Music

University of California, Berkeley

This is an archived copy of the 2014-15 guide. To access the most recent version of the guide, please visit http://guide.berkeley.edu/.

About the Program

Bachelor of Arts (BA)

The Department of Music grants a Bachelor of Arts (BA) degree in Music and also a minor in Music. The Department is dedicated to a liberal education in the arts and humanities and thus involves students in all aspects of the study of music-theoretical and creative studies, historical and cultural studies, music and technology, and performance. The curriculum is responsive to the interests of a diverse student body, and the program offers a broad and flexible program.

The major may serve as pre-professional training for the student seeking a career in music or provide a lasting source of enrichment for the student with other career goals. Prospective majors are asked to demonstrate a minimum standard of musical literacy in a placement test. Since the program is offered by a Department of Music rather than a School of Music, a performance audition is not required to declare the major.

There are a large number of double majors in the department representing fields such as Molecular and Cell Biology, Rhetoric, Physics, Theater, Dance, and Performance Studies, Political Economy of Industrial Societies, English, and Business Administration, just to name a few.

Course of Study Overview

Lower-division studies are intended to provide grounding in the skills of musicianship and harmony and a broad background in the literature and practices of European and a variety of other music. Upper division students may choose from an extensive selection of elective courses to create an individual course of study according to their own interests. The Department offers an honors program in which a major in the senior year may develop a special honors project working with a faculty adviser in any area of music studies.

Students without keyboard proficiency are strongly urged to enroll in two semesters of basic piano (MUSIC 405) in their first semesters in the major program.

Course Placement Procedure

Students who plan to major in music or wish to take music major classes must complete the Music Placement Procedure before beginning music major classes. Students may pre-enroll in classes before the Music Placement Test and make adjustments to their schedule during the add/drop period if necessary. For detailed information regarding the placement test, please the Placement Procedure page on the Department's website.

Music Placement Exam results for entry in MUSIC 49B (Musicianship) and MUSIC 49C(Harmony) will only be valid for the semester in which the exam is taken. If a student who placed in MUSIC 49B does not enroll in the course in the semester in which the Placement Exam is taken, he or she will need to retake the Placement Exam in the semester of enrollment.

Declaring the Major

For information on declaring the music major, please contact the Department. Students will need to complete the Course Placement Procedure (see above).

Honors Program

The Department of Music offers an individualized program leading to the BA degree with honors. Students with a grade point average (GPA) of 3.3 overall and 3.5 in the major may apply to enroll in the honors program in the last two semesters of their undergraduate study. Under course MUSIC H195, students undertake a special project exceeding the scope of regular coursework for one or two semesters. Application forms with more detailed criteria for approval can be obtained from the department office and must be submitted by the end of the first week of classes in the semester in which the project is started.

Minor Program

For information on declaring the minor, please contact the Department.

Visit Department Website

Major Requirements

In addition to the University, campus, and college requirements, listed on the College Requirements tab, students must fulfill the below requirements specific to their major program.

General Guidelines

  1. All courses taken to fulfill the major requirements below must be taken for graded credit, other than courses listed which are offered on a Pass/No Pass basis only. Other exceptions to this requirement are noted as applicable.
  2. No more than one upper-division course may be used to simultaneously fulfill requirements for a student's major and minor programs, with the exception of minors offered outside of the College of Letters and Science.
  3. A minimum grade point average (GPA) of 2.0 must be maintained in both upper- and lower-division courses used to fulfill the major requirements.

For information regarding residence requirements and unit requirements, please see the College Requirements tab.

Lower-division Requirements

Muscianship series:
MUSIC 49BMusicianship3
MUSIC 50Musicianship3
MUSIC 51Musicianship3
Harmony series:
MUSIC 49CHarmony3
MUSIC 60Harmony3
MUSIC 61Harmony3
History and Culture series:
MUSIC 73African American Music4
or MUSIC 74 Introduction to Selected Musics of the World
MUSIC 75History of Western Music: Music to 17004
or MUSIC 77 History of Western Music: The 20th Century
MUSIC 76History of Western Music: The 18th and 19th Centuries4
Select one of the following:
Another section of MUSIC 73 or MUSIC 74
History of Western Music: Music to 1700 (whichever one not chosen above)
History of Western Music: The 20th Century
1

Junior transfers must take the upper-division equivalents of these courses: MUSIC 130B African American Music, MUSIC 132 Music of the Middle East, MUSIC 133AX Music of Southeast Asia, MUSIC 133C Music and Theater in Southeast Asia, MUSIC 133D Music of Central Java, MUSIC 134A Music of the East Asia Tradition, MUSIC 134B Music of Japan, MUSIC C134C Sonic Culture in China/CHINESE C184 Sonic Culture in China, MUSIC 135A Musics of the Caribbean, MUSIC 136 World Music: Power, Aesthetics, and Connections, MUSIC 137AC Music of the Civil Rights Era, or MUSIC 139 Topics in Musics of the World

Upper-division Requirements

Select one seminar from courses numbered MUSIC 170-MUSIC 1893
Select 21 additional units of Music courses: 121
Select at least three performance classes from the MUSIC 140 series or in conjunction with the MUSIC 150 series
The remaining units may be selected from courses numbered from MUSIC 100-129 with an M suffix and MUSIC 130-MUSIC 189

Minor Requirements

Students who have a strong interest in an area of study outside their major often decide to complete a minor program. These programs have set requirements and are noted officially on the transcript in the memoranda section, but they are not noted on diplomas.

General Guidelines

  1. All courses taken to fulfill the minor requirements below must be taken for graded credit.
  2. A minimum of three of the upper-division courses taken to fulfill the minor requirements must be completed at UC Berkeley.
  3. A minimum grade point average (GPA) of 2.0 is required for courses used to fulfill the minor requirements.
  4. Courses used to fulfill the minor requirements may be applied toward the Seven-Course Breadth Requirement, for Letters and Science students.
  5. No more than one upper-division course may be used to simultaneously fulfill requirements for a student's major and minor programs.
  6. All minor requirements must be completed prior to the last day of finals during the semester in which the student plans to graduate. If students cannot finish all courses required for the minor by that time, they should see a College of Letters and Science adviser.
  7. All minor requirements must be completed within the unit ceiling. (For further information regarding the unit ceiling, please see the College Requirements tab.)

Requirements

Lower-division (see below for information regarding substitutions for and exemptions from the lower-division requirements)
MUSIC 20ABasic Musicianship2
MUSIC 20BBasic Musicianship2
or MUSIC 25A Introduction to Music Theory
Select one of the following:4
Music in American Culture
Introduction to Western Music
Music Now
Upper-division
Select five upper-division courses, numbered between MUSIC 100-MUSIC 149, MUSIC 158-MUSIC 159, and MUSIC 164-MUSIC 165
At least one of the five courses must be a performance ensemble
At least one of the five courses must not be a performance ensemble

Substitutions

Courses for the Music major may be substituted for the equivalent minor course if the student has placed 49B or higher on the Music Placement Procedure:

Exemption from Lower-division requirements

MUSIC 20A and MUSIC 20B may be waived by examination for minors who have the following:

  • Some musical accomplishment (ability to sing, play an instrument or compose music) and mastery of music theory rudiments. Students who would like to place out of the requirement should speak to a student affairs officer about taking a 15-minute oral waiver test. The waiver test will include sight singing in major and minor modes, in simple and compound meters; identification of major and minor key signatures; singing and spelling of major and three forms of minor scales; singing and identification of intervals; and singing and spelling of chord functions in various keys, i.e. “sing and spell iv and V7 in the key of F-sharp minor.”
  • Training in four-part harmony writing. Students who would like to place out of MUSIC 25A Introduction to Music Theory or MUSIC 49C Harmony should take the Advanced Placement Harmony Exam which is given at 3:00 the day before instruction begins in the Fall and Spring semesters.
  • Had a survey course at another school. Students should see one of the Student Services Advisers in the Music Department Office.

College Requirements

Undergraduate students in the College of Letters and Science must fulfill the following requirements in addition to those required by their major program.

For detailed lists of courses that fulfill college requirements, please see the College of Letters and Sciences  page in this bulletin. 

Entry Level Writing

All students who will enter the University of California as freshmen must demonstrate their command of the English language by fulfilling the Entry Level Writing Requirement. Fulfillment of this requirement is also a prerequisite to enrollment in all reading and composition courses at UC Berkeley. 

American History and American Institutions

The American History and Institutions requirements are based on the principle that a U.S. resident graduated from an American university should have an understanding of the history and governmental institutions of the United States.

American Cultures

American Cultures is the one requirement that all undergraduate students at Cal need to take and pass in order to graduate. The requirement offers an exciting intellectual environment centered on the study of race, ethnicity and culture of the United States. AC courses offer students opportunities to be part of research-led, highly accomplished teaching environments, grappling with the complexity of American Culture.

Quantitative Reasoning

The Quantitative Reasoning requirement is designed to ensure that students graduate with basic understanding and competency in math, statistics, or computer science. The requirement may be satisfied by exam or by taking an approved course.

Foreign Language

The Foreign Language requirement may be satisfied by demonstrating proficiency in reading comprehension, writing, and conversation in a foreign language equivalent to the second semester college level, either by passing an exam or by completing approved course work.

Reading and Composition

In order to provide a solid foundation in reading, writing and critical thinking the College requires two semesters of lower division work in composition. Students must complete a first-level reading and composition course by the end of their second semester and a second-level course by the end of their fourth semester.

Breadth Requirements

The undergraduate breadth requirements provide Berkeley students with a rich and varied educational experience outside of their major program. As the foundation of a liberal arts education, breadth courses give students a view into the intellectual life of the University while introducing them to a multitude of perspectives and approaches to research and scholarship.  Engaging students in new disciplines and with peers from other majors, the breadth experience strengthens interdisciplinary connections and context that prepares Berkeley graduates to understand and solve the complex issues of their day.

Unit Requirements

  • 120 total units, including at least 60 L&S units

  • Of the 120 units, 36 must be upper division units

  • Of the 36 upper division units, 6 must be taken in courses offered outside your major department

Residence Requirements

For units to be considered in "residence," you must be registered in courses on the Berkeley campus as a student in the College of Letters and Science. Most students automatically fulfill the residence requirement by attending classes here for four years. In general, there is no need to be concerned about this requirement, unless you go abroad for a semester or year or want to take courses at another institution or through University Extension during your senior year. In these cases, you should make an appointment to see an adviser to determine how you can meet the Senior Residence Requirement.

Note: Courses taken through UC Extension do not count toward residence.

Senior Residence Requirement

After you become a senior (with 90 semester units earned toward your B.A. degree), you must complete at least 24 of the remaining 30 units in residence in at least two semesters. To count as residence, a semester must consist of at least 6 passed units. Intercampus Visitor, EAP, and UC Berkeley-Washington Program (UCDC) units are excluded.

You may use a Berkeley summer session to satisfy one semester of the Senior Residence Requirement, provided that you successfully complete 6 units of course work in the Summer Session and that you have been enrolled previously in the College.

Modified Senior Residence Requirement

Participants in the UC Education Abroad Program (EAP) or the UC Berkeley-Washington Program (UCDC) may meet a Modified Senior Residence Requirement by completing 24 (excluding EAP) of their final 60 semester units in residence. At least 12 of these 24 units must be completed after you have completed 90 units.

Upper Division Residence Requirement

You must complete in residence a minimum of 18 units of upper division courses (excluding EAP units), 12 of which must satisfy the requirements for your major.

Sample Plan of Study

Below is a typical plan of study for music majors; however, each student's program will vary based on experience and interest.

Please note that the sample plans below include only courses required for your major. For more detailed information regarding other requirements, including unit minimums per semester, Letters and Science Breadth Requirements, Reading and Composition (R & C), and the American Cultures (AC) requirements, please see the College Requirements tab.

Freshman
FallUnitsSpringUnits
MUSIC 49B3MUSIC 503
MUSIC 40511MUSIC 603
MUSIC 49C3MUSIC 40511
 7 7
Sophomore
FallUnitsSpringUnits
MUSIC 513MUSIC 75 or 774
MUSIC 613Performance course22
MUSIC 764 
 10 6
Junior
FallUnitsSpringUnits
MUSIC 744MUSIC 75 or 774
Upper-division Music course3Upper-division Music course3
Performance course22Performance course2 
 9 7
Senior
FallUnitsSpringUnits
Select one course numbered MUSIC 170-MUSIC 18932 upper-division Music courses6
Upper-division Music course3 
 6 6
Total Units: 58
1

 Strongly recommended for those without keyboard experience.

2

 A minimum of three semesters of performance ensembles (or three performance ensembles) are required. Please see an adviser in the Department of Music for additional information.

Student Learning Goals

Learning Goals for the Major

Berkeley music majors are expected to do the following:

  1. To acquire knowledge and understanding of music in an integrated way—through historical and cultural studies, musicianship and theory, and performance.  These studies prepare students to pursue a career in some aspect of music or to maintain music as a central part of their lives
  2. To cultivate musical competency, including literacy (the use of music notation in reading, performing, composing, analyzing, and hearing music)
  3. To develop skills of critical thinking and writing about music by taking courses on past and present musical cultures in European and other heritages
  4. To create music by performing, composing, and improvising
  5. To pursue personal interests by selecting upper-division courses including independent studies and honors projects

Advising

Advising Staff

LaShonda D. King
104 Morrison Hall
510-642-2678
musicadvising@berkeley.edu

Academic Opportunities

Performance Opportunities in the Department of Music

All ensembles are open by audition to members of the community. Please see the Department's website for further information.

Javanese Gamelan (MUSIC 140)

Traditional music of Indonesia performed on the Music Department's gamelan, Khyai Udan Mas. Public performances may also feature Indonesian shadow play.
Instructor: Midiyanto
Sections for beginners and for advanced students
Auditions: Come to first class meeting
Location: Morrison Hall

University Symphony (MUSIC 141)

Bold programming and high artistic standards have made this one of the country's finest university orchestras. It is not only a pre-professional training orchestra but also a major performing ensemble in the Bay Area as well.
Instructor: David Milnes
Auditions: Held during first week of instruction
Location: Hertz Hall

University Wind Ensemble (MUSIC 142)

Performing course for the study and practice of traditional and contemporary wind band repertoire.
Instructor: Robert Calonico
Auditions: Call 510-643-9644, or stop by Room 53 César Chavez Center to schedule an audition or for more information.
Location: César Chavez Center

Gospel Chorus (MUSIC 143)

Music of the African American gospel tradition with particular emphasis on contemporary performance techniques.
Instructor: Mark Wilson
Auditions: Held during the first week of instruction
Location: 125 Morrison Hall

University Chorus (MUSIC 144)

Praised by the San Francisco Chronicle as "very impressive in sonority, quality of tone, and expressiveness." From Slavonic chant to choral-orchestral repertoire to contemporary music, this large chorus performs an exciting variety of literature.
Instructor: Marika Kuzma
Auditions: Held during the first week of instruction
Location: Hertz Hall

Chamber Chorus (MUSIC 145)

Focusing on lesser-known choral works, this small ensemble also sings and records with Philharmonia Baroque Orchestra.
Instructor: Marika Kuzma
Auditions: Held during the first week of instruction
Location: Hertz Hall

Balinese Gamelan (MUSIC 146B)

Learn to perform music suited to Balinese gamelan Semar Pagulingan, Pelegongan, Baleganjur, or Gender Wayang.  Classes will consist of instruction on playing technique and memorization of pieces taught by ear in the traditional Balinese manner.
Instructor: Benjamin Brinner
Auditions: Come to first class meeting
Location: Morrison Hall

African Music Ensemble (MUSIC 148)

Music of West Africa taught by a Ghanaian master drummer.
Instructor: C.K. Ladzekpo
Auditions: Come to first class meeting
Location: Hertz Hall

Baroque Music Ensemble (MUSIC 149)

Instrumental and vocal performances of Renaissance and Baroque music.
Instructor: Davitt Moroney
Auditions: Come to first class meeting
Location: Hertz Hall

Jazz Improvisation (MUSIC 164)

A study of the fundamental principles in improvisation designed for performers with the aim in developing skill in improvisation.
Instructor: Myra Melford
Auditions: Come to first class meting
Location: Morrison Hall

Nu Jazz Collective (MUSIC 165)

This advanced small ensemble of improvisers will explore a range of repertoire including music by innovative jazz composers of the 1960s and 70s as well as contemporary works and original student compositions and arrangements.
Instructor: Myra Melford
Auditions: Come to first class meting
Location: Morrison Hall

Courses

Music

MUSIC R1B Reading and Writing about Music 4 Units

This course aims to help students improve their writing skills, taking a particular type of music as its central material. The goal of the course is to help students prepare for academic writing, develop analytical skills appropriate to the subject matter, and receive an introduction to college-level research papers. Depending on the topic the course may include a section of one to two hours for further listening to musical examples in a group setting.

MUSIC 20A Basic Musicianship 2 Units

Fundamentals of music, including notation, sight singing, ear training, and beginning linear analysis. For general students.

MUSIC 20B Basic Musicianship 2 Units

Fundamentals of music, including notation, sight singing, ear training, and beginning linear analysis. For general students.

MUSIC 24 Freshman Seminar 1 Unit

The Freshman Seminar Program has been designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small-seminar setting. Freshman seminars are offered in all campus departments, and topics vary from department to department and semester to semester. Enrollment is limited to 15 freshmen.

MUSIC 25A Introduction to Music Theory 3 Units

A writing course based on traditional harmony. Beginning linear and vertical analysis. For general students. Emphasis on written exercises.

MUSIC 25B Introduction to Music Theory 3 Units

A writing course based on traditional harmony. Beginning linear and vertical analysis. For general students. Emphasis on written exercises.

MUSIC 26AC Music in American Culture 4 Units

Two perspectives are developed: 1) diverse music of groups in America, and 2) American music as a unique phenomenon. Groups considered are African, Asian, European, Hispanic/Latino, and Native American. Lectures and musical examples are organized by topics such as music of socio-economic subgroups within large groups, survival of culture, pan-ethnicity, religious and concert music, and the folk-popular music continuum.

MUSIC N26AC Music in American Cultures 4 Units

Two perspectives are developed: 1) diverse music of groups in America, and 2) American music as a unique phenomenon. Groups considered are African, Asian, European, Hispanic/Latino, and Native American. Lectures and musical examples are religious and concert music, and the folk-popular music continuum.

MUSIC 27 Introduction to Western Music 4 Units

Devoted to the development of listening skills, and a survey of major forms and types of Western art music.

MUSIC N27 Introduction to Western Music 4 Units

Devoted to the development of listening skills, and a survey of major forms and types of Western art music.

MUSIC 28Y The Inner Workings of the Orchestra 2 Units

A seminar for lower division students. Instruments, the role of the conductor, major repertory, and a survey of the great orchestras and conductors of the world. Recordings, videos, and field trips to rehearsals or performances.

MUSIC 29 Music Now 4 Units

This course explores the basic materials and models that set the boundaries for various present-day musical experiences. Students are exposed to terminology and modes of engagement with the aim of inspiring new paradigms of listening (e.g., listening to silence, noise, space, and timbre). Composers and musicians of today continue to explore new ways of defining and organizing sounds into music. The course focuses on the most adventurous music of our time, but the concepts learned can be applied to any style of music. The course is designed to enrich and deepen the students' musical abilities through direct involvement with musical materials. Direct engagement through listening and participatory learning is accomplished in part with software created at the Center for New Music and Audio Technologies. The course does not require students to be able to read music nor to own a personal computer.

MUSIC 39M Freshman/Sophomore Seminar 2 - 4 Units

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester.

MUSIC 39N Freshman/Sophomore Seminar 2 - 4 Units

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester.

MUSIC 40 Group Carillon Lessons for Beginning Students 1 Unit

A course designed for students who wish to attain a beginner's level of proficiency on the carillon. Prospective students must have a working knowledge of the keyboard, read treble and bass clefs fluently, be secure in key signatures through three sharps and flats, and be comfortable with common duple and triple meters.

MUSIC 41A Private Carillon Lessons for Beginning Students 1 Unit

Private carillon lessons to develop a personal repertory. In this course, students will begin to learn different practice techniques.

MUSIC 41B Private Carillon Lessons for Intermediate Students 1 Unit

Private carillon lessons stressing musical questions and de-emphasizing technical and repertory issues. Composition and arranging may be included. Personal musicianship is examined and musical horizons are extended.

MUSIC 41C Private Carillon Lessons for Advanced Students 2 Units

This course is designed for students to reach an advanced level of proficiency. Students are required to play one ten-minute concert per week plus participate in the student recital.

MUSIC 42 Carillon Lessons for Advanced Students 2 Units

This course is a requirement for those students who are studying for examination by the Guild of Carillonneurs in North America.

MUSIC 43 Introduction to Improvisation 3 Units

This course will serve as an introduction to performance practices in contemporary improvisation. Several approaches to improvising will be presented including African American jazz and blues traditions, North Indian Raga, gaming strategies, graphic notation, and conducted improvisation or "sound painting." Class activities will include improvisation exercises and games and repertoire development. Assignments will include listening to and analysis of recorded and live performances and the creation of student works.

MUSIC 44 Voice Class 2 Units

Students will learn the fundaments of healthy singing. The classical style will be learned and applied to other styles of singing. Students will receive group instruction and individual feedback throughout the semester. Singers will perform two solos: one in English and one in a foreign language. The course is open to all undergraduates. Students involved in campus vocal ensembles are encouraged to enroll. No prior music experience required.

MUSIC 45 Beginning Piano Class 1 for Non-Music Majors 1 Unit

Piano instruction includes music theory (musical notation, triads, scales and primary chords) at the keyboard. Repertoire draws from simple classical pieces and melodies accompanied with chords. Mastery of the material will be demonstrated at the keyboard and through three written assignments.

Weekly class attendance and daily practice (5 hours weekly) are expected.

MUSIC 45A Advanced Beginning Piano Class for Non-Music Majors 1 Unit

Continuing from MUSIC 45, pianists will build on their musical skills through understanding music theory. Course covers minor scales (relative/parallel keys; three forms of the minor scale; primary chords in minor scales), chord inversions, chord progressions, and dominant seventh chords. Repertoire will include classical works and music suggested by students. Weekly class attendance and daily practice (five hours weekly) are expected.

MUSIC 49A Thinking about Music 2 Units

As a complement to Music 49B and 49C, this course introduces current and intending majors to perspectives that are central to the music major curriculum. It is organized around themes such as music and meaning, the relationship between written and aural transmission of music, and the interpretation of musical traditions, repertoires, and practices in relation to particular socio-historical contexts. Topics and musics to be studied vary by instuctor.

MUSIC 49B Musicianship 3 Units

Diatonic sight singing, ear training, and keyboard harmony.

MUSIC 49C Harmony 3 Units

Diatonic harmony, chorale harmonization, and analytical studies. Emphasis on written exercises.

MUSIC 50 Musicianship 3 Units

Continuation of diatonic sight singing and ear training, introduction to chromatic sight singing, ear training, keyboard harmony, and score reading.

MUSIC 51 Musicianship 3 Units

Sight singing, ear training, keyboard harmony, and score reading involving increasing chromaticism.

MUSIC 60 Harmony 3 Units

Advanced diatonic harmony, modulation, introduction to altered chords, chorale harmonization, and analytic studies. Emphasis on written exercises.

MUSIC 61 Harmony 3 Units

Advanced diatonic harmony, advanced modulation, altered chords, chromatic harmony, and analytic studies. Emphasis on written exercises.

MUSIC 70 History of Music I 4 Units

Introduction to the study of music history; required for music majors. This writing-intensive course offers an in-depth study of musical genres and styles in relation to conditions of production and reception. Through listening, reading musical scores, and studying historical documents, students will draw connections between specific features of music and the ways in which listening, performance, and the function of music have changed over time.

MUSIC 73 African American Music 4 Units

Focus on a variety of musical practices both historical and contemporary, including popular and religious forms. Content will vary and may include genres such as blues, jazz, gospel, and hip-hop, explored with attention to race, gender, and the working of the music industry.

MUSIC 74 Introduction to Selected Musics of the World 4 Units

Focus on performance practice, forms, styles, instruments, and meanings of particular musics from an ethnomusicological perspective. The musics to be studied vary; see offerings in the 130 series for specific course descriptions. Alternate lower division course numbering for lower division majors enrolling in the 130 series. This course will meet lower division major requirement.

MUSIC 74AC Introduction to Musics of the World: Hip Hop in Urban America 4 Units

As hip-hop becomes an increasingly prominent force in U.S. popular culture, it remains a paradoxical art form. As a musical and political tool, it challenges, complicates, and transforms the historical formations of race even as it gives expressive shape to the material realities of racial inequity. This course traces the social, cultural, and musical history of hip-hop in the U.S. through an excavation of seven urban centers: New York, Los Angeles, the Bay Area, New Orleans, Atlanta, Chicago, and Detroit. Our investigations will reveal the many alliances that have contributed to the innovation, production, and consumption of hip-hop across identity assemblages formed at the intersections of gender, race, sexuality, and ethnicity.

MUSIC 75 History of Western Music: Music to 1700 4 Units

Studies in Medieval and Renaissance music. An introduction to music history and criticism, and practice in analytical methods for music of all periods, with emphasis on listening, exercises, and papers.

MUSIC 76 History of Western Music: The 18th and 19th Centuries 4 Units

Music of the 18th and 19th centuries. An introduction to music history and criticism, and practice in analytical methods for music of all periods, with emphasis on listening, exercises, and papers.

MUSIC 77 History of Western Music: The 20th Century 4 Units

Music of the 20th century.

MUSIC 97 Field Studies 1 - 3 Units

Department organized and supervised field programs involving experiences in tutoring and related activities. Students taking the course for the first time will be provided with training suitable to the subject matter being tutored.

MUSIC 98 Directed Group Study for Freshmen and Sophomores 1 - 4 Units

Group study in a field that may not coincide with that of any regular course. See the Introduction to Courses and Curricula section of the General Catalog for enrollment restrictions.

MUSIC 98BC Berkeley Connect 1 Unit

Berkeley Connect is a mentoring program, offered through various academic departments, that helps students build intellectual community. Over the course of a semester, enrolled students participate in regular small-group discussions facilitated by a graduate student mentor (following a faculty-directed curriculum), meet with their graduate student mentor for one-on-one academic advising, attend lectures and panel discussions featuring department faculty and alumni, and go on field trips to campus resources. Students are not required to be declared majors in order to participate.

MUSIC 99 Independent Study for Freshmen and Sophomores 1 - 4 Units

Directed individual study in a field that may not coincide with that of any regular course. See the Introduction to Courses and Curricula section of the General Catalog for enrollment restrictions.

MUSIC 101 New Music and the Arts 3 Units

A study of recent musical works from the 20th century to the present, emphasizing collaborations and influences from other art forms including poetry, dance, visual art, theater, and film.

MUSIC 101M New Music and the Arts 3 Units

A study of recent musical works from the 20th century to the present, emphasizing collaborations and influences from other art forms including poetry, dance, visual art, theater, and film.

MUSIC 107 Independent Projects in Computer Music 4 Units

Students will develop, in consultation with the instructor, a semester length project that focuses on creating a piece of music, and/or researching and building new software tools for music.

MUSIC 108 Music Perception and Cognition 4 Units

A review of the sensory, perceptual, and cognitive foundations of listening, composing, and performing. Topics include relations among various acoustical and perceptual characterizations of sound; perception of pitch, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. A course research project is required.

MUSIC 108M Music Perception and Cognition 4 Units

A review of the sensory, perceptual, and cognitive foundations of listening, performing, and composing. Topics include relations among various acoustical and perceptual characterizations of sound; perceptions of pitch, time, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. The course research project should involve the analysis of musical examples or perceptual and cognitive issues in music theory or both.

MUSIC 109 Music Cognition: The Mind Behind the Musical Ear 3 Units

The goal of this class is to interrogate and make explicit the powerful musical intuitions that are at work as you make sense of the music all around you. What is the nature of the knowledge that is guiding these intuitions? How does this knowledge develop in ordinary and extraordinary ways? To approach these questions, small composition-like projects aided by a specially designed computer music environment will function as a workplace. You will explore, experiment, question, and reflect on how and what you know how to do as you generate the musical coherence that you seem simply to find.

MUSIC 109M Music Cognition: The Mind Behind the Musical Ear 3 Units

The goal of this class is to interrogate and make explicit the powerful musical intuitions that are at work as you make sense of the music all around you. What is the nature of the knowledge that is guiding these intuitions? How does this knowledge develop in ordinary and extraordinary ways? To approach these questions, small composition-like projects aided by a specially designed computer music environment will function as a workplace.

MUSIC 116A Jazz Theory and Performance 1 3 Units

A systematic study of jazz theory including scales, chords, keyboard voicings, solo transcription, and tune study approached through playing, singing, listening, writing, improvization, analysis, and small ensemble playing.

MUSIC 116AM Jazz Theory and Performance 1 3 Units

A systematic study of jazz theory including scales, chords, keyboard voicings, solo transcription, and tune study approached through playing, singing, listening, writing, improvization, analysis, and small ensemble playing.

MUSIC 116B Jazz Theory and Performance 2 3 Units

Advanced concepts in theory and performance in the jazz vernacular tradition, including melodic minor and diminished chords and scales, reharmonization, changes, Coltrane changes, use of pentatonics and 4ths, playing outside, solo analysis, piano voicings, and an introduction to jazz arranging and composition. Activities will include short writing and playing exercises, transcription and analysis, historical and analytical readings, arranging and composition projects for small ensemble, and three hours of small ensemble rehearsal each week.

MUSIC 116BM Jazz Theory and Performance 2 3 Units

Advanced concepts in theory and performance in the jazz vernacular tradition, including melodic minor and diminished chords and scales, reharmonization, changes, Coltrane changes, use of pentatonics and 4ths, playing outside, solo analysis, piano voicings, and an introduction to jazz arranging and composition. Activities will include short writing and playing exercises, transcription and analysis, historical and analytical readings, arranging and composition projects for small ensemble, and three hours of small ensemble rehearsal each week.

MUSIC N116 Jazz Theory and Performance 1 3 Units

A systematic study of jazz theory including scales, chords, keyboard voicings, solo transcription, and tune study approached through playing, singing, listening, writing, improvization, analysis, and small ensemble playing.

MUSIC 128 Topics in the History of European and American Music 3 Units

For non-majors. A comparative study of different genres and composers in western music. Topic will vary each semester.

MUSIC 128A Opera 3 Units

A study of musical and dramatic aspects of opera. Lectures on selected operas will be supplemented by assigned recordings and films or videotapes of notable performances.

MUSIC 128AM Opera 4 Units

A study of musical and dramatic aspects of opera. Lectures on selected operas will be supplemented by assigned recordings and films or videotapes of notable performances. Analytical studies and a term paper required.

MUSIC 128B Beethoven 3 Units

This course is an introduction to Beethoven's music and its historical contexts. While closely analyzing individual works, this course also examines how Beethoven and his music have been represented and interpreted until our own day, exploring the values--musical and cultural--that have ensured Beethoven's towering position in Western music.

MUSIC 128BM Beethoven 3 Units

This course is an introduction to Beethoven's music and its historical contexts. While closely analyzing individual works, this course also examines how Beethoven and his music have been represented and interpreted until our own day, exploring the values--musical and cultural--that have ensured Beethoven's towering position in Western music.

MUSIC 128D J. S. Bach 3 Units

An introduction to the music of J. S. Bach (1685-1750), a central figure in the history of Western Art Music. The course includes discussion of his organ music, harpsichord works, cantatas, Passion settings, and instrumental chamber music, discusses the relationship between Bach's biography and his compositions, and places study of the man and his music in its cultural and historical context. Required work will include one short paper and one longer paper. There will also be weekly reading and listening assignments.

MUSIC 128DM J. S. Bach 4 Units

An introduction to the music of J. S. Bach (1685-1750), a central figure in the history of Western Art Music. The course includes discussion of his organ music, harpsichord works, cantatas, Passion settings, and instrumental chamber music, discusses the relationship between Bach's biography and his compositions, and places study of the man and his music in its cultural and historical context. Required work will include one medium-length paper, one longer research paper, and one analytical study. There will also be weekly reading and listening assignments.

MUSIC 128E Mozart and Haydn 3 Units

MUSIC 128GY Symphonic Literature 2 Units

A survey of the major symphonic repertory from the Baroque period through modern times, with emphasis on the Classical and Romantic periods.

MUSIC 128P Music and Meaning 3 Units

This course will explore the question of whether music has meaning, and if so, what kind. Can music represent, say, birdsong, or the sea, or merely imitate? If music expresses emotions, then whose--those of the listener? The composer? The performer? We will consider parallels and contrasts between linguistic and musical meaning, theories of how music can be expressive, and the question of whether music can convey political meaning.

MUSIC 128Q The European/American Art Song 3 Units

A study of song and the interaction of poetry and music, from late 18th through the 20th century, with texts in English, German, French, and Russian in translation. Music by composers ranging from Mozart and Schubert to Gershwin and Bernstein will be included, with occasional live performances by local artists.

MUSIC 128S Topics in Contemporary Improvised Music 3 Units

Topic(s) in contemporary improvised music will be selected from among the following: innovations in jazz in the 1960s; further innovations in jazz in the 1970s; women in improvised music; improvisation, intermedia, and new technologies; the Association for the Advancement of Creative Musicians (AACM); the phenomenon of the composer/performer/improviser in today's music; a global look at improvisation: fusion and hybrid forms. Please contact instructor for information on current topic(s).

MUSIC 128SM Topics in Contemporary Improvised Music 3 Units

Topic(s) in contemporary improvised music will be selected from among the following: innovations in jazz in the 1960s; further innovations in jazz in the 1970s; women in improvised music; improvisation, intermedia, and new technologies; the Association for the Advancement of Creative Musicians (AACM); the phenomenon of the composer/performer/improviser in today's music; a global look at improvisation: fusion and hybrid forms. Please contact instructor for information on current topic(s).

MUSIC 128T The American Musical 3 Units

A study of the American musical in the 20th century, beginning with its roots in operetta, vaudeville, and Gilbert and Sullivan, and focusing on its connections to politics, technology, film, opera, and a variety of musical styles, including Tin Pan Alley, jazz, and rock. We will consider a selection of shows through a series of theme units, including American mythologies (and counter-mythologies), race and ethnicity, gender and sexuality, issues of fandom and performance of personal identity. For non-majors.

MUSIC 128TM The American Musical 3 Units

A study of the American musical in the 20th century, beginning with its roots in operetta, vaudeville, and Gilbert and Sullivan, and focusing on its connections to politics, technology, film, opera, and a variety of musical styles, including Tin Pan Alley, jazz, and rock. We will consider a selection of shows through a series of theme units, including American mythologies (and countermythologies), race and ethnicity, gender and sexuality, issues of fandom, and performance of personal identity. For music majors.

MUSIC C128P Music and Meaning 3 Units

This course will explore the question of whether music has meaning, and if so, what kind. Can music represent, say, birdsong, or the sea, or merely imitate? If music expresses emotions, then whose--those of the listener? The composer? The performer? We will consider parallels and contrasts between linguistic and musical meaning, theories of how music can be expressive, and the question of whether music can convey political meaning.

MUSIC 130B African American Music 4 Units

Historical and analytical study of African-American music in the 20th-century. Emphasis on the evolution of jazz and various forms of popular and religious music.

MUSIC N130B African American Music 4 Units

Historical and analytical study of African-American music in the 20th-century. Emphasis on the evolution of jazz and various forms of popular and religious music.

MUSIC 132 Music of the Middle East 4 Units

Music of the Middle East, including folk, art, popular, and religious music of the Pan-Islamic and Israeli traditions.

MUSIC 133AX Music of Southeast Asia 3 Units

Surveys the music of Indonesia (Java and Bali), Thailand, Cambodia, Laos, Malaysia, and the Philippines--cultures which share instrumental types but have developed distinctive musical types. Recommended that students also enroll in Javanese Gamelon.

MUSIC 133C Music and Theater in Southeast Asia 4 Units

Surveys musical traditions of Indonesia and mainland Southeast Asia with special emphasis on Java and Bali and the central role of music in theater and dance in these countries.

MUSIC 133D Music of Central Java 4 Units

In-depth study of the Central Javanese gamelan tradition including performance contexts, repertoire, vocal and instrumental idioms, modal practice and improvisation in current practice and in historical perspective.

MUSIC 134A Music of the East Asia Tradition 4 Units

Surveys the musics of China, Tibet, Korea, Vietnam, and Japan--cultures which share instrument types but have developed distinctive musical styles.

MUSIC 134B Music of Japan 4 Units

Traditional classical music of Japan: Shinto ritual music, the imperial court orchestral music and dance, biwa and shakuhachi forms, chamber music for shamisen and koto, theatrical genres of kabuki and noh. Reading in music and pertinent Japanese literature in translation.

MUSIC C134C Sonic Culture in China 4 Units

This course explores the aesthetics and politics of sound - both musical and otherwise - in Chinese cultures. Through musical discourse and literary discourses on music, we trace the ways in which sound has been produced, heard, understood, and debated in both pre-modern and modern China. Topics include Confucian musical theory, Daoist hermeneutics, music, and poetry; the impact of recording technology and Western music; urban popular musics, sound and cinema, and contemporary soundscapes.

MUSIC 135A Musics of the Caribbean 4 Units

Focus on the history, musical structure, and socio-political, economic, and cultural roles of selected traditional and popular music genres of the Caribbean.

MUSIC 136 World Music: Power, Aesthetics, and Connections 4 Units

This course focuses on selected "world musics" to examine how, through their soundings, they make audible their entanglements with particular locales, times, and spaces. In focusing on their soundings, we will examine not only the music technologies they use, but also the diasporic connections they establish. Issues of power relations will be central to our exploration of how these musics circulate and what values (social, economic, and aesthetic) they have acquired on specific markets. In so doing, we will situate these musics in relation to colonial legacies, the politics of labeling, globalization, and music industries.

MUSIC 137AC Music of the Civil Rights Era 4 Units

Historical and political analysis of a variety of genres related to the New Social Movements of the mid-20th century. Includes African American, European American, Asian American, Latino, and Native American styles.

MUSIC C138 Art and Activism 4 Units

This course explores the intersections between aesthetic practice and social change. Students will investigate—in both theory and practice—the capacity of art making to cultivate transformation of themselves, their relationships, their practices, their institutions, and the larger economic and socio-political structures in which they function, locally and globally. Focusing on historical and contemporary artists and political issues, we ask: 1) How is art impacted by social change? 2) How has art been used toward social change? and 3) How can we, as course participants, use art to bring about social change?

MUSIC 139 Topics in Musics of the World 4 Units

Surveys the music of different world cultures. The particular culture to be studied will vary.

MUSIC 139AC Topics in Musics of the World: Hip Hop in Urban America 4 Units

As hip-hop becomes an increasingly prominent force in U.S. popular culture, it remains a paradoxical art form. As a musical and political tool, it challenges, complicates, and transforms the historical formations of race even as it gives expressive shape to the material realities of racial inequity. This course traces the social, cultural, and musical history of hip-hop in the U.S. through an excavation of seven urban centers: New York, Los Angeles, the Bay Area, New Orleans, Atlanta, Chicago, and Detroit. Our investigations will reveal the many alliances that have contributed to the innovation, production, and consumption of hip-hop across identity assemblages formed at the intersections of gender, race, sexuality, and ethnicity.

MUSIC 140 Javanese Gamelan 2 Units

A performing course for the study and practice of Indonesian music and instruments.

MUSIC N140 Javanese Gamelan 2 Units

A performing course for the study and practice of Indonesian music and instruments.

MUSIC 141 University Symphony Orchestra 2 Units

May be taken for credit or audited.

MUSIC 142 University Wind Ensemble 2 Units

A performing course for the study and practice of traditional and contemporary wind band repertoire.

MUSIC N142 University Wind Ensemble 2 Units

A performing course for the study and practice of traditional and contemporary wind band repertoire.

MUSIC 143 Gospel Chorus 2 Units

A course that will focus on the performance of choral music of the African American gospel music tradition with a particular emphasis on contemporary performance techniques. The Gospel Chorus, as is the case with other formal University music performance ensembles, will prepare music to be presented to the public in at least two concerts each semester. Students will be selected for the chorus on the basis of individual auditions.

MUSIC 144 University Chorus 2 Units

The University Chorus performs music primarily from the 17th to the 20th centuries including works for chorus and orchestra.

MUSIC 145 University Chamber Chorus 2 Units

A smaller mixed chorus that aims at a professional standard of ensemble singing and explores the lesser-known choral repertory.

MUSIC 146B Balinese Gamelan 2 Units

Learn to perform music suited to Balinese gamelan Semar Pagulingan, Pelegongan, Baleganjur, or Gender Wayang (emphasis may change from one semester to the next). Classes will consist of instruction on playing technique and memorization of pieces taught by ear, in the traditional Balinese manner. The course will culminate with a public performance.

MUSIC 147 Contemporary Improvisation Ensemble 2 Units

This is an intermediate-advanced repertoire ensemble performing music that incorporates experimental practices in contemporary improvised music, encompassing several styles of music and a variety of approaches. We will work on traditionally notated scores as well as graphic notation and other structures. We will also look at game pieces such as John Zorn's Cobra, pieces by the graduate composers, and music using various conducting techniques for focusing ensembles of improvisers. All instruments welcome, including electronic and non-western.

MUSIC 148 African Music Ensemble 2 Units

Performance of West African music with particular emphasis on the music of Ghana. Practical instruction in traditional instrumental and vocal techniques.

MUSIC N148 African Music Ensemble 2 Units

Performance of West African music with particular emphasis on the music of Ghana. Practical instruction in traditional instrumental and vocal techniques.

MUSIC 149 University Baroque Ensemble 2 Units

Performance of Renaissance and Baroque music for voices and instruments.

MUSIC 150A Instrumental Performance 3 Units

By audition, for experienced performers of orchestral instruments. A directed program of study including participation in the University Symphony or other department-sponsored ensembles, in workshops, and in special projects. Will include instruction and/or coaching, individually or in groups. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 150B Vocal Performance 3 Units

By audition for experienced vocalists. A comprehensive program of vocal studies including participation in University Choruses, vocal technique training, and ensemble work with other instrumentalists or vocalists. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 150C Keyboard Performance 2 Units

The program will focus on the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 150D Various Musical Practices Performance 3 Units

By audition. Intermediate or advanced instruction in musical practices not encompassed in 150A-150B-150C, within the context of a directed academic program of studies. Students must have experience on the instrument or have studied it in the 130 series. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 150E Jazz Performance 1 - 3 Units

Intermediate or advanced instruction in the performance of jazz and improvisation. A directed program of study including participation in department-sponsored or UC Jazz ensembles, workshops, and special projects where applicable. Will include instruction and/or coaching, individually or in groups. Each student's studies will lead to some kind of public performance. The student's program will be worked out in consultation with the faculty in charge of the course. Units range from 1 to 3, depending on number of lessons and ensemble participation.

MUSIC 150G Guitar Performance 2 Units

The program will include ensemble work in addition to the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 150H Early Music Performance 1 - 3 Units

The program will include ensemble work in addition to the study of solo repertoire. The student's program will be worked out in consultation with the faculty in charge of the course. Each student's studies will lead to some kind of public performance.

MUSIC 151 Twentieth-Century Harmony 3 Units

Advanced chromatic harmony, early 20th-century harmony, and analytic studies. Emphasis on written exercises.

MUSIC 152 Advanced Musicianship 3 Units

Continuation of the skills acquired in prerequisite courses, with an emphasis on score reading skills (including use of the voice) and the realization of Baroque figured bass lines. Increased emphasis on 20th-century and contemporary practice.

MUSIC 154A Counterpoint 3 Units

A study of species counterpoint. Regular exercises in two and three voices required. Group discussion and analysis.

MUSIC 154B Counterpoint 3 Units

A study of 18th-century counterpoint. Regular exercises required. Analysis of chorale preludes, two- and three-part inventions, canons, and fugue expositions.

MUSIC 155 Music Composition 3 Units

A study of formal problems using contemporary composition techniques.

MUSIC 156 Studies in Musical Analysis 3 Units

The study of various analytical techniques and their application to important works of music.

MUSIC 157A Orchestration 3 Units

A study of instrumentation--the construction capabilities and idiomatic qualities of all of the individual instruments which comprise the contemporary symphony orchestra followed by a study of the 18th-, 19th-, and 20th-century orchestrational technique. Analysis of scores and assignments in scoring of selected instrumental combinations.

MUSIC 157B Orchestration 3 Units

A study of instrumentation--the construction capabilities and idiomatic qualities of all of the individual instruments which comprise the contemporary symphony orchestra followed by a study of the 18th-, 19th-, and 20th-century orchestrational technique. Analysis of scores and assignments in scoring of selected instrumental combinations.

MUSIC 158 Musical Applications of Computers and Related Technologies 4 Units

Basic concepts and techniques of computer-based music research, composition, and performance. Essentials of digital audio signal processing, musical acoustics and psychoacoustics, sound analysis and synthesis, musical databases, use of MIDI, computer programming for music, and computer-aided music analysis. Works from the computer music repertoire will be examined.

MUSIC 158A Sound and Music Computing with CNMAT Technologies 4 Units

Explores the intersection of music and computers using a combination of scientific, technological, and artistic methodologies. Musical concerns within a computational frame are addressed through the acquisition of basic programming skills for the creation and control of digital sound. Will learn core concepts and techniques of computerbased music composition using the Cycling74/MaxMSP programming environment in combination with associated software tools and programming approaches created by the Center for New Music and Audio Technologies. Included will be exposure to the essentials of digital audio signal processing, musical acoustics and psychoacoustics, sound analysis and synthesis. The course is hands-on and taught from the computer lab.

MUSIC 159 Computer Programming for Music Applications 4 Units

Software engineering for musical applications covering programming concepts for live-performance real-time systems as well as cloud-based music information retrieval applications. Topics include the software representation of sound and music, real-time scheduling, analysis of gestures from systems of sensors, common design patterns, analysis and controlled synthesis, and machine learning applications for music understanding and creation. Behavior driven design and test driven development are core ideas that permeate the course.

MUSIC 161A Instrumental Conducting 3 Units

A study of the basic elements of conducting: physical gesture, score reading, and score analysis. Development of skills with emphasis on conducting and rehearsal techniques applicable to orchestral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class. Should be taken in a two-semester sequence.

MUSIC 161B Instrumental Conducting 3 Units

A study of the basic elements of conducting: physical gesture, score reading, and score analysis. Development of skills with emphasis on conducting and rehearsal techniques applicable to orchestral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class. Should be taken in a two-semester sequence.

MUSIC 162 Choral Conducting 4 Units

Continued development of skills introduced in 160 with emphasis on conducting and rehearsal techniques applicable to choral literature in various languages and musical styles. Preparation of selected works for rehearsal and performance in class.

MUSIC 163 Workshop in Choral Conducting 2 Units

An intensive two-week workshop. Daily classes: conducting technique (MWF) and rehearsal technique (TTh), supplemented by two sessions on topics related to movement and vocal technique (W evening). Conducting technique classes will be taught at an intermediate/advanced level. See prerequisites.

MUSIC 164 Current Trends in Jazz and Improvisation-Based Musics--A Performance Workshop 3 Units

This is an intermediate-advanced level performance workshop in jazz-based improvisational music. Class participants will perform pieces from innovative jazz artists of the 60s and 70s up through and including music by contemporary composer/performer/improvisers who have come out of the jazz tradition. Course will also cover related theory and musicianship skills that enable the performer to improvise in this idiom.

MUSIC 165 Berkeley Nu Jazz Collective 2 Units

This advanced small ensemble of improvisers (The Berkeley Nu Jazz Collective) will explore a range of repertoire including music by innovative jazz composers of the 1960s and 70s, as well as contemporary works and original student compositions and arrangements. Students will be expected to practice, compose, and arrange music for the bi-weekly rehearsals outside of class time, and will be given individual guidance on composing and arranging by appointment.

MUSIC 171D The Performance of Baroque Music 3 Units

A study of music from ca. 1600-1750 with emphasis upon performance practices and styles.

MUSIC 172A Mozart 3 Units

MUSIC 174C Stravinsky 3 Units

MUSIC 179 Topics in History, Culture, and Analysis 3 Units

A seminar for upper division music majors. Topics will change each semester but will always represent a fairly narrow focus on a single issue in the history, interpretation, or social meaning of music. The course provides students with an opportunity to go deeply into one subject, to discuss their ideas in a seminar setting, and to carry out a substantial independent research project.

MUSIC 189 Topics in Research and Performance 3 Units

A seminar for upper division music majors. The primary purpose of this course is to create an environment in which students can combine the research and analysis of music with live performance. The specific topic covered will change each semester. Class time will be divided equally among (1) historical and analytical readings; (2) discussion and analysis of recorded and live performances; (3) in-class performance. The final project will combine scholarly work and performance in the form of a lecture-recital or collaborative creative project.

MUSIC H195 Special Study for Honors Candidates in Music 4 Units

Individual tutorials leading to the completion of a special honors project.

MUSIC 197 Field Studies 1 - 3 Units

Department organized and supervised field programs involving experiences in tutoring and related activities. Students taking the course for the first time will be provided with training suitable to the subject matter being tutored.

MUSIC 198 Group Special Study for Advanced Undergraduates 1 - 4 Units

Not to serve in lieu of regular courses of instruction.

MUSIC 198BC Berkeley Connect 1 Unit

Berkeley Connect is a mentoring program, offered through various academic departments, that helps students build intellectual community. Over the course of a semester, enrolled students participate in regular small-group discussions facilitated by a graduate student mentor (following a faculty-directed curriculum), meet with their graduate student mentor for one-on-one academic advising, attend lectures and panel discussions featuring department faculty and alumni, and go on field trips to campus resources. Students are not required to be declared majors in order to participate.

MUSIC 199 Supervised Independent Study and Research 1 - 4 Units

Not to serve in lieu of regular courses of instruction. Enrollment restrictions apply; see the Introduction to Courses and Curricula section of this catalog.

Faculty

Professors

Jeanne Bamberger, Professor.

Benjamin Brinner, PhD, Professor. Indonesia, Java, Bali, Israel, musical memory, situated musical cognition, musical interaction, improvisation, gamelan, music and oral narrative.
Research Profile

Edmund Campion, Professor. Music, composition, musical application of computer technologies.
Research Profile

Cindy Cox, Professor. Composition, music analysis and theory, post-tonal music, piano, music and live electronics, text-setting.
Research Profile

Jocelyne Guilbault, Professor. Cultural politics, Caribbean, popular and traditional musics, nation, diaspora, cultural entrepreneurship.
Research Profile

Marika C Kuzma, Professor. Music, directing, conducting, choral conducting technique, choral literature, Slavic choral literature, art song literature, choral music.
Research Profile

David Milnes, Professor. Music, directing, orchestral conducting technique, music ensemble.
Research Profile

Davitt Moroney, Professor. Music, musicology, music performance, Italian Music.
Research Profile

Mary Ann Smart, Professor. Staging of opera, 19th-century music, opera, opera and politics, 19th-century Italy, music and gender, singers and voices, Verdi, Wagner, Rossini, Donizetti, Bellini.
Research Profile

Richard Taruskin, Professor. Nationalism, music, musicology, theory of performance, Russian music, twentieth-century music, theory of modernism, analysis.
Research Profile

Bonnie C. Wade, Professor. Japan, India, music, ethnomusicology, East Asian studies, East Asia, North India, music of Asia.
Research Profile

David Wessel, Professor. Music, musical applications of computer, technologies; music perception and cognition; composition, improvisation; interactive live performance.
Research Profile

Associate Professors

Nicholas Mathew, Associate Professor. Handel, aesthetics, Beethoven, Haydn, Mozart, music and politics, Napoleonic Wars, Vienna, piano performance, historical performance practices, pianos, music and identity.
Research Profile

Myra Melford, Ba, Associate Professor.

Ken Ueno, Associate Professor. Music composition, noise, electronic music, Asian music, music of Japan, extended vocal techniques, overtone singing, musical culture of Japan, experimental improvisation.
Research Profile

Assistant Professors

Franck Y. Bedrossian, Assistant Professor.

James Quail Davies, PhD, Assistant Professor. History of science, cultural performance, colonial melodrama, pianists and pianos, singers and voice, nineteenth-century life sciences, township opera.
Research Profile

Tamara C. Roberts, Assistant Professor.

Lecturers

Christy L. Dana, Lecturer.

C. K. Ladzekpo, Lecturer.

Midiyanto Midiyanto, Lecturer.

Michael Orland, Lecturer.

David Pereira, Lecturer.

Karen Rosenak, Lecturer.

Doniel Mark Wilson, Lecturer.

Contact Information

Department of Music

104 Morrison Hall

Phone: 510-642-2678

Fax: 510-642-8480

music@berkeley.edu

Visit Department Website

Department Chair

Cindy A. Cox, DMA

206 Morrison Hall

Phone: 510-642-2684

cacox@berkeley.edu

Undergraduate Student Services Adviser

LaShonda D. King

104 Morrison Hall

Phone: 610-642-2678

music@berkeley.edu

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