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2008 Graduate Level Music Classes

Special note to Four-Summer Masters students: All graduate-level music classes are applicable to the four-summer masters degree. Classes from the 100- and 200-level do not apply. For more information on this program, visit the Four-Summer Music Education Master's Degree page.

CPDU CREDITS for State of Illinois public school teachers are available for many of the summer courses. For information, including registration and prices, contact Dorothy Wyandt, 847-491-7485 or d-wyandt@northwestern.edu.

Four-Summer Masters Degree

Individuals who have a bachelor’s degree and certification to teach can complete a master of music degree in music education in four summers. If you are interested in this program, please write

Office of Music Admission and Financial Aid,
Northwestern University School of Music
Evanston, Illinois  60208-1200

Selected Topics: The Choral Rehearsal as a Vehicle for Musical Growth

CONDUCT 335-0 Sec. 23

Instructor: Robert Harris

• 3 weeks
• 6/23-7/11
• MTWThF 2 - 4 p.m.
• Evanston Campus

A course designed to foster musical growth through the identification and study of specific musical concepts in the choral rehearsal.  Students will be required to select and analyze various choral works and prepare rehearsal plans and teaching strategies that will afford the growth and development of students in rehearsal.

Students will also be expected to sing in the University Summer Chorus.

Marching Band Techniques 

CONDUCT 323-0 sec. 23

Instructor: Daniel Farris

• 3 weeks
• 6/23-7/11
• MTWThF, 10 a.m. - 12 noon
• Evanston Campus

Marching band techniques is a course designed to develop skills, obtain knowledge, and study the application, techniques, styles and systems related to the total spectrum of teaching and administering marching bands.  The course will emphasize the pedagogy of developing marching band music fundamentals, stimulate creative thinking and present a specific system of conceiving, writing and teaching a marching band show.  This class will utilize computer charting software.

Selected Topics:  Advanced Conducting:  Before the Downbeat

CONDUCT 335-0 SEC. 36

Instructor: Robert Hasty

• 6 weeks
• 6/23 - 8/1
• MW 2 - 4 p.m.; F 2 - 3 p.m.
• Evanston Campus

Students will be coached on methods of analyzing and preparing scores for conducting. The selection of appropriate music for their ensembles will be considered with regard to orchestration/voicing, strengths and weaknesses of instrumental/choral sections, and appropriateness to age and abilities. Students will create an appropriate database of scores with instrumentation, assessment and annotations that they can take home for reference. Open to choral and instrumental conductors.

Selected Topics:  Advanced Instrument Rehearsal Techniques (AIRT) II

CONDUCT 335-0 Sec. 26

Instructor: Ryan Nelson

• 6 weeks
• 6/23 - 8/1
• TTh 3 - 5 p.m.; F 3 - 4 p.m.
• Evanston Campus

This course picks up where AIRT I left off two years ago.  The course continues to explore the pedagogy of rehearsing beginning and intermediate (through high school) instrumental ensembles. The fundamental rehearsal philosophies for the concepts of tone, rhythm, articulation, expression, intonation, and technique are explored further, again in a practical and experimental (hands-on) atmosphere.  Students will be trained specifically in a variety of Edward Lisk’s Creative Rehearsal Techniques:  rehearsal structure, activating concentration, aural and visual sound imaging, ensemble tone development, rhythmic perception, dynamic control, pyramid of auditory skills, technique and phrasal development, etc.  Tonal and rhythm patterns will be used as an approach to develop performance skills in beginning band music.  The class will also spend a considerable amount of time in understanding intonation problems, and developing strategies for correcting them.  Finally, the course will undertake a day to day review of basic embouchure, sound production and articulation techniques for all of the instruments.  This course will undoubtedly help students improve both their own musicianship skills and the skills of their students.  This course is open to all summer master’s students.  AIRT I is not a prerequisite.

Selected Topics:  Jazz Arranging for the Public School Teacher

JAZZ ST 335-0 sec. 26

Instructor: Don Owens

• 6 weeks
• 6/23 - 8/1
• MW 8-10 a.m.; F 8 - 9 a.m.
• Evanston Campus

This course will focus on two levels of arranging: 1) the creative process of sketching and bringing to conclusion a jazz arrangement for the teachers’ school ensemble; 2) editing, rearranging, transcribing existing music specifically for the teacher’s school ensemble.  All assignments, and the final project will be student driven, specifically created to work with their school ensemble(s).

Prerequisites:  Ability to read music.  A desire to learn more about the craft of arranging.  Experience in the jazz idiom, and/or experience with jazz arranging is absolutely not necessary.  Beginners to arranging are especially encouraged to enroll. Experienced teachers of jazz ensembles (instrumental and/or vocal) are also most welcome.

Selected Topics:  Opera at the Movies

MUSICOL  335-0 Sec. 23

Instructor: Jennifer Jenkins

• 3 weeks
• 6/23 - 7/11
• MTWThF 10 - 12 a.m.
• Evanston Campus

This courseexamines the twin passions of opera and film that have frequently been intertwined in recent cinematic offerings.  Using analytical and critical thinking tools from across the humanities, we will look at the various ways in which opera has been used as both a soundtrack and a featured subject of films from the 1970’s up to the present day.  With the help of extended viewings of film excerpts (both in and out of class), readings from various sources devoted to opera and film music, and class discussion, we will discover how knowledge of the opera world – its history, its seminal works and characters, its “greatest hits” – enriches one’s understanding of the films themselves, in which the film’s creator(s) employ opera in order to underscore (literally!) crucial themes, plot points, and character traits.  No prior experience of opera is required – the ability to read musical notation may be helpful, but is likewise not required for success in this class.

Selected Topics: Informal Music Education in America

MUSICOL 335-0 Sec. 33

Instructor: Rebecca Bennett

• 3 weeks
• 7/1 4- 8/1
• MTWThF 8 - 10 a.m.
• Evanston Campus

The musical and social influence of “informal” American music education that takes place outside the traditional classroom or the private music lesson is profound indeed.  This course will involve historical and pedagogical analysis of informal American music education occurring between 1900 and 1970 in realms like the music-appreciation industry, Leonard Bernstein’s Young People’s Concerts, and music-listening competitions.  Written assignments and classroom discussion will encourage students to consider the influence of these educational spaces on contemporary musical values and education and to unpack their own and other individuals’ relationships to spheres like the music-appreciation industry.

Philosophical Bases of Music Education

MUSIC ED 421 Sec. 26

Instructor: Carlos Abril

• 6 weeks
• 6/23 - 8/1
• TThF 8- 10 am.
• Evanston Campus

Application of philosophical theory to practical issues and problems facing the field of music education.  One of the primary goals of the course is the development of a personal philosophy of music education. Topics include art and feeling, the creative process, aesthetic meaning, aesthetic experience, musical meaning, and musical experience. This course is required of all students enrolled the four summer master’s degree program in Music Education. This course is recommended for master’s students in their first and second summers.

Selected Topics:  Special Needs Learners in the Music Classroom

MUSIC ED 335-0 Sec. 36

Instructor: Laura Pawuk

• 6 weeks
• 6/23 - 8/1
• MTWThF 4 - 5 p.m.
• Evanston Campus

This class is designed for the music educator who teaches a special needs student of any age or diagnosis.  The class will expand the educator's knowledge about the needs and strengths of special needs students and their families and will apply this knowledge to the music education classroom.   The class will also examine the field of music therapy, its research base and those techniques which are directly applicable to the music education setting.  Students will draw on the knowledge and expertise of board certified music therapists to better address the needs of their own students.   The class will learn how to troubleshoot problems, adapt classrooms and ensembles, teach more effectively and work in better collaboration with parents and staff.   Laws governing special education and their applications for the music educator will be examined.  Students will be involved in enriching and engaging observations, demonstrations, experientials, lectures, guest presentations and readings.

Curriculum Development in Music Education

MUSIC ED 422-0 Sec. 26 

Instructor: Janet Barrett

• 6 weeks
• 6/23 - 8/1
• MW 12 noon  - 2 p.m.; F 12 noon - 1 p.m.
• Evanston Campus

Curriculum development and evaluation in music education raises fundamental questions about the purposes and characteristics of music programs in school settings.  Curriculum as a field of study often draws upon closely related foundational disciplines – history, philosophy, psychology, sociology, and educational policy studies – to examine what is taught and learned in music classrooms.  We will also draw upon these fields to understand contemporary curriculum theory and practice, as well as to examine educational policies and their impact on music programs, particularly in this climate of school reform.  Students will analyze and critique available curricular models, and design comprehensive programs to foster students’ musical growth. This course is recommended for master’s students in their third and fourth summers.

MUSIC ED  438  sec. 23

Creative Thinking in Music

Instructor: Peter Webster

• 3 weeks
• 7/14-8/1
• MTWThF 10 - 12 a.m.
• Evanston Campus

I
n this course we will explore definitions and models of creative thinking in music. We will also review the research in music psychology on creative thinking in music and in general. Finally, we will apply this information to creative teaching strategies in music.

MUSIC ED – 335-0 Sec  23

Selected Topics:  School Orchestral Development

Instructor: James Kjelland

• 3 weeks
• 6/23 - 7/11
• MTWThF 10 a.m. - 12 noon
• Evanston Campus

This course is designed for school orchestra directors of all backgrounds and levels of experience:  string and non-string players, middle school through high school level, public and private institutions.  Topics include program administration, recruiting, public relations, rehearsal techniques and management, literature survey, sources, and selection, skill development and musicianship in the ensemble setting, survey of materials, instrument repair assessment and maintenance.  The daily class schedule is determined with class member input.

Computers, Technology, and the Music Experience

MUSIC TECH  434-0 Sec. 26

Instructor: Maud Hickey

• 6 weeks
• 6/23 - 8/1
• TTH – 12-2 p.m..  F 12-1
• Evanston Campus, Library Mac/PC classroom

This course will explore the new developments in music tech while reviewing current software packages appropriate for school and personal use. Class members will write simple compositions, print music notation, create sounds with a synthesizer, and learn about useful non-music programs. The accent will on creative thinking in music and using technology as an aid to teaching. This course has great application to music teaching, but all music professionals will benefit as they explore the world of computers and music. This course is required of all students enrolled in the four-summer master's degree program in music education and limited to those with a good deal of musical knowledge.

Selected Topics:  Music Theory Review

MUSIC THRY 335-0 Sec. 26

Instructor: Susan Piagentini

• 6 weeks
• 6/23 - 8/1
• TTh 12 noon - 2 p.m.; F 1 - 2 p.m.
• Evanston Campus

A review of the fundamentals of music theory, with an emphasis on harmony, form and expression in tonal music.  Selected literature will include piano, chamber, orchestral, band, and choral works, some of which will be selected form the summer ensemble concert repertoire.  We will also discuss the relevance of analysis to the field of performance and education, including the AP Music Theory curriculum.

Vocal Pedagogy for the Choral Conductor

VOICE 425 Sec. 23           

Instructor: Karen Brunssen

• 3 weeks
• 7/14 - 8/1
• MTWThF 2 - 4 p.m.
• Evanston Campus

Students will learn a basic and useable knowledge of the vocal apparatus and to apply it, both one-on-one and in group situations. Instruction will include reading, lecture, videos, demonstration, class participation as vocal models, singing exercises, vocal literature, and discussion. Students will walk away with techniques they can use quickly in rehearsals  as well as exercises and concepts for specific purposes, as well as a sequential order for developing the voice and a better diagnostic ear.

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