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Esther Boyer College of Music 2001 North 13th Street,
Philadelphia, PA 19122-6079.
Degree Programs: isc.temple.edu/grad/Programs/ Graduate Faculty Master of Music and Master of Music Therapy Degree Professional Studies in Performance Doctoral Programs in Music Department of Dance 309 Vivacqua Hall, Degree Programs: www.temple.edu/grad/dagrid.html General Statement
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456-457. Advanced Orchestral Conducting I-II. (2 s.h.) Prerequisite: permission of instructor. Rehearsal techniques of the symphony orchestra. Emphasis on advanced repertoire. Methods of preparation of a score for concert performance. Opportunities to rehearse an orchestra. 458. Percussion History, Development, and Performance Practices. (2 s.h.) The informational resources of percussion, a history of percussion, percussion in non-Western and contemporary culture, and percussion performance practice. 459. Lower String Pedagogy. (2-3 s.h.) Examination of problems in playing and teaching techniques, exploring solo and ensemble literature as well as available teaching materials at beginning through advanced levels. 460-461. Independent Study. (1-3 s.h.) Independent research with faculty supervision in an approved topic. 462. Special Topics in Music. (1-3 s.h.) Independent research with faculty supervision in an approved special topic. 463. Special Topics in Music. (1-3 s.h.) Independent research with faculty supervision in an approved special topic. 464. Percussion Pedagogy. (2-3 s.h.) Teaches students the necessary knowledge and skills to make intelligent and informed decisions about the teaching of percussion instruments. Students analyze, compare and critique curricula, teaching modalities, performance practices, methods, materials and literature. 465-466-467-468. Piano for Accompanying and Chamber Music Majors. (2 s.h.) One hour weekly private lesson for graduate Piano Accompanying and Chamber Music major, plus performance class. 469. Aria Repertoire. (2 s.h.) Prerequisite: Music 449. Required course for all Opera majors; others by permission of the instructor. 472. Multi-Percussion in the Orchestra. (2 s.h.) Course will enable the student to develop the complex skills necessary to perform multi-percussion and drum set parts in the symphony orchestra. 478. Piano Pedagogy II. (2 s.h.) Exploration of advanced topics in teaching piano to students at all levels of ability. 479. Opera Role Performance. (1 s.h.) Master's degree students in Opera must demonstrate mastery of the music/characterization of two adjudicated opera roles; fulfilled through performance of a role in Temple University Opera Theater productions designated as a credit (major) role, or by passing a pre-approved performance examination. 482-483-483-485. String Major/Pedagogy. (2 s.h.) One hour private lesson each week. For string pedagogy majors only. 486. Practicum: String Pedagogy. (2 s.h.) Application of methods and repertoire to the teaching of string students in actual classroom and private settings. For string pedagogy majors only. 488. Piano Technology and the Pianist I. (3 s.h.) Surveys the science and art of piano technology as it relates to the pianist. The construction and function of the vertical piano are explored. Topics include diagnosis, adjustments, minor repairs, and unison tuning. 489. Piano Technology and the Pianist II. (3 s.h.) Surveys the development of the modern piano. The construction and function of the grand piano are explored. Topics include diagnosis, adjustments, minor repairs, and octave tuning. 491. Advanced Choral Conducting Lessons. (1 s.h.) For graduate Choral Conducting majors only. Private lessons in preparation for graduation recital performances with the Graduate Conductors' Chorus and the Recital Chorus. 492. Upper String Pedagogy. (2-3 s.h.) Examines problems and teaching techniques, solo and ensemble literature, available teaching materials at beginning through advanced levels. 494. Final Project: String Pedagogy. (2 s.h.) Final project for Master's String Pedagogy majors, designed with assistance of the adviser. Demonstrates specialized study in a specific pedagogical area. Final presentations will vary among majors, but typically include a lecture/recital, teaching demonstration, research paper, article, or method book. 495. Seminar in Guitar Performance and Literature. (1 s.h.) Exploration of issues related to performance and to the preparation of works for performance. Workshop performances by members of the class throughout the semester. Study of representative works, with emphasis on solo repertoire. Attention to problems of interpretation, transcription, performance editions, and performance practice. Development of critical listening skills. Open to graduate performance majors in classical guitar; open to non-performance guitarists with permission of the instructor. 496. Seminar in Early Keyboard Instruments I. (2 s.h.) The study, preparation, and performance of harpsichord and fortepiano literature in relation to the instrument itself and the historical context. For harpsichordists interested in expanding their knowledge of the repertoire, as well as pianists wishing to gain harpsichord experience. 497. Seminar in Early Keyboard Instruments II. (2 s.h.) Prerequisite: Music 496 or permission of the instructor. Harpsichord study focusing on the works of J.S. Bach. Fortepiano study will begin before midterm, with a study of the instrument itself and performance of classical piano works of Haydn, Mozart, Beethoven, and lesser-known composers of the period. 524. Vocal Coaching. (2 s.h.) Emphasis on style, diction, phrasing and performance traditions in preparation for the Master's degree recital. May be taken one time only. 533. Choral Arranging. (2 s.h.) Arranging and transcribing vocal literature and choral compositions for different choral ensembles (including SSA, TTBB, and SATB div.). Concentration on voicing, styling, and adaptability. 549. Pedagogy of the College Non-Music Major. (2 s.h.) Designed to prepare pianists to teach college students who are not music majors, either in groups or privately, by preparing them with methods and materials of instruction, an understanding of group dynamics, and techniques for eliciting creative activities. 567. Harmonic Applications in Keyboard Performance. (2 s.h.) Includes figured bass realization, aural analysis of repertoire, and improvisations of classical embellishments and cadenzas. Goal is to internalize the student's understanding of harmonic events toward enhanced memorization and meaning in the performance of keyboard literature. 568. Women at the Keyboard. (2-3 s.h.) A study of the work of 18th to 20th century female performers and composers of keyboard music. Historical impact of social issues on the female musical/professional experience to the present. 599. Continuing Registration Status. (1 s.h.) For matriculated graduate students who were last enrolled more than one year ago and who must be registered to complete outstanding degree requirements. For credit or no credit only; does not count toward degree. 700-701. Applied Music -Professional Studies. (4 s.h.) One hour private lesson each week. For professional studies majors only. 720-721. Opera Role Preparation. (3 s.h.) Preparation for performances of Opera roles directed by the Temple University Opera Theater Music Director with laboratory experience through participation in Opera Theater. For professional studies majors only. 724. Vocal Coaching: Professional Studies. (2 s.h.) Vocal coaching for Professional Studies voice or opera majors only. 725-726. Opera Vocal Lessons. (2 s.h.) One hour private lesson each week. For professional studies majors only. 764. Choral Literature: Early Period. (2 s.h.) Study of choral works from 14th century through Baroque period. Emphasis on analysis, conducting, interpretation, and performance practices. 765. Choral Literature: Classic and Romantic Periods. (2 s.h.) Study of choral works of Classic and Romantic periods. Analysis, conducting, interpretation, and performance practices emphasized. 766. Choral Literature: Baroque Period. (2 s.h.) Study of choral works of the Baroque period. Survey plus in-depth study of several major works. 767. Choral Literature: Twentieth Century. (2 s.h.) Study of choral works from Debussy to present time. 770. Piano Literature. (3 s.h.) Admission by permission of instructor. Study of performance practices in the Baroque and early Classic periods, with emphasis on keyboard music. 771. Vocal Literature: Renaissance and Baroque. (2 s.h.) A singer's examination of repertoire for solo voice beginning with the song literature of the Middle Ages and concluding with Baroque Opera. 772. Vocal Literature: Classical/Bell Canto. (2 s.h.) Examination of opera and concert repertoire in bel canto style, with emphasis on Mozart, Bellini, Donizetti, and Rossini. Art of vocal embellishment and cadenza writing. Opportunity to implement skills through class performance. Studies in historical context as well as harmonic and textual analysis. 773. Vocal Literature: German Romantic. (2 s.h.) Survey of the German solo vocal repertoire of the Romantic period, with detailed studies of the major works. 774. Vocal Literature: French Romantic. (2 s.h.) Survey of the French solo vocal repertoire of the Romantic period, with detailed studies of the major works. 776. Vocal Literature: Contemporary. (2 s.h.) An overview of the vocal repertoire of the twentieth century will be the foundation of this course, which will examine the changing role of the singer in contemporary music. 777. Baroque Keyboard Performance Practice. (3 s.h.) A workshop approach to seek ideas and solutions toward stylistic and artistic performance of Baroque keyboard music. The writings of Frescobaldi, Couperin, and Quantz will be compared to their musical compositions for direct experience in applying historical concepts to performance. Additional readings and music will address general topics, such as embellishment, touch, and rhythmic conventions in the music of J.S. Bach. 778. Classical Keyboard Performance Practice. (3 s.h.) A workshop approach to seek ideas and solutions toward stylistic and artistic performance of Classical keyboard music. The writings of C.P.E. Bach, Turk, and Clementi will be compared to their musical compositions for direct experience in applying historical concepts to performance. Additional readings and music will address general topics, such as ornamentation, pedaling, and tempo in the music of Haydn, Mozart, and Beethoven. 780. Oratorio Solo Repertoire. (2 s.h.) Study and performance of the oratorio and cantata repertoire for the solo singer.
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