This seminar course covers topics relevant to building performers' interpretive decisions in repertoire from the early 1900s to the present day. Topics include readings drawn from composer and performer sources, including Stravinsky, Cage, Boulez, Berio, and Reich. Students will analyze and compare recordings of a piece in their individual repertoires. The major project will be a presentation of a paper and performance of a work from the student's repertoire, using developed criteria, and musical and literary sources. The course is for DMA in Performance students.

Individual instruction in primary performance area by private instructor. The courses prepare the student for the DMA Recitals and for a professional career in music performance and teaching. Limited to DMA in Performance students.

Continuation of MUS4844Y.

This is a 0.5 elective credit for DMA students wishing to perform a 4th non-required recital. Specifically defined as a dissertation-related extra recital option, to integrate the scholarly and performance sides of the DMA degree or as an opportunity to explore more fully a repertoire related to a secondary interest that was not addressed in the three required recitals.

For DMA in Performance students. This course is a directed study course normally taught by the faculty supervisor. The course lays the groundwork for the dissertation research and leads to a Major Field Examination in the middle of Year 2.

This course includes the study of all aspects and periods of operatic Y performance practice on an individual and class basis. There will be historical and literary study of the repertoire to be performed (including main-stage productions and workshop assignments), and a major paper will be required. Students will be engaged in musical coachings, rehearsals and staging as required. Other classes will cover diction, acting, movement, and other necessary techniques.

Continuation of MUS4900Y.

An exploration of the piano solo literature in master class format.

An exploration of the piano solo literature in master class format.

This course functions as a weekly master class for violinists and violists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

This course functions as a weekly master class for violinists and violists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

This course functions as a weekly master class for violinists and violists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

These courses functions as a weekly master class for cellist and bassists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

These courses functions as a weekly master class for cellist and bassists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

These courses functions as a weekly master class for cellist and bassists. The focus is on performance and receiving feedback from faculty and guest instructors. Class participants are encouraged to contribute to a discussion that includes offering positive feedback and constructive criticism under the supervision of the instructor. In addition, a two-page essay is due in March of the Winter term. The topic, determined at the beginning of the school year, is relevant to current musical performance practices.

This seminar will examine specific theoretical and research foundations of the neuroscience of music and through prepared seminar presentations students will connect these with the clinical research evidence for Neurologic Music Therapy (NMT). The Rational Scientific Mediating Model for Clinical Translations will be examined. Students will prepare research papers on basic NMT mechanisms and clinical studies relevant to the technique. Future directions for clinical music and brain research will be explored.

An examination of music and health research studies on specific topics of interest to staff and students. This course is intended to contribute to the development of individual research abilities in areas of particular concern to students.

This course provides an overview of music approaches used in health care contexts including: music therapy, music and medicine, community music and professional artists working in interdisciplinary teams or residency. The uses of music are explored with various populations and settings such as: acute and chronic care hospitals, palliative care and hospice, rehabilitation, mental health, adult day and outreach programs, developmental, learning and/or physically disabled persons, and pain management clinics. Lectures, guest speakers, video clips, and collaborative learning experiences will enhance student knowledge with a focus on critical issues, current research, and evidence-based practices.

The course explores the relationship between health and music performance. This exploration will include factors that shape the performance of healthy musicians as well as health risks and illnesses that can be encountered by professional and amateur musicians. Treatment approaches for common illnesses of musicians will be reviewed. Social determinants of health and advocacy issues for musicians' health will also be addressed. This course will contribute to your understanding of how health professionals, policy makers, funding agencies, arts management organizations, educators, and musicians themselves can contribute to improved health outcomes in this special population. Throughout the course, cases, videos, readings, and guest lectures will enhance your understanding of the complex interactions between health and music performance.

This course offers an introduction to music perception and cognition, a diverse field that embraces perspectives from music theory, psychology, neuroscience, linguistics, and related disciplines. Representative topics include: music and social bonding, perception of musical tones, memory for pitch and timbre, tonality and expectation, meter and movement, music and language, and emotion. Students who successfully complete this course will be able to understand and critique the design of behavioral experiments, interpret data presented in experimental studies, and extrapolate ideas for future studies. Course requirements include weekly reading summaries and a semester-long research project on a topic of the student's choosing.

The purpose of this research practicum experience is to develop advanced clinical skills and clinical research protocols to be successful clinicians and researchers. Students will engage in both regular classroom instruction and weekly practicum experiences in order to practice what they are learning in the classroom through both clinical observation, practical application and clinical research projects with a variety of populations. Students will practice and gain advanced skills in clinical assessment, treatment planning, implementation of therapeutic interventions and clinical research protocols, data collections, and evaluation of the treatment process and outcomes.

The course will be a hands-on experiential course, which will introduce elementary improvisation methods, using modal, chromatic, and traditional tonal materials. All concepts will be taught on percussion and keyboard instruments. Emphasis will be given to teaching individual and group improvisation concepts that do not require musical training for the improvising students, clients, patients, etc. of the improvisation teacher.