This course provides a means to record attendance requirement credit by semester.

This course is oriented to the development and practical application of the student's critical thinking process through lectures and presentations related to the academic field in music. This course may be repeated as necessary.

This course provides a means to record attendance requirement credit of music education convocations by semester.

A course that meets several times each semester to hear guest speakers on a variety of topics related to church music.

This course prepares entering college freshmen admitted to the School of Music for success in pursuing a degree in music. Designed for first semester students, the course covers degree expectations, study skills, long term planning and vocational preparation, and begins content instruction in the discipline. This course is available to music majors only.

Designed as the aural skills complement to MUS 1200; emphasizes rudimentary skills in sight singing, rhythm reading, and ear training.

The aural skills complement to MUS 1301, this course emphasizes solfege singing of major and minor melodies at sight, rhythm reading in both simple and compound meters, and melodic, rhythmic, and harmonic dictation.

A continuation of MUS 1101, designed as the aural skills complement to MUS 1302.

A basic approach to twentieth-century composition through analysis and exercises in composition.

A basic approach to twentieth-century composition through analysis and exercises in composition.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the skills and materials necessary for teaching and playing the violin.

Designed to provide a thorough understanding of the skills and materials necessary for teaching and playing the viola.

Designed to provide a thorough understanding of the problems involved and the skills required for teaching each instrument.

Designed to provide a thorough understanding of the skills and materials necessary for teaching and playing the cello.

Designed to provide a thorough understanding of the skills and materials necessary for teaching and playing the double-bass.

Departmental consent required. Group instruction in voice.

Group instruction in piano for non-music majors with no previous training in piano.

Group instruction for piano grade level I.

Group instruction for piano grade level II.

Group instruction for piano grade level III.

Special laboratory course for voice students dealing with pronunciation and enunciation as applied to singing English and Italian.

Special laboratory course for voice students dealing with pronunciation and enunciation as applied to singing German.

Special laboratory course for voice students dealing with pronunciation and enunciation as applied to singing French.

Focused preparation of group I of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group II of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experiences and skills to master the audition process. May be repeated once for credit.

Focused preparation of group III of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group IV of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group I of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group II of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group III of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group IV of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group I of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group II of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group III of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group IV of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group I of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group II of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group III of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group IV of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group I of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group II of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group III of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Focused preparation of group IV of the standard orchestral audition excerpts. Special emphasis given to learning technical and pedagogical concepts as well as developing experience and skills to master the audition process. May be repeated once for credit.

Introduces the student to the traditions, fundamental techniques and performance practices of the instrument. The opportunity to perform standard repertoire from Baroque literature, in solo and ensemble settings, will be provided.

Individual instruction in piano for non-music majors with some prior musical training.

The study of rudiments of written theory, including notation, scales, key signatures, music terminology, intervals, rhythm and meter, chord construction, and music reading. Does not count as credit toward a degree with a major in music.

Group instruction in beginning guitar. A comprehensive approach which includes accompanying, solo playing, and ensembles, history of the guitar, and fundamentals of music. Open to non-music majors only.

This class is designed to provide string majors with knowledge, skills, and competencies in teaching wind/percussion instruments individually and in an ensemble setting.

A course for the non-music major in which representative masterpieces of music are explored. Non-technical discussions of the music, as well as the times and lives of the composers, are presented to enhance the enjoyment of the listening experience.

The first course in a systematic study of the organization of music of the Common Practice Period. Students acquire a basic understanding of the structure of tonal music through analysis and written exercises in harmony and counterpoint.

A continuation of MUS 1301, including non-chord tones, 2:1 counterpoint, seventh chords, and basic formal structure.

Development of skills and insights necessary to appreciate and understand music and the vital role that that music plays in a variety of historical and cultural contexts. Fosters creative approaches to active listening. No previous music experience required.

An introductory study of learning theory and human development, an overview of the total school music program, and a survey of the history and philosophy of American music education.

This course, designed specifically for musicians, balances quantitative technology knowledge with practical technology experience. Units in this course include fundamentals of: computer science, sound synthesis, notation software, sound reinforcement, digital audio recording/mixing/editing, copyright/licensing, graphic design, photography, and videography.

A continuation of MUS 1102, designed as the aural skills complement to MUS 2301.

A continuation of MUS 2101, designed as the aural skills complement to MUS 2302. Emphasizes singing and dictating melodies, rhythms, and chords commonly encountered in late nineteenth and twentieth-century music.

A course designed to teach the harmonization of hymns and songs with the melody in different voices, modulations between stanzas, and transposition.

This course is designed for non-music majors who have successfully completed Basic Guitar 1202 and have a working knowledge of open position chords and scales, basic rhythm accompaniment and melody playing techniques, as well as reading skills up to and including eighth-note based rhythms in the first position. Emphasis is placed on expanding technical range and repertoire on the guitar through the understanding and assimilation of movable chord forms and scale fingerings.

A basic approach to twentieth-century composing through analysis and exercises in melody, harmony, counterpoint, etc. Composing in small forms.

Continuation of MUS 2207.

Fundamentals of conducting techniques and related score study in rehearsal and performance.

A continuation of MUS 1302, emphasizing chromaticism in tonal harmony and introducing standard musical forms.

A survey of late nineteenth and twentieth-century compositional techniques and methods of analysis, including scales, chords, rhythmic techniques, approaches to tonality, set theory, and serialism.

A study of the past and present states of music in several urban centers. This is usually a study tour conducted abroad, including lectures, concerts, and first-hand encounters with the culture.

An introduction to selected aspects of Christian music ministry, including personal spiritual formation, the call to ministry, careers in Christian music, philosophy and history of church music, and practical skills for collegiate music ministry.

This course is designed to evaluate readiness to matriculate into upper-level Music Education study and to determine admission into the Teacher Education Program at Baylor University. This course requires sophomore standing (or upon transfer enrollment).

Emphasis will be placed on implementation of the teaching cycle, as it applies to pre-repertoire instruction in the choral classroom.

Instructional strategies for teaching students with special needs in the music classroom. Emphasis will be placed on engaging students in both traditional classroom environments and ensemble music settings.

This course focuses on the development of sight-reading skills for pianists. In-class activities and regular practice assignments will help the student identify and improve sight-reading weaknesses. Intended for piano majors and piano concentrations.

Special laboratory course for voice students dealing with pronunciation and enunciation as applied to singing Russian.

Designed to give the church music student functional guitar skills. This skill-based course will assure competency in playing chords for common guitar keys and basic strumming patterns. Students will also be exposed to other aspects of guitar playing such as tablature, chord charts, different types of guitars, and other relevant functions. Students who are experienced guitar players will move at their own pace.

Creative work in choral arranging and composition. Analysis of various styles of choral composition.

A study of standard practices of notation, scoring, and instrumentation with regard to jazz and popular music. Attention will be focused on writing for a rhythm section, scoring for woodwinds and brass, and on relating these to vocal idioms. A lab format will be used in which student will be performed.

A first course in composition for non-composition majors.

A survey of the most widely-used pedagogical methods for heterogeneous group string instruction. Emphasis will be placed on observation, practice teaching, and program building.

Addresses a wide range of issues involved in administering a school choral music program.

Addresses a wide range of issues in administering school instrumental music programs.

Application of basic conducting skills to the direction of instrumental ensembles.

Application of basic conducting skills to the direction of choral ensembles.

Harmonic and structural analysis of larger forms, including variations, rondo, sonata, and contrapuntal forms.

Ranges, notation, and characteristics of orchestral instruments. Exercises in orchestrating for combinations of string and wind instruments, including full orchestra. Styles of orchestration. Orchestral score reading.

Writing in the larger forms for piano, voice, choir, and small instrumental combinations.

Writing in the larger forms for piano, voice, choir, and small instrumental combinations.

An introduction to the techniques of jazz improvisation. Study of jazz theory and Afro-American artists and styles.

Piano Level IV Fundamentals of piano teaching, and examination of the learning process and its application to the elementary student. Review of teaching materials and music technology for the elementary student. Observation and directed teaching in the Piano Laboratory Program, both individual and group lesson settings.

Examination and evaluation of beginning piano methods. Survey, analysis, and classification of pre-college teaching literature. Independent studio management and planning. Observation and directed teaching in the Piano Laboratory Program, both individual and group lesson settings.

Examination and evaluation of standard literature, technical approaches, and teaching materials for the late intermediate, early advanced, and beginning adult student. Additional topics include injury prevention and performance anxiety. Undergraduate students will teach a community student in the Piano Laboratory Program.

This course surveys the general history of music. It requires students to be able to follow a musical score, and includes the completion of a research project during the course of the semester.

Addresses music as a significant part of various world cultures through lectures, videos, class listening and discussion, and hands-on experience with various musical systems. Music will be studied in relation to religions, political systems, economics, languages and other arts. When possible, workshops with visiting non-Western ensembles will be arranged.

Examination of the musical and cultural significance of popular musics, exploring how musical sound can be considered “text,” and analyzing how and why popular music is created. No previous music experience required.

The study of jazz from its West African and American blues roots through ragtime, urban blues, big bands, bebop, cool, 1960s avant garde, and present developments.

Survey of European music from Antiquity through the Renaissance, including some related materials from outside the Western tradition.

Survey of European and American music from the seventeenth and eighteenth centuries.

Survey of European and American music from 1800 to World War I, including some related materials from outside the Western concert tradition.

Integrated survey of European and American art music since World War I, along with selected topics outside that tradition.

For music education majors and elementary education majors with a teaching field in music.

Topics of study include music reading strategies, rehearsal technique, curriculum design and administrative issues related specifically to choral music programs.

Organization, administration, and promotion of band and orchestra programs. Care and selection of instruments, uniforms, music, and related materials. Units on testing and grading, rehearsal procedures, programming, and financing.

Required of all elementary education majors. A study of the musical experiences and activities through which children acquire basic musical concepts and skills.

Includes observation and field teaching.

A survey of music education in the church, with particular emphasis upon the planning, implementation and ministerial facets of teaching, as well as a look at the practical philosophical and psychological aspects within a church setting. (3 hours)

Survey of the principles involved in organizing and implementing a comprehensive music ministry, including budgeting, programming, and multiple staff relationships. An introduction to pastoral skills including visioning, hospital visitation, and conflict management. (3 hours)

A study of the use of instruments in the church, seeking to provide students with both knowledge and skill set in the field of instrumental music arrangement and performance practice specifically in the context of Christian worship.

A survey of the use of technology, keyboard instruments, and handbells in the church; including the purchase, maintenance, and use of the instruments/equipment.

For completion of field experience and other requirements prior to student teaching.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital over and above degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

Presentation of a recital in fulfillment of degree requirements.

This course is an in-depth study of modern jazz improvisational techniques. May be repeated for credit.

Special assignments in piano teaching; children's classes and lessons in the Preparatory Laboratory program; group and individual instruction of college students; adult leisure piano. Faculty direction and evaluation of teaching. May be repeated for credit.

Special assignments in piano teaching; children's classes and lessons in the Preparatory Laboratory program; group and individual instruction of college students; adult leisure piano. Faculty direction and evaluation of teaching. May be repeated for credit.

Training class for singers and choral conducting students in stage techniques.

Advanced Opera Workshop is an intensive class for advanced singers who aspire to careers in Opera and/or Musical Theatre. In this class students receive intensive one-on-one instruction on their "audition aria package." An accompanist is assigned for the course and students coach each aria or piece of musical theatre to polish it for professional auditions. Students will also have the opportunity to obtain one-on-one help with their professional credentials, taxes as artists and other items as needed. Since one-on-one instruction is the key to the success of this class the number of students enrolled must be limited. Therefore, undergraduates who wish to take this class must receive a nomination from their Vocal Instructor prior to asking for permission from the instructor of the course. Repeatable for credit.

Development of process-based skill sets for learning to sing and perform recitative, primarily in operas by Handel, Mozart, and bel canto composers. Topics include comparing recitativo secco and recitativo accompagnato and the practical performance techniques involved, applying concepts of lyric diction to the learning process, and mastering finer points such as style, pacing, appoggiature, word play, optional rests, and character development.

Each unit of this class will consist of a lecture component, a listening component, and a practice component. Students will read and hear about composers writing vocal music in the twenty-first century, will listen to examples of performance, and will work together on assigned excerpts in class. Students will have the opportunity to hear current practitioners talk about recent trends in classical music, including artist-driven projects and video production. Students will engage in finding music written during their lifetime to present in class. Finally, each student will present a final project by performing music written during their lifetime. In keeping with their more advanced experience level, graduate students will have longer and more challenging musical assignments for in-class coachings and final projects. Additionally, they will have a writing component to the final project. They will submit a final paper of 750-1000 words on their final musical project, including background on the composer, the circumstances of the work’s creation and premiere, and details about the composition.

This is an experiential course aimed at providing upper level instrumental music education students with real world teaching opportunities in a monitored environment.

Advanced individual study of solo vocal repertoire for upper-level students preparing recitals, competitions, auditions, etc. May be repeated for a maximum of six semester hours.

An in-depth study of a narrowly circumscribed topic, such as a composer or genre. This course provides the opportunity to utilize special skills and knowledge of outstanding resident or visiting faculty. May be repeated six times with different topics of study.

A survey of materials and methods for teaching theory and aural skills at high school and college levels.

Literature study, composition, and performance of fixed and interactive electroacoustic music.

Study of problems in orchestration beyond the general topics addressed in MUS 3306.

Systems currently employed in music-theoretic scholarship for analysis of various musical styles. Application and comparison of the systems.

This course is an in-depth study of the harmonic and melodic basis of jazz, including the use of modes and extensions in jazz improvisation and composition, and reharmonization and analysis of performers' improvised solos. Students will develop skills in ear training and practical jazz music.

Based on the study of great improvisers of the past (Bach, Liszt, Franck, Messiaen...) and their works, students will learn to develop their own larger scale improvisations, using a variety of forms, musical styles, and harmonic languages. Those skills can be used to great effect for extensive hymn introductions and interludes, as preludes, postludes and sub communione in worship services, for organ demonstrations, and in concert.

Study of techniques and resources for organ (and piano) playing in the context of a worship service. This includes the accompaniment of hymns in different styles (from early hymnody to contemporary songs) and creating introductions, service music (including chant), and the creative use of different types of organs in worship. Most of the class will be at the organ, but we will also discuss how to use the piano for various functions in the liturgy.

Training class for singers and choral-conducting students in stage techniques.

Acting for Singers I is a beginning acting course for the stage specifically designed to provide appropriate training in acting for young singers who aspire to stage careers in Opera and/or Musical Theatre. The course includes instruction in basic stage deportment for recitals and auditions and is also appropriate for students who plan to teach young vocalists in the future, particularly those called upon to teach Opera Workshop or direct an Opera Scenes Program at the University level and/or direct a Musical Production at the high-school level.

Acting for Singers II is the second of two courses designed to provide appropriate training in acting for young singers who aspire to stage careers in Opera and/or Musical Theatre. This course will focus on the individual student rather than the larger group. Students will deal with problems specific to opera and musical theatre including acting within the time-frame of the composer, necessity of singing out to the audience at all times and connection with the conductor during performances. This course is appropriate for aspiring young artists as well as prospective teachers in the fields of vocal and choral music. Prior to taking this course a student should have taken Acting for Singers I or an equivalent.

This course, designed to be taken concurrently with all-level student teaching in music, examines practical issues involved in successful music teaching, such as organization, administration, classroom management, and school governance. Additionally, current controversial issues in education are considered in the context of direct field experiences in music. Students must earn at least a grade of C in this course.

This course is designed to address music wellness issues and help musicians adopt a healthy approach to performance that will allow them to perform at their best. Regular performance practice will be integrated with relaxation techniques such as stretching, deep breathing, imagery, and progressive relaxation. Practice and memorization techniques to assist with performance preparation will also be covered.

Development of fundamental skills music-based entrepreneurship, and creative thinking beyond the practice room as preparation for 21st-century careers in music.

Introduction to advanced conducting techniques. Focus will be on strengthening skills from undergraduate conducting courses and building strategies for score preparation, knowledge, and facility.

Advanced study of instrumental conducting techniques and related preparation and score study, specifically applied to orchestral ensembles.

Advanced study of choral conducting techniques and related preparation and score study, specifically applied to choral ensembles.

Advanced study of instrumental conducting techniques and related preparation and score study, specifically applied to bands and wind ensembles.

A four-week internship (one hundred sixty hours) in a church under the direct supervision of the minister of music. Periodic observations by the faculty.

The study of congregational music used in corporate worship. The course includes the historical development of congregational song and the analysis of its literary, scriptural, musical, and theological content.

Introduction to bibliography, research methods, and scholarly writing, providing the opportunity for specialized work in the student's major area in music history and literature or theory degrees.

A study of the singing voice including anatomy and physiology of the larynx and the breathing mechanism, phonation, basic acoustics, vocal registers, vocal pathologies, and hygiene, among other related subjects.

Investigation of specialized topics in music analysis, with focus on a particular analytical approach or repertoire.

Principles of modal and harmonic counterpoint.

A continuation of MUS 4304. Advanced work in specialized areas of counterpoint.

Continuation of MUS 3308.

Continuation of MUS 4307. Includes a recital of original works.

Role Preparation will cover the research into the genesis of a specific opera as well as the music of a role from that opera. Students will have the opportunity to learn operatic roles that they, and their applied voice teacher, feel are appropriate for their voices and abilities. Students will then receive musical and dramatic coaching on their roles and will present semi-staged or concert versions of their roles at the end of the semester. May be repeated once for credit.

This seminar focuses on interpreting and understanding primary sources, both written and musical (scores), related to the various styles and approaches to the creation of American music.

A survey of orchestral literature.

Literature of keyboard instruments from early sources to the early nineteenth century.

Literature of keyboard instruments from the mid-nineteenth century to the present.

This course examines opera from its origins in the late sixteenth century to the present. Students will learn about opera's musical and literary conventions, its development, and how operas reflect the musical and cultural values of their areas. The scores to be studied are coordinated with recorded and audio/visual examples, as well as with relevant readings from books and periodicals. Class discussion, presentations, essays, listening tests, and a final project are part of the course.

Folk and tribal music in the United States. Specific topics include: music of native Americans, oral tradition music of European immigrants, oral tradition music created in America, African and African-American music, the Latin American musical influence, and ethnomusicology as a discipline of study. Current and historical topics will be included. Students will participate in field research projects.

Music for solo voice from its beginnings to the present.

Continuation of MUS 4327.

Literature for wind ensemble and band from early sources to the present.

Solo and chamber music and pedagogy for percussion instruments.

Chamber music for string instruments.

Solo and chamber music literature and pedagogy for woodwind instruments.

Solo and chamber music and pedagogy for brass instruments.

Secular and religious choral music representing style periods from the late Renaissance to the present.

Important historical, cultural, musical and production moments in the century-long narrative of the American musical theatre. Specific topics may vary from year to year. The course is designed for upper-level music majors; theatre majors and other students should consult with instructors before enrolling.

The organ and its literature from the earliest manuscripts and tablatures through 1750.

The organ and its literature from 1750 to the present.

This course introduces both music majors and non-music majors to the often overlooked contributions of creative Americans to the field of "classical" music from the beginning of the United States' existence to the present time.

An exploration of music education practices in international school settings, including curricular comparisons, student populations, and program configurations. Attention will be given to any specialized procedures required for those interested in teaching in international environments post-graduation. This course may be repeated once.

Introduction to analytical methods, ethnography, and fieldwork techniques in ethnomusicology in order to equip students with practical tools to conduct ethnographical research and fieldwork.

Analysis of specific African musical traditions within their cultural, geographical, historical, and social contexts as points of departure for analyzing and understanding broader patterns and dynamics of human activity.

Analysis of specific Asian musical traditions within their cultural, geographical, historical, and social contexts as points of departure for analyzing and understanding broader patterns and dynamics of human activity.

Analysis of specific European musical traditions within their cultural, geographical, historical, and social contexts as points of departure for analyzing and understanding broader patterns and dynamics of human activity.

Analysis of specific Latin American musical traditions within their cultural, geographical, historical, and social contexts as points of departure for analyzing and understanding broader patterns and dynamics of human activity.

Analysis of specific Texas musical traditions within their cultural, historical, and social contexts as points of departure for analyzing broader patterns and dynamics of human activity reinforcing identity.

Academic approach to a variety of performance practice techniques used in traditional and urban musical genres around the world.

A study of the music in worship from biblical times to the present. Includes strengthening worship leadership and planning skills and thereby connecting the principles and practice of music making in worship to the broader life of the Church in a local context.

A survey of vocal music in the Christian church, with particular emphasis upon the literary, scriptural, theological, musical, historical, and performance background of congregational song, and an introduction to selected standard sacred choral literature.

A survey of the principles involved in organizing and implementing a comprehensive music ministry, including budgeting, programming, and multiple staff relationships. An introduction to pastoral skills including visioning, hospital visitation, and conflict management.

An in-depth study of a narrowly circumscribed topic, such as a composer or genre. This course provides the opportunity to utilize special skills and knowledge of outstanding resident or visiting faculty. May be repeated for credit.

See ENG 43C1 for course information.

Practice in all student teacher proficiencies at the elementary, middle school, and secondary levels, including classroom organization and management, assessment, planning/delivery of instruction, adapting instruction for individual needs, collaboration, technology, and professionalism. A one-semester practicum for music education students. The course provides fifteen weeks of full-day supervised practice in all student teacher proficiencies at the elementary, middle school, and secondary levels, including classroom organization and management, assessment, planning/delivery of instruction, adapting instruction for individual needs, collaboration, technology, and professionalism.

Practice in all student teacher proficiencies at the elementary, middle school, and secondary levels, including classroom organization and management, assessment, planning/delivery of instruction, adapting instruction for individual needs, collaboration, technology, and professionalism. A one-semester practicum for music education students. The course provides fifteen weeks of full-day supervised practice in all student

A continuation of MUS 4203. At least one substantial creative project will be completed. Course may be repeated for credit.

Designed especially for music teachers and elementary classroom teachers, and open to music education majors.

Designed especially for music teachers and others who are involved in instrumental music direction or instruction, and open to music education majors.

Designed especially for music teachers and others who are involved in choral music direction or instruction, and open to music education majors.

An intensive workshop on keyboard methods and materials.

Independent research undertaken by the student under the supervision of one faculty member. This course is limited to superior students working in their major area. It cannot duplicate the content of another course or substitute for degree requirements.