Courses
Undergraduate Academic Courses
MUSI 101: Introduction to Music
Bonnie Gordon
3.0 credits
MW 11:00-11:50 am, MRY 209, and discussion section (see Course Offering Directory)
Surveys the musical literatures that make up the common listening experience of contemporary Americans, emphasizing such “classical” repertories as symphony, opera, “early music”, “new music,” blues, and jazz. Teaches effective ways of listening to and thinking critically about each repertoire. Considers how musical choices reflect or create cultural identities, including attitudes toward gender, ethnicity, social relationships, and ideas of the sacred.
MUSI 131: Introduction to Musical Skills
Joseph Adkins, Geophrey Philabaum, Nicholas Rubin
3.0 credits
Section 1 (Philabaum): MWF 9:00-9:50 am, OCH 107
Section 2 (Rubin): MWF 11:00-11:50 am, OCH 107
Section 3 (Adkins): MWF 10:00-10:50 am, OCH 107
Not open to students already qualified to elect MUSI 231 or 331. Study of the rudiments of music and training in the ability to read music.
MUSI 162: History of the Wind Band
William Pease
2.0 credits
TR 11:00-11:50 am, OCH 107
MUSI 194: Independent Study
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
MUSI 207: History of Rock
Michael Bishop
3.0 credits
TR 12:30-1:20 pm, OCH 107, and discussion section (see Course Offering Directory)
Scholarly and critical study of music circulated through mass media. Specific topic for the semester (e.g. world popular music, bluegrass, country music, hip-hop, Elvis Presley) announced in advance. No previous knowledge of music required. (IR)
MUSI 212: History of Jazz Music
Scott DeVeaux
4.0 credits
MWF 12:00-12:50 pm, MRY 209, and discussion section (see Course Offering Directory)
Survey of jazz music from before 1900 through the stylistic changes and trends of the twentieth century; important instrumental performers, composers, arrangers, and vocalists. (Y)
MUSI 213: Jewish Music
Joel Rubin
3.0 credits
MW 1:00-1:50 pm, OCH 107, and discussion section (see Course Offering Directory)
This course will provide an introduction to sacred and secular Jewish musical traditions as they have developed in Israel and in the various diaspora communities throughout the past 2,000 years. The texts will be drawn from a number of book chapters and articles on digital reserve which draw on writings from the literature of ethnomusicology and musicology, folklore, anthropology, sociology, Jewish studies, history and other fields. The course will use a case-study approach: concentrating on developments in Jewish musical traditions since the middle of the 19th century, it will focus on a small number of diverse traditions and styles within the framework of the three main groupings of Ashkenazic, Sephardic and Mizrakhi Jewry. Each unit will be supplemented by musical examples available on toolkit. When possible, field trips will be taken to internal communal events such as synagogue services and holiday celebrations, as well as to concerts and other public events. Attendance of at least one out-of-class event will be required. These will be announced during the course of the semester. Concerts scheduled so far on Sun. Mar. 29, 3:30-10:00 pm and Sun. Apr. 5, 8:00 pm.
MUSI 222: Bach
Paul Walker
3.0 credits
MW 2:00-3:15 pm, OCH 107
Study of the lives and works of individuals (e.g., Bach, Beethoven, Cage, Ellington, Smyth) whose participation in musical culture has led them to focus on the creation of musical “works.” Topics announced in advance. (Y)
MUSI 230A: Keyboard Skills
Na-Young Choi
2.0 credits, instructor permission
MW 11:00-11:50 am, OCH 113
Introductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.
MUSI 294: Independent Study
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
MUSI 303: Nineteenth Century Music
Heather Wiebe
3.0 credits
TR 9:30-10:45 am, OCH 107
Through the lens of opera, this course will survey themes and issues in nineteenth-century European culture, including changing constructions of gender, revolutionary politics, colonialism, secularization, interiority, sincerity and public expression, and the shifting place of the individual subject in the public sphere.
MUSI 305: 20th Century Music
Elizabeth Lindau
3.0 credits
MWF 11:00-11:50 am, OCH B012
Studies the range of music that has flourished in the twentieth century, including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches.
MUSI 309: Performance in Africa
Michelle Kisliuk
4.0 credits
TR 4:00-4:50 pm, OCH 107
MUSI 332: Theory II
Fred Maus
3.0 credits
Section 1 (Fred Maus): MWF 10:00-10:50 am, OCH B012
Section 2 (Peter Tschirhart): MWF 9:00-9:50 am, OCH B012
Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significant compositions by period composers. (Y)
MUSI 333 A, B and C: Musicianship I, II and III
Vilde Aaslid, Yuri Spitsyn, Sara Culpeper
1.0 credit
These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 333A, B, and C are co-requisites for MUSI 331, 332, and 431. This means that students pre-registering in the latter courses must also pre-register in MUSI 333A, B, or C unless they have already taken the highest level course and have been passed out of further co-requisite requirements. Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 333A, B, or C as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.
MUSI 333A: Musicianship I
Section 1 (Spitsyn): MW 12:00-12:50 pm, OCH 113
1.0 credit
MUSI 333B: Musicianship II
Section 1 (Culpeper): WF 12:00-12:50 pm, OCH B012
1.0 credit
MUSI 333C: Musicianship III
Section 1 (Aaslid): M 12:00-12:50 pm, OCH B012 / F 12:00-12:50 pm, OCH 113
1.0 credit
MUSI 337: Song Writing
Judith Shatin
3.0 credits
MW 1:00-1:50 pm, OCH 113, and discussion section (see Course Offering Directory)
The goal of this course is to delve into songwriting; to develop your aural, analytic and creative abilities and to join them together in understanding and composing songs. You will learn about rhythm, melodic design, harmonic progression, lyrics and song forms. You will also work on eartraining, so that concepts you learn will be sonically meaningful. We will consider examples from a broad musical spectrum: blues, folk, tin pan alley, musicals, R & B, rock & roll, hip hop. We will also discuss the issues that songwriters encounter. You will have the opportunity to suggest songs for study, and some assignments will be done in groups. In these situations, we will organize groups that have complementary abilities for in-class performances.
The prerequisite for this class is MUSI331 or equivalent, and the ability to play a musical instrument and/or sing. In addition to the one required book, assignment materials will be found on our class website materials page. There is a wait list for this class. Please sign up and give the requested information.
MUSI 339: Introduction to Music and Computers
Yiorgos Vassilandonkis
3.0 credits
TR 11:00-11:50 am, OCH B012, and discussion section (see Course Offering Directory)
MUSI 339 will introduce you to the dynamic field of computer music. You will learn about topics including acoustics; digital sound, editing, and processing; recording and multi-track mixing; and MIDI. You will also learn about the historical evolution of electronic and computer music, and will study selected examples of both. We will cover elements of compositional design and hear them applied in a range of styles. You will have ample hands-on experience, and the opportunity to create original music. This course counts for the composition component of the Music Major. Programs to be used include Bias Peak, Frequency, Digital performer and Sound Hack. We will be working on the Mac platform, though the concepts you learn will be broadly applicable. Note that you MUST register for the Lab (0 credits) as well as registering for the course.
MUSI 394: Independent Study
1.0-3.0 credits
Instructor permission and instructor number required to enroll.
MUSI 420: Approaches to Auditory Culture
Heather Wiebe
3.0 credits
TR 2:00-3:15 pm, OCH 107
This course will examine approaches to listening from a range of disciplinary perspectives. We will discuss representative readings in each of the following areas: approaches to recording technology and media (especially radio), histories of sound, the voice (particularly in film), acoustic ecology, and soundscapes. Texts include The Auditory Culture Reader (ed. Bull and Back) and Hearing History (edited by Mark Smith).
MUSI 426: Music in Asian America
Wendy Hsu
3.0 credits
TR 9:30-10:45 am, OCH S008
This interdisciplinary course explores the musical lives of Asian Pacific Americans (APA's) as well as the music by APA musicians in 20th and 21st century U.S. We will read ethnographic and historical studies of musical practices of APA's in jazz, hip hop, Taiko drumming, karaoke and Christian churches; also we will read criticism of Asian American musical representations such as Yoko Ono, Cibo Matto, Jin, and William Hung while analytically engaging with their music and image.
MUSI 435: Experimental Improvisation
Kevin Parks
3.0 credits
MW 2:00-3:15 pm, OCH B012
MUSI 440: Computer Sound Generation and Spatial Processing
Judith Shatin
3.0 credits
W 3:00-4:45 pm, OCH B012, and discussion section (see Course Offering Directory)
MUSI 440/740 focuses on computer sound generation and spatialization technqiues, the creation of compositions using these techniques, and the study of the computer music literature that embodies them. We will consider issues of compositional design specific to the medium, as well as those that span genres. Our work will be based on the RTcmix program, which is an open source, extremely flexible computer music scripting language. We will cover a variety of filter, granulation and other synthesis techniques, and will examine compositional strategies, including algorithmic processes. We will work primarily in stereo, but will also do projects in surround sound, and consider perceptual issues in relation to both sound location and synthesis.
MUSI 447: Film Music Composition
Yiorgos Vassilandonkis
3.0 credits
TR 3:30-4:45 pm, OCH B012, and discussion section (see Course Offering Directory)
MUSI 471: Instrument Conducting
Kate Tamarkin
2.0-3.0 credits
TR 2:00-3:15 pm, OCH 113
Prerequisite: MUSI 431. Instructor permission and instructor number required to enroll.
MUSI 494: Independent Study
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
Graduate Courses
MUSI 708: Jazz Studies
Scott DeVeaux
3.0 credits
M 2:00-4:30 pm, OCH S008
MUSI 725: Performing Antique and Modernities
Michelle Kisliuk
3.0 credits
W 2:00-4:30 pm, OCH S008
MUSI 732: Wagner's Ring
Michael Puri
3.0 credits
R 2:00-4:30 pm, OCH S008
MUSI 740: Computer Sound Generation and Spatial processing
Judith Shatin
3.0 credits
W 3:00-5:45 pm, OCH B012, and discussion section (see Course Offering Directory)
MUSI 440/740 focuses on computer sound generation and spatialization technqiues, the creation of compositions using these techniques, and the study of the computer music literature that embodies them. We will consider issues of compositional design specific to the medium, as well as those that span genres. Our work will be based on the RTcmix program, which is an open source, extremely flexible computer music scripting language. We will cover a variety of filter, granulation and other synthesis techniques, and will examine compositional strategies, including algorithmic processes. We will work primarily in stereo, but will also do projects in surround sound, and consider perceptual issues in relation to both sound location and synthesis.
MUSI 747: Spectralism
Yiorgos Vassilandonkis
3.0 credits
T 5:00-7:30 pm, OCH S008
MUSI 782: Composition
TBA
3.0 credits
TBA
MUSI 882: Advanced Composition
TBA
3.0 credits
Instructor permission and instructor number required to enroll
MUSI 884: Advanced Computer Music Composition
TBA
3.0 credits
TBA
MUSI 892: Supervised Research
3.0 credits
MUSI 894: Independent Study
1.0-3.0 credits
Independent study dealing with a specific topic. Requirements will place primary emphasis on independent research.
MUSI 896: Thesis
1.0-6.0 credits
MUSI 898: Non-topical Research
1.0-12.0 credits
MUSI 992: Supervised Research
3.0 credits
Reading and/or other work in particular fields under supervision of an instructor. Normally taken by second year graduate students.
MUSI 994: Independent Research
3.0 credits
Research carried out by graduate student in consultation with an instructor.
MUSI 997: Non-topical Research
3.0-12.0 credits
Preliminary research directed towards a dissertation in consultation with an instructor.
MUSI 999: Non-topical Research
3.0-12.0 credits
For doctoral dissertation, taken under the supervision of a dissertation director.
Music Ensembles and Performance Instruction
For information on auditions, please visit out auditions website.
MUBD 260: Basketball Band
Bill Pease
1.0 credits
TBA
MUEN 250: Concert Band
Andrew Koch
1.0 credits
M 5:45-7:45 pm, Auditorium
MUEN 360: Jazz Ensemble
John D'earth
2.0 credits
TR 3:30-5:30 pm, OCH B018
Led by internationally recognized jazz trumpeter/composer John D'earth, the Jazz Ensemble is a full-sized jazz big band, whose focus includes “head arrangements” group improvisation, world music and original compositions from within the band, along with music ranging from swing to bop to fusion. You'll gain valuable experience in ensemble playing and in the art of solo improvisation, and may take private instruction in jazz improvisation, perform in small combos and participate in jazz workshops held by such major figures as Michael Brecker, John Abercrombi, Dave Leibman, Bob Moses, Clark Terry, and Joe Henderson.
Restricted to: Instructor permission by audition.
MUEN 361: Orchestra
Kate Tamarkin
2.0 credits
Sectional meeting times vary; see Course Offering Directory
The Charlottesville & University Symphony Orchestra, directed by Kate Tamarkin, performs twelve outstanding concerts each year. The 2007-08 Season will include five subscription series concerts featuring works of Berlioz, Brahms, Stravinsky and more. Solo performances by orchestra principals as well as collaborations with pianist Andrew Armstrong, cellist Uri Vardi, and the University Singers will be true highlights of the season. The orchestra will also present its popular Family Holiday Concerts in collaboration with the University Singers. Symphony performances regularly attract a full house of music lovers who come from all over Central Virginia to hear these concerts.
The orchestra’s membership is a blend of professional music faculty, student and community musicians. Each section of the orchestra works under a faculty principal who is both section leader and coach. Membership is open by audition to interested players from all schools and departments of the University. For further information please contact the orchestra office at 434-924-6505, or at .
Restricted to: Instructor permission by audition.
MUEN 362: Wind Ensemble
Bill Pease
2.0 credits
M 8:00-10:00 pm, Auditorium
The Wind Ensemble is a 45-member ensemble that features the most outstanding brass, woodwind, and percussion players at the University. The focus of this ensemble is to explore new literature as well as perform the masterworks of the wind band era. The wind ensemble also works with outstanding guest performers and conductors. This group is predominately made up of non-music majors who enjoy the genre of the wind band. Open to all University of Virginia students, auditions are held prior to the start of each semester. For more information on the Wind Ensemble, please visit our webpage at: www.virginia.edu/music/ensembles/windensemble/.
Restricted to: Instructor permission by audition.
MUEN 363: Flute Ensemble
Alan Cox
1.0 credit
T 3:30-5 pm, OCH 113
Restricted to: Instructor permission by audition.
MUEN 363: Chamber Music
Mimi Tung, David Colwell
1.0 credit
Meeting time and location TBA
Students are coached by McIntire Dept. faculty on standard chamber music literature, culimating in an end-of-semester performance. Pre-formed groups can usually be accommodated; individual students will be placed in groups with others of like ability. By audition only. For more information, contact David Sariti. Restricted to: Instructor permission by audition.
Restricted to: Instructor permission by audition.
MUEN 363: Double Reed Ensemble
Aaron Hill
1.0 credit
T 5:15-6:45 pm, OCH 113
Restricted to: Instructor permission by audition.
MUEN 363: Clarinet Ensemble
Nancy Garlick
1.0 credit
T 5:15-6:45 pm, OCH B012
A select group of advanced clarinetists, including Eb, Bb, and bass clarinets, who meet once a week to play a variety of repertoire from the past four centuries ensemble skills, such as intonation, rhythm, sound, and blend, are explored and serve as an excellent opportunity for improved solo, band, and orchestral playing. The group performs on and off campus every semester. Auditions are the same as for orchestra. For more information, contact Nancy Garlick ().
MUEN 363: Woodwind Ensemble
Elizabeth Roberts
1.0 credit
M 3:30-5:00, OCH 107
Restricted to: Instructor permission by audition.
MUEN 363: Horn Ensemble
Ian Zook
1.0 credit
R 2:00-3:30 pm, OCH B018
Restricted to: Instructor permission by audition.
MUEN 363: Jazz Improvisation Workshop
John D’earth
2.0 credits
TR 5:30-7:00 pm, OCH B012
The Jazz Improvisation Workshop explores the basic techniques and procedures for improvising music in jazz and other musical contexts. No previous jazz or improvising experience is required. Students must demonstrate a degree of fluency on their main instrument, an ability to read music and some familiarity with the basics of music theory. The class focuses on practicing, listening, and performing. Classical musicians and first-time improvisors are enthusiastically encouraged to enroll. An individual interview/audition with the instructor is required before registering for this class.
MUEN 363: Brass Quintet
Paul Neebe
1.0 credit
W 2:00-3:00 pm, Auditorium
Restricted to: Instructor permission by audition.
MUEN 363: Trombone Ensemble
Nathan Dishman
1.0 credit
W 3:30-5:00 pm, OCH S001
Restricted to: Instructor permission by audition.
MUEN 363: Klezmer Ensemble
Joel Rubin
1.0 credits
M 7:00-10:00 pm, OCH B018
Klezmer, originally the ritual and celebratory music of the Yiddish-speaking Jews of Eastern Europe, was brought to North America by immigrants around the turn of the last century. Since the 1970s, a dynamic revival of this tradition has been taking place in America and beyond. Klezmer’s recent popularity has brought it far from its roots in medieval minstrelsy and Jewish ritual and into the sphere of mainstream culture. The traditional klezmer style presents the experienced instrumentalist with a range of technical challenges with its characteristic note bends, rubati, Baroque-style embellishments and other micro-improvisational techniques, opening up a world of expressive possibilities not available to them from either classical music or jazz. This music was passed on orally from generation to generation, and many of the ornaments which are so integral to the klezmer sound can only be approximated by Western staff notation – not to mention the patterns of improvised variation which are the cornerstone of the style. There will therefore be an emphasis on learning by ear as much as possible, but we will be using music in the form of lead sheets and other written instructional materials to supplement sound examples.
We will continue our focus on various traditions, including accompanying Yiddish dances, hasidic nigunim (songs of spiritual elevation), and the klezmer tradition of the Land of Israel, as well as more generally on the klezmer traditions of New York between the two world wars, and 19th century Eastern Europe. The purpose of the ensemble is to study and perform music from these traditions. Emphasis will be on learning by ear, improvisation within a modal context, and learning to develop a cohesive ensemble sound. Concentration, practice, and good attendance are required of each ensemble member. Pending funding, we will have an outside guest artist(s) each semester teaching and performing with the ensemble.
Admission is by audition during first class period of semester or prior to that, by appointment with the instructor.
Performance dates so far confirmed for Spring 2009 semester: Mar 29, 2009 3:30 in OCH and Apr. 5, 2009, 8:00 pm in OCH.
MUEN 363: Percussion Chamber Ensemble
I-Jen Fang
1.0 credit
T 7:30-10:00, OCH B018
Restricted to: Instructor permission by audition.
MUEN 363: Jazz Chamber Ensembles
1.0 credit
Section 038K (Pete Spaar): R 5:30-7:00 pm, OCH B018
Section 038L (Mike Rosensky): T 5:30-7:00 pm, OCH B018
Section 038M (Jeff Decker): F 2:30-3:30 pm, OCH B018
Section 038N (Pete Spaar): F 12:30-2:00 pm, OCH B018
The jazz chamber ensembles focus primarily on acquiring the skills necessary to be a competent performer in a small jazz group setting. Groups can range in size from quartets to octets and in skill level from beginner to advanced. Each group meets weekly with an instructor and concentrates on building a repertoire from three primary sources: standards from the “Great American Songbook,” blues, and jazz originals (this can include originals not only from such jazz greats as Monk. Miles, Coltrane, etc., but also from the students themselves). Restricted to: Instructor permission by audition.
MUEN 363: String Ensemble
David Colwell, Ayn Balija, David Sariti, Adam Carter
1.0 credit
Meeting time and location TBA
Restricted to: Instructor permission by audition.
MUEN 364: Chamber Singers
TBA
1.0 credit
F 1-3:15 pm, OCH 107
Chamber Singers is a select subset of the University Singers, and is offered for an additional hour of credit. The ensemble meets once a week and focuses on music ranging from the Renaissance to contemporary pieces. Interested singers will be considered for the chamber ensemble as part of their University Singers audition. Restricted to: Instructor permission by audition.
MUEN 365: University Singers
TBA
2.0 credits
MW 3:30-5:30 pm, OCH 101
The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from Medieval chant to the works of contemporary composers. Past repertoire has included Handel's Messiah, Bernstein's Chichester Psalms, the Brahms Requiem, and Mozart's Coronation Mass and Vespers(K. 339). Recent trips have taken the group to New York City, Philadelphia, New Haven, and the National Cathedral in Washington D.C., as well as the campuses of other American universities for collaborative concerts. The group has also been heard on European tours in England, Italy, Belgium, Germany, and Switzerland. Recent highlights have included performances with the Charlottesville & University Symphony Orchestra, a concert and workshop with Bobby McFerrin, and a concert tour of the Northeast.
Students in the University Singers come from all six of UVA's undergraduate schools, including Arts and Sciences, Education, and Engineering, as well as several of the University's graduate and professional schools. Together, they enjoy an esprit de corps that arises from the pursuit of musical excellence and the camaraderie the singers develop offstage.
All singers at the University - undergraduates, graduate students, staff, and faculty are encouraged to audition. University Singers is offered for two hours academic credit. Michael Slon, who has conducted choruses at the Oberlin Conservatory and Indiana University School of Music, is the conductor. For more information on the University Singers, please visit our webpage at: www.virginia.edu/music/usingers/. Restricted to: Instructor permission by audition.
MUEN 367A: Baroque Orchestra
Paul Walker
1.0 credit
R 7:00-9:00 pm, OCH 113
The Early Music Ensemble, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Early Music Ensemble's extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
MUEN 367B: Early Music Vocal Ensemble
Paul Walker
1.0 credit
R 3:30-5:20 pm, OCH 113
If you'd like to sing madrigals, motets, Gregorian Chant, and other music of the Medieval, Renaissance, and Baroque eras, the Early Music Ensemble is also for you. Learn the music of Hildegard von Bingen, Josquin des Prez, William Byrd, Monteverdi, Purcell and others. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
MUEN 367C: Renaissance Consorts
Paul Walker
1.0 credit
R 5:30-6:50 pm, OCH 113
The Early Music Ensemble, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Early Music Ensemble's extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
MUEN 368: New Music Ensemble
I-Jen Fang
1.0 credit
R 7:30-9:00 pm, OCH B018
Performance of vocal and instrumental music of the twentieth century. (S)
MUEN 369: African Music and Dance Ensemble
Michelle Kisliuk
2.0 credits
TR 5:15-7:15 pm, OCH 107
A practical, hands-on course focusing on several music/dance forms from West Africa (Ghana, Togo) and Central Africa (BaAka pygmies), with the intention of performing during and at the end of the semester. Though no previous experience with music or dance is required, we give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, and faithful attendance are required of each class member. The course is repeatable for credit, providing experienced students the opportunity to develop within an ongoing U.Va. African Music and Dance Ensemble. Admission is by informal audition during the first class meeting.
Private Performance Instruction
For more information on registration procedures, please visit the lessons website.
Lesson Levels
There are three levels of private performance instruction.
200-level
For students playing at a beginner to intermediate level or with limited time to practice. One hour or one-half hour lessons, CR/NC (pass-fail), ½ or 1 credit. No jury, but optional performance opportunities will be available. Individual instructors may, as they wish, set definite performance requirements for their students. A limited number of scholarships may be possible, as funding permits, but normally students at this level should expect to pay for their lessons.
300-level
Advanced performance, for students working at the level of a music major, though not necessarily majoring in music. Prerequisite: at least one semester of 200-level study and a successful audition. Normally auditions take place during fall or spring juries; if this is not possible, students audition at the beginning of the semester. One hour lessons, graded, 2 credits. Students at this level should make a time-commitment to practicing appropriate for major-level study. We suggest a norm of at least 6 hours/week, though individual performance instructors may set a different (lower or higher) expectation of practice time as appropriate. Students play a jury at the end of the semester. Students at this level are often on scholarship, but scholarship support is always contingent on availability of funds.
400-level
Honors performance, to be taken for two semesters, by fourth year students preparing a senior recital or, in cases of unusual ability, by students preparing a full recital to be given before their fourth year. Prerequisite: 300-level study, successful written application in the semester before enrolling, and a successful audition (to be included in juries) at the end of the semester before applying. One hour lessons, graded, 2 credits. Jury at the end of the first semester, recital near the end of the second semester. Normally on scholarship, but scholarship support is always contingent on availability of funds.
Offerings
Lessons are offered in the following areas (See the Course Offering Directory for complete listings):
* Voice
* Piano, Organ, and Harpsichord
* Violin, Viola, Cello, Doublebass
* Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra-Bassoon
* Trombone, Trumpet, Tuba, French Horn, Saxophone, Jazz Improv
* Percussion, Jazz Drumming, Tabla, Afro-Cuban perucssion
* Guitar, Chapman Stick, Banjo, Harp, Mandolin
* Supervised Performance (For students involved in types of solo or ensemble performance not offered through the department.