Music. Professors Chien, Dearden, J. Hepler, L. Hepler, Niblock

Professors Chien, Dearden, J. Hepler, L. Hepler, Niblock is a creative art form in which sounds are selected and combined to be heard over time. It is also a means of communication and expression. The study of music enables consumers (listeners), re-creators (performers), and creators (composers) to increase their understanding of both the sounded and written aspects of musical language. Departmental courses accommodate a wide variety of musical backgrounds so that students can either begin or continue their musical development in three different areas: a) Courses that concern the sound materials that are used to construct musical works, their organization into systems, and their interrelationships, which give rise to musical significance. Students learn to recognize and reproduce the basic elements both in sound and in notation, both in isolation and in complete musical contexts. b) Courses that concern musical style; its historic progression through different times, places, and cultures; and specific composers and works which contributed to that progression. Students learn to recognize by sound and sight the ways in which musical elements are combined as compositional conventions: within a particular work, within the output of a composer, and by different composers in a particular time or place. c) Courses that focus on performance, the actual production of music in sound. As the physical requirements of playing different instruments are applied to the elements of the score and to interpretative decisions, the potential of notation becomes the reality of sounded music. Repertoire for soloists is studied individually in applied lessons; repertoire for groups of performers is studied in ensembles. The Major The major program in leads to a Bachelor of Arts degree and requires the completion of 48 semester credit hours of coursework. majors are required to have a GPA of at least 2.0 in departmental courses required for the major at graduation. No courses for the major in may be taken Credit/No Credit. Advance placement is given by diagnostic only. The requirement for a major program in are as follows: al Styles 10 semester hours: 286, 287, and 384. Performance on the student s principal instrument 16 semester hours in one of the following combinations: 10 semester hours in 430-489 and 6 semester hours in 110-118; or 11 semester hours in 430-489 and 5 semester hours in 110-118; or 12 semester hours in 430-489 and 4 semester hours in 110-118. al Materials 10 semester hours: 189, 288 and 289. Students who place in 288 on the theory diagnostic exam must take an additional 2 semester hours of electives in music, excluding 101, 188, and 189. Students who place into 289 on the theory diagnostic exam must take an additional 6 semester hours of electives in music, excluding 101, 188, 189, and 288. Advanced Courses 400: Form and Analysis, two semester hours. 401: Styles: Post-tonal, four semester hours. Junior Seminar Two semester hours: 580. Senior Project Four semester hours: 600, one semester hour; 610, three semester hours. Students who intend to pursue graduate studies in music are strongly advised to take applied lessons and ensembles on their principal instrument during all four years at Allegheny; one or two courses in French or German; independent studies in special topics in al Materials and al Styles or conducting ( 590); and, for students whose principal instrument is not a keyboard instrument, two semesters of applied piano. The Minor The completion of 24 semester hours of coursework is required for the minor. Three directions are available: minor in with music history emphasis; minor in with performance emphasis; or minor in with music theory emphasis. minors are required to have a GPA of at least 2.0 in courses required for a minor at graduation. No courses for the minor in may be taken Credit/No Credit. Prerequisites are waived only for qualifying scores on diagnostic exams. 115

Allegheny College Catalogue 2013-2014 Minor in with music history emphasis: al Styles: 12 semester hours: 286, 287, 384 and 389. Performance on the student s principal instrument: 6 semester hours. 4 semester hours in 430-489; and 2 semester hours in 110-118. al Materials: 6 semester hours taken from 189, 288, 289, 400 and 401 as determined by diagnostic exam. Students who place into 288 on the theory diagnostic exam must take 288 and 289. Students who place into 289 on the theory diagnostic exam must take 289 and 400. Minor in with music performance emphasis: al Styles: 6 semester hours: 286 or 287, and 384. Performance on the student s principal instrument: 12 semester hours. 8 semester hours in 430-489; and 4 semester hours in 110-118. al Materials: 6 semester hours taken from 189, 288, 289, 400, and 401 as determined by diagnostic exam. Students who place into 288 on the theory diagnostic exam must take 288 and 289. Students who place into 289 on the theory diagnostic must take 289 and 400 exam. Minor in with music theory emphasis: al Styles: 6 semester hours: 286 or 287, and 384. Performance on the student s principal instrument: 6 semester hours: 4 semester hours in 430-489; and 2 semester hours in 110-118. al Materials: 12 semester hours taken from 189, 288, 289, and 400. Students who place into 288 on the theory diagnostic exam must take 288, 289, 400 and 401. Students who place into 289 on the theory diagnostic exam must take 289, 400, 401 and 2 semester hours of electives, excluding 101, 188, 189, and 288. 101 Appreciation An introduction to the basic audible elements of music and how they combine to form recognizable characteristics of individual pieces, particular composers, and historic styles. Students become able to identify by ear specific works, composers and styles, including specific themes, textures and tone colors. No musical background required. Three days per week. 102 Bach to Basics An introduction to musical materials, processes, idioms, and forms, as found in the works of J.S. Bach. Solo, chamber and ensemble works for instruments as well as sacred and secular vocal and choral pieces will be studied, primarily by listening and also by reference to musical scores. Recognition of a core list of works will be expected. 103 Beethoven Symphonies A survey of the nine symphonies by Ludwig van Beethoven. This course is designed to involve students in attentive and intentional listening by surveying the composer s effort to resist conformity to the classical style. Students are introduced to these works from the perspective of the performer and from comparative listening to different interpretations. No music 104 of the Renaissance A survey of the history of music from 1430 to 1600. The course will begin with the English and Burgundian schools, and conclude with the establishing of opera in the early 1600s. s special relationship with the Reformation and Counter-Reformation will be considered, along with the Italian Madrigal, the Florentine Camerata, and the Venetian polychoral school. No musical background required. 105 Applied : Class Piano Class instruction for beginners learning how to read music at the keyboard. Credit: One semester hour. 106 Applied : Class Strings Class instruction for beginners learning how to read music on a string instrument. Credit: One semester hour. 107 Applied : Class Woodwinds Class instruction for tbeginners learning how to read music on a woodwind instrument. Credit: One semester hour. 108 Applied : Class Voice Class instruction for beginners learning how to read and sing music. Credit: One semester hour. 109 Basics of Notation An introduction to the essential skills of reading and writing traditional Western music notation. Topics include durational values, meter signatures, staves, clefs, pitch names, and accidentals. Credit: One semester hour. 110-118 Ensembles Most ensembles also require an audition. Specific details are on file in the Department office. Ensembles have different numbers of weekly rehearsals. Students receive one semester hour of credit per semester of participation, regardless of the weekly rehearsal schedule. Prerequisite: Permission of instructor. Credit: One semester hour. 110 Civic Symphony 112 Wind Symphony 113 Wind Ensemble 114 Jazz Band 115 College Choir 116 Women s Ensemble 117 Chamber Choir 118 College Chorus 120 Chamber An opportunity for performance in small ensembles such as vocal chamber music, opera scenes, string quartet, piano trio, and brass or woodwind quintets. Students should register as a group or will be placed in a group. Each group rehearses at least two hours per week and receives a weekly coaching. Concurrent registration is required in 110, 112, 115 or 116, within the same instrumental or vocal medium. Pianists and guitarists may alternatively use choral ensembles to satisfy this requirement if placements are not available on their principal instruments. Exceptions will be made only by approval of the department chair. Students must be enrolled in 120 in order to perform in chamber ensembles. This course may not be taken Credit/No Credit. Credit: One semester hour. 123 Brahms Chamber A survey of the chamber music of Johannes Brahms. This course is designed to involve students in attentive and intentional listening by surveying this one genre in which the composer s output represent a large number of romantic epics. Students will also be introduced to these works from the perspective of the performer as well as from comparative listening of different interpretations. Opportunities to experience live performances will enrich the listener. No music 116

133 Chopin and Liszt A survey of the works by two romantic giants of the piano repertoire. This course is designed to involve students in attentive and intentional listening by surveying the ballades, concerti, etudes, fantasies, mazurkas, polonaises, preludes, scherzo, and sonatas of Chopin and Liszt. Students are introduced to these works from the perspective of the performer as well as from comparative listening to different interpretations. No music 143 Classical and Romantic Concerti A survey of the concerto genre from the classical and romantic styles. This course is designed to teach students to listen to music attentively and intentionally through studying and listening to concerti by Beethoven, Brahms, Bruch, Dvorak, Elgar, Haydn, Liszt, Mendelssohn, Mozart, Rachmaninoff, Sibelius, and Tchaikowsky. Students are introduced to these works from the perspective of the performer and from listening to different interpretations. No music 153 Classical and Romantic Sonatas A survey of the sonata genre from the classical and romantic styles. This course is designed to teach students to listen to music attentively and intentionally through studying and listening to sonatas by Beethoven, Brahms, Chopin, Franck, Haydn, Liszt, Mozart, Schumann, among others. Students are introduced to these works from the perspective of the performer and from listening to different interpretations. No music 187 History of Jazz Jazz will be presented from its African origins through the progressive jazz era of the late 1950s and early 1960s. Styles and performance practices of the various periods of jazz will be examined. Three days per week. 188 Fundamentals of : Introduction to Major/Minor Keys An introduction to the basics of sounded and written music. Students learn to recognize, read and reproduce the written symbols of music, such as clefs, rhythms, and major and minor scales and keys. Beginning ear training teaches students to aurally distinguish basic intervals, scale patterns, and rhythms. No musical Credit: Four semester hours. 189 Theory I: Combining al Tones A continuation of the study begun in 188. Additional materials include intervals, melodic dictation, triads and their harmonic functions within a key, and four-part vocal texture. Students develop recognition and reproduction of these materials by sight and sound. Two days per week, plus one laboratory. Prerequisite: 188 or placement by diagnostic exam. Credit: Two semester hours. 230-279 Applied Lessons Individual instruction for students at the beginning through the intermediate levels; no minimum level of repertoire required. Expectations of daily practice and improvement will be established by each applied instructor. Students should expect to spend twice as much time in preparation for one-hour lessons as they would for half-hour lessons. Subsequent registrations on the same instrument may be at any level, subject to the approval of the instructor or the applied coordinator. These applied courses may not be taken Credit/ No Credit. For specific course numbers designated for different instruments see Applied Course Numbers at the end of the departmental courses. The fee and refund policy for these applied lessons is listed under Student Charges and Terms of Payment, Explanation of Fees, and Studio Instruction in. Credit: Section 1, one semester hour: weekly half-hour lessons; Section 2, two semester hours: weekly one-hour lessons. 283 Jazz Improvisation Analysis and performance of basic, familiar jazz forms and devices. Materials are chosen to complement and improve the level of each student. Recordings and solos of master players are analyzed, transcribed and performed. The class becomes a small jazz combo in which the students apply the techniques discussed. Three days per week. Prerequisite: Permission of instructor. 286 History I, Styles: Greece 1750 An extensive survey of music from the ancient Greeks through the Baroque era, culminating with J.S. Bach. The course explores the historical sequence and the cultural contexts in which the various styles developed. Students undertake intensive audible and visual score study as well as readings from a variety of sources. Special emphasis is placed on the transitions between eras. Prerequisite: 188 or placement by diagnostic exam. 287 History II, Styles: 1750 1900 An extensive survey of music from the pre-classic, Classic, and Romantic eras, beginning with the music of Domenico Scarlatti and concluding with the Impressionism of Claude Debussy. The course explores the historical sequence and the cultural contexts in which the various styles developed. Students undertake intensive audible and visual score study as well as readings from a variety of sources. Special emphasis is placed on the transitions between eras. Prerequisite: 188 or placement by diagnostic exam. 288 Theory II: Harmonic Materials Within One Key An expansion of material studied in 189, using four-part vocal texture. Additional materials include: diatonic harmonic functions in all keys, singing melodies at sight, harmonic dictation, harmonic analysis of musical examples, compositional exercises, non-chordal tones, and seventh chords from within one key. This course introduces additional pitches not available in any one key and methods of changing keys. Students develop recognition and reproduction of these materials by sight and sound. Prerequisite: 189 or satisfactory score on diagnostic exam. Three days per week, plus one laboratory. 289 Theory III: Harmonic Materials Beyond One Key A continuation of material studied in 288. Additional materials include using tones from outside a key, mixing materials from major and minor keys, more complex ways of changing keys, methods of obscuring a clear key identity, scales other than major and minor, and more complex chords. The focus is on those deviations for the Major-Minor key system that led to the musical environment at the beginning of the 20th century. The course includes an introduction to 20th-century materials, including exotic scales, complex chord structures, and parallelism. Students develop recognition and reproduction of these materials by sight and sound. Prerequisite: 288 or satisfactory score on diagnostic exam. Three days per week, plus one laboratory. 330-379 Applied Lessons Individual instruction for students at the advanced level. A minimum level of repertoire difficulty is required as is attendance at weekly performance seminars. Specific details on the repertoire requirement for each instrument are on file in the Department office. Expectations of daily practice and improvement will be established by each applied instructor. Students should expect to spend twice as much time in preparation for one-hour lessons as they would for half-hour lessons. Normal progress in repertoire and technique is expected in subsequent 117

Allegheny College Catalogue 2013-2014 registration at this level. Attending performance seminars is required. The fee and refund policy for these applied lessons is listed under Student Charges and Terms of Payment, Explanation of Fees, and Studio Instruction in. These applied courses may not be taken Credit/No Credit. For specific course numbers designated for different instruments see Applied Course Numbers at the end of the departmental courses. Credit: Section 1, two semester hours: weekly half-hour lessons; Section 2, three semester hours: weekly one-hour lessons. 384 History III, Literature Through Listening A listening-based survey of the major works of the Western canon. Students experience a large body of major works from the Baroque era to the present. Credit: Two semester hours. Prerequisite: 286 or 287 or permission of instructor. 388 Special Topics in Theory Not offered during some years. 389 Special Topics in History A special topics course in music history, the focus of which is flexible depending upon the background and interests of students. Required for music history minors, and offered only as needed. Credit: Two semester hours. Prerequisites: 286 and 287. 400 Form and Analysis An application of functional harmony to the analysis of larger-scale works drawn from piano, symphonic, chamber and choral-orchestral repertoire. Credit: Two semester hours. Prerequisite: 289. 401 Styles: Post-Tonal An extensive survey of post-tonal music from early Stravinsky to the present time. The course will concern successors to the major-minor key system, including atonality, polytonality, Viennese serialism, midcentury developments such as minimalism, event-based music, chance music, and the belief that all sound, including silence, is music. Prerequisites: 287 and 400. 430-479 Applied Lessons Individual instruction for students at the advanced level. A minimum level of repertoire difficulty; attendance and performance at weekly performance seminars; and a final juried exam are required at this level. Specific details on the repertoire requirement for each instrument are on file in the Department office. Expectations of daily practice and improvement will be established by each applied instructor. Students should expect to spend twice as much time in preparation for one-hour weekly lessons as they would for half-hour lessons. During the initial enrollment at the 400-level, the student must demonstrate skills that will accommodate repertoire. Normal progress in repertoire and technique is expected in subsequent registrations at this level. Attendance at and performance in performance seminars are required. A performance before a jury of at least three full-time faculty will constitute the final examination. The fee and refund policy for these applied lessons is listed under Student Charges and Terms of Payment, Explanation of Fees, and Studio Instruction in. These applied courses may not be taken Credit/No Credit. For specific course numbers designated for different instruments see Applied Course Numbers at the end of the departmental courses. Prerequisite: Permission of applied area coordinator. Credit: Section 1, two semester hours: weekly half-hour lessons; Section 2, three semester hours: weekly one-hour lessons. 480 Recital I Individual instruction with weekly lessons. Students must give a public recital of appropriate length and repertoire for this three-credit course. The repertoire and length of the recital are to be determined by the instructor and must be approved by the area coordinator. Prerequisite: permission of coordinator of applied program. The fee and refund policy of these applied lessons are listed under Student Charges and Terms of Payment, Explanation of Fees, Studio Instruction in. Credit: Three semester hours. Section 1: weekly half-hour lessons. Section 2: weekly one-hour lessons. This course may not be taken Credit/No Credit. 485 Recital II Individual instruction with weekly one-hour lessons. Students must give a public recital of appropriate length and repertoire for this four-credit course. The repertoire and length of the recital are to be determined by the instructor and must be approved by the area coordinator. Prerequisite: permission of coordinator of applied program. The fee and refund policy for these applied lessons are listed under Student Charges and Terms of Payment, Explanation of Fees, Studio Instruction in. Credit: Four semester hours, one-hour weekly lessons. This course may not be taken Credit/No Credit. 580 Junior Seminar The Junior Seminar is a bibliography/research seminar which moves from the study of general bibliographical resources to specific tools for research in music. Students research and deliver papers and class presentations on assigned topics. The evolution of Senior Project topics and early research on these topics are two important goals of this course. However, students are not obligated to continue their seminar topics into their Senior Projects. Prerequisites: 289 and either 286 or 287. Credit: Two semester hours. 590 Independent Study Credit: One to four semester hours. 600 Senior Project I Design and approval of the Senior Project proposal; completion of the bibliography and at least one chapter; a formal meeting with the Senior Project Committee for evaluation of the completed chapter(s) and of the current status of the Project. Prerequisites: 289, 580, and either 286 or 287. Credit: One semester hour. 610 Senior Project II Completion of Senior Project. Prerequisite or corequisite: 600. Credit: Three semester hours. Applied Course Numbers For content descriptions of these courses, see Applied Lessons 230-279, 330-379 or 430-479 on previous pages. Brass see Professor Dearden Trumpet 230 330 430 French Horn 231 331 431 Trombone 232 332 432 Baritone/Euphonium 233 333 433 Tuba 234 334 434 Brass, other 235 335 435 Percussion see Mr. Corsi Percussion 240 340 440 Snare Drum 241 341 441 Timpani 242 342 442 Mallets 243 343 443 Keyboard see Professor Chien Piano 250 350 450 118

Neuroscience Organ 251 351 451 Harpsichord 252 352 452 Voice see Mrs. Jamison Voice 255 355 455 Strings see Mr. Rudolph Violin 260 360 460 Viola 261 361 461 Violoncello 262 362 462 String Bass 263 363 463 Harp 264 364 464 Guitar 265 365 465 Strings, other 266 366 466 Woodwinds see Mrs. Hepler Flute/Piccolo 270 370 470 Oboe 271 371 471 Clarinet 272 372 472 Bassoon 273 373 473 Saxophone 274 374 474 Woodwinds, other 275 375 475 Studio Instruction Fees Please refer to Studio Instruction in listed in Student Charges and Terms of Payment section for information on fees. Neuroscience Professors J. R. Hollerman, Clark, Coates, Conklin, Connell, Cross, Donmoyer, French, Kleinschmidt, Knupsky, Mumme, J. Palmer, Rankin An interdisciplinary program, Neuroscience draws primarily upon course offerings of the Biology and Psychology departments. The major is considered a natural science major. Students majoring in Neuroscience may minor in any of the social sciences other than Psychology or in any of the humanities, to meet the College s curricular requirement for a minor outside the division of the major. Students wishing to study Psychology in depth may elect to double major in Neuroscience and Psychology. Students exercising this option must meet all the major requirements for both majors and must also take a minimum of 20 semester hours in Psychology, which are not counted toward the Neuroscience degree. A joint Senior Project for double majors can be arranged. The Major Majors take a group of common introductory core courses and then take advanced courses specific to the Neuroscience emphasis track they select. Common Core Courses (Note: Students who plan to take upper-level Biology courses should take FS Biology 201. FS Biology 201 is required for students interested in the Health Professions. Students may elect to take one course from the Common Core requirements on a Credit/No Credit basis.) Take: Biology 220 - Organismal Physiology and Ecology Biology 221 - Genetics, Development and Evolution Neuro 110 - Foundations of Neuroscience I Neuro 120 - Foundations of Neuroscience II Choose one: Biology 385 - Biometrics or Psychology 206-207 - Research Design and Statistics I and II Take: Chemistry 110 - Principles of Chemistry I or Chemistry 120 - Chemical Concepts I Chemistry 112 - Principles of Chemistry II or Chemistry 122 - Chemical Concepts II Chemistry 231 - Organic Chemistry I Cellular Neurobiology Emphasis Choose three 4 credit courses from among the following: Biology 305 - Molecular Biology Biology 320 - Cell Biology Biology/Environmental Science 342 - Toxicology Biology 380 - Animal Physiology Neuroscience 405 - Neurophysiology Psychology 154 - Physiological Psychology (Corequisite: Psychology 155 lab) Psychology 411 - Systems Neuroscience Choose one of the following Junior Seminar courses: Biology 580 - Cellular Neurobiology Biology 580 - Physiology of Vision Psychology 558 - Behavioral Neuroscience Psychology 559 - Clinical Neuropsychology Senior Project I and II: (six semester credit hours) Neuroscience 600 (two semester credit hours) and Neuroscience 610 (four semester credit hours) to be taken in sequential semesters. Behavioral and Cognitive Neuroscience Emphasis Choose three 4 credit courses from the following list: (Note: At least one of these courses must be numbered 350 or above) Psychology 150 - Sensation and Perception Psychology 152 - Behavioral Psychology 119