Applied Music Courses (MUA_)

Private applied study is provided in voice, piano, organ, guitar, orchestral and band instruments. In addition to course tuition, the fee for a 25-minute lesson is $150 and the fee for a 50-minute lesson is $300.

The applied course identification is indicated by a four-letter and three-number system. The first three letters are "MUA" indicating classical study. The fourth letter indicates the area of study:

A–voice; B–piano; C–organ; D–guitar; E–brass; F–woodwinds; G–strings; H–percussion; I–other instruments; J–electric bass; K–com- position; L–arranging; M–conducting; N–carillon; O–synthesizer
(Examples: MUAA – classical vocal study; MUAE – classical brass study.)

The numerical sequence identifies the following:

1st number – year of study in the applied area
(5–1st year graduate level, 6–2nd year graduate level)

2nd number – hours of credit awarded
(1 hour credit = 25-minute lesson week)
(2, 3, 4 hours credit = 50-minute lesson week)

3rd number – semester of study within the year indicated in 1st number

MUA_ 511, 512. Private Graduate Applied (1). Basic level of graduate study. One 25-minute lesson per week. Jury required if study leads to graduate full or lecture recital. ($150.00 course fee)

MUA_ 521, 522. Private Graduate Applied (2). Applied graduate study. One 50-minute lesson per week. Jury required if study leads to graduate full or lecture recital. ($300.00 course fee)

MUA_ 531, 532. Private Graduate Applied (3). Applied graduate study. One 50-minute lesson per week. Jury required. ($300.00 course fee)

MUA_ 541, 542. Private Graduate Applied (4). Applied graduate study. One 50-minute lesson per week. Jury required. ($300.00 course fee)

MUA_ 611, 612, 613, 614. Private Graduate Applied (1). Applied graduate study. One 25-minute lesson per week. Jury required if study leads to graduate full or lecture recital. ($150.00 course fee)

MUA_ 621, 622. Private Graduate Applied (2). Applied graduate study. One 50-minute lesson per week. Jury required if study leads to graduate full or lecture recital. ($300.00 course fee)

MUA_ 631. 632. Private Graduate Applied (3). Applied graduate study. One 50-minute lesson per week. Jury required. ($300.00 course fee))

MUA_ 641. 642. Private Graduate Applied (4). Applied graduate study. One 50-minute lesson per week. Jury required. ($300.00 course fee)

MUB_ 511, 512. Private Graduate Applied (1). Applied commercial graduate study. One 25-minute lesson per week. Commercial study in an applied area is available for elective credit only. ($150.00 course fee)

MUB_ 611, 612. Private Graduate Applied (1). Applied commercial graduate study. One 25-minute lesson per week. Commercial study in an applied area is available for elective credit only. ($150.00 course fee)

Music Composition Courses (MUAK)

MUAK_ 507. Graduate Composition Seminar (1). This seminar provides a weekly forum whose activities include: 1) performance of student's compositions, 2) writing for seminar members and reading these compositions, 3) discussion of compositions by faculty members, and 4) presentations on other pertinent topics.

Music Education Courses (MUE)

MUE 510. Kodaly Pedagogy in America I (2). Kodaly Pedagogy in America I is a course designed to introduce the philosophy, sequential content, teaching techniques, and materials for Kodaly Music Education in kindergarten through third grade. The course should be taken concurrently with Kodaly Pedagogy in America I Project.

MUE 511. Kodaly Pedagogy in America I Project (1). Kodaly Pedagogy in America I Project is taken concurrently with Kodaly Pedagogy in America I. It is an independent research project requiring the development of an extensive, analyzed collection of folksongs usable in Kodaly Music Education, kindergarten through third grade.

MUE 512. Kodaly Pedagogy in America II (2). Prerequisites: MUE 510, 511. Kodaly Pedagogy in America II is a course designed to introduce the philosophy, sequential content teaching techniques and materials for Kodaly Music Education in fourth through sixth grades. The course should be taken concurrently with Kodaly Pedagogy in America II Project.

MUE 513. Kodaly Pedagogy in America II Project (1). Prerequisites: MUE 510, 511. Kodaly Pedagogy in America II Project is taken concurrently with Kodaly Pedagogy in America II. It is an independent research project requiring the development of an extensive, analyzed collection of folksongs usable in Kodaly Music Education, fourth through sixth grades.

MUE 514. Solfege I (2). This course is designed to develop basic aural, sightsinging, and keyboard skills for the Kodaly music educator. It incorporates use of pentatonic and diatonic music as well as music with simple altered tones.

MUE 515. Solfege II (2). Prerequisite: MUE 514. This course is designed to develop advanced level aural, sightsinging, and keyboard skills for the Kodaly music educator. It incorporates modal music as well as music using complex altered tones and modulation.

MUE 516. Folksong Research (2). Prerequisite: MUE 510. Folksong Research is a course designed to survey major categories of folksong and to develop theoretical skills usable in folksong analysis. Folksong Research should be taken concurrently with Folksong Research Project.

MUE 517. Folksong Research Project (1). Prerequisite: MUE 511. Folksong Research Project is taken concurrently with Folksong Research. It is an independent research project requiring the development of an extensive, analyzed collection of one category of folksongs.

MUE 518. Issues in Kodaly Music Education (2). This course is designed to explore in depth one specific educational issue as it relates to Kodaly Music Education. Topics will change from year to year to offer maximum variety. Issues in Kodaly Music Education Project should be taken concurrently with the course.

MUE 519. Issues in Kodaly Music Education Project (1). Issues in Kodaly Music Education Project is taken concurrently with Issues in Kodaly Music Education. It is an independent research project requiring the development of an extensive paper/collection correlated to the current topic of Issues in Kodaly Music Education.

MUE 521. Foundations of Music Education (3). Foundations of Music Education provides an overview of the historical, philosophical, and psychological foundations of Music Education. Course content explores curricular design reflecting these diverse components of the field of Music Education.

MUE 522. Methods and Materials in Elementary/Middle School Music Education (3). This course provides an overview of major contemporary systems of elementary/middle school music teaching. Philosophical/historical background, exemplary techniques, and resource materials are presented to clarify these methodologies as optional approaches for teaching music to children.

MUE 523. Instrumental Technique and Repertory (3). An advanced instrumental conducting course which emphasizes continuing attention to physical skills of conducting, score analysis and interpretation, rehearsal skills and repertory development. Emphasis will be placed on exploration of musical materials appropriate for student instrumental groups.

MUE 524. Music in Elementary Education (3). Music in Elementary Education explores the theoretical and historical content of music as it is presented through activities appropriate for the developing elementary child. A strong emphasis is placed on musical concepts and style and their translation into techniques, materials, and activities usable in the elementary classroom. (Does not count toward the MM degree.)

MUE 526. Advanced Choral Techniques (3). An advanced choral conducting course which emphasizes continuing attention to physical skills of conducting, score analysis, interpretation, and rehearsal procedures.

MUE 530. Orff Pedagogy I: Basic Concepts (2). Initial level draws from the three components of Orff-Schulwerk teacher training: experiential, conceptual, and pedagogical. Skills necessary to plan and implement a variety of Orff-Schulwerk music and movement activities are learned working with the materials and procedures of the Orff-Schulwerk instructional model. The course should be taken concurrently with Orff Pedagogy I: Laboratory.

MUE 531. Orff Pedagogy I: Laboratory (1). Initial level provides substantial experience-based learning that develops basic skills in movement, recorder, and the synthesis of music and movement through elemental styles/literature of global cultures. This course should be taken concurrently with Orff Pedagogy I: Basic Concepts.

MUE 532. Orff Pedagogy II: Basic Concepts (2). Intermediate level continues the study of experiential, conceptual, and pedagogical components of Orff Schulwerk teacher training. Music and movement elements and skills needed for their implementation are developed. The role of teacher as facilitator is examined. This course should be taken concurrently with Orff Pedagogy II: Laboratory.

MUE 533. Orff Pedagogy II: Laboratory (1). Further skill in recorder consort ensembles and movement are developed. Analysis is presented through elemental styles/literature of global cultures. This course should be taken concurrently with Orff Pedagogy II: Basic Concepts.

MUE 534. Orff Pedagogy III: Basic Concepts (2). Level III includes a critical look at the pedagogical attributes of Orff-Schulwerk's contribution to music and movement. All levels of Schulwerk's three components and comprehension of Schulwerk's application to the discipline of music and other art forms are developed. Level III includes an extended practicum. This course should be taken concurrently with Orff Pedagogy III: Laboratory.

MUE 535. Orff Pedagogy III: Laboratory (1). Ensemble and composition skills in recorder and movement are extensively developed. There is a concentrated focus on how classroom implementation is developed based on the synthesis of music and movement using music of the Americas and elemental styles/literature of global cultures. This course should be taken concurrently with Orff Pedagogy III: Basic Concepts.

MUE 599. Special Studies (1-3). Prerequisite: Permission of instructor. Opportunity for music students to pursue a special area of interest under faculty supervision. May be repeated. For 1-hour credit, course meets 25 minutes per week with a fee of $150. For 2 or 3-hours credit, course meets 50 minutes per week with a fee of $300.

General Music Courses (MUG)

MUG 501. Graduate History Review (1). A graduate level review of the forms, styles, and composers of all major historical music periods.

MUG 502. Graduate Theory Review (1). A graduate level review of common practice harmony, twentieth-century styles, counterpoint, instrumentation, and form.

MUG 600. Culminating Project/Examinations (2-3). Prerequisite: Student must have achieved Candidacy status. MUG 600 includes the terminal requirements for the M.M. degree. All students are required to successfully complete comprehensive written and oral examinations and a culminating project which varies, depending on the student's particular track. Options and requirements for each culminating track are described in Guidelines to the Master of Music Degree available from the School of Music office. The class is graded pass/fail. Students should register for the course during their final semester of enrollment.

Music History Courses (MUH)

MUH 521. Music History Seminar (3). A series of in-depth topical seminars for graduate music students which will cover a wide range of periods, composers, and musical genres.

Music Technology Courses (MUK)

MUKC 511. Music Technology for Composition (2). Utilizing various facets of music technology to assist in the ideals and process of music composition. Various types of music technology (Music notation programs, Audio/MIDI Sequencing applications, Synthesis, Samplers, MIDI Sound Modules, Software based synthesizers, etc.) will be used as aids in creating compositions. In addition to technology being a tool, attention will also be given to the use of technology as a creative outlet or as a "Musical Instrument".

Music Literature Courses (MUL)

MUL 501. Keyboard Literature (3). A survey of keyboard literature from the Baroque era through the present. Emphasis will be placed on the standard keyboard performance literature along with the preeminent keyboard composers and common performance practices.

MUL 502. Opera Literature (2). A survey of solo literature in opera from the Baroque period through the present. The focus will include literature, performance practice, and important composers.

MUL 511. French Song Literature (2). A survey of the standard French literature and its composers from 1830 to the present. Forerunners of the tradition (melodie) will be discussed.

MUL 512. German Lied (2). A survey of German and Austrian lieder and its composers from the Baroque era to the present. Focus will be placed on evolving performance practice. Literature from the 19th and 20th centuries will be emphasized.

MUL 521. Italian Art Song (2). A survey of Italian art song from the Baroque period through the present. Emphasis will be placed on evolving performance practice and the important composers of the genre. Special attention will be placed on the antecedents of the Florentine Camerata and this influence on the development of opera.

MUL 522. American/British Art Song (2). A survey of British and American art song works and their composers. The British portion will focus from John Dowland to the present. The American portion will focus on the post civil war period but will emphasize the 20th century.

MUL 527. Choral Literature (3). Explores the significant choral literature of all styles and periods. Building a broad knowledge base of choral repertory and developing understanding of performance practice is emphasized. Attention is also given to selecting appropriate materials for specific groups.

MUL 528. Instrumental Literature (3). A historical survey of major instrumental music literature through the study of selected pieces from the solo, chamber, wind band, and orchestral repertoire.

MUL 596. Opera Staged Reading (0 or 1). Scenes from operas or complete operas performed in minimally staged readings. Open auditions are held for all roles. This course does not satisfy requirements for ensemble participation. This course may either be taken for 1 credit, or may be taken for 0 credit and the student will be charged a $300 fee. All students must be either registered or pay the fee to participate.

Music Ensembles (MUN)

MUN 594. Graduate Chamber Ensemble (1). Prerequisite: Permission of director required. Composed of graduate students interested in pursuing the chamber repertoire for their applied area. Meets three (3) hours per week.

MUN 596. Ensemble Internship (1). Prerequisite: Permission of director required. Graduate students may select an internship with any of the following School of Music classical instrumental or choral ensembles: Instrumental - Belmont Band, Belmont Orchestra, New Music Ensemble; Choral - Belle Voci, Belmont Chamber Singers, Belmont Chorale, Men's Chorus, Musical Theatre, Nashville Children's Choir, Opera Workshop, Oratorio Chorus, Women's Choir. An Internship Contract must be completed and approved prior to enrollment, describing specific responsibilities of the internship (e.g. assistant director, lead roles, etc.). Limited to two semesters of participation.

Pedagogy Courses (MUP)

MUP 501. Introduction to Pedagogy of Applied Music (3). Introduction to Pedagogy of Applied Music will provide an overview of the current methods and literature, instructional techniques, philosophical bases, curriculum building, and administration of the teaching of applied music. The focus will include both pre-college and undergraduate college levels and both individual and class teaching situations.

MUP 502. Advanced Pedagogy of Applied Music (3). Prerequisite: MUP 501. This course is designed for advanced study in the field of pedagogy of applied music under faculty supervision. The focus may include, but will not be limited to, the following topics: supervised individual and independent research, observation, supervised teaching in Belmont Academy, supervised practicum in the vocal computerized lab, and other practicum experience.

MUP 530. Supervised Teaching (1-2). Supervised teaching is tailored to the needs and interests of the graduate student, and will include teaching individuals or applied class, concurrent with a study of literature appropriate to the type, age, and maturity of students being taught.

Church Music Courses (MUR)

MUR 503. Issues in Church Music Education (2). A study of the philosophy and practice of the church music education program. The focus will include church music education methods and materials used to lead and teach various age groups from early childhood level through high school level.

MUR 512. Music in Worship: Theology, History, and Practice (3). A survey of important views on the theology of music in worship with a focus on the historical development of approaches to worship in various Christian traditions. Emphasis will be placed on worship resources and planning for effective worship.

MUR 513. Hymns: Their History and Use (2). A study of congregational song from the early church to the present. Emphasis will be placed on the practical use of hymns in modern worship.

MUR 530. Supervised Music Ministry Practicum (1-2). The practicum includes a semester of supervised leadership in a church music program. The student will be supervised by an experienced choir director or pastor and by the student's faculty mentor.

Music Research Courses (MUS)

MUS 501. Introduction to Music Research (2). Introduction to music research tools, materials, and techniques. The focus of the course will include major references and indexes, database, and internet research. A research project relating to the student's major will be required.

Music Theory Courses (MUT)

MUT 521. Pedagogy of Music Theory (3). An overview of the teaching of music theory with attention to current methods and literature, instructional techniques, and building curriculum and content.

MUT 531. Alternative Analytical Techniques (3). An introduction to various analytical techniques and approaches, with more intense study of selected types. The emphasis will be on the utilization of these techniques and approaches in the professional situation.

MUT 535. Compositional Analysis: Music Since 1900 (3). A stylistic analysis and writing course dealing with the application of twentieth-century compositional materials, devices, and procedures as demonstrated in the works of significant twentieth-century composers.