Degrees Offered

Contemporary & Popular Music, BM
Music Technology, BA
Contemporary & Popular Music, AS
Music Technology Certificate

Locations

Augusta

Bangor

Centers

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Admissions
Phone: 207.621.3465
Toll Free: 1.877.862.1234
Email: umaadm@maine.edu

Mailing Address
UMA Admissions
46 University Drive
Augusta, ME 04330

Whether you prefer the live classroom experience or the flexibility of online learning, our Bachelor of Music (B.M.) in Contemporary and Popular Music degree has got you covered. You can focus on performance, audio recording, composition, sonic arts, music education, or a mixture of everything.

Our program is all about diving deep into the music world. No more drowning in general education courses – with us, it’s a music-intensive journey. A B.M. is not just a title – it’s your ticket into most Master of Music and DMA programs!

Get ready to unleash your creativity with arranging, songwriting, and composition. We blend the best of traditional and 21st-century music theory for a well-rounded experience.

You will study with Artist Faculty who are currently practicing their craft and can help you make connections within the music industry.

If you’re interested in education, our Music Education Concentration is centered around the Maine State Teaching Certification, and we’ve got electives to tailor it to your state’s requirements.

For tech enthusiasts, our Music Technology Concentration option allows you to study core courses in cutting-edge music technology while ensuring you can read and understand the music you’re recording.

Are you ready to turn up the volume on your music career? Apply today!

Explore these tabs to learn more about UMA’s Contemporary and Popular Music program.

Application Process

Admission to UMA’s Contemporary and Popular Music program is competitive with an emphasis on your Audition Submission. For full consideration for the fall semester, interested students should submit ALL application materials at their earliest convenience. May 1st is the ideal deadline but offers of admission will be considered on a rolling basis. Admissions after May 1st may limit the course selection for the following Fall semester. Please do not hesitate to contact us with any questions.

Step 1: Complete the UMA Application Form — It’s easy and FREE! There is no obligation to attend.

Step 2: Submit your Audition

  • When you apply, you will receive an email from the UMA Admissions department with a link to a secure form to submit your audition. This email will be sent to the personal email that you provided on your application and will be addressed from the Admissions department (umaadm@maine.edu) and should be delivered a day after your application has been successfully submitted.
  • No audition is required if you are applying for the Associate’s Degree (A.S.) or for the Certificate in Music Technology. You may audition for B.M. after 2 semesters in the A.S. program.

Bachelor’s Degree (B.M.) Audition Requirements

Video of you playing 2 pieces of music, no longer than 8 minutes in length each. They can be of different genres (i.e. jazz, rock, country, classical, gospel, etc). The music can be songs, etudes, concertos, originals, etc. You can play unaccompanied, with accompaniment, or use backing tracks. Please state your name and the pieces you will perform at the beginning of each video.

Submit one or two tracks that you have mixed or produced. Any software is acceptable.

Submit audio tracks and, if available, PDFs of printed compositions.

Submit audio tracks or “beats” that you have created. Any software is acceptable.

Video of you playing 2 pieces of music, no longer than 8 minutes in length each. They can be of different genres (i.e. jazz, rock, country, classical, gospel, etc). The music can be songs, etudes, concertos, originals, etc. You can play unaccompanied, with accompaniment, or use backing tracks. Please state your name and the pieces you will perform at the beginning of each video.

*Please note that we cannot accommodate student teaching for students living outside of Maine. You must check with the teacher certification office in your state to find out if student teaching is required in your state or territory.

Step 3: Submit your Transcripts

  • If you are a True Freshman, you must submit a High School Transcript or G.E.D.
  • If you are a Transfer Student, you must submit your Official Transcripts.
  • If you are an International Student, please see our Transfer page for International Transcript Service information.

Submit all official transcripts to:

Application Processing
University of Maine System
PO Box 412
Bangor, ME 04402-0412

Official electronic transcripts can be directly submitted to: edocs@maine.edu

Degrees Available

Certifications Available

  • Avid Pro Tools
  • Sibelius Music Notation Software

All Courses

The list below contains all courses you can enroll in for UMA’s Music Program.

Courses are subject to change. View the official UMA catalog here.

3 credit hours

This course the student will explore basic competency in Avid’s Pro Tools as well as build listening skills. The Pro Tools portion of the course explores the whole process of working with audio: from session creation to recording, editing, mixing, and bouncing down the final product. The listening portion of the course teaches the student to listen to, localize, and notate sounds in natural environments and then apply the concepts to recorded music.

PREREQUISITE:  None

STUDENT LEARNING OUTCOMES

Upon successful completion of MTK 100, students will achieve basic competency in Avid’s Pro Tools software and acquire new listening skills. Along the way, students will learn to:

  • Create a Pro Tools session from scratch
  • Navigate the Mix and Edit windows
  • Record audio and MIDI into the session
  • Import audio and MIDI files into the session
  • Execute basic editing commands
  • Recognize the organization and fundamental processing of the mixing stage

POSSIBLE COURSE MATERIALS

  • Avid Pro-Tools Subscription

POSSIBLE EVALUATION CRITERIA

  • Exams
  • Quizzes
  • Projects
  • Class participation

3 credit hours

MTK 101 builds on the Pro Tools skills acquired in MTK 100, accentuating advanced editing skills. Additionally, new ground is explored on topics such as microphone specification and placement, acoustics, and processing.

PREREQUISITE: MTK 100 or permission of Instructor.

STUDENT LEARNING OUTCOMES

Students will obtain a thorough knowledge and awareness of the many Pro Tools features needed to complete a project. These include:

  • Navigation of Mix and Edit windows
    • Starting a New Session
    • Mic Placement
  • Record audio into a session
  • Advanced MIDI workflow
  • Import audio files and MIDI clips
  • Advanced audio and MIDI editing
  • Processing with AAX Plug-ins
  • Advanced stereo mixes within Pro Tools
  • Bounce to disk

POSSIBLE COURSE MATERIALS

  • Avid Pro-Tools Subscription

POSSIBLE EVALUATION CRITERIA:

  • Exams
  • Quizzes
  • Projects
  • Class participation

3 credit hours

PREREQUISITE:  None

COURSE DESCRIPTION

This course introduces students to equipment used in the recording studio. This includes transducers such as microphones and speakers, and hardware processors such as microphone preamplifiers, equalizers and dynamics processors. This course gives students an awareness of common models and the electronic designs and mechanical principles involved in each piece of equipment.

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Identify common transducer and processors models
  • Identify the electronic differences between transducer and processor designs
  • Identify the mechanical differences between transducer and processor designs
  • Apply knowledge of processors to the selection and use of these devices in the studio
  • Apply knowledge of transducers to the selection and use of these devices in the studio

POSSIBLE COURSE MATERIALS

Newell, Philip and Holland, Keith. Loudspeakers: For Music Recording and Reproduction. Routledge, 2018.

Rayburn, Ray. A. Eargle’s The Microphone Book: From Mono to Stereo to Surround – A Guide to Microphone Design and Application. Routledge, 2011. 

POSSIBLE EVALUATION CRITERIA

  • Quizzes
  • Tests
  • Midterm
  • Final

1 credit hour

PREREQUISITE:  MTK 101 or Permission of the Department

COURSE DESCRIPTION

MTK 200 puts the editing techniques learned in MTK 100 and MTK 101 into practice through weekly editing assignments that will be completed outside of class. Class time will instead focus on listening to and critiquing completed assignments. The critique will be formal and will contain feedback from the instructor and from fellow students.

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Apply editing techniques learned in MTK 100 and MTK 101 to a wide range of material
  • Identify and correct poor edits
  • Demonstrate an understanding of the difference between critique and criticism
  • Apply the knowledge of critique to other students’ work

POSSIBLE COURSE MATERIALS

  • Instructor-provided recording sessions
  • Pro Tools (software)

POSSIBLE EVALUATION CRITERIA

  • Critiques
  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

1 credit hour

PREREQUISITE:  MUS 122 or Permission of the Department

COURSE DESCRIPTION

This course examines one of the most important – and sometimes overlooked – parts of audio engineering: listening. Through lectures and listening examples, students will learn techniques on how to listen, what to listen for and set them on a path towards improved listening. 

STUDENT LEARNING OUTCOMES

  • Upon completion of this course students will be able to:
  • identify the parts of a sound
  • demonstrate listening skills
  • identify bad edits or errors in sound and music
  • identify different types of effects in audio engineering

POSSIBLE COURSE MATERIALS

  • ear training software
  • audio examples provided by the instructor

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

1 credit hour

PREREQUISITE: MTK 210 Ear Training for Audio Engineers I or Permission of the Department

COURSE DESCRIPTION

This course continues ear training from MTK 210.  Through lectures and listening examples, students will learn advanced techniques on how to listen, what to listen for and set them on a path towards improved listening. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • identify the parts of a sound in detail
  • demonstrate advanced listening skills
  • identify subtle edits in sound and music
  • identify effects in full mixes

POSSIBLE COURSE MATERIALS

  • ear training software
  • audio examples provide by the instructor

POSSIBLE EVALUATION CRITERIA:

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE:​ Any AUD, MUH, MUS, MTK, CIS, or permission of the department

COURSE DESCRIPTION

MTK 220 offers students a chance to explore electronic dance music, and hip-hop production from the ground up. This course will chart the rise of Detroit Techno and Chicago House out of Disco, the addition of the Roland TR-909, and survey the progression of tools and techniques through the 80s, 90s, and 00’s ending with modern-day pop and rap. 

STUDENT LEARNING OUTCOMES

Upon completion of EDM Production, students will be able to demonstrate basic competence​ ​in:

  • The​ ​history​ ​of​ ​electronic​ ​dance​ ​music, and hip-hop
  • The​ ​basics​ ​of​ ​Ableton​ ​Live​ ​
  • The​ ​common​ ​forms,​ ​rhythms,​ ​and​ ​harmony​ ​associated​ ​with​ ​various​ ​EDM​ and Hip-hop ​genres
  • The basics of sound design, recording, mixing, and mastering as it applies to EDM, and Hip-hop

POSSIBLE COURSE MATERIALS

  • Dance​ ​Music​ ​Manual:​ ​Tools,​ ​Toys​ ​and​ ​Techniques​ ​(Rick​ ​Snowman,​ ​ISBN: 978-0-415-82564-1)
  • Ableton​ ​Live​ ​

POSSIBLE EVALUATION CRITERIA

  • Class​ ​participation
  • Short​ ​essays
  • Quizzes
  • Completion​ ​of​ ​short​ ​assignments​ ​or​ ​projects
  • Completion​ ​of​ ​final​ ​project

3 credit hours

PREREQUISITE: MTK 103 or Permission of the Department

COURSE DESCRIPTION

This course provides an introduction to audio electronics concepts, circuits, and Arduino control. The course begins with the fundamental concepts of electronics: scales, symbols, equations, current, voltage, and resistance. Other topics include: components, transducers, DC and AC circuits, audio amplifiers and audio filters. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Demonstrate competency in basic electronics concepts: scales, symbols, and equations
  • Demonstrate competency in basic electronics concepts: current, voltage, and resistance
  • Demonstrate competency in basic electronics concepts: circuits, and Arduino control
  • Apply knowledge of electronics fundamentals to building simple circuits
  • Demonstrate an understanding of  basic electronics schematics

POSSIBLE COURSE MATERIALS

  • Cullen, Charlie. Learn Audio Electronics with Arduino: Practice Audio Circuits with Arduino Control. Focal Press, 2020.
  • Tinkercad
  • Electronics Kit
  • Arduino Uno
  • Breadboard
  • Switches and LEDs
  • Resistors, capacitors, potentiometers
  • Audio, MIDI and other components

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Projects
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE:  MTK 230 or Permission of the Department

COURSE DESCRIPTION

MTK 231 continues the electronics concepts that MTK 230 started. Whereas MTK 230 uses software such as Tinkercad to control software such as Arduino, this course will introduce students to the basics of computer programming. Additional topics may include interfacing with Arduino, MIDI, real-time input, shields, audio input and output, sound synthesis, soldering, prototyping, standalone Arduino and more. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Demonstrate basic computer programming skills
  • Demonstrate skills in interfacing with software such as Arduino
  • Demonstrate skills in using software such as Arduino to synthesize sound
  • Apply knowledge of electronics and programming to small, simple projects
  • Apply the design cycle to conceptualize and prototype ideas

POSSIBLE COURSE MATERIALS

  • Edstrom, Brent. Arduino for Musicians: A Complete Guide to Arduino and Teensy Microcontrollers. Oxford University Press, 2016. 
  • Collins, Nicolas. Handmade Electronic Music: The Art of Hacking Hardware. Routledge, 2020. 
  • Electronics Kit:
  • Arduino UNO
  • Solderless breadboard
  • Components (resistors, capacitors, LEDs, buttons, photoresistors)
  • Multimeter

ELECTRONICS KIT 2 (KIT 1 +)

  • Teensy 3.1
  • Force-sensing resistor, proximity sensors, pressure sensors
  • Soldering iron, solder
  • Hookup wire, perf board
  • Misc tools (clamps, drill, IC removal tools)

ELECTRONICS KIT 3 (KIT 1 + KIT 2 +)

  • Advanced parts (7805 voltage regulator, ATmega328, rotary encoders, serial display, audio taper potentiometers, audio jacks)
  • Various enclosures 
  • Misc tools (nibbler, hand saws, hacksaw)

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Projects
  • Quizzes
  • Tests
  • Midterm
  • Final

1 credit hour (repeatable for credit)

PREREQUISITE: MTK 200 or Permission of the Department

COURSE DESCRIPTION

MTK 300 puts the mixing techniques learned in MTK 100 and MTK 101 into practice through weekly mixing assignments that will be completed outside of class. Class time will instead focus on listening to and critiquing completed assignments. The critique will be formal and will contain feedback from the instructor and from fellow students.

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Apply mixing techniques learned in MTK 100 and MTK 101 to a wide range of material
  • Identify and correct poor mix decisions
  • Demonstrate an understanding of the difference between critique and criticism
  • Apply the knowledge of critique to other students’ work

POSSIBLE COURSE MATERIALS

  • Instructor-provided recording sessions
  • Pro Tools (software)

POSSIBLE EVALUATION CRITERIA

  • Critiques
  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MTK 300 or Permission of the Department

COURSE DESCRIPTION

This course covers the theory, workflow and techniques involved in mastering, the final step in the post-production process. Potential topics include: the listening environment, approaches to critical listening, assessment of the source material, project goals, processors and processing, removal of unwanted noise, editing and sequencing techniques, metering and loudness, deliverables, and archiving. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Describe the mastering process and its role in a recording project
  • Describe loudness and apply knowledge to projects
  • Demonstrate the ability to assess a recording project and identify goals for the final product
  • Apply processing and editing techniques to a mixed project
  • Analyze a recording and fix unwanted noise and artifacts
  • Demonstrate the ability to produce a duplication ready master with appropriate documentation
  • Demonstrate the ability to correctly archive a project

POSSIBLE COURSE MATERIALS

  • Katz, Bob. Mastering Audio: The Art and the Science. Routledge, 2020. 
  • Pro Tools (software)

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITES: MTK 230, or MTK 231 or Permission of the Department

COURSE DESCRIPTION

This course introduces students to a powerful visual programming environment, such as Max, that allows users to create and manipulate sound, data and/or graphics. In addition to learning the fundamentals of Max programming, this course will explore a wide range of patches with application in the creation and manipulation of music. 

POTENTIAL TOPICS INCLUDE

  • Generating sound with a range of variables like timbre, velocity and tempo
  • Using mathematical operations to transpose a note or to add notes to create chords or scales
  • Controlling patches with keyboard, mouse or video game controllers
  • Creating interactive performance and composition systems that use sequenced events
  • Creating a standalone application 
  • Using Max for Live to integrate with Ableton Live
  • Recording and playing back audio, using audio buffers and adding effects and processing
  • Working with video files
  • Building research instruments
  • Interactive compositions

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Demonstrate competency in visual programming by completing basic patches
  • Demonstrate an understanding of how mathematical operations work with music
  • Demonstrate an understanding of integrating software such as Max into other programs
  • Demonstrate the creation of performance and composition systems

POSSIBLE COURSE MATERIALS

  • Manzo, V.J. Max/MSP/Jitter for Music. 2016, Oxford University Press. 
  • Cycling ‘74 Max (software)

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MTK 230 or 231 or 320 or Permission of the Department

COURSE DESCRIPTION

This course expands on the topic of synthesis started in MTK 230, 231, and 320, by discussing major synthesis methods at length. This could include subtractive synthesis, sample and sample based synthesis, modulation synthesis, additive synthesis, wavetable synthesis, granular synthesis, vector synthesis and combination synthesis and modeling. These topics will be explored through lectures and through hands-on projects using free, online VCV Rack software.

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Describe and apply the basic components of synthesis
  • Describe the major methods of synthesis
  • Apply synthesis components and methods by building simple patches
  • Demonstrate competency with VCV Rack software

POSSIBLE COURSE MATERIALS

  • Vail, Mark. The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument. Oxford University Press, 2014.
  • McGuire, Sam and Van der Rest, Nathan. The Musical Art of Synthesis. Focal, 2015.
  • Gabrielli, Leonardo. Developing Virtual Synthesizers with VCV Rack. Focal, 2020.
  • VCV Rack

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MTK 301 and MTK 330, or Permission of the Department

COURSE DESCRIPTION

This course introduces students to the concepts and procedures of sound design for game audio by using a project based approach. Students will design sounds inside of a DAW and learn how to implement them in a game engine such as Unity. Additionally, they will learn about integrating interactive music, story and dialogue, and having those elements respond to events in the game. By the end of this course, students will have completed a playable multilevel game. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Describe the role of sound design and music in game design
  • Demonstrate competency in sound editing techniques
  • Demonstrate competency in the Unity game engine
  • Identify the audio needs of the game’s story 
  • Create a playable multilevel game using their own audio

POSSIBLE COURSE MATERIALS

  • Coggan, Andrew. Unity Game Audio Implementation: A Practical Guide for Beginners. Focal Press, 2021. 

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MTK 400, or permission of the department

COURSE DESCRIPTION

This course surveys the current techniques and applications of audio in Extended Reality (XR). XR is a broad term that includes the concepts of Virtual Reality (VR) and Augmented Reality (AR). Topics may include ambisonics, binaural synthesis, sound field synthesis/virtual acoustic simulation, HRTFs, six-degrees-of-freedom capture and processing, auditory-visual interaction and various microphone techniques and measurements. 

STUDENT LEARNING OUTCOMES

Upon completion of this course students will be able to:

  • Describe current techniques of audio capture for various Extended Reality applications
  • Describe current techniques in processing for various Extended Reality applications
  • Describe current techniques of sound field synthesis and simulation 
  • Gain knowledge of the various markets that incorporate XR.
  • Gain knowledge of ambisonics, and  binaural synthesis
  • Gain knowledge of auditory-visual interaction

POSSIBLE COURSE MATERIALS

  • Schutze, Stephan and Irvin-Schutze, Anna. New Realities in Audio: A Practical Guide for VR, AR, MR and 360 Video. CRC Press, 2018. 

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Quizzes
  • Tests
  • Midterm
  • Final

0 credit hours

PREQUISITE: None

COURSE DESCRIPTION

Recital Lab is a non-credit, pass/fail class that provides performance experience in conjunction with material being studied in Private Studio lessons. The student will gain experience in performing before, and listening to, performances of their peers. The class may also include attendance (live or online) at scheduled clinics and professional concerts. Classes are recorded for future reference by students and faculty. Required of music majors who are enrolled in a private lesson on the major instrument.

STUDENT LEARNING OUTCOMES

Upon completion of MUS 100, Recital Lab, students will:

  • gain experience in performance, and ensemble rehearsal techniques.
  • develop processes for listening actively to live instrumental and vocal performances

POSSIBLE EVALUATION CRITERIA

*Possible criteria for a completed recital performance:

  • Students must turn in a signed instructor approval form.
  • Introductions of accompanying performers, and especially the performer
  • Inclusion of some background information on the composer and/or selection for the audience.
  • Selections at least 5 but not more than 10 minutes in length.

3 credit hours

PREQUISITE: None

COURSE DESCRIPTION

Blended coverage of contemporary and traditional music theory concepts with concurrent improvisation, and keyboard applications.  Topics include major and minor key signatures, time signatures and rhythm, major and minor scales, modes, intervals, triads, seventh chords, figured bass and pop chord symbols, beginning two-note counterpoint and voice-leading, resolutions, tendency tones, and cadences.

STUDENT LEARNING OUTCOMES

  • Demonstrate understanding of major and minor key signatures, and major, minor and modal scales.
  • Demonstrate an understanding of time signatures and rhythm notation.
  • Demonstrate an understanding of identifying and building triads and seventh chords.
  • Demonstrate an understanding of figured bass inversion symbols and pop chord symbols.
  • Demonstrate an understanding of Roman numeral analysis.
  • Demonstrate an understanding of beginning two-note counterpoint and voice-leading, resolutions, tendency tones, and cadences.
  • Demonstrate understanding of the concepts through practical applications including songwriting, analysis, and improvisation. 

POSSIBLE COURSE MATERIALS

1.  Music Theory Remixed: A Blended Approach for the Practicing Musician

By Holm-Hudson, Kevin

ISBN: 9780199330560

Edition: 1st

Type: Paperback

Pub. Date: 12/1/2016

Publisher: Oxford University Press

(there is an online component that is available upon purchase)

2.  Artusi: Interactive Music Theory & Aural Skills (www.artusimusic.com) is an online platform that provides course materials for students learning music fundamentals, harmony, counterpoint, and ear training. ISBN 978-1-7356237-1-9 “Artusi: Total Access”

POSSIBLE EVALUATION CRITERIA

  • Preparation
  • Participation
  • Assignments
  • Projects
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MUS 101

COURSE DESCRIPTION

Blended coverage of contemporary and traditional music theory with concurrent improvisation, and keyboard applications.  Topics include harmonic functions and Roman numeral analysis, resolutions and cadences, part-writing, non-chord tones, small forms, harmonic progressions, secondary dominants, secondary leading tone chords, and modal mixture.

STUDENT LEARNING OUTCOMES

  • Demonstrate understanding of harmonic functions and Roman numeral analysis.
  • Demonstrate an understanding of resolutions and cadences.
  • Demonstrate an understanding of chorale part-writing.
  • Demonstrate an understanding of non-chord tones.
  • Demonstrate an understanding of small forms.
  • Demonstrate an understanding of harmonic progressions including secondary dominants, secondary leading tone chords, and modal mixture.
  • Demonstrate understanding of the concepts through practical applications including songwriting, analysis, and improvisation. 

POSSIBLE COURSE MATERIALS

1.  Music Theory Remixed: A Blended Approach for the Practicing Musician

By Holm-Hudson, Kevin

ISBN: 9780199330560

Edition: 1st

Type: Paperback

Pub. Date: 12/1/2016

Publisher: Oxford University Press

(there is an online component that is available upon purchase

2.  Artusi: Interactive Music Theory & Aural Skills (www.artusimusic.com) is an online platform that provides course materials for students learning music fundamentals, harmony, counterpoint, and ear training. ISBN 978-1-7356237-1-9 “Artusi: Total Access”

POSSIBLE EVALUATION CRITERIA

  • Assignments
  • Midterm
  • Final

MUS 141 – 4 semesters – Jury at the end of each semester

MUS 345 – 1 semester – Preparation for the Junior Recital or Portfolio

MUS 346 – 1 semester – Junior Jury and Recital or Portfolio

MUS 447 – 1 semester – Preparation for the Senior Recital or Portfolio

MUS 448 – 1 semester – Senior Recital or Portfolio

STUDENT LEARNING OUTCOMES

  • Students will demonstrate knowledge of solo and small group repertoire
  • Students will successfully complete a Jury at the appropriate level
  • Students will successfully participate in Recital Lab, or Junior Recital, or Senior Recital
  • Students will participate in live or online private lessons and masterclasses
  • Students will gain fluency in sight-reading musical scores that pertain to their emphasis

POSSIBLE EVALUATION CRITERIA

  • concerts
  • masterclasses
  • recitals
  • peer reviews
  • juries

1 credit hour

COURSE DESCRIPTION: 

This introductory course stresses keyboard application of concepts under study in theory lecture in a group lesson format (live or online).  Students will be required to perform various scales and chord progressions, as well as apply basic improvisation concepts.

Topics include:

  • Pitch names and registers
  • Major, minor and modal scales, triads, seventh chords
  • Intervals, triads, seventh chords
  • Sight reading basic melodies in treble clef
  • A simple pop/rock accompaniment style 
  • Basic chord progressions such as II-V-I and the blues progression

STUDENT LEARNING OUTCOMES

Upon completion of MUS 181, Piano Lab I, students will

  • Demonstrate basic piano skills including identifying pitch names and registers
  • Perform major, minor and modal scales in several keys
  • Perform correct intervals, triads, and seventh chords with the correct qualities
  • Sight read simple notated melodies with the correct rhythm in the treble clefs
  • Demonstrate an understanding of diatonic chord labels 
  • Perform the II-V-I chord progression in several keys
  • Demonstrate an easy pop style piano accompaniment

POSSIBLE COURSE MATERIALS

  • TBD

POSSIBLE EVALUATION CRITERIA

  • Performance tests based on the learning outcomes
  • Mid term and final exams
  • Class Attendance (live or online)
  • Class Participation (live or online)

1 credit hour

PREREQUISITE:  MUS 101 and MUS 181 or Permission of the Department

COURSE DESCRIPTION

A continuation of Piano Lab I, studying and applying contemporary piano skills in a group lesson format.  Students will learn to apply concepts under study in theory classes.

Topics include:

  • Accompaniment skills used with a variety of contemporary music progressions
  • Improvisation over II, V, I and blues progressions
  • Cadences
  • Secondary dominants
  • Modal mixture (borrowed chords)

STUDENT LEARNING OUTCOMES

Upon completion of MUS 182, Piano Lab II, students will

  • Sight-read melodies notated in the treble clef and bass clef with correct rhythm and pitches.
  • Perform cadences
  • Improvise over the II, V, I progression in several keys
  • Improvising with the right hand while playing a blues progression with the left.
  • Demonstrate an understanding of including embellishment tones while improvising
  • Demonstrate an understanding of and perform chord progressions including secondary dominants
  • Demonstrate an understanding of and perform chord progressions including modal mixture (borrowed chords)

POSSIBLE COURSE MATERIALS

  • TBD

POSSIBLE EVALUATION CRITERIA:  

  • Performance tests based on the learning outcomes
  • Mid term and final exams
  • Class Attendance (live or online)
  • Class Participation (live or online)

3 credit hours

PREREQUISITE: MUS 203

COURSE DESCRIPTION

Blended coverage of contemporary and traditional music theory with concurrent improvisation, and keyboard applications. Topics include extended chords and altered extensions, advanced chromatic harmony, and 20th and 21st century techniques including impressionism, polytonality, twelve-tone technique and integral serialism, indeterminacy minimalism, and postmodernism. 

STUDENT LEARNING OUTCOMES

  • Demonstrate understanding of extended chords, and altered extensions as found in jazz, contemporary classical and popular music.
  • Demonstrate an understanding of advanced chromatic harmony and contemporary techniques.
  • Demonstrate an understanding of impressionism, polytonality, twelve-tone technique and integral serialism, indeterminacy minimalism, and postmodernism.
  • Demonstrate understanding of the concepts through practical applications including songwriting, analysis, and improvisation. 

POSSIBLE COURSE MATERIALS

  1. Music Theory Remixed: A Blended Approach for the Practicing Musician
    By Holm-Hudson, Kevin
    ISBN: 9780199330560
    Edition: 1st
    Type: Paperback
    Pub. Date: 12/1/2016
    Publisher: Oxford University Press
    (There is an online component that is available upon purchase
  2. Harmony & Theory, Keith Watt & Carl Schroeder ISBN# 978-0793579914
  3. Artusi: Interactive Music Theory & Aural Skills (www.artusimusic.com) is an online platform that provides course materials for students learning music fundamentals, harmony, counterpoint, and ear training. ISBN 978-1-7356237-1-9 “Artusi: Total Access”

POSSIBLE EVALUATION CRITERIA

  • Preparation
  • Participation
  • Assignments
  • Projects
  • Midterm
  • Final

1 credit hour

PREREQUISITE: MUS 213

COURSE DESCRIPTION

This course builds on the aural skills from MUS 213, with more advanced rhythmic, melodic, and harmonic dictations and sight-singing exercises. This course builds aural skills in conjunction with the Music Theory Blended IV curriculum that covers topics such as extended chords and altered extensions, advanced chromatic harmony, and 20th and 21st century techniques including impressionism, polytonality, twelve-tone technique and integral serialism, indeterminacy, minimalism, and postmodernism.

LEARNING OUTCOMES

  • Demonstrate proficiency in aurally identifying chromatic harmony including tonicization, modulation, modal mixture.
  • Demonstrate proficiency in aurally identifying extended chords and altered extensions.
  • Demonstrate competency in sight singing chromatic and non-tonal melodies
  • Demonstrate competency in sight-reading rhythms, learning and performing “prepared” vocal and rhythmic examples
  • Demonstrate competency in notating harmonic, melodic and rhythmic dictation.

POSSIBLE COURSE MATERIALS

  •  Artusi: Interactive Music Theory & Aural Skills (www.artusimusic.com) is an online platform that provides course materials for students learning music fundamentals, harmony, counterpoint, and ear training. ISBN 978-1-7356237-1-9 “Artusi: Total Access”

POSSIBLE EVALUATION CRITERIA

  • Preparation
  • Participation
  • Assignments
  • Projects
  • Midterm
  • Final

3 credit hours

PREREQUISITE: MUS 102 and MUS 271 or Permission of the Department

COURSE DESCRIPTION

Arranging I introduces students to scoring music for a variety of medium- and large-sized ensembles. The primary focus of the course will be on understanding techniques and notation for commonly-used orchestral and pop instruments. By the end of Arranging I, students will be able to adapt an existing work for a new ensemble and create a score and parts that conform to professional practices.

STUDENT LEARNING OUTCOMES

Upon completion of MUS-221, students will be able to:

  • Demonstrate standard notation, rhythm, pitch, and scales (both major and minor).
  • Develop critical listening and awareness skills and be able to listen more critically to music. 
  • Demonstrate effective arranging techniques for the voice, woodwinds, brass, strings, and percussion.
  • Demonstrate understanding of the fundamentals of integrating various instruments into an arrangement, as well as understanding the re-orchestration process. 
  • Demonstrate understanding of the various ways to voice instruments in different contexts, including re-harmonizations, re-orchestration, effective uses of timbre and texture, and changes in form and structure of a musical composition. 
  • Demonstrate understanding of  proper transpositions, ranges, and proper use of articulation, phrasing, and dynamic markings specific to each instrument family. 
  • Develop various approaches to plan and construct musical works and create musical arrangements based on relevant material from the course. 

POSSIBLE COURSE MATERIALS

  • Notation software 
  • Alfred Blatter. Instrumentation and Orchestration. 2nd ed. Schirmer, Cengage Learning, 1997.
    • The Open Education Resource (OER) textbook will be provided in PDF form and available via the course website. You do not need to purchase textbooks for this course.
  • Supplemental materials, slideshows, music scores, and sound recordings will be provided.

POSSIBLE EVALUATION CRITERIA

  • Various reading, written, and listening assignments as well as minor arrangement projects via Music Notation Software
  • Larger arrangements projects, at the end of units, via Music Notation Software
  • Mid-term and Final arrangement projects via Music Notation Software

3 credit hours

Prerequisite:  None

COURSE DESCRIPTION

This course gives a practical examination of career opportunities in the music and recording industries. Emphasis will be on understanding how these industries function and on understanding music business practices. Educational requirements for each field will be explored.

STUDENT LEARNING OUTCOMES

Students will be able to:

  • Asses the opportunities in the music industry that are of interest to them
  • Understand the relationships between the various music industries
  • Attain knowledge of the Maine State requirements for teaching music in public schools.
  • Demonstrate knowledge of modern day recording and promotional practices. 

POSSIBLE EVALUATION CRITERIA

  • Exams
  • Quizzes
  • In-class reading and writing
  • Recorded performances
  • Class participation
  • Presentations

3 credit hours

PREREQUISITE:  MUS 101 or permission of department

COURSE DESCRIPTION

Music Notation Software is a laboratory course in Sibelius music notation software. 

MUS 271 is designed to take students from the beginning of Sibelius music notation software through big band and orchestral notation. This is a project driven course and students will learn to use Sibelius as a tool for teaching private lessons, K-12 music education, music theory, arranging and score writing. Students may take the Avid Sibelius Certification exam at the end of the course. The score of the Avid exam will not affect the overall grade for the course. 

STUDENT LEARNING OUTCOMES

Upon completion of MUS 271, students will be able to demonstrate competence in using Sibelius for:

  • exercises for private lessons
  • exercises for band, orchestra and jazz band lessons
  •  music theory notation (classical, jazz, figured bass)
  • notation for rock, pop and folk ensembles
  • layering and score writing

POSSIBLE COURSE MATERIALS

  • Sibelius Music Notation Software
  • Music Notation Manual

POSSIBLE EVALUATION CRITERIA

  • Quizzes
  • Projects that demonstrate proper use of music notation

3 credit hours

PREREQUISITE:  MUS 204, MUS 221, and MUS 271 or Permission of the Department

COURSE DESCRIPTION

Composition I is a stylistically-neutral introduction to writing original music. In this course, students will further explore topics including melodic writing and phrasing, harmonic planning, counterpoint, formal design, and orchestration techniques through writing small works for a variety of ensembles. Composition I students will begin by developing technique through sketchbook before proceeding to writing fully-realized compositions for small ensembles. As students proceed on their own works, they will be introduced to a variety of writings about the creative process and a selection of works influenced by these writings.

STUDENT LEARNING OUTCOMES

  • Students will explore strategies for planning and writing short to medium-length musical compositions in a variety of styles.
  • Students will gain experience planning and writing their own compositions and work towards developing an individual composition strategy and voice.
  • Students will develop further fluency with music notation and music notation software by creating clear, readable score and parts for their works.
  • Students will be introduced to the composition strategies and musical planning behind successful works in a variety of styles and genres.

POSSIBLE COURSE MATERIALS

  • Likely no required text
  • Reading and listening assignments pertaining to creative processes in music.
  • Notation guide

POSSIBLE EVALUATION CRITERIA

  • Attendance and Class Participation
  • Composition Sketchbook
  • Two Composition projects

3 credit hours

PREREQUISITE:  None

COURSE DESCRIPTION

MUS 362 focuses on the methods and materials of music teaching.  Topics include the methods and materials of traditional music education, guided observation activities, technological aids for the music educator, a study of curricular innovations such as those of Suzuki, Dalcroze, Kodaly, Orff, and the North American strategies of Edwin Gordon and Comprehensive Musicianship.

This course also addresses a variety of basic music teaching methods and materials. Students are also encouraged to research methodologies, resources and materials specifically directed toward the instruction of their personal instrument, or voice.

STUDENT LEARNING OUTCOMES

Upon completion of MUS 362, Music Methods students will:

  • Prepare a portfolio of music teaching resources and materials appropriate for k-12 teaching.
  • Demonstrate best teaching practices and instructional strategies based on a synthesis, or specific techniques of, American and European pedagogies, in individual and group settings through the use of sequenced lesson plans.
    • Plan and deliver a lesson emphasizing singing and pitch-related (tonal) concepts 
    • Plan and deliver a lesson emphasizing music listening and analysis.
    • Plan and deliver a lesson emphasizing rhythmic concepts in music.
  • Demonstrate knowledge of CAI in the use of music theory, ear training, notation, and automated accompaniment. 
  • Observe and evaluate three public school music classes at the elementary, middle school, and high school levels.

POSSIBLE COURSE MATERIALS

  • TBD

POSSIBLE EVALUATION CRITERIA

  • Completed portfolio of resources and materials
  • Critical thinking, and perception of instructional strategies
  • Mid-Term and Final exams
  • Unit exams
  • Participation (live and online)

3 credit hours

PREREQUISITE: MUS 115, or MUS 141, or MUS 345, or permission of the instructor

COURSE DESCRIPTION

Vocal Techniques and Pedagogy is designed to make your singing voice more versatile through learning how the anatomy of the voice works and various vocal techniques that enable you to create different voice qualities for use in all genres of music—from classical and musical theater to jazz and pop! You will learn how to expand your range and expression and will be more confident in performances. The course will cover pedagogical strategies to teach K-12 students, private voice students, and adult learners.

POSSIBLE COURSE MATERIALS

  • Estill Level 1 & 2 Course Workbooks

STUDENT LEARNING OUTCOMES

  • Understand and demonstrate effective vocal technique.
  • Understand and demonstrate effective breath support.
  • Demonstrate a variety of warm-ups.
  • Sing with consistent, accurate intonation.
  • Demonstrate interpretive skills of varying musical styles and artful expression.

POSSIBLE EVALUATION CRITERIA:

  • Effort
  • Improvement throughout the semester
  • Preparation for each class
  • Quizzes
  • Tests
  • Live or Video demonstrations
  • Peer reviews

3 credit hours

PREREQUISITE: ENG 101, ENG 102W, MUH 1XX and MUH 333 

COURSE DESCRIPTION

This course surveys scholarly and critical writing about music post WWII. Readings are drawn from academic disciplines (musicology, music theory, cultural studies, and Afro-American studies) as well as from music journalism, from music research, and the popular press. The course addresses the practical problems of scholarly writing: the process of research, library skills, electronic databases, and issues of essay organization, editing, and style.

STUDENT LEARNING OUTCOMES

Upon completion of Senior Seminar students will be able to:

  • Use academic music reference materials including electronic databases.
  • Closely read and analyze scholarly writing.
  • Write a 30-page research paper.

POSSIBLE EVALUATION CRITERIA

  • Mid-Term exam
  • Weekly prep papers on assigned readings
  • Final research paper

3 credit hours

PREREQUISITE:  MUS 204 and MUS 221

COURSE DESCRIPTION

Instrumental Conducting and Rehearsal Techniques will provide students with an opportunity to gain practical guided experience in ensemble teaching,   The course focuses on instrumental conducting, and the study of problems unique to teaching instrumental ensembles, both large and small in all genres.  Students will plan, implement, and evaluate teaching projects that address group instruction.             

Score/chart study is required and expected.

The course will include in-class conducting experiences of basic techniques such as preparatory gestures, 1,2,3, and 4 beat patterns, cues, dynamics, asymmetrical pattern, anacrusis, subdivisions, and both left and right hand techniques.

STUDENT LEARNING OUTCOMES

  • Plan for teaching, and assess learning results incorporating aspects of The National Standards for Music Education
  • Be able to organize and teach small and large ensemble groups from inception to performance .
  • Conduct musical excerpts using basic physical principles and techniques.
  • Plan for ensemble rehearsals using an organized approach to score study and rehearsal psychology.

POSSIBLE COURSE MATERIALS

  • TBD

POSSIBLE EVALUATION CRITERIA

  • Weekly assignments
  • Class participation (live or online)
  • Score analysis projects