Graduate

MUSC 200 Introduction to Research Methods

Practical introduction to graduate study in music focusing on research methods, music sources and bibliography, techniques of scholarly writing, and critical readings in the discipline. Culminates in a public oral presentation on the model of a professional conference paper.

Credits

5

Instructor

Nina Treadwell

MUSC 201 History of Music Theory from the Greeks Through Rameau

Study and analysis of pre-tonal and tonal music from the Greeks through the 18th century. Course combines a history of theory with analyses that utilize contemporaneous theoretical concepts.

Credits

5

Instructor

Benjamin Carson, Leta Miller

Requirements

Enrollment is restricted to graduate students.

MUSC 202 Tonal and Posttonal Analysis

Encompasses various forms of linear analysis, set theory, and selected topics in current analytical practice.

Credits

5

Instructor

Benjamin Carson, David Jones, Hi Kim

Quarter offered

Winter

MUSC 203A Performance Practice in the Middle Ages

A study of performance practices in medieval music from Gregorian chant to the 14th century. History of instruments and notation. Rhythmic interpretations of chant and a study of improvised practices in organum. Editing and performance of representative works. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

Leta Miller, Nina Treadwell

MUSC 203B Performance Practice in the Renaissance

A study of performance practices in Renaissance music, including concepts of mode, musica ficta, ornamentation, text underlay, tempo, and articulation. Basic principles of white notation and a brief history of instruments. Transcription, editing, and performance of a Renaissance work. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

Leta Miller, Nina Treadwell

Quarter offered

Spring

MUSC 203C Performance Practice in the Baroque

An examination of historically informed performance practice techniques in Baroque music, with attention to aspects of ornamentation, articulation, figured bass realization, dance choreography, rhythm and tempo, and organology. In-class performances and editing of source materials are included. Offered on a rotational basis with other courses in the 203 series.

Credits

5

MUSC 203D Performance Practice in the Classic Period

Issues in performance practice focusing on selected topics and styles from the time of C.P.E. Bach through Haydn. Development of selected genres and ensembles, sources and editing, and interpretation and improvisation. Offered on a rotational basis with other courses in the 203 series.

Credits

5

MUSC 203E Performance Practice in the Romantic Period

Interpretation of music from Beethoven to Scriabin through examinations of both the musical texts (form, genre, harmony, texture, orchestration, etc.) and the period performance practices. Topics range from interpretative analyses of selected compositions to critical assessments of modern as well as documented 19th- and early 20th-century performances. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

Anatole Leikin

MUSC 203F Performance Practice in the 20th Century

Projects in analysis, notational studies, extended instrumental techniques, and the aesthetics and performance practices associated with composers from Debussy to the present. Reading and listening focuses on the writings and performances of the composers themselves and upon interpretive writings by informed performers of 20th-century music. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

Benjamin Carson, David Jones, Amy Beal

Repeatable for credit

Yes

MUSC 203G Concepts, Issues, and the Practice of Ethnomusicology

Ethnomusicological field methodology; vocal and instrumental performance practices as related to the ethnomusicological endeavor. Specific topics: philosophical paradigms, historical overview, and definitional issues of ethnomusicology; field research concepts and procedures; studies in instrumental and vocal performance practices of diverse cultures; selected writings of Charles Seeger; transcription and analysis issues; studies in micromusics. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

T. Merchant, R. Rodriguez

Quarter offered

Winter

MUSC 203H Area Studies in Performance Practice

Intensive examination of the vocal and instrumental performance practices of living musical traditions of Indonesia, Latin America, or other regions. Topics may incorporate soloistic and ensemble traditions, secular and sacred traditions. Research rubrics include tuning, tone quality, performance posture and rhetoric, and improvisational and fixed patterns, as dictated by regional norms. May be repeated for credit in a different area. Offered on a rotational basis with other courses in the 203 series.

Credits

5

Instructor

Karlton Hester, Hi Kim, Dard Neuman

Repeatable for credit

Yes

Quarter offered

Spring

MUSC 204 Pedagogy of Music

Provides graduate students with an opportunity to reflect on and practice a wide variety of pedagogical skills necessary to teach post-secondary music in a number of settings, including rehearsals, lectures, sections, and labs. These skills may include lesson planning, inclusive teaching, active learning, assessment, evaluation, teaching with technology, syllabus design, teaching statement writing, and lesson facilitation. Pedagogical skills modeled through a series of facilitated activities.

Credits

2

Instructor

Tanya Merchant, Ryan Lambe

Requirements

Enrollment is restricted to graduate students.

MUSC 204W Graduate Writing Workshop

Focuses on the mechanics of academic writing (including grammar and syntax) with a focus on styles specific to writing about music. Topics covered will include writing music criticism, developing ethnographic descriptions of musical events (i.e., "thick description"), crafting written descriptions of musical sound, and academic writing for general audiences. Students also utilize the workshop to develop large-scale writing projects specific to their course of study (such as preparatory qualifying exam essays, composition program notes, dissertation and thesis chapters, conference papers, etc.).

Credits

2

Requirements

Enrollment is restricted to graduate students.

Repeatable for credit

Yes

MUSC 205A Conceptual Foundations in Western Music Analysis

Focused analysis of selected works from the Western classical music repertoire, Emphasis is on aural and analytical skills, the modal and tonal foundations of Western music, and the evolution of form and expression.

Credits

2

Instructor

Anatole Leikin, Leta Miller

Requirements

Enrollment is restricted to graduate students.

MUSC 205B Conceptual Foundations in World Music

A broad survey of traditional and vernacular musical practices from around the world with an emphasis on aural analysis and critical listening skills.

Credits

2

Instructor

Tanya Merchant, Nicol Hammond

Requirements

Enrollment is restricted to graduate students.

MUSC 206A World Music Composition

Studies in the history, structure, and cultural function of music from cultures as diverse as Global African, central European, Korean, Latin American, Indonesian, and Indian traditions. Examines ways in which composers such as Bartok, Anthony Braxton, Chou Wen-Chung, Lou Harrison, and Takemitsu sought and integrated such influences. Students choose to write critical and analytic essays on musics exhibiting diverse cultural influences, or to compose music that takes a vernacular or non-European music as a model for a compositional/improvisational approach.

Credits

5

Instructor

David Jones, Karlton Hester, Hi Kim

Requirements

Enrollment is restricted to graduate students.

Repeatable for credit

Yes

MUSC 206B Computer-Assisted Composition

Study of techniques of algorithmic and computer-assisted composition in a variety of contemporary idioms. Topics may include stochastic methods, generative grammars, search strategies, and the construction of abstract compositional designs and spaces. Final project for course involves students formulating and algorithmically implementing their own theoretical assumptions and compositional strategies.

Credits

5

Cross Listed Courses

DANM 217

Instructor

Larry Polansky

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Fall

MUSC 206D Music Perception and Cognition

Investigations in the psychology of musical listening and awareness. Topics include time and rhythm perception, auditory scene analysis, pattern recognition, and theories of linguistics applied to harmony, melody, and form in the music of diverse cultures. Explores applications of the cognitive sciences to music transcription, analysis, composition, interpretation, and performance practice. Students apply existing knowledge in the cognitive sciences to a developing creative or analytical project, or develop and conduct new experiments.

Credits

5

Instructor

Benjamin Carson

Requirements

Enrollment is restricted to graduate students.

Repeatable for credit

Yes

MUSC 219 Techniques in Composition

Short compositional exercises incorporating diverse contemporary techniques with emphasis on problem solving and development of compositional skills. Exercises focus on particular strategies for organizing and coordinating aspects of pitch, rhythm, timbre, and other musical dimensions, depending on interests of instructor and students. (Formerly course 219A.)

Credits

5

Instructor

David Jones, Hi Kim, Larry Polansky

Requirements

Enrollment is restricted to graduate students.

Repeatable for credit

Yes

Quarter offered

Fall

MUSC 220 Graduate Seminar in Music Composition

Instruction in individual composition offered in the context of a group; composition in large forms of the 20th century with emphasis on techniques since 1950. May be taken by upper-division undergraduates for credit. Interview with instructor at first class meeting.

Credits

5

Instructor

David Jones, Larry Polansky

Requirements

Prerequisite(s): MUSC 219.

Repeatable for credit

Yes

Quarter offered

Spring

MUSC 228 Techniques of Modernity and Aesthetic Formations

Explores the transformations and aesthetic possibilities of the digital age through a study of perceptual shifts of the past, from orality to literacy, gift to commodity, pre-colonial to colonial, pre-modern to modern, and the technological revolutions that accompanied these shifts.

Credits

5

Instructor

Dard Neuman

Requirements

Enrollment is restricted to graduate students; upper-division undergraduates may enroll with permission of instructor.

MUSC 252 Current Issues Colloquium

An interactive colloquium featuring presentations by faculty, graduate students, and visiting scholars on research projects in composition, musicology / ethnomusicology, and performance practice, followed by focused discussion.

Credits

0

Instructor

Amy Beal

Requirements

Enrollment is restricted to graduate students. Undergraduate students may enroll with permission of instructor.

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring

MUSC 253A Historical Perspectives in Musicology and Ethnomusicology

Explores trends in musical scholarship in the 20th and 21st centuries, focusing on broad questions and modes of inquiry within historical musicology and ethnomusicology. (Formerly Pitch, Melody, and Tuning Systems)

Credits

5

Instructor

Tanya Merchant

Requirements

Enrollment is restricted to graduate students.

MUSC 253B Rhythm, Time, and Form

Traditional and experimental rhythmic and temporal systems representing diverse cultures, with emphasis on unmeasured, divisive, additive, and multilayer practices in cultural context. Students examine rhythmic composition, improvisation, and rubato performance in selected cultures, including rhythmic notation and transcription systems.

Credits

5

Instructor

Benjamin Carson

Requirements

Prerequisite(s): MUSC 200 or the equivalent, or consent of instructor. Enrollment is restricted to graduate students.

MUSC 253C Music and Discourse

Addresses both song and musical performance as modes of discourse. For song: musical and textual phrase and verse structures and their interrelationships. For musical performances: musical performance as rhetoric and emblem.

Credits

5

Instructor

Nicol Hammond

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Spring

MUSC 253D Issues in the Ethnography of Music

Explores ethnography—the description of culture—as it relates to musicology and ethnomusicology, particularly where culture and cultural production are historically dynamic and geographically porous. Examines music with sensitivity to such complexities of context, and the disciplinary points of reference from which cultural difference is calculated. Considers the ideological imprint of methodology on cultural analysis: how to study an unfamiliar music in a way that transcends the measure of difference from the familiar, and, conversely, how to conduct an objective study of a familiar music.

Credits

5

Instructor

Dard Neuman, Nicol Hammond

Requirements

Enrollment is restricted to graduate students.

MUSC 254C Performativity and Music

Performance can describe activities in the arts, humanities, and social sciences. Recognizing the mappings of this concept, this course examines selected performances and performative behavior through theoretical and critical lenses. Emphasis is on investigating the act and practice of musical performance in multicultural context, and on analyzing scholarly writing as performative discourse. (Formerly Performance Theory and Practice.)

Credits

5

Instructor

Nina Treadwell

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Fall

MUSC 254D Organology and Acoustics

Comprehensive study of musical instruments including, but not limited to, physical and engineering concepts; theory and methods of description, analysis, systematic, and cultural classifications; physiology and performance techniques; cultural significance; anthropomorphic and zoomorphic symbolism; ritual usage; and more. Previous enrollment in introductory ethnomusicology course (e.g., course 11D) helpful, but not required. Enrollment by interview only, except music M.A. and Ph.D. students. Enrollment restricted to junior and senior music majors, electronic music minors, anthropology majors, or physics majors,and graduate students.

Credits

5

MUSC 254E Asian Resonances in 20th-Century American and European Music

Explores the influence of Asian musics on Western composers from Debussy to Britten to American experimentalists such as Harrison, Cage, Riley, and Rudyard. Questions of cultural appropriation and originality are addressed through specific examples and critical readings.

Credits

5

Instructor

Leta Miller, Dard Neuman

Requirements

Enrollment is restricted to graduate students.

MUSC 254F Beethoven

Examines the life and work of composer Ludwig van Beethoven (1770-1827). In addition to a close study of his biography and musical compositions, course considers the role of historiography and reception history in the development of his "heroic" status and Romantic cultivation of the "cult of genius." Also critically examines issues having to do with canon construction, positivist research vs. "new musicology," and how Beethoven has been used for political purposes and in popular culture.

Credits

5

Requirements

Enrollment is restricted to graduate students.

MUSC 254J Jazz Historiography

Introduces the ways jazz history has been conceptualized, evaluated, and transmitted. Examines the social, intellectual, and cultural formations that have influenced this historiography. Considers the interdisciplinary project of new jazz studies in relation to established and alternative historical narratives.

Credits

5

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Spring

MUSC 254K Music, Gender, and Sexuality

Seminar focuses on musicological and ethnomusicological work incorporating feminist and queer theories published since the late 1980s. Cross-cultural approach to the examination of music, gender, and sexuality, drawing examples from both Western and non-Western traditions.

Credits

5

Instructor

Tanya Merchant, Nicol Hammond

Requirements

Enrollment is restricted to graduate students.

MUSC 254L John Cage: Innovation, Collaboration, and Performance Technologies

In-depth examination of John Cage's interdisciplinary work, his pioneering activity in live electronic technology, and his influence in current multimedia creativity. Approximately one-half of the seminary is devoted to student research and creative projects and reflect Cage's legacy.

Credits

5

Cross Listed Courses

DANM 254L

Instructor

Amy Beal

Requirements

Enrollment is restricted to juniors, seniors, and graduate students. Upper-division undergraduates may enroll with permission of instructor.

MUSC 254M Music in San Francisco, 1850-1950

Explores San Francisco's musical life during the city's first century, including opera, symphony, Chinese music, musical theater, and other genres. Considerable emphasis on music and society, including issues of race.

Credits

5

Instructor

Leta Miller

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Fall

MUSC 254N Cruising the Postcolony

Drawing on Jose Esteban Munoz's suggestion that queer politics is most radical when it is looking to the possibilities of the future rather than the pragmatics of the present, this course interrogates the radical vision of postcolonial and queer music-making.

Credits

5

Instructor

Nicol Hammond

Requirements

Enrollment is restricted to graduate students.

MUSC 254O Historiography of American Music

Covers the period in United States history between the Revolutionary Era and the Civil War (approximately 1770-1865). Examines historical and contemporary writings about music in the United States, its composers, musicians, musical institutions, economics, and performance practices.

Credits

5

Instructor

Amy Beal

Requirements

Prerequisite(s): MUSC 200 or equivalent. Enrollment is restricted to graduate students.

MUSC 254R Research Design and Grant Writing for Music Scholars

Dissertation research grant applications and their attenuating dissertation proposals represent the first time most graduate students think through the theoretical issues and strategic planning of a major project and convince others within and outside their field of its academic validity. This seminar (primarily for Ph.D. and D.M.A. students in their 2nd, 3rd, or 4th year who are applying for grants to support doctoral research) provides guidance on topics about dissertation research, professional development, and grant applications.

Credits

5

Instructor

Tanya Merchant

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Fall

MUSC 261 Graduate Applied Instruction

One hour of individual instrumental or vocal instruction for graduate students. Repertory, technique, and performance practice. A minimum of nine hours per week of individual practice is required. Students are billed a course fee. Admission by audition with the instructor prior to first class meeting.

Credits

3

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring

MUSC 265 Graduate Ensemble Participation

Participation by graduate students in ensembles. Enrollment limit appropriate to the size of each ensemble. Admission by audition with the instructor prior to first class meeting.

Credits

2

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring

MUSC 267 Workshop in Computer Music and Visualization

Graduate-level techniques and procedures of computer music composition and visualization. Practical experience in the UCSC electronic music studio with computer composition systems and software, including visualization and interactive performance systems. Extensive exploration of music and interactive graphic programs such as Max/MSP/Jitter. Enrollment is by permission of instructor; appropriate graduate experience required. Enrollment is restricted to graduate students.

Credits

2

Cross Listed Courses

DANM 267

Instructor

L. Polansky, D. Kant

Repeatable for credit

Yes

Quarter offered

Winter, Spring

MUSC 295 Directed Reading

Directed reading, which does not involve a term paper. May be repeated once for credit. Students submit petition to sponsoring agency.

Credits

5

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring

MUSC 297 Independent Study

Independent study, creative work, or research for graduate students who have not yet begun work on their thesis. Students submit petition to sponsoring agency.

Credits

5

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring

MUSC 298 Graduate Recital

A public performance in the student's primary area of interest, related to the thesis or dissertation project, under the supervision of a faculty member. Students submit petition to sponsoring agency.

Credits

5

Requirements

Enrollment is restricted to graduate students.

Quarter offered

Fall, Winter, Spring

MUSC 299 Thesis Research

A thesis consisting of a substantive and original creative or scholarly work, related to the graduate recital, under the supervision of a faculty member. Students submit petition to sponsoring agency.

Credits

5

Repeatable for credit

Yes

Quarter offered

Fall, Winter, Spring