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Course Criteria
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0.00 Credits
A course created to help senior musical theatre majors make the transition from students of musical theatre to active members of the professional theatre world. The senior year performance workshop moves away from exploring various musical styles toward recognizing the student¿s individuality by helping students realize their individual strengths; develop confidence; and demonstrate their own characteristics and personalities. Students must be prepared to display the abilities and talents that they have developed during their four years as musical theatre majors at CUA as they move on to audition, rehearse, and perform in professional situations. Throughout the year, the instructor advises the students on choosing proper songs to display their particular character types and vocal strengths; confers on career options and opportunities; offers suggestions and advice; and provides vocal coaching on their song selections. Class time is devoted to the rehearsal of group numbers, solos, and duets, gradually selecting and honing until the class arrives at a cohesive performance piece. The fall semester culminates with a public performance at CUA. The spring semester culminates with public performances in Washington and/or New York City. Members of the theatre industry are invited to attend this showcase. For senior musical theatre students. Level I, or permission of the instructor, is a prerequisite for Level II.
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3.00 Credits
A character-based analysis and performance-based course that concentrates on a single composer/lyricist or songwriting team in Musical Theatre. Topics change with each offering of the course, but could include Stephen Sondheim, Stephen Flaherty & Lynn Ahrens, Jason Robert Brown, and others. During the semester, students study and perform the works of selected artist(s) with concentration on their most distinguished works. Students have the opportunity to transfer their character analysis into their acting. Prerequisites: MUS 103, MUS 104, MUS 439, MUS 440.
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3.00 Credits
Eclectic approach to teaching general music in the elementary school. Overview of current methods such as Orff, Kodaly, and Dalcroze. Field based, includes a practicum.
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3.00 Credits
A continuation of 453 at the secondary school level.
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3.00 Credits
Designed to help the student acquire prescribed knowledge, skills, and dispositions to become an effective teacher of instrumental music at the elementary and middle school levels. Department consent.
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3.00 Credits
Designed to help the student acquire prescribed knowledge, skills, and dispositions to become an effective teacher of instrumental music at the secondary level. Department consent.
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3.00 Credits
Designed for teachers engaged in early childhood instruction and/or elementary education. Includes basics in note reading, rhythmic notation, sight reading, singing, and piano; the use of classroom instruments; and methods, materials, and procedures employed in teaching music. For the nonmusic major. Offered on a rotational basis.
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3.00 Credits
An examination of performance practices in the solo song and operatic repertoire, including a study of standard texts pertaining to the repertoire in French, German, and Italian. Guest lecturers, study of vocal performances captured on film, and compilation of an annotated bibliography of works dealing with performance practices in opera and song. Student performances of song and opera repertoire. For advanced students. Offered on a rotational basis.
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3.00 Credits
Designed as a review class for graduate students who have completed a full music history survey. Begins with an overview of the development of Gregorian chant and the Mass and some other specific topics in medieval music. Continues with an intensive survey of music since ca. 1500 with emphasis on the most important composers, compositional techniques, genres, and styles in each period. May be taken concurrently with Research Methodology.
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2.00 Credits
A one-semester review of written harmony topics designed for graduate students who have completed an undergraduate harmony (written theory) sequence. Topics include figured bass and part-writing, Roman numeral analysis, modulation, diatonic and chromatic harmony (including modal borrowing, Neapolitan and augmented 6th chords), extended tertian chords, atonal pitch-class theory and dodecaphonic operations, brief review of forms (binary, ternary, sonata, rondo), fugue, and orchestral score reading with special emphasis on instrumental transpositions. May be taken concurrently with Analytical Techniques I. If placed in both the Graduate Harmony and the Aural Skills Review, it is recommended that the student take the Harmony Review prior to the Aural Skills Review.
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