The Salem College School of Music focuses on developing the whole musician. Building on a centuries-old legacy of excellence, it offers a healthful, stimulating environment in which a diverse student body obtains a unique blend of outstanding professional and liberal arts training. Through rigorous, nurturing, and personalized instruction, students are empowered to develop their unique talents to the fullest potential and to prepare themselves for the next step in their musical journey—graduate school, professional internships, international study, teaching and performing careers, or community leadership in the arts.
The School of Music also provides cultural leadership and educational opportunities for Salem Academy and College and for Winston-Salem and its surrounding areas. Through free concerts, workshops, audience building, and general music education, the School of Music seeks to contribute to the cultural vitality of our region and to secure a healthy future for the study and performance of music.
In addition to its college-level program, the School of Music supports a variety of music education programs through the Community Music School (CMS). The CMS offers private instruction in music to children and adults. Music majors have the benefit of observing and participating in the CMS programs as part of their training.
Sample the 88.5 WFDD, Public Radio for the Piedmont’s interview with Barbara Lister-Sink and Warwick Lister.
Audio Courtesy of WFDD, used with permission.
Salem’s personalized instruction means you leave the School of Music with a strong background in both theory and performance. Your portfolio will be a professional one that is unique to your own talents and career goals. Your advisors are mentors, coaches and outstanding teachers, giving you the tools you need for the world of music as well as an incredible network of contacts and support.
The School of Music also provides cultural leadership and educational opportunities for Salem Academy and College and for Winston-Salem and the surrounding area. Through concerts, workshops, audience-building and general music education, the School of Music seeks to contribute to the cultural vitality of our region and to secure a healthy future for the study and performance of music.
Salem places a great deal of emphasis on learning outside the classroom, in real-world settings. Internships are an important part of that process. An internship offers you the opportunity to apply knowledge and skills learned in class and to explore career possibilities. Internships in music may include studio teaching, Suzuki teaching, church music, or work with performing organizations. You will also be required to take a course in not-for-profit management in order to prepare you for the real-life challenges of competition.
The quality of a music degree is determined by what doors it opens for advanced study and career opportunities. When you graduate with a major or minor in music, you will be prepared to continue your music studies at the best graduate schools or go on to teach music in an educational setting; perform onstage; join orchestras or ensembles; and other career paths.
Opportunities to study in the School of Music include pursuing the bachelor of music (BM) degree in performance (with a concentration in flute, guitar, organ, piano, or voice) and the bachelor of arts degree in music (BA). Students may also earn the bachelor of arts with a minor in music or a minor in musical theater. All music majors, in any degree program, and music minors, must pass an entrance performance assessment.
Students can work toward a bachelor of music in performance in flute, guitar, organ, piano, or voice. Music lessons in these and other instruments are available to both BA music majors and non-majors by audition (in the case of music majors and minors) or permission of instructor (in case of elective lessons). A student wishing to take Applied Lessons (MUSI 037, 041, 044, or 047) who is neither a major nor minor must pay an Applied Lessons fee, and must supply her own instrument. Students interested in studying instruments other than flute, guitar, organ, piano, or voice should contact the School of Music for further information. Membership in Salem ensembles is open to all qualified students, regardless of major. Salem’s cross-registration agreement with nearby Wake Forest University provides both music majors and non-music majors with additional ensemble opportunities such as the Marching Band, Symphonic Wind Ensemble, and Symphony Orchestra. Interested students should contact the Wake Forest University Department of Music at (336) 758-5364 for audition, schedule, and other information on these ensembles.
Music students are highly encouraged to study arts management, offered through a separate program at Salem College. The arts management degree programs and courses are described separately in the catalog.
Music majors should consult the School of Music Handbook for more detailed statements of mission, goals, and objectives and for information on procedures.
or
MUSI elective (3 hrs min.)
The bachelor of music degree in performance is available with a concentration in flute, guitar, organ, piano, or voice. The following courses must be completed at Salem: two years of applied music, one year of ensemble, one advanced course in music theory, one course in music history, one course in music pedagogy, one music literature course, and Senior Seminar (MUSI 390).
Bachelor of music students must be assessed in order to be admitted to the degree by taking an extended jury in the first year. Students enroll in one semester hour of lessons (applied music) in the fall of the first year and enroll in three semester hours of lessons for each subsequent semester, for a total of twenty-two semester hours of lessons. Specific requirements will vary depending on the instrument of the major; see below.
In order to continue in the BM degree, the student must pass a qualifying jury in the major instrument during the spring semester, sophomore year.
Required core courses:
(Voice students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
(Flute students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
(Guitar students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
The minor in music is available to any student majoring in an area other than music.
The minor in musical theater consists of the following course requirements, all of which must be taken at Salem:
The minor in music entrepreneurship is intended for students pursuing a BA or BM in music. A student may not minor in both music entrepreneurship and arts management nor may she major in arts management and minor in music entrepreneurship.
This beginning-level course provides an introduction to the keyboard. Students will learn to identify notes on the grand staff, develop a solid well-coordinated technical foundation for future growth, play a variety of left-hand accompaniment patterns, demonstrate basic rhythm patterns, and perform elementary-level solos and ensemble repertoire. Students will also be introduced to computer software programs that allow for recording, editing, and producing creative music projects.
For music majors with little or no prior keyboard experience, this course instills a basic technical foundation to playing the piano, while building the skills of becoming a functional musician. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, and improvisation. The digital keyboard lab introduces students to some of the uses of MIDI technology. Normally taken in conjunction with MUSI 161 and 171.
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Application of music theory concepts continues to guide the student in demonstrating a musical approach to these concepts. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students learn to play all major and harmonic minor scales (two octaves, hands alone) and all major and minor arpeggios (two octaves, hands alone).
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students begin transposing instrumental parts and learning skills for score reading at the keyboard. Scales and arpeggios are reinforced (hands alone).
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students will prepare for the Piano Proficiency Exam administered at the end of this semester by the music faculty.
An introduction to basic vocal technique intended primarily for non-voice and beginning voice majors.
Designed for students in the certificate program in injury-preventive keyboard technique. Individual piano instructions, plus a one-hour studio. Open only to students in the certificate program in injury-preventive keyboard technique or by permission of instructor. The course can be repeated eight times. The course will require a scheduled final exam. Skills must be evaluated in an end-of-semester performance jury at which the music faculty is present.
For music majors whose concentration is not piano, or for music minors, or for non-majors taking lessons for enrichment, individual piano instruction, plus a one-hour studio class.
For music majors whose concentration is piano, individual piano instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is piano or injury-preventive keyboard technique certificate students, individual piano instruction, plus a one-hour studio class.
For music majors whose concentration is not organ, or for music minors, or for non-majors taking lessons for enrichment, individual organ instruction, plus a one-hour studio class.
For music majors whose concentration is organ, individual organ instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is organ, individual organ instruction, plus a one-hour studio class.
For music majors whose concentration is not voice, or for music minors, or for non-majors taking lessons for enrichment, individual voice instruction, plus a one-hour studio class.
For music majors whose concentration is voice, individual voice instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is voice, individual voice instruction, plus a one-hour studio class.
For music majors whose concentration is not flute, or for music minors, or for non-majors taking lessons for enrichment, individual flute instruction, plus a one-hour studio class.
For music majors whose concentration is flute, individual flute instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is flute, individual flute instruction, plus a one-hour studio class.
For music majors whose concentration is not strings, or for music minors, or for non-majors taking lessons for enrichment, individual strings instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is strings, individual strings instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is not a wind instrument (other than flute), or for music minors, or for non-majors taking lessons for enrichment, a half-hour of individual wind instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is a wind instrument (other than flute), individual wind instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is not guitar, or for music minors, or for non-majors taking lessons for enrichment, individual guitar instruction, plus a one-hour studio class.
For music majors whose concentration is guitar, individual guitar instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is guitar, individual guitar instruction, plus a one-hour studio class.
A women’s ensemble open to all members of the Salem College community. Emphasis on developing good choral ensemble skills and building vocal technique. Audition required.
An ensemble dedicated to highly polished performances of the finest repertory for women’s voices. Audition required.
Participation in the Winston-Salem Symphony Chorale. Experience in performing works for chorus and orchestra.
Study of the four-hand literature for one and two pianos.
Performance of literature for larger instrumental ensemble.
Performance of chamber music from the standard repertory.
This a capella choral group is open to members of the Chamber Choir and Chorale by audition. Public performances on campus and at other locations will be scheduled each semester. Membership is diverse and draws from all majors. The repertoire includes vocal jazz, college a capella, pop, and swing choral literature.
Performance of literature for a chamber guitar ensemble.
Participation in the Salem Band, the oldest continuing mixed wind ensemble in the country. Experience in performing classical and contemporary wind band music. Audition required. Scheduled exam required.
The development of the musical from its European origins to its uniquely American character. Open to non-majors. (AR)
An exploration of the contributions and roles of women in music as performers, teachers, conductors, and patrons over the history of Western civilization. Underlying psychological, neurological, historical, and sociological patterns that affect women’s productivity positively or negatively will be examined. Videos, sound recordings, concerts, guest lectures, interviews, and field trips will enhance appreciation of women in today’s world in all genres of music, including popular, country, classical, jazz, and new age. Open to non-majors. (WS, AR)
This course presents an introduction to the relationship between music and the culture in which it originates. It will focus on music from traditions outside of Western Europe. Through the study of selected cultures, students will develop an understanding of how culture influences the sound as well as the uses of a society’s music. In addition, they will gain an appreciation of that culture’s music. (AR)
The Moravians who came to this country in the eighteenth century brought more with them than just their faith and educational ideals. They also brought their music which not only was a vehicle for the propagation of both, but also as a means of entertainment. This course will examine that music: sacred and secular, vocal and instrumental, the musicians, and the role music played and continues to play in American Moravian life. Course content will be experienced through lecture, discussion, readings, listening, research, and hands-on/“ears on” experiences. Open to all majors.
This course surveys the roots and themes of popular music in the USA. Important personalities, social movements, historical events, technological innovations, and trends will be critically analyzed as they relate to the musical expressions found in popular music. The focus of this course may change each semester it is offered: by genre, chronological period, or other contextualizing element (e.g., jazz, 1970 through today, singer-songwriters, etc.). The contributions of women and other minorities will be emphasized. (WS, AR)
This course is designed to give the keyboard major practical and theoretical knowledge of the fundamentals of a holistic, healthful technique. It addresses biomechanics, keyboard mechanics, wellness, and instructions in the fundamentals of healthful sound production through the Lister-Sink Method. Students apply principles of injury-preventive technique to basic keyboard exercises, studies, and graduated repertoire. Instruction includes a beginning week of intensive daily workshops, followed by a weekly group and private lessons, as well as guest lectures. It is recommended that this course be taken concurrently with MUSI 223 (Alexander Technique).
The first part of the course presents an overview of music history and literature, surveying the main stylistic trends from early music to the present. Then the course begins a more in-depth study of music, musical styles, and the forces that influence them, beginning with the ancient world and continuing to the early Baroque. Prerequisite: MUSI 162. (AR)
The basic techniques of singing and their applications to musical theater repertoire and performance. Participation in musical production. May be repeated for credit.
The fundamentals of acting, e.g., improvisation, scene and character preparation, concentration development as a means of facilitating creativity and spontaneity in the medium of musical theater.
This course introduces the student to music theory, a subject that comprises the musical materials and procedures of the Common Practice period. It addresses aspects of melody, harmony, texture, rhythm, form, musical analysis, elementary composition, and to some extent, history and style. The student’s ability to read and write musical notation is fundamental to such a course. It is also assumed that the student has acquired (or is acquiring) at least basic performance skills in voice or on an instrument. Must be taken concurrently with MUSI 171 unless exception approved by the instructor.
This course continues the process of the student learning the principles of voice leading, part writing, harmonic progression and sequence, form, and non-chord tones. Must be taken concurrently with MUSI 172 unless exception approved by the instructor. Prerequisite: MUSI 161.
Musicianship skills such as dictation and other listening skills, sight-singing, rhythm reading, interval identification, scales, chord identification, and keyboard harmony are considered an important part of the theory course. This class will help to develop these skills. Must be taken concurrently with MUSI 161 unless exception approved by the instructor.
This course will help the student continue the development of musicianship skills in the student. Sight-singing, rhythm reading, listening skills will be continued and more dictation will be stressed. Must be taken concurrently with MUSI 162 unless exception approved by the instructor. Prerequisite: MUSI 171.
This course will help the student continue the development of musicianship skills in the student. Sight-singing, rhythm reading, listening skills will be continued and more dictation will be stressed. Must be taken concurrently with MUSI 213 unless exception approved by the instructor. Prerequisite: MUSI 172.
This course will help the student develop the skills to demonstrate improved ability to sing at sight, to perform musical dictation, and to write compositions. Sight-singing, rhythm reading, and listening skills will be continued. Must be taken concurrently with MUSI 214 unless exception approved by the instructor. This course is the final course for students preparing for the second-year sight-singing proficiency exam. Prerequisite: MUSI 173.
Independent study under the guidance of a faculty advisor. Open to students with a 2.0 cumulative average and permission of the director of the School of Music. Independent study may take the form of readings, research, conference, project, and/or field experience. Independent study may be taken for a total of four courses, no more than two in any term.
This course continues the process of the student learning secondary functions, modulations, forms, modes, the Neapolitan chord, and augmented sixth chords. Must be taken concurrently with MUSI 173 unless exception approved by the instructor. Prerequisite: MUSI 162.
This course continues the process of the student learning twentieth-century music and the materials and techniques of that period. Post-tonal theory will be introduced and techniques such as minimalism, indeterminacy, electronic and computer music, twelve-tone serialism, and integral serialism will be discussed. Must be taken concurrently with MUSI 174 unless exception approved by the instructor. Prerequisite: MUSI 213.
This course examines the components of sound pedagogy while emphasizing the most effective means of teaching injury-preventive technique on the elementary and intermediate levels through the Lister-Sink Method. Instruction includes lectures on methodology, educational psychology, learning styles, lesson planning, studio set-up, and video analysis. Students complete ten weeks of student teaching. Prerequisite: MUSI 116.
Continuing studies of music history, beginning around 1600 and continuing through 1800. Prerequisites: MUSI 118 and MUSI 213.
Continuing studies of music history, from 1800 to the present. Prerequisite: MUSI 217.
The Alexander Technique teaches instrumentalists and singers to identify and prevent unnecessary patterns of tension during practice and performance. Study of the technique improves coordination, promotes ease and freedom of movement, and helps the musician avoid strain and injury. May be repeated for credit. (P/NC)
An investigation of a topic of importance to the contemporary musician. The specific course content will vary in response to new developments in music—either in technology, research, or practice. Prerequisites are announced prior to registration and listed in the course schedule.
The objectives of this course are to identify and study in depth the injuries that afflict keyboardists; to study history and present state of the field of music medicine; to study current mainstream medical and complementary approaches to healing; and to develop a common language to bridge the music and medical worlds. This course will equip more fully the future teacher not only to teach injury-preventive technique but also to be able to help guide the injured keyboardist to the appropriate healthcare professionals, and then to be a partner in the rehabilitation and retraining process.
A survey of piano literature, and its forerunners, from the Baroque period to the present. Includes the development of the piano; analyses of significant keyboard works; and an examination of recordings of distinguished historic performers of the twentieth century. Prerequisite: MUSI 218.
An examination of primarily secular song literature from the seventeenth through the early twentieth centuries, with an emphasis on the German Lied of the nineteenth and early twentieth century and the French Melodie of the same period. Emphasis on performance styles and on the great singers. Prerequisite: MUSI 218.
Principles of organ design and construction, and the history of the development of the organ. A survey of organ literature from the Robertsbridge Codex (1325) to present composition; includes research and performance projects focusing on the performance practices of each period. Normally offered across two semesters, totaling one course. Prerequisite: MUSI 218.
This course will offer a survey of the literature of the flute and piccolo in orchestral, chamber music, and solo repertory. It will also explore the evolution of the flute from ancient to modern times. Prerequisite: MUSI 218.
This course will examine flute and piccolo excerpts from the standard orchestral literature, highlighting audition materials of the major symphony orchestras. Students will be coached on how to prepare excerpts and will participate in a mock audition with feedback. This course will also address all aspects of successful auditions and the expectations demanded of them in a professional orchestra. Prerequisites: senior standing or permission of instructor.
An historical and stylistic survey of literature for guitar, lute, and vihuela from the sixteenth century to modern times. Major composers, genres, readings, and specific works from each style period will be examined in regard to performance practice, listening, and analysis. Short works will be assigned for mid-term performance projects. Normally offered across two semesters, totaling one course. Prerequisite: MUSI 218.
Studies of the craft of contemporary composition; original written work. May be repeated for credit. Prerequisite: MUSI 212.
The basics of the International Phonetic Alphabet and rules for pronunciation in English, Italian, French, German, and Spanish. Normally offered across two semesters. Prerequisite: Junior standing or permission of instructor.
A practical method of building and refining sight reading skills for use in accompanying and chamber music.
Study and application of the principles of vocal and instrumental accompanying. Prerequisite: MUSI 243 or permission of instructor.
Emphasis on skills necessary to become a successful church musician. Improvisation will be an integral part of the course each semester. Topics covered include hymnology, liturgy and worship styles, creative hymn-playing, accompanying, sight-reading, transposition, conducting from the console, rehearsal techniques, and church music administration. Normally offered across two semesters, totaling two semester hours. Prerequisite: MUSI 214.
A thorough exploration of keyboard skills, including simple harmonic progressions and figured bass, harmonization, modulation, transposition, an introduction to reading open scores and C clefs, as well as the development of rudimentary skills in improvisation. Prerequisites: MUSI 213, two semesters of applied piano. Required of all piano and organ majors (BA or BM); open to others based on demonstrated ability.
A continuation of MUSI 247, with more emphasis on advanced harmonic progression, figured bass and continuo playing, harmonization, modulation, transposition, reading open scores and C clefs, as well as the development of more refined skills in improvisation. Prerequisite: MUSI 247. Required of all piano and organ majors (BA and BM); open to others who demonstrate exceptional ability at the keyboard.
The purpose of this course is to define the characteristics of sound pedagogy through lectures, reading assignments, and observation of teaching; to survey and assess teaching methods; and to acquire foundational pedagogical skills through student teaching. Normally taught across two semesters. Students complete ten weeks of student teaching. Prerequisite: Junior standing or permission of instructor.
The purpose of this course is to develop a working (anatomical and physiological) knowledge of the human voice and an understanding of healthful vocal technique. Also includes the practical application of this knowledge to teaching voice. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
Students will review, examine, and evaluate pedagogical materials and methods sources, and explore teaching techniques to develop a working knowledge of the instructional literature. Supervised applied teaching will be a significant part of the course. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
This course will explore topics related to the development and understanding of flute pedagogy as well as extra-musical considerations involved in being a successful educator. Topics may include but are not limited to: understanding the mechanics of the instrument, care and minor repair of the instrument, tone development, playing position, fingerings and technique, pitch tendencies, musical styles, recognizing a student’s strengths and weaknesses, problem solving, recital programming, studio development, and recruiting. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
In this course, students will develop an overview of the major pedagogical methods and instructional literature, including the historical evolution of guitar teaching. An emphasis is placed on the application of pedagogical theory to real-world teaching situations. Students will complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
An opportunity to apply knowledge and skills that the student has learned in coursework in a real work setting, the music internship provides the music major with an opportunity to experience career possibilities in music in off-campus and/or on-campus settings. Possible assignments may include studio teaching, Suzuki teaching, church music experience, experience with performing organizations, etc. Prerequisite: senior standing.
A half recital (one-half hour of music). This is one of two required recitals for bachelor of music students. Recommended to be given in the spring of junior year. Bachelor of arts degree students who give a senior recital must sign up for this course. Coursework includes preparation of all music for the recital and preparation of program materials. Prerequisite: Permission of instructor.
Open to juniors and seniors with a 3.5 average in music; subject to the approval of the director the School of Music. Honors work may be taken for a total of no more than two courses.
A course for bachelor of music students offered concurrently with MUSI 103 (see MUSI 103 for a complete description). Students enrolled in MUSI 303 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (AR)
This course is designed to give the keyboard major practical and theoretical knowledge of the fundamentals of a holistic, healthful technique. It addresses biomechanics, keyboard mechanics, wellness and instruction in the fundamentals of healthful sound production through the Lister-Sink Method. Students apply principles of injury-preventive technique to basic keyboard exercises, studies and graduated repertoire. Instruction includes a beginning week of intensive daily workshops, followed by a weekly group and private lesson, as well as guest lectures. It is recommended that this course be taken concurrently with MUSI 223 (Alexander Technique). MUSI 304 is designed for post-baccalaureate students enrolled in the Professional Certificate Program and is offered concurrently with MUSI 116. Students enrolled in MUSI 304 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music.
A course for bachelor of music students offered concurrently with MUSI 105 (see MUSI 105 for a complete description). Students enrolled in MUSI 305 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (WS, AR)
A course for bachelor of music students offered concurrently with MUSI 107 (see MUSI 107 for a complete description). Students enrolled in MUSI 307 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (AR)
This course is designed primarily for keyboard (piano and organ) students who have completed at least two semesters of the Certificate Program in Injury-Preventive Keyboard Technique. Students will learn how to apply injury-preventive keyboard technique to graduated levels of advanced piano and organ musical repertory. The course will also emphasize the relationship between injury-preventive keyboard technique and musical artistry.
A survey of digital tools and equipment used in making music. Areas of science (acoustics), aesthetics, and the history of sound production and reproduction will contextualize the course. Following this introduction, a hands-on approach to using some of these tools of digital technology will take place in the Salem College Audio Studio. Creative projects include work with MIDI synthesizers, sequencers, and microphones. Music teachers, performers, composers, and arrangers will learn practical ways of using technology to communicate, educate, and entertain. Prerequisite: Students must have passed the Keyboard Proficiency Exam or have permission from the instructor.
Structural principles in music of various periods analyzing music from folk songs to symphonies. Emphasis will be placed on recognizing structural form by sight and by ear. Prerequisite: MUSI 214.
An introduction to sixteenth-century (modal) and eighteenth-century (tonal) counterpoint. Representative works will be analyzed, primarily sixteenth-century sacred repertoire and Bach two-part inventions. Composing in each style will also be part of the course. Prerequisite: MUSI 214.
Instruction includes arranging and adapting music for various ensembles from a variety of sources to meet the needs and ability levels of school performing groups and classroom situations, including arranging for instruments. Prerequisite: MUSI 213.
The primary focus of this course is the development of the psychomotor skills needed for clear and expressive conducting (with and without baton), plus the study of and experience in the nuances of basic conducting techniques. Problem solving and decision-making are emphasized with a regard to tempo, dynamics, performers’ abilities, difficulty of music, instrumentation, balance, blend, pitch, rhythmic accuracy, and score reading. Prerequisite: MUSI 162 or permission of instructor.
Students will demonstrate a continued development of the conducting skills acquired in MUSI 330 by studying/conducting the literature representing various historical styles and genres. The conductor will communicate those styles through appropriate gestures and imagery. Rehearsal procedures, score preparation, and baton technique will be emphasized. The student will explore literature of all genres, but the section selected will dictate the predominant focus (instrumental or choral). Prerequisite: MUSI 330.
A full recital (fifty-sixty minutes of music). This is the second of two required recitals for bachelor of music degree students. Normally given in the senior year. Prerequisite: Permission of instructor.
The purpose of this capstone course is two-fold: First, to synthesize the various aspects of musical training—music history, theory, and performance–in performance, critical listening, and written critiquing. Second, to explore components of creative entrepreneurship in preparation for entering the music profession.
Class Year: 2014
Major: Music
Graduate studies: Masters in church music, Lee University, Cleveland, TN
Salem’s personalized instruction means you leave the School of Music with a strong background in both theory and performance. Your portfolio will be a professional one that is unique to your own talents and career goals. Your advisors are mentors, coaches and outstanding teachers, giving you the tools you need for the world of music as well as an incredible network of contacts and support.
The School of Music also provides cultural leadership and educational opportunities for Salem Academy and College and for Winston-Salem and the surrounding area. Through concerts, workshops, audience-building and general music education, the School of Music seeks to contribute to the cultural vitality of our region and to secure a healthy future for the study and performance of music.
Salem places a great deal of emphasis on learning outside the classroom, in real-world settings. Internships are an important part of that process. An internship offers you the opportunity to apply knowledge and skills learned in class and to explore career possibilities. Internships in music may include studio teaching, Suzuki teaching, church music, or work with performing organizations. You will also be required to take a course in not-for-profit management in order to prepare you for the real-life challenges of competition.
The quality of a music degree is determined by what doors it opens for advanced study and career opportunities. When you graduate with a major or minor in music, you will be prepared to continue your music studies at the best graduate schools or go on to teach music in an educational setting; perform onstage; join orchestras or ensembles; and other career paths.
Opportunities to study in the School of Music include pursuing the bachelor of music (BM) degree in performance (with a concentration in flute, guitar, organ, piano, or voice) and the bachelor of arts degree in music (BA). Students may also earn the bachelor of arts with a minor in music or a minor in musical theater. All music majors, in any degree program, and music minors, must pass an entrance performance assessment.
Students can work toward a bachelor of music in performance in flute, guitar, organ, piano, or voice. Music lessons in these and other instruments are available to both BA music majors and non-majors by audition (in the case of music majors and minors) or permission of instructor (in case of elective lessons). A student wishing to take Applied Lessons (MUSI 037, 041, 044, or 047) who is neither a major nor minor must pay an Applied Lessons fee, and must supply her own instrument. Students interested in studying instruments other than flute, guitar, organ, piano, or voice should contact the School of Music for further information. Membership in Salem ensembles is open to all qualified students, regardless of major. Salem’s cross-registration agreement with nearby Wake Forest University provides both music majors and non-music majors with additional ensemble opportunities such as the Marching Band, Symphonic Wind Ensemble, and Symphony Orchestra. Interested students should contact the Wake Forest University Department of Music at (336) 758-5364 for audition, schedule, and other information on these ensembles.
Music students are highly encouraged to study arts management, offered through a separate program at Salem College. The arts management degree programs and courses are described separately in the catalog.
Music majors should consult the School of Music Handbook for more detailed statements of mission, goals, and objectives and for information on procedures.
or
MUSI elective (3 hrs min.)
The bachelor of music degree in performance is available with a concentration in flute, guitar, organ, piano, or voice. The following courses must be completed at Salem: two years of applied music, one year of ensemble, one advanced course in music theory, one course in music history, one course in music pedagogy, one music literature course, and Senior Seminar (MUSI 390).
Bachelor of music students must be assessed in order to be admitted to the degree by taking an extended jury in the first year. Students enroll in one semester hour of lessons (applied music) in the fall of the first year and enroll in three semester hours of lessons for each subsequent semester, for a total of twenty-two semester hours of lessons. Specific requirements will vary depending on the instrument of the major; see below.
In order to continue in the BM degree, the student must pass a qualifying jury in the major instrument during the spring semester, sophomore year.
Required core courses:
(Voice students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
(Flute students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
(Guitar students with advanced keyboard skill may, with permission of the keyboard faculty, complete the MUSI 116/247/248 sequence in lieu of Keyboard Musicianship I through IV.)
The minor in music is available to any student majoring in an area other than music.
The minor in musical theater consists of the following course requirements, all of which must be taken at Salem:
The minor in music entrepreneurship is intended for students pursuing a BA or BM in music. A student may not minor in both music entrepreneurship and arts management nor may she major in arts management and minor in music entrepreneurship.
This beginning-level course provides an introduction to the keyboard. Students will learn to identify notes on the grand staff, develop a solid well-coordinated technical foundation for future growth, play a variety of left-hand accompaniment patterns, demonstrate basic rhythm patterns, and perform elementary-level solos and ensemble repertoire. Students will also be introduced to computer software programs that allow for recording, editing, and producing creative music projects.
For music majors with little or no prior keyboard experience, this course instills a basic technical foundation to playing the piano, while building the skills of becoming a functional musician. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, and improvisation. The digital keyboard lab introduces students to some of the uses of MIDI technology. Normally taken in conjunction with MUSI 161 and 171.
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Application of music theory concepts continues to guide the student in demonstrating a musical approach to these concepts. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students learn to play all major and harmonic minor scales (two octaves, hands alone) and all major and minor arpeggios (two octaves, hands alone).
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students begin transposing instrumental parts and learning skills for score reading at the keyboard. Scales and arpeggios are reinforced (hands alone).
A continuation of the four-semester Keyboard Musicianship sequence. Students further develop their reading fluency and technical skills. Class activities include repertoire, harmonization, transposition, applied music theory, playing by ear, ensemble playing, improvisation, and accompanying. Students will prepare for the Piano Proficiency Exam administered at the end of this semester by the music faculty.
An introduction to basic vocal technique intended primarily for non-voice and beginning voice majors.
Designed for students in the certificate program in injury-preventive keyboard technique. Individual piano instructions, plus a one-hour studio. Open only to students in the certificate program in injury-preventive keyboard technique or by permission of instructor. The course can be repeated eight times. The course will require a scheduled final exam. Skills must be evaluated in an end-of-semester performance jury at which the music faculty is present.
For music majors whose concentration is not piano, or for music minors, or for non-majors taking lessons for enrichment, individual piano instruction, plus a one-hour studio class.
For music majors whose concentration is piano, individual piano instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is piano or injury-preventive keyboard technique certificate students, individual piano instruction, plus a one-hour studio class.
For music majors whose concentration is not organ, or for music minors, or for non-majors taking lessons for enrichment, individual organ instruction, plus a one-hour studio class.
For music majors whose concentration is organ, individual organ instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is organ, individual organ instruction, plus a one-hour studio class.
For music majors whose concentration is not voice, or for music minors, or for non-majors taking lessons for enrichment, individual voice instruction, plus a one-hour studio class.
For music majors whose concentration is voice, individual voice instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is voice, individual voice instruction, plus a one-hour studio class.
For music majors whose concentration is not flute, or for music minors, or for non-majors taking lessons for enrichment, individual flute instruction, plus a one-hour studio class.
For music majors whose concentration is flute, individual flute instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is flute, individual flute instruction, plus a one-hour studio class.
For music majors whose concentration is not strings, or for music minors, or for non-majors taking lessons for enrichment, individual strings instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is strings, individual strings instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is not a wind instrument (other than flute), or for music minors, or for non-majors taking lessons for enrichment, a half-hour of individual wind instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is a wind instrument (other than flute), individual wind instruction, plus a one-hour studio class. The specific instrument is indicated in the section title.
For music majors whose concentration is not guitar, or for music minors, or for non-majors taking lessons for enrichment, individual guitar instruction, plus a one-hour studio class.
For music majors whose concentration is guitar, individual guitar instruction, plus a one-hour studio class.
For bachelor of music majors whose concentration is guitar, individual guitar instruction, plus a one-hour studio class.
A women’s ensemble open to all members of the Salem College community. Emphasis on developing good choral ensemble skills and building vocal technique. Audition required.
An ensemble dedicated to highly polished performances of the finest repertory for women’s voices. Audition required.
Participation in the Winston-Salem Symphony Chorale. Experience in performing works for chorus and orchestra.
Study of the four-hand literature for one and two pianos.
Performance of literature for larger instrumental ensemble.
Performance of chamber music from the standard repertory.
This a capella choral group is open to members of the Chamber Choir and Chorale by audition. Public performances on campus and at other locations will be scheduled each semester. Membership is diverse and draws from all majors. The repertoire includes vocal jazz, college a capella, pop, and swing choral literature.
Performance of literature for a chamber guitar ensemble.
Participation in the Salem Band, the oldest continuing mixed wind ensemble in the country. Experience in performing classical and contemporary wind band music. Audition required. Scheduled exam required.
The development of the musical from its European origins to its uniquely American character. Open to non-majors. (AR)
An exploration of the contributions and roles of women in music as performers, teachers, conductors, and patrons over the history of Western civilization. Underlying psychological, neurological, historical, and sociological patterns that affect women’s productivity positively or negatively will be examined. Videos, sound recordings, concerts, guest lectures, interviews, and field trips will enhance appreciation of women in today’s world in all genres of music, including popular, country, classical, jazz, and new age. Open to non-majors. (WS, AR)
This course presents an introduction to the relationship between music and the culture in which it originates. It will focus on music from traditions outside of Western Europe. Through the study of selected cultures, students will develop an understanding of how culture influences the sound as well as the uses of a society’s music. In addition, they will gain an appreciation of that culture’s music. (AR)
The Moravians who came to this country in the eighteenth century brought more with them than just their faith and educational ideals. They also brought their music which not only was a vehicle for the propagation of both, but also as a means of entertainment. This course will examine that music: sacred and secular, vocal and instrumental, the musicians, and the role music played and continues to play in American Moravian life. Course content will be experienced through lecture, discussion, readings, listening, research, and hands-on/“ears on” experiences. Open to all majors.
This course surveys the roots and themes of popular music in the USA. Important personalities, social movements, historical events, technological innovations, and trends will be critically analyzed as they relate to the musical expressions found in popular music. The focus of this course may change each semester it is offered: by genre, chronological period, or other contextualizing element (e.g., jazz, 1970 through today, singer-songwriters, etc.). The contributions of women and other minorities will be emphasized. (WS, AR)
This course is designed to give the keyboard major practical and theoretical knowledge of the fundamentals of a holistic, healthful technique. It addresses biomechanics, keyboard mechanics, wellness, and instructions in the fundamentals of healthful sound production through the Lister-Sink Method. Students apply principles of injury-preventive technique to basic keyboard exercises, studies, and graduated repertoire. Instruction includes a beginning week of intensive daily workshops, followed by a weekly group and private lessons, as well as guest lectures. It is recommended that this course be taken concurrently with MUSI 223 (Alexander Technique).
The first part of the course presents an overview of music history and literature, surveying the main stylistic trends from early music to the present. Then the course begins a more in-depth study of music, musical styles, and the forces that influence them, beginning with the ancient world and continuing to the early Baroque. Prerequisite: MUSI 162. (AR)
The basic techniques of singing and their applications to musical theater repertoire and performance. Participation in musical production. May be repeated for credit.
The fundamentals of acting, e.g., improvisation, scene and character preparation, concentration development as a means of facilitating creativity and spontaneity in the medium of musical theater.
This course introduces the student to music theory, a subject that comprises the musical materials and procedures of the Common Practice period. It addresses aspects of melody, harmony, texture, rhythm, form, musical analysis, elementary composition, and to some extent, history and style. The student’s ability to read and write musical notation is fundamental to such a course. It is also assumed that the student has acquired (or is acquiring) at least basic performance skills in voice or on an instrument. Must be taken concurrently with MUSI 171 unless exception approved by the instructor.
This course continues the process of the student learning the principles of voice leading, part writing, harmonic progression and sequence, form, and non-chord tones. Must be taken concurrently with MUSI 172 unless exception approved by the instructor. Prerequisite: MUSI 161.
Musicianship skills such as dictation and other listening skills, sight-singing, rhythm reading, interval identification, scales, chord identification, and keyboard harmony are considered an important part of the theory course. This class will help to develop these skills. Must be taken concurrently with MUSI 161 unless exception approved by the instructor.
This course will help the student continue the development of musicianship skills in the student. Sight-singing, rhythm reading, listening skills will be continued and more dictation will be stressed. Must be taken concurrently with MUSI 162 unless exception approved by the instructor. Prerequisite: MUSI 171.
This course will help the student continue the development of musicianship skills in the student. Sight-singing, rhythm reading, listening skills will be continued and more dictation will be stressed. Must be taken concurrently with MUSI 213 unless exception approved by the instructor. Prerequisite: MUSI 172.
This course will help the student develop the skills to demonstrate improved ability to sing at sight, to perform musical dictation, and to write compositions. Sight-singing, rhythm reading, and listening skills will be continued. Must be taken concurrently with MUSI 214 unless exception approved by the instructor. This course is the final course for students preparing for the second-year sight-singing proficiency exam. Prerequisite: MUSI 173.
Independent study under the guidance of a faculty advisor. Open to students with a 2.0 cumulative average and permission of the director of the School of Music. Independent study may take the form of readings, research, conference, project, and/or field experience. Independent study may be taken for a total of four courses, no more than two in any term.
This course continues the process of the student learning secondary functions, modulations, forms, modes, the Neapolitan chord, and augmented sixth chords. Must be taken concurrently with MUSI 173 unless exception approved by the instructor. Prerequisite: MUSI 162.
This course continues the process of the student learning twentieth-century music and the materials and techniques of that period. Post-tonal theory will be introduced and techniques such as minimalism, indeterminacy, electronic and computer music, twelve-tone serialism, and integral serialism will be discussed. Must be taken concurrently with MUSI 174 unless exception approved by the instructor. Prerequisite: MUSI 213.
This course examines the components of sound pedagogy while emphasizing the most effective means of teaching injury-preventive technique on the elementary and intermediate levels through the Lister-Sink Method. Instruction includes lectures on methodology, educational psychology, learning styles, lesson planning, studio set-up, and video analysis. Students complete ten weeks of student teaching. Prerequisite: MUSI 116.
Continuing studies of music history, beginning around 1600 and continuing through 1800. Prerequisites: MUSI 118 and MUSI 213.
Continuing studies of music history, from 1800 to the present. Prerequisite: MUSI 217.
The Alexander Technique teaches instrumentalists and singers to identify and prevent unnecessary patterns of tension during practice and performance. Study of the technique improves coordination, promotes ease and freedom of movement, and helps the musician avoid strain and injury. May be repeated for credit. (P/NC)
An investigation of a topic of importance to the contemporary musician. The specific course content will vary in response to new developments in music—either in technology, research, or practice. Prerequisites are announced prior to registration and listed in the course schedule.
The objectives of this course are to identify and study in depth the injuries that afflict keyboardists; to study history and present state of the field of music medicine; to study current mainstream medical and complementary approaches to healing; and to develop a common language to bridge the music and medical worlds. This course will equip more fully the future teacher not only to teach injury-preventive technique but also to be able to help guide the injured keyboardist to the appropriate healthcare professionals, and then to be a partner in the rehabilitation and retraining process.
A survey of piano literature, and its forerunners, from the Baroque period to the present. Includes the development of the piano; analyses of significant keyboard works; and an examination of recordings of distinguished historic performers of the twentieth century. Prerequisite: MUSI 218.
An examination of primarily secular song literature from the seventeenth through the early twentieth centuries, with an emphasis on the German Lied of the nineteenth and early twentieth century and the French Melodie of the same period. Emphasis on performance styles and on the great singers. Prerequisite: MUSI 218.
Principles of organ design and construction, and the history of the development of the organ. A survey of organ literature from the Robertsbridge Codex (1325) to present composition; includes research and performance projects focusing on the performance practices of each period. Normally offered across two semesters, totaling one course. Prerequisite: MUSI 218.
This course will offer a survey of the literature of the flute and piccolo in orchestral, chamber music, and solo repertory. It will also explore the evolution of the flute from ancient to modern times. Prerequisite: MUSI 218.
This course will examine flute and piccolo excerpts from the standard orchestral literature, highlighting audition materials of the major symphony orchestras. Students will be coached on how to prepare excerpts and will participate in a mock audition with feedback. This course will also address all aspects of successful auditions and the expectations demanded of them in a professional orchestra. Prerequisites: senior standing or permission of instructor.
An historical and stylistic survey of literature for guitar, lute, and vihuela from the sixteenth century to modern times. Major composers, genres, readings, and specific works from each style period will be examined in regard to performance practice, listening, and analysis. Short works will be assigned for mid-term performance projects. Normally offered across two semesters, totaling one course. Prerequisite: MUSI 218.
Studies of the craft of contemporary composition; original written work. May be repeated for credit. Prerequisite: MUSI 212.
The basics of the International Phonetic Alphabet and rules for pronunciation in English, Italian, French, German, and Spanish. Normally offered across two semesters. Prerequisite: Junior standing or permission of instructor.
A practical method of building and refining sight reading skills for use in accompanying and chamber music.
Study and application of the principles of vocal and instrumental accompanying. Prerequisite: MUSI 243 or permission of instructor.
Emphasis on skills necessary to become a successful church musician. Improvisation will be an integral part of the course each semester. Topics covered include hymnology, liturgy and worship styles, creative hymn-playing, accompanying, sight-reading, transposition, conducting from the console, rehearsal techniques, and church music administration. Normally offered across two semesters, totaling two semester hours. Prerequisite: MUSI 214.
A thorough exploration of keyboard skills, including simple harmonic progressions and figured bass, harmonization, modulation, transposition, an introduction to reading open scores and C clefs, as well as the development of rudimentary skills in improvisation. Prerequisites: MUSI 213, two semesters of applied piano. Required of all piano and organ majors (BA or BM); open to others based on demonstrated ability.
A continuation of MUSI 247, with more emphasis on advanced harmonic progression, figured bass and continuo playing, harmonization, modulation, transposition, reading open scores and C clefs, as well as the development of more refined skills in improvisation. Prerequisite: MUSI 247. Required of all piano and organ majors (BA and BM); open to others who demonstrate exceptional ability at the keyboard.
The purpose of this course is to define the characteristics of sound pedagogy through lectures, reading assignments, and observation of teaching; to survey and assess teaching methods; and to acquire foundational pedagogical skills through student teaching. Normally taught across two semesters. Students complete ten weeks of student teaching. Prerequisite: Junior standing or permission of instructor.
The purpose of this course is to develop a working (anatomical and physiological) knowledge of the human voice and an understanding of healthful vocal technique. Also includes the practical application of this knowledge to teaching voice. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
Students will review, examine, and evaluate pedagogical materials and methods sources, and explore teaching techniques to develop a working knowledge of the instructional literature. Supervised applied teaching will be a significant part of the course. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
This course will explore topics related to the development and understanding of flute pedagogy as well as extra-musical considerations involved in being a successful educator. Topics may include but are not limited to: understanding the mechanics of the instrument, care and minor repair of the instrument, tone development, playing position, fingerings and technique, pitch tendencies, musical styles, recognizing a student’s strengths and weaknesses, problem solving, recital programming, studio development, and recruiting. Students complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
In this course, students will develop an overview of the major pedagogical methods and instructional literature, including the historical evolution of guitar teaching. An emphasis is placed on the application of pedagogical theory to real-world teaching situations. Students will complete ten weeks of student teaching. Prerequisites: Junior standing or permission of instructor.
An opportunity to apply knowledge and skills that the student has learned in coursework in a real work setting, the music internship provides the music major with an opportunity to experience career possibilities in music in off-campus and/or on-campus settings. Possible assignments may include studio teaching, Suzuki teaching, church music experience, experience with performing organizations, etc. Prerequisite: senior standing.
A half recital (one-half hour of music). This is one of two required recitals for bachelor of music students. Recommended to be given in the spring of junior year. Bachelor of arts degree students who give a senior recital must sign up for this course. Coursework includes preparation of all music for the recital and preparation of program materials. Prerequisite: Permission of instructor.
Open to juniors and seniors with a 3.5 average in music; subject to the approval of the director the School of Music. Honors work may be taken for a total of no more than two courses.
A course for bachelor of music students offered concurrently with MUSI 103 (see MUSI 103 for a complete description). Students enrolled in MUSI 303 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (AR)
This course is designed to give the keyboard major practical and theoretical knowledge of the fundamentals of a holistic, healthful technique. It addresses biomechanics, keyboard mechanics, wellness and instruction in the fundamentals of healthful sound production through the Lister-Sink Method. Students apply principles of injury-preventive technique to basic keyboard exercises, studies and graduated repertoire. Instruction includes a beginning week of intensive daily workshops, followed by a weekly group and private lesson, as well as guest lectures. It is recommended that this course be taken concurrently with MUSI 223 (Alexander Technique). MUSI 304 is designed for post-baccalaureate students enrolled in the Professional Certificate Program and is offered concurrently with MUSI 116. Students enrolled in MUSI 304 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music.
A course for bachelor of music students offered concurrently with MUSI 105 (see MUSI 105 for a complete description). Students enrolled in MUSI 305 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (WS, AR)
A course for bachelor of music students offered concurrently with MUSI 107 (see MUSI 107 for a complete description). Students enrolled in MUSI 307 will do additional research and presentations on a level suitable for an upper division course in the bachelor of music. (AR)
This course is designed primarily for keyboard (piano and organ) students who have completed at least two semesters of the Certificate Program in Injury-Preventive Keyboard Technique. Students will learn how to apply injury-preventive keyboard technique to graduated levels of advanced piano and organ musical repertory. The course will also emphasize the relationship between injury-preventive keyboard technique and musical artistry.
A survey of digital tools and equipment used in making music. Areas of science (acoustics), aesthetics, and the history of sound production and reproduction will contextualize the course. Following this introduction, a hands-on approach to using some of these tools of digital technology will take place in the Salem College Audio Studio. Creative projects include work with MIDI synthesizers, sequencers, and microphones. Music teachers, performers, composers, and arrangers will learn practical ways of using technology to communicate, educate, and entertain. Prerequisite: Students must have passed the Keyboard Proficiency Exam or have permission from the instructor.
Structural principles in music of various periods analyzing music from folk songs to symphonies. Emphasis will be placed on recognizing structural form by sight and by ear. Prerequisite: MUSI 214.
An introduction to sixteenth-century (modal) and eighteenth-century (tonal) counterpoint. Representative works will be analyzed, primarily sixteenth-century sacred repertoire and Bach two-part inventions. Composing in each style will also be part of the course. Prerequisite: MUSI 214.
Instruction includes arranging and adapting music for various ensembles from a variety of sources to meet the needs and ability levels of school performing groups and classroom situations, including arranging for instruments. Prerequisite: MUSI 213.
The primary focus of this course is the development of the psychomotor skills needed for clear and expressive conducting (with and without baton), plus the study of and experience in the nuances of basic conducting techniques. Problem solving and decision-making are emphasized with a regard to tempo, dynamics, performers’ abilities, difficulty of music, instrumentation, balance, blend, pitch, rhythmic accuracy, and score reading. Prerequisite: MUSI 162 or permission of instructor.
Students will demonstrate a continued development of the conducting skills acquired in MUSI 330 by studying/conducting the literature representing various historical styles and genres. The conductor will communicate those styles through appropriate gestures and imagery. Rehearsal procedures, score preparation, and baton technique will be emphasized. The student will explore literature of all genres, but the section selected will dictate the predominant focus (instrumental or choral). Prerequisite: MUSI 330.
A full recital (fifty-sixty minutes of music). This is the second of two required recitals for bachelor of music degree students. Normally given in the senior year. Prerequisite: Permission of instructor.
The purpose of this capstone course is two-fold: First, to synthesize the various aspects of musical training—music history, theory, and performance–in performance, critical listening, and written critiquing. Second, to explore components of creative entrepreneurship in preparation for entering the music profession.
Class Year: 2014
Major: Music
Graduate studies: Masters in church music, Lee University, Cleveland, TN
