Survey of general bibliographic techniques in music, with emphasis on materials for performing musicians.

Advanced orchestration for large ensembles; analysis of orchestral literature.

Intensive exploration of specialized aspects of composition.

Designed to provide graduate composition students with in-depth exposure to complex and rich works of late Middle Ages through dawn of baroque era. Exploration of analytical techniques and methods not commonly used in analysis of works of tonal and post-tonal periods, and approaches to musical structures used by composers before modern tonal harmonic syntax had fully developed.

Discussion of theoretic approaches to and analysis of selected works of common practice era. Analysis of assigned pieces using various theoretic approaches discussed and presentation of analyses in class.

Discussion of theoretic approaches to and analysis of selected works of 20th or 21st century. Analysis of assigned pieces using various theoretic approaches discussed and presentation of analyses in class.

Required for students in the Composition for Visual Media specialization only. Practical experience in composing for commercial movies. Difference between underscore and source music and discussion of surrealistic effect when they merge, as in MTV, dream sequences, or montages. Study of three principal areas of filmmaking — preproduction, production (shooting), and postproduction. Examples from classic movies and discussion of their scores. Composition of actual cues for acoustic instruments coordinated to picture to be term project. Separate cues involve dialogue, melodrama, comedy, chase, memory montage, and tension.

Required for students in the Composition for Visual Media specialization only. Focus on task of completing one entire score for television episode or original student film. Discussion of recent television shows. Composition of one original title song and short cues to someone else’s song required. Term assignment involves student orchestra recording to picture, designed to approximate actual conditions of completing professional Hollywood assignment, from spotting to scoring.

Required for students in the Composition for Visual Media specialization only. Exercises in electroacoustic orchestration, meta-pitch composition, notation software (Sibelius), sequencing and film scoring software (Logic), text collages (ProTools), and final project.

Weekly forum to present professional composers of range of mediums, including large ensemble vocal and/or instrumental works, chamber music, electronic music, and film/television, as guest lecturers

Composition students enroll in individual instruction with Composition faculty.

Exploration of defined repertory through readings and analysis. Specific topics vary.

Survey of general bibliographic techniques in music, with emphasis on materials for performing musicians.

Advanced orchestration for large ensembles; analysis of orchestral literature.

Intensive exploration of specialized aspects of composition.

Designed to provide graduate composition students with in-depth exposure to complex and rich works of late Middle Ages through dawn of baroque era. Exploration of analytical techniques and methods not commonly used in analysis of works of tonal and post-tonal periods, and approaches to musical structures used by composers before modern tonal harmonic syntax had fully developed.

Discussion of theoretic approaches to and analysis of selected works of common practice era. Analysis of assigned pieces using various theoretic approaches discussed and presentation of analyses in class.

Discussion of theoretic approaches to and analysis of selected works of 20th or 21st century. Analysis of assigned pieces using various theoretic approaches discussed and presentation of analyses in class.

Required for students in the Composition for Visual Media specialization only. Practical experience in composing for commercial movies. Difference between underscore and source music and discussion of surrealistic effect when they merge, as in MTV, dream sequences, or montages. Study of three principal areas of filmmaking — preproduction, production (shooting), and postproduction. Examples from classic movies and discussion of their scores. Composition of actual cues for acoustic instruments coordinated to picture to be term project. Separate cues involve dialogue, melodrama, comedy, chase, memory montage, and tension.

Required for students in the Composition for Visual Media specialization only. Focus on task of completing one entire score for television episode or original student film. Discussion of recent television shows. Composition of one original title song and short cues to someone else’s song required. Term assignment involves student orchestra recording to picture, designed to approximate actual conditions of completing professional Hollywood assignment, from spotting to scoring.

Investigation of primary source readings in performance practices as related to period; analytical reports and practical applications in class demonstrations. A: Medieval. B: Renaissance. C: Baroque. D: Classical. E: Romantic. F: Contemporary. J: Jazz.

Required for students in the Composition for Visual Media specialization only. Exercises in electroacoustic orchestration, meta-pitch composition, notation software (Sibelius), sequencing and film scoring software (Logic), text collages (ProTools), and final project.

In-depth study of selected topics in keyboard literature, concentrating on problems of performance through analysis, historical and comparative studies, and actual performances by participants.

A: History. B: Non-Western Musics. C: Curriculum Innovations. D: Tests and Measurements. E: Choral Literature. F: Instrumental Literature. G: General Topics.

Examination of influence of music industry on way music is created, performed, listened to, evaluated, and used today. Historical approach taken, beginning with music published in 18th century and continuing through development of audio recordings to MTV and popular music today. 

Weekly forum to present professional composers of range of mediums, including large ensemble vocal and/or instrumental works, chamber music, electronic music, and film/television, as guest lecturers

Exploration of topics in music through variety of approaches that may include projects, performances, readings, discussions, research papers, and oral presentations.

Study of contemporary marching band as component of music curriculum in secondary education, including current approaches, practices, and problems associated with marching bands, as well as historical perspective. 

Interactive course in preparation and performance of premiere work especially composed for graduate performer or performers by graduate composer at UCLA.

Composition students enroll in individual instruction with Composition faculty.

Study of art of teaching musical instruments, including discussions of philosophy of teaching, learning process itself, and teaching of musical interpretation. Individualized study of various considerations, such as physical/technical aspects and pedagogical repertoire, peculiar to teaching student’s primary instrument.

Study of teaching techniques for voice, including thorough investigation of vocal mechanism and its use, plus study of noted teachers of past and present. Further emphasis on practical teaching experience in class.