Majoring in Music
Music plays a large role in your life. A music degree will help keep it that way.
Music Degrees
Wittenberg is one of the only small colleges in Ohio to offer three different undergraduate degrees in music:
- The Bachelor of Music prepares students for professional careers in performance, church music, and composition.
- The Bachelor of Music Education leads to certification for public school instruction (choral, instrumental, and general music).
- The Bachelor of Arts with a Major in Music leads to many different careers because it allows considerable flexibility in course selection—often combined with a major or minor in another area, such as management or psychology.
A music minor is also possible. It requires several courses in music, as well as work in music performance. See Wittenberg’s Academic Catalogue for detailed information on music degree requirements.
Music Courses
These courses are offered by the Music Department:
GENERAL CLASSES IN MUSIC
100A. Fundamentals of Music, Studio. 4 semester hours.
A course surveying the practical fundamentals of music, taught at instruments in the electronic keyboard laboratory. Reading and written assignments are de-emphasized—the focus is on actively learning musical concepts, such as score reading, melody, harmony, and improvisation at the keyboard. Students will also be exposed to the margins of music and technology through such mediums as MIDI. Designed for those with little or no piano experience, the course has no prerequisites, but students must be willing to devote daily practice time to the mastering of cumulative skills. There will be a few written quizzes, but most of the examinations will consist of short exercises and performances at the keyboard. No prerequisite skills. Every year.
101A. Elementary Music Theory. 4 semester hours.
A course designed for the non-major who wants to learn about basic music theory including scales, intervals, triads, keys, counterpoint, harmony, and analysis. A rudimentary ability to read music is helpful. The course includes extensive daily written and aural skills work, including sight-singing, performing rhythms, and dictation. Evaluation is by graded homework, written tests administered regularly throughout the course, and a final exam. By the end of the semester the successful student should have sufficient knowledge of the fundamentals of music to support additional music course work. Every year.
102A. Basic Music Theory and Skills. 4 semester hours.
A study of melody, harmony, and rhythm in Western classical music of the “common-practice period” (about 1600-1900), through reading, written exercises, composing, and analysis of short music excerpts, focusing on three- and four-part harmony. Basic ear training (dictation) and basic performance skills are also covered. The ability to read music is required. Grading is based on homework, several tests, and a term project consisting of music composition and analysis. Every year.
110A. Understanding Music. 4 semester hours.
A basic introductory course emphasizing aural perceptual skills and designed to enable the student to appreciate some of the great works of musical art. Explores the materials of music, i.e., melody, harmony, rhythm, tone color, form and mediums of expression. Surveys the basic style periods of music. Required outside listening to a wide variety of music and attendance at selected, appropriate live performances. Assessment is primarily by regular testing throughout the course, and a functional final exam. Every year.
112. Topics. 2-4 semester hours.
Study of subjects, chosen by the instructor, designed to develop perceptive listening and musical literacy. May be writing intensive. This course may be repeated for credit.
113A. Jazz Styles. 4 semester hours.
Survey of America’s “Classical” music, tracing the origins and evolution of this musical style through recordings, selected visual media, and when possible, live performances. Essentially organized by decades of the 20th century, some literature and artists responsible for sub-styles will be examined. It should be understood that because music is primarily an aural art, a substantial portion of the course will be concerned with developing aural skills essential for the study and recognition of music style differences. The ability to read music is not essential. The course requires both outside listening and reading. Evaluation will be based primarily on regular testing. Alternate years.
116C. Music in Contemporary Cultures. 4 semester hours.
Introductory experience in the music of various cultures, attentive to the great diversity characteristic of our 20th-century global village. What kind of thinking generates each and how these are valued within the culture are the kinds of issues probed for urban popular, folk music and serious artistic style in representative countries in the East, West and Third World. Every third year.
203A. The Beatles and Their Predecessors: Musical Style and Social Context. 4 semester hours.
A study of the evolution of American and British popular music from the mid 1950s to about 1970, with a focus on the music of the Beatles. The course will have three parts: (1) A study of music theory, sufficient to analyze printed music. (2) A study of the musical styles and social context of Little Richard, Fats Domino, Chuck Berry, Jerry Lee Lewis, Buddy Holly, Elvis, and the Beach Boys. (3) Analysis of major Beatles songs, with attention to harmony, melody, rhythm, and formal structure. Prerequisite: ability to read music. Alternate years.
205A. Women in Music. 4 semester hours.
Study of women composers and performers who have contributed significantly to the music of Western civilization. Selected readings show the shifting attitudes throughout history toward women in music and the struggles of these women for recognition and survival. Emphasis is placed on perceptive listening skills as well as on an understanding of historical periods and musical styles through recordings and readings. Writing intensive. Every third year.
207H. American Music, 1620-1900. 4 semester hours.
Survey, through written and recorded examples, of the most important collections and musical compositions that characterized the cultural climate of the New World from colonial times through the 19th century. Musical materials associated with the Pilgrims, the Puritans, the Federalist era and the Civil War are examined, as well as the music of African-Americans, early American theatre and specific composers such as William Billings and Stephen Foster. Emphasizes a strong historical-sociological thrust, and it is hoped that the musical content promotes a greater understanding of America’s early history. Writing intensive. Every year.
208A. Twentieth-Century American Music. 4 semester hours.
The course surveys, through written, visual, and recorded examples the major trends and events which have influenced the music of America in the twentieth century. The major topics of concentration include American serious composition, both traditional and avantgarde; the heritage of American song and musical theater, as reflected in the music of Tin Pan Alley, and the modern Broadway musical; the roots of rag and jazz and their evolutions from World War I to the present; the influence of technology, with special emphasis on the media and motion pictures, as reflected in the musical impact of radio-tv and film composition, respectively. The course emphasizes a strong historical-sociological thrust, and effects of such events as the Great Depression, two World Wars, and twentieth-century technology are examined with respect to their impact on American culture and music. The course includes a midterm, a final and a paper. The text is Music in the New World by Charles Hamm (Norton, 1983) Every year.
209A. Bach and Handel. 4 semester hours.
Course resulting from the celebration of the tercentennial anniversary of the births of Bach and Handel in 1685. Many of the greatest works of each composer, as well as the historical, political and religious contexts in which the music was written, are studied. Their impact on later music and their importance for the present are also considered. The course is designed for those who wish to gain a broader and deeper appreciation of the lives and music of these Baroque composers. Every third year.
210H. The Symphony. 4 semester hours.
Exploration of the many facets of the symphony orchestra. Topics covered will include not only the history and musical repertoire of the orchestra, but also its social and financial aspects. The organizational structure, present-day problems and future of the symphony orchestra in the United States will also be investigated. There will be listening assignments as well as a written project. Every third year.
212. Topics. 2-4 semester hours.
Courses, chosen by the instructor, designed to develop an understanding of significant musical elements through an examination of the interrelations between musical creativity and cultural environment. May be writing intensive. This course may be repeated for credit.
212. Topics: Russian Music, from Glinka to Shostakovich. 4 semester hours.
This course is an introductory survey of the major composers and musical trends in nineteenth-century Russia, with a significant portion of its content devoted to composers, performers, and the musical politics of the U.S.S.R. in the twentieth century. No prior musical knowledge is assumed, and the course is designed to be accessible to the general student. Composers discussed in detail will include Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Rachmaninoff, Medtner, Scriabin, Stravinsky, Prokofieff, Khachaturian, and Shostakovich. Conditions under which Soviet musicians have lived and worked in the twentieth century will also be examined. In addition to a midterm and a final, the course will include two oral presentations-one larger and one smaller. The two required texts are A History of Russian Music from Karminskaya to Babi Yar by Francis Maes (University of California Press), and Stormy Applause: Making Music in a Worker’s State by Rostislav Dubinsky (Northeastern University Press).
216A/C. Musics of the World. 4 semester hours.
The world’s musics are as diverse as its lands, peoples, cultures, and languages. We study the music and culture of several disparate societies, including India, Africa, Indonesia, Thailand, and Latin America. This course serves as an introduction to research methods in ethnomusicology (the study of music in culture). At the conclusion, students will be equipped to answer the following questions: (a) What role does music play in the lives of its composers, performers, and listeners? (b) What musical elements create the unique sound of the music of a given culture? (c) What other elements of culture (language, art, literature, society, etc.) are relevant to the study of a society’s music? Writing intensive. Every year.
217A. Aesthetics and Psychology of Music. 4 semester hours.
Exploration of meaning in music by discussing problems of emotion, understanding, communication, expression, craftsmanship and value. Deals with function of music as an art and examines different aesthetic points-of-view. Every third year.
220. Introduction to Church Music. 4 semester hours.
Study of areas of concern common to all Christian denominations regarding the practice of sacred music in the context of worship. Deals with historical background of worship of the Judeo-Christian tradition, liturgies, theology of worship and the place of music in worship. Also included is a synopsis of hymnic materials as they have developed from the early Christian Church through the 20th century. Required for church music majors; however, it is open to any student interested in the study of worship and its music. Of particular interest to religion majors. Every third year.
301H. History of Western Music to 1750. 4 semester hours.
Study of the important musical developments from ancient Greek and early Christian music through the Medieval, Renaissance and Baroque eras and of the composers whose creativity brought new musical ideas to fruition. Styles and forms and the dynamics of change are researched through listening, reading and analysis. Required for music majors. Writing intensive. Every year.
302H. History of Western Music, 1750-1900. 4 semester hours.
A survey of European music history and literature from the beginnings of the Classical style to the end of the Romantic era. The works of pre-classicists such as Rameau and Scarlatti are examined, as well as the music of Haydn, Mozart, and Beethoven. Major Romantic works by composers such as Schubert, Chopin, Schumann, and Brahms are also surveyed in detail. The course includes a midterm, a final, and a paper. The text is The Development of Western Music by K Marie Stolba (McGraw-Hill, 1998). Required for music majors. Writing intensive. Every year.
303A. History of Western Music from 1900. 2 semester hours.
Begins with the origins of contemporary musical thought in the Post- Romantic style. Concentrates on Debussy to the present. Styles discussed include Impressionism, Neo-Classicism, Expressionism, Neo- Romanticism, Minimalism, and electronic music. Provides an awareness of the main musical style trends in the 20th century. Required for music majors. Prerequisite: Music 110 or equivalent. Writing intensive. Every year.
INTENSIVE MUSIC CLASSES
120. Functional Keyboard Skills. 2 semester hours.
A course designed to develop basic keyboard skills needed by non-keyboard music majors. Rudiments of theory, keyboard technique, basic improvisation, and harmonization will be covered. Taught in the electronic keyboard lab. Every year.
155. Intermediate Music Theory I. 2 semester hours.
Begins with a review of the materials of music-scales, intervals, triads during the first two weeks of the semester. The text used is Walter Piston’s Harmony, fifth edition. The course then proceeds into harmonic progressions, first with the major mode and then the minor mode along with principles of voice leading, open and close positions, and rules of motion as set forth in Common Practice Period (1600-1825). Chords of inversion, non-harmonic tones, cadences, dominant seventh chords, and secondary dominants, (borrowed chords) complete the course. Exercises in each of these areas are provided in the text and supplemented with analytical work provided by the instructor. Grading is based on results of daily assignments. It is recommended that Music 155 be taken concurrently with Music 156: Intermediate Music Skills I. Prerequisite Music 102 or equivalent skill level. Every year.
156. Intermediate Music Skills I. 2 semester hours.
Intermediate Music Skills includes two related components: (1) Singing: Students learn to sing pitch patterns and rhythm patterns, in order to facilitate their playing, singing, teaching, conducting, composing, and studying of music. Significant and regular outside practice is required. Grading is based on daily homework. (2) Ear Training: Students learn to notate pitch patterns and rhythm patterns presented aurally. Students learn to write down music they hear or create. Grading is based on dictation exams. It is recommended that Music 156 be taken concurrently with Music 155: Intermediate Music Theory I. Prerequisite: Music 101 or equivalent or placement by examination. Every year.
199. Music Practicum.
Monitors attendance and participation by the music major at concert and recital events, at special workshops and clinics. Includes attending or participating in a monthly student recital. Required of all music majors every semester. Every year.
221. Advanced Keyboard Skills and Improvisation. 2 semester hours.
A course designed to develop more advanced skills needed by non-keyboard music majors and assist them to pass their respective keyboard proficiencies. Prerequisite: Music 120 or equivalent skills. Taught in the electronic keyboard lab. Every year.
235. Introduction to Vocal Pedagogy & Diction. 2 semester hours each.
Applied class instruction in vocal techniques, emphasizing voice pedagogy, teaching procedures and materials, and lyric diction. The course includes a basic study in the pronunciation and application of the English language as it relates to singing through the use of the international Phonetic Alphabet. Applicable to all students of voice and required of all voice performance and music education majors.
236. Foreign Language Lyric Dictions. 2 semester hours each.
Presents a basic study in the pronunciation and the application of the Italian, German, and French languages as these relate to singing through the use of the International Phonetic Alphabet. Materials for the class include David Adams’ A Handbook of Diction for Singers, Joan Wall’s International Phonetic Alphabet for Singers, and examples of repertoire, primarily art songs, from a variety of periods and styles. Applicable to all students of voice and required of all voice performance majors.
251. Beginning Composition with the Computer. 2 semester hours.
Introduction to the basics of composition through the use of the computer and the synthesizer. The student will learn to compose music through short composition assignments, analysis of compositions and four composition projects. The student will also learn to navigate the MIDI environment as well as learn how to utilize the Finale music notation program.
257. Intermediate Music Theory II. 2 semester hours.
Since this course resumes study after a three-month recess, the first week is spent reviewing all four-part writing principles of the Common Practice Period, beginning with secondary dominants, the last area studied in Music 155. The text used is Walter Piston’s Harmony (continued from Music 155). The course proceeds with studies in musical texture, diminished seventh chords, non-dominant sevenths, dominant ninths, 11ths, 13ths, chromatically altered chords, the Neapolitan sixth, augmented sixths, and other chromatic chords. A final project consists of an original composition based upon a text selected by the student, an original melody and four-part harmonization incorporating as much of the harmonic vocabulary available to the student following completion of this course. Daily exercises in each of the areas studied are provided in the text supplemented with analytical work provided by the instructor. Grading is based on results of daily assignments. It is recommended that Music 257 be taken concurrently with Music 258: Intermediate Music Skills II. Prerequisite: Music 155. Every year.
258. Intermediate Music Skills II. 2 semester hours.
The following material is covered: Pitch: chromatic melodies in major and minor, medieval modes, highly chromatic melodies, modulation and extended melodies; rhythm: syncopation, complex syncopation and musical excerpts (Medieval through Modern). Ear Training: The student learns to understand and notate pitch patterns and rhythm patterns presented aurally. Grading is based on dictation exams, given approximately every other week. Material covered will match the work being done in Sight Singing. In addition, harmonic dictation in major and minor keys will be included. It is recommended that Music 258 be taken concurrently with Music 257: Intermediate Music Theory II. Prerequisite: Music 156. Every year.
259. Analysis of Music After 1900. 2 semester hours.
The music composed after 1900 differs vastly from that of the common-practice period (that is, about 1600-1900). Post-1900 composers used innovative techniques to create melody and harmony; elements such as orchestration, form, and rhythm were also distinctive. Through reading, discussion, and analysis (and some composition), we will study this music in an attempt to understand (both on paper and by sound) the manner in which composers after 1900 achieved originality, organization, and cohesion in their music. Grades will be based on several tests and a major analysis project. Prerequisite: Music 257 or permission of the instructor.
350. Introduction to Conducting. 2 semester hours.
The course will explore advanced conducting techniques in Choral and Instrumental conducting. Included will be ear training exercises, baton technique, terminology, conducting mixed meters, choral diction, transposition, and rehearsal techniques. There will be written exams as well as practical opportunities to apply the techniques. Prerequisites: Music 257, 258, or permission of instructor. Alternate years.
351. Choral and Instrumental Conducting. 2 semester hours.
Continuation of Music 350. Prerequisite: Music 350.
352. Advanced Composition with the Computer. 2 semester hours.
Advanced techniques of musical composition utilizing MIDI. The topics will include counterpoint using the Finale notation program; sequencing using the Performer sequencing program; how to work with MIDI files, patch design and time code; and composing for video. Grading will be based on short composition assignments as well as a major audio-for-video project.
355. Studies in Counterpoint. 3 semester hours.
We study the counterpoint of the Renaissance, Baroque, Clasical, and Modern eras, with considerable time devoted to species counterpoint and fugue. The course aims for a balance between music analysis and music composition, in both small and large projects. Prerequisites: Music 257 and 258. Alternate years.
357. Orchestration. 3 semester hours.
Students learn about the function of each instrument as it appears in major ensembles, as well as how to write for these instruments. The course also deals with the technical process of preparing a score. Course format is primarily discussion. Grades are based on participation in class, written assignments, tests, and a major project. Prerequisites: Music 257 and 258. Alternate years.
380. Topics in Music. 2-4 semester hours.
Designed for the major in music, this course may explore intensively such topics as score reading, advanced conducting, composition and the art of accompaniment, when student interest and faculty availability warrant. Prerequisite: Permission of instructor. May be writing intensive. Course may be repeated for credit.
421 and 422. Practical Church Music I and II. 2 semester hours each.
Devoted to developing the skills for the parish musician, including service playing and preparation, hymn playing and improvisation, choir preparation and development, and organ pedagogy. Required of church music majors. Prerequisite: Music 220. Offered as needed.
450. Form and Analysis. 4 semester hours.
A comprehensive study of (1) harmonic analysis of complex, chromatic music, especially music of the late nineteenth century and (2) formal analysis of music on both the small-scale level (e.g., motive and phrase) and large-scale level (e.g., rondo form). Prerequisite: Music 257 or permission of instructor. Alternate years.
470. Problems in Pedagogy and Literature. 4 semester hours.
Course in group and private teaching of voice and its literature. Includes aims, objectives, and procedures of applied teaching and principles of learning. Offered as needed.
490. Independent Study. 2 or more semester hours.
Individual project as arranged by the student with the supervising professor and the Department Chair. May be writing intensive. Every year. This course may be repeated for credit.
491. Internship. 2 to 4 semester hours.
Supervised learning-work experience at various on- or off-campus sites generally taken the senior year. Usually involves a written report, a journal, or other assignments. Every year. This course may be repeated for credit.
495. Senior Recital and Paper. 2 semester hours.
Presentation of a full-length recital in the primary area of applied music study. A challenging program to be determined in consultation with the applied music teacher. Designed as a culmination of preceding studies. A written paper of moderate length and relating to some aspect of the program is also required. Required of Bachelor of Music degree students. An oral examination, reviewing and assessing the student’s previous work in all areas of the music major, concludes the course. Students qualified to pursue departmental honors will register for Music 496 with permission of the department chair. Writing intensive. Every year
496. Senior Recital and Paper with Honors. 2 semester hours.
Presentation of a full-length recital in the primary area of applied music study. A challenging program to be determined in consultation with the applied music teacher. Designed as a culmination of preceding studies. A written paper of moderate length and relating to some aspect of the program is also required. Required of Bachelor of Music degree students. An oral examination, reviewing and assessing the student’s previous work in all areas of the music major, concludes the course.
497. Senior Portfolio Review. No credit.
Presentation of selected classwork and related materials and resources and the demonstration of musical skills and competencies in an oral examination format before a committee of three faculty members. Required of the major in music education. The review and examination should occur at the beginning of the senior year and at least one full semester prior to the student taking Education 495: Student Teaching. Every year
498. Senior Project. 2 semester hours.
Full-scale investigation of a selected topic or a production of a creative project. Usually presented in a written form. The project is juried by a committee of three faculty members. Both the project and the committee should be determined by the end of the student’s junior year and in consultation with the academic adviser and the department chair. An oral examination, reviewing and assessing the student’s previous work in all areas of the music major, concludes the course. Students qualified to pursue departmental honors will register for Music 499 with permission of the department chair. Writing intensive. Every year.
499. Honors Thesis/Project. Variable credit.
Full-scale investigation of a selected topic or a production of a creative project. Usually presented in a written form. The project is juried by a committee of three faculty members. Both the project and the committee should be determined by the end of the student’s junior year and in consultation with the academic adviser and the department chair. An oral examination, reviewing and assessing the student’s previous work in all areas of the music major, concludes the course. Writing intensive.
MUSIC EDUCATION CLASSES
165. Introduction to Music Education. 3 semester hours.
Comprehensive survey of the problems and the scope of music education in the school. Includes the development of fundamental, instrumental, and vocal skills and teaching techniques. Also developed is the ability to use effectively a fretted instrument as a pedagogical tool. Includes field-based experience. Alternate years.
231, 232, 233, 234, 235: Vocal and Instrumental Teaching Methods/Classes.
Applied class instruction in various groups of instruments and in vocal techniques with emphasis on teaching techniques and procedures. Teaching materials are surveyed. At least two courses each year.
231: Woodwind Instruments. 1 semester hour
232: Brass Instruments. 1 semester hour
233: Percussion Instruments. 1 semester hour
234: String Instruments. 1 semester hour
235: Introduction to Vocal Pedagogy and Diction. 2 semester hours
250. Technology for Music Educators. 2 semester hours.
An introduction to the many uses of technology in Music Education. Students learn how to use MIDI, digital audio and video, music notation programs, and sequencing programs. Grading will be based on completing a series of projects to prove competency in each area. Prerequisite: Music 102 and 155, or permission of the instructor.
463. General Music Methods. 4 semester hours.
Intensive study of materials and methods used in teaching music pre-K through Grade 12 by a music-teaching specialist, including classroom courses such as general music and music appreciation. Also includes exploratory teaching in the schools. Prerequisites: Music 165 and Education 103 or 104 or permission of instructor. Alternate years.
464. Choral Music in the School. 3 semester hours.
Study of materials and methods for teaching music in junior, middle and senior high schools with emphasis upon classroom courses such as music history, music theory, etc., as well as the study of vocal problems and techniques of the changing voice and its application to junior and senior high school choral groups. Includes exploratory teaching in the public school. This course satisfies requirements for a teaching licensure in the area of music. Prerequisite: Music 165 and Education 103 or 104. Alternate years.
465. Instrumental Music in the School. 3 semester hours.
Integrated course including the problems involved in the organization and administration of an instrumental music program. Includes an introduction to computer software specifically designed for music education and administration. Laboratory experience in the care and repair of instruments and the purchase of supplies and equipment. Includes exploratory teaching. Prerequisites: Music 165, 231, 232, 233, and 234 and Education 103 or 104. Alternate years.
466. Marching Band Techniques. 1 semester hour.
Practical course dealing with the organization, planning and design requisite for performances given by the marching band. Includes the use of computer software especially designed for charting these performances. Prerequisites: Music 165, 231, 232, and 233. Alternate years.
