The list below offers a representative sample of the courses you can expect in the study of jazz studies at DePauw. From theoretical foundations to practical experiences, these courses provide a full range of educational opportunities at various levels of mastery. For more information about current course offerings or registration details, please consult the Office of the Registrar.
Music majors are required to attend recitals and concerts programmed by the School of Music every semester in residence.
0 course
001A: Concert Attendance
Professor: Caroline Jetton
001A: Concert Attendance
Professor: Caroline Jetton
A basic course that enables the non-music major to understand the manner in which the elements of music are constructed and combined in order to form a coherent musical expression. Not open to students in the School of Music.
Arts and Humanities
1 course
100A: Thinking, Listening, Creating with Music
Professor: Craig Pare
This course is open to all students who wish to develop a deeper love and understanding of music. The course introduces concepts and terms of music studies and teaches the skills to listen more deeply and to write and speak fluently about music. The course explores some of the historical and cultural factors that have influenced musical creation and performance and the roles that music has played in social life past and present. No previous musical experience or ability to read music notation is required. No prerequisites.
Arts and Humanities
1 course
102A: Exploring Music/Hist & Culture
Professor: Elissa Harbert
102A: Exploring Music in History and Culture
Professor: Elissa Harbert
An introduction to the basic structures, terminology, and analysis methods for tonal music including scales, harmony, form, and simple composition.
Arts and Humanities
Evidence of ability to read music as documented by high school participation for two years in band or orchestra or four years in choir or qualifying score on a music notation placement test. Not open to students in the School of Music.
1 course
Introduction to Music Theory and Musicianship builds foundational skills for collegiate music study. Students discover broadly applicable musical concepts in the domains of pitch relationships, rhythm, timbre, and form, and build fluency with those concepts through skill-building activities, composition, improvisation, performance, transcription, aural identification, music analysis, music technology applications, and writing. Students will also discuss and reflect on current areas of discourse in music studies. This course is required for first-year School of Music students unless their placement exam indicates they should enter the Theory/Musicianship sequence with Theory I and Musicianship I.
1/2 course
The goal of this course is to provide students with a solid practical knowledge of music technology and its applications to music composition, performance and production. Through lecture, discussion, hands-on experience and projects, students develop basic proficiency in tools and methods used to create, perform and share music in the digital domain.
Arts and Humanities
Liberal Arts students may register with the consent of instructor
1/2 course
110A: Intro to Mus. Technology
Professor: Veronica Pejril
110A: Intro to Mus. Technology
Professor: Veronica Pejril
The first of four core courses in music theory. Students will study the over-arching theory of tonality and structural phenomena, starting the habits of students to think analytically about music. Lead sheet labels, Roman Numerals, and functional bass theory will be introduced.
1/2 course
The second of four core courses in music theory. Students will continue studying the over-arching theory of tonality and structural phenomena. Roman Numeral and functional bass analysis will be explained in greater detail, along with structural phenomena that form the building blocks of form.
MUS 111 or consent of theory/musicianship coordinator
1/2 course
112A: Theory II
Professor: Eliza Brown
The goal of this course is to provide music education students with a solid practical knowledge of music technologies, in the context of music pedagogy. Through lecture, discussion, hands-on experience and projects, students will explore the tools and methods used for digital music composition, performance and production, through the lens of music instruction.
1/2 course
The first of four core courses that develop aural and performance skills. Sight singing (movable Do solfege), melodic and harmonic dictation, improvisation, and keyboard skills are covered.
3/4 course
The second of four core courses that develop aural and performance skills. Sight singing (movable Do solfege), melodic and harmonic dictation, improvisation, and keyboard skills are covered.
MUS 121 or consent of theory/musicianship coordinator
3/4 course
122A: Musicianship II
Professor: Scott Spiegelberg
The idea of musicking conceives of music as a process rather than an object. It encompasses all activity involved in and surrounding music, including but not limited to performing, improvising, composing, listening, responding, dancing, teaching, engaging with music theory and history, and attending and producing musical events. MUS 130, a team-taught class, explores selected dimensions of musicking from multiple perspectives. Students rotate through modules that offer a foundational framework of the following skills: artistic creation, the exercise of individual and collaborative creativity in developing an artistic voice; critical thinking, the intellectual skills of curiosity, rational thought, analysis, and problem solving; and, everyday advocacy, the habits of mind for making meaningful connections between our audiences and our art and effectively advocating for what we value.
3/4 course
Music Theory and Musicianship I builds foundational skills for collegiate music study. Students discover broadly applicable musical concepts in the domains of pitch relationships, rhythm, timbre, and form, and build fluency with those concepts through skill-building activities. These activities include composition, improvisation, performance, transcription, sight-reading, aural identification, music analysis, music technology applications, and writing. This course also builds keyboard and vocal skills: concepts will be drilled at the piano, vocally (using moveable Do solfege), and on students' primary instruments, if different. Concepts and activities will be situated within current discourses in music studies.
1 course
140A: Music Theory and Musicianship I
Professor: Eliza Brown
Building on Music Theory and Musicianship I, Music Theory and Musicianship II expands students' knowledge of and fluency with fundamental concepts for collegiate music study. Students continue discovering applicable musical concepts in the domains of pitch relationships, rhythm, timbre, and form, and building fluency with those concepts through skill-building activities. These activities include composition, improvisation, performance, transcription, sight-reading, aural identification, music analysis, music technology applications, and writing. This course also builds keyboard and vocal skills: concepts will be drilled at the piano, vocally (using moveable Do solfege), and on students' primary instruments, if different. Concepts and activities will be situated within current discourses in music studies. This course is required for BMA and BA students. Prerequisites: Musicianship I or permission of instructor based on placement exam results.
Musicianship I or permission of instructor based on placement exam results
1 course
141A: Music Theory and Musicianship II
Professor: Eliza Brown
A study of major points of view in contemporary American education and those knowledge bases that influence educational decisions. Survey of the historical, sociological, philosophical and psychological factors and functions of music in general education as they relate to principles and practices in education today. Applicable only to degrees in the School of Music.
1/2 course
Designed for the student who has had no previous dance training. Basic concepts and terminology will be considered as will aspects of history and appreciation.
Arts and Humanities
1/2 course
171A: Beginning Ballet I
Professor: Deborah Grammel
171A: Beginning Ballet I
Professor: Marcus Hayes
A continuation of MUS 171.
Arts and Humanities
MUS 171 or consent of instructor
1/2 course
A continuation of MUS 172.
Arts and Humanities
MUS 172 or consent of instructor
A continuation of MUS 173.
Arts and Humanities
MUS 173 or consent of instructor
1/2 course
Designed for the student who has had no previous dance training. Basic jazz technique and terminology will be addressed. Students will gain body control and awareness through class performance.
Arts and Humanities
1/2 course
175A: Beginning Jazz Dance I
Professor: Marcus Hayes
Continuation of MUS 175
Arts and Humanities
MUS 175 or consent of instructor
1/2 course
Arts and Humanities
MUS 176 or consent of instructor
1/2 course
A continuation of MUS 177.
Arts and Humanities
MUS 177 or consent of instructor
1/2 course
An introduction to the history and practice of ballroom dancing.
Arts and Humanities
1/2 course
179A: Ballroom Dancing
Professor: Deborah Grammel
179B: Ballroom Dancing
Professor: Deborah Grammel
This course is the study of tap dance technique from the basic rhythms and time steps to creating and performing tap routines. Emphasis on individual and group performance.
Arts and Humanities
1/2 course
180A: Beginning Tap
Professor: Deborah Grammel
The Symphonic Band provides playing experiences for College of Liberal Arts majors, and School of Music majors who want to improve their technique and skills on secondary woodwind, brass, and percussion instruments. The mission of the Symphonic Band is to create maximum enjoyment with limited performance demands for students who wish to continue to perform in a large ensemble as part of their collegiate educational experience. Auditions are not required for participation. However, they are held for optional chair placements and part assignments.
Arts and Humanities
.25
181A: Symphonic Band
Professor: Craig Pare
181A: Symphonic Band
Professor: Craig Pare
An off-campus course offered during the Winter or May term that includes on-campus preparation. May be offered for .5 course credits or as a co-curricular (0 credit). Counts toward satisfying the Extended Studies requirement.
Variable
183A: DePauw Chamber Symphony/Creative School launch to England (off-campus)
Professor: Orcenith Smith,
Elissa Harbert
The idea behind the development of this DePauw Chamber Symphony/Creative School launch Tour is to be a part of a 'collaborative environment' overall to signal that launch of the new Creative School at DePauw! England, specifically, London and other regional locations, would be the perfect place for our students to view, experience and participate in the culture and collaborative Arts. With the suggestions already provided by Dr. Marcus Hayes, Dean of the Creative School, I would want our students to experience things like a multimedia museum (Frameless), a dance performance (Hofesh Shecter), and other cultural possibilities utilizing our broader connections to the Arts in support of children, those less fortunate, and for us to perhaps, put on a multi-media performance of our own, with a film and music generated by DePauw students! As we more fully craft the Chamber Symphony/Creative School launch Tour, we can expand the student experience even more with meetings with Dr. Hayes that are forthcoming.
For more information on program costs and how to apply for the program, paste this URL into your web browser: https://offcampus.depauw.edu/_portal/program-discovery
Use the filter to search for "Winter" Term.
183B: DePauw Chamber Symphony/Creative School launch to England (off-campus)
Professor: Orcenith Smith,
Elissa Harbert
The idea behind the development of this DePauw Chamber Symphony/Creative School launch Tour is to be a part of a 'collaborative environment' overall to signal that launch of the new Creative School at DePauw! England, specifically, London and other regional locations, would be the perfect place for our students to view, experience and participate in the culture and collaborative Arts. With the suggestions already provided by Dr. Marcus Hayes, Dean of the Creative School, I would want our students to experience things like a multimedia museum (Frameless), a dance performance (Hofesh Shecter), and other cultural possibilities utilizing our broader connections to the Arts in support of children, those less fortunate, and for us to perhaps, put on a multi-media performance of our own, with a film and music generated by DePauw students! As we more fully craft the Chamber Symphony/Creative School launch Tour, we can expand the student experience even more with meetings with Dr. Hayes that are forthcoming.
For more information on program costs and how to apply for the program, paste this URL into your web browser: https://offcampus.depauw.edu/_portal/program-discovery
Use the filter to search for "Winter" Term.
An on-campus course offered during the Winter or May term. May be offered for .5 course credits or as a co-curricular (0 credit). Counts toward satisfying the Extended Studies requirement.
Variable
184A: DePauw Opera
Professor: Janani Sridhar,
Orcenith Smith
Course Time: 10:00am-noon and 1:00-4:00pm MTWRF
Fees: None
Prerequisites: Auditions will be held in fall term.
The Winter Term Opera 2025 is an on-campus project. Auditions for the opera will be held in fall term. Orcenith Smith and I will distribute relevant information for students to audition for the opera. If you are interested in technical elements of production, please contact us. The process will start with musical rehearsals, followed by staging rehearsals. Since auditions will be held well ahead of Winter Term, students are expected to be off-book by the first day of Winter Term. Most of the remainder of Winter Term will be for staging and music rehearsals. The Winter Term project will end in a full production with scenery, costumes, and accompanied by an orchestra during the second week of spring term. For more information, please contact me.
184B: DePauw Opera
Professor: Janani Sridhar,
Orcenith Smith
Course Time: 10:00am-noon and 1:00-4:00pm MTWRF
Fees: None
Prerequisites: Auditions will be held in fall term.
The Winter Term Opera 2025 is an on-campus project. Auditions for the opera will be held in fall term. Orcenith Smith and I will distribute relevant information for students to audition for the opera. If you are interested in technical elements of production, please contact us. The process will start with musical rehearsals, followed by staging rehearsals. Since auditions will be held well ahead of Winter Term, students are expected to be off-book by the first day of Winter Term. Most of the remainder of Winter Term will be for staging and music rehearsals. The Winter Term project will end in a full production with scenery, costumes, and accompanied by an orchestra during the second week of spring term. For more information, please contact me.
184C: Music and Teaching:Leadership from the Podium
Professor: Craig Pare
Course Time: TBD
Fees: None
Prerequisites: It helps to have a music background, but it is not essential.
Good music teaching at the middle and high school levels starts with teachers who are committed to making the music experience meaningful and substantive for their student musicians. Choral and instrumental music educators spend their professional years experimenting and refining their teaching techniques as conductors, leaders, and mentors to their students. This course will examine and investigate how those successful teachers effectively teach from the podium. Setting musical goals, matching literature choices with pedagogical goals, learning, developing, and applying effective rehearsal techniques, and creating accurate assessment tools will be part of this course's goals. Additionally, observing and interviewing successful conductors/teachers will provide an important perspective for our class learning. Having a background in music is helpful, but anyone interested in understanding and learning about the educational process, developing leadership skills, and learning about today's educational process in the United States, through the lens of a public school music educator, will benefit from this course.
A study of major points of view in contemporary American education and those knowledge bases that influence educational decisions. Survey of the historical, sociological, philosophical and psychological factors and functions of music in general education as they relate to principles and practices in education today. Applicable only to degrees in the School of Music.
3/4 course
A theoretical and practical consideration of pronunciation principles for singers of the Italian repertoire. Applicable to voice majors and their degrees in the School of Music.
1/2 course
191A: Italian Diction/Singers
Professor: Mary Martin
A theoretical and practical consideration of pronunciation principles for singers of the German repertoire. Applicable to voice majors and their degrees in the School of Music. Prerequisites: MUS 191 and MUS 194.
MUS 191 and MUS 194
1/2 course
A theoretical and practical consideration of pronunciation principles for singers of the French repertoire. Applicable to voice majors and their degrees in the School of Music. Prerequisites: MUS 191 and MUS 194.
MUS 191 and MUS 194
1/2 course
193A: French Diction/Singers
Professor: Mary Martin
A theoretical and practical consideration of pronunciation principles for singers of the English repertoire. Applicable to voice majors and their degrees in the School of Music.
1/2 course
A seminar focused on a theme in the study of music. Open only to first-year students.
1 course
197A: FYS:Music, Identity and Culture
Professor: Elissa Harbert
Improvisation is a course that studies the performance practice of improvisation. Students will learn basic forms, melodic formulae, theoretical principles, compositions, etc. found in music that utilizes improvisation as a core concept. The ability to perform on an instrument or voice is required. Prerequisite MUS140, MUS141 or consent of instructor.
MUS140, MUS141 or consent of instructor
1 course
Music composition is the art of organizing sounds in time and space. Every musician has the capacity to compose. The goals of this course are: to nurture your compositional creativity and craft; to refine your ability to express compositional ideas through notation and other media; to broaden your exposure to contemporary music and compositional techniques; to improve your aural and music analysis skills, focusing in particular on the perception of events and processes at work in contemporary music; to give you models for and experiential knowledge of a range of compositional processes and workflows; to develop your ability to write effectively for individual instruments and voices, as well as groups of instruments and voices; to improve your ability to write and speak articulately about your music; and to deepen your understanding of yourself as an artist. Prerequisite: MUS 141.
Arts and Humanities
MUS 141
1 course
The Orchestration and Film Scoring course consists of current techniques to equip students with the understanding of instruments and their grouping in order to score for a theoretical ensemble and as video and film underscoring. This course introduces the four instrument families (string, woodwind, brass, and percussion) and covers ranges, proper groupings per family, playing techniques, adding layers, and includes a final project.
Arts and Humanities
1 course
Students will gain an understanding of the fundamentals of working with music in the digital domain, including applications in composition, performance and production. Students will also develop further develop proficiency in specific applications related to computer-based recording; engineering and production for live and recorded sound; contemporary electroacoustic music composition; acoustics and sound design; digital songwriting, production and distribution. Prerequisites: None, requires consent of instructor.
Requires consent of instructor
The third of four core courses in music theory. Students will be introduced to specific forms, voice-leading, harmonic language, and rhythmic language in Common-Practice, jazz, contemporary classical, pop/rock, and musical theater styles.
MUS 112 or consent of theory/musicianship coordinator
3/4 course
211A: Theory III
Professor: Mica Redden
The fourth of four core courses in music theory. Students will explore more advanced topics in form, harmonic language, orchestration, and rhythmic language in Common-Practice, contemporary classical, jazz, popular, and Indonesian Gamelan styles.
MUS 211 or consent of theory/musicianship coordinator
3/4 course
212A: Theory IV
Professor: Eliza Brown
The third of four core courses that develop aural and performance skills. Sight singing (movable Do solfege), melodic and harmonic dictation, improvisation, and keyboard skills are covered.
MUS 122 or consent of theory/musicianship coordinator
1/2 course
221A: Musicianship III
Professor: Mica Redden
The fourth of four courses that develop aural and performance skills. Sight singing (movable Do solfege), melodic and harmonic dictation, improvisation, and keyboard skills are covered.
MUS 221 or consent of theory/musicianship coordinator
1/2 course
222A: Musicianship IV
Professor: Mica Redden
A consideration of jazz history from its beginnings to the present day. Students will develop an awareness of important periods, major performers and composers, trends, influences, stylistic features, terminology, and related materials. This course is appropriate for liberal arts students.
Arts and Humanities
1/2 course
This course examines the life and works of Miles Davis and John Coltrane, two of the most influential musicians in the world. For more than 45 years, from 1945 when he first made his mark on the jazz scene until his death in 1991, Miles Davis has been in the front rank of American music. His music has defined jazz for three different generations of listeners. John Coltrane was a key figure in jazz history, a pioneer in world music, and an intensely emotional force. The immense force of Coltrane's music has inspired poetry, sculpture and modern dance. This course is appropriate for liberal arts students.
Arts and Humanities
1/2 course
An introduction to the vast array of literature available to the band and wind ensemble from a historical perspective. Students develop both aural and score knowledge of the variety of styles of wind music (from the Middle Ages through the 20th century) and an understanding of the development of wind composition.
1/2 course
State of the Art gives students a thorough overview of the challenges and opportunities facing professional musicians and music organizations in the current marketplace. Starting with an exploration of high-profile contemporary situations, the course then examines the economics of professional classical music, using NEA arts participation data and various articles and online resources as texts. As the course moves to an exploration of successful arts organizations, small ensembles, and individual performers, students develop case studies of successful current musical enterprises.
Course not open to first-year students.
1 course
Study and practice of the standard range of percussion instruments. Students are taught using method books designed for elementary, middle and secondary schools, and they learn to employ appropriate pedagogical techniques for group instruction in school settings. Applicable only to degrees in the School of Music.
1/2 course
251A: Percussion Techniques
Professor: Staff
Study and practice of each of the following string instruments: violin, viola, cello and bass. Students are taught using method books designed for elementary, middle and secondary schools, and they learn to employ appropriate pedagogical techniques for group instruction in school settings. Applicable only to degrees in the School of Music.
1/2 course
Study and practice of each of the following brass instruments: trumpet, French horn, trombone, and euphonium/tuba. Students are taught using method books designed for elementary, middle and secondary schools, and they learn to employ appropriate pedagogical techniques for group instruction in school settings. Applicable only to degrees in the School of Music.
1/2 course
253A: Brass Techniques
Professor: Zachary Clark
Study and practice of each of the following woodwind instruments: flute, clarinet and saxophone. Students are taught using method books designed for elementary, middle and secondary schools, and they learn to employ appropriate pedagogical techniques for group instruction in school settings. Applicable only to degrees in the School of Music.
1/2 course
This course provides an environment in which future music educators learn to rehearse and arrange for middle school and high school instrumental and choral ensembles. Students enroll in the course three spring semesters and gradually assume teaching responsibilities. By the conclusion of their third semester, students will: apply their pedagogical knowledge in the sequencing of lesson/rehearsal materials, select appropriate methods and literature for school ensembles, employ appropriate rehearsal techniques, refine their personal communicative teaching skills, hone their performance skills on secondary instruments, and assess student progress. Applicable only to degrees in the School of Music.
1/4 course (first- and second-year students); 1/2 course (third-year students)
255A: Instru/Choral Mus.Ed.Lab
Professor: Zachary Clark
Detailed consideration of the music programs in nursery schools, preschools, and kindergarten; topics include the nature of early musical responses, learning objectives, experience levels within the programs, methods of teaching, and materials. Observation of music teaching and participation in music teaching are included in the coursework.
MUS 150 and MUS 170 or consent of instructor
1/2 course
Introduction to student diversity with an emphasis on providing music instruction to P-12 students with diverse needs. In this music teacher education course, pre-service music teachers will develop skills in planning developmentally and culturally appropriate music lessons and in structuring experiences to facilitate participation and learning by all students. Course content includes overviews of student diversity, special education, and multicultural education; examination of the challenges that issues of diversity pose to the learning process; study of legislation, procedures, and current practice; application of appropriate instructional and assessment strategies; and, provision of reasonable accommodations. Students will develop the knowledge, skills, and dispositions essential for teaching music to a wide variety of learners. Field experience is required.
MUS 150 and MUS 170 or consent of instructor
3/4 course
263A: Mus-Stdnts w/DiverseNeed
Professor: Sai Guo
European art music from the ancient Greeks to the end of the Classical Era (ca. 1800). The course places the stylistic development of important genres and forms of Western art music into a spectrum of musical, social and economic contexts. The analysis of historically important works will consider how music has been experienced by composers, performers, patrons and audiences.
Arts and Humanities
MUS 111, 121, or consent of instructor
1 course
265A: History Western Music I
Professor: Matthew Balensuela
265A: History Western Music I
Professor: Matthew Balensuela
This course provides a historical survey of music in Europe and the United States from 1800 to the present day, exploring some of the many genres and styles circulating during these transformative centuries. Considering each work and composer as a case study indicative of broader trends, the course delves into the historical contexts, philosophical and literary underpinnings, and social dynamics of this music.
Arts and Humanities
MUS 111, 121, or consent of instructor
1 course
266A: History Western Music II
Professor: Elissa Harbert
266A: History Western Music II
Professor: Elissa Harbert
Arts and Humanities
1/4 course
MUS 272 Large Instrumental Ensemble is a unique course in which students may be exposed to three different instrumental formats within a semester (DePauw University Orchestra, DePauw University Band, and Jazz Ensemble) through a .5-credit rotation system (MUS 272A) established for the semester. Students may also elect to participate in a .25-credit ensemble for the semester: 272B (University Orchestra), 272C (University Band), or 272D (Jazz Ensemble). An audition is required.
Arts and Humanities
Audition required
1/4-1/2 course
272AA: Large Instrumental Ensemble - Full Rotation
Professor: Craig Pare,
Orcenith Smith
272BA: Large Instrumental Ensemble - Orchestra
Professor: Orcenith Smith
272CA: Large Instrumental Ensemble - Band
Professor: Craig Pare
272DA: Large Instrumental Ensemble - Jazz Ensemble
Professor: Steven Snyder
272AA: Large Instrumental Ensemble - Full Rotation
Professor: Craig Pare,
Orcenith Smith
272BA: Large Instrumental Ensemble - Orchestra
Professor: Orcenith Smith
272CA: Large Instrumental Ensemble - Band
Professor: Craig Pare
272DA: Large Instrumental Ensemble - Jazz Ensemble
Professor: Steven Snyder
Arts and Humanities
1/4 course
This community choir at DePauw is open to both students as well as community members (e. g. staff/faculty/residents of Greencastle, Putnam County and beyond) who meet in weekly two-hour rehearsals during each semester. The choir therefore is designed to bring together a diverse group of people through shared musical experiences. No audition or music reading skills are needed to join, the desire to sing together in a group is enough.
None
1/4 course
274A: Putnam County Festival Choir
Professor: Bryon Black
274A: Putnam County Festival Choir
Professor: Bryon Black
Arts and Humanities
1/4 course
This SA chamber vocal ensemble is open to any student at DePauw regardless of major, but requires an audition to participate. In rigorous rehearsals, students learn repertoire of every level and of different eras, genres, and cultures, which facilitates the development of skills necessary in becoming an advanced choral singer and musician. A semester typically includes several joint performances with other choirs and ensembles of the Institute of Music. This group also serves as a musical ambassador of the university for special occasions on and off campus.
If a student wants to receive .5 credit (e. g. to fulfill a music degree requirement), they enroll in MUS276A. This choice includes the three 50 min. rehearsals per week plus an additional mandatory weekly two-hour rehearsal with Festival Choir (DePauw's non-auditioned SATB community choir). If a student only wants to receive .25 credit, they enroll in MUS276B, which only includes the three 50-min rehearsals per week.
Arts and Humanities
Audition required
1/4-1/2 course
276AA: Vox Animae
Professor: Bryon Black
276BA: Vox Animae
Professor: Bryon Black
276AA: Vox Animae
Professor: Bryon Black
276BA: Vox Animae
Professor: Bryon Black
This SATB chamber vocal ensemble is open to any student at DePauw regardless of major, but requires an audition to participate. In rigorous rehearsals, students learn repertoire of every level and of different eras, genres, and cultures, which facilitates the development of skills necessary in becoming an advanced choral singer and musician. A semester typically includes several joint performances with other choirs and ensembles of the Institute of Music. This group also serves as a musical ambassador of the university for special occasions on and off campus.
If a student wants to receive .5 credit (e. g. to fulfill a music degree requirement), they enroll in MUS277A. This choice includes the three 50 min. rehearsals per week plus an additional mandatory weekly two-hour rehearsal with Festival Choir (DePauw's non-auditioned SATB community choir). If a student only wants to receive .25 credit, they enroll in MUS277B, which only includes the three 50-min rehearsals per week.
Arts and Humanities
1/4-1/2 course
277AA: Chamber Singers
Professor: Bryon Black
277BA: Chamber Singers
Professor: Bryon Black
277AA: Chamber Singers
Professor: Bryon Black
277BA: Chamber Singers
Professor: Bryon Black
Arts and Humanities
1/4 course
Students will further develop proficiency in music technologies and their applications to music composition, performance and production, by exploring a range of topical subjects that may include: computer-based recording, engineering and production strategies for live and recorded sound; live-sound support, recording and production; contemporary electroacoustic music composition; acoustics and sound design; contemporary digital songwriting, production and distribution; cultural contexts of popular music; music for film. Prerequisites: MUS110 or consent of instructor.
MUS 110 or consent of instructor
1/2 course
280A: Topics in Music Technology: Digital Music Production
Professor: Veronica Pejril
Students will build upon concepts learned in MUS 110 to develop further proficiency in modern computer-based tools for production. Students will explore concepts including synthesis, sampling, looping, sequencer-based composition and digital-mastering for publication.
This course is designed to give students the skills required to sing effectively on stage through the study of a variety of vocal repertoire for the stage, including, but not limited to, opera and musical theatre.
Arts and Humanities
1/4 course
282A: Music for the Stage
Professor: Janani Sridhar
This course is a performance-based course that offers practical experience in the preparation and performance of appropriate selections from the operatic repertoire. It is designed to provide a basic understanding of role preparation with a focus on stagecraft and musical preparation.
Arts and Humanities
1/4 course
This course is a performance-based course that offers practical experience in the preparation and performance of appropriate selections from the musical theatre repertoire. It is designed to provide a basic understanding of role preparation with a focus on stagecraft and musical preparation.
Arts and Humanities
1/4 course
Based on an audition, selected students will be assigned to a specific named chamber ensemble. Students will rehearse as a group independently and under the tutelage of a chamber music coach. Ensembles will perform on and off campus representing the School of Music.
Arts and Humanities
1/4 course
A. General Chamber Music; B. Brass Chamber Ensemble; C. Clarinet Ensemble; D. Piano Trio; E. Bass Ensemble; F. Flute Choir; H. Horn Ensemble; I. Improvised Chamber Music; J. Jazz Combos; K. Keyboard; N. Piano Ensemble; P. Percussion Ensemble; Q. String Chamber Music; R. Trumpet Ensemble; S. Saxophone Ensemble; T. Trombone Choir; V. Vocal Chamber Music; W. Woodwind Chamber Ensemble; X. Cello Ensemble; Z. Baroque Chamber Music.
Arts and Humanities
1/4 credit
289AA: General Chamber Music
Professor: May Phang
289AB: General Chamber Music
Professor: May Phang
289AC: General Chamber Music
Professor: Orcenith Smith
289AD: General Chamber Music
Professor: Orcenith Smith
289JA: Jazz Combos
Professor: Steven Snyder
289JB: Jazz Combos
Professor: Steven Snyder
289JC: Jazz Combos
Professor: Steven Snyder
289PA: Percussion Ensemble
Professor: Ming-Hui Kuo
289SA: Saxophone Ensemble
Professor: Scotty Stepp
289AA: General Chamber Music
Professor: May Phang
Introductory explorations of topics in music history (encompassing art, popular, and folk musics) approached through musicological and interdisciplinary lenses and addressing historical change over time. The topic may address a specific composer, group, movement, era, or genre, or a particular theme or issue in music history. Promotes skills in historical thinking, interpretation, awareness of social/cultural influences on music, writing, and critical thinking. May be offered as a W. No prerequisites.
Arts and Humanities
1/2-1 course
Investigation of special topics in music.
1 course
An experiential course for those students who are completing an internship with an agency or organization not usually included in University programs. A detailed written project proposal must be approved by the supervising faculty member and the Dean of the School of Music.
Consent of the Dean of the School of Music.
1/2-1 course
Music and the Related Arts provides a theoretical and practical introduction to interdisciplinary work that integrates music with a range of other fine and performing arts disciplines. Students spend the first half of the semester learning about the intersection of music and other artistic disciplines, cross-disciplinary aesthetic and practical considerations, and models for interdisciplinary/collaborative creative process, as well as experiencing and analyzing a range of existing interdisciplinary works. In the second half of the semester, students will create and present their own interdisciplinary projects in small groups. This course will feature guest speakers from other Creative School departments and offer opportunities for off-campus field trips to experience interdisciplinary work in Indianapolis and surrounding counties. This course is open to all DePauw students (prerequisite: MUS 100 or MUS 140), and is required for the BMA in music.
MUS 100 or MUS 140
1 course
Building Musical Lives and Communities introduces skills, knowledge and mindsets that help musical artists develop careers, and allows students to put these into practice by collaboratively developing and producing a musical project. Using case studies of artists with diverse career paths as models, students refine their understanding of their own strengths, aspirations, and artistic mission, and develop digital materials to communicate that identity. In groups of individuals with overlapping missions, students develop, fund, and produce musical projects that thoughtfully engage a community outside of the class, building practical arts management skills such as grant-writing, contracting, and budgeting experientially. Class activities are contextualized and shaped by discussions of current equity, labor, policy, and advocacy issues that affect the arts.
1 course
310A: Building Musical Lives and Communities
Professor: Eliza Brown
This class involves the development of harmonization and transposition skills. Realization of figured bass and open score reading are included as well.
MUS 212 and MUS 222 or consent of instructor
1/2 course
The general goals of this course are: to nurture the student's compositional creativity and craft; to refine the student's ability to express compositional ideas through notation and other media; to broaden the student's exposure to contemporary music and compositional techniques; to improve the student's aural skills, focusing in particular on the perception of events and processes at work in contemporary music; to develop the student's ability to write effectively for individual instruments and voices, and groups of instruments and voices; to improve the student's ability to write and speak articulately about her or his music; and to deepen the student's understanding of herself or himself as an artist. May be taken up to four times for credit.
MUS 211 and MUS 221 or consent of instructor
1/2 course
Modern band and orchestral instrumentation. Arrangements for string, woodwind, brass and percussion combinations and orchestrations of composition by classical, romantic and modern composers.
MUS 211 and MUS 221 or consent of instructor
1/2 course
Career Development introduces skills, knowledge and mindsets that help musical artists develop their own career path in the current music marketplace. Through case studies of diverse musicians and their unique careers, students gain an understanding of artistic, institutional, and social issues that professional musicians consider as they navigate the field. Using these case studies as models, students refine their understanding of their own personal strengths, aspirations, and artistic mission, and develop a portfolio of materials that communicate their story/brand to audiences using various digital media. Students also learn about practical elements of self-managing a music career, such as contracts, household budgeting, and tax preparation for musicians.
1/2 course
A consideration of the development of Italian and German art song from its origins to the present.
MUS 265 and MUS 266 or consent of instructor
1/2 course
A consideration of the development of French Melodie and British and American art song from its origins to the present.
MUS 265 and MUS 266 or consent of instructor
1/2 course
A project-based introduction to the attitudes, skills and habits needed for musicians entering the marketplace to create their own opportunities rather than (or in addition to) seeking employment from existing musical organizations. Topics include entrepreneurial mindset; authentic motivation; portfolio/project-based career models; importance of marketplace distinction; networking and relationship building; developing a personal (or group) following; promotional writing (biographies, press releases, etc.); traditional and electronic marketing, including social media and video; funding models; and basics of personal finance.
Open to first-year students and sophomores by permission only. Open to CLA students by permission only.
1/2 course
An investigation of the significant symphonic literature of the 17th, 18th, 19th, 20th and 21st centuries.
MUS 212, MUS 222, MUS 265 and MUS 266 or consent of instructor
1/2 course
An investigation of the organ as an instrument, its history and development, its mechanical and tonal design and its repertoire through the various stylistic periods. Practical work in registration is included.
MUS 265 and MUS 266 or consent of instructor
1/2 course
Techniques of service playing in both liturgical and non-liturgical services, anthem accompanying, improvisation in the church service and repertoire for church use.
MUS 265 and MUS 266 or consent of instructor
1/2 course
A consideration of keyboard literature from its origins to the present.
MUS 265 and MUS 266 or consent of instructor
1/2 course
A consideration of keyboard literature from its origins to the present.
MUS 265 and MUS 266 or consent of instructor
1/2 course
Methods and materials suitable for teaching music in the elementary school. General survey of elementary music curricula. Includes critical analysis of texts and literature relevant to the elementary music program. Incorporates theories of learning; curriculum development, organization and evaluation; and, teaching strategies, techniques, and best practices. Observation of music teaching and participation in music teaching are included in the coursework. Applicable only to degrees in the School of Music.
3/4 course
351A: Elem Gen Music:Mthds/Mat
Professor: Sai Guo
Methods and materials appropriate for teaching vocal music at the middle and high school levels. General survey of middle and high school curricula and study of philosophical bases of curriculum design. Includes an analysis of texts, literature and representative materials outlining related responsibilities of the vocal music teacher. Provides detailed consideration of organization, development, maintenance and evaluation of comprehensive choral programs in secondary schools. Observation of music teaching and participation in music teaching are included in the coursework. Applicable only to degrees in the School of Music.
3/4 course
Methods of teaching instrumental music in the elementary and secondary schools, including an analysis of texts and literature for concert band, jazz band, orchestra and small ensembles, and representative material outlining related responsibilities of the instrumental music teacher. Observation of music teaching and participation in music teaching are included in the coursework. Applicable only to degrees in the School of Music.
3/4 course
Introduction to teaching general music in the secondary schools. Examination of the objectives, organization and operation of a secondary general music program. Study of teaching materials, curricula, instructional methods and assessment practices appropriate for adolescent learners. Observation of and participation in music teaching are included in the coursework.
1/2 course
Baton technique, simple and complex rhythms, specific problems from symphonic literature, score reading and practical experience in conducting.
MUS 211 and MUS 221 or consent of instructor
1/2 course
360A: Conducting I
Professor: Orcenith Smith
360A: Conducting I
Professor: Orcenith Smith
A. Instrumental: Advanced baton techniques and specific problems related to instrumental conducting with practical experiences in conducting. B. Choral: Advanced conducting techniques related specifically to choral music.
MUS 360 or consent of instructor
1/2 course
362AA: Conducting II (Instr.)
Professor: Orcenith Smith
Investigations of specialized, current approaches to music creation, presentation, and dissemination. These courses complement other courses offered in the 21CM curriculum.
Variable
380A: 21CM Topics: Choral Arranging
Professor: Bryon Black
This class will provide a framework for arranging for vocal ensembles. In contrast to composing music, arranging approaches writing from the perspective of creating a musical setting for an already existing piece of music. In a first step, we will briefly focus on gathering/reviewing different tools from music theory, musicianship and proper music notation (including the use of editing software). The majority of the class, students will apply these tools to evaluate existing arrangements and to create their own arrangements with a special focus on significant aspects of writing for the voice.
380B: 21CM Topics: Music and Social Justice
Professor: Janani Sridhar
The class will focus on music by composers from underrepresented communities, focusing on intersections of equity, racial and social justice, and identity. The students will design programs based on these parameters, and at the end of the course, there will be a concert showcasing their work throughout the semester.
380A: 21CM Topics: Composition
Professor: Eliza Brown
380B: 21CM Topics: Black Choral Music
Professor: Bryon Black
This course will explore a survey of choral repertoire contributed by Black composers. This will include the historical information of the composers, their notable contributions to the choral field (and to society), relevant music traditions and trends, and the prominence of relevant artists throughout the 20th-21st centuries. Units of repertoire and history will include Black composers of western-based music traditions, idiomatic music of African and Black traditions, and music which is non-idiomatic of Black traditions. Students will be equipped to study the repertoire and historical contexts through presentations, repertoire analysis, shared projects, and engagement with living choral artists. Due to the nature of the format of this class, there will be room for individual emphases and explorations on this broad topic.
This course is taken in conjunction with a student's applied lessons during the semester in which a 30-minute elective recital will be presented in a public setting. Students will work with their applied professor to prepare a 30-minute recital consisting of the repertoire required by the instrumental/vocal area. Students will also be responsible for creating a recital program and working to develop and engage an audience for the public event.
.25
381A: Elective Recital 30-min
Professor: Caroline Jetton
381A: Elective Recital 30-min
Professor: Caroline Jetton
This course will focus on understanding jazz structures by analyzing the various elements of harmony, chord and scale functions as they relate to the jazz forms and songs that have developed throughout its history and are being employed today.
MUS 211 and MUS 221 or consent of instructor
1/2 course
This is the first of two courses required to complete the music performance degree (Bachelor of Music). This course is taken in conjunction with a student's applied lessons during the semester in which the junior recital will be presented in a public setting. Students will work with their applied professor to prepare a 30-minute recital consisting of repertoire required by the instrumental/vocal area. Students will also be responsible for creating a recital program and working to develop and engage an audience for the public event.
1/4 course
385A: Junior Recital
Professor: Caroline Jetton
385A: Junior Recital
Professor: Caroline Jetton
This course is a fundamental study of jazz improvisation. Students will develop a primary awareness of techniques, style, rhythm, nomenclature, ear training and improvisational exercises. Students will examine standard and basic tune vehicles including blues, modality, II V I progressions and the ballad.
MUS 211 and MUS 221 or consent of instructor
1/2 course
In-depth investigations of focused topics in music history (encompassing art, popular, and folk musics), approached through musicological and interdisciplinary lenses. The topic may address a specific composer, group, movement, era, or genre, or a particular theme or issue in the discourse. Promotes skills in historical thinking, interpretation and analysis, research, scholarly reading, writing and/or speaking, and critical thinking. This course is primarily for music majors who have completed MUS 140 and 141, but others with a background in music may be eligible with consent of the instructor.
MUS 265 and MUS 266 or consent of instructor
1 course
390A: Mus Hist Tps: Music and Humor
Professor: Matthew Balensuela
A review of the ways humor has been expressed in music in a variety of genres and styles. The class will review theories of humor in general before a discussion of humor in various musical topics such as the works of Satie, parody, P.D.Q. Bach, and as a tool for anti-racism. Student work in the class will include extensive reading and preparation for seminar-like discussions and a series of research assignments leading to a substantial oral presentation. Other speech-related work will include reviews and critiques of model speakers, a debate with other students as the midterm exam, and practice presentations.
WARNING: Humor often "works" by transgressing social norms. Works of music that were intended as humorous may be considered by some listeners to be sexist, racist, or ableist. Students considering the class should be aware that some topics in the class may be troubling for some listeners, but need to be discussed fully and sensitively to address this subject.
390A: Topics: Women in Western Music
Professor: Elissa Harbert
Despite women's severe underrepresentation in the canon of famous composers and musicians, women have always been a powerful presence in the music world, composing, performing, and championing music through the ages. This course explores the diverse musical activities of women in classical and popular musics of (mostly) Europe and North America from the Middle Ages to the present. In addition to introducing you to many individual women and their cultural contexts, we will consider approaches to the study of gender and sexuality, misogynist and feminist perspectives in music scholarship and criticism, and representations of women and gender in historical and contemporary media. As a W course, it will emphasize the writing and revision process.
Investigation of specialized topics in areas such as music history, literature, theory, musical cultures and performance issues. Recent offerings have included History of Broadway Musicals, Jazz Styles and Analysis, and Psychology of Music.
MUS 265 and MUS 266 or consent of instructor
1/2-1 course
A study of elementary and advanced piano playing procedures, including technique, interpretation and methods for both class and individual instruction.
MUS 211 and 221 or consent of instructor
1/2 course each semester
A continuation of MUS 397.
MUS 397 or consent of instructor
1/2 course
Brass, harp, organ, percussion, string, vocal and woodwind. A study of the methods, materials and techniques relevant to the teaching of beginning, intermediate and advanced students in individual lessons and class contexts.
MUS 211 and 221 or consent of instructor
1/2 course
Independent investigations under the direction of a music faculty member. A research paper or performance subject to review by three members of the music faculty is required. A detailed written project proposal must be approved by the supervising faculty member and the Dean of the School of Music. The course may be repeated for credit with different topics.
1/4-1/2-1 course
A workshop-format course in which students, individually or in small groups, conceive, develop, and execute a project or projects involving 21CM skill areas such as creative programming and presentation, alternative venues, marketing and promotion, audience development, and community engagement. As the capstone course of the core 21CM curriculum, Practicum asks students to think broadly about the professional music field through a variety of critical lenses, and to synthesize 21CM concepts and skills through action and reflection. May be repeated for credit.
MUS 340 and MUS 240 or consent of the instructor
1/2 course
Through experiential learning, students learn how to work collaboratively, within and across organizations, to develop and produce musical projects. Over the course of the semester, students will build small-group collaborative organizations and develop, fund, and produce a musical project that meaningfully engages a community (broadly defined) outside the School of Music. Alongside their projects, students will deepen their understanding of inter-related equity, labor, policy, and advocacy matters in the arts through discussion and written responses, culminating in a final assignment in which students reflectively and creatively articulate their vision for the field of music and their role in relation to it.
1/2 course
The Senior Seminar in Music is the capstone experience for students earning the BMA degree or the BA degree with a music major. Capstone projects involve researching and writing a substantial original thesis paper on a topic of the student's choosing and formally presenting that research.
MUS 265 and MUS 266 or consent of instructor
1 course
450A: Seminar
Professor: Matthew Balensuela
A 14-week, full-time teaching experience in an approved music department of a school district. Student teachers are under the supervision of a cooperating teacher and at least one university supervisor. This course is required for state licensure, is typically offered spring semester, and may not be taken pass/fail. Students must concurrently enroll in MUS 452, Senior Seminar for Music Educators.
Admission to Student Teaching and a cumulative GPA of 2.8 or higher. Applications are submitted one full year in advance of the student teaching semester.
Two courses
451A: Student Teaching in Music
Professor: Zachary Clark
Professional examination of principles of classroom management, legal rights and responsibilities, certification, accountability, and current issues in education. Practical problems faced in the profession will be addressed. An emphasis is placed upon the examination and refinement of personal attitudes, dispositions, and teaching skills. Students will participate in a final exhibition that involves a formal presentation of their personal growth and competence as well as the unit of study that was developed and delivered and an analysis of the corresponding student assessment data. This course is typically offered spring semester and may not be taken pass/fail. Students must concurrently enroll in MUS 451, Student Teaching in Music.
Admission to Student Teaching.
1 course
452A: SrSeminarMusicEducators
Professor: Zachary Clark,
Caroline Jetton
For MUS 454, Senior Performance/Creation Recital Capstone, students will enroll for two semesters (.5 credit each) with their applied teacher in the fall and spring of their senior year (with a 60-minute performance recital or a public presentation of original creative work of appropriate scope in the spring semester), or the previous spring of their junior year and fall of Senior year (if they wish to have a 60-minute recital or a public presentation of creative work in the fall Semester.) They can pursue this Capstone in their primary instrument or composition.
1/2 course
A continuation of the materials and skill developments begun in MUS 380. The emphasis is on the practical application of jazz theory.
MUS 386 or consent of instructor.
1/2 course
This course is taken in conjunction with a student's applied lessons during the semester in which a 60-minute elective recital will be presented in a public setting. Students will work with their applied professor to prepare a 60-minute recital consisting of the repertoire required by the instrumental/vocal area. Students will also be responsible for creating a recital program and working to develop and engage an audience for the public event.
.25
481A: Elective Recital 60-min
Professor: Caroline Jetton
481A: Elective Recital 60-min
Professor: Caroline Jetton
Study and practice of arranging techniques for jazz ensembles.
MUS 384 and 386 or consent of instructor.
1/2 course
This is the second of two courses required to complete the music performance degree (Bachelor of Music). This course is taken in conjunction with a student's applied lessons during the semester in which the senior recital will be presented in a public setting. Students will work with their applied professor to prepare a 60-minute recital consisting of the repertoire required by the instrumental/vocal area. Students will also be responsible for creating a recital program and developing and engaging an audience for the event.
1/4 course
485A: Senior Recital
Professor: Caroline Jetton
485A: Senior Recital
Professor: Caroline Jetton
Open only to students with very limited or no prior experience in the study of piano.
Arts and Humanities
1/4 course
900A: Beginning Class Piano (CLA)
Professor: May Phang
900B: Beginning Class Piano (CLA)
Professor: May Phang
900A: Beginning Class Piano (CLA)
Professor: May Phang
900B: Beginning Class Piano (CLA)
Professor: May Phang
Open only to students with very limited or no prior experience in the study of piano.
Arts and Humanities
1/4 course
A continuation of MUS 901.
Arts and Humanities
MUS 901 or the equivalent or consent of instructor
1/4 course
A continuation of MUS 901-902.
Arts and Humanities
MUS 902 or the equivalent or consent of instructor
1/4 course
903A: Class Piano III
Professor: May Phang
903B: Class Piano III
Professor: May Phang
A continuation of MUS 903.
Arts and Humanities
MUS 903 or the equivalent or consent of instructor
1/4 course
904A: Class Piano IV
Professor: May Phang
904B: Class Piano IV
Professor: May Phang
This course teaches vocal fundamentals in a group format through the study of the physiology and acoustics of the human singing voice. Classical and non-classical styles are studied.
Arts and Humanities
1/4 course
905A: Beginning Class Voice
Professor: Barbara Pare
Open only to students with very limited or no prior experience in the study of guitar.
Arts and Humanities
1/4 course
907A: Beginning Folk Guitar I
Professor: Harriet Moore
907A: Beginning Folk Guitar I
Professor: Harriet Moore
A continuation of MUS 907.
Arts and Humanities
MUS 907 or the equivalent or consent of instructor
1/4 course
This course is designed for CLAS students with little or no percussion experience. Students earn 0.25 course credit for meeting twice a week, for a total of two hours per week during the semester. Students who have played percussion in large ensembles during high school should register for applied lessons or audition for the percussion ensemble.
Arts and Humanities
1/4 course
909A: Beginning Class Percussion I
Professor: Ming-Hui Kuo
This class is intended to build on skills learned during Beginning Class Percussion I. Students earn 0.25 course credit for meeting twice a week, for a total of two hours per week during the semester. Students who have more than two years of experience in percussion ensembles during high school should register for applied lessons or audition for the percussion ensemble. Prerequisite: The Beginning Class Percussion I is the prerequisite for the Beginning Class Percussion II. Students must pass Beginning Class Percussion I to take the Beginning Class Percussion II course or consent of the instructor.
Arts and Humanities
1/4 course
First-year and sophomore music students earn one-half course credit, and juniors and seniors earn one course credit, for weekly 60-minute lessons on their primary instrument. Music majors do not pay fees for private lessons on their primary instrument or required applied piano classes. Additional fees are charged for individual applied lessons on a secondary instrument (.25 credit for weekly 30-minute lessons or .5 credit for weekly 60-minute lessons) and other applied music classes that are not required for the students' degree. Students pay additional fees for piano accompanists. Permission of the instructor is required for liberal arts students to enroll in applied lessons. All CLA students who have not studied applied voice previously at DPU must contact the Voice Area Coordinator to schedule and complete an audition before registering for applied voice lessons. Degree-seeking students may not take applied music courses on an audit basis.
Individual applied lessons are offered in the following areas: BAS String Bass; BASJ Jazz Bass; BSN Bassoon; CLO Cello; CLR Clarinet; EUP Euphonium; FLT Flute; GUI Folk Guitar; GUIJ Jazz Guitar; HCD Harpsichord; HRN Horn; HRP Harp; JPNJ Jazz Piano; OBO Oboe; ORG Organ; PNO Piano; PRC Percussion; SAX Saxophone; TBA Tuba; TBN Trombone; TPT Trumpet; VLA Viola; VLN Violin; VOC Voice.
Arts and Humanities
Consent of instructor
1/4-1/2-1 Course
BASA: String Bass
Professor: Sharif Ibrahim
BMEA: Oboe/Bassoon
Professor: Leonid Sirotkin,
Sara Erb
BSNA: Bassoon
Professor: Sara Erb
CLOA: Violoncello
Professor: Andre Gaskins
CLRA: Clarinet
Professor: Candice Kiser
CMPA: Composition
Professor: Eliza Brown
EUPA: Euphonium
Professor: Joseph Aumann
FLTA: Flute
Professor: Tierney McClure
GUIA: Folk Guitar
Professor: Harriet Moore
GUIJA: Jazz Guitar
Professor: S Williams
HRNA: Horn
Professor: Mica Redden
HRPA: Harp
Professor: Harriet Moore
IMPRA: Applied Improvisation
Professor: Steven Snyder
OBOA: Oboe
Professor: Leonid Sirotkin
PNOA: Piano
Professor: May Phang
PRCA: Percussion
Professor: Ming-Hui Kuo
SAXA: Saxophone
Professor: Scotty Stepp
TBAA: Tuba
Professor: Orcenith Smith
TBNA: Trombone
Professor: Joseph Aumann
TPTA: Trumpet
Professor: Will Rabun
VLAA: Viola
Professor: Lerryn Donatelle
VLNA: Violin
Professor: Anna Czerniak
VOCA: Voice
Professor: Janani Sridhar
VOCB: Voice
Professor: Mary Martin
VOCC: Voice
Professor: Barbara Pare
VOCD: Voice
Professor: Nate Paul
BASA: String Bass
Professor: Sharif Ibrahim
BMEA: Oboe/Bassoon
Professor: Sara Erb,
Leonid Sirotkin
BSNA: Bassoon
Professor: Sara Erb
CLOA: Violoncello
Professor: Andre Gaskins
CLRA: Clarinet
Professor: Candice Kiser
CMPA: Composition
Professor: Eliza Brown
EUPA: Euphonium
Professor: Joseph Aumann
FLTA: Flute
Professor: Tierney McClure
GUIA: Folk Guitar
Professor: Harriet Moore
GUIJA: Jazz Guitar
Professor: S Williams
HRNA: Horn
Professor: Mica Redden
HRPA: Harp
Professor: Harriet Moore
IMPRA: Applied Improvisation
Professor: Steven Snyder
OBOA: Oboe
Professor: Leonid Sirotkin
PNOA: Piano
Professor: May Phang
PRCA: Percussion
Professor: Ming-Hui Kuo
SAXA: Saxophone
Professor: Scotty Stepp
TBAA: Tuba
Professor: Orcenith Smith
TBNA: Trombone
Professor: Joseph Aumann
TPTA: Trumpet
Professor: Will Rabun
VLAA: Viola
Professor: Lerryn Donatelle
VLNA: Violin
Professor: Anna Czerniak
VOCA: Voice
Professor: Janani Sridhar
VOCB: Voice
Professor: Mary Martin
VOCC: Voice
Professor: Nate Paul
VOCD: Voice
Professor: Barbara Pare
Arts and Humanities
Variable
BASA: String Bass
Professor: Sharif Ibrahim
BMEA: Oboe/Bassoon
Professor: Leonid Sirotkin,
Sara Erb
BSNA: Bassoon
Professor: Sara Erb
CLOA: Violoncello
Professor: Andre Gaskins
CLRA: Clarinet
Professor: Candice Kiser
CMPA: Composition
Professor: Eliza Brown
EUPA: Euphonium
Professor: Joseph Aumann
FLTA: Flute
Professor: Tierney McClure
GUIA: Folk Guitar
Professor: Harriet Moore
GUIJA: Jazz Guitar
Professor: S Williams
HRNA: Horn
Professor: Mica Redden
HRPA: Harp
Professor: Harriet Moore
IMPRA: Applied Improvisation
Professor: Steven Snyder
OBOA: Oboe
Professor: Leonid Sirotkin
PNOA: Piano
Professor: May Phang
PRCA: Percussion
Professor: Ming-Hui Kuo
SAXA: Saxophone
Professor: Scotty Stepp
TBAA: Tuba
Professor: Orcenith Smith
TBNA: Trombone
Professor: Joseph Aumann
TPTA: Trumpet
Professor: Will Rabun
VLAA: Viola
Professor: Lerryn Donatelle
VLNA: Violin
Professor: Anna Czerniak
VOCA: Voice
Professor: Janani Sridhar
VOCB: Voice
Professor: Mary Martin
VOCC: Voice
Professor: Barbara Pare
VOCD: Voice
Professor: Nate Paul
BASA: String Bass
Professor: Sharif Ibrahim
BMEA: Oboe/Bassoon
Professor: Sara Erb,
Leonid Sirotkin
BSNA: Bassoon
Professor: Sara Erb
CLOA: Violoncello
Professor: Andre Gaskins
CLRA: Clarinet
Professor: Candice Kiser
CMPA: Composition
Professor: Eliza Brown
EUPA: Euphonium
Professor: Joseph Aumann
FLTA: Flute
Professor: Tierney McClure
GUIA: Folk Guitar
Professor: Harriet Moore
GUIJA: Jazz Guitar
Professor: S Williams
HRNA: Horn
Professor: Mica Redden
HRPA: Harp
Professor: Harriet Moore
IMPRA: Applied Improvisation
Professor: Steven Snyder
OBOA: Oboe
Professor: Leonid Sirotkin
PNOA: Piano
Professor: May Phang
PRCA: Percussion
Professor: Ming-Hui Kuo
SAXA: Saxophone
Professor: Scotty Stepp
TBAA: Tuba
Professor: Orcenith Smith
TBNA: Trombone
Professor: Joseph Aumann
TPTA: Trumpet
Professor: Will Rabun
VLAA: Viola
Professor: Lerryn Donatelle
VLNA: Violin
Professor: Anna Czerniak
VOCA: Voice
Professor: Janani Sridhar
VOCB: Voice
Professor: Mary Martin
VOCC: Voice
Professor: Nate Paul
VOCD: Voice
Professor: Barbara Pare
Introduces the student to the music teaching profession. Emphasis is placed upon teacher-student relationships, role of the music teacher in schools and the individual examination and refinement of personal attitudes and skills needed to become an effective music teacher. Field experiences are required for all students. Applicable only to degrees in the School of Music.
1/4 course
Leveraging the resources of the Creative School and the Institute of Music, the jazz studies minor at DePauw is housed in the Department of Music. This department believes that truly exceptional music training transcends conventional boundaries, seamlessly blending musical and academic excellence in a supportive community.
