Music (MUS)

Develops skills and techniques necessary for aural and written comprehension of music theory appropriate for theatre & dance students.

Continuation of MUS 103.

Development of aural understanding through singing, conducting, improvisation, and listening.

Music 105 is the first of a two-semester course introducing basic topics and skills associated with music theory, analysis, and tonal composition. Following an in-depth review of basic music materials--scales, intervals, and chords--we examine counterpoint, harmonic function, and phrase structure in Western classical music and modern popular music.

Development of aural understanding through singing, conducting, improvisation, and listening.

Music 106 is the second of a two-semester course introducing basic topics and skills associated with music theory and analysis. This course--concentrating on Western classical music and modern popular music--completes the study of diatonic harmony begun in Music 105, begins the study of chromaticism, and introduces small formal structures.

Studies the life and times of a single composer or a group of composers. Designed for the nonmajor. Requires no background in music.

This course will guide the student through an understanding of the musical, social, economic and cultural importance of Jazz music. No prior musical experience is necessary for success in comprehending the structures and history of Jazz music therefore this course is open to anyone willing to listen to and read about Jazz music. History of Jazz is a Pathway course within the UB Curriculum, and it can help you to complete topics in the obvious categories of Cultures, Art and Imagination, Human Nature, but also Communities, Populations and Spaces, Economy, Business and Society and Equality, Power and Justice. History of Jazz is structured around a series of listenings, readings and viewing of historical videos that place Jazz within the context of societal changes, economic development and artistic evolution of American culture.

A chronological panorama of Western music from medieval times to the present day for nonmajors; explores and defines underlying social and cultural conditions with resultant parallels between music and other arts.

A chronological panorama of Western music from medieval times to the present day for nonmajors; explores and defines underlying social and cultural conditions with resultant parallels between music and other arts.

This course is designed for students who wish to explore some of the interfaces between two fundamental aspects of human culture and identity, i.e. music and gender. We will examine the ways in which music has represented, reinforced, questioned, challenged, and/or dismantled gender identity in repertoire ranging from twelfth-century Christian mysticism to Hip Hop at the end of the twentieth century. Specifically, the first half of the semester explores how art music of the convent, the court, the opera stage, or the concert hall has shaped and given voice to historical and political configurations of gender and sexuality and how those representations have carried over into popular music. The second half of the semester examines in more detail styles and genres of popular music that have been instrumental in addressing issues of gender and sexuality in relation to questions of race and class. This course is the same as GGS 114 and course repeat rules will apply. Students should consult with their major department regarding any restrictions on their degree requirements.

Studies one of the historically established musical forms in Western art music, computer music, popular music, or film music; lectures and listening assignments. Nonmajors; no prerequisites.

History of musical style from the Renaissance to the present day. Examines selected masterpieces of Western music as well as such recent phenomena as serialism, minimalism, electronic, and computer music; requires no previous formal training in music.

Elements of writing music; melody, rhythm, intervals, chords, harmony, tone color, and styles of musical expression. Music signs and symbols; traditional language of tonal music, with examples drawn from popular and classical music. No prerequisites.

Lectures, recorded musical examples, and handouts both explain and describe the roots of American popular music as found in Early American, European, African, Latin American, and African American cultures.

This course explores the music, careers, and cultural phenomenon of the Beatles from their early days in Liverpool to the beginning of their solo careers. First we will examine the early musical and cultural influences that contributed to the band¿s identity in England. In doing so, we will delve into the popular music of the 1950s and the 1960s, including rockabilly, girl groups, Motown, rhythm and blues, the British Invasion, folk music, psychedelia, and rock. The class will proceed by concentrating upon the meaning of the Beatles' music and self-fashioning within the political, social, and historical context of the counter culture of the 1960s.

Open to all members of the university community without audition; often performs major works with orchestra.

Open to all members of the university community without audition; performs in support of athletic events and other campus activities.

We rehearse and perform traditional and nontraditional band literature; one or two public concerts given each semester. Membership is drawn from all schools and departments of the university; open by audition.

This course provides thorough instruction in the fundamental principles of marching and maneuvering. The course contains basic theory and diagrammed applications of the Precision Drill System and Philosophy including, but not limited to, music rhythmic applications and eurhythmics. The student will gain insight into the diagramming, plotting, and directing of evolutions, maneuvers, free form, and dynamic free form applications. Upon successful completion of the course, the student will be well versed in the fundamental principles involved in the visual aspects of exhibition marching. The goals is to prepare students for their role as drill instructors and design consultants for the UB Marching Band and any or all applications of visual choreography associated with athletic bands.

There are students from several different majors in our orchestra, and we encourage participation of everyone (regardless of their major) interested in playing some of the best music ever written. Eligible members of the orchestra will be invited to take instrumental lessons for free with the distinguished faculty of the UB Music Department.

A select vocal ensemble that performs a variety of choral literature; open to all students of the university by audition.

Functional piano, harmonization of melodies, scales, sight reading, accompanying, and preparation of pieces at various difficulty levels. Music majors only.

Traditional big band consisting of a reed section (saxes with some doubles on flute and clarinet), a brass section (trumpets and trombones), and a rhythm section (piano, guitar, bass, drums and vibes). The band studies and performs repertoire from the early big band swing period to today's big band contemporary and fusion sounds. Emphasis is on ensemble playing as well as improvisational soloing.

Two ensembles are available-Jazz Ensemble Combo (JEC) and an Advanced (JE) Combo. The JEC performs and studies repertoire of the great jazz combos throughout the history of jazz including Art Blakey and the Jazz Messengers, Horace Silver, Cannonball Adderley, and many others. Some jazz vocalists are encouraged to audition for this class. The Advanced JE is a contemporary ensemble that performs very demanding and challenging music of this idiom. A prerequisite is an advanced level of improvisational skills, as well as compositional experience. Transcriptions and the creation of original compositions are integral components of this ensemble.

Private piano study. Audition required. For Non-Majors.

Private harp study. Audition required. For Non-Majors.

Private organ study. Audition required. For Non-Majors.

Private harpsichord study. Audition required. For Non-Majors.

Private guitar study. Audition required. For Non-Majors.

Private voice study. Audition required. For Non-Majors.

Private violin study. Audition required. For Non-Majors.

Private viola study. Audition required. For Non-Majors.

Private cello study. Audition required. For Non-Majors.

Private double bass study. Audition required. For Non-Majors.

Private saxophone study. Audition required. For Non-Majors.

Private flute study. Audition required. For Non-Majors.

Private oboe study. Audition required. For Non-Majors.

Private clarinet study. Audition required. For Non-Majors.

Private bassoon study. Audition required. For Non-Majors.

Private french horn study. Audition required. For Non-Majors.

Private trumpet study. Audition required. For Non-Majors.

Private trombone study. Audition required. For Non-Majors.

Private tuba study. Audition required. For Non-Majors.

Private percussion study. Audition required. For Non-Majors.

The one credit UB Seminar is focused on a big idea or challenging issue to engage students with questions of significance in a field of study and, ultimately, to connect their studies with issues of consequence in the wider world. Essential to the UB Curriculum, the Seminar helps transition to UB through an early connection to UB faculty and the undergraduate experience at a comprehensive, research university. This course is equivalent to any 198 offered in any subject. This course is a controlled enrollment (impacted) course. Students who have previously attempted the course and received a grade of F or R may not be able to repeat the course during the fall or spring semester.

The three credit UB Seminar is focused on a big idea or challenging issue to engage students with questions of significance in a field of study and, ultimately, to connect their studies with issues of consequence in the wider world. Essential to the UB Curriculum, the Seminar helps students with common learning outcomes focused on fundamental expectations for critical thinking, ethical reasoning, and oral communication, and learning at a university, all within topic focused subject matter. The Seminars provide students with an early connection to UB faculty and the undergraduate experience at a comprehensive, research university. This course is equivalent to any 199 offered in any subject. This course is a controlled enrollment (impacted) course. Students who have previously attempted the course and received a grade of F or R may not be able to repeat the course during the fall or spring semester.

Is great music the product of inner genius, or divine inspiration? Whatever the answer may be, many of our most celebrated composers and songwriters also use their talents to earn a living. To discover how the basic principles of capitalism can influence both the creation and reception of music across a variety of genres, Music and Money takes an objective look at the historical circumstances that have shaped the development of the modern musical marketplace. Through a series of case studies, students will first evaluate the kinds of economic decisions faced not only by composers but also by performers, publishers, and audiences. Students will then explore the professional and artistic consequences of such decisions for musicians and for the music that they produce.

Examines film music, considered within its chronological, thematic, and cultural contexts. Devotes class time to the presentation of classic or representative films in the history of film scoring, relevant musical material and concepts, and the basic vocabulary of music and film criticism. No prerequisites; requires no previous musical experience.

Development of aural understanding through singing, conducting, improvisation, and listening.

Music 211 is the first of a two-semester course in which students develop theoretical knowledge and analytical skills associated with four different musical genres. In MUS 211, students typically study large formal structures of Western classical music and music-text relationships in nineteenth-century art song. Students gain experience with these genres through analysis, writing, and composition projects.

Development of aural understanding through singing, conducting, improvisation, and listening.

Music 212 is the second of a two-semester course in which students develop theoretical and analytical skills with a variety of musical genres. In Mus 212, students typically study aspects of harmony, rhythm, and form in modern popular music, jazz, film or video-game music, and post-tonal music.

This course introduces students to the people and institutions who shaped the history of Western music from antiquity through the Baroque period. Important topics of discussion will include the origins of Western musical notation, the development of polyphony, the shift from modal to tonal theories of harmony, and the invention of opera. Throughout the semester, we shall focus on understanding how even the largest of these developments came about through the decisions of individual musicians and their patrons in response to an ever-changing mosaic of historical circumstances. The broader aims of the course are to encourage music majors and minors to start developing a breadth of understanding as to the multiple ways in which understanding music in an historical time frame might be important. We will also use the historical case studies as a means of investigating issues that have a trans-historical valence, such as: the role of music in ritual practice; the aesthetics of difficulty in music; questions of expression; the variety of means by which text and music might interact; problems posed to understanding by music.

This course is Part II of the required Music History Survey for Music Majors and Minors. We will be seeking to use the skills acquired in Part I of the Survey into the investigation of Western music from the middle of the eighteenth-century through to the early 1960s. The course will develop students' abilities to apply historical, critical, and political concepts to the specific analytic details of both musical scores and musical sound. And thus, on the pragmatic level, the course will aim to develop students¿ skills at reading musical scores analytically, listening to music within an historically informed framework, being able broadly to recognize the different stylistic periods, and (by means of the examinations) to develop a basic toolbox of important musical terms and to develop a memory and repertoire of different musics (through score identification). We will also continue developing the practice of reading scholarly texts, already begun in MUS 213, with the four substantial readings that have been assigned for the course of the semester. Whilst the reportorial focus of our investigations will be the works of the Western art music cannon, the larger (and more important) aims of the course will, nevertheless, be to understand that the conflicts, difficulties, and uncertainties that we face today as humans in an increasingly vexed global context are part of a long-term and ongoing debate about what the human is, what its rights should be, and how its creative, artistic and musical endeavors should relate to the social and political structures that come into being as a result. This ongoing discourse we can call, for want of a better term, modernity, and its roots lie, to a large degree, in the philosophical ideas and political and social practices that started to come into being at the point at which Part II of the survey begins: in other words, the beginning of the eighteenth century.

Designed for beginning guitarists who wish to understand the fundamentals of music and performance through the guitar. Prior instruction is not required. Upon completing this course, students are encouraged to audition for individual lessons to pursue a minor or major in music. Also, students may continue their studies on the guitar through non-major lessons. It is recommended that less experienced students wishing to register for individual lessons take this course before auditioning. In this course, students will develop fluency in reading standard notation through the use of beginning classical and fingerstyle guitar techniques. Other basic skills such as chord strumming, tablature notation, improvisation, and ensemble playing will be covered. With a primary focus on the classical and rock guitar repertories, students will explore a wide range of musical genres to develop a strong foundation for further studies. Students are required to have their own instrument. The use of a classical guitar nylon-string is highly recommended for the purposes of this course, but acoustic guitars (steel-string) will be accepted.

Guitar Basics 2

Unlock the doors to creativity and artistry. In this safe environment, students use sound work, body work, visualization practices, and other creative experimentation, students learn to break through inhibitions and fears, and develop a stronger sense of their personal artistic identity. Exercises strengthen self awareness, focus, and intention, helping students feel more at ease on and off the stage. This class is designed to support performance artists of all genres. Open to actors, dancers, public speakers, musicians, and others, by permission of the instructor.

Principles of pronunciation, enunciation, and articulation of Italian, French, and German texts, as related to solo vocal literature. Required of all voice students enrolled in primary study; open to pianists and, by permission of instructor to nonmajors.

Two-semester course for students interested in music produced by electronic means. Explores the history and practice of electronic music, synthesizer music, and computer music. Examines experimental, rock, and other popular forms. Students learn basic studio techniques, synthesis/sound manipulation techniques, and psychoacoustic principles. There may be a class fee assessed to your student account.

Two-semester course for students interested in music produced by electronic means. Explores the history and practice of electronic music, synthesizer music, and computer music. Examines experimental, rock, and other popular forms. Students learn basic studio techniques, synthesis/sound manipulation techniques, and psychoacoustic principles. There may be a class fee assessed to your student account.

This course will explore the musical activities of women from Christian mysticism in the Middle Ages to women in popular music of the twentieth and twenty-first centuries. In unraveling the historical complexities of women in music, we will take into account the cultural values and historical conditions that have surrounded women as composers, teachers, performers, listeners, and patrons. We will also consider how male composers have depicted womanhood in art and popular music. To contribute to our understanding, we will analyze specific musical works and performances and read scholarship in music criticism that addresses how music has shaped notions of womanhood. Our aim is to gain practical experience in interpreting how music has represented, reinforced, questioned, or challenged gender ideology within particular historical moments.

Open to all members of the university community without audition; often performs major works with orchestra.

Literature of the piano covering works of one composer, several composers, a particular form or period. Requires a final paper and/or a final exam on repertoire. Required of piano majors; nonmajors may take the course by permission of instructor.

Same as MUS 130.

Same as MUS 131.

The Orpheus myth has held a certain fascination for thousands of year. In this course we will be seeking to investigate some of the reasons for why it has been so compelling. In part, this will lead us to a relatively conventional exploration, predominantly in the first half of the semester, of how different Western composers have taken up the Orpheus theme and molded it to the requirements of their particular historical contexts. In the second half of semester, however, we will branch out into how the myth has acted as an instigation for broader global issues, particularly concerning race, expression, and the legacies of colonialism. As a result, the course is as much about how questions that have arisen in relationship to music can spread out into other fields, as it is purely about Orpheus and music per se. This intention to broaden out is exemplified, particularly in the second part of semester by the fact that our investigations will become more unapologetically interdisciplinary,

Same as MUS 143.

There are students from several different majors in our orchestra, and we encourage participation of everyone (regardless of their major) interested in playing some of the best music ever written. Eligible members of the orchestra will be invited to take instrumental lessons for free with the distinguished faculty of the UB Music Department.

Music majors and interested performers may study and perform the chamber music repertoire. This can include such combinations as piano duo, string quartet, wind quintet, vocal duets and many other instrumental ensembles. Admission by audition.

Fundamental conducting and rehearsal techniques. Participation in performing ensembles expected.

Fundamental conducting and rehearsal techniques. Participation in performing ensembles expected.

Provides an opportunity to sing in a fully-staged opera as well as concert performances with orchestra. Opera Studio also affords students classes in acting, musical coaching, and scene work in their original languages. Special guest artists make presentations based on availability. Open by audition only.

Same as MUS 151.

Same as MUS 156.

Same as MUS 157.

Introduces the student to music from all over the world, and expands concepts of music in the process. Students learn about different instruments from other cultures and how they influence the music they produce, and explore common features of Asian, European, African, American, and Oceanic music. Students also learn different ways of listening. Designed for non-majors. Requires no musical background.

Examines the varied musical repertoires that are known collectively as rock, and considers those musical forms that influenced the early history of rock (blues, rhythm and blues, country) and those that have had an influence throughout its development (experimental electronics, classical jazz). Analyzes rock music as both a musical and a sociological phenomenon. Topics include rock aesthetics, musical sub-cultures, music and film, music and politics, the business of rock, and the impact of American/British rock on world musical cultures. Requires no previous experience or training in music.

ARTS ONE is an experiential course offered as part of the University's Creative Arts Initiative, a new program designed to bring creators and performers in the arts to campus to present their work and engage in conversations with students, faculty, and members of the community. Class size is limited to 16. Every week students will be exposed to what is going on in the arts in Buffalo: exhibits at the galleries, musical performances in various venues, literary events. Most weeks, someone connected with an event, a curator at one of the galleries or a writer or musical performer or composer, will meet with the class and have a conversation and answer questions. There will be no exam, but students will be expected to maintain a detailed notebook/diary about the various events. The goal is for participants to engage a wide variety of artistic events and have conversations with some of the people who make them happen. Tickets will be provided and so will transportation, as necessary.

Introduces issues of free composition within the twentieth-century art-music tradition. Investigates relevant literatures and musical techniques. Students receive critical feedback on individual composition projects, working toward the goal of a concert of student works. Explores related issues, such as notation, instrumentation, orchestration, and aesthetics. Open to music majors only.

Writing and analysis under professional guidance in private consultations and class discussions. Students must present examples of their work and are accepted by permission of instructor. May be repeated for credit.

Studies special topics in music history, form or genre; lectures and listening assignments. Music majors only or by permission of instructor.

Student musicians play for dance technique classes improvising a score in relationship to movement material. Students hone their improvisation skills and gain the skill and experience needed to play for dance companies and festivals throughout the world.

This course explores the relationship between music analysis and performance, and is designed to develop analytical, listening, writing, and interpretive skills. A student¿s own repertoire will be a focus of the course.

Analytical studies covering a variety of twentieth-century Western musical styles. LEC

Fulfills upper-level music history requirements of B.A. students preparing a senior thesis. May cover various aspects of music history according to the student's individual needs. Music majors only or by permission of instructor.

Music majors only or by permission of instructor.

A select group of performers (instrumental and vocal) who study and perform new music of the twentieth century.

Private trombone study. Audition required.

Private tuba study. Audition required.

Private tuba study. Audition required.

Private percussion study. Audition required.

Private piano study. Audition required.

Private harp study. Audition required.

Private organ study. Audition required.

Private harpsichord study. Audition required.

Private guitar study. Audition required.

Private voice study. Audition required.

Private voice study. Audition required.

Private violin study. Audition required.

Private viola study. Audition required.

Private cello study. Audition required.

Private double bass study. Audition required.

Private saxophone study. Audition required.

Private flute study. Audition required.

Private oboe study. Audition required.

Private clarinet study. Audition required.

Private bassoon study. Audition required.

Private French horn study. Audition required.

Private trumpet study. Audition required.

Open to music majors engaged in special study or research in areas not covered by regular courses; permission of the supervising faculty member.