3.0 credits
Section 1 (Steve Kemper): MWF 9:00-9:50 am, OCH 107
Section 2 (Kirstin Ek): MWF 10:00-10:50 am, OCH 107
Section 3 (Yuri Spitsyn): MWF 11:00-11:50 am, OCH 107
Not open to students already qualified to elect MUSI 231 or 331. Study of the rudiments of music and training in the ability to read music.
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
Heather Wiebe
3.0 credits
TR 9:30-10:20 am, OCH 107
Discussion Sections:
Section 101 (Julia Cook): F 9:00-9:50 am, OCH S008
Section 102 (Julia Cook): F 10:00-10:50 am, OCH S008
Section 103 (Julia Cook): R 12:30-1:20 pm, OCH B012
This course will examine various forms of musical drama, from the first operas in 17th-century Italy to film musicals like Bjork’s Dancer in the Dark. We will explore issues of realism and fantasy, spectacle, propaganda, power, gender, and the voice, as they emerge in diverse historical contexts. Students will learn effective strategies of listening to and writing about opera. No previous musical knowledge is required.
Michael Bishop
3.0 credits
MW 11:00-11:50 am, WIL 301
Discussion Sections:
Section 101 (Victor Szabo): W 9:00-9:50 am, OCH 113
Section 102 (Victor Szabo): W 10:00-10:50 am, OCH 113
Section 103 (Victor Szabo): W 1:00-1:50 am, OCH S008
Section 104 (Stephanie Doktor): W 9:00-9:50 am, OCH S008
Section 105 (Stephanie Doktor): W 10:00-10:50 am, OCH S008
Section 106 (Stephanie Doktor): T 12:30-1:20 am, OCH B012
Scholarly and critical study of music circulated through mass media. Specific topic for the semester (e.g. world popular music, bluegrass, country music, hip-hop, Elvis Presley) announced in advance. No previous knowledge of music required. (IR)
Joel Rubin
3.0 credits
MW 1:00-1:50 pm, OCH 107
Discussion Sections:
Section 101 (Liza Sapir): M 11:00-11:50 am, OCH S008
Section 102 (Liza Sapir): T 2:00-2:50 pm, OCH S008
Section 103 (Liza Sapir): T 3:30-4:20 pm, OCH S008
Scholarly and critical study of music of the Americas, with attention to interaction of music, politics, and society. Specific topics announced in advance. Prerequisite: No previous knowledge of music required.
Michelle Kisliuk
3.0 credits
TR 11:00-11:50 am, OCH 107
Discussion Sections:
Section 101 (Maria Guarino): W 11:00-11:50 am, OCH S008
Section 102 (Maria Guarino): T 9:30-10:20 am, OCH 113
Section 103 (Maria Guarino): T 2:00-2:50 pm, OCH B012
What is the soundscape of our quotidian (everyday) experience? How does it condition our consciousness, and what implicit cultural messages circulate within our ever-changing daily soundtracks? This course focuses our attention not on music highlighted in performance, but on that which we usually take for granted. A close look at how music works in our everyday lives can offer a new awareness of our ongoing experience, open us to choices we never thought we had, and get us wondering about the depths of aesthetic experience.
Matthew Jones
2.0 credits, instructor permission
TR 11:00-11:50 am, OCH 113
Introductory keyboard skills; includes sight-reading, improvisation, and accompaniment at the keyboard in a variety of styles. No previous knowledge of music required. Satisfies the performance requirement for music majors.
Robert Jospe
2.0 credits, instructor permission
MW 11:00 am-12:00 pm, OCH B018
"Learn to Groove" hand drumming and rhythmic fluency with Robert Jospe. This is a hands on drumming/percussion class using congas, djembes, claves, shakers, etc. This class is designed to enhance ones knowledge of syncopated patterns associated with jazz, rock, African and Latin American music and to improve ones facility in playing these patterns. This course will follow my book "Learn to Groove" and can include music students, non music students and is open to students of all skill levels. The course requires that students have a hand drum of their own. Congas, bongos, djembes, doumbeks or any other hand drums are appropriate. Auxiliary Latin and African percussion instruments will be provided.
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
Paul Walker
3.0 credits
MW 2:00-3:15 pm, OCH B012
Through the lens of opera, this course will survey themes and issues in nineteenth-century European culture, including changing constructions of gender, revolutionary politics, colonialism, secularization, interiority, sincerity and public expression, and the shifting place of the individual subject in the public sphere.
Liz Lindau
3.0 credits
MWF 1:00-1:50 pm, OCH 113
Studies the range of music that has flourished in the twentieth century, including modernist and post-modern art music, popular music, and world music, through historical, critical, and ethnographic approaches.
Jason Kirby
3.0 credits
TR 12:30-1:45 pm, OCH 107
This course examines the rich cultural heritage of "roots" genres such as blues, country, gospel, bluegrass and folk in American musical life. We'll take an historical approach to the subject, one which situates the term "roots" as a late-20th-century invention used by journalists and fans to help explain the rise of more recent, related genres like rock and hip-hop. The course will examine the relationship of "roots" music to modern identity politics--particularly representations of African-Americans, working-class white Southerners, and rural Americans more broadly. We will track these representations in 20th century film, popular journalism, and musical performance itself. Extensive listening, writing and discussion will be required in this small seminar-style course.
Peter Tschirhart, Emily Gale, Sarah Culpeper
3.0 credits
Section 1 (Peter Tschirhart): MWF 9:00-9:50 am, OCH B012
Section 2 (Emily Gale): MWF 1:00-1:50 pm, OCH B012
Section 3 (Sarah Culpeper): MWF 11:00-11:50 am, OCH B012
Studies pitch and formal organization in European concert music of the 18th and 19th centuries. Includes four-part vocal writing, 18th-century style keyboard accompaniment, key relations, and form. Students compose numerous short passages of music and study significant compositions by period composers. (Y)
1.0 credit
These lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 3332, 3334, and 3336 are co-requisites for MUSI 3310, 3320, and 4331. This means that students pre-registering in the latter courses must also pre-register in MUSI 333A, B, or C unless they have already taken the highest level course and have been passed out of further co-requisite requirements. Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 3332, 3334, or 3336 as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.
Section 1 (Loren Ludwig and Jonathan Zorn): M 12:00-12:50 pm, OCH 107 and F 12:00-12:50 pm, OCH B012
Section 2 (Loren Ludwig and Jonathan Zorn): M 12:00-12:50 pm, OCH 107 and W 12:00-12:50 pm, OCH 113
Section 1 (Loren Ludwig and Lanier Sammons): W 12:00-12:50 pm, OCH 107 and F 12:00-12:50 pm, OCH 113
Section 2 (Loren Ludwig and Lanier Sammons): W 12:00-12:50 pm, OCH 107 and M 12:00-12:50 pm, OCH B012
Section 1 (Loren Ludwig and Scott Barton): F 12:00-12:50 pm, OCH 107 and M 12:00-12:50 pm, OCH 113
Section 2 (Loren Ludwig and Scott Barton): F 12:00-12:50 pm, OCH 107 and W 12:00-12:50 pm, OCH B012
Joe Adkins
3.0 credits
TR 2:00-3:15 pm, OCH 107
Study of songs based in a variety of styles, including classic country, blues, rock and pop music. Students should have a preexisting knowledge of music and performance skills are recommended (but not necessarily required). Students will also write original songs, which will be performed and criticized in class. A performance of the new songs will take place at the end of the term.
Aurie Hsu
3.0 credits
MW 2:00-3:15 pm, OCH 107
This course is designed as an introduction to post-tonal compositional techniques in Western concert music of the 20th and 21st century. As this period contains a wide range of approaches to harmony, rhythm, timbre, texture, and form, the course will broadly survey these styles and techniques. Topics will include a review of late 19th century musical styles, impressionism, 20th century scale patterns (chromaticism, octatonicism); standard topics of set-class theory and classical serialism (twelve-tone theory), extended techniques, and innovative systems developed by prominent composers. Coursework will focus on instrumental composition and creative assignments with an aim to deepen a critical and creative sense of music while developing a personal compositional style. Proficiency on an instrument or voice is highly recommended but not required.
Prerequisites: MUSI 3310 or Instructor Permission
Ted Coffey
3.0 credits
TR 11:00-11:50 am, OCH B012
Discussion Sections:
Section 101 (Megan England): F 11:00-11:50 am, OCH B011
Section 102 (Megan England): F 12:00-12:50 am, OCH B011
Section 103 (Megan England): F 1:00-1:50 pm, OCH B011
MUSI 339 will introduce you to the dynamic field of computer music. You will learn about topics including acoustics; digital sound, editing, and processing; recording and multi-track mixing; and MIDI. You will also learn about the historical evolution of electronic and computer music, and will study selected examples of both. We will cover elements of compositional design and hear them applied in a range of styles. You will have ample hands-on experience, and the opportunity to create original music. This course counts for the composition component of the Music Major. Programs to be used include Bias Peak, Frequency, Digital performer and Sound Hack. We will be working on the Mac platform, though the concepts you learn will be broadly applicable. Note that you MUST register for the Lab (0 credits) as well as registering for the course.
1.0-3.0 credits
Instructor permission and instructor number required to enroll.
Michael Puri
3.0 credits
TR 9:30-10:45 am, OCH B012
Studies in 18th-, 19th-, and 20th-century techniques and styles through analysis and composition.
Michael Puri
3.0 credits
TR 11:00 am-12:15 pm, OCH S008
With the possible exception of Beethoven's symphonies, no music has been more influential within the Western Classical tradition than that of Richard Wagner (1813-1883); familiarity with his operas--"Tristan und Isolde", "The Ring of the Nibelung", and "Parsifal", among others--remains an essential part of our culture today. In this seminar, which is designed for advanced music majors, we will delve into an intensive study of the fifteen-hour "Ring" (the prime inspiration for Tolkien's "The Lord of the Rings") that focuses on both musical and textual analysis, supplemented by important scholarly essays.
Prerequisites: Theory 1 (Music 331) and permission of instructor. This course fulfills the Second Writing Requirement.
Bonnie Gordon
3.0 credits
TR 9:30-10:45 am, OCH S008
This class takes a cross-cultural and interdisciplinary approach to women in music. Organized thematically rather than chronologically or geographically, the class encourages thinking about representations and constructions of gender in a variety of musical cultures. We will listen to popular music, blues, nonwestern music, and western art music. The course begins by considering current approaches to women’s issues and the extraordinary presence of women in the contemporary popular music scene. We will study the power of the Diva’s voice with a special focus on modern incarnations such as Madonna and the Egyptian Umm Kulthum. Reading and listening assignments will focus on musical performances of female sexuality from medieval mystics and Renaissance erotica through cyberpunk. We will study literary and musical representations of the female voice’s sensual power, paying particular attention to songs of female suffering--blues, laments, and unrequited love. No gender course would be complete without studying Opera--a brand of entertainment paradoxically dominated by dying women with soaring voices.
Paul Walker
3.0 credits
MWF 10:00-10:50 am, OCH B012
Written and aural exercises based on analysis of the contrapuntal style of J.S. Bach and his successors.
Prerequisite: MUSI 3320 or the equivalent.
Ted Coffey
3.0 credits
R 5:00-7:30 pm, OCH B012
Discussion Section:
Section 101 (Erik DeLuka): TBA
Studies in computer music studio techniques, sound synthesis using a variety of software packages based on the Macintosh platform, and the creation of original music using new technologies. Prerequisite: MUSI 339 or instructor permission.
Michael Slon
3.0 credits
MW 2:00-3:15 pm, OCH 113
Studies in the basic technique and art of conducting, with weekly experience conducting repertoire with a small choral ensemble. Prerequisite: basic ear training, sight-reading. Previous experience in a choral or instrumental ensemble is preferred. Interested students should consult with the instructor before registering. Instructor permission is required.
1.0 - 3.0 credits
Instructor permission and instructor number required to enroll.
Heather Wiebe
3.0 credits
R 2:00-4:30 pm, OCH S008
This course will survey recent scholarly approaches to issues of empire in Western music, placing musicological studies in conversation with some central theoretical and historical texts on colonialism, and engaging with a set of works from the 17th through the 20th centuries. We will deal with musical representations of the exotic “other,” but will also press the question of how colonial encounter has shaped music in less overt ways.
Bonnie Gordon
3.0 credits
T 2:00-4:30 pm, TBA
Prerequisite: Instructor permission.
Fred Maus
3.0 credits
M 2:00-4:30 pm, OCH S008
Studies various approaches to musical analysis; readings from the most important theoretical literature; and the practical exercises in analysis of music from all periods. Prerequisite: Instructor permission.
Ted Coffey
3.0 credits
R 5:00-7:30 pm, OCH B012
Studies in computer music studio techniques, sound synthesis using a variety of software packages based on the Macintosh platform, and the creation of original music using new technologies. Prerequisite: Instructor permission.
Matthew Burtner
3.0 credits
T 5:00-7:30 pm, OCH S008
The course is intended for graduate students in music. Topics in contemporary music that will focus on different areas in rotation. Each will involve focused readings, analysis of selected works, and the creation of original compositions that reflect the issues under discussion. Prerequisite: Instructor permission.
Ted Coffey, Matthew Burtner
3.0 credits
Instructor permission and instructor number required to enroll.
3.0 credits
Reading and/or other work in particular fields under supervision of an instructor. Normally taken by first-year graduate students.
3.0 credits
1.0-3.0 credits
Independent study dealing with a specific topic. Requirements will place primary emphasis on independent research.
3.0-12.0 credits
3.0 credits
Reading and/or other work in particular fields under supervision of an instructor. Normally taken by second year graduate students.
3.0 credits
Research carried out by graduate student in consultation with an instructor.
3.0-12.0 credits
Preliminary research directed towards a dissertation in consultation with an instructor.
3.0-12.0 credits
For doctoral dissertation, taken under the supervision of a dissertation director.
Bill Pease
2.0 credits
TRF 6:00-8:25 pm, TBA
John D'earth
2.0 credits
TR 7:30-9:30 pm, OCH B018
Led by internationally recognized jazz trumpeter/composer John D'earth, the Jazz Ensemble is a full-sized jazz big band, whose focus includes “head arrangements” group improvisation, world music and original compositions from within the band, along with music ranging from swing to bop to fusion. You'll gain valuable experience in ensemble playing and in the art of solo improvisation, and may take private instruction in jazz improvisation, perform in small combos and participate in jazz workshops held by such major figures as Michael Brecker, John Abercrombi, Dave Leibman, Bob Moses, Clark Terry, and Joe Henderson.
Restricted to: Instructor permission by audition.
Kate Tamarkin
2.0 credits
W 7:30-10:00 pm, Auditorium
String Sectionals: M 5:30-7:00 pm
Section 101: Pete Spaar (Double Bass), OCH B012
Section 102: Adam Carter (Cello), OCH S004
Section 103: Ayn Balija (Viola), OCH 113
Section 104: David Colwell (Violin), OCH 107
Section 105: David Sariti (Violin), OCH B018
Brass & Percussion Sectionals: W 5:15-6:15 pm
Section 201: Ian Zook (French Horn), OCH 113
Section 202: Tasha Warren (Clarinet), OCH 107
Section 203: Aaron Hill (Oboe), TBA
Section 204: Elizabeth Roberts (Bassoon), OCH B020
Section 205: Alan Cox (Flute), TBA
Section 206: Paul Neebe (Trumpet), TBA
Section 207: Nathan Dishman (Trombone), B012
Restricted to: Instructor permission by audition.
Bill Pease
2.0 credits
M 7:00-9:00 pm, Auditorium
The Wind Ensemble is a 45-member ensemble that features the most outstanding brass, woodwind, and percussion players at the University. The focus of this ensemble is to explore new literature as well as perform the masterworks of the wind band era. The wind ensemble also works with outstanding guest performers and conductors. This group is predominately made up of non-music majors who enjoy the genre of the wind band. Open to all University of Virginia students, auditions are held prior to the start of each semester. For more information on the Wind Ensemble, please visit our webpage at: www.virginia.edu/music/ensembles/windensemble/.
Restricted to: Instructor permission by audition.
Tasha Warren
1.0-2.0 credits
T 3:30-5:00 pm, OCH 107
Aaron Hill
1.0-2.0 credits
T 5:15-6:45 pm, OCH 113
Restricted to: Instructor permission by audition.
Alan Cox
1.0-2.0 credits
T 3:30-5:00 pm, OCH 113
Restricted to: Instructor permission by audition.
Elizabeth Roberts
1.0-2.0 credits
TBA
Explore, rehearse and perform woodwind chamber music, including both standard and more obscure works. Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music! Instructor permission and audition required.
Paul Neebe
1.0-2.0 credits
W 2:00-3:30 pm, Auditorium
Restricted to: Instructor permission by audition.
John D’earth
1.0-2.0 credits
TR 3:30-5:00 pm, OCH B012
The Jazz Improvisation Workshop explores the basic techniques and procedures for improvising music in jazz and other musical contexts. No previous jazz or improvising experience is required. Students must demonstrate a degree of fluency on their main instrument, an ability to read music and some familiarity with the basics of music theory. The class focuses on practicing, listening, and performing. Classical musicians and first-time improvisors are enthusiastically encouraged to enroll. An individual interview/audition with the instructor is required before registering for this class.
1.0 credit
Section 7 (Pete Spaar): R 5:30-7:00 pm, OCH B018
Section 12 (Pete Spaar): F 12:30-2:00 pm, OCH B018
Section 21 (Mike Rosensky): T 5:30-7:00 pm, OCH B018
Section 22 (Jeff Decker): F 2:30-3:30 pm, OCH B018
TBA
1.0-2.0 credits
R 2:00-3:30 pm, OCH B018
Restricted to: Instructor permission by audition.
Joel Rubin
1.0-2.0 credits
M 7:00-10:00 pm, OCH B018
Klezmer, originally the ritual and celebratory music of the Yiddish-speaking Jews of Eastern Europe, was brought to North America by immigrants around the turn of the last century. Since the 1970s, a dynamic revival of this tradition has been taking place in America and beyond. Klezmer’s recent popularity has brought it far from its roots in medieval minstrelsy and Jewish ritual and into the sphere of mainstream culture. The traditional klezmer style presents the experienced instrumentalist with a range of technical challenges with its characteristic note bends, rubati, Baroque-style embellishments and other micro-improvisational techniques, opening up a world of expressive possibilities not available to them from either classical music or jazz. This music was passed on orally from generation to generation, and many of the ornaments which are so integral to the klezmer sound can only be approximated by Western staff notation – not to mention the patterns of improvised variation which are the cornerstone of the style. There will therefore be an emphasis on learning by ear as much as possible, but we will be using music in the form of lead sheets and other written instructional materials to supplement sound examples.
We will continue our focus on various traditions, including accompanying Yiddish dances, hasidic nigunim (songs of spiritual elevation), and the klezmer tradition of the Land of Israel, as well as more generally on the klezmer traditions of New York between the two world wars, and 19th century Eastern Europe. The purpose of the ensemble is to study and perform music from these traditions. Emphasis will be on learning by ear, improvisation within a modal context, and learning to develop a cohesive ensemble sound. Concentration, practice, and good attendance are required of each ensemble member. Pending funding, we will have an outside guest artist(s) each semester teaching and performing with the ensemble.
Admission is by audition during first class period of semester or prior to that, by appointment with the instructor.
I-Jen Fang
1.0-2.0 credits
T 9:30-10:50, OCH B018
Restricted to Instructor permission by audition on first day of class.
Re-established in spring 2005 by I-Jen Fang, principal timpanist and percussionist with CUSO, the Percussion Ensemble is a chamber group that performs literature ranging from classical transcriptions to contemporary music. The ensemble draws upon a large family of pitched and non-pitched percussion instruments, and the number of players and amount of equipment varies greatly from piece to piece. Music reading skills and basic percussion technique on all percussion instruments is required. Previous percussion ensemble experience is highly recommended. If you are interested in joining please contact I-Jen Fang.
Nathan Dishman
1.0-2.0 credits
W 3:30-5:00 pm, OCH B012
Restricted to: Instructor permission by audition. Contact Nathan Dishman ( ) to schedule an audition.
Section 16 (David Colwell): Meeting time and location TBA
Section 17 (Ayn Balija): Meeting time and location TBA
Section 18 (David Sariti): Meeting time and location TBA
Section 20 (Adam Carter): Meeting time and location TBA
Section 23 (Mimi Tung): Meeting time and location TBA
1.0-2.0 credits
Restricted to: Instructor permission by audition.
Michael Slon
2.0 credits
MW 3:30-5:30 pm, OCH 101
The University Singers is the University's premier SATB ensemble, performing a cappella and accompanied choral literature ranging from chant to the works of contemporary composers. Past repertoire has included Handel's Messiah, Bernstein's Chichester Psalms, the Brahms Requiem, and Mozart's Mass in C minor, as well as shorter a cappella works. Recent trips have taken the group to Atlanta, Charlotte, New York City, Philadelphia, Chicago, Cincinnati, and the National Cathedral in Washington D.C., as well as the campuses of other American universities for collaborative concerts. The group has also been heard on European tours in England, Italy, Belgium, Germany, and Switzerland. Recent highlights have included performances with the Charlottesville & University Symphony Orchestra, a concert and workshop with Bobby McFerrin, and a concert tour of the Midwest.
Students in the University Singers come from all six of UVA's undergraduate schools, including Arts and Sciences, Education, and Engineering, as well as several of the University's graduate and professional schools. Together, they enjoy an esprit de corps that arises from the pursuit of musical excellence and the camaraderie the singers develop offstage.
All singers at the University - undergraduates, graduate students, staff, and faculty are encouraged to audition. University Singers is offered for two hours academic credit. Michael Slon, who has conducted choruses at the Oberlin Conservatory and Indiana University School of Music, is the conductor. For more information on the University Singers, please visit our webpage at: www.virginia.edu/music/usingers/. Restricted to: Instructor permission by audition.
Michael Slon
2.0 credits
F 1:00-3:15 pm, OCH 107
Chamber Singers is a select subset of the University Singers, and is offered for an additional 2 hours of credit. The ensemble meets once a week and focuses on music ranging from the Renaissance to contemporary pieces. Interested singers will be considered for the chamber ensemble as part of their University Singers audition. Restricted to: Instructor permission by audition.
Paul Walker
1.0 credit
R 7:00-9:00 pm, OCH 113
The Early Music Ensemble, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Baroque Orchestra's extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
Paul Walker
1.0 credit
R 3:30-5:20 pm, OCH 113
If you'd like to sing madrigals, motets, Gregorian Chant, and other music of the Medieval, Renaissance, and Baroque eras, the Early Music Ensemble is also for you. Learn the music of Hildegard von Bingen, Josquin des Prez, William Byrd, Monteverdi, Purcell and others. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
Paul Walker
1.0 credit
R 5:30-6:50 pm, OCH 113
The Renaissance Consorts, conducted by Paul Walker, offers the rare opportunity to learn to play a Renaissance or Baroque instrument and to perform such works as the Concerto for Four Harpsichords and Orchestra by J.S. Bach. The Renaissance Consorts' extensive collection includes early strings (gambas and Baroque strings) woodwinds (recorders, crumhorns, sackbuts and cornettos) and keyboard (harpsichord and chamber organ). No prior experience is necessary, although ability to play a modern counterpart is desirable. Players are particularly encouraged to explore the pre-modern versions of their instruments. Open to undergraduates and graduates. Restricted to: Instructor permission by audition.
I-Jen Fang
1.0 credit
R 3:45-5:15 pm, OCH B018
Restricted to Instructor permission by audition on first day of class.
Performance of vocal and instrumental music of the twentieth century.
A one-credit course at the University of Virginia, the New Music Ensemble explores and performs exciting music of our time. The ensemble consists of dedicated instrumentalists, singers and UVa performance faculty. We perform a wide variety of contemporary music suitable to our instrumentation, including new works created by UVa composers.
The New Music Ensemble seeks dedicated instrumentalists and singers to explore and perform a wide variety of contemporary music. To audition, come to the first class with your instrument. If you are interested in joining please contact I-Jen Fang.
Open to UVA students, community musicians and advanced high school students.
Michelle Kisliuk
2.0 credits
TR 5:15-7:15 pm, OCH 107
A practical, hands-on course focusing on several music/dance forms from West Africa (Ghana, Togo) and Central Africa (BaAka pygmies), with the intention of performing during and at the end of the semester. Though no previous experience with music or dance is required, we give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, and faithful attendance are required of each class member. The course is repeatable for credit, providing experienced students the opportunity to develop within an ongoing U.Va. African Music and Dance Ensemble. Admission is by informal audition during the first class meeting.
There are three levels of private performance instruction.
For students playing at a beginner to intermediate level or with limited time to practice. One hour or one-half hour lessons, CR/NC (pass-fail), ½ or 1 credit. No jury, but optional performance opportunities will be available. Individual instructors may, as they wish, set definite performance requirements for their students. A limited number of scholarships may be possible, as funding permits, but normally students at this level should expect to pay for their lessons.
Advanced performance, for students working at the level of a music major, though not necessarily majoring in music. Prerequisite: at least one semester of 200-level study and a successful audition. Normally auditions take place during fall or spring juries; if this is not possible, students audition at the beginning of the semester. One hour lessons, graded, 2 credits. Students at this level should make a time-commitment to practicing appropriate for major-level study. We suggest a norm of at least 6 hours/week, though individual performance instructors may set a different (lower or higher) expectation of practice time as appropriate. Students play a jury at the end of the semester. Students at this level are often on scholarship, but scholarship support is always contingent on availability of funds.
Honors performance, to be taken for two semesters, by fourth year students preparing a senior recital or, in cases of unusual ability, by students preparing a full recital to be given before their fourth year. Prerequisite: 300-level study, successful written application in the semester before enrolling, and a successful audition (to be included in juries) at the end of the semester before applying. One hour lessons, graded, 2 credits. Jury at the end of the first semester, recital near the end of the second semester. Normally on scholarship, but scholarship support is always contingent on availability of funds.
Lessons are offered in the following areas (See the Course Catalog for complete listings):
* Voice
* Piano, Organ, and Harpsichord
* Violin, Viola, Cello, Doublebass
* Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contra-Bassoon
* Trombone, Trumpet, Tuba, French Horn, Saxophone, Jazz Improv
* Percussion, Jazz Drumming, Tabla, Afro-Cuban perucssion
* Guitar, Chapman Stick, Banjo, Harp, Mandolin
* Supervised Performance (For students involved in types of solo or ensemble performance not offered through the department.)
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