This course is an introduction to the keyboard for music majors with limited keyboard background. Emphasis is on functional skills such as reading, transposing, harmonizing, improvising, and playing by ear, along with keyboard theory, technique, and repertoire.

This course is a continuation of Keyboard Musicianship I with further development of keyboard skills focused on raising the level of technical proficiency and increasing the students’ competence in keyboard improvisation, harmonization, sight reading, and scales.

• MU125 Keyboard Musicianship I

This course is designed to be an introduction to music reading and understanding. The fundamentals of pitch and rhythm are covered along with ear training and score reading in this computer-assisted course.

This is a continuation of Music Fundamentals I.

• MU130 Music Fundamentals I

This course is designed to stimulate interest in and enjoyment of music from its beginnings through medieval, renaissance, baroque, classical, romantic, and 20th century styles, including various styles of non-Western music.

This course is designed for students interested in increasing their knowledge of the basic elements of music. Concepts covered include: keys, scales, simple and compound rhythms, intervals, triads, 7th chords, principles of voice leading, harmonic progression, cadences, phrases and periods.

• MU130 Music Fundamentals I
• MU131 Music Fundamentals II

This course is a continuation of Music Theory I. Concepts covered are non-chord tones, use of triad inversions, secondary functions, modulation, binary and ternary forms, mode mixture.

• MU160 Music Theory I

This is a lab course. The objective of this course is to develop aural skills involving melody, rhythm and harmony. Concepts covered include: identification of intervals, scales, triads, sight-singing and one voice melodic and rhythmic dictations.

This is a lab course and is a continuation of Ear Training I. The objective of this course is to continue to develop aural skills involving melody, rhythm and harmony. Concepts covered include: sight-singing, advanced one voice dictation, simple two voice dictation, identification of chord structures, error detection and simple harmonic dictation.

• MU170 Ear Training I

This course is a continuation of Music Theory II. Music Theory III, along with its predecessors, Music Theory I-II, enables the student to think critically about music of all periods and styles. The course teaches the student the technical vocabulary to discuss music with other music professionals, and how to approach music intellectually to enhance the understanding and performance of the music. Concepts covered include Neapolitan and Augmented Sixth chords, Sonata form, Rondo, Sonata-Rondo and Fugue.

• MU165 Music Theory II

This is a lab course and is a continuation of Ear Training II. The objective of this course is to continue to develop aural skills involving melody, rhythm and harmony. Concepts covered include: complex one voice dictation, two voice dictation, harmonic dictation and complex sight singing.

• MU175 Ear Training II

A comprehensive review of transcripts, a portfolio of work, and a juried performance examination normally occurring during the second semester of the sophomore year.

This course is intended to give students an introduction to the history of electronic music, MIDI applications including computer interfacing, and provide an introduction to music scoring, editing, recording and printing music using computers, music education software and music resources on the internet.

This course is a writing intensive study of music history covering ancient, medieval, renaissance, and baroque western art music. A basic understanding of the history of western civilization is expected.

This course is a continuation of MU341. It is a writing intensive study of music history continuing through the classical, romantic and contemporary periods.

• MU341 Music History I

This course examines the roots of Christian liturgical music, beginning with Jewish temple worship, and tracing the development of liturgical music in the early Christian church, the Western and Eastern (orthodox) branches of the church, and the diversification of musical styles in worship associated with the Protestant Reformation, the Counter Reformation and Council of Trent, and the high art of church music in the Baroque, Classical and Romantic periods. Sections of the course are also devoted to Gospel music, Charismatic music, and various African and Popular influences on present-day liturgical music.

• MU150 Experiencing Music

Hymnology is the scholarly study of religious song, or the hymn, in its many aspects, with particular focus on choral and congregational song. It may be more or less clearly distinguished from hymnody, the creation and practice of such song. Hymnologists study the history and origins of hymns and of traditions of sung worship, the biographies of the those who have written hymns that have passed into choral or congregational use, the interrelationships between text and tune, the historical processes (both folk and redactional) that have changed hymn texts (and sometimes tunes) over time, and the sociopolitical, theological and aesthetic arguments concerning various styles of sung worship.

• MU150 Experiencing Music

This course examines significant compositional trends of the 20th century. Topics covered include atonality, dodecaphonic music, serialism, and set theory.

• MU260 Music Theory III

This course examines specific counterpoint techniques as practiced by J.S. Bach and later composers of the 18th century.

• MU260 Music Theory III

This course is a survey of techniques and problems of voice instruction for individuals and vocal groups.

This course is designed to help potential teachers choose literature for all types of voices.

This is an advanced course designed for students who plan to conduct instrumental and choral groups in private and public schools, churches, communities.

This course presents a detailed study of the major instrument families and the human voice, and how to score and arrange for them.

• MU160 Music Theory I
• MU300 Introduction to Electronic Music & MIDI

The music internship is designed for liturgical music and music industry majors. Liturgical music majors complete at least four internship credits in a parish or campus liturgical setting, assisting with the planning and performance of music in worship. Music business majors complete six internship credits at off-campus sites. Off campus music internships are also available for credit using a wide range of professional venues for students in the music industry tracks, which are required for the music business track and available for the music technology track. Music industry internships are generally done in the senior year. They provide students with experience and valuable networking contacts in the professional world of music.