Coached chamber ensemble and/or studio-class performance. Includes repertoire review, master classes, peer analysis and critique, and recital preparation. (May be repeated.).

Two lecture hours per week. An intensive review of basic aural skills, including rhythmic, melodic, and harmonic transcription; error detection and reading. Students must earn a grade of B or higher in order to successfully complete this course. Credits earned in this course may not be applied to the Master of Music degree.

Supervised teaching of elementary and/or intermediate-level piano students (child or adult level) in private or group lessons.

Principles of jazz instruction for music educators. Design and charting for the contemporary style drill utilizing drafting instruments and computer-aided instruction.

Contemporary arranging techniques for the small jazz combo; rhythm section and up to five wind instruments; basic jazz nomenclature and instruments.

Three lecture hours per week. Exploration of the technical capabilities and idiomatic performance practices of instruments found in the orchestra and the wind ensemble. Additional instruction in arranging and transcribing techniques for chamber ensembles, the orchestra, and wind ensemble.

Arranging for large and small vocal ensembles with and without accompaniment.

Three lecture hours per week. Intensive review of diatonic and chromatic harmony, formal stereotypes, and basic analytical techniques. Credits earned in this course may not be applied to the Master of Music degree.

Contemporary arranging techniques for rhythm section and two, three, and four wind instruments.

Two lecture hours per week. Exploration of the processes and aesthetics of contemporary musical composition with additional topics to include a survey of contemporary music since 1960, advanced musical notation, advanced orchestration, and an exploration of the business of being a composer. Repeatable for credit and required of all students working in the composition area.

Development of advanced keyboard skills in sight playing; chord patterns; transposing; harmonizing classical, folk and popular melodies; arranging for keyboard(s); improvising; and accompanying and introductory score reading. Successful completion of this course by applied piano and piano pedagogy majors waives the piano proficiency examination.

Approaches and materials for children and high school students at the elementary and intermediate levels. Focus will include the job market, methods, curriculum building, musicianship training, technical development, practice strategies, ensemble playing, use of technology in teaching, and professional etiquette as a clinical/adjudicator.

Approaches and materials for the adult student at the beginner through advanced levels. Focus will include piano class teaching, methods, curriculum building, musicianship training, technical development, practice strategies, memorization, musical style and interpretation, ensemble playing, philosophical bases, piano laboratory technique, and professional etiquette as a clinician/adjudicator.

Principles of vocal pedagogy and development of teaching skills in applied vocal instruction.

Three lecture hours per week. Advanced structural and stylistic analysis of large one-movement and multi-movement works from the common-practice period.

Three lecture hours per week. Theories of musical structure in the post-tonal idiom, with analytical applications to literature from major composers of the twentieth century. Compositional exercises will provide orientation to diverse styles and demonstrate creative applications of theoretical concepts. Substantial research project required.

Each MM in choral conducting student is required to perform several graduate recitals that total 45 minutes of music over the course of the degree program. These recitals will be given with the Georgia State University Master Singers or some other approved ensemble. (Approval must come from the director of choral activities.) The ultimate selection of repertoire is at the discretion of the teacher for the needs of the student. There should be one selection or set for voice and instruments.

Conducting techniques, with and without the baton, that communicate the conductor’s interpretation of the musical score to the performers.

Three lecture hours per week. Exploration, through composition and analysis, of the style and contrapuntal techniques of the Renaissance (Palestrina-style modal counterpoint) and Baroque (Bach-style harmonic counterpoint).

Developing musical sensitivity at the keyboard to enhance the performance of vocalists or instrumentalists. May be repeated for credit.

A comprehensive investigation of keyboard music from a historical and stylistic viewpoint, emphasizing major keyboard works and composers from the Baroque to the present.

Survey of the solo vocal literature of Germany, Poland, Russia, Hungary, Czechoslovakia and Romania. Includes class lectures, score study, listening analysis and class discussion.

Survey and history of solo song repertoire in France, England, the United States, Spain, Italy, Mexico, Norway, Finland, Denmark, Argentina and Brazil. Includes class lectures, score study, listening analysis and class discussion.

Choral Literature from 1450 to 1825.

Choral literature from 1825 to present.

Students who take this course will have a comprehensive understanding of the seminal choral repertoire from the Renaissance through today. Be able to discuss specific repertoire through class discussions and presentations. Be able to write about the history of choral music through take-home exams and a final paper.

History of dramatic music, principally opera and larger sacred works, from 1600 to the present.

Basic computer literacy in music-related software programs for MacIntosh and Windows operating systems. A working knowledge of word processing, graphics, music notation, and music sequencing will be gained, along with the knowledge of resources on the internet.

One lecture and one lab hour per week. Basic and intermediate jazz keyboard realization. Harmonic, melodic, and rhythmic elements will be investigated. Principles of chord progressions, comping techniques, modes, extension tones, and bass lines for lead-sheet realization.

Realization of figured bass, improvisation of chord progressions, transposition, instrumental score reading, and rhythm reading at the keyboard. Satisfies the requirements in keyboard proficiency for the concentration in music theory.

Two lecture hours a week. Continued development of aural skills, with particular emphasis on aural analysis and the transcription of chromatic music.

Jazz improvisation including compositional techniques, altered dominant scales, minor ii-v7s, ballad interpretation, memorization, and chord substitutions.

Continuation of MUS 6790. Advanced improvisation concepts and performance skills emphasizing composition, altered dominant scales, minor ii-v7s, ballad interpretation, memorization and chord substitutions.

Major and minor scale harmony, modulation, minor key analysis, dominants, reharmonization, and modal interchange.

Graduate review in Music History II. A review of music in European and North American culture from the mid-18th century to the present day (Classical, Romantic, Modern music). Credits earned in this course may not be applied to the Master of Music program.

Comparative survey of various nonwestern musical cultures.

Examines important events and musical figures in the evolution of jazz by analysis of playing styles, compositions and innovations that influenced the direction of jazz in the twentieth century. African roots of jazz and the music of Armstrong, Morton, Ellington, Parker/Gillespie, Coltrane, and Miles Davis.

Discussion and readings on selected topics.

Orchestral literature from 1700 to 1900.

Standard symphonic repertoire from 1900 to 2000. Crosslist with MUS 4961 Orchestral Literature II. Identify specific works that have had a major impact upon the evolution of the symphony orchestra as an instrument.

Crosslist with MUS 4980. Investigation of methods of electroacoustic music composition using MIDI, hardware synthesizers, and software tools. Focus on unique tool development using the MAX programming environment and associated technologies. Approaches to advanced composition with electroacoustic means from both scientific and aesthetic perspectives. Required laboratory work.

Introduction to software synthesis computer music using the Csound acoustic compiler. Survey of fundamental synthesis techniques, fundamentals of Csound programming, and strategies for sound design and composition. Required laboratory work.

Advanced topics in software synthesis computer music using the Csound acoustic compiler. Survey of digital signal processing, advanced synthesis methods, and score development. Course work culminates in a significant computer music project. Required laboratory work.

Exploration of non-traditional ways to make music that began to surface in the mid 20th century. Pieces studied represent disparate creative approaches to music making including, but not limited to: minimalism, indeterminacy, graphic notation, aleatoric, chance, and free improvisation. Students will be assigned to perform multiple chamber pieces at required concerts.

Chamber ensemble that performs primarily post-World War II music, but also some earlier music. Student compositions may be performed. Participation in New Music Week during Spring semester required.

Study, rehearsal, and concert performance of wind literature of various periods and styles. May be repeated for credit.

Study, rehearsal, and concert performance of wind instrument/band repertoire representing various periods and styles. Open to music majors and non-majors. Prior playing experience and music reading ability required. Placement audition required. (May be repeated for credit.).

Study, rehearsal, and concert performance of band repertoire representing various periods and styles. Open to music majors and non-majors. Audition required. Prior playing experience and music reading ability required. May be repeated for credit.

Repertoire, performance, and technique for enhancing school spirit and university athletic activities. Open to all university students who can perform at required level on appropriate instrument/visual equipment. Audition required. 1-3 Credit Hours.

Study, rehearsal, and concert performance of orchestral literature of various periods and styles. May be repeated for credit.

Supervised accompanying and chamber music for pianists. Eligible students may count up to two semesters in lieu of large ensemble. May be repeated for credit.

Study, rehearsal and concert performance of men’s choral literature of various periods and styles. May be repeated for credit.

Study, rehearsal, and concert performance of choral literature of various periods and styles. May be repeated for credit.

Study and performance of vocal jazz ensemble repertoire.

The Choral Union is open to all GSU students who want to sing in a choir. No audition is required. The Choral Union sings a wide variety of music and typically performs two concerts per semester.

Study, rehearsal, and performance of repertoire for women’s chorus. Open to music majors and non-majors. (May be repeated for credit.).

The Georgia State University Master Singers is an auditioned choral ensemble that sings repertoire of all styles and periods.

Study, rehearsal, and concert performance of jazz literature of various periods and styles. May be repeated for credit.

Performance of chamber music for brass instruments; includes historical and stylistic considerations and the study of ensemble performance problems. May be repeated for credit for a maximum of four semester hours.

Performance of chamber music for orchestral string instruments; includes historical and stylistic considerations and the study of ensemble performance problems. May be repeated for credit for a maximum of four semester hours.

Performance of chamber music for woodwind instruments; includes historical and stylistic considerations and the study of ensemble performance problems. May be repeated for credit for a maximum of four semester hours.

Performance of chamber music for percussion instruments; includes historical and stylistic considerations and the study of ensemble performance problems. May be repeated for credit for a maximum of four semester hours.

Performance of chamber music for guitar; includes historical and stylistic considerations and the study of ensemble performance problems. May be repeated for a maximum of four semester hours.

Rehearsal and performance of jazz literature for the small jazz combo (trio to sextet) with balanced instrumentation. Basic jazz improvisation, improving listening skills, combo arranging, and memorization of jazz “standards.”.

Advanced understanding and practice of general music education. Emphasis on current research and strategies for maximizing musical growth. Correlated with the national standards in music education.

Study of score preparation and analysis, advanced work at gesture and baton technique and a comprehensive study of choral methodology through the active participation in, and observations of, choral rehearsals. Individual instruction will also apply. The seminar will also cover in detail the study of developing an historically informed approach to the performance of choral repertoire of all stylistic periods. May be repeated for credit.

Independently completed research conducted under the supervision of a music education faculty member. Exit project for master’s degree students in music education.

Historical, psychological, philosophical, and social-cultural foundations of music education practice in school and community settings.

Review of fundamental concepts of vocal production, choral conducting techniques, and rehearsal methodology. Repertory, administration and supervision of school choral programs, innovative teaching/learning methods, and applications of research in choral music education.

Advanced understanding and practice of instrumental music education in school settings. Emphasis on implications of current research for teaching/learning strategies and program development. Correlated with national standards in music education.

String literature and materials for ensembles and full orchestra. Focus on elementary and secondary schools.

This seminar will examine the role of scholarship in the development of advanced approaches for music teaching and learning at all levels. Emphasis will be placed on the communication of scholarship through writing and presentation techniques appropriate for academic journals and conferences.

Stylistic practices of choral performance with repertoire from Renaissance through contemporary twentieth-century compositions.

Musical development from infancy through adulthood, with implications for teaching and learning. Major approaches to learning are considered within the context of topics such as musical aptitude and achievement, musical intelligence, and behavioral, cognitive, psychomotor, and aesthetic dimensions of musical growth.

Advanced topics in piano pedagogy. Development of a workshop presentation for piano teachers including script, delivery, and keyboard performance.

Concepts and practice used in research methodology. Introduction to research materials, including print materials and electronic databases. Course requirements include development of topic databases and a research paper.

Three lecture hours a week. Techniques and materials of teaching music theory at the college level, including readings, classroom observations, and a substantial research project. Required of all graduate assistants working in the theory area.

Introduction to principles of music teaching and learning for undergraduate populations. Required of all graduate assistants in music. Credit does not count toward degree. May be repeated.

Practical application of knowledge and skills through independently designed music internship approved by the School of Music. Requires consent of designated faculty supervisor.

Policy and practices of collaborative education in and through the arts. Relationships between musicians/music educators and professional arts organizations with regard to education.

Methods of teaching jazz in the school music program. Techniques of teaching jazz improvisation, score reading and preparation, working with a rhythm section, and survey of jazz materials.

Administration of a school jazz program. Includes alternative funding sources, grant applications, budgeting, residencies, promotion, and public relations.

Concepts and practice in research methodology for music education. Critique and analysis of qualitative and quantitative studies, generation of research questions, principles of literature review, and choice/application of research methods in relation to focused areas of interest.

Design, development, and evaluation of music curricula, including assessment of student learning, with emphasis on K-12 education settings. Correlation with national standards in music education.

Analysis and comparison of philosophical perspectives and their implications for music education in schools and the community. Consideration of social and cultural perspectives of music in relation to philosophical orientations.

An hour recital of compositions either for piano alone or a combination of solo and chamber/ensemble compositions.

Focus on the analysis and composition of pieces in 18th and 19th-century tonal genres. Study includes four projects: a Bach-style chorale harmonization, a classical minuet for string trio, an early romantic Lied, and a romantic character piece. Analysis, composition, and active music making will be part of the course.

One-hour performance is required.

One-hour performance is required. The recital must be presented before the end of the fourth term of Applied MUS 8000.

May be repeated for a maximum of five credit hours. Comprehensive training in stage techniques and character development for the operatic singer-actor. Performance in “scenes” recital or opera production required.

Development of the skills needed for new and emerging producing directors. Focus is on the fundamentals of stage craft, performance and production.

Examination of the theoretical, practical, and artistic aspects of conducting and rehearsing instrumental ensembles.

Preparation and execution of a choral concert and a research paper analyzing the major composition of the concert.

Survey of wind band music suitable for elementary through college/professional-level ensembles.

Monteverdi to Bach.

Domenico Scarlatti to Beethoven.

Schubert to Mahler.

Music from Debussy to the present.

A concert lasting at least 45 minutes of works written by the student composer while pursuing the composition degree.

Supervised elective research not associated with thesis or directed-study credit.

Composition of an original, major musical work.

Prerequisite MUS 8100. Does not count toward degree requirements. Assisting of music faculty members in their research or teaching classes of one’s own under the supervision of a faculty member. Required of all graduate students receiving a stipend. May be repeated for credit.

Development, reflection and critical analysis of advanced teaching competencies through a planned field project.

Examination of the major and current literature in philosophy, history, psychology, sociology, and creativity in music education. Topics may vary. May be repeated for credit.

Terminal project for the degree in instrumental conducting, consisting of a public concert and paper.

Independent research on a selected topic under supervision of a music education faculty member. For Ed.S. students in music education.