Music Education Graduate Course Offerings ‌

Graduate Music courses at the University of St. Thomas are designed for professional music educators who wish to strengthen their classroom teaching effectiveness by combining theoretical and applied study. Internationally recognized educators and musicians - many of whom teach in elementary and secondary schools - serve as faculty for this graduate program. Our work encourages a continual process of music education reform. We initiate programs that address practitioners' musical, intellectual, and professional needs. We value classroom practice, theory, and research equally in our quest to improve the quality of music education.

Registration Form‌ (Current degree and nondegree students should register online through MURPHY).

Summer 2016 Courses

Courses for Everyone

African Music Ensemble (GMUS 671), 2 cr.
Sowah Mensah
July 18-22 
9 a.m.-3:30 p.m., Brady Educational Center 111

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 and CD's which can be purchased in class.

Curriculum Development in Music Education (GMUS 841), 3 cr.
Doug Orzolek, Ph.D.
June 20-Aug. 1 Mondays & Wednesdays
6-9:30 p.m. Brady Educational Center LL11

Curriculum development and evaluation in music education raises fundamental questions about the purposes and characteristics of music programs in school settings. Curriculum as a field of study often draws upon closely related foundational disciplines - history, philosophy, psychology, sociology, and educational policy studies - to examine what is taught and learned in music classrooms. We will also draw upon these fields to understand contemporary curriculum theory and practice, as well as to examine educational policies and their impact on music programs, particularly in this climate of school reform. Students will analyze and critique available curricular models, and design comprehensive programs to foster students' musical growth. Please note that the primary artistic area explored will be music.

Latin American Music (GMUS 544-04 537), 1 cr.
Karen Howard, Ph.D.
July 5-8
8:30 a.m.-12 p.m., Brady Educational Center 120 (Auditorium)

Participants will be guided through musical experiences that cover selected musical cultures and genres from throughout Latin America including Puerto Rican plena, Mexican son jarocho, Dominican merengue, and Brazilian samba. This hands-on workshop is appropriate for vocal and instrumental educators who teach at the elementary, middle, or high school level.

Smithsonian Folkways Certification Course in World Music Pedagogy (GMUS 544-04 536), 3 cr.
Karen Howard, Ph.D.
June 27-July 1 
8 a.m.-4:30 p.m., Brady Educational Center 

Audio, video, print, electronic, and human resources will be sampled in this intensive course, with the aim of learning as well as developing an understanding of ways to teach music of the world's cultures. Attention will be given to learning culture through songs, movement and dance experiences, instrumental music, and contextualized cultural components. Participants will be guided through recordings and curricular materials from the Smithsonian Folkways archives that fit the needs of students in knowing music (and knowing culture through music). Musical experiences will be tailored for use at various levels, including in classes for children, youth, and adults in university and community settings, with occasional small group sessions to decipher and discuss applications for particular teaching contexts and aims. Enrolled participants will join together to share particular means of teaching world music, and will receive documentation from the Smithsonian Institution that certifies their specialized study in World Music Pedagogy.

Teaching Jazz (GMUS 544-01), 2 cr.
Sarah Minette
July 11-15
9 a.m.-3 p.m. Brady Educational Center 111

Study of methods used in effective teaching of jazz at all grade levels and to all types of ensembles. Emphasis on basic principles of jazz performance as learned through jazz history, theory, score study, and arranging. Discussion of repertoire and methods for teaching jazz rhythms, articulations, harmony, and improvisation.

Voice Fundamentals (GMUS 676), 2 cr.
Matt Mehaffey, Ph.D.
Aug. 1-5
8:30 a.m.-3:30 p.m., Brady Educational Center 110

Practical training for working with Pre K-adult 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.

Choral Courses

Advanced Choral Conducting (GMUS 727), 2 cr.
Angela Broeker, D.M.A.
July 18-29
10 a.m.-1 p.m., Brady Educational Center LL30A (Rehearsal Hall)

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: Intermediate Choral Conducting (GMUS 726)
Additional course fee: $45

Advanced Choral Conducting Lab (GMUS 728), 1 cr.
Angela Broeker, D.M.A.
July 18-29
11:30 a.m.-1 p.m., Brady Educational Center LL30A (Rehearsal Hall)

During this course, advanced choral conducting students will extend their skills by choosing, analyzing, teaching, rehearsing and conducting a choral octavo in a conducting lab setting.

Prerequisite: Advanced Choral Conducting (GMUS 727)
Additional course fee: $45.

Choral Score Study and Literature II (GMUS 674), 2 cr.
Angela Broeker, D.M.A.
June 20-July 1
9 a.m.-Noon, Brady Educational Center 110

Study of choral literature representing the Classic, Romantic, and 20th-century style periods. Survey of historical and style evolution of major choral genres and analysis of representative works for each era. 

Additional course fee: $30

Global Music Traditions for Choir (GMUS 544-02), 1 cr. 
Karen Howard, Ph.D.
June 20-24
1-4 p.m., Brady Educational Center 110

Participants will experience singing and choral traditions from a wide variety of musical cultures. Emphasis will be placed on musical characteristics and healthy vocal techniques to achieve particular culturally specific timbres and styles. The music will hail from a variety of countries including (but not limited to) Bulgaria, Macedonia, Tahiti, Ghana, and Tanzania. This course is appropriate for singers and choral directors with a particular focus on upper elementary through secondary choral settings.

Intermediate Choral Conducting (GMUS 726), 2 cr.
Angela Broeker, D.M.A.
July 18-29
12-3 p.m., Brady Educational Center LL30A (Rehearsal Hall)

Designed for the intermediate 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.  Score study, rehearsal techniques, and performance practice issues. 

Additional course fee: $45

IPA/English/French Diction (GMUS 530), 1 cr. 
Matt Mehaffey, Ph.D.
June 27-July 1 
1-4 p.m., Brady Educational Center 110

Introduction to singing in the French language utilizing the International Phonetic Alphabet. Emphasis on pronunciation, enunciation, declamation, artistic expression, and interpretive considerations in the context of French song texts and choral repertoire.

Teaching Adolescent Voices in a Choral Setting (GMUS 523), 3 cr.
Matt Culloton, D.M.A. and Dan LeJeune
July 5-8, 8 a.m.-2 p.m. and July 11-15, 8 a.m.-12:30 p.m.
Brady Educational Center 110

Exploration of a wide range of repertoire that considers the vocal, emotional, behavioral, and intellectual characteristics of middle and high school students. Emphasis on criteria for selecting repertoire and developing a choral library that includes music for single-gender and mixed choirs in grades 6-12.  

Additional course fee: $45

Voice Fundamentals (GMUS 676), 2 cr.
Matt Mehaffey, Ph.D.
Aug. 1-5
8:30 a.m.-3:30 p.m., Brady Educational Center 110

Practical training for working with Pre K-adult 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.

Dalcroze Courses

The St. Thomas Master of Arts in Music Education curriculum features high quality education in eurhythmics, solfege and improvisation, and materials and methods. 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.

Dalcroze Musicianship (GMUS 651), 3 cr.
Kathy Thomsen, DMA
June 20-July 1
9 a.m.-2:30 p.m., Brady Educational Center 120 (Auditorium)

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).

Instrumental Courses

Advanced Instrumental Score Study and Literature (GMUS 687), 3 cr. 
Doug Orzolek, Ph.D.
June 13-24 
9 a.m.-1 p.m., Brady Educational Center 111

Designed for the experienced conductor interested in deepening skills in practical score analysis. Primary attention addressing performance problems in the score through rehearsal preparations and physical conducting technique. Literature appropriate to class membership is selected for use in the course.

This course is a prerequisite for Advanced Instrumental Conducting (GMUS 690)
Additional course fee: $45

African Music Ensemble (GMUS 671), 2 cr.
Sowah Mensah
July 18-22 
9 a.m.-3:30 p.m., Brady Educational Center 111

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 and CD's which can be purchased in class.

Small Ensemble and Solo Literature (GMUS 558), 1 cr.
Doug Orzolek, Ph.D.
July 18-22
10 a.m.-1 p.m., Brady Educational Center LL11

Opportunity for instrumental music educators to review and study standard and significant solo and small ensemble literature. Examination, analysis and listening to important solo works for all instruments and a variety of small ensembles. Emphasis on a review of literature for all levels of solo small ensemble playing, pedagogical techniques and resources.   

Teaching Jazz (GMUS 544-01), 2 cr.
Sarah Minette
July 11-15
9 a.m.-3 p.m., Brady Educational Center 111

Study of methods used in effective teaching of jazz at all grade levels and to all types of ensembles. Emphasis on basic principles of jazz performance as learned through jazz history, theory, score study, and arranging. Discussion of repertoire and methods for teaching jazz rhythms, articulations, harmony, and improvisation.

Kodály Institute at the University of St. Thomas

Planning and Integrating Diverse, Kodály-Inspired Techniques: Curriculum, Artistry and Assessment (GMUS 544-05), 1 cr.
Leigh Ann Garner, Ed.D.
June 13-17
1-4 p.m., Brady Educational Center 110

Advanced study in Kodály-inspired teaching. Topics such as curriculum planning, assessment, movement and musicianship through group performance will be covered. In addition, advanced pedagogical strategies will be explored in a peer teaching setting.

Prerequisite: Kodály Level III (MUS 743 or GMUS 756, GMUS 757, and GMUS 758) or equivalent


The Kodály Institute at the University of St. Thomas offers a certificate program endorsed by the Organization of American Kodály Educators (OAKE). Coursework provides high quality, intensive studies in musicianship, conducting, and ensemble to enable personal growth in musicianship; materials, analysis, classification, and retrieval systems to assist students in gathering and systematizing repertoire for their personal teaching situations; and curriculum, pedagogy, and instructional techniques to further students' understanding of and practical experience in designing spiral curricula for literacy-based music education programs using inquiry-based teaching techniques.

Kodály study at UST 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 of a Kodaly-inspired approach to music education.

Kodály Levels I-III

Faculty: Jay Broeker, Nyssa Brown, Leigh Ann Garner, Ph.D. and Dan LeJeune

M.A. Kodály concentration students and OAKE-Endorsed Kodály Certificate students enroll in one class per level of study, as follows:

Level I: GMUS 741
Level II: GMUS 742
Level III: GMUS 743

All courses are required for M.A. Kodály Concentration students and OAKE-Endorsed Kodály Certificate students.

All levels (I, II, III) will meet in the BEC Auditorium (120) on Monday, July 11 at 8 a.m. There will be a final program from 1-2 p.m. on Friday, July 22.

Kodály Level I (GMUS 741), 3 cr.
July 11-22
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level I studies in musicianship and choral ensemble; materials, analysis, classification & retrieval systems; and curriculum, pedagogy and instructional techniques. Emphasis is placed on teaching grades  K and 1.

Additional course fee: $45

Course Materials: Kodály Level I.

Kodály Level II (GMUS 742), 3 cr.
July 11-22
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level II studies in musicianship and choral ensemble; materials, analysis, classification & retrieval systems; and curriculum, pedagogy & instructional techniques. Emphasis is placed on teaching grades 2 and 3.

Prerequisite: Kodály Level I (MUS 741 or GMUS 750, GMUS 751, and GMUS 753) or equivalent
Additional course fee: $45

Course Materials: Kodály Level II

Kodály Level III (GMUS 743), 3 cr.
July 11-22
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level III studies in musicianship and choral ensemble; materials, analysis, classification and retrieval systems; and curriculum, pedagogy & instructional techniques. Emphasis is placed on teaching grades 4 and 5.

Prerequisite: Kodály Level II (MUS 742 or GMUS 753, GMUS 754, and GMUS 755) or equivalent
Additional course fee: $45

Course Materials: Kodály Level III

Orff Schulwerk Program

The Orff Schulwerk program is a model of innovation for Orff certification courses offered in the United States. The University of 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 UST 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 UST 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.

Advanced Study in Orff Schulwerk: Hands on Music Making (GMUS 532), 2 cr.
Werner Beidinger
July 25-29
9 a.m.-3:30 p.m.

In this course students will work to advance their study of Orff Schulwerk through creative approaches to elemental music and movement. Through making music and creating dances together; individual musicianship, improvisation skills, and group collaborative models will be developed and explored. This course provides an opportunity to study with an internationally known instructor who brings a highly creative and unique approach to the Schulwerk.  

Prerequisite: GMUS 733 or equivalent AOSA approved course

Orff Schulwerk Levels I-III

Faculty: Jay Broeker, Michael Chandler, Cindy Hall, Mona Mann, Beth Melin Nelson, and Jacque Schrader
All Levels (I, II, III) will meet in the BEC Auditorium on Monday, July 25 at 8 a.m.

GMUS 731, 732, 733, and 735 are required for M.A. Orff concentration and Orff mastery certificate students.

Orff Schulwerk Level I (GMUS 731), 3 cr.
July 25, 8 a.m.-4:30 p.m.; July 26-Aug. 5, 8:30 a.m.-4:30 p.m.

Basic Orff elemental musicianship, including study of pentatonic melodies, ostinati, bordun accompaniments, and elemental forms; soprano recorder technique; classroom application, technique, and improvisation; basic movement skills and classroom application, and folkdance.

Additional course fee: $45‌

Orff Schulwerk Level II (GMUS 732), 3 cr.
July 25, 8 a.m.-4:30 p.m.; July 26-Aug. 5, 8:30 a.m.-4:30 p.m.

Study of pentatonic, diatonic and modal melodies; melodic ostinato, bordun, and shifting chord accompaniments; irregular and changing meters; alto recorder and classroom applications and improvisation; sequential teaching of dance forms and folk dances. 

Prerequisite: GMUS 731 or equivalent AOSA approved course
Additional course fee: $45‌

Orff Schulwerk Level III (GMUS 733), 3 cr.
July 25, 8 a.m.-4:30 p.m.; July 26-Aug. 5, 8:30 a.m.-4:30 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. 

Prerequisite: GMUS 732 or equivalent AOSA approved course
Additional course fee: $45‌

Orff Curriculum Development (GMUS 735), 2 cr.
Jay Broeker
August 8-12 
9 a.m.-3:30 p.m., Brady Educational Center

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 Levels I and II from any AOSA approved course

Piano Pedagogy Courses

Supervised Teaching (GMUS 800), 2 cr.
Faculty direction and observation of each student's teaching. Students will videotape their own piano students for the basis of the class. Prerequisite: completion of pedagogy courses.

World Music Courses

Global Music Traditions for Choir (GMUS 544-02), 1 cr. 
Karen Howard, Ph.D.
June 20-24
1-4 p.m., Brady Educational Center 110

Participants will experience singing and choral traditions from a wide variety of musical cultures. Emphasis will be placed on musical characteristics and healthy vocal techniques to achieve particular culturally specific timbres and styles. The music will hail from a variety of countries including (but not limited to) Bulgaria, Macedonia, Tahiti, Ghana, and Tanzania. This course is appropriate for singers and choral directors with a particular focus on upper elementary through secondary choral settings.

Indonesian Performing Arts: Javanese Gamelan Music and Related Culture (GMUS 544-06), 1 cr.
Joko Sutrisno
July 11-15
9 a.m.-Noon, Brady Educational Center LL11

Through hands-on experience, students will learn to perform and understand the basics of Javanese gamelan* music, one of the great non-Western music-making traditions. Participants will play authentic gamelan instruments - newly housed at St. Thomas. Also included: Indonesian classical dance, shadow puppetry, broader cultural dimensions, and possible teaching applications.

*Gamelan is the traditional percussion orchestra of Indonesia.

Latin American Music (GMUS 544-04 537), 1 cr.
Karen Howard, Ph.D.
July 5-8
8:30 a.m.-12 p.m., Brady Educational Center 120 (Auditorium)

Participants will be guided through musical experiences that cover selected musical cultures and genres from throughout Latin America including Puerto Rican plena, Mexican son jarocho, Dominican merengue, and Brazilian samba. This hands-on workshop is appropriate for vocal and instrumental educators who teach at the elementary, middle, or high school level.

Smithsonian Folkways Certification Course in World Music Pedagogy (GMUS 544-03 536), 3 cr.
Karen Howard, Ph.D.
June 27-July 1 
8 a.m.-4:30 p.m., Brady Educational Center LL03

Audio, video, print, electronic, and human resources will be sampled in this intensive course, with the aim of learning as well as developing an understanding of ways to teach music of the world's cultures. Attention will be given to learning culture through songs, movement and dance experiences, instrumental music, and contextualized cultural components. Participants will be guided through recordings and curricular materials from the Smithsonian Folkways archives that fit the needs of students in knowing music (and knowing culture through music). Musical experiences will be tailored for use at various levels, including in classes for children, youth, and adults in university and community settings, with occasional small group sessions to decipher and discuss applications for particular teaching contexts and aims. Enrolled participants will join together to share particular means of teaching world music, and will receive documentation from the Smithsonian Institution that certifies their specialized study in World Music Pedagogy.

Music Education Core Courses

The prerequisite for enrolling in the 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
  • April 1 for summer admission
  • Complete applications will be reviewed on a rolling basis.

Students design their degree coursework in consultation with the program director.

Curriculum Development in Music Education (GMUS 841), 3 cr.
Doug Orzolek, Ph.D.
June 20-Aug. 1 Mondays & Wednesdays
6-9:30 p.m. Brady Educational Center LL11

Curriculum development and evaluation in music education raises fundamental questions about the purposes and characteristics of music programs in school settings. Curriculum as a field of study often draws upon closely related foundational disciplines - history, philosophy, psychology, sociology, and educational policy studies - to examine what is taught and learned in music classrooms. We will also draw upon these fields to understand contemporary curriculum theory and practice, as well as to examine educational policies and their impact on music programs, particularly in this climate of school reform. Students will analyze and critique available curricular models, and design comprehensive programs to foster students' musical growth. Please note that the primary artistic area explored will be music.

Foundations of Music Education (GMUS 608), 3 cr.
Karen Howard, Ph.D.
June 21-July 28, Tuesdays and Thursdays
6-9:30 p.m., Brady Educational Center 110

Consideration of cultural, philosophical, and historical contexts of music education through reading assignments and student presentations.

Introduction to Scholarship and Research Methods in Music Education (GMUS 600), 3 cr.
Bruce Gleason, Ph.D.
June 20-Aug. 1, Mondays and Wednesdays
6-9:30 p.m., Brady Educational Center 110

This course will guide students toward: comprehending research articles and methodologies that they will encounter over the course of their careers; building skills in working with library resources, database and other bibliographic materials; developing skills generally in academic writing and American written English - and particularly in accordance with the Publication Manual of the American Psychological Association, 6th Edition; and provide an opportunity for initial thinking about how they will carry out their work for GMUS 890 in terms of a topic and format.

Musicianship (GMUS 750), 1 cr. 

July 5-8
1:30-5 p.m., Brady Educational Center 111

Studies in musicianship, including systematic sight-reading, aural transcription, and analytical skill development. Course is required for all Master of Arts students (not required of Kodály concentration).

Prerequisite: Successful completion of the Master of Arts In Music Education Music History and Theory Diagnostic Examination (Log-in on Blackboard).

Perspectives in Music Theory (GMUS 611), 3 cr. 
Shersten Johnson, Ph.D.
June 21-July 28, Tuesdays and Thursdays
6-9:30 p.m., Brady Educational Center 111

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 processes, style, and meaning. Critical listening, score reading, composing, and writing about music.

Teaching and Learning (GMUS 601), 3 cr.
Doug Orzolek, Ph.D.
June 20-Aug. 1, Mondays and Wednesdays
6-9:30 p.m., Brady Educational Center 111

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.

Topics in Music History, Literature & Theory (GMUS 612), 3 cr.
Jonas Westover, Ph.D.
June 20-Aug. 1, Mondays and Wednesdays
6-9:30 p.m., Brady Educational Center

This course explores the history and ideas surrounding American song, from works performed by voice as well as instrumental versions of songs.  Topics covered will include 19th c. song, Sousa and his influence, Irving Berlin, Blues, Jazz, Chuck Berry and Rock, Musical Theater, Country Music, Women's Voices in Music, and Ragtime.

Prerequisite: Successful completion of the Master of Arts In Music Education Music History and Theory Diagnostic Examination (Log-in on Blackboard)

Directed Research (GMUS 876), 0 cr.
Graduate Music Education Faculty

  1. The only occasions students register for GMUS 876 are when:They have selected Designs Four or Five and are in the first semester of the process (see individual Design Four or Design Five Guidelines), or
  2. When they are in a "hold" mode of not working with their advisors for a term and thus are registered for GMUS 876-99.
    • Students will not be assessed the one-credit tuition fee for a semester in which they are not working with their advisor but instead will register for GMUS 876-99 ($75 fee assessed) during these terms.
    • GMUS 876-99 terms are limited to one per student.
    • For students doing Designs Four or Five, GMUS 876 and GMUS 890 cannot be interspersed with a section 99 without approval from the advisor and director of GPME.

Students enroll in the section of GMUS 876 matching the project advisor's name below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek
GMUS 876-09 Directed Research, Dr. Angela Broeker
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

Students enroll in the section of GMUS 890 (and 876 in the cases of Designs Four and Five) matching the project advisor's name below during the semester they write and complete their projects:

GMUS 890-01 Final Project, Dr. Karen Howard
GMUS 890-05 Final Project, Dr. Alan Bryan
GMUS 890-07 Final Project, Dr. Doug Orzolek
GMUS 890-09 Final Project, Dr. Angela Broeker
GMUS 890-11 Final Project, Dr. Shersten Johnson
GMUS 890-13 Final Project, Dr. Sarah Schmalenberger
GMUS 890-15 Final Project, Dr. Vanessa Cornett-Murtada

Applied Performance Studies

Applied Performance Studies (GMUS 570-592), 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 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

 

Courses at Shell Lake

MUSW 501-01 Big Band Workshop, 1 cr.
June 17-19, 2016

Shell Lake Arts Center

Study with the Pros! You'll perform jazz ensemble big band under the guidance of our nationally recognized teaching-artist faculty. This workshop for adults is open to all levels of experience, from beginner to advanced. Whether you're perfecting your jazz skills or need to polish the dust off your instrument, this workshop is for you!

Non-Credit: $300
Graduate Credit: $425

Future Courses

Fall 2016 Course Offerings

Applied Performance Studies (GMUS 570-592), 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 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

Foundations of Music Education (GMUS 608), 3 cr.
Karen Howard, Ph.D.
Sept. 7-Dec. 14, Mondays 6-9:30 p.m.
Brady Educational Center 110

Consideration of cultural, philosophical, and historical contexts of music education through reading assignments and student presentations.

Topics in Music History, Literature & Theory (GMUS 612), 3 cr.
Sarah Schmalenberger, Ph.D.
Sept. 7-Dec. 14, online

This course explores the history and ideas surrounding American song, from works performed by voice as well as instrumental versions of songs.  Topics covered will include 19th c. song, Sousa and his influence, Irving Berlin, Blues, Jazz, Chuck Berry and Rock, Musical Theater, Country Music, Women's Voices in Music, and Ragtime.

Prerequisite: Successful completion of the Master of Arts In Music Education Music History and Theory Diagnostic Examination (Log-in on Blackboard)

Supervised Teaching (GMUS 800), 2 cr.
Piano faculty direction and observation of each student's teaching. Students will videotape their own piano students for the basis of the class. Prerequisite: completion of pedagogy courses.

Directed Research (GMUS 876), 0 cr.
Graduate Music Education Faculty

The only occasions students register for GMUS 876 are when:

  1. They have selected Designs Four or Five and are in the first semester of the process (see individual Design Four or Design Five Guidelines), or
  2. When they are in a "hold" mode of not working with their advisors for a term and thus are registered for GMUS 876-99.
    • Students will not be assessed the one-credit tuition fee for a semester in which they are not working with their advisor but instead will register for GMUS 876-99 ($75 fee assessed) during these terms.
    • GMUS 876-99 terms are limited to one per student.
    • For students completing Designs Four or Five, GMUS 876 and GMUS 890 cannot be interspersed with a section 99 without approval from the advisor and director of GPME.

Students enroll in the section of GMUS 876 matching the project advisor's name below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek
GMUS 876-09 Directed Research, Dr. Angela Broeker
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

Students enroll in the section of GMUS 890 (and 876 in the cases of Designs Four and Five) matching the project advisor's name below during the semester they write and complete their projects:

GMUS 890-01 M.A. Project, Dr. Karen Howard
GMUS 890-05 M.A. Project, Dr. Alan Bryan
GMUS 890-07 M.A. Project, Dr. Doug Orzolek
GMUS 890-09 M.A. Project, Dr. Angela Broeker
GMUS 890-11 M.A. Project, Dr. Shersten Johnson
GMUS 890-13 M.A. Project, Dr. Sarah Schmalenberger
GMUS 890-15 M.A. Project, Dr. Vanessa Cornett-Murtada

Spring 2017 Course Offerings

Applied Performance Studies (GMUS 570-592), 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 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

Perspectives in Music Theory (GMUS 611), 3 cr. 
Shersten Johnson, Ph.D.
Jan. 30-May 19, Mondays
6-9:30 p.m., Brady Educational Center 111

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 processes, style, and meaning. Critical listening, score reading, composing, and writing about music.

Supervised Teaching (GMUS 800), 2 cr.

Piano faculty direction and observation of each student's teaching in an online format. Students will videorecord their own piano students for the basis of the class. Open to non-UST piano teachers. Prerequisite: instructor's permission.

Directed Research (GMUS 876), 0 cr.
Graduate Music Education Faculty

The only occasions students register for GMUS 876 are when:

  1. They have selected Designs Four or Five and are in the first semester of the process (see individual Design Four or Design Five Guidelines), or
  2. When they are in a "hold" mode of not working with their advisors for a term and thus are registered for GMUS 876-99.
    • Students will not be assessed the one-credit tuition fee for a semester in which they are not working with their advisor but instead will register for GMUS 876-99 ($75 fee assessed) during these terms.
    • GMUS 876-99 terms are limited to one per student.
    • For students completing Designs Four or Five, GMUS 876 and GMUS 890 cannot be interspersed with a section 99 without approval from the advisor and director of GPME.

Students enroll in the section of GMUS 876 matching the project advisor's name below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek
GMUS 876-09 Directed Research, Dr. Angela Broeker
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

Students enroll in the section of GMUS 890 (and 876 in the cases of Designs Four and Five) matching the project advisor's name below during the semester they write and complete their projects:

GMUS 890-01 Final Project, Dr. Karen Howard
GMUS 890-05 Final Project, Dr. Alan Bryan
GMUS 890-07 Final Project, Dr. Doug Orzolek
GMUS 890-09 Final Project, Dr. Angela Broeker
GMUS 890-11 Final Project, Dr. Shersten Johnson
GMUS 890-13 Final Project, Dr. Sarah Schmalenberger
GMUS 890-15 Final Project, Dr. Vanessa Cornett-Murtada