Contemporary Practices Concentration Module Course List
Courses by Module
Contemporary Practices Modules
In addition to the core course requirements for the Music Bachelor of Arts degree, students in the Contemporary Practices concentration must complete three modules, relating to cross-cultural themes and genres.
Each module consists of:
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a lower-division MUSC 11, MUSC 80, or MUSC 81-series course specific to each module (three total)
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an upper-division MUSC 150 or equivalent (theory/composition-based) course specific to each module (three total)
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two quarters of performing ensembles or performance practice workshops specific to each module (six total). Most ensemble/performance practice courses may be repeated for credit.
Global Art Musics
Lower-Division Courses
Upper-Division Courses
MUSC 150A | Music Analysis for Performers | 5 |
MUSC 150C | Special Topics in Music Theory: Tonal Counterpoint | 5 |
MUSC 150I | Special Topics in Music Theory: Hindustani Music | 5 |
MUSC 150T | Post Tonal Analysis | 5 |
Ensemble/Performance Practice
MUSC 1C | University Concert Choir | 2 |
MUSC 2 | University Orchestra | 2 |
MUSC 5A | West Javanese Gamelan Ensemble: Beginning | 2 |
MUSC 5B | West Javanese Gamelan Ensemble: Intermediate | 2 |
MUSC 5C | West Javanese Gamelan Ensemble: Advanced | 2 |
MUSC 8A | Beginning Balinese Gamelan | 2 |
MUSC 8B | Advanced Balinese Gamelan | 2 |
MUSC 9 | Wind Ensemble | 2 |
MUSC 54 | North Indian Music Workshop | 2 |
MUSC 55 | Rhythms of North India | 2 |
MUSC 55A | Intermediate Rhythms of North India | 2 |
MUSC 163 | Early Music Ensemble | 2 |
MUSC 166 | Chamber Singers | 2 |
MUSC 168 | Experimental Music Ensemble | 2 |
Experimental and Contemporary Musics
Lower-Division
Upper-Division
MUSC 105I | Improvisation and Collaborative Practices in the 20th Century | 5 |
MUSC 111B | Seminar in Jazz Analysis | 5 |
MUSC 123 | Electronic Sound Synthesis | 5 |
MUSC 124 | Intermediate Electronic Sound Synthesis | 5 |
MUSC 125 | Advanced Electronic Sound Synthesis | 5 |
MUSC 150P | Special Topics in Music Theory: 20th-Century Popular Song | 5 |
MUSC 150R | Field Recording: Mapping and Composing Sound, Identity, and Place | 5 |
MUSC 150S | Focus on Spontaneous Composition | 5 |
MUSC 150T | Post Tonal Analysis | 5 |
MUSC 150X | Theoretical Practices of American Music | 5 |
Ensemble/Performance Practice
Spontaneous Composition and Improvisation
Lower-Division
MUSC 11B | Introduction to Jazz | 5 |
MUSC 11D | Introduction to World Music | 5 |
MUSC 80F | Music in Latin American Culture: Regional Traditions | 5 |
MUSC 80Q | A Survey of African Music | 5 |
MUSC 80X | Music of India | 5 |
MUSC 81E | Music and Resilience in Latin America | 5 |
MUSC 81J | Jazz Mirror of Global Interconnection | 5 |
MUSC 81M | Chicano/Latino Music in the United States | 5 |
Upper-Division
MUSC 105I | Improvisation and Collaborative Practices in the 20th Century | 5 |
MUSC 111B | Seminar in Jazz Analysis | 5 |
MUSC 150I | Special Topics in Music Theory: Hindustani Music | 5 |
MUSC 150S | Focus on Spontaneous Composition | 5 |
MUSC 174 | Intermediate Spontaneous Composition and Improvisation | 5 |
MUSC 175 | Jazz Theory II | 5 |
MUSC 203B | Performance Practice in the Renaissance | 5 |
Ensemble/Performance Practice
MUSC 3 | Large Jazz Ensemble | 2 |
MUSC 5A | West Javanese Gamelan Ensemble: Beginning | 2 |
MUSC 5B | West Javanese Gamelan Ensemble: Intermediate | 2 |
MUSC 5C | West Javanese Gamelan Ensemble: Advanced | 2 |
MUSC 8A | Beginning Balinese Gamelan | 2 |
MUSC 8B | Advanced Balinese Gamelan | 2 |
MUSC 10 | Central Asian Ensemble | 2 |
MUSC 12 | Mariachi Ensemble | 2 |
MUSC 12B | Mexican Folklorico Music and Dance | 2 |
MUSC 54 | North Indian Music Workshop | 2 |
MUSC 55 | Rhythms of North India | 2 |
MUSC 55A | Intermediate Rhythms of North India | 2 |
MUSC 57 | Survey of Jazz Guitar Styles | 2 |
MUSC 74 | Spontaneous Composition/Improvisation I | 5 |
MUSC 75 | Jazz Theory I | 5 |
MUSC 164 | Jazz Ensembles | 2 |
MUSC 174 | Intermediate Spontaneous Composition and Improvisation | 5 |
MUSC 175 | Jazz Theory II | 5 |
MUSC 203H | Area Studies in Performance Practice | 5 |