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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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799. Preliminary Examination Preparation. (1-6 s.h.) For doctoral students in Performance preparing to sit for the Preliminary Examinations. 830. Advanced High School Band Conducting. (workshop) (3 s.h.) A course designed for high school concert band and wind ensemble conductors who wish to increase their effectiveness on the podium. Topics include score preparation, conducting techniques, ensemble techniques, and a survey of selected wind literature. 899. Pre-Monograph Research. (1-6 s.h.) For doctoral students in Performance who have passed the Preliminary Examinations and who do not yet have an approved dissertation proposal. 900-901-902-903. Piano Major/Doctoral (3 s.h.) One hour weekly lesson plus performance class. Matriculated doctoral students only. 906-907-908-909. Voice Major/Doctoral. (3 s.h.) One hour weekly lesson. Matriculated doctoral students only. 912-913-914-915. Instrumental Major/Doctoral. (3 s.h.) One hour weekly lesson. Matriculated doctoral students only. 918-919-920-921. String Major/Doctoral. (3 s.h.) One hour weekly lesson. Matriculated doctoral students only. 924-925-926. Chamber Music/Doctoral. (1 s.h.) By advisement only. Matriculated doctoral students only. 930. Piano Pedagogy. (2 s.h.) Study of the teaching of difficult works of piano literature: virtuoso pieces, large-scale concertos, sonatas, and other works. Style, structure, and technique are explored. 931. Voice Pedagogy. (2 s.h.) Examination of topics in vocal pedagogy. For DMA Voice Performance majors. 933. Double Reed Woodwind Pedagogy. (2 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. 934. Upper Brass Pedagogy. (2 s.h.) Designed to apply principles of private instruction to the major instrument of study with regard to methodology, literature, stylistic concepts, technique, and transcription. Taught by master teachers on the specific instrument. 935. Lower Brass Pedagogy. (2 s.h.) Designed to apply principles of private instruction to the major instrument of study with regard to methodology, literature, stylistic concepts, technique, and transcription. Taught by master teachers on the specific instrument. 936. Percussion Pedagogy. (2 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. 937. Upper String Pedagogy. (2 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. 939. Flute Pedagogy. (2 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. 940-941-942-943. Keyboard Literature -Doctoral. (2 s.h.) An intensive study of problem areas of piano literature: stylistic transitional periods, composers' notational idiosyncrasies, tempo concepts, etc.; the relationship of piano music to music for other media and to other art forms; the role of analysis in interpretation. 945. Special Topics in Voice. (3 s.h.) A seminar for singers. Emphasizes vocal technique as it relates to performance practice. Detailed examination of repertoire from selected historical periods open to doctoral voice majors only. 947. Special Topics in Voice. (2 s.h.) For DMA Voice Performance majors only. A seminar for singers. Emphasizes vocal technique as it relates to performance practice. Detailed examination of repertoire from selected historical periods. 948. Special Topics in Voice. (2 s.h.) A continuation of Music 947. 952. Solo Public Performances -Doctoral. (1 s.h.) Two solo orchestral appearances of contrasting style (one off-campus). One major opera role for singers. 953. Independent Recital -Doctoral. (1 s.h.) Recital independently prepared after completion of lessons. 954. Final Recital -Doctoral. (1 s.h.) Final recital with original notes provided by the performer. 964. Advanced Conducting -Doctoral. (2 s.h.) Detailed analysis of scores as if in preparation for a concert. Emphasis on interpretation and development of baton technique. Practical rehearsal procedures are covered and attendance at Philadelphia Orchestra rehearsals when possible. 966. Chamber Music. (1 s.h.) Open to doctoral string majors only. 967. Technical and Interpretive Seminar -Strings. (2 s.h.) Comprehensive analysis of 17th and 18th century works for unaccompanied strings. 968. Seminar for String Literature. (2 s.h.) Comprehensive study of the major string works of selected composers and genres. Solo and chamber works. 970. Vocal Pedagogy I. (2 s.h.) For DMA Voice Performance majors only. A survey of vocal pedagogical literature combined with studies in the elements of voice science. 971. Vocal Pedagogy II. (2 s.h.) For DMA Voice Performance majors only. A continuation of Music 970.
972. Advanced Vocal Pedagogy. (2-3 s.h.) For DMA Voice Performance majors only. Examines problems in teaching techniques as applied to solo vocal literature.
973. Special Topics in Vocal Pedagogy. (2-3 s.h.) An in-depth specialized research into various aspects of teaching voice.
980. Doctoral Performance Practice I. (2-3 s.h.) For DMA majors in Performance only. An in-depth examination of performance practice.
981. Doctoral Performance Practice II. (2-3 s.h.) For DMA majors in Performance only. A continuation of Music 980. Emphasis on primary resource materials.
999. Monograph -Doctoral. (1-6 s.h.) Final research project; generally, a monograph.
Ensembles (02212) 369. Ensemble. (1 s.h.) To be used only when student is taking more than one ensemble of the same number and/or type. 383. Jazz Ensemble. (1 s.h.) By audition only. 473. Percussion Ensemble. (1 s.h.) By audition only. 474. Wind Chamber Symphony. (1 s.h.) By audition only. Performance of recognized small ensemble literature for a combination of winds and brass. 477. Wind Symphony. (1 s.h.) By audition only. By audition only. 496. Latin American Music Ensemble. (1 s.h.) See Music Studies 496. 497. Early Music Ensembles. (1 s.h.) See Music Studies -0221. 498. Orchestral Repertoire. (1 s.h.) Weekly reading workshop to acquaint orchestral players with standard orchestral repertoire and playing techniques. Emphasis on perfecting tools necessary for successful professional orchestra audition. 499. Orchestral Repertoire: Percussion. (1-2 s.h.) Orchestra repertoire preparation for graduate percussion majors. 560. Instrumental Ensemble. (1 s.h.) By audition only. 561. Instrumental Ensemble. (1 s.h.) By audition only. Music Studies (02213) Theory and Composition 240. Harmonic Review. (2 s.h.) Review course for graduate students unable to meet standards of the diagnostic test. Student's average must be no lower than "B-" to receive credit for the course; graduate credit will not be granted. 340. Remedial Counterpoint. (2 s.h.) Review course for graduate students unable to meet standards of the diagnostic tests. Student's average must be no lower than "B-" to receive credit for the course; graduate credit will not be granted. 460-461. Independent Study. (1-3 s.h.) Special authorization required. 462. Special Topics in Music. (1-3 s.h.) Special authorization required. 463. Special Topics in Music. (1-3 s.h.) Special authorization required. 508. Seminar in Theoretical Analysis. (3 s.h.) Investigation of theoretical and analytical problems in music, including theories of Heinrich Schenker and others as pertinent to particular faculty concerns. 509-510-511-512-513. Seminar in Stylistic Analysis. (2-3 s.h.) Analysis and discussion of twentieth century music. Seminar subject areas include Bartok's theory and practice, the mixed ensemble, current trends, modern opera, new consonance, Hindemith, Stravinsky, and American Neo-classicism, serialists, and others. 514. Canon and Fugue. (2 s.h.) Prerequisite: Counterpoint 343, or equivalent. The development of technique in imitative style and an ability to construct phrase and sectional forms in canonic and fugal style. 516. Computer Synthesis. (3 s.h.) Certain musical applications of digital computers including digital recording, digital sound synthesis, digital control of analog devices such as synthesizers, speech synthesis, and various applications for the music scholar. Fortran, Scortran, and Basic programming. 540. Seminar in Composition. (3 s.h.) Prerequisite: permission of instructor. For students enrolled in M.M. and D.M.A. programs in composition. Guidance toward realization of individual creative concepts in music and critical evaluation of the results.
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