Music Courses Spring 2025

INTRODUCTION TO MUSIC: LISTENING EXPERIENCE I
MUGN 201
M/W: 4:50 – 6:05 PM
A flexible approach to the study of the materials and literature of music, primarily European Classical music, with emphasis on aural and analytical skills.

HISTORY OF ROCK AND ROLL
MUGN 212
T/Th: 4:00 – 5:15 PM
This course surveys the musical practices of the rock and roll era, broadly defined to include much popular music since the 1950s. Music majors are to enroll in MUHI 312. Offered as AFST 212 and MUGN 212.

HIP HOP HISTORY, CULTURE, MUSIC
MUGN 216
T/Th: 4:00 – 5:15 PM
R. Illyas-Watson
This course surveys the history of hip hop. The relationship of hip hop to important currents in American life and culture will be examined, with a particular focus on how race, class, and gender shaped the evolution of the form. The origins of various styles of hip hop in the cultures of different ethnic and national groups will be discussed, along with the subsequent diffusion and transformation of such music through mass mediation. The characteristics and meanings of music, lyrics and images will be discussed, with the aid of sound recordings, music videos and films. Offered as AFST 216 and MUGN 216.

RESPONSIBLE AI: CULTIVATING A JUST AND SUSTAINABLE SOCIO-TECHNICAL FUTURE THROUGH DATA CITIZENSHIP
MUGN 250
W: 3:30 – 6:00 PM
T. Beal
An introduction to the key issues that inform ethically responsible design, deployment, and use of artificial intelligence (AI) technologies, with particular focus on the impact of data practices. From generative language models to video surveillance and identity detection to facial recognition, AI is becoming more and more embedded in our everyday lives. These AI technologies are increasingly built on our data, whether we are aware of it or not. In this praxis-oriented course, we will explore how data is fundamental to the development of AI technologies and develop practices for increased awareness of and participation in this data ecosystem. As we interrogate AI systems in everyday life through hands-on engagement with AI tools and their data pipelines, we will begin to construct a data citizenship model that can help us reclaim the power of collective responsibility in order to build a more just and sustainable socio-technical future. Students will focus their individual and group projects on questions and issues directly related to the subject area of the offering they are enrolled in. Offered as COGS 250, ENGL 250, HUMN 250, MUGN 250, PHIL 250 and RLGN 250.

DIGITAL MUSIC: COMPOSITION AND PRODUCTION
MUGN 308
T/Th: 1:00 – 2:15 PM | 2:30 – 3:45 PM
S. Haluska | J. Parker
Course focuses on digital music creation and composition using audio sequencing software. Topics include song writing, synthesizers, recording, editing, mixing, and film scoring. Course is open to music majors, minors, and non-majors with sufficient musical background. Emphasis on group work, creativity, and imagination. All work done on Macintosh computers in The Core, the Department of Music’s multimedia classroom.

HISTORY OF WESTERN MUSIC I
MUHI 201
M/W/F: 10:35 – 11:25 AM
D. Rothenberg
A survey of Western-European music from the earliest notations to c1800.

HISTORY OF WESTERN MUSIC II
MUHI 202
T/Th: 1:00 – 2:15 PM
S. Heinle
A survey of Western music from c1800 to the present.

LITURGY, MUSIC, AND ART IN MEDIEVAL AND RENAISSANCE EUROPE
MUHI 217
M/W: 12:45 – 2:00 PM
D. Rothenberg
In Europe of the thirteenth through sixteenth centuries, daily life was infused with the structure of Christian worship. Days of the year were tracked according to the Church calendar and the time of day was told in relation to the numerous daily Church services, in which virtually everything was sung. Many of the architectural wonders of this period were churches and private chapels, and there was an explosion of religious music and art meant to adorn the liturgical celebrations that took place within these spaces. This seminar explores connections between Christian liturgical services (especially the Mass), musical compositions (Gregorian chant, masses, motets, and other choral works), and visual artworks (paintings, sculptures, altarpieces, and illuminated manuscripts) from these centuries, all of which shared a common vocabulary of sacred texts, images, and symbols. In addition to analyzing readings, sound recordings, videos, and images, students will visit the Cleveland Museum of Art, attend musical performances, tour local architectural structures, and observe religious services.

MUSIC CULTURES OF THE WORLD
MUHI 310
M/W: 12:45 – 2:00 PM
A. Kluth
This course examines the concept of “world music” multiple ways and recognizes that the very concept has historically been defined in opposition to the dominance of Western Art Music in North American universities and conservatories, the globalized popular world music industry, and in contemporary music pedagogy. While in North America the idea of world music has comprised the music of “them” rather than of “us,” it is increasingly evident that whatever world music is, its definition and position have been disrupted in recent years. New forms of media and circulation continue to radically connect disparate people groups and encourage ongoing hybridity of cultural expression. Rather than music of the “other,” world music is literally becoming more a shared “music of the connected world.” With this in mind, this course will address related questions regarding how we “be” with the plurality of musics in the world; their aesthetics, ethics, strategies, and functions.

SEMINAR IN HISTORICAL PERFORMANCE PRACTICE – CONTINUO
MUHI 342
T/Th: 1:00 – 2:15 PM
P. Bennett
Seminar in a specific instrument and/or vocal area of historical performance practices, such as baroque vocal, instrumental, or keyboard practices. May be repeated because topics vary. Offered as MUHI 342 and MUHI 442.

TOPICS IN MUSIC HISTORY – BEETHOVEN QUARTETS
MUHI 350
M: 12:45 – 3:15 PM
S. McClary
Close study of a theme or aspect of music such as “Music and Gender,” “Symphonies of Mahler,” and “Wagner’s Ring.” Offered as MUHI 350 and MUHI 450.

UNDERGRADUATE SEMINAR IN MUSIC HISTORY – OPERA AND SOCIAL ISSUES
MUHI 390
T/Th: 11:30 AM – 12:45 PM
G. Cowart
An intensive research seminar in music history for music majors.

CAPSTONE FOR MUSIC MAJORS B
MUHI 395B
W: 2:15 – 3:05 PM | 4:25 – 5:15 PM
G. Cowart
Not required for the music major, but intended for music majors who choose to complete a capstone project in music. Course consists of projects varying according to students’ area of study and interests, but each must include a document of appropriate length and scope and must be presented publicly in an appropriate forum. MUHI 395B guides students through completion of the project, including the document and public presentation.

BASIC SKILLS AND PEDAGOGY: DOUBLE REEDS AND FLUTE
MUED 200F
M/W/F: 10:35 – 11:25 AM
B. Helton
Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

BASIC SKILLS AND PEDAGOGY: STRINGS
MUED 200H
M/W/F: 11:40 AM – 12:30 PM
J. Delfing
Designed for music education majors to provide the fundamentals of teaching methods for various instruments. Recommended preparation: Music education majors. Non-music majors accepted with consent of department.

INTENSIVE FIELD EXPERIENCE
MUED 300
F: 2:05 – 3:05 PM
R. Scherber
This course is intended for BS and MA-Licensure music education majors, and acquaints students with various teaching settings in P-12 schools in the greater Cleveland area; allows students to observe and teach with practicing music teachers; and fosters critical thinking skills related to effective teaching, lesson planning, and other elements of teaching. Offered as MUED 300 and MUED 400.

WORLD MUSIC IN EDUCATION
MUED 305
M/W: 12:45 – 3:05 PM
L. Koops
This course acquaints students with the use of world music, or multicultural music, in the music education classroom. Students are given an overview of the history of world music within American music education, discuss topics related to world music in education, research diverse world music practices, and lead lessons based on this research. Topics and content include: definitions of world/multicultural music; philosophical basis for world music in education; diversity in our Cleveland community; authenticity; ethnomusicology; informal/formal music learning; international perspectives; pedagogical approaches; addressing the State and National Standards through world music in education; and the development of culturally informed music pedagogy based on the study of diverse music. Throughout the course students will become acquainted with the music of diverse cultures and people groups; these will be chosen in part based on student’s own research interests. In addition to the musical cultures chosen by students for study and presentation, the music of The Gambia, West Africa and two additional cultures chosen by students will be highlighted during in-class activities and lessons. Recommended preparation: MUED 240.

INSTRUMENTAL AND CHORAL ARRANGING
MUED 310
T/Th: 11:30 AM – 12:45 PM
P. Ferguson
Techniques of writing and arranging for instruments of the band and orchestra and voice. Study of scoring problems for school instrumental and vocal groups of all ages and abilities.

TECHNOLOGY ASSISTED MUSIC TEACHING AND LEARNING
MUED 320
Th: 4:00 – 6:30 PM
D. Thompson
Fundamental concepts and skills for using technology in music teaching and learning. This project-oriented class will develop computer science knowledge and competencies related to electronic musical instruments, MIDI sequencing, music notation software, computer-assisted instruction, digital media, the Internet, information processing, computer systems, lab management, and computational thinking skills as they relate to music education in K-12 schools. Recommended preparation: MUED 240. Offered as MUED 320 and MUED 420.

VERNACULAR MUSIC IN EDUCATION
MUED 355
M/W: 12:45 – 3:05 PM
J. Delfing
This course is designed to aid preservice music teachers in organizing elements of music teaching, including assessment, lesson planning for diverse students, writing and communication skill development, and fostering critical thinking, all within the discipline-specific context of music teaching and learning. Using these elements, we will explore the tenets of vernacular music-making as it relates to teaching school music through creating, composing, improvising, and performing on a variety of instruments. Specific areas of focus in this course include analyzing songwriting practices, creating cross-over experiences for school music students, and strengthening professional communication skills.

STUDENT TEACHING IN MUSIC EDUCATION
MUED 396A
R. Scherber
Teaching music in both elementary and secondary schools, full-time five days a week for 15 weeks. Closely supervised field experiences of all types with a wide variety of students. Emphasis on planning lessons and organizing materials, teaching methodologies, motivation, and student assessment. Topics addressed include communications and the arts, technology in learning, interdisciplinary learning, collaborative learning and teaching, creating a supportive environment, and professional development. Development of skills needed for self-assessment as well as student assessment. Clinical/Field experiences (all ages) required. Recommended preparation: Concurrent enrollment in MUED 396B. Offered as MUED 396A and MUED 496A.

STUDENT TEACHING IN MUSIC EDUCATION
MUED 396B
F: 2:15 – 4:10 PM
R. Scherber
This is the Senior Capstone requirement for students majoring in Music Education. Taken at the same time as the student teaching experience (MUED 396A/496A), this seminar will guide students through preparation for entering the professional world of music education, and mentor them in their preparation of their Senior Capstone Project and Presentation. Recommended preparation: Concurrent enrollment in MUED 496A. Offered as MUED 396B and MUED 496B.

JAZZ SKILLS
MUTH 319
M/W: 12:45 – 2:00 PM
P. Ferguson
This class is designed to teach students basic skills in jazz improvisation, jazz keyboard, arranging/composition and pedagogy. Basic theory is required. Students will eventually arrange their own composition for big band, which will feature them as the improvising soloist.