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MUSC 257 Stage Performance Techniques II. Students will be asked to select five to eight musical pieces of any style (could also include original material) to form a 30 minute showcase to be performed in public as a graduating recital. Students will have to produce partitions for all instruments involved, and assume a leadership role in all rehearsals

MUSC 258 Ensemble III. Ensembles, required of all students, are the focal point of the Music program. All students are placed by audition in one or more ensembles. Students must participate in a minimum of four ensembles to graduate. Types of ensembles offered will focus on contemporary music including rock, funk, fusion, jazz and vocal, with the goal of developing both the student's repertoire

MUSC 258Q Preceptorship I. This practicum is a recipient for performance and songwriter majors to register live performances or teaching experiences that are accomplished above and beyond regular school activities. These events can take place within the community or abroad.

MUSC 259 Ensemble IV, required of all students, are the focal point of the Music program. All students are placed by audition in one or more ensembles. Students must participate in a minimum of four ensembles to graduate. Types of ensembles offered will focus on contemporary music including rock, funk, fusion, jazz and vocal, with the goal of developing both the student's repertoire and

MUSC 259Q Preceptorship II. This practicum is a recipient for performance and songwriter majors to register live performances or teaching experiences that are accomplished above and beyond regular school activities. These events can take place within the community or abroad.

MUSC 260 Mixdown and Editing I. In this course the functional, financial, and legal aspects of production entrepreneurship is examined. Topics covered include technical and artistic preparation through pre- and post- production, recognition of standard recording techniques, the effects of signal processing, and the analysis of various production styles in rock, pop, jazz and classical recordings

MUSC 161 Mixdown and Editing II. In this course the production aspects of recording music for various industry applications will be analyzed, discussed, and applied to student projects. Particular attention will be paid to the areas of music production for records, film and television, and radio and television commercials. Students will work with state-of-the-art video/audio synchronization

MUSC 262 Survey of Recording Techniques. An introduction to recording principles and practices, this course is open to students whose major is not music production. Topics include a brief history of the multi-track recording studio, procedures of a recording studio, procedures of a recording session, fundamentals of microphones and audio effects.

MUSC 264 Instrumental Lab III. This course is designed to help students develop instrumental skills. Grouped by instrument, students learn the fundamentals of reading, articulation, balance, dynamics, styles and technique as related to their particular instrument. This course is taught ''instrument-in-hand'' and also uses audio and visual aids to explore different techniques and styles. A

MUSC 265 Instrumental Lab IV. This course is designed to help students develop instrumental skills. Grouped by instrument, students learn the fundamentals of reading, articulation, balance, dynamics, styles and technique as related to their particular instrument. This course is taught ''instrument-in-hand'' and also uses audio and visual aids to explore different techniques and styles. A

MUSC 268 Songwriting I. This course is designed to help you prepare for survival in the competitive world of the songwriter's market. Learn about all types of styles while striving to define your own. Special attention is paid to the rudiments of songwriting: creativity, basic theory (usage of basic rhythms, scales, harmony, melodic patterns, lyrics, etc.), basic styles (pop, rock, folk, country

MUSC 269 Songwriting II. This course is designed to strengthen your songwriting skills in every respect. Closer attention is paid to marketing skills, legal procedures, finding one's personal niche in the music business (whether to focus on one's own style, concentrate on writing tunes for other acts, or both; whether to go through a publisher or be your own publisher; etc.). Co-writing music is

MUSC 270 Recording Techniques I provides students with an introduction to recording principles and practices. Through theoretical and practical instruction students will acquire a basic understanding of studio technologies and recording skills. Topics include fundamentals of analogue and digital recording, design and function of microphones, loudspeakers, and acoustical considerations in sound

MUSC 271 Recording Techniques II. The emphasis in this course is on advanced multi-track recording techniques including microphone placement, console signal flow, and live recording. Topics include: discussion and utilization of signal processing equipment including limiters, compressors, noise gates, digital reverb, and delay. Student engineers work with student producers and artists or composers

MUSC 272 Improvisation I. In this course, students will begin applying the basic tools of melodic and harmonic improvisation. Melodic interpretation, phrasing, rhythmic density, motivic development, pacing, voice leading, and harmonic accuracy will all be explored through performance and analysis. The class will examine classic solos in a variety of idioms. Students will write and transcribe

MUSC 273 Advanced Improvisation II. This course continues the concepts of melodic, harmonic, and rhythmic variety learned in Improvisation I. These concepts are then applied to the stylistic considerations of rock, funk, Latin, jazz, blues, and calypso music. Greater emphasis is given to harmonic accuracy through arpeggio and scale studies. Students will examine classic solos in class, as well as

MUSC 274 Contemporary Harmony III. This course continues with the principles of contemporary harmony in Harmony 2. Topics are expanded to include Deceptive Resolution, Substitute Dominants, Diminished Chords, Modulation, Blues and Chord Scale Relationships. This course provides students with a practical working knowledge of harmony in various styles of contemporary music as it applies to

MUSC 275 Contemporary Harmony IV. This course continues with the principles of contemporary harmony in Harmony 3. Topics are expanded to include further concepts of Deceptive Resolution, Non-functional Dominant chords, Contiguous Dominants, Pedal Point and Ostinato, Modal harmony, Compound Chords, and Constant Structures. This course provides students with a practical working knowledge of harmony

MUSC 280 Ear Training III. This course continues to develop an aural perception of intervals, pitches, seventh chords, chord progressions, melodies and rhythms. The focus of this semester is on minor and secondary dominant melodies and chord progressions and 9th chords. The rhythms explore sixteenth note syncopated rhythms as well as cut time, 3/8, 6/8 and 5/4 meters

MUSC 281 Ear Training IV. Upon successful completion of this course you have will have mastered basic aural skills for professional musicianship. The emphasis on this level is chromatic and modal melodies. Mixed meters and odd time signatures are explored. Emphasis is given to transcribing pre-recorded songs.

MUSC 282 Film Scoring I. This hands-on course focuses on TV and radio broadcasting. Students are required to score themes and cues for various TV and radio shows using mostly electronic equipment along with one or two live musicians.

MUSC 283 Film Scoring II provides students with an understanding of the different compositional techniques used in feature film genres such as drama, suspense, comedy and action/adventure. The course content includes analysis of film soundtracks of the past and present, the business of being a film composer, film scoring technology, orchestration, conducting, and how to get started as a film

MUSC 284 Composition I. This course is designed to improve the skills of composers by presenting a wide variety of compositional tools in styles ranging from Classical to Jazz, Folk, Rock and Pop. By studying the recordings and scores of composers throughout history each student gains a musical awareness that strengthen their own compositional process. Particular attention is paid to the '

MUSC 285 Composition II. This course continues the study of compositional building blocks started in Composition 1 with an additional focus on arranging and orchestration. Topics include minimalism, world rhythm studies, chord progressions and voicings in classical and contemporary styles, and string and vocal arranging. Composers of interest include Sting, John Lennon, Bach, Stravinsky, Steve

MUSC 288 Advanced MIDI Applications I. This course is an applied study of the software and concepts used in the recording home studio environment. The primary focus of the course is in the use of Pro Tools LE for the self-recording musician. Topics include: mixing console application, editing techniques, microphone technique, an introduction to effects processing for final mixing, auxiliary buss