CASM Grad Music Course Catalog FY24

M U S I C graduate programs in music education

SUMMER 2024 COURSE CATALOG

NEW! Diverse Perspectives Concentration The Master of Arts degree with a concentration in Diverse Perspectives features a broad range of music education core courses balanced by requirements specific to matters of diversity in repertoire, pedagogical mindsets, and equity work. Unique to the MAME program is its emphasis on vocal and instrumental work for all participants, regardless of background, as well as a practical application of equity work in various educational settings, including classrooms and ensembles, from preschool through university levels, private studios, and community groups. The Diverse Perspectives concentration explores meaningful ways to deepen one’s confidence and skill sets in matters of power and privilege in ways that are musical, pedagogical and critically responsive to the world around us.

new Diverse Perspectives concentration raise th BRING A HIGHER STANDARD OF PROFESSION PART OF A COMMITTED COMMUNITY OF EDU

MASTER OF ARTS IN MUSIC EDUCATION Choral Instrumental Diverse Perspectives

CERTIFICATES IN • Teaching World Music • Piano Pedagogy • Eurhythmics Orff Schulwerk Piano Pedagogy Kodály he bar NALISM TO MUSIC EDUCATION BY BECOMING UCATORS AT ST. THOMAS. • 50+ non-degree courses/workshops to facilitate lifelong learning

In our graduate programs, you will work closely with internationally recognized faculty – many of whom teach in elementary and secondary schools – to experience inspired teaching, to collaborate in creating music and movement, and to deepen your understanding of educational philosophies to reach all learners. You will energize your teaching by mastering new possibilities in music education, and you will have the foundation to earn a doctorate if you choose.

The Jane Frazee Distinguished Scholar-Artist Series June 29, 2024, 9 a.m. to 2:30 p.m., Schoenecker Center

The 2024 Distinguished Scholar is Dr. Adam Kruse with Special Guest Pete Shungu

This presentation will explore the relationship between Hip-Hop and music education and why the evolution of this relationship matters. Topics of discussion will include common teacher concerns, the transformative potential of Hip-Hop culture, and critical considerations of context and positionality in this work. Attendees will also be actively involved in listening to and analyzing as well as creating and performing original music.

Dr. Adam Kruse is the Director of Curriculum & Educational Partnerships for the Hip-Hop Innovation Center and Associate Professor of Music Education at the University of Illinois Urbana- Champaign. He is also co-leader for the Hip-Hop Xpress project and co-directs the Illinois School of Music’s Summer Hip-Hop Camp. Kruse completed his PhD in music education at Michigan State University and earned a Master of Arts degree in secondary education and a Bachelor of Science degree in music education from Ball State University. Kruse’s current scholarship focuses on Hip-Hop music learning and engagements of Hip-Hop culture in school music settings. He presents frequently at national and international conferences and has published in many of the field’s leading journals. At the University of Illinois, Kruse earned a Campus Distinguished Promotion Award in 2021 and the 2019-2020 Faculty Award for Excellence in Teaching from the College of Fine & Applied Arts. He also received a Creative Research Award from the college and an M3I4 grant from the School of Music to host the first-ever Hip-Hop Music Ed Symposium. Kruse was also recognized with the 2020 Outstanding Early Career Paper in Music Education from the American Educational Research Association and a 2017-2018 Technology Initiative Award from the College Music Society. The Hip-Hop Xpress project

Graduate Programs in Music Education

that Kruse co-leads with Dr. William Patterson and others has been awarded grants from the university’s Presidential Initiative to Celebrate the Impact of the Arts and the Humanities; the Student Sustainability Committee; and the Office of the Vice-Chancellor for Diversity, Equity & Inclusion’s Call to Action to Address Racism and Social Injustice. This project also earned the 2021 Campus Excellence in Public Engagement award.

Pete Shungu is a Teaching Assistant Professor of Music Education at the University of Illinois Urbana-Champaign. His areas of expertise include Hip-Hop music education, jazz music education, multilingual (ELL) education, and more. Prior to joining UIUC, Pete taught music, English, history, ESL, service-learning and other subjects at both the high school and university level in several different locations, including Champaign, IL, Boston, MA, Brooklyn, NY and Colima, Mexico. He is a “Double Jumbo,” having earned a bachelor’s degree in international relations and a Master of Arts in teaching, both from Tufts University in Massachusetts. In addition, he holds teaching endorsements in ESL and bilingual education, and he is trilingual, speaking English,

Spanish and French. Pete was born in New Jersey to a father from the heartland of Africa (Democratic Republic of Congo) and a mother from the heartland of the U.S. (Kansas). He is an award-winning Hip-Hop MC, spoken word poet, and trumpet player. He is also the MC/trumpeter/bandleader of Afro D and Global Soundwaves, a six-piece blend of jazz, funk, soul and socially-conscious Hip-Hop. Pete has taught Hip-Hop music to youth in a variety of settings, including at the University of Illinois’s ISYM Hip-Hop Camp. Pete and his wife Melissa are proud parents to four children: Paula, Malia, Naima and Isaac.

GPME poster session and reception to follow. Master of Arts in Music Education students present posters describing research they have done. Reception open to the Jane Frazee Distinguished Scholar-Artist Series and poster session attendees describing their research projects.

link.stthomas.edu/musicgraduate

DEGREE OFFERINGS

COURSES FOR EVERYONE

AFRICAN MUSIC ENSEMBLE GMUS 671 (2 credits) Sowah Mensah June 17-21 (No Class June 19) | 9 a.m.-3:15 p.m. CRN: 30209 Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. Classes will focus on learning the music so that students will be able to teach it to their own students. Instrumental music will include drumming, xylophone (gyil or Orff) music and adenkum (gourd stamping tube). All instruments are provided except flute and CDs, which can be purchased in class. ADVANCED DALCROZE MUSICIANSHIP

ED.D. IN LEADERSHIP WITH A CONCENTRATION IN MUSIC EDUCATION ADMISSION DEADLINES Early consideration: Nov. 15 July cohort: March 15 MASTER OF ARTS IN MUSIC EDUCATION • Choral concentration • Diverse Perspectives concentration – NEW! • Instrumental concentration • Kodály concentration

• Orff Schulwerk concentration • Piano pedagogy concentration ADMISSION DEADLINES Summer term: April 1 Fall term: July 1 Spring term: Dec. 1 Applications accepted on a rolling basis stthomas.edu/music/graduate/application

GMUS 544-01 (1 credit) Kathy Thomsen, DMA June 24-28 9:00 a.m.-12:15 p.m. CRN: 30208

CERTIFICATION PROGRAMS AND OTHER PROFESSIONAL DEVELOPMENT • Kodály certificate program, OAKE-endorsed • Orff Schulwerk certificate program, AOSA-approved • Piano Pedagogy certificate • Teaching World Music certificate • Eurhythmics certificate • Nondegree studies – more than 50 courses and workshops are offered year-round to facilitate lifelong learning opportunities for music education practitioners. TUITION Our tuition rate is $664 per credit. For more information visit: cas.stthomas.edu/admissions/graduate Music courses at the University of St. Thomas are designed for professional music educators who wish to strengthen their classroom teaching effectiveness by combining theoretical and applied study. Our work encourages a continual process of music education reform. We initiate programs that address practitioners’ musical, intellectual and professional needs. We value classroom practice, theory and research equally in our quest to improve the quality of music education.

Advanced musicianship development based on the Dalcroze approach. Study of eurhythmics (training the body in rhythm and dynamics), solfege (training the ear, eye and voice in pitch, melody and harmony using fixed- do), improvisation (combining eurhythmics and solfege according to the students’ own invention – in movement, with the voice, on an instrument) and methods (application tools for the classroom and studio). LATIN AMERICAN MUSIC

GMUS 537 (2 credits) Karen Howard, PhD July 1-3 | 9:00 a.m. – 5:00 p.m. CRN: 30218

Graduate Programs in Music Education

REALIZING DIVERSITY IN MUSIC EDUCATION - NEW! GMUS 606 (3 credits) Karen Howard, PhD July 8-12 | 9:00 a.m. – 4:30 p.m. CRN: 30267

learning as well as developing an understanding of ways to teach music of the world’s cultures. Attention will be given to learning culture through songs, movement and dance experiences, instrumental music and contextualized cultural components. Participants will be guided through recordings and curricular materials from the Smithsonian Folkways archives that fit the needs of students in knowing music and knowing culture through music. Musical experiences will be tailored for use at various levels, including in classes for children, youth and adults in university and community settings, with occasional small group sessions to decipher and discuss applications for particular teaching contexts and aims. Enrolled participants will join together to share particular means of teaching world music and will receive documentation from the Smithsonian Institution that certifies their specialized study in world music pedagogy. EAST ASIAN MUSIC CULTURES - NEW! GMUS 670 (2 credits) Karen Howard, PhD June 17-July 26 | Online Asynchronous CRN: 30268 This course explores traditional and contemporary music as a social and communal activity within multiple Asian cultures including: Japan, China and Korea. It employs an anthropological and ethnomusicological approach that analyzes music in a cultural context rather than solely as an object of art. Pedagogical strategies and curricular innovations will be developed with attention to avoiding appropriation and othering while aiming toward equity with a more socially just music education. Additionally, each student will select an additional music culture within East Asia to study across the semester. TEACHING GUITAR AND UKULELE GMUS 544-05 (1 credit) Chris Kachian, DMA August 5-9 | 1:00-3:30 p.m. CRN: 30234 Preparation for starting or continuing a class guitar and ukulele program. Topics include acquiring and maintaining instruments, reviewing available texts and related materials, and age-appropriate pacing of pedagogical materials and approaches. Special focus on teaching musical notations and stylistic genres common to the guitar. Designed for middle and high school teachers.

This course is designed to introduce the four domains of social justice in education: identity, diversity, justice and action. Considerations of engendering empathy, developing a critical consciousness, and crafting a more socially just education are central to this seminar. As a result of the course, students will: develop a working understanding and vocabulary of the social movements in education leading to the current state of diversity; draft a refurbished approach to selecting repertoire that is based on a reflective and inclusive definition of quality; and create meaningful teaching and learning experiences that embody the underlying tenets of identity, diversity, justice and action. CONTEMPLATIVE PRACTICES IN contemplative practices in education, and will study a wide variety of mindfulness techniques appropriate for music students of all ages. We will emphasize a secular form of vipassana mindfulness, defined by Jon Kabat- Zinn as “the deliberate focus of awareness, without judgment, on thoughts and events of the present moment.” Students will engage in various forms of stillness and movement, and creative and generative contemplative methods; they will also build confidence leading guided meditations, and will apply mindfulness practices to a wide variety of teaching contexts. Topics will include mindfulness for attentional focus, body awareness, peak performance, deep listening, mindful music practice, and anxiety management, with special attention to cultural considerations and trauma-sensitive practices. It is expected that students will engage in regular meditation practices for the duration of this course. SMITHSONIAN FOLKWAYS CERTIFICATE COURSE IN WORLD MUSIC PEDAGOGY MUSIC EDUCATION GMUS 544-02 (1 credit) Dr. Vanessa Cornett-Murtada July 22-26 | 9:30 a.m. – 12:00 p.m. CRN: 30293 Students will investigate the research related to

GMUS 536 (3 credits) Karen Howard, PhD June 24-28 | 9 a.m.-4:30 p.m. CRN: 30212

Students in this intensive course will sample audio, video, print, electronic and human resources with the aim of

link.stthomas.edu/musicgraduate

CHORAL

TEACHING CHORAL REPERTOIRE GMUS 518 (2 credits) Georgia Newlin, PhD July 22-26 | 9:00 a.m.-2:30 p.m. CRN: 30227

INTERMEDIATE CHORAL CONDUCTING GMUS 726 (2 credits) G. Phillip Shoultz, DMA July 8-19 | Noon-3 p.m. CRN: 30220 Designed for the intermediate choral conductor. Laboratory course with in-depth study of conducting gesture and its effect on choral sound. Individual lessons in the choral lab setting constitute a major component of this course. Score study, rehearsal techniques and performance practice issues. ADVANCED CHORAL CONDUCTING GMUS 727 (2 credits) G. Phillip Shoultz, DMA July 8-19 | 10:00 a.m.-1:00 p.m. CRN: 30221 For the advanced choral conductor. Laboratory course with in-depth study of conducting gesture and its effect on choral sound. Individual lessons in the choral lab setting constitute a major component of this course. Challenging SATB and treble choir pieces and choral/ orchestral repertoire. Score study, rehearsal techniques and performance practice issues. Prerequisite: Intermediate Choral Conducting (GMUS 726) ADVANCED CHORAL CONDUCTING LAB GMUS 728 (1 credit) G. Phillip Shoultz, DMA July 8-19 | 11:30 a.m.-1:00 p.m. CRN: 30222 During this course, advanced choral conducting students will extend their skills by choosing, analyzing, teaching, rehearsing and conducting a choral octavo in a conducting lab setting. Prerequisite: Advanced Choral Conducting (GMUS 727) CHORAL LITERATURE AND ANALYSIS II GMUS 674 (2 credits) Albert Pinsonneault, DMA June 17-28 (No Class June 19)

Philosophy, methods and materials designed to provide a sound pedagogical and musical basis for building and enhancing a developmental choral program for children ages 7-12. Applicable to a variety of settings (elementary school, community, church), the course offers experiences for building skill and knowledge in guiding vocal development (vocal exploration, pitch matching, voice control, tone production), as well as creating age- appropriate teaching strategies through utilization of form-based octavo analysis.

DALCROZE

The St. Thomas Master of Arts in Music Education curriculum features high-quality education in eurhythmics, solfege and improvisation and materials and methods. Dalcroze study at St. Thomas introduces students to music education that trains the body in rhythm and dynamics; trains the ear, eye and voice in pitch, melody and harmony using fixed-do; and combines eurhythmics and solfege according to the students’ own invention, while providing application tools for classroom and studio. ADVANCED DALCROZE MUSICIANSHIP

GMUS 544-01 (1 credit) Kathy Thomsen, DMA June 24-28 9:00 a.m.-12:15 p.m. CRN: 30208

9-11:45 a.m. CRN: 30207

Study of choral literature representing the Classic, Romantic and 20th-century style periods. Survey of historical and style evolution of major choral genres and analysis of representative works for each era.

Graduate Programs in Music Education

DIVERSE PERSPECTIVES – NEW! SMITHSONIAN FOLKWAYS CERTIFICATION IN WORLD MUSIC PEDAGOGY

LATIN AMERICAN MUSIC GMUS 537 (2 credits) Karen Howard, PhD July 1-3 | 9:00 a.m.-5:00 p.m. CRN: 30218

GMUS 536 (3 credits) Karen Howard, PhD June 24-28 | 9:00 a.m.- 4:30 p.m. CRN: 30212

Participants will be guided through musical experiences that cover selected musical cultures and genres from throughout Latin America, including Puerto Rican plena, Mexican son jarocho, Dominican merengue, and Brazilian samba. This hands-on workshop is appropriate for vocal and instrumental educators who teach at the elementary, middle or high school level. EAST ASIAN MUSIC CULTURES - NEW! GMUS 670 (2 credits) Karen Howard, PhD June 17-July 26 | Online Asynchronous CRN: 30268 This course explores traditional and contemporary music as a social and communal activity within multiple Asian cultures including: Japan, China and Korea. It employs an anthropological and ethnomusicological approach that analyzes music in cultural context rather than solely as an object of art. Pedagogical strategies and curricular innovations will be developed with attention to avoiding appropriation and othering while aiming toward equity with a more socially just music education. Additionally, each student will select an additional music culture within East Asia to study across the semester. DIVERSE PERSPECTIVES: INSTRUMENTAL ENSEMBLES - NEW! GMUS 653 (2 credits) Douglas Orzolek, PhD July 8-12 | 9:00 a.m.-2:00 p.m. Diverse music and experiences are often misrepresented in the instrumental music ensemble due to the lack of resources available to educators as well as the problems connected to the authenticity of the existing repertoire and arrangements. This course will explore the theoretical perspectives and practical approaches that can help music educators develop a more inclusive instrumental music program. The course will offer students the opportunity to discover and contemplate original music for bands and orchestras from all over the world. In addition, experiences with different types of instrumental ensembles will be provided. The goal of the course is to help music educators consider how an inclusive approach to instrumental pedagogy can enrich and expand the opportunities provided by performing and rehearsing diverse pieces of music.

Students in this intensive course will sample audio, video, print, electronic and human resources with the aim of learning as well as developing an understanding of ways to teach music of the world’s cultures. Attention will be given to learning culture through songs, movement and dance experiences, instrumental music, and contextualized cultural components. Participants will be guided through recordings and curricular materials from the Smithsonian Folkways archives that fit the needs of students in knowing music and knowing culture through music. Musical experiences will be tailored for use at various levels, including in classes for children, youth and adults in university and community settings, with occasional small group sessions to decipher and discuss applications for particular teaching contexts and aims. Enrolled participants will join together to share particular means of teaching world music and will receive documentation from the Smithsonian Institution that certifies their specialized study in world music pedagogy. AFRICAN MUSIC ENSEMBLE GMUS 671 (2 credits) Sowah Mensah June 17-21 (No Class June 19) | 9:00 a.m.-3:15 p.m. CRN: 30209 Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. Classes will focus on learning the music so that students will be able to teach it to their own students. Instrumental music will include drumming, xylophone (gyil or Orff) music and adenkum (gourd stamping tube). All instruments are provided except flute and CDs, which can be purchased in class.

link.stthomas.edu/musicgraduate

REALIZING DIVERSITY IN MUSIC EDUCATION - NEW! GMUS 606 (3 credits) Karen Howard, PhD July 8-12 | 9:00 a.m. – 4:30 p.m. CRN: 30267

This course is designed to introduce the four domains of social justice in education: identity, diversity, justice and action. Considerations of engendering empathy, developing a critical consciousness, and crafting a more socially just education are central to this seminar. As a result of the course, students will: develop a working understanding and vocabulary of the social movements in education leading to the current state of diversity; draft a refurbished approach to selecting repertoire that is based on a reflective and inclusive definition of quality; and create meaningful teaching and learning experiences that embody the underlying tenets of identity, diversity, justice and action. INSTRUMENTAL ADVANCED INSTRUMENTAL SCORE STUDY GMUS 687 (3 credits) Matthew George, DMA June 17-21 (No Class June 19) 8:00 a.m.- 5:30 p.m. CRN: 30212 Intensive, laboratory seminar of conducting concepts and mechanics. Instruction in advanced score analysis as it relates to physical gesture and rehearsal/ performance application, stylistic interpretation, rehearsal pacing and podium communication. Daily opportunity to conduct an instrumental ensemble during the second week of the course. Prerequisite: GMUS 687, Advanced Instrumental Score Study and Literature. DIVERSE PERSPECTIVES: INSTRUMENTAL ENSEMBLES - NEW! Diverse music and experiences are often misrepresented in the instrumental music ensemble due to the lack of resources available to educators as well as the problems connected to the authenticity of the existing repertoire and arrangements. This course will explore the theoret- ical perspectives and practical approaches that can help music educators develop a more inclusive instrumental music program. The course will offer students the op- portunity to discover and contemplate original music for GMUS 653 (2 credits) Douglas Orzolek, PhD July 8-12 | 9:00 a.m.-2:00 p.m.

bands and orchestras from all over the world. In addition, experiences with different types of instrumental ensem- bles will be provided. The goal of the course is to help music educators consider how an inclusive approach to instrumental pedagogy can enrich and expand the opportunities provided by performing and rehearsing diverse pieces of music.

AFRICAN MUSIC ENSEMBLE GMUS 671 (2 credits) Sowah Mensah June 17-21 (No Class June 19) 9:00 a.m.-3:15 p.m. CRN: 30209

Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. Classes will focus on learning the music so that students will be able to teach it to their own students. Instrumental music will include drumming, xylophone (gyil or Orff) music and adenkum (gourd stamping tube). All instruments are provided except flute and CDs, which can be purchased in class.

TEACHING GUITAR AND UKULELE GMUS 544-05 (1 credit) Chris Kachian, DMA August 5-9 | 1:00-3:30 p.m. CRN: 30234

Preparation for starting or continuing a class guitar and ukulele program. Topics include acquiring and maintaining instruments, reviewing available texts and related materials, and age-appropriate pacing of pedagogical materials and approaches. Special focus on teaching musical notations and stylistic genres common to the guitar. Designed for middle and high school teachers.

Graduate Programs in Music Education

KODÁLY INSTITUTE

ORFF SCHULWERK The Orff Schulwerk program is a model of innovation for Orff Schulwerk certification courses offered in the United States. The University of St. Thomas curriculum features education in subjects required by the American Orff Schulwerk Association: technique and improvisation, analysis and arranging, pedagogy, movement and recorder, all of which are highlighted in individual classes and integrated through literature study. A distinctive feature of the St. Thomas program is the opportunity for students to engage in the practical application of ensemble work in a daily pedagogy hour at each level of study. ORFF SCHULWERK LEVELS I-III Faculty: Mary Beth Alexander, Jay Broeker, Michael Vasquez, Mona Mann and Megan Tietz GMUS 731, 732, 733 and 735 are required for MA Orff concentration and Orff mastery certificate students. ORFF SCHULWERK LEVEL I GMUS 731 (3 credits) July 22 | 8:00 a.m.-4:45 p.m. July 23-August 2 | 8:30 a.m.-4:45 p.m. CRN: 30229 Basic Orff elemental musicianship, including the study of pentatonic melodies, ostinati, bordun accompaniments and elemental forms; soprano recorder technique; classroom application, technique and improvisation; and basic movement skills, classroom application and folk dance. ORFF SCHULWERK LEVEL II GMUS 732 (3 credits) July 22 | 8:00 a.m.-4:45 p.m. July 23-August 2 | 8:30 a.m.-4:45 p.m. CRN: 30231 Study of pentatonic, diatonic and modal melodies; melodic ostinato, bordun and shifting chord accompaniments; irregular and changing meters; alto recorder and classroom applications and improvisation; sequential teaching of dance forms; and folk dances. Prerequisite: GMUS 731 or equivalent AOSA approved course.

The Kodály Institute at the University of St. Thomas offers a certificate program endorsed by the Organization of American Kodály Educators (OAKE). Coursework provides high-quality, intensive studies in musicianship, conducting and ensemble to enable personal growth in musicianship; materials, analysis, classification and retrieval systems to assist students in gathering and systematizing repertoire for their personal teaching situations; and curriculum, pedagogy and instructional techniques to further students’ understanding of and practical experience in designing spiral curricula for literacy-based music education programs using inquiry- based teaching techniques. KODÁLY LEVELS I-III Faculty: Casey Barker, Becca Buck, Leigh Ann Garner, EdD and Dan LeJeune KODÁLY LEVEL I GMUS 741 (3 credits) July 8-19 | 8:00 a.m.-4:45 p.m. CRN: 30223 Kodály Level I study in musicianship and choral ensemble; materials, analysis, classification and retrieval systems; and curriculum, pedagogy and instructional techniques. Emphasis is placed on teaching grades K and 1. KODÁLY LEVEL II GMUS 742 (3 credits) July 8-19 | 8:00 a.m.-4:45 p.m. CRN: 30224 Kodály Level II study in musicianship and choral ensemble; materials, analysis, classification and retrieval systems; and curriculum, pedagogy and instructional techniques. Emphasis is placed on teaching grades 2 and 3. Prerequisite: Kodály Level I or equivalent. KODÁLY LEVEL III GMUS 743 (3 credits) July 8-19 | 8:00 a.m.-4:45 p.m. CRN: 30226 Kodály Level III study in musicianship and choral ensemble; materials, analysis, classification and retrieval systems; and curriculum, pedagogy and instructional techniques. Emphasis is placed on teaching grades 4 and 5. Prerequisite: Kodály Level II or equivalent.

link.stthomas.edu/musicgraduate

WORLD MUSIC SMITHSONIAN FOLKWAYS CERTIFICATION IN WORLD MUSIC PEDAGOGY

ORFF SCHULWERK LEVEL III GMUS 733 (3 credits) July 22 | 8:00 a.m.-4:45 p.m. July 23-August 2 | 8:30 a.m.-4:45 p.m. CRN: 30233

GMUS 536 (3 credits) Karen Howard, PhD June 24-28 | 9:00 a.m.-4:30 p.m. CRN: 30212

Improvisation in diatonic modes, asymmetric meters and harmonic accompaniments; ensemble performance of all recorder voices; and choreography and improvisation relative to movement and music. Prerequisite: GMUS 732 or equivalent AOSA approved course. ORFF CURRICULUM DEVELOPMENT GMUS 735 (2 credits) Diana Hawley August 5-9 | 9:00 a.m.-2:00 p.m. CRN: 30235 Classroom application of basic Orff vocabulary, theory, sequential skills and concepts to the classroom. Implementation of typical Orff activities in learning experiences designed for elementary students. In-depth objectives for each grade; development of supporting teaching strategies; and lesson plans, skills and concepts curriculum grid. Emphasis on application of studies through small-group and peer teaching. Prerequisite: Orff Levels I and II from any AOSA approved course.

Students in this intensive course will sample audio, video, print, electronic and human resources with the aim of learning as well as developing an understanding of ways to teach music of the world’s cultures. Attention will be given to learning culture through songs, movement and dance experiences, instrumental music, and contextualized cultural components. Participants will be guided through recordings and curricular materials from the Smithsonian Folkways archives that fit the needs of students in knowing music and knowing culture through music. Musical experiences will be tailored for use at various levels, including in classes for children, youth and adults in university and community settings, with occasional small group sessions to decipher and discuss applications for particular teaching contexts and aims. Enrolled participants will join together to share particular means of teaching world music, and will receive documentation from the Smithsonian Institution that certifies their specialized study in world music pedagogy. AFRICAN MUSIC ENSEMBLE GMUS 671 (2 credits) Sowah Mensah June 17-21 (No Class June 19) | 9:00 a.m.-3:15 p.m. CRN: 30209 Study of traditional African music (Ghanaian culture) through music performance. Performance of chants, songs, music for social and festive occasions, and other vocal and instrumental examples selected from a variety of styles. Classes will focus on learning the music so that students will be able to teach it to their own students. Instrumental music will include drumming, xylophone (gyil or Orff) music and adenkum (gourd stamping tube). All instruments are provided except flute and CDs, which can be purchased in class.

ORFF MASTERCLASS GMUS 544-09 (2 credits) Beth Melin Nelson & Kris Olson July 22 | 8:00 a.m.-2:30 p.m. July 23-26 | 9:00 a.m.-2:30 p.m. CRN: 30309

This course is designed to explore the process of Orff Schulwerk and the possibilities that can be discovered through collaborative work. The class will use existing materials in visual art, literature, Orff Schulwerk repertoire, other musical genres and everyday items as a basis for exploration, improvisation and performance. Finding new ways to reimagine the familiar and deepen personal artistry is at the center of this course. A process model for bringing these experiences into a framework for lesson planning will help participants reflect and analyze processes to create effective project lessons for the classroom. Prerequisite: Orff Schulwerk Levels I, II and III.

Graduate Programs in Music Education

PIANO PEDAGOGY SUPERVISED TEACHING GMUS 800 (2 credits) CRN: 30236

LATIN AMERICAN MUSIC GMUS 537 (2 credits) Karen Howard, PhD July 1-3 (No Class July 4) 9:00 a.m.- 5:00 p.m CRN: 30218

Faculty direction and observation of each student’s teaching. Students will video record their own piano students for the basis of the class. Prerequisite: Completion of pedagogy courses. CONTEMPLATIVE PRACTICES IN MUSIC EDUCATION GMUS 544-02 (2 credits) Dr. Vanessa Cornett-Murtada July 22-26 | 9:30 a.m.- 12:00 p.m. CRN: 30293 Students will investigate the research related to contemplative practices in education, and will study a wide variety of mindfulness techniques appropriate for music students of all ages. We will emphasize a secular form of vipassana mindfulness, defined by Jon Kabat- Zinn as “the deliberate focus of awareness, without judgment, on thoughts and events of the present moment.” Students will engage in various forms of stillness and movement, and creative and generative contemplative methods; they will also build confidence leading guided meditations, and will apply mindfulness practices to a wide variety of teaching contexts. Topics will include mindfulness for attentional focus, body awareness, peak performance, deep listening, mindful music practice, and anxiety management, with special attention to cultural considerations and trauma-sensitive practices. It is expected that students will engage in regular meditation practices for the duration of this course.

Participants will be guided through musical experiences that cover selected musical cultures and genres from throughout Latin America, including Puerto Rican plena, Mexican son jarocho, Dominican merengue, and Brazilian samba. This hands-on workshop is appropriate for vocal and instrumental educators who teach at the elementary, middle or high school level. EAST ASIAN MUSIC CULTURES - NEW! GMUS 670 (2 credits) Karen Howard, PhD June 17–July 26 | Online Asynchronous CRN: 30268 This course explores traditional and contemporary music as a social and communal activity within multiple Asian cultures including: Japan, China and Korea. It employs an anthropological and ethnomusicological approach that analyzes music in a cultural context rather than solely as an object of art. Pedagogical strategies and curricular innovations will be developed with attention to avoiding appropriation and othering while aiming toward equity with a more socially just music education. Additionally, each student will select an additional music culture within East Asia to study across the semester. DIVERSE PERSPECTIVES: INSTRUMENTAL ENSEMBLES - NEW! misrepresented in the instrumental music ensemble due to the lack of resources available to educators, as well as the problems connected to the authenticity of the existing repertoire and arrangements. This course will explore the theoretical perspectives and practical approaches that can help music educators develop a more inclusive instrumental music program. The course will offer students the opportunity to discover and contemplate original music for bands and orchestras from all over the world. In addition, experiences with different types of instrumental ensembles will be provided. The goal of the course is to help music educators consider how an inclusive approach to instrumental pedagogy can enrich and expand the opportunities provided, by performing and rehearsing diverse pieces of music. GMUS 653 (2 credits) Douglas Orzolek, PhD July 8-12 | 9:00 a.m.-2:00 p.m. Diverse music and experiences are often

link.stthomas.edu/musicgraduate

TEACHING AND LEARNING GMUS 601 (3 credits) Douglas C. Orzolek, PhD

June 24-August 2 (No Class July 4) 6-9:30 p.m. | Tuesday and Thursday CRN: 30213 Comprehensive overview of learning theories,

instructional theories and implications for the teaching of music to children in grades K-12. Application of principles and concepts inherent in these theories to the teaching and learning of music. FOUNDATIONS OF MUSIC EDUCATION

GMUS 608 (3 credits) Bruce Gleason, PhD

June 24-August 2 (No Class June 19) 6-9:30 p.m. | Monday and Wednesday CRN: 30214

Consideration of cultural, philosophical and historical contexts of music education through reading assignments and student presentations. PERSPECTIVES IN MUSIC THEORY GMUS 611 (3 credits) Shersten Johnson, PhD

June 24-August 2 (No Class June 19) 6-9:30 p.m. | Monday and Wednesday CRN: 30215

Creative construction of conceptual frameworks that blend traditional analytical techniques with recent trends in music theory scholarship. Development of methodology for the perceptual and reflective study of musical processes, style and meaning. Critical listening, score reading, composing and writing about music. TOPICS IN MUSIC HISTORY, LITERATURE AND THEORY GMUS 612 (3 credits)

MASTER OF ARTS CORE COURSES

INTRODUCTION TO SCHOLARSHIP AND RESEARCH METHODS IN MUSIC EDUCATION GMUS 600 (3 credits) Karen Howard, PhD June 17-July 26 | Online Asynchronous CRN: 30211 This course will guide students toward: comprehending research articles and methodologies that they will encounter over the course of their careers; building skills in working with library resources, database and other bibliographic materials; and developing skills in academic writing.

June 24-August 2 (No Class July 4) 6-9:30 p.m. | Tuesday and Thursday CRN: 30216

This course explores the history and ideas surrounding American song, from works performed by voice as well as instrumental versions of songs. Topics covered will include 19th c. songs, Sousa and his influence, Irving Berlin, blues, jazz, Chuck Berry and rock, musical theater, country music, women’s voices in music and ragtime. Prerequisite: Successful completion of the Master of Arts in Music Education, music history and theory diagnostic exam.

Graduate Programs in Music Education

MUSICIANSHIP GMUS 750 (1 credit) Kathy Thomsen, DMA July 1-3 | 9:00 a.m.- 1:15 p.m. CRN: 30219

b. GMUS 876-99 terms are limited to one per student. c. For students completing Designs Four or Five, GMUS 876 and GMUS 890 cannot be interspersed with a section 99 without approval from the advisor and director of GPME. Students enroll in the section of GMUS 876 matching the project advisor’s name. If not working with an advisor, register for section 99.

Studies in musicianship, including systematic sight- reading, aural transcription and analytical skill development. Course is required for all Master of Arts students (not required of Kodály concentration). PSYCHOLOGICAL FOUNDATIONS OF

MA FINAL PROJECT GMUS 890 (1 credit) Graduate Music Education Faculty

ARTS EDUCATION GMUS 842 (3 credits) Douglas C. Orzolek, PhD

Students enroll in the section of GMUS 890 (and 876 in the cases of Designs Four and Five) matching the project advisor’s name during the semester they write and complete their projects:

June 24-August 2 | 6-9:30 p.m. Online, Monday and Wednesday CRN: 30217 This course explores the cognitive foundations of music. The course will examine the full range of physical, psychophysical and cognitive mechanisms that lead to musical experience. The course begins with the physics of musical instruments and the physical qualities of musical pitch. This leads to the psychophysics of hearing and why some sounds are experienced as consonant and others as dissonant. The course will then turn to perceptual organization and develop the sense in which music is an emergent phenomenon. Finally, we examine the structures in working memory that allow individual pitch events to be organized into musical expressions. Along the way, we will look at the general principles that govern the structure of music and also investigate the extent to which other species understand and hear music as music. The course will also include a deep analysis of musical expectancy in terms of fractal structure and dynamic systems. DIRECTED RESEARCH GMUS 876 (0 credits) CRN: 30237 Graduate Music Education Faculty The only occasions students register for GMUS 876 are when: 1. They have selected Designs Four or Five and are in the first semester of the process (see individual Design Four or Design Five guidelines), or 2. When they are in a “hold” mode of not working with their advisors for a term and thus are registered for GMUS 876-99. a. Students will not be assessed the one-credit tuition fee for a semester in which they are not working with their advisor but instead will register for GMUS 876-99 ($75 fee assessed) during these terms.

APPLIED PERFORMANCE

APPLIED PERFORMANCE STUDIES GMUS 570-593 (1 credit) Twelve 50-minute individual lessons: 1 cr.; twelve 30-minute individual lesson: 1 cr. Arrange individual lessons with the instructor BEFORE registering. Specify the instructor and duration of lessons on the course registration form or send an email to music@stthomas.edu to inquire about instructor availability and contact information.

GMUS 570 Harpsichord GMUS 571 Piano GMUS 572 Lute GMUS 573 Recorder GMUS 574 Voice GMUS 575 Organ GMUS 576 Flute GMUS 577 Oboe GMUS 578 Clarinet GMUS 579 Bassoon GMUS 580 Saxophone GMUS 581 Trumpet

GMUS 582 French Horn GMUS 583 Trombone GMUS 584 Euphonium GMUS 585 Tuba GMUS 586 Percussion GMUS 587 Violin GMUS 588 Viola GMUS 589 Cello GMUS 590 Double Bass GMUS 591 Guitar GMUS 592 Harp GMUS 593 Composition

link.stthomas.edu/musicgraduate

SUMMER 2024 WEEK-BY-WEEK SCHEDULE JUNE 17 - 21 (NO CLASS, JUNE 19) • GMUS 687: Advanced Instrumental Score Study • GMUS 674: Choral Literature and Analysis II • GMUS 671: African Music Ensemble • GMUS 600: Introduction to Scholarship and Methods in Music Education • GMUS 670: East Asian Music Cultures (NEW!) JUNE 24 - 28 • GMUS 536: Smithsonian Folkways Certification in World Music Pedagogy • GMUS 544-01: Advanced Dalcroze Musicianship • GMUS 601: Teaching and Learning • GMUS 608: Foundations of Music Education • GMUS 611: Perspectives in Music Theory • GMUS 612: Topics in Music History, Literature and Theory • GMUS 840: Philosophical Foundations of Arts Education • GMUS 674: Choral Literature and Analysis II (Cont.) • GMUS 600: Introduction to Scholarship and Research Methods in Music Education (Cont.) • GMUS 670: East Asian Music Cultures (Cont.)

JULY 8- 12 • GMUS 741-743: Kodaly Levels I-III

• GMUS 726: Intermediate Choral Conducting • GMUS 727: Advanced Choral Conducting • GMUS 728: Advanced Choral Conducting Lab • GMUS 653: Diverse Perspectives: Instrumental Music (NEW!) • GMUS 606: Realizing Diversity in Music Education (NEW!) • GMUS 601: Teaching and Learning (Cont.) • GMUS 608: Foundations of Music Education (Cont.) • GMUS 611: Perspectives in Music Theory (Cont.) • GMUS 612: Topics in Music History, Literature and Theory (Cont.) • GMUS 840: Philosophical Foundations of Arts Education (Cont.) • GMUS 600: Introduction to Scholarship and Research Methods in Music Education (Cont.) • GMUS 670: East Asian Music Cultures (Cont.)

JULY 15 - 19 • GMUS 741-743: Kodaly Levels I-III (Cont.)

• GMUS 726: Intermediate Choral Conducting (Cont.) • GMUS 727: Advanced Choral Conducting (Cont.) • GMUS 728: Advanced Choral Conducting Lab (Cont.) • GMUS 601: Teaching and Learning (Cont.) • GMUS 608: Foundations of Music Education (Cont.) • GMUS 611: Perspectives in Music Theory (Cont.) • GMUS 612: Topics in Music History, Literature and Theory (Cont.) • GMUS 840: Philosophical Foundations of Arts Education (Cont.) • GMUS 600: Introduction to Scholarship and Research Methods in Music Education (Cont.) • GMUS 670: East Asian Music Cultures (Cont.) JULY 22 - 26 • GMUS 731-733: Orff Levels I-III • GMUS544-09: Orff Master Class • GMUS 518: Teaching Choral Repertoire • GMUS 544-02: Contemplative Practices in Music Education • GMUS 601: Teaching and Learning (Cont.) • GMUS 608: Foundations of Music Education (Cont.) • GMUS 611: Perspectives in Music Theory (Cont.) • GMUS 612: Topics in Music History, Literature and Theory (Cont.) • GMUS 840: Philosophical Foundations of Arts Education (Cont.) • GMUS 600: Introduction to Scholarship and Research Methods in Music Education (Cont.) • GMUS 670: East Asian Music Cultures (Cont.)

JULY 1 – JULY 5 (NO CLASS JULY 4) • GMUS 750: Musicianship • GMUS 537: Latin American Music • GMUS 601: Teaching and Learning (Cont.)

• GMUS 608: Foundations of Music Education (Cont.) • GMUS 611: Perspectives in Music Theory (Cont.) • GMUS 612: Topics in Music History, Literature and Theory (Cont.) • GMUS 840: Philosophical Foundations of Arts Education (Cont.) • GMUS 600: Introduction to Scholarship and Research Methods in Music Education (Cont.) • GMUS 670: East Asian Music Cultures (Cont.)

Graduate Programs in Music Education

HOW TO REGISTER FOR COURSES Active students: All students with an active St. Thomas identification number register for courses through Murphy Online. Inactive UST student status/ID number: All students with an inactive St. Thomas identification number register for courses through Murphy Online. New to the University of St. Thomas or inactive identification number: Please complete an application to the Graduate Music program (as a degree-seeking or Non-Degree student) by scanning the QR code inside the back cover of the catalog.

link.stthomas.edu/musicgraduate.

JULY 29 – AUGUST 2 • GMUS 731-733: Orff Levels I-III (Cont.) • GMUS 601: Teaching and Learning (Cont.)

AUGUST 5 - 9 • GMUS 735: Orff Curriculum • GMUS 544-05: Teaching Guitar and Ukulele

link.stthomas.edu/musicgraduate

$664 PER CREDIT for degree and non-degree students (estimated rates)

GRADUATE PROGRAMS IN MUSIC EDUCATION (GPME) ESSENTIALS:

HOW DO I PAY TUITION AND FEES? Tuition payments are handled through the St. Thomas website. You will receive more information once enrolled for classes. NEED HOUSING? Limited on-campus housing is available on a first- come, first-served basis. Indicate your interest on your application. If already enrolled at St. Thomas, email us for the 2024 housing rate and a housing request form. CAMPUS See our campus map at link.stthomas.edu/map-music

APPLICATION AND REGISTRATION https://link.stthomas.edu/applytogradmusic

Degree, Non-Degree, and Certificate Program applications can all be accessed using the QR code

QUESTIONS ABOUT GPME OR COURSE REGISTRATION?

There are NO application fees.

Contact music@stthomas.edu or call 651-962-5850. Visit our website at link.stthomas.edu/gradmusic

Details of all courses are subject to change. Courses may be canceled if under-enrolled.

DEGREE / NON-DEGREE / AUDIT – What’s the difference? Degree

For students who have met all application requirements and are seeking a MAME degree in the Graduate Music Department. Non-Degree This option may be of interest to students with a desire to pursue graduate study but not necessarily obtain a degree. Non-Degree studies are also suitable for any educator seeking professional development (CEU) credits. Enrolling in one or more courses as a Non-Degree student will provide contact with faculty members and an opportunity to evaluate whether the program’s offerings match a student’s needs, interests and abilities. Up to six (6) credits taken as a Non-Degree student may be applied if a student decides to enroll in the full MAME program. Audit Auditing is allowed for 2- or 3-credit courses. Auditors pay reduced tuition rates based on a percentage formula. If a student audits a class, they cannot receive graduate credit. Students who audit Kodály or Orff Schulwerk levels are still eligible to receive the certificate if they audit the courses.

link.stthomas.edu/musicgraduate

NONPROFIT ORG. U.S.POSTAGE PAID UNIVERSITY OF ST. THOMAS

Graduate Programs in Music Education BEC 107 2115 Summit Ave. St. Paul, MN 55105-1096 USA

NO APPLICATION FEE. Degree, non-degree and audit/workshop options available.

The University of St. Thomas is an equal opportunity educator and employer. St. Thomas does not unlawfully discriminate, in any of its programs or activities, on the basis of race, color, creed, religion, national origin, sex, sexual orientation, family status, disability, age, marital status, status with regard to public assistance, membership or activity in a local commission, genetic information or any other characteristic protected by applicable law. stthomas.edu/eostatement

All programs offered by the University of St. Thomas shall be readily accessible to individuals with disabilities. For details, call (651) 962-6315.

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