Courses

Undergraduate Academic Courses

MUSI 1010: Introduction to Music

Bonnie Gordon
3.0 credits
MW 11:00-11:50 am, Wilson Hall 301

Discussion Sections:

Section 101 (Maria Guarino): F 9:00-9:50 am, OCH 113
Section 102 (Maria Guarino): F 10:00-10:50 am, OCH 113
Section 103 (Maria Guarino): F 1:00-1:50 pm, OCH 008
Section 104 (Lanier Sammons): F 9:00-9:50 am, OCH S008
Section 105 (Lanier Sammons): F 10:00-10:50 am, OCH S008
Section 106 (Lanier Sammons): R 12:30-1:20 pm, OCH B012

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 1310: Basic Musical Skills

David Cosper, Victor Szabo, Kirstin Ek
3.0 credits
Section 1 (Cosper): MWF 11:00-11:50 am, OCH 107
Section 2 (Szabo): MWF 9:00-9:50 am, OCH 107
Section 3 (Ek): MWF 10:00-10:50 am, OCH 107

Not open to students already qualified to elect MUSI 3310 or 3320. Study of the rudiments of music and training in the ability to read music.

MUSI 1620: History of the Wind Band

William Pease
2.0 credits
TR 11:00-11:50 am, OCH 107

MUSI 1993: Independent Study

1.0-3.0 credits, Instructor Permission

MUSI 2080: American Music

Joel Rubin
3.0 credits
MW 1:00-1:50 pm, OCH 107

Discussion Sections:

Section 101 (Julia Cook): R 9:30-10:20 am, OCH 113
Section 102 (Julia Cook): R 11:00-11:50 am, OCH 113
Section 103 (Julia Cook): R 12:30-1:20 pm, OCH 113

This course will look at American vernacular (i.e. traditional and popular) musics from a cross-cultural, multi-ethnic perspective in an attempt to arrive at new understandings of American-ness and American music at the close of the first decade of the 21st century. We will start by examining the older paradigm of ³American roots music,² which in its classic definition comprises various African-American and white Anglo-Saxon Protestant rural traditions ­ particularly those such as blues and old-time string band music ­ that influenced the development of modern popular music traditions such as rock and roll and country and western. Over the course of the semester we will broaden our view of American vernacular musics ­ and consequently of American-ness ­ to include various other ethnic musical traditions, from Native American pow wows and Cajun to eastern European Jewish klezmer and Balkan-Gypsy-punk, in order reflect some of the developments in popular music making of the past 15 to 20 years in the wake of the emergence of such trends as multiculturalism, world music, indie rock and neo-cabaret. Along the way we will treat a complex and shifting web of concepts and factors such as folk, authenticity, revival, insider/outsider issues, appropriation, mediation and commercialization, agency, as well as ethnicity, race, gender, class, religion, regionalism, politics and nationalism, and popular tastes, looking at how they have influenced and interacted with the development of traditional and popular musical styles over the course of the 20th and 21st centuries. At the end, we will ask whether these trends represent signs of America¹s transforming itself into a post-ethnic, post-racial socity. This course is designed for non-music majors. There are no prerequisites, and musical literacy is not assumed.

MUSI 2120: History of Jazz Music

Scott DeVeaux
4.0 credits
MWF 1:00-1:50 pm, Maury Hall 209

Discussion Sections:

Section 101 (Jason Kirby): W 9:00-9:50 am, OCH 113
Section 102 (Jason Kirby): W 10:00-10:50 am, OCH 113
Section 103 (Jason Kirby): W 11:00-11:50 pm, OCH 008
Section 104 (Stephanie Doktor): W 9:00-9:50 am, OCH S008
Section 105 (Stephanie Doktor): W 10:00-10:50 am, OCH S008
Section 106 (Liza Sapir): T 12:30-1:20 pm, OCH 113
Section 107 (Liza Sapir): T 9:30-10:20 am, OCH 113
Section 108 (Liza Sapir): T 11:00-11:50 am, OCH 113
Section 109 (Stephanie Doktor): T 12:30-1:20 pm, OCH B012

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 2302: Keyboard Skills (Beginning)

Matt Jones
2.0 credits, Instructor Permission
MW 1:00-1:50 pm, 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 2304: Keyboard Skills (Intermediate)

Matt Jones
2.0 credits, Instructor Permission
MW 11:00-11:50 am, OCH 113

Intermediate keyboard skills for students with some previous musical experience.  Satisfies the performance requirement for music majors.  Restricted to: Instructor permission by audition.

MUSI 2993: Independent Study

1.0-3.0 credits, Instructor Permission

MUSI 2306: Fretboard Harmony

Mike Rosensky
2.0 credits, Instructor Permission
MWF 1:00-1:50, OCH B012

The level of this course will vary, anywhere from beginning to advanced, each semester depending on the guitar experience of students who enroll. Students should contact Mike Rosensky () during pre-registration letting him know of their interest in the course and of their intent to show up for the first class of the semester when the level and the make-up of the class will be ultimately determined - please save questions for the first day of class because I won't have any specifics about the course until I see who shows up.

In Fretboard Harmony a theory-based approach will be taken to understanding how musical materials (scales, arpeggios, chord voicings) "fit" on the guitar. The majority of class meeting time is spent with guitars in hand "drilling" new material. Practice methods will be explored, with an emphasis on learning how to practice effectively and efficiently.

MUSI 2340: Learn to Groove

Robert Jospe
2.0 credits
MW 11:00-11:50, OCH B018

This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn To Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate. Auxiliary Latin and African percussion instruments will be provided.

MUSI 2350: Technosonics: Digital Music and Sound Art Composition

Matthew Burtner
3.0 credits
MW 12:00-12:50, Wilson 402

Discussion Sections:

 

This class (www.technosonics.net) explores the history, theory and practice of digital music and sound art. Students learn tools and techniques of music technology that inform many genres and traditions. In addition to historical and theoretical concerns, students will experiment with digital tools for musical creation.

MUSI 2600: Jazz Improvisation Workshop

John D'earth
2.0 credits
TR 2:00-3:30 pm, OCH B018

MUSI 3040: Studies in Twentieth Century Music

Heather Wiebe
3.0 credits
TR 2:00-3:15 pm, OCH 107

Study of art music in the 20th century. Examines ways in which the aims and functions of European/US musical art were re-imagined, particularly in association with modernism. Explores the century's radical shifts in musical language and their relationship with the pressing cultural, political, and social concerns of the period.

Fulfills part of the "Critical and comparative studies in music" requirement for majors.

Prerequisite: MUSI 3310

MUSI 3050: Music and Discourse Since 1900

Fred Maus
3.0 credits
MWF 12:00-12:50 pm, OCH 107

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. 

Required of all majors; fulfills the "Introductory course" requirement for majors.

Prerequisite: The ability to read music, or any three-credit course in music, or instructor permission.

MUSI 3090: Performance in Africa

Michelle Kisliuk
4.0 credits
TR 4:00-4:50 pm, OCH 107

Explores music/dance performance in Africa through reading, hands-on workshops, discussion, and audio and video examples. The course covers both 'traditional' and 'popular' styles, through discussion and a performance lab.

Prerequisite: Instructor permission.

MUSI 3690 African Music & Dance Ensemble

Michelle Kisliuk
TR 5:15-7:15 pm, OCH 107

Dependent Course of MUSI 3090.

MUSI 3120: Jazz Studies

Scott DeVeaux
3.0 credits
TR 2:00-3:15 pm, OCH B012

MUSI 3310: Theory I

Liz Lindau
3.0 credits
MWF 11:00-11:50 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 3320: Theory II

Fred Maus, Emily Gale
3.0 credits
Section 1 (Maus): MWF 10:00-10:50 am, OCH B012
Section 2 (Gale): 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 3332, 3334 and 3336: Musicianship I, II and III

Yuri Spitsyn, Peter Tschirhart, Loren Ludwig
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 3332: Musicianship I

Yuri Spitsyn
MW 12:00-12:50 pm, OCH 113
1.0 credit

MUSI 3334: Musicianship II

Peter Tschirhart
WF 12:00-12:50 pm, OCH B012
1.0 credit

MUSI 3336: Musicianship III

Loren Ludwig
M 12:00-12:50 pm, OCH B012 / F 12:00-12:50 pm, OCH 113
1.0 credit

MUSI 3370: Song Writing

Joe Adkins
3.0 credits
MW 2:00-3:15 pm, OCH 107

MUSI 4505: History of Choirs and Choral Music

Paul Walker
3.0 credits
TR 2:00-3:15 pm, OCH 113

MUSI 4506: Basso Continuo Practicum

Paul Walker
3.0 credits
MW 2:00-3:15 pm, OCH 113

MUSI 4506, Basso Continuo Practicum, is an academic course covering the history, theory, and practice of thoroughbass in the Baroque era. Students must have facility in playing keyboard or classical guitar; previous experience on harpsichord, organ, or lute is not necessary. Theory I (MUSI 3310) is also a prerequisite, and Theory II (Music 3320) a prerequisite or co-requisite. The course load will include reading, some written work, and a great deal of actual playing (from figures) with other musicians. All students will be expected to perform some of the pieces they learn.

MUSI 4510, Section 1: Cultural and Historical Studies: Music and Empire

Heather Wiebe
3.0 credits
TR 9:30-10:45 am, OCH S008

This discussion-based course examines themes of exoticism and colonial encounter in European and American music from the late eighteenth century through the twentieth century. We will listen closely to a variety of works, including opera, songs, ballet and other dance music, and instrumental music. How is the “other” represented in these works?

How does colonial encounter play a role in the construction of metropolitan identities? We will address these questions with help from readings drawn from musicology, history, anthropology, and postcolonial theory.

Prerequisite: MUSI 3050

MUSI 4510, Section 2: Cultural and Historical Studies: Media and Popular Music

Nick Rubin
3.0 credits, Instructor Permission
TR 11:00am-12:15pm, OCH B012

From sheet music to the MP3, media have played a central role in popular music cultures. In this seminar we will examine how media technologies have impacted the production, dissemination, and consumption of popular music; we will also consider the economic and legal issues that intersect this ongoing history. Students will bring their varied interests and approaches to an independent research project. This course is intended for minors and majors in either Music or Media Studies; it does not require the ability to read music, though we will build and utilize a vocabulary with which to analyze musical texts.

MUSI 4510, Section 3: Cultural and Historical Studies: Music in Asian-America

Wendy Hsu
3.0 credits
TR 12:30-1:45 pm, OCH 107

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, Black Eyed Peas, and William Hung while analytically engaging with their music and image.

MUSI 4532: Analysis of Tonal Music

Michael Puri
3.0 credits
TR 9:30-10:45 am, OCH B012

This course is a primer in Schenkerian analysis. For decades, American music theory has taught and practiced this method as the primary way to understand what constitutes tonality as such, and how specific pieces contribute to and inflect the tonal tradition of Western classical music. We will mainly spend our time developing the skills to create Schenkerian diagrams of phrases and short pieces by J. S. Bach, Haydn, Mozart, Chopin, and others, but we will also read important writings by and about Schenker, including recent expansions and critiques of his methods.

Prerequisite: Theory 2, or permission of instructor.

MUSI 4543: Sound Studio: Producer as Composer

Ted Coffey
3.0 credits, Instructor Permission
W 3:30-6:00 pm, OCH B012

MUSI 4547: Materials of Contemporary Music

Aurie Hsu
3.0 credits
T 2:00-4:30 pm, OCH S008

This course is designed for music majors with an aim to deepen a critical and creative sense of music composition. The course will offer a hands-on introduction to writing music with a focus on experimental practices.

We will aim to develop a personal compositional style through a multi-dimensional approach combining performance, theoretical, and experiential work. The course will integrate readings in the fields of music history and theory, cultural studies, performance studies, technology, and aesthetics. We will perform, survey, and analyze works by artists including but not limited to John Cage, Frederic Rzewski, Christian Wolff, Pauline Oliveros, Terry Riley, Henry Cowell, Steve Reich, Yoko Ono, and George Crumb.

Student responsibilities will involve weekly readings, in-class discussions, music compositions, oral presentations, listening assignments, concert attendance, and completion of a paper and final collaborative project for performance.

Prerequisites: MUSI 3310, MUSI 3360, or MUSI 3380. Fluency in any instrument or voice is required. Ability to read music is highly recommended.

MUSI 4576: Choral Conducting II

Michael Slon
3.0 credits
MW 2:00-3:15 am, OCH B012

 

Graduate Courses

MUSI 7350: Interactive Media

Matthew Burtner
3.0 credits
W 3:30-5:45 pm, OCH B011

MUSI 7509: Jefferson and Music

Bonnie Gordon
3.0 credits
M 3:30-6:00 pm, OCH S008

MUSI 7525: Topics in Ethnomusicology

Michelle Kisliuk
3.0 credits
W 2:00-4:30 pm, OCH S008

A graduate course focusing this semester on a critical reading of recent ethnographies of African (and some diasporic) performance -- especially music and dance, while considering the special challenges of performance-centered research and writing. The course also serves as a graduate introduction to the fields of ethnomusicology and performance studies. Student projects will include some locally-based field research, and students should expect to participate in a highly interactive, dynamic seminar environment that addresses the poetics and politics of performance and scholarship.

Prerequisite: Graduate standing or instructor permission

MUSI 7532: French Music at the Fin de Siecle

Michael Puri
3.0 credits
R 2:00-4:30 pm, OCH S008

MUSI 7547: Matterials of Contemporary Music

Ted Coffey
3.0 credits
R 5:00-7:30 pm, OCH B012

MUSI 8820: Advanced Composition

TBA
3.0 credits
Instructor permission required to enroll

MUSI 8840: Advanced Computer Music Composition

TBA
3.0 credits
TBA

MUSI 8910: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.

MUSI 8920: Supervised Research

3.0 credits

Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.

MUSI 8960: Thesis

3.0 credits

MUSI 8993: Independent Study

1.0-3.0 credits

MUSI 8998: Non-topical Research

3.0-12.0 credits

MUSI 8999: Non-topical Research

3.0-12.0 credits

MUSI 9010: Directed Readings

3.0 credits

MUSI 9020: Directed Readings

3.0 credits

MUSI 9910: Supervised Research

3.0 credits

MUSI 9920: Supervised Research

3.0 credits

MUSI 9940: Independent Research

3.0 credits

MUSI 9998: Non-topical Research

3.0-12.0 credits

For doctoral dissertation, taken under the supervision of a dissertation director.

MUSI 9999: 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.

MUEN : Basketball Band

Bill Pease
1.0 credits
TW 6:00-8:00 pm, UHall

MUEN 2600: Concert Band

Andrew Koch
1.0 credits
M 5:45-7:45 pm, Auditorium

MUEN 3600: 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 3610, Sections 100 & 200: Orchestra

Kate Tamarkin
2.0 credits
W 7:30-10:00 pm, Auditorium

String Sectionals: M 5:30-7:00 pm

Section 101: Pete Spaar (Double Bass), OCH B012
Section 102: Adam Carter (Cello), OCH S004
Section 103: Ayn Balija (Viola), OCH 113
Section 104: David Colwell (Violin), OCH 107
Section 105: David Sariti (Violin), OCH B018

Brass, Woodwinds & Percussion Sectionals: W 5:15-6:15 pm

Section 201: Elizabeth Roberts (Bassoon), TBA
Section 202: Tasha Warren (Clarinet), OCH 107
Section 203: Alan Cox (Flute), OCH 113
Section 204: Ian Zook (French Horn), TBA
Section 205: Aaron Hill (Oboe), TBA
Section 206: I-Jen Fang (Percussion), OCH B018
Section 207: Nathan Dishman (Trombone), TBA
Section 208: Paul Neebe (Trumpet), TBA

Restricted to: Instructor permission by audition.

MUEN 3620: 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 3630, Section 1: Percussion Chamber Ensemble

I-Jen Fang
1.0-2.0 credits
T 7:30-10:00, OCH B018

Restricted to Instructor permission by audition on first day of class.

Re-established in spring 2005 by I-Jen Fang, principal timpanist and percussionist with CUSO, the Percussion Ensemble is a chamber group that performs literature ranging from classical transcriptions to contemporary music. The ensemble draws upon a large family of pitched and non-pitched percussion instruments, and the number of players and amount of equipment varies greatly from piece to piece. Music reading skills and basic percussion technique on all percussion instruments is required. Previous percussion ensemble experience is highly recommended. If you are interested in joining please contact I-Jen Fang.

MUEN 3630, Section 2: Woodwind Ensemble

Elizabeth Roberts
1.0-2.0 credits
TBA

Explore, rehearse and perform woodwind chamber music, including both standard and more obscure works. Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music! Instructor permission and audition required.

MUEN 3630, Section 3: Trombone Ensemble

Nathan Dishman
1.0-2.0 credits
W 3:30-5:00 pm, OCH S004

Restricted to: Instructor permission by audition. Contact Nathan Dishman () to schedule an audition.

MUEN 3630, Section 4: Klezmer Ensemble

Joel Rubin
1.0-2.0 credits
MW 7:30-9:30 pm, OCH 107

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.

MUEN 3630, Section 5: Flute Ensemble

Alan Cox
1.0-2.0 credits
T 3:30-5:00 pm, OCH 113

Restricted to: Instructor permission by audition.

MUEN 3630, Section 6: Double Reed Ensemble

Aaron Hill
1.0-2.0 credits
T 5:15-6:45 pm, TBA

Restricted to: Instructor permission by audition.

MUEN 3630, Section 7: Clarinet Ensemble

Tasha Warren
1.0-2.0 credits
R 3:30-5:00 pm, OCH B012

MUEN 3630, Section 8: Brass Quintet

Paul Neebe
1.0-2.0 credits
W 3:30-4:30 pm, OCH 107

Restricted to: Instructor permission by audition.

MUEN 3630, Section 10, 11, 12 and 13: Jazz Chamber Ensemble

1.0 credit

Section 10 (Pete Spaar): R 5:30-7:00 pm, OCH B018
Section 11 (Mike Rosensky): T 5:30-7:00 pm, OCH B018
Section 12 (Jeff Decker): F 2:00-3:30 pm, OCH B018
Section 13 (Pete Spaar): F 12:30-2:00 pm, OCH B018

MUEN 3630, Sections 15, 16, 17, 18 and 19: Chamber Music and String Ensemble

1.0-2.0 credits

Section 15 (Mimi Tung): Meeting time and location TBA
Section 16 (David Colwell): Meeting time and location TBA
Section 17 (David Sariti): Meeting time and location TBA
Section 18 (Ayn Balija): Meeting time and location TBA
Section 19 (Adam Carter): Meeting time and location TBA

Restricted to: Instructor permission by audition.

MUEN 3650: University Singers

Michael Slon
2.0 credits
MW 3:30-5:30 pm, Auditorium

The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from chant to the works of contemporary composers. Past repertoire has included Handel's Messiah, Bernstein's Chichester Psalms, the Brahms Requiem, and Mozart's Mass in C minor, as well as shorter a cappella works. Recent trips have taken the group to Atlanta, Charlotte, New York City, Philadelphia, Chicago, Cincinnati, 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 Midwest.

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 3651: Chamber Singers

Michael Slon
2.0 credits
F 1:00-3:15 pm, OCH 107

Chamber Singers is a select subset of the University Singers, and is offered for an additional 2 hours 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 3670, Section 1: Early Music Vocal Ensemble

Paul Walker
1.0 credit
R 4:00-6:00 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 3670, Section 2: 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 Baroque Orchestra'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 3680: New Music Ensemble

I-Jen Fang
1.0 credit
R 7:30-9:00 pm, OCH B018

Restricted to Instructor permission by audition on first day of class.

Performance of vocal and instrumental music of the twentieth century.

A one-credit course at the University of Virginia, the New Music Ensemble explores and performs exciting music of our time. The ensemble consists of dedicated instrumentalists, singers and UVa performance faculty. We perform a wide variety of contemporary music suitable to our instrumentation, including new works created by UVa composers.

The New Music Ensemble seeks dedicated instrumentalists and singers to explore and perform a wide variety of contemporary music. To audition, come to the first class with your instrument. If you are interested in joining please contact I-Jen Fang.

Open to UVA students, community musicians and advanced high school students.

MUEN 3690: 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 Catalog 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.