Study of the music, drama, and staging of the operas, with reference to historical and cultural contexts.

An advanced seminar for critical studies focused on (a) selected topic(s) in music before 1900 (topics vary by year/instructor; see current timetable). Students will encounter the relevant scholarly literature and engage in original research.

An advanced seminar in (a) selected topic(s) in music analysis — a body of theoretical literature, an analytical method, a music-theoretical tradition, or a specific repertoire (varies by year/instructor; see current timetable). Students will encounter the scholarly literature, engage in close analysis of relevant repertoire, and undertake original research.

An undergraduate seminar devoted to exploring an emergent sub-field of ethnomusicology. The sub-field to be explored will rotate, but some examples are: the study of music and gender, race, or class; music and language; music and violence; sociomusicology; medical ethnomusicology; the ethnomusicology of popular music and technology; analytical approaches in ethnomusicology.

An intensive research project under the supervision of a faculty member. The project must be academically demanding and uniquely suitable for the individual student. Students propose a topic that is currently not covered in the curriculum or one that warrants further exploration related to research interests and/or musical goals. Available to students in 4th year on successful completion of the core HMU requirement plus at least 1.0 credit in HMU courses at the 300 level or higher, minimum cumulative GPA of 3.3 (B+), and availability of a full-time faculty advisor from the History & Culture division. Modes of assessment are determined through discussion between student and supervisor, but will usually include a public presentation of the research project.

The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.

Corresponding with materials studied in JMU100Y. Melodic, harmonic and rhythmic dictation; sight singing. Transcription of jazz solos and group performances.

Basic keyboard skills for jazz majors who play instruments other than piano. Credit for the course may be obtained by passing an examination.

An exploration of various forms of gospel music, from its roots in African American spirituals to mainstream contemporary gospel choir music. Students develop their ability to ‘learn by ear’ through a rote style of teaching and develop improvisation skills in solo and group settings.

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.

The Hybrid Ensemble is a unique and collaborative chamber group made up of a mix of Jazz and Classical students. The group performs music in many styles, includes some improvising, and encourages composing. No improvising experience is necessary, but a positive and curious mind is highly encouraged.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum

The study of harmony, melody and counterpoint in both traditional and jazz musical forms. Written and analytical studies of music from various jazz idioms and traditional repertoire.

Corresponding with materials studied in JMU200Y1. See JMU101Y1.

Jazz History I begins with Ragtime era (early 20th century), and proceeds through the Jazz Age (1920s), Swing (1930s), Bebop (1940s), and Post Bop periods (1950s), culminating in the pivotal musical year of 1959. A historical timeline shows how the evolution of the music reflected and influenced societal events.

Jazz History II begins in the 1960s with the music that ushered in the modern era of jazz (Miles Davis Quintet, free/avant-garde, jazz-rock). It explores the myriad paths and styles that have been incorporated by jazz musicians of the past fifty years, up to the present day.

An exploration of various forms of gospel music, from its roots in African American spirituals to mainstream contemporary gospel choir music. Students develop their ability to ‘learn by ear’ through a rote style of teaching and develop improvisation skills in solo and group settings.

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

Individual instruction on major instrument or voice. One hour weekly (to a total of 24 lessons).

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum.

The Hybrid Ensemble is a unique and collaborative chamber group made up of a mix of Jazz and Classical students. The group performs music in many styles, includes some improvising, and encourages composing. No improvising experience is necessary, but a positive and curious mind is highly encouraged.

This course examines the artistic and technical aspects of improvised jazz performance. Analysis of improvised solos and group performances, approaches to practicing, developmental techniques and exercises, and general performance skills are among the topics covered.

Students are assigned to small jazz ensembles by audition, rehearsing with faculty for one hour and independently for an additional two hours each week. Repertoire ranges from traditional to contemporary jazz styles. Attendance at all assigned sessions is required. Three hours minimum.

While a major ensemble for students enrolled in jazz performance, this ensemble is open to other performers by audition. Students rehearse and perform in concerts as assigned by the Performance Division throughout the academic year. Attendance at all assigned sessions is required. Six hours minimum

This course focuses on methods for students to expand their rhythmic vocabulary as improvisers and composers. Motivis development, rhythmic modulation and odd time signature playing will be addressed. Analysis and performance of the music of influential contemporary composers such as Dave Holland will be central to this course.

An introduction to jazz theory for music students not in a jazz program. Course includes analysis and written exercises in various jazz forms and idioms. Some listening and improvisation activities may be included to reinforce and apply theoretical concepts.