• Music (MU)
• Music Ensemble (MUSE)
• Music Performance (MUSP)

• Individual talents, interests, and philosophies which can be used creatively both to preserve and extend our cultural heritage;
• Professional competence in such disciplines as music teaching, composition and performance, interpretation, and evaluation of knowledge;
• Scholarly competence in the organization, interpretation, and evaluation of knowledge;
• Professional competence in the communication and dissemination of knowledge;
• Individuals with the potential to solve contemporary problems in various aspects of music.

Majors and Degree Offered:
    Music, M.M.
    Music Education, M.M.

Major Programs
    The School of Music offers graduate work in music education, performance, Latin Music, conducting, music theory, composition, and music history and literature leading to the Master of Music degree.  Both majors, Music Education and Music, are 36-hour programs with a core of 12 semester hours, a major field of 12 semester hours, and an additional 12 semester hours of electives within one of the specializations listed below.  In addition, opportunities are provided for independent study with professors in their areas of specialization.
    All five of the specializations under the major Music Education require final research projects.  The Kodály Pedagogy graduate program, approved by the Organization of American Kodály Education (OAKE), leads to certification.
    The remaining eleven specializations fall under the Music major.  A final graduate recital is presented for the performance specialization as well as for both the choral and instrumental conducting areas.  A thesis is required for the history and literature as well as theory curricula.  The composition specialty entails a final recital or lecture-recital and the development of a portfolio of original scores including solo and chamber pieces as well as recordings of them; a major original work must be submitted with an accompanying critical analysis to make up the requisite final project.
    Comprehensive Examination. All candidates within the graduate music program must pass a comprehensive oral (viva voce) examination.  The students will be given a maximum of two attempts in order to pass this examination before being eligible for graduation.  Candidates who fail to pass the comprehensive oral examination upon the first try may appeal for re-examination.  The re-examination will be administered during the semester following the first attempt.  Exceptions to this policy are rare and must be approved by the Director of Graduate Studies in Music and by the Director of the School of Music.  Failure to pass the required comprehensive oral examination upon the second attempt shall prevent the student from being eligible for graduation.

Areas of Specialization
    The following specialization are offered under the two basic major programs:

Departmental Policies
    Applicants for the Master of Music degree are expected to have an undergraduate degree in music in order to have the necessary background for graduate study in this field.  In order to be accepted into the graduate music program, the applicant will also be asked to meet successfully one or more of the following requirements: 1) interview with the Director of Graduate Studies, 2) audition (performance emphasis) OR portfolio submission (all other emphases), 3) placement tests, and 4) submission of letters of recommendation.  Upon review of a candidate’s transcript, additional background courses may be required that will not count towards the M.M. degree.
    Before prospective graduate students are approved for one of the Music Education specializations, they are expected to have certification to teach public school music and to have an interview with the appropriate Music Education faculty.  Those students who do not posses a teacher’s certificate must satisfy a deficiency plan in Music Education if they are to pursue the M.M. degree with one of the specializations under Music Education.
    Before prospective graduate students are approved for work towards the M.M. degree in a Performance or Conducting specialization under the Music emphasis, they must audition for the applied faculty in the appropriate area.  Graduate students in Voice Performance must take a minimum of two credits of Diction (MU 2141 and MU 2142) and eight credits of French or German as co-requisite courses if these classes or their equivalents were not taken in an undergraduate degree program.
    Graduate students in Music Theory and Composition must enroll in Counterpoint (MU 4336) and Orchestration (MU 4334) as requisite background studies if these classes or their equivalents are not taken in an undergraduate degree program.  In addition, prospective Composition majors must submit a portfolio of original works while prospective Music Theory, Music History/Literature, and Music Research majors must submit a portfolio of papers and/or writing samples.  Graduate students in History and Literature must take a minimum of eight credits in one foreign language as required work if this study was not included in an undergraduate degree program.
    In consultation with the Director of Graduate Studies in Music, each full-time student is normally expected to enroll in the appropriate ensemble(s) generally offered in the fall and spring semesters.  Credit hours of ensemble participation may not count toward the 36 semester credit hours required for the M.M. degree program.  Students must take Introduction to Graduate Studies in Music (MU 5334) within their first year of studies.

Courses Offered

Music (MU)
    5113 Independent Study in Music.  (1-0) Study of special interest  that offers professional improvement and growth in  the field of music. May be repeated with different emphasis for additional credit. Prerequisite: Consent of the graduate advisor.
    5128 Conducting Seminar.  (1-0) A seminar-based course focusing on conducting technique, musicality, score reading, literature and performance in the conducting area, and rehearsal preparation with special emphasis on analysis and musical styles. May be repeated for additional credit. Prerequisite: Conducting major or permission by the instructor.
    5130 Selected Topics in Music.  (1-0) An in-depth study of a singular topic in music.  Special emphasis will be placed on the topic’s relevance and its value to the participant.  May be repeated with different emphasis for additional credit.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5130A Writing About Music.  (1-0) Focusing on basic writing skills, research, and the use and documentation of sources.  Course centers on the process of writing about music.  Besides written exercises, the assignments include the study of such professional writing samples as concert reviews, program abstracts, and research essays.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5130B Diction for Singers.  (1-0) An in-depth study of the pronunciation of singing in Italian, German, English, and French incorporating the International Phonetic Alphabet through the use of lecture and laboratory sessions for practical application.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5141 Kodály Level I – Conducting.  (1-0) Advanced conducting techniques emphasizing patterns and communication of the character of music.  Emphasis on conducting folk songs and classical canons.
    5143 Kodály Level I – Materials.  (1-0) Examination of song literature appropriate for children with emphasis on folk literature.
    5145 Kodály Level II – Conducting.  (1-0) Advanced conducting techniques emphasizing patterns and communication of the character of music.  Emphasis on independence of the left and right hands to communicate tempo, dynamics, cues, and character.
    5147 Kodály Level II – Materials.  (1-0) Examination of song literature appropriate for children with emphasis on folk literature.  Students will also explore suitable instrumental literature through performance on the recorder.
    5149 Kodály Level III – Conducting.  (1-0) Advanced conducting laboratory with application to 2-, 3-, and 4-part choral works.
    5151 Kodály Level III – Research and Retrieval.  (1-0) Research of international folk music as applied to philosophy as applied to Kodály music education program.
    5182 Practicum in Music Instruction.  (1-0) Instruction techniques for teaching and instructional assistants concerning selected problems in the teaching of music in the classroom, private instruction, and ensemble environments.  This course does not earn graduate degree credit.  Repeatable with different emphasis.  Graded on a credit (CR), no-credit (F) basis.
    5192 Graduate Recital.  (0-1) A full-length, public recital in the appropriate applied music area.  Should be taken simultaneously with a final semester of applied music instruction by those students in performance degree plans.
    5213 Independent Study in Music.  (2-0) Study of special interest that offers professional improvement and growth in the field of music. May be repeated with different emphasis for additional credit. Prerequisite: Consent of the graduate advisor.
    5230 Selected Topics in Music.  (2-0) An in-depth study of a narrow range of topics in music.  Special emphasis will be placed on the topic’s relevance and its value to the participant.  May be repeated with different emphasis for additional credit.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5230A Music Theory.  (2-0) A study of the materials of counterpoint and harmony as evaluated through listening and analysis of literature, and application through composition.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5230B Aural Learning.  (2-0) Development and application of theory concepts through singing, playing, and dictation.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5240 Kodály Level I – Musicianship and Sol-fa.  (2-0) Development of sight singing and aural skills associated with advanced musicianship.
    5242 Kodály Level I – Pedagogy.  (2-0) The teaching of music utilizing an American adaptation of the Kodály approach to music education as applied to kindergarteners and first graders
    5244 Kodály Level II – Musicianship and Sol-fa.  (2-0) Development of sight singing and aural skills associated with advanced musicianship.  Emphasis on analysis of melodic content: intervals, range, and scales.
    5246 Kodály Level II – Pedagogy.  (2-0) The teaching of music utilizing an American adaptation of the Kodály approach to music education as applied to second and third grade children.
    5248 Kodály Level III – Musicianship and Sol-fa.  (2-0) Development of sight singing and aural skills associated with advanced musicianship.  Emphasis on advanced studies in rhythm, counterpoint, and harmony.
    5250 Kodály Level III – Pedagogy.  (2-0) The teaching of music utilizing an American adaptation of the Kodály approach to music education as applied to upper elementary, junior high, and high school.
    5256 Mariachi History & Methods.  (2-1) Pedagogy of Mariachi ensemble performance with supplemental instruction in Mariachi literature and its history.
    5266 Salsa History & Methods.  (2-1) Pedagogy of Salsa ensemble performance with supplemental instruction in Salsa literature and its history.
    5270 Advanced Music Research Methods.  (2-0) Advanced techniques and materials of research, emphasizing methodology of, as well as cross-cultural and interdisciplinary aspects of music research. Prerequisite: MU 5334.
    5310 Music Literature of the Baroque.  (3-0) Style characteristics and literature of the music of 1600-1750 with special emphasis on Bach and Handel.
    5313 Independent Study in Music.  (3-0) Study of special interest that offers professional improvement and growth in the field of music.  May be repeated once with different emphasis for additional credit.
    5314 Survey of Twentieth-Century Music.  (3-0) Emphasis on music of the modern period and its development from music of earlier periods.  Numerous examples of vocal and instrumental works in both large and small forms are used to illustrate twentieth-century styles and trends.
    5315 Music Literature, Middle Ages and Renaissance.  (3-0) Historical, Stylistic, and analytical study of western art music from about 450 to 1600.
    5317 Independent Study in Music.  (3-0) Study of special interest that offers professional improvement and growth in the field of music.  May be repeated once with different emphasis for additional credit.
    5320 Music Literature, Viennese Classical.  (3-0) Style analysis of music literature from 1750 to 1830 with emphasis on Haydn, Mozart, and Beethoven.
    5322 Instrumental Techniques and Materials.  (3-0) Evaluation of teaching methods, materials, and literature of wind and string instruments.  Prerequisites: Music 3217.
    5323 Vocal Music Education Methods.  (3-0) Study of the anatomy of the human voice and evaluation of the scientific data and historical beliefs concerning voice pedagogy with emphasis in teaching voice in the class, private studio, as well as within a variety of choral settings.
    5324 Seminar in Music Curriculum and Methodology.  (3-0) Evaluation of teaching methods, learning processes, curriculum, and research in music education as a basis for improving music pedagogy.
    5325 Research in Music Education I.  (3-0) Examination of methodologies, techniques, and procedures for interpreting and conducting research in music education.  Relevant studies in music education will be critiqued, with an emphasis on preparation of a research proposal.
    5326 Research in Music Education II.  (3-0) A continuation and culmination of a research project in the field of music education as developed and proposed in MU 5325.  Prerequisite: MU 5325.
    5328 Foundations of Music Education.  (3-0) The cognitive psychology, historical perspective, and philosophical issues that provide the basis for contemporary music education.
    5330 Selected Topics in Music.  (3-0) An in-depth study of a range of topics in music.  Special emphasis will be placed on the topic’s relevance and its value to the participant.  May be repeated with different emphasis for additional credit.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5330A History and Analysis of Music.  (3-0) A comprehensive musicianship approach to the study of music from the earliest times to the present using techniques of stylistic and structural analysis.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5330B Advanced Theory.  (3-0) Principles of form and analysis, counterpoint, orchestration, and contemporary analytic techniques developed through in-depth study of musical repertoire.  This course does not earn graduate degree credit.  Prerequisite: Consent of the graduate music advisor.
    5334 Introduction to Graduate Study in Music.  (3-0) Techniques and materials of research, emphasizing bibliography, library usage, collection, and interpretation of data.
    5340 Music Literature, Nineteenth-Century Romantic.  (3-0) Music literature of the period from 1830 to 1910 with analysis of styles.
    5350 Musical Styles.  (3-0) Developing a broader musical understanding through critical listening, technical analyses, and written assignments in various musical styles, including the late classical, romantic, and present eras.
    5353 Ensemble Reharsal Techniques.  (3-0) Course is designed for performance ensemble conductors. Includes supervision, administration, and rehearsal techniques.
    5355 Pedagogy of Theory and Comprehensive Musicianship.  (3-0) Developing teaching methods and broader understanding through critical study of materials, organization, techniques, and problems of music theory and comprehensive musicianship courses.
    5356 Mariachi Arranging.  (3-0) Analysis and arranging music for a Mariachi ensemble. Topics will cover instrument ranges, orchestration techniques, and styles.
    5357 Graduate Music Theory and Musicianship.  (3-0) Graduate-level studies in music theory and aural skills. The course covers melody, harmony, counterpoint, form, as well as (sight-) singing, performing, and dictation.
    5360 Music in the United States.  (3-0) A survey of the music and musical development in this country from pre-Columbian times to the present.  Folk music, popular music, and jazz will be considered as well as traditional and experimental styles.
    5365 Computing in Music.  (3-0) Development of concepts and skills related to current computer technology in music.  Exploration and use of computer software, MIDI, and other productivity tools for application to music education, music administration, music research, and music composition.
    5366 Salsa Arranging.  (3-0) Analysis and arraning music for a salsa ensemble. Topics will cover instrument ranges, orchestration techniques, and styles.
    5375 Topics in Advanced Music Research and Analysis.  (3-0) Advanced studies in music analysis, musicology, and interdisciplinary studies focusing on selected analytical techniques, methods, critical approaches, or musical repertories. Topics may vary. May be repeated for additional credit. Prerequisite: Graduate Music Theory placement test or consent of instructor.
    5375A Schenkerian Analysis.  (3-0) Introduction to the techniques, methods, and critiques of Schenkerian analysis and its applications to common-practice music. Covers reductive analysis, structural levels in tonal music, and graphing techniques.
    5375B Opera History and Literature.  (3-0) Exploration of the history of opera from its beginning in Florence around 1600 to the present. Course includes in-depth study of operas such as Bizet's Carmen and Mozart's Don Giovanni. Discussion and presentations incorporate the connection between the studies operas, music and society.
    5399A Thesis.  This course represents a student’s initial thesis enrollment.  No thesis credit is awarded until student has completed the thesis in Music 5399B.  Students working toward the M.M. degree with a thesis are expected to enroll in thesis each semester in which faculty supervision is received.  Graded on a credit (CR), progress (PR), no-credit (F) basis.
    5399B Thesis.  This course represents a student’s continuing thesis enrollment.  The student continues to enroll in this course until the thesis is submitted for binding.  Cannot be taken unless a Thesis Proposal has been submitted.  Students working toward the M.M. with thesis are expected to enroll in thesis each semester in which faculty supervision is received.  Graded on a credit (CR), progress (PR), no-credit (F) basis.

Music Ensemble (MUSE)
    5101 Basketball Band.  (0-4) The Bobcat Basketball Band performs for all home men’s and women’s basketball games that do not fall over a university break.  The group travels for all postseason tournaments.  May be repeated for credit.
    5102 Salsa Del Rio.  (0-6) Performing ensemble specializing in Latin and South American music.  May be repeated for credit.
    5103 Texas State Mariachi.  (0-6) Performing ensemble specializing in Mexican folk music.  May be repeated for credit.
    5104 Panorama Steel Drum Band.  (0-6) A performing ensemble specializing in Caribbean steel drum band music.  May be repeated for credit.
    5105 VocaLibre.  (0-6) A select vocal ensemble specializing in chamber music, including madrigal or jazz literature.  May be repeated for credit.
    Prerequisite: Enrollment in major choral ensemble.
    5106 Opera Workshop.  (0-9) Vocal performance opportunity to participate in performance of opera and to learn techniques for operatic acting and staging.  May be repeated for credit.
    5120 Bobcat Marching Band.  (0-9) This ensemble performs at all home and select away football games, utilizing traditional and corps-style marching.  The ensemble is focused on delivering entertaining and high-powered halftime shows while supporting Bobcat Football.  The band also performs in exhibitions for high school band events.  May be repeated for credit.
    5123 Concert Band.  (0-6) This ensemble provides playing experiences for non-music majors and music majors who want to improve their skills and serve as a lab ensemble for conducting students.  May be repeated for credit.
    5124 Women’s Choir.  (0-6) Performing ensemble specializing in choral literature for women’s voices.  May be repeated for credit.
    5125 Men’s Choir.  (0-6) Performing ensemble specializing in choral literature for men’s voices.  May be repeated for credit.
    5126 Chamber Music.  (0-4) Small group performing ensembles focusing on chamber literature of mixed and similar instrumental music.  May be repeated for credit.
    5127 Jazz Combo.  (0-4) A small performance ensemble designed to develop improvisational skills and individual musical creativity through performance of standard jazz literature.  May be repeated for credit.
    5128 Conducting Seminar.  (1-0) A seminar based course focusing on conducting technique, musicality, score reading, literature and performance in the conducting area, and rehearsal preparation with special emphasis on analysis and musical styles. May be repeated for additional credit. Prerequisite: Conducting Major or permission by the instructor.
    5130 Wind Ensemble.  (0-9) Major instrumental ensemble comprised of the most outstanding wind and percussion students who are selected by audition.  The group is dedicated to the performance of the finest wind repertoire, whether a contemporary works for winds, or transcriptions from the orchestral repertoire.  May be repeated for credit.
    5131 Symphonic Band.  (0-6) Major instrumental ensemble consisting primarily of music majors and talented non-music majors.  This ensemble performs a broad range of full ensemble repertoire, representative of all historical periods and styles.  May be repeated for credit.
    5140 Texas State Chorale.  (0-9) Auditioned major choral ensemble specializing in performances of literature from the Renaissance and 20^th Century.  May be repeated for credit.
    5141 University Singers.  (0-6) Major choral ensemble that performs a variety of literature, including masterworks from the 17^th Century to the present.  May be repeated for credit.
    5150 Texas State Symphony Orchestra.  (0-9) A full symphony orchestra that performs standard orchestra literature, as well as oratorio, concerto, and opera accompaniments.  May be repeated for credit.
    5160 Jazz Ensemble.  (0-9) The jazz-based ensemble performs advanced arrangements of contemporary popular music in various styles.  May be repeated for credit.
    5161 Jazz Orchestra.  (0-6) The jazz-based ensemble performs intermediate arrangements of contemporary popular music in various styles.  May be repeated for credit.
    5162 Jazz Lab Band.  (0-6) The jazz-based ensemble performs beginning arrangements of contemporary popular music in various styles.  May be repeated for credit.
    5170 Accompanying.  (0-4) A coaching seminar for pianists to develop reading and accompanying skills.  May be repeated for credit.
    5180 Mysterium for Modern Music.  (0-4) A seminar-based course focusing on the performance and analysis of 20th century music in all styles and media.  May be repeated for credit.  Prerequisite: Music (Composition Specialization) major status.
    5185 Modern Music Ensemble.  (0-4) A performance-based course focusing on the performance of modern music in all styles and media. May be repeated for additional credit.
    5190 Guitar Ensemble.  (0-6) Chamber guitar ensemble designed to provide interaction with fellow guitarists, develop musicianship as an ensemble performer, and to familiarize the student with music from different periods through a variety of literature.  May be repeated for credit.  Prerequisite: Music (Guitar Performance Specialization) major status.

Music Performance (MUSP)
    5101 Graduate Recital.  (0-1) A full-length, public recital in the appropriate applied music area. Should be taken simultaneously with a final semester of applied music instruction by those students in performance degree plans.
    5120 Applied Voice.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the vocal area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5127 Applied Conducting.  (1-0) Through supervised private coaching, instruction focuses on baton technique, musicality, score reading, literature and performance in the conducting area, and rehearsal preperation with special emphasis on analysis and musical styles. May be repeated for additional credit. Prerequisite: Conducting Major or consent of the instructor.
    5130 Applied Keyboard.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the keyboard area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5140 Applied Woodwind.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the woodwind area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5150 Applied Brass.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the brass area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5160 Applied String.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the string area.  May be repeated for credit.  Prerequisite: Music major status or consent of  instructor.
    5165 Vihuela and Guitarrón Class.  (1-2) The fundamentals of playing and teaching two rhythm-section instruments known as the Vihuela and the Guitarrón. Topics will cover history, tuning, strumming, and knowledge of styles of the Vihuela and Guitarrón.
    5170 Applied Percussion.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the percussion area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5175 Afro-Cuban Hand Drumming.  (1-2) The fundamentals of playing and teaching Afro-Cuban Drums. Topics will cover history and knowledge of styles of the various Afro-Cuban percussion instruments.
    5180 Applied Composition.  (1-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the composition area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5185 Electro-acoustic Music.  (0-1) Introduction to recording and tape manipulation techniques of music concrete, electro-acoustical music techniques involving digital and analog synthesizers, and the MIDI environment.  May be repeated for credit.  Prerequisite: Music major status or permission from instructor.
    5220 Applied Voice.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the vocal area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5227 Applied Conducting.  (2-0) Through supervised private coaching, instruction focuses on baton technique, musicality, score reading, literature, and performance in the conducting area, and rehearsal preperation with special emphasis  on analysis and musical styles.  May be repeated for additional credit.  Prerequisite: Conducting Major or consent of the instructor.
    5230 Applied Keyboard.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the keyboard area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5240 Applied Woodwind.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the woodwind area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5250 Applied Brass.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the brass area.  May be repeated for credit.
    Prerequisite: Music major status or consent of instructor.
    5260 Applied String.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the string area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5270 Applied Percussion.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the percussion area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5280 Applied Composition.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the composition area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5285 Electro-acoustic Music.  (0-2) Introduction to recording and tape manipulation techniques of music concrete, electro-acoustical music techniques involving digital and analog synthesizers, and the MIDI environment.  May be repeated for credit.  Prerequisite: Music major status or permission from instructor.
    5320 Applied Voice.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the vocal area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5327 Applied Conducting.  (3-0) Through supervised private coaching, instruction focuses on baton technique, musicality, score reading, literature, and performance in the conducting area, and rehearsal preperation with special emphasis on analysis and musical styles.  May be repeated for additional credit.  Prerequisite: Conducting Major or consent of the instructor.
    5330 Applied Keyboard.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the keyboard area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5337 Advanced Conducting.  (3-0) Music performance class designed for further development of baton technique, score reading, and rehearsal preperation with special emphasis on analysis and musical styles. May be repeated once with different  emphasis for additional credit. Prerequisite: MU 3217 or MU 3227 or permission from the Director of Graudate Studies in Music.
    5340 Applied Woodwind.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the woodwind area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5350 Applied Brass.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the brass area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5360 Applied String.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the string area. May be repeated for credit. Prerequisite: Music major status or consent of instructor. Justification: In an effort to streamline course numbers, the new course number will replace MUSP 5305K, 5305L, 5305M, 5305N, and 5305P.
    5370 Applied Percussion.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the percussion area.  May be repeated for credit.  Prerequisite: Music major status or consent of instructor.
    5380 Applied Composition.  (2-0) Through supervised private coaching, instruction focuses on technique, musicality, literature, and performance in the composition area.  May be repeated for credit.   Prerequisite: Music major status or consent of instructor.
    5385 Electro-acoustic Music.  (0-3) Introduction to recording and tape manipulation techniques of music concrete, electro-acoustical music techniques involving digital and analog synthesizers, and the MIDI environment.  May be repeated for credit.  Prerequisite: Music major status or permission from instructor.

Graduate Faculty
    Asbell, S. Ames, Senior Lecturer of Music.  B.M. Furman University; M.M., East Carolina University; D.M.A., The University of Texas at Austin.  (Viola)
    Brinckmeyer, Lynn, Associate Professor of Music.  B.S., M.M., Eastern New Mexico University; Ph.D., The University of Kansas.  (Choral Music Education)
    Cavitt, Mary Ellen, Associate Professor of Music.  B.M., M.M., The Juilliard School; D.M.A., The University of Texas at Austin.  (Horn, Instrumental Music Education).
    Cruz, Mark A., Senior Lecturer of Music.  A.M., Oklahoma City Community College; B.M., Oklahoma City University; M.M., Texas State University-San Marcos.  (Guitar Performance)
    Davidson, Ian Bruce, Professor of Music.  B.M., DePauw University; M.M., D.M.A., The University of Texas at Austin.  (Oboe)
    Ditto, Charles J., Senior Lecturer of Music.  B.M., University of Houston; M.M., D.M.A., The University of Texas at Austin.  (Composition, Music Theory)
    Fink, Cary Michael, Associate Professor of Music.  B.M., Indiana University; M.M., University of Nebraska at Lincoln; Artist Diploma, The Academy of Vocal Arts, Philadelphia.  (Voice)
    Garcia, Washington, Assistant Professor of Music.  B.M., National Conservatory of Music in Ecuador, M.M., D.M.A., Peabody Institute of the John Hopkins University.  (Piano)
    Gonzales, Cynthia I., Assistant Professor of Music.  B.M., M.M., University of North Texas; Ph.D., Harvard University.  (Music Theory)
    Gonzalez, Genaro, Jr., Professor of Music.  B.M., M.M., University of North Texas.  (Percussion)
    Hager, Harry Stephen, Professor of Music.  B.M.E., West Virginia University; M.M., Michigan State University.  (Horn)
    Hale, Daris Word, Lecturer of Music.  B.M., M.M., The University of Texas at Austin.  (Bassoon, Woodwind Methods)
    Haritatos, Christopher, Lecturer of Music.  B.A., University of Chicago; M.M., Cleveland Institute of Music; D.M.A., Eastman School of Music, University of Rochester.  (Violoncello)
    Hehmsoth, Henry H., Lecturer of Music.  B.M., M.M., The University of Texas at Austin.  (Jazz Piano, Computing in Music)
    Hudiburg, Howard Busby, Jr., Associate Professor of Music.  B.M., The University of Texas at Austin; M.M., Texas State University-San Marcos.  (Instrumental Conducting, Orchestra, Double Bass)
    Hurt, Charles Richard, Professor of Music.  B.S., University of Tennessee; M.M., Northwestern University.  (Trombone, Low Brass)
    Jones, Adah Toland, Professor of Music.  B.M., M.M., Eastman School of Music, University of Rochester; D.A., Ball State University.  (Flute)
    Laumer, Jack Charles, Professor of Music.  B.A., Saint Olaf College; M.M., Manhattan School of Music.  (Trumpet)
    Ledbetter, Lynn, Associate Professor of Music.  B.M., University of Houston; M.M., D.M.A., The University of Texas at Austin.  (Violin)
    Lopez, John A., Associate Professor of Music.  B.M., M.M., Texas State University-San Marcos.  (Percussion, Multicultural Ensembles, Latin Music)
    Lovell, Owen, Senior Lecturer of Music.  B.M., M.M., Peabody Institute of the John Hopkins University; D.M.A., The University of Texas at Austin.  (Piano)
    Martin, Joey M., Professor of Music.  B.M., M.M., Southwestern Oklahoma State University; D.M.A., The University of Texas at Austin.  (Choral Conducting, Music Education)
    Mendoza, Freddie, Lecturer of Music.  B.M., The University of Texas at Austin; M.M., Texas State University-San Marcos.  (Jazz Studies)
    Mungo, Samuel, Assistant Professor of Music.  B.S., Illinois State University; Artist’s Diploma, Boston University; M.M., New England Conservatory; D.M.A., The University of Colorado Boulder.  (Opera)
    Neely, James Bert, Professor of Music.  B.M., M.M., The University of Texas at Austin; D.Mus., Indiana University.  (Voice)
    Ninov, Dimitar, Lecturer of Music.  M.M., State Academy of Music in Sofia, Bulgaria; D.M.A., The University of Texas at Austin.  (Composition, Music Theory)
    Oxford, William, Senior Lecturer of Music.  B.M., M.M., D.M.A., The University of Texas at Austin.  (Saxophone)
    Pino, David James, Professor of Music.  B.M., M.M., Michigan State University; D.M.A., The University of Texas at Austin.  (Clarinet, Woodwinds)
    Riepe, Russell Casper, II, Professor of Music.  B.M., Southern Illinois University; M.A., Ph.D., Eastman School of Music, University of Rochester.  (Music Theory, Composition)
    Rodriguez, Raul I., Associate Professor of Music.  B.M.E., M.M., University of North Texas.  (Tuba)
    Schmidt, John Charles, Professor of Music.  B.M., Southwestern University; S.M.M., Union Theological Seminary School of Scared Music; Ph.D., New York University.  (Music Theory, Music History and Literature, Organ)
    Schueller, Rodney C., Assistant Professor of Music.  B.M., University of Iowa; M.M., Indiana University; D.M.A., Michigan State University.  (Instrumental Music Education, Instrumental Conducting, Band)
    Schüler, Nico, Associate Professor of Music.  M.A., Greifswald University (Germany); Ph.D., Michigan State University.  (Musicology, Music Theory)
    Skinner, Douglas Durland, Professor of Music.  B.M., M.M.E, University of North Texas.  (Saxophone)
    Stansberry, John Clayton, Professor of Music.  B.M.E., Drake University; M.M., Michigan State University.  (Instrumental Conducting, Music Education)
    Stein, Marlowe Robin, Assistant Professor of Music.  B.A., M.A., University of Wyoming; D.A., University of Northern Colorado.  (Music Education)
    Stuessy, Joe, Professor of Music.  B.M., Southern Methodist University; M.A., Ph.D., University of Rochester.  (Music Theory, Composition)
    Susanni, Paolo, Senior Lecturer of Music.  B.M., M.M. New England Conservatory of Music; M.M., Baylor University; D.M.A., The University of Texas at Austin.  (Piano, Music Theory, Music History/Literature)
    Thomas, Naymond Elijah, Professor of Music.  B.M.E., University of Louisville; M.M., University of Colorado; D.M.A., University of Oklahoma.  (Voice)
    Winking, Keith, Robert, Professor of Music.  B.S., Quincy College; M.M., Texas State University-San Marcos; D.M.A., The University of Texas at Austin.  (Trumpet)
    Woolsey, Timothy Dwight, Professor of Music.  B.A.  Trinity University; M.M., D.M.A., The University of Texas at Austin.  (Piano)
    Wood, Juli, Assistant Professor of Music.  B.M.E., B.M., The University of Texas at San Antonio; M.M., Stephen F.  Austin State University.  (Voice)