Graduate Courses
Course Offerings
Spring 2008 | Summer 2008 | Fall 2008
All classes will be held in Brady Educational Center (BEC) unless otherwise indicated.
Spring 2008
GMUS 570-592 Applied Performance Studies, 1 cr.
Performance Faculty
Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor before registering. Specify the instructor and duration of lessons on the course registration form.
| GMUS 570 | Harpsichord | GMUS 578 | Clarinet | GMUS 586 | Percussion |
| GMUS 571 | Piano | GMUS 579 | Bassoon | GMUS 587 | Violin |
| GMUS 572 | Lute | GMUS 580 | Saxophone | GMUS 588 | Viola |
| GMUS 573 | Recorder | GMUS 581 | Trumpet | GMUS 589 | Cello |
| GMUS 574 | Voice | GMUS 582 | French Horn | GMUS 590 | Double Bass |
| GMUS 575 | Organ | GMUS 583 | Trombone | GMUS 591 | Guitar |
| GMUS 576 | Flute | GMUS 584 | Euphonium | GMUS 592 | Harp |
| GMUS 577 | Oboe | GMUS 585 | Tuba |
GMUS 608 Foundations in Music Education, 3 cr.
Bruce Gleason, Ph.D.
Feb. 2-May 10, Saturdays
11-2:30 p.m., O’Shaughnessy-Library
Consideration of cultural, philosophical, and historical contexts of music education through reading assignments and student presentations. Introduction to academic writing, research, and scholarship in music education.
GMUS 613 Music Theory for Pianists, 3 cr.
Vanessa Cornett-Murtada, D.M.A.
Jan. 28-May 16, Tuesdays and Thursdays
10-11:30 a.m.
The study of harmonic language, rhythm, texture, formal and contrapuntal procedures, chosen from a broad range of examples derived primarily from literature for piano.
GMUS 671 African Music Ensemble, 2 cr.
Sowah Mensah
Jan. 28-May 16, Mondays and Wednesdays
4:45-6:45 p.m.
Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. All instruments provided, except flute.
GMUS 876 Directed Research, 0 cr.
Graduate Music Education Faculty
Required for all students who have completed GMUS 875 and are working with their supervisor on the thesis.
GMUS 880 Final Project, 1-3 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 final project work and filing for graduation.
GMUS 890 Thesis, 1 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 thesis work and filing for graduation.
Summer 2008
Correction: GMUS 735 Orff Curriculum Development with Jay Broeker will be held July 21-25, 2008, not July 22-26 as printed in the summer catalog.
Choral | Core | Dalcroze | General | Instrumental | Kodály | Orff | Piano | Technology
Cross Listing of Courses by Topic & Date | Applied Performance Studies
Choral
GMUS 517 Developing the Child Voice in the Classroom Setting, 2 cr.
Julia Shaw
July 21-25
8:30 a.m.-3:30 p.m.
Philosophy, methods, and materials for the elementary (K-6) classroom setting designed to foster a love of singing and build toward vocal health, singing skill and independent musicianship. Examination of a skill and knowledge based approach that teaches and celebrates music and singing through a developmentally oriented spiral curriculum.
GMUS 521 German Diction for Singers, 1 cr.
Alan Bryan, D.M.A.
July 14-18
12:30-4:30 p.m.
Introduction to singing in the German language utilizing the International Phonetic Alphabet. Emphasis on pronunciation, enunciation, declamation, artistic expression, and interpretive considerations in the context of German song texts and choral repertoire.
GMUS 524 Emerging Adolescent Voices, 2 cr.
Dan LeJeune
June 28, 9 a.m.-3 p.m.; June 30-July 2, 9 a.m.-5 p.m.; July 3, 9 a.m.-1 p.m.
In-depth exploration of a wide range of repertoire, taking into account the unique ranges, comfortable tessitura's, and emotional and behavioral characteristics of students as they pass through the stages of the changing voice in grades 5-10. Development of a choral library for working with all combinations of the changing voice, from girls' or boys' choirs to mixed choirs. Additional course fee: $35.
GMUS 527 Vocal Jazz, 2 cr.
Denis Allaire
July 21-25
8:30 a.m.-3:30 p.m.
Repertoire, score analysis, jazz theory, arranging, and stylistic interpretation, for vocal jazz ensemble through participation and performance. All course components, including improvisation, address musicianship development for teachers and students. Demonstrations by high school and professional jazz performers. Development of adolescent singers’ aural sensitivity and rhythmic accuracy using vocal jazz. Additional course fee: $30.
GMUS 544 03 Introduction to the International Phonetic Alphabet (IPA), 1 cr.
Debra Kotulski, D.M.A.
June 29, 1-4 p.m.; June 30-July 2, 8:30 a.m.-12:30 p.m.
Instruction in standard phonetic symbols through transcription work and oral drills, designed for the choral or voice teacher. Provides foundational material necessary for all foreign language diction courses.
GMUS 544 13 Harmony in Sequence: from Pitch-Matching to Choral Singing, 1 cr.
Ruth Dwyer
July 14-15, 8:30 a.m.-3:30 p.m.; July 16, 8:30-11:30 a.m.
General music, choral classroom techniques, games and repertoire for developing part-singing and sight-reading skills, Grades 1-9. Additional course fee: $25.
GMUS 674 Choral Score Study and Literature II, 2 cr.
Angela Broeker, D.M.A.
June 16-26, 1:30-4:30 p.m.; June 27, 3:30-6:30 p.m.
Study of choral literature representing the Classic, Romantic, and Twentieth Century style periods. Survey of historical and style evolution of major choral genres and analysis of representative works for each era. Additional course fee: $15.
GMUS 676 Voice Fundamentals, 2 cr.
Leon Thurman, Ed.D.
July 7-11
8:30 a.m.-3:30 p.m.
Practical training for working with adolescent voices of all ranges while preserving and protecting your voice and your students' voices for long-term use. Examination of literature and practice of appropriate techniques that foster vocal health. Various teaching approaches, from scientific to empirical, are presented and discussed.
GMUS 725 Beginning Choral Conducting, 2 cr.
Rick Bjella
July 7-11
8:30 a.m.-3:30 p.m.
Emphasis on sharpening conducting gestures, musicianship skills, and choral teaching techniques through individual and group instruction. Opportunity to develop gestures appropriate for improved choral singing, analyze and prepare scores, and explore techniques that integrate performance and conceptual learning. Applicable for choir directors at all levels. Auditors are encouraged. Enrollment is limited to 12 conductors. Indicate “conductor” or “auditor” on registration form. Additional course fee: $30.
GMUS 726 Intermediate Choral Conducting, 2 cr.
Angela Broeker, D.M.A.
July 28-Aug. 8
1-4 p.m.
Designed for the intermediate choral conductor. Laboratory course within in-depth study of conducting gesture and its effect on choral sound. Individual lessons in the choral lab setting constitute a major component of this course. Score study, rehearsal techniques, and performance practice issues. Additional course fee: $44.
GMUS 727 Advanced Choral Conducting, 2 cr.
Angela Broeker, D.M.A.
July 28-Aug. 8
9 a.m.-12 p.m.
For the advanced choral conductor. Laboratory course with in-depth study of conducting gesture and its effect on choral sound. Individual lessons in the choral lab setting constitute a major component of this course. Challenging SATB and treble choir pieces and choral/orchestral repertoire. Score study, rehearsal techniques, and performance practice issues. Prerequisite: GMUS 726 Intermediate Choral Conducting. Additional course fee: $40.
Instrumental
GMUS 544 07 Comprehensive Musicianship in Instrumental Music Education, 1 cr.
Doug Orzolek, Ph.D., and Scott Jones, Ph.D.
July 14-18
9 a.m.-12:30 p.m.
Application of the comprehensive musicianship model in instrumental music education. Discover what we teach "about" the music to deepen students' understanding and appreciation of the music; what resources and materials are available to help you prepare for this approach; what assessment tools can be applied; and what can be taught based upon rehearsals and warm-ups. Links to the Profile of Learning, Minnesota Arts Standards and the National Arts Standards will also be made.
GMUS 544 08 On Teaching Woodwinds, 1 cr.
Ruben Haugen
July 21-25
1-4 p.m.
Instrumental teaching techniques based on understanding content and inner logic of music materials. Applicable to individual, class, and ensemble woodwind instruction. Beneficial for teachers needing help or a refresher course.
GMUS 558 Solo and Small Ensemble Literature, 1 cr.
Doug Orzolek, Ph.D.
July 7-11
1-4 p.m.
GMUS 690 Advanced Instrumental Conducting, 3 cr.
Matt George, D.M.A.
Aug. 4-8, 9 a.m.-3 p.m.; Aug. 9, 9 a.m.-2 p.m.; Aug. 11-12, 9 a.m.-3 p.m.; Aug. 13, 9 a.m.-2 p.m.
Intensive, laboratory seminar of conducting concepts and mechanics. Instruction in advanced score analysis as it relates to physical gesture and rehearsal/performance application, stylistic interpretation, rehearsal pacing, and podium communication. Daily opportunity to conduct an instrumental ensemble during the second week of the course. Prerequisite: GMUS 687 Advanced Instrumental Score Study and Literature. Additional course fee: $40.
Kodály Institute at St. Thomas
Kodály study at St. Thomas introduces students to music education that emphasizes musical knowledge and understanding through sequential skill development. The National Standards for Music are addressed through an approach that develops the musician-educator. The development of musical and pedagogical skills occurs in an atmosphere of joyful and systematic exploration in a Kodály-inspired approach to music education.
Kodály Levels I-III
Carol Brown, Leigh Ann Garner, Nancy Johnson, Kati Kiss, Ph.D., Dan LeJeune, Jill Trinka, Ph.D.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
M.A. Kodály concentration students and St. Thomas/OAKE-Endorsed Kodály Certificate students enroll concurrently in three classes per level of studies, as follows: Level I: GMUS 750, 751, 752; Level II: GMUS 753, 754, 755); Level III: GMUS 756, 757, 758. All courses are required for M.A. Kodály Concentration students and St. Thomas/OAKE-Endorsed Kodály Certificate students. GMUS 750 is required for all UST M.A. students, regardless of concentration.
GMUS 750 Musicianship and Ensemble I, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8-4:30 p.m.
Kodály Level I studies in musicianship and choral ensemble. Systematic sight-reading and dictation skill development using moveable-do tonic sol-fa and rhythm syllables in a pentatonic-based approach; analysis of small forms; chorus. Students are placed in beginning or experienced classes based on individual hearings. Course is required for all M.A. students. Additional course fee: $20.
GMUS 751 Materials, Analysis, Classification & Retrieval Systems I, 1 cr
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level I studies in materials. Basic musical and extra-musical analysis and classification of song and speech repertoire appropriate for sequential music instruction, grades K-1; beginning design of personal repertoire collection and retrieval system. Additional course fee: $10.
GMUS 752 Curriculum, Pedagogy & Instructional Techniques I, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level I studies in pedagogy. Historical foundations and philosophical principles of the Kodály approach to music education; scope and sequence for spiral curriculum in grades K-1; methods and techniques for teaching grades K-1 music content and skills; pedagogic indexes; objectives and lesson design; listening and art music applications. Observation of Children's Choral Camp musicianship classes. Additional course fee: $15.
GMUS 753 Musicianship, Conducting and Ensemble II, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level II studies in musicianship, conducting, and ensemble. Review of pentatonic scales and intervals; sight-reading and dictation skill development through a moveable-do tonic sol-fa and rhythm syllable systems in diatony and modes; intermediate analysis; conducting; chorus. Prerequisite: MUS 741 Kodály Concept Level I, GMUS 750 Musicianship and Ensemble I, or consent of the director. Additional course fee: $20.
GMUS 754 Materials, Analysis, Classification & Retrieval Systems II, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level II studies in materials. Performance and analysis of repertoire appropriate for grades 2-3; motivic and phrasic analysis of rhythm, melody, and form; scales, intervals, and note groups; classification and indexing of typical concepts and elements in grades 2-3. Prerequisite: MUS 741 Kodály Concept Level I, GMUS 751 Materials, Analysis, Classification and Retrieval Systems I, or consent of the director. Additional course fee: $10.
GMUS 755 Curriculum, Pedagogy & Instructional Techniques II, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level II studies in pedagogy. Scope and sequence for spiral curriculum in grades 2-3; methods and techniques for teaching grades 2-3 music content and skills; intermediate pedagogic indexing; transitions; videotape review; videotape preparation for rhythmic and melodic preparation and practice lesson segments; observation of Children’s Choral Camp rehearsals. Prerequisite: MUS 741 Kodály Concept Level I, GMUS 752 Curriculum, Pedagogy and Instructional Techniques I, or consent of the director. Additional course fee: $15.
GMUS 756 Musicianship, Conducting & Ensemble III, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level III studies in musicianship, conducting, and ensemble. Review of diatonic scales, modes, and intervals; sight-reading and dictation skill development with emphasis on harmonic relationships in Viennese Classicism; advanced melodic analysis; conducting; chorus. Prerequisite: MUS 742 Kodály Concept Level II, GMUS 753 Musicianship, Conducting and Ensemble II, or consent of the director. Additional course fee: $20.
GMUS 757 Materials, Analysis, Classification & Retrieval Systems III, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level III studies in materials. Performance and analysis of repertoire appropriate for grades 4-5; harmonic analysis; transcription; problems in indexing melodic parameters; classification and indexing of typical concepts and elements in grades 4-5. Prerequisite: MUS 742 Kodály Concept Level II, GMUS 754 Materials, Analysis, Classification and Retrieval Systems II, or consent of the director. Additional course fee: $10.
GMUS 758 Curriculum, Pedagogy & Instructional Techniques III, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level III studies in pedagogy. Scope and sequence for spiral curriculum in grades 4-5; methods and techniques for teaching grades 4-5 music content and skills; practicum teaching; videotape review and videotape preparation for demonstration lesson. Observation of Children’s Choral Camp rehearsals. Prerequisite: MUS 742 Kodály Concept Level II, GMUS 755 Curriculum, Pedagogy and Instructional Techniques II, or consent of the director. Additional course fee: $15.
Kodály Applications
GMUS 544 04 Too Cool for School: Materials and Methods for Upper Grades and Older Beginners, 1 cr.
Susan Brumfield, Ph.D.
June 30-July 2
9 a.m.-3 p.m.
Exploration of meaningful ways to bring music to kids in upper grades together with strategies for dealing with challenges that come with adolescence. Topics include: making the transition from primary to upper elementary music teaching; dealing with new students whose skills aren’t at grade level; finding music that appeals to older students; what to do with the bored child; getting students ready for middle school choral and instrumental music; and where to go for help.
GMUS 544 05 Kodály Applications: Music and Movement in Early Childhood, 1 cr.
John Feierabend, Ph.D.
June 30-July 2
9 a.m.-3 p.m.
Demonstration of how a "natural" curriculum rich in the repertoire of traditional children's songs, rhymes, games and dances can develop young children's musical intelligence, singing and movement skills, and expressive sensitivities. A model of parents and children playing together in the years from birth to age 3; curriculum for 3 to 8 year old children in classroom settings.
Orff Schulwerk Certificate Program
For 38 years the St. Thomas Orff Schulwerk Certificate program has been a model of innovation for Orff certification courses offered in the United States. The St. Thomas curriculum features education in subjects required by the American Orff Schulwerk Association: technique and improvisation, analysis and arranging, pedagogy, movement, and recorder—all of which are highlighted in individual classes and integrated through literature study. A distinctive feature of the St. Thomas program is the opportunity for students to engage in practical application of ensemble work in a daily pedagogy hour at each level of study.
Orff Schulwerk study at St. Thomas introduces students to music education that emphasizes skill development and musical understanding through creative participation in open-ended activities. The National Standards for Music are addressed through an approach that develops the body, ear, and mind in a variety of collective music-making processes. The development of musical and pedagogical skills occurs in an atmosphere of joyful exploration in an Orff Schulwerk approach to music education.
Orff Schulwerk Levels I-III
Jay Broeker, Michael Chandler, Cindy Hall, Jo Ella Hug, Beth Nelson, Jacque Schrader
July 28, 8 a.m.-4:45 p.m.; July 29-Aug. 8, 8:30 a.m.-4:45 p.m.
GMUS 731, 732, 733, and 735 are required for M.A. Orff concentration students and Orff Mastery Certificate students.
GMUS 731 Orff Schulwerk Level I, 3 cr.
July 28, 8 a.m.-4:45 p.m.; July 29-Aug. 8, 8:30 a.m.-4:45 p.m.
GMUS 732 Orff Schulwerk Level II, 3 cr.
July 28, 8 a.m.-4:45 p.m.; July 29-Aug. 8, 8:30 a.m.-4:45 p.m.
GMUS 733 Orff Schulwerk Level III, 3 cr.
July 28, 8 a.m.-4:45 p.m.; July 29-Aug. 8, 8:30 a.m.-4:45 p.m.
Improvisation in diatonic modes, asymmetric meters, and harmonic accompaniments; ensemble performance of all recorder voices; choreography and improvisation relative to movement and music. Maximum 24 students. Prerequisite: GMUS 732 or consent of Orff director. Additional course fee: $45.
GMUS 735 Orff Curriculum Development, 2 cr.
Jay Broeker
July 21-25
8:30 a.m.-3:30 p.m.
Classroom application of basic Orff vocabulary, theory, sequential skills and concepts to the classroom. Implementation of typical Orff activities in learning experiences designed for elementary students. In-depth objectives for each grade; development of supporting teaching strategies, and lesson plans; skills and concepts curriculum grid. Emphasis on application of studies through small-group and peer teaching. Prerequisite: Orff Level I from any AOSA approved course.
Orff Applications
GMUS 532 Orff Master Class, 2 cr.
Steve Calantropio
July 7-11
8:30 a.m.-3:30 p.m.
For the experienced Orff teacher. An overview study of Carl Orff and Gunild Keetman’s work, The Schulwerk, as the basis for reviewing current goals for classroom music. Study of Volumes I-V, through analysis, performance, improvisation, and composition as a record of pedagogy in the 1950s and their value in nurturing skills and concepts that develop creativity in today's classroom. Bring Volumes I through V of Music for Children, recorders, supplies for music writing and note taking. Prerequisite: Orff Level III (GMUS 733).
GMUS 544 09 Using Children’s Literature for Composition and Improvisation, 1 cr.
Sharon Mazion
July 16, 1-4 p.m.; July 17-18, 8:30 a.m.-3:30 p.m.
Exploration of children’s literature as a way to stimulate creativity. Discover ways to use stories, folktales, and picture books to build composition and improvisation experiences. Elements of speech, song, movement, and instrument playing serve as building blocks. Pieces from the Schulwerk volumes will also be used.
GMUS 544 10 The Creative Classroom: Making Theatre and Dance Through Orff Schulwerk, 1 cr.
Sarah Richardson
July 21-22, 8:30 a.m.-3:30 p.m.; July 23, 8:30-11:30 a.m.
We are all artists. Orff Schulwerk process gives us tools to access that artist within - both ourselves and for our students. In an Orff Schulwerk classroom, teachers work to develop frameworks within which children can make creative choices in the performing arts - ultimately the work of the artist! Participants will learn how to develop structures that allow children to create original work. We will particularly look at the creation of dance and theatre, but in Orff, that is never seen as separate from music! Dance, theatre and music form a cohesive whole, and the teaching of concepts in one media is enhanced by using the others.
Dalcroze Certificate Program
The St. Thomas Master of Arts in Music Education Dalcroze concentration is the only three-level Dalcroze program of its kind in the Midwest. The curriculum features high quality education in eurhythmics, solfege and improvisation, and materials and methods-all of which are highlighted in three, one-credit courses per level of study. Dalcroze study at St. Thomas introduces students to music education that trains the body in rhythm and dynamics; trains the ear, eye, and voice in pitch, melody, and harmony using fixed-do; and combines eurhythmics and solfege according to the students' own invention, while providing application tools for classroom and studio.
GMUS 651 Dalcroze Musicianship, 3 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A
July 7-18
8:30 a.m.-3:30 p.m.
Musicianship development based on the Dalcroze approach. Study of eurhythmics (training the body in rhythm and dynamics), solfege (training the ear, eye and voice in pitch, melody and harmony using fixed-do), improvisation (combining eurhythmics and solfege according to the students’ own invention – in movement, with the voice, on an instrument) and methods (application tools for the classroom and studio).
Dalcroze Certificate Program
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
M.A. students in the Dalcroze concentration and non-degree students seeking the St. Thomas Dalcroze Certificate enroll concurrently in three courses per level of study. Level I consists of GMUS 781, 782, and 783. Level II consists of GMUS 784, 785, and 786. M.A. students whose degree plan includes Dalcroze Musicianship enroll in GMUS 651.
GMUS 781 Dalcroze Eurhythmics I, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.July 7-18
8:30 a.m.-4:30 p.m.
Study of basic Dalcroze principles of rhythm, phrase, dynamics and form through movement and analysis. Development of kinesthetic awareness and listening skills in working with folk, classical, and improvised music. Content includes simple and compound meter, augmentation and diminution, canonic movement, and measure shape. Concurrent enrollment in GMUS 782 and 783 required.
GMUS 782 Dalcroze Solfege/Improvisation I, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
Study of basic Dalcroze solfege principles to develop the ear, eye, and voice in pitch, melody, and harmony, using the fixed do system. Development of improvisational skills, connecting Solfege and Eurhythmics concepts to creative invention primarily at the piano. Beginning approaches to instrumental playing for movement. Concurrent enrollment in GMUS 781 and 783 required.
GMUS 783 Dalcroze Materials and Methods I, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
Study of basic principles of Dalcroze approach through observation, demonstration, reading, discussion, lesson planning, peer teaching, and critical evaluation. Application of principles to children of various ages. Concurrent enrollment in GMUS 781 and 782 required.
GMUS 784 Dalcroze Eurhythmics II, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
Building on the skills and study from GMUS 781, continuing study of Dalcroze principles of rhythm, phrase, dynamics and form through movement and analysis. Content includes working with mixed meter, relationships between meters of 3/4 and 6/8, and unequal beats measures and phrases. Concurrent enrollment in GMUS 785 and 786 required for M.A. Dalcroze concentration students.
GMUS 785 Dalcroze Solfege/Improvisation II, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
Continuation of study developed in GMUS 782. Development of solfege and improvisational skills in working with minor keys, modes and diatonic harmony. Subjects from Eurhythmics II applied to improvisation with applications to composition and playing for movement. Concurrent enrollment in GMUS 784 and 786 required for M.A. Dalcroze concentration students.
GMUS 786 Dalcroze Materials and Methods II, 1 cr.
Cynthia Lilley and Kathy Thomsen, D.M.A.
July 7-18
8:30 a.m.-4:30 p.m.
Continuation of Dalcroze Materials and Methods I. Study of principles of Dalcroze approach through observation, demonstration, reading, discussion, lesson planning, peer teaching, video-teaching and critical evaluation. Application of principles to children of various ages. Concurrent enrollment in GMUS 784 and 785 required.
General
GMUS 544 01 Lap Dulcimer & Autoharp, 1 cr.
Jill Trinka, Ph.D.
June 30-July 2
9 a.m.-3 p.m.
Provide an exciting new dimension to your teaching and to your own musicianship by using the dulcimer and autoharp to accompany your students and yourself. Instruments are taught according to an ear-voice-hand-eye process using traditional folksongs. Instruments available on a first-come, first-served basis. Limited enrollment.
GMUS 544 02 Afro-Cuban Drumming, 1 cr.
Will Kemperman
June 23-27
1-4 p.m.
Congas and other percussion instruments will be studied aurally, hands-on, through Cuban and Puerto-Rican rhythms. Great for students of any experience level who would like the experience of playing the congas and other percussion instruments in a group setting. For percussionists and music degree students, a portion of the class will be dedicated to percussion chamber music, including rudimental, mallet, and small group work.
GMUS 544 06 Brains & Body Chemistry: How YOU Change Them in Music Education, 1 cr.
Leon Thurman, Ed.D.
Saturdays July 12, 19, 26
9 a.m.-3 p.m.
Extensive and awe-inspiring evidence from biological, neuroscientific, and psychological research suggests that all human experiences change brains, body chemistry, and often, behavior. Find out what kinds of brain and body chemistry changes happen when students of any age are fascinated and ‘captured’ by music-making experiences – or when they turn away from music-making – and how you can use this knowledge to create best teaching practices and assessments for all levels of ensembles and classes.
GMUS 544 11 Dancing Through Music History, 1 cr.
Jane Peck
July 23, 1-4 p.m.; July 24-25, 8:30 a.m.-3:30 p.m.
Have you wondered how to dance a minuet, gavotte, or mazurka? We will actively explore dance forms from the Renaissance, Baroque, Classical, Romantic, and Ragtime eras. Join dance historian and performer, Jane Peck, as we improve our kinetic understanding of these common classical music forms. This will inform your musicianship and your teaching in ways you never imagined. This class will be a doorway to history, giving you more understanding and enjoyment of music, dance, and the culture of Europe and
GMUS 671 African Music Ensemble, 2 cr.
Sowah Mensah
June 16-20
9:45 a.m.-4:45 p.m.
Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. All instruments provided, except flute.
Technology
GMUS 544 12 Introduction to Pro Tools, 1 cr.
Patrick Balder
Aug. 11-13
9 a.m.-3:30 p.m.
Explore the recording platform that has become the de facto recording software across all musical genres – Pro Tools. Learn how to: record basic audio and midi tracks; use Pro Tools to edit and manipulate your ensemble’s rehearsals and performances; import Quicktime movies, and sync basic musical tracks with video.
GMUS 661 Exploring Music Technology: Simple Recording Techniques for Better Sounding Music Ensembles, 3 cr.
Patrick Balder
July 21-Aug. 1
9 a.m.-2:30 p.m.
A step-by-step approach to recording your ensemble’s rehearsals and performances. Learn how to use recording technology as a powerful ally in the learning process. Using a streamlined approach, learn to overcome frustration and begin using recording as an essential pedagogical tool in your classroom environment. Once you introduce your ensemble to critical listening of their recorded rehearsals and performances, they will listen with accountability well beyond their individual parts, thus resulting in an improved ownership of their sound.
Applied Performance Studies
GMUS 570-592 Applied Performance Studies, 1 cr.
Performance Faculty
Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor before registering. Specify the instructor and duration of lessons on the course registration form.
| GMUS 570 | Harpsichord | GMUS 578 | Clarinet | GMUS 586 | Percussion |
| GMUS 571 | Piano | GMUS 579 | Bassoon | GMUS 587 | Violin |
| GMUS 572 | Lute | GMUS 580 | Saxophone | GMUS 588 | Viola |
| GMUS 573 | Recorder | GMUS 581 | Trumpet | GMUS 589 | Cello |
| GMUS 574 | Voice | GMUS 582 | French Horn | GMUS 590 | Double Bass |
| GMUS 575 | Organ | GMUS 583 | Trombone | GMUS 591 | Guitar |
| GMUS 576 | Flute | GMUS 584 | Euphonium | GMUS 592 | Harp |
| GMUS 577 | Oboe | GMUS 585 | Tuba |
Piano Pedagogy
GMUS 771 Elementary Piano Materials & Teaching Techniques, 3 cr.
Vanessa Cornett-Murtada, D.M.A.
June 30-August 4, Monday, Wednesday & Friday, (No class July 4)
9 a.m.-12 p.m.
Discussion of teaching materials for the beginning student and issues relating to the development of musicianship in early studies on the instrument. Learning theories and their relationship to the various aspects of piano study are explored. The course includes consideration of the business aspects of running an independent studio.
Master of Arts Core Courses
The prerequisite for enrolling in Master of Arts in Music Education core courses is acceptance into the master's program. Application deadlines are July 1 (for fall admission); Dec. 1 (for spring admission), and April 1 (for summer admission). Students design their degree coursework in consultation with the program director and may choose to study year-round or in summers only. All M.A. students must be advised each term, prior to registering for classes.
GMUS 601 Teaching and Learning, 3 cr.
Doug Orzolek, Ph.D.
June 23-Aug. 4, Monday and Wednesday
6-9:30 p.m.
Comprehensive overview of learning theories, instructional theories, and implications for the teaching of music to children in grades K-12. Applications of principles and concepts inherent in these theories to the teaching and learning of music.
GMUS 608 Foundations in Music Education, 3 cr.
Bruce Gleason, Ph.D.
June 26-Aug. 5, Tuesday and Thursday
6-9:30 p.m., O’Shaughnessy-Library
Consideration of cultural, philosophical, and historical contexts of music education through reading assignments and student presentations. Introduction to academic writing, research, and scholarship in music education.
GMUS 611 Perspectives in Music Theory, 3 cr.
Shersten Johnson, Ph.D.
June 24-Aug. 5, Tuesday and Thursday
6-9:30 p.m.
Creative construction of conceptual frameworks that blend traditional analytical techniques with recent trends in music theory scholarship. Development of methodology for the perceptual and reflective study of musical process, style, and meaning. Critical listening, score reading, composing, and writing about music.
GMUS 612 Myth and Meaning in 20th Century Music, 3 cr.
Alan Bryan, D.M.A.
June 23-Aug. 4, Monday and Wednesday
6-9:30 p.m.
Aesthetic retrospective of revolutionary works (1900-1950) and poignant recent works (1950-2000). Students compose, perform, read, discuss, and write about how these compositions richly reflect the creativity, identity, and meaning of the 20th century.
GMUS 750 Musicianship and Ensemble I, 1 cr.
June 15, 1-8:30 p.m.; June 16-27, 8 a.m.-4:30 p.m.
Kodály Level I studies in musicianship and choral ensemble. Systematic sight-reading and dictation skill development using moveable-do tonic sol-fa and rhythm syllables in a pentatonic-based approach; analysis of small forms; chorus. Students are placed in beginning or experienced classes based on individual hearings. Course is required for all M.A. students. Additional course fee: $20.
GMUS 875 Introduction to Thesis Writing, 3 cr.
Carroll Gonzo, Ph.D.
June 23-Aug. 4, Monday and Wednesday
6-9:30 p.m., O’Shaughnessy-Library
Introduction to research methods and educational scholarship. Examination of quantitative and qualitative research methodologies as applied to students’ thesis topics to facilitate student insights into how to conduct research. Preparation of the initial draft of a master’s thesis research proposal from the established knowledge base.
GMUS 876 Directed Research, 0 cr.
Graduate Music Education Faculty
Required for all students who have completed GMUS 875 and are working with their supervisor on the thesis.
GMUS 880 Final Project, 1-3 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 final project work and filing for graduation.
GMUS 890 Thesis, 1 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 thesis work and filing for graduation.
Summer 2008 Course Listing by Topic
Use course numbers to find course descriptions for specific class dates, times, instructors, credits, prerequisites, and requirement or elective status.
Applied Performance Studies
| GMUS 570 | Harpsichord | GMUS 578 | Clarinet | GMUS 586 | Percussion |
| GMUS 571 | Piano | GMUS 579 | Bassoon | GMUS 587 | Violin |
| GMUS 572 | Lute | GMUS 580 | Saxophone | GMUS 588 | Viola |
| GMUS 573 | Recorder | GMUS 581 | Trumpet | GMUS 589 | Cello |
| GMUS 574 | Voice | GMUS 582 | French Horn | GMUS 590 | Double Bass |
| GMUS 575 | Organ | GMUS 583 | Trombone | GMUS 591 | Guitar |
| GMUS 576 | Flute | GMUS 584 | Euphonium | GMUS 592 | Harp |
| GMUS 577 | Oboe | GMUS 585 | Tuba |
Choral
| June 16-27 | GMUS 674 | Choral Score Study and Literature II |
| June 28-July 3 | GMUS 524 | Emerging Adolescent Voices |
| June 29-July 2 | GMUS 544 03 | Introduction to the International Phonetic Alphabet (IPA) |
| July 7-11 | GMUS 676 | Voice Fundamentals |
| July 7-11 | GMUS 725 | Beginning Choral Conducting |
| July 14-16 | GMUS 544 13 | Harmony in Sequence: from Pitch-Matching to Choral Singing |
| July 14-18 | GMUS 521 | German Diction for Singers |
| July 21-25 | GMUS 517 | Developing the Child Voice in the Classroom Setting |
| July 21-25 | GMUS 527 | Vocal Jazz |
| July 28-Aug. 8 | GMUS 726 | Intermediate Choral Conducting |
| July 28-Aug. 8 | GMUS 727 | Advanced Choral Conducting |
Dalcroze Certificate Program
| July 7-18 | GMUS 651 | Dalcroze Musicianship |
| July 7-18 | GMUS 781 | Dalcroze Eurhythmics I |
| July 7-18 | GMUS 782 | Dalcroze Solfege/Improvisation I |
| July 7-18 | GMUS 783 | Dalcroze Materials and Methods I |
| July 7-18 | GMUS 784 | Dalcroze Eurhythmics II |
| July 7-18 | GMUS 785 | Dalcroze Solfege/Improvisation II |
| July 7-18 | GMUS 786 | Dalcroze Materials and Methods II |
General
| June 16-20 | GMUS 671 | African Music Ensemble |
| June 30-July 2 | GMUS 544 01 | Lap Dulcimer & Autoharp |
| June 23-27 | GMUS 544 02 | Afro-Cuban Drumming |
| July 12, 19, 26 | GMUS 544 06 | Brains and Body Chemistry: How YOU Change Them in Music Education |
| July 23-25 | GMUS 544 11 | Dancing Through Music History |
Instrumental
| July 7-11 | GMUS 558 | Solo and Small Ensemble Literature |
| July 14-18 | GMUS 544 07 | Comprehensive Musicianship in Instrumental Music Education |
| July 21-25 | GMUS 544 08 | On Teaching Woodwinds |
| Aug. 4-13 | GMUS 690 | Advanced Instrumental Conducting |
Kodály
| June 15-27 | GMUS 750 | Musicianship and Ensemble I |
| June 15-27 | GMUS 751 | Materials, Analysis, Classification & Retrieval Systems I |
| June 15-27 | GMUS 752 | Curriculum, Pedagogy & Instructional Techniques I |
| June 15-27 | GMUS 753 | Musicianship, Conducting and Ensemble II |
| June 15-27 | GMUS 754 | Materials, Analysis, Classification & Retrieval Systems II |
| June 15-27 | GMUS 755 | Curriculum, Pedagogy & Instructional Techniques II |
| June 15-27 | GMUS 756 | Musicianship, Conducting & Ensemble III |
| June 15-27 | GMUS 757 | Materials, Analysis, Classification & Retrieval Systems III |
| June 15-27 | GMUS 758 | Curriculum, Pedagogy & Instructional Techniques III |
| June 30-July 2 | GMUS 544 04 | Too Cool for School: Materials and Methods for Upper Grades & Older Beginners |
| June 30-July 2 | GMUS 544 05 | Kodály Applications: Music and Movement in Early Childhood |
Master of Arts Core Courses
| June 15-27 | GMUS 750 | Musicianship and Ensemble I |
| June 23-Aug. 4 | GMUS 601 | Teaching and Learning |
| June 23-Aug. 4 | GMUS 612 | Myth and Meaning in 20th Century Music |
| June 23-Aug. 4 | GMUS 875 | Introduction to Thesis Writing |
| June 24-Aug. 5 | GMUS 608 | Foundations in Music Education |
| June 24-Aug. 5 | GMUS 611 | Perspectives in Music Theory |
| June 16-Aug. 8 | GMUS 876 | Directed Research |
| June 16-Aug. 8 | GMUS 880 | Final Project |
| June 16-Aug. 8 | GMUS 890 | Thesis |
Orff Schulwerk
| July 7-11 | GMUS 532 | Orff Master Class |
| July 16-18 | GMUS 544 09 | Using Children’s Literature for Composition and Improvisation |
| July 21-23 | GMUS 544 10 | The Creative Classroom: Making Theatre and Dance Through Orff Schulwerk |
| July 21-25 | GMUS 735 | Orff Curriculum Development |
| July 28-Aug. 8 | GMUS 731 | Orff Schulwerk Level I |
| July 28-Aug. 8 | GMUS 732 | Orff Schulwerk Level II |
| July 28-Aug. 8 | GMUS 733 | Orff Schulwerk Level III |
Piano Pedagogy
| June 30-Aug. 4 | GMUS 771 | Elementary Piano Materials & Teaching Techniques |
Technology
| July 21-Aug. 1 | GMUS 661 | Exploring Music Technology: Simple Recording Techniques for Better Sounding Music Ensembles |
| Aug. 11-13 | GMUS 544 12 | Introduction to Pro Tools |
Fall 2008
GMUS 570-592 Applied Performance Studies, 1 cr.
Performance Faculty
Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor before registering. Specify the instructor and duration of lessons on the course registration form.
| GMUS 570 | Harpsichord | GMUS 578 | Clarinet | GMUS 586 | Percussion |
| GMUS 571 | Piano | GMUS 579 | Bassoon | GMUS 587 | Violin |
| GMUS 572 | Lute | GMUS 580 | Saxophone | GMUS 588 | Viola |
| GMUS 573 | Recorder | GMUS 581 | Trumpet | GMUS 589 | Cello |
| GMUS 574 | Voice | GMUS 582 | French Horn | GMUS 590 | Double Bass |
| GMUS 575 | Organ | GMUS 583 | Trombone | GMUS 591 | Guitar |
| GMUS 576 | Flute | GMUS 584 | Euphonium | GMUS 592 | Harp |
| GMUS 577 | Oboe | GMUS 585 | Tuba |
GMUS 601 Teaching and Learning, 3 cr.
Doug Orzolek, Ph.D.
Sept. 6-Dec. 20, Saturdays
9 a.m.-12:30 p.m.
Comprehensive overview of learning theories, instructional theories, and implications for the teaching of music to children in grades K-12. Applications of principles and concepts inherent in these theories to the teaching and learning of music.
GMUS 611 Perspectives in Music Theory, 3 cr.
GMUS 611 Perspectives in Music Theory, 3 cr.
Shersten Johnson, Ph.D.
Sept. 3-Dec. 17, Mondays
5:30-8:30 p.m.
Creative construction of conceptual frameworks that blend traditional analytical techniques with recent trends in music theory scholarship. Development of methodology for the perceptual and reflective study of musical process, style, and meaning. Critical listening, score reading, composing, and writing about music.
GMUS 671 African Music Ensemble, 2 cr.
Sowah Mensah
Sept. 3-Dec. 17, Mondays and Wednesdays
4:45-6:45 p.m.
Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. All instruments provided, except flute.
GMUS 773 Advanced Teaching Techniques, 3 cr.
Katherine Faricy
Sept. 6-Dec. 20, Tuesdays and Thursdays
10-11:30 a.m.
Topics will include those that are applicable to all students, as well as addressing the issues that are specific to the advancing student. Subjects include: planning repertoire that takes students from the intermediate level to the advanced level; developing advanced technique; how to devise practice strategies to solve specific technical problems; how to recognize and avoid physical injuries; performance anxiety; interpretation and analysis; history of piano pedagogy and current pedagogical theory; how to practice; memorizing and preparation for performance.
GMUS 875 Introduction to Thesis Writing, 3 cr.
Carroll Gonzo, Ph.D.
Sept. 6-Dec. 20, Saturday
10 a.m.-1:30 p.m., O’Shaughnessy-Library
Introduction to research methods and educational scholarship. Examination of quantitative and qualitative research methodologies as applied to students’ thesis topics to facilitate student insights into how to conduct research. Preparation of the initial draft of a master’s thesis research proposal from the established knowledge base.
GMUS 876 Directed Research, 0 cr.
Graduate Music Education Faculty
Required for all students who have completed GMUS 875 and are working with their supervisor on the thesis.
GMUS 880 Final Project, 1-3 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 final project work and filing for graduation.
GMUS 890 Thesis, 1 cr.
Graduate Music Education Faculty
Required for all students completing GMUS 876 thesis work and filing for graduation.
