriting.
|
Fall. |
| MUSIC2201 |
Introduction to Music Studies
This course introduces students to the study of music as an expression of history and culture by examining the ways in which music creates meaning, knowledge, archives, and identities. Musical examples will be drawn from a broad range of styles, chronological periods, and geographical locations; and students will engage with live performance as well as various forms of recorded music and mediated performance. Along with considering music as sound, the course will examine different modalities of writing about music—journalistic, academic, and creative—and we will think about how these musical texts, and those that the students produce, function to situate music as discourse. The course will develop critical thinking, writing, and presentation skills.
|
Spring. |
| MUSIC2209 |
History of Western Music III: Postwar Music and Sound
This course, intended for music majors, music minors, and suitably interested non-majors and non-minors, surveys the vast terrain and diverse topography of music since 1945. Involving a comprehensive listening component alongside score study and a wide range of primary and secondary sources, the course is designed to develop students' knowledge of repertory, musical institutions, and social practices; it also aims to equip them with the means to think critically about music and texts amid shifting historical contexts. Topics will include electronic music, sound art, improvisation, minimalism, and noise.
Full details for MUSIC 2209 - History of Western Music III: Postwar Music and Sound |
Spring. |
| MUSIC2241 |
Music as Drama: An Introduction to Opera
Opera has been enthralling audiences for 400 years; this course explores the multiple facets of its appeal. Using seven operas as the focus-chosen from different periods, national traditions, and styles-the class will examine the texts that have been turned into operas, the musical conventions that have guided composers (or against which they have worked), and the decisions directors make when they put operas on stage. Each work will be seen as well as heard-either in a special screening or, at least once in the semester, in a live performance. Students who have a strong background in music may wish to also enroll in MUSIC 3901, which involves an extra class-period per week where the music is discussed in greater detail. Permission of the instructor is required for this one-credit addition.
Full details for MUSIC 2241 - Music as Drama: An Introduction to Opera |
Fall. |
| MUSIC2330 |
Music in and of East Asia
This course explores the breadth of music found in present day China, Japan, and Korea--from indigenous musical traditions, through adaptations of Western art music, up to the latest popular styles--as well as the presence of traditional East Asian musics outside East Asia, including right here at Cornell. In both cases, music offers a lens for examining the myriad social and cultural forces that shape it, and that are shaped by it. The course's academic focus on critical reading and listening, written assignments, and discussion is complemented by opportunities to engage directly with music, whether attending concerts or participating in workshops with student-led ensembles.
|
Spring. |
| MUSIC2421 |
Computers in Music Performance
A course exploring strategies and techniques for live musical performance and real-time, interactive sound manipulation with computers.
Full details for MUSIC 2421 - Computers in Music Performance |
Spring. |
| MUSIC2701 |
Music and Digital Gameplay
This course considers both music and digital games in light of their playability. It aims to provide students with critical frameworks for addressing the diverse roles played by music in digital games as well as the ways in which playing digital games can be considered a musical activity. Focusing on games across an array of genres from first-person shooters to rhythm-action titles, the course will introduce students to recent scholarship on digital games from multiple disciplinary angles. No formal musical training is necessary, but suitably qualified students may take the course as a 3000-level elective by signing up for MUSIC 3901 and completing additional research components involving the creation and/or analysis of specific soundtracks or performances.
|
Spring. |
| MUSIC2703 |
Thinking Media
From hieroglyphs to HTML, ancient poetry to audiotape, and Plato's cave to virtual reality, "Thinking Media" offers a multidisciplinary introduction to the most influential media formats of the last three millennia. Featuring an array of guests from across Cornell, including faculty from Communication, Comparative Literature, English, German Studies, Information Science, Music, and Performing & Media Arts, the course will present diverse perspectives on how to think with, against, and about media in relation to the public sphere and private life, archaeology and science fiction, ethics and aesthetics, identity and difference, labor and play, knowledge and power, expression and surveillance, and the generation and analysis of data.
|
Spring. |
| MUSIC3111 |
Jazz Improvisation and Theory I
An introduction to fundamental jazz theory, technique, and applied skills.
Full details for MUSIC 3111 - Jazz Improvisation and Theory I |
Fall. |
| MUSIC3142 |
The Composer's Toolbox II
The Composer's Toolbox is a two-semester sequence of courses that equips undergraduates with the skills and techniques they need to write music in a variety of styles and idioms, both tonal and otherwise. While a modicum of theoretical knowledge is required, the emphasis throughout the sequence is on the practical applications of that knowledge via both composition and the analysis of repertoire: students will learn through doing.
|
Spring. |
| MUSIC3151 |
Beyond the Five Lines
Beyond the Five Lines invites students from different disciplines to learn about the diversity of music notation. From graphic and text scores to arrangements and the inscription of listening practices, the course offers a collection of ways to communicate music. Students will explore their sonic and visual creativity with a critical and historical approach and from a hands-on creative environment. In this course, we will dive into design, illustration, visual communication, grammar, typography, and politics. Activities will include student compositions, performances by the members of the course, discussion of readings, and experiments with notation.
|
Spring. |
| MUSIC3211 |
Seminar in Advanced Music Studies
This course explores historical, critical, and aesthetic writings on music extending from Ancient Greece to contemporary America. We will engage with significant ways of thinking about music from the Western classical tradition and beyond it, building our skills as writers and speakers about the sonic arts in a range of cultural contexts.
Full details for MUSIC 3211 - Seminar in Advanced Music Studies |
Spring. |
| MUSIC3315 |
Music and Money
From the 1720 South Sea Bubble to the 2008 global financial crisis, from Handel's operas to Spotify's algorithms, music has chronicled the booms and busts of markets. This course investigates how music and money are entwined in discourse and practice by tracing an origin story of capitalism that began in eighteenth-century Europe. We will ask how music has captured the spirit of capitalism since its inception, stoking its fantasies and attuning to its effects. In turn, we will contemplate how systems of economic thought reckon with shifting ways of creating and consuming music. In allowing music ranging from broadside ballads to commercial jingles to illuminate mutually the writings of such thinkers as Smith, Marx, Adorno, and Graeber, our discussions will unravel varied musical lives through themes including credit and debt, labor and property, media and interest, trade and slavery, nature and environment.
|
Spring. |
| MUSIC3431 |
Sound Design
Covering the basics of digital audio, bioacoustics, psychoacoustics and sound design, as they apply to theatre, film and music production. Students create soundscapes for text and moving image using ProTools software.
|
Fall, Spring. |
| MUSIC3511 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction.
|
Fall, Spring. |
| MUSIC3512 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction.
|
Fall, Spring. |
| MUSIC3513 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction.
|
Fall, Spring. |
| MUSIC3514 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction.
|
Fall, Spring. |
| MUSIC3602 |
Chorus
A nationally renowned treble-voice chorus specializing in music for sopranos and altos. Tours and records annually. The Chorus frequently combines with the Glee Club to work on mixed-voice repertoire and major works.
|
Fall, Spring. |
| MUSIC3603 |
Glee Club
A nationally renowned tenor-bass ensemble specializing in choral music for lower voices. Tours and records annually. The Glee Club frequently combines with the Chorus to work on mixed-voice repertoire and major works.
|
Fall, Spring. |
| MUSIC3604 |
Chorale
A course for singers wishing to develop their musicianship, sight-reading, and vocal technique. The Chorale may occasionally perform publicly but is more focused on the development of essential skills to a high level, preparing students for further singing in a cappella groups, the Chorus, the Glee Club, or the Chamber Singers.
|
Fall, Spring. |
| MUSIC3609 |
Brazilian Ensemble - Deixa Sambar
Deixa Sambar performs several styles of samba, Brazil's national music. Members need not have prior background in music-making, but a good sense of rhythm is desirable. Members include students as well as Ithaca community members, brasileiros as well as newcomers to Brazilian culture. Rehearsals develop playing skills, with a deep emphasis on cultural understanding of this vital, community-based music.
Full details for MUSIC 3609 - Brazilian Ensemble - Deixa Sambar |
Spring. |
| MUSIC3610 |
Cornell Gamelan Ensemble
Study and performance mostly of traditional Javanese gamelan music. Group rehearsal once a week in preparation for one concert. Individual instruction is offered as necessary; those wishing to learn advanced techniques should also enroll in MUSIC 4641.
|
Fall, Spring. |
| MUSIC3613 |
Cornell Steel Band
The Cornell Steel Band explores the wide variety of music for an orchestra of instruments fashioned from 55-gallon oil drums, and an "engine room" of non-pitched percussion. Interwoven into the focus on hands-on practice is reflection on the meanings of steel band, historically and in the present, in its native Trinidad and Tobago and here in the United States. Formal musical training is not necessary, though a sense of rhythm and a good ear are helpful.
|
Fall, Spring. |
| MUSIC3616 |
Cornell Hip-Hop Collective
This course is open to experienced rappers, beatmakers, and vocalists interested forging collaborative relationships with other students. The fall semester will center on hip-hop's relationship to social justice. From the beginning of the semester, we will work together to plan and record a thematic album. As we develop this project, we will construct and analyze playlists that explore how hip-hop historically grew out of racialized struggle and how it is and could be used to comment on and challenge systemic racism today. We will identify and employ hip-hop compositional strategies for creating socially engaged beats and rhymes, including musical sampling and lyrical intertextuality, and will use these tools to create and workshop collaborative tracks in weekly meetings. Spring semester topic: TBD.
|
Fall, spring. |
| MUSIC3621 |
Cornell Symphony Orchestra
Study and performance of a broad repertoire of orchestral works from Beethoven to the present.
|
Fall, Spring. |
| MUSIC3631 |
Cornell Wind Symphony
The Cornell Wind Symphony unites student musicians in an ensemble dedicated to the study and performance of emerging and traditional wind repertoire. The Cornell Wind Symphony unites student musicians in an ensemble dedicated to the study and performance of emerging and traditional wind repertoire. In Spring 2021, the Wind Symphony will likely make music in both in-person and remote settings. Full details and audition instructions will be posted on www.cuwinds.com as they become available.
|
Fall, Spring. |
| MUSIC3634 |
Cornell Percussion Group
The Cornell Percussion Group explores and performs un-conducted chamber music of the rapidly expanding percussion repertoire. The Group takes advantage of the stylistic and sonic breadth that the relatively young medium of percussion chamber music engenders, performing music that ranges from classics of the percussive canon from composers such as John Cage and Iannis Xenakis, to collaborations with composers on new repertoire. Members of CPG will develop their percussive technique and collaborative musical skills through the study of a diverse array of un-conducted percussion chamber works and mixed chamber ensemble pieces. Prior experience with percussion instruments is required, and participants must meet with the instructor for a short audition before enrolling.
|
Fall, Spring. |
| MUSIC3660 |
Music Improvisation Ensemble
The Music Improvisation Ensemble provides students with the opportunity to explore the elements of music from an improviser's perspective. Fall 2020, we'll meet the particular challenges of the pandemic through innovative and exciting programming. The first half of the semester, we'll explore unique outdoor acoustic environments across campus in socially distant group improvisation. The second half of the semester, we'll explore improvisation through text pieces. The semester will culminate in a virtual performance made available to the public on the internet. This ensemble is open to any level of musician. An audition is required at the beginning of the semester simply as a means of introduction. Please contact instructor Annie Lewandowski for more information: apl72@cornell.edu
|
Fall, Spring. |
| MUSIC3901 |
Supplemental Study in Music
Intended primarily for music majors, this option allows students enrolled in an approved 1000- or 2000-level 3-credit music history course to pursue independent research and writing projects. Students will study various topics in music history at a more advanced level through supplementary reading, discussion, and writing, by arrangement with the professor.
|
Fall, Spring. |
| MUSIC4501 |
Individual Instruction
Individual instruction in voice, organ, harpsichord, piano and fortepiano, violin, viola, cello, percussion, and some brass and woodwind instruments to those students advanced enough to do college-level work in these instruments. For more information about individual instruction, see the section titled Musical Instruction.
|
Fall, Spring. |
| MUSIC4601 |
Chamber Singers
A mixed-voice chamber choir for students with outstanding sight-reading skills and considerable choral experience. Aims to rehearse at a professional level.
|
Fall, Spring. |
| MUSIC4615 |
Jazz Ensemble
Study and performance of classic and contemporary big band literature. Rehearsals twice a week with two to four performances per semester.
|
Fall, Spring. |
| MUSIC4616 |
Jazz Combos
Study and performance of classic and contemporary small-group jazz.
|
Fall, Spring. |
| MUSIC4621 |
Cornell Chamber Orchestra
The goal of this music performance course is to provide the opportunity for you as a string performer to come together with other like-minded musicians in an ensemble setting to rehearse and perform the highest quality literature from the chamber orchestra repertoire. In this course we will focus on overall concepts of self and ensemble expression, engagement, participation, and performance. We will also address musical concepts of ensemble and individual balance, blend, intonation, phrasing, dynamics, articulation, tone, rhythmic precision, color, and ensemble clarity. We are going to listen to ourselves, to each other and to the composer's voice.
|
Fall, Spring. |
| MUSIC4631 |
Chamber Flute Ensemble
Small ensembles meet weekly to explore diverse flute repertoire including a variety of instrumentation (piccolo, alto flute, bass flute). There will be a performance opportunity at the end of the semester on a chamber concert or in a studio class setting.
|
Fall, Spring. |
| MUSIC4641 |
Advanced Instruction in Gamelan
Concentrated instruction for students in advanced techniques of performance on Indonesian gamelan instruments.
Full details for MUSIC 4641 - Advanced Instruction in Gamelan |
Fall, Spring. |
| MUSIC4651 |
Chamber Music Ensemble
Study and performance of chamber music works from duos to octets, for pianists, string, and wind players.
|
Fall, Spring. |
| MUSIC4901 |
Independent Study in Music
Independent study affords students the opportunity to pursue special interests or research not treated in regularly scheduled courses. A faculty member, who becomes the student's instructor for the independent course, must approve the proposed study and agree to provide continuing supervision of the work. Students must prepare a proposal for independent study. To apply for independent study, please complete the online form. Undergraduate student and faculty advisor to determine course of study and credit hours.
|
Fall or Spring. |
| MUSIC4912 |
Honors in Music
Second semester of the two semester honors program. In conjunction with faculty, selected candidates formulate a program that allows them to demonstrate their musical and scholarly abilities, culminating in an honors thesis, composition, or recital (or some combination of these), to be presented in their senior year.
|
Spring. |
| MUSIC7111 |
Composition
A course for graduate or advanced undergraduate composers (by permission with a portfolio audition) seeking individual music composition instruction, the course combines one-on-one meetings with group seminars featuring workshops, master classes, and/or visiting guests. In addition to individual and group meetings, composers may have opportunities for the reading and/or performance of their work.
|
Fall, Spring. |
| MUSIC7211 |
Seminar in Performance Practice
This seminar helps develop tools for spearheading coherent and compelling projects that bring together musicians, scholars, and audiences. After examing historic and contemporary music festivals and critical responses to them, participants will work to construct their own two- or three-day festival-conference and work on: developing a theme; laying out programs of concerts, scholarly papers, panels, workshops, exhibitions; choosing performers and other contributors; considering connections to, and collaborations with, other disciplines; writing letters and calls for papers/programs; funding; program notes; working up and presenting a short version of the participant's own contribution to the conference (e.g., composition; recital; scholarly paper; composition). The course welcomes performers, composers, and scholars, and will encourage collaboration between participants.
Full details for MUSIC 7211 - Seminar in Performance Practice |
Spring. |
| MUSIC7235 |
The Global Premodern: Methods and Perspectives
This seminar investigates and interrogates the emergence of a global consciousness (a hallmark of "the modern") across a range of academic disciplines. Our focus will be the historical retrojection of this call to "go global" upon the premodern, including a global history of ideas, a global history of science, a global medieval studies, and (of course) a global history of music. We will consider the various methodologies and methodological challenges (not least of which is the Eurocentrism of the very idea of the "premodern"), sub-disciplinary configurations (e.g., "historical ethnomusicology"), and liberal politics involved in the doing of global history within the Anglo-American academy. Topics include: historical global histories of music (Al-Farabi's Kitāb al-mūsīqī al-kabīr, François-Joseph Fétis' Histoire générale de la musique, and Sourindro Mohun Tagore's Universal History of Music: Compiled from Diverse Sources, Together with Various Original Notes on Hindu Music), recent historiographical debates about longue durée history vs. "micro-history" (in response to Jo Guldi and David Armitage's The History Manifesto), networks of exchange and migration, the (perennial) problem of periodization, and a range of specific case studies (TBD by the participants of the seminar).
Full details for MUSIC 7235 - The Global Premodern: Methods and Perspectives |
Spring. |
| MUSIC7327 |
Listening from the Other Side: Music, Masculinity, and the Homophobic Gaze
This seminar focuses on the uses of music in the performative construction of masculinities. It pays particular attention to how issues of difference play a central role in the development of notions of masculinity, especially in relation to notions of race and class. In articulating the intersection of masculinity and difference students also focus on misogyny, homophobia, and xenophobia as fundamental regeants in the production of toxic masculinities. The seminar also seeks to challenge students to think critically about networks of male participation and circulation in musical culture and their reflection and impact on mainstream notions of sex, gender, and queerness in relation to larger geographic, political, and economic configurations such as the nation-state, the European Union, USMCA, etc.
|
Spring. |
| MUSIC7422 |
idEars- ideas for ears
idEars invites composers and their dear ears to hear out new ideas. In an online workshop environment participants will create with unexpected sounds, nonexistent instruments, everyday objects, wearable instruments, hidden sounds, inner sounds, spaces, stars and planets, the human, the non-human, robotics, machines, body extensions, frozen sounds, smelly instruments and other curiosities. Participants are encouraged to let their imaginations run free, and think of their environment (bed, room, apartment, building, neighborhood, road, city, countryside, the world) as their new studio/lab. We will embrace imperfections. We will welcome the importance of unpredictability. We will share and shake our knowledge and beliefs. This way we will train our imagination and connective abilities to generate new forms of being with sound, together and online. Together we will pick game-changing compositions and artworks across time, as tools for stretching and strengthening our imagination and ways of making with sound.
|
Spring. |
| MUSIC7901 |
Independent Study in Music
Independent study affords students the opportunity to pursue special interests or research not treated in regularly scheduled courses. A faculty member, who becomes the student's instructor for the independent course, must approve the proposed study and agree to provide continuing supervision of the work.
|
Fall, Spring. |
| MUSIC9901 | Thesis Research |