Music Education Graduate Course Offerings ‌

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. Internationally recognized educators and musicians - many of whom teach in elementary and secondary schools - serve as faculty for this graduate program. 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.

Registration for summer courses begins on February 1.

GPME Registration Form (Current degree and nondegree students should register online through MURPHY).

Summer 2020 Courses

African Music Ensemble (GMUS 671), 2 cr. 
Sowah Mensah
June 15-19
9 a.m.-2 p.m., Brady Educational Center, LL30A

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. All instruments provided, except flute and CDs which can be purchased in class.

Dalcroze Musicianship (GMUS 651), 3 cr.
Kathy Thomsen, D.M.A.
June 15-26
Brady Educational Center, auditorium

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).

Exploring Assessment in Music Education (GMUS 544-04), 1 cr.
Douglas C. Orzolek, Ph.D.
July 6-10
9-11:30 a.m., Brady Educational Center, 111

Class participants will learn: to develop teaching and assessment skills for a variety of performance tasks; to discover how to improve our students' understanding of what we want them to do, how well they should do it and how to get it done; to explore tools that will help demonstrate to teachers, adminstrators, parents and students the results of music study; and to discuss various means of assessing and tracking progress.

Keyboard Literature (GMUS 619), 3 cr.
Vanessa Cornett-Murtada, D.M.A.
June 22-July 31
Online

This course is an in-depth online survey of the solo keyboard repertoire from 1700 to the present.  Students will explore the literature through listening, score study, reading, and online discussion boards, with special focus on issues of performance practice and pedagogy.

Module 1: Baroque and Classical (June 22-July 3)
Explore the most significant keyboard works by J.S. Bach, Scarlatti, Handel, Haydn, Mozart, and Beethoven.

Module 2: Romantic (July 6-17)
Discover the piano repertoire of Schubert, Schumann, Mendelssohn, Chopin, Liszt, Brahms, and post-Romantic composers.

Module 3: Twentieth-Century and beyond (July 20-31)
Focus on the keyboard music of Debussy and Ravel; the music of 20th-century Russia, America, France, and Germany; and the most influential avant-garde piano music from 1950 to the present.

Listening and Creating in Music Education (GMUS 544-06), 2 cr.
Sarah Minette, Ph.D.
July 20-24
9 a.m.-2 p.m., Brady Educational Center, 111

This course on the broad theme of creativity in music and on the connections between hearing/listening to music and creating in music as it pertains to music education. Each of us has a unique set of experiences, and each of us practices music making in unique ways and in particular places—schools, communities, studios, classrooms, ensembles, private lessons. Musical practices—all of them—matter. Context, or place (time-space-experience), matters in creativity tool. Musical creativity can happen anywhere, and anyone can be (or everyone is) creative.

Performance Anxiety Management for Musicians (GMUS 544-03), 1 cr.
Vanessa Cornett-Murtada, D.M.A.
June 29-July 2
12:30-3:45 p.m., Brady Educational Center, 111

Stage fright is a universal challenge for student and professional musicians; Performance fear is often cited as the reason why many students discontinue their music study. This course examines the psychology, neuroscience, and physiology of music performance anxiety, focusing on coping techniques supported by the most recent cognitive-behavioral and sport psychology research. Participants will explore holistic mental skills strategies to prevent anxiety before it manifests in solo or ensemble musicians. This course also addresses stress and anxiety management techniques for teachers, conductors, and music directors.

Smithsonian Folkways Certification in World Music Pedagogy (GMUS 536), 3 cr.
Karen Howard, Ph.D.
July 6-10
9 a.m.-4:30 p.m., Brady Educational Center, auditorium

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.

Teaching Guitar and Ukulele (GMUS 544-07), 1 cr.
Chris Kachian, D.M.A.
Aug. 3-7
9-11:30 a.m., Brady Educational Center, 111

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 the middle and high school teacher.

Advanced Choral Conducting (GMUS 727), 2 cr.

July 13-24
10 a.m.-1 p.m., Brady Educational Center, LL30A (rehearsal hall)

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)
Additional course fee: $45

Advanced Choral Conducting Lab (GMUS 728), 1 cr.

July 13-24
11:30 a.m.-1 p.m., Brady Educational Center, LL30A (rehearsal hall)

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)
Additional course fee: $45.

Choral Score Study and Literature II (GMUS 673), 2 cr.

June 22-26
9 a.m.-2 p.m., Brady Educational Center, 110

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. 

Additional course fee: $40

Global Music Traditions for Choir (GMUS 652), 2 cr. 
Karen Howard, Ph.D.
9 a.m.-4:30 p.m., Brady Educational Center, LL03

Participants will experience singing and choral traditions from a wide variety of musical cultures. Emphasis will be placed on musical characteristics and healthy vocal techniques to achieve particular culturally specific timbres and styles. The music will hail from a variety of countries including (but not limited to) Bulgaria, Macedonia, Tahiti, Ghana, and Tanzania. This course is appropriate for singers and choral directors with a particular focus on upper elementary through secondary choral settings.

Intermediate Choral Conducting (GMUS 726), 2 cr.

July 13-24
Noon-3 p.m., Brady Educational Center, LL30A (rehearsal hall)

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. 

Additional course fee: $45

Voice Fundamentals (GMUS 676), 2 cr.
Axel Theimer, D.M.A.
July 27-31
9 a.m.-2 p.m., Brady Educational Center, 111

Practical training for working with pre-K to adult voices of all ranges while preserving and protecting your voice and your students' voices for long-term use. Examination of literature and practice of appropriate techniques that foster vocal health. Various teaching approaches, from scientific to empirical, are presented and discussed.

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.

Dalcroze Musicianship (GMUS 651), 3 cr.
Kathy Thomsen, D.M.A.
June 15-26
9 a.m.-12:45 p.m., Brady Educational Center, auditorium

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).

Advanced Instrumental Score Study & Litertuare (GMUS 687), 3 cr. 
Matthew George, D.M.A.
June 15-26
9 a.m.-12:45 p.m., Brady Educational Center, 111

Designed for the experienced conductor interested in deepening skills in practical score analysis. Primary attention addressing performance problems in the score through rehearsal preparations and physical conducting technique. Literature appropriate to class membership is selected for use in the course. This course is a prerequisite for Advanced Instrumental Conducting (GMUS 690).

Additional course fee: $45

African Music Ensemble (GMUS 671), 2 cr.
Sowah Mensah
June 15-19
9 a.m.-2 p.m., Brady Educational Center, LL30A (rehearsal hall)

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. All instruments provided, except flute and CD's which can be purchased in class.

Exploring Assessment in Music Education (GMUS 544-04), 1 cr. 
Douglas C. Orzolek, Ph.D.
July 6-10
9-11:30 a.m., Brady Educational Center, 111

Class participants will learn: to develop teaching and assessment skills for a variety of performance tasks; to discover how to improve our students' understanding of what we want them to do, how well they should do it and how to get it done; to explore tools that will help demonstrate to teachers, adminstrators, parents and students the results of music study; and to discuss various means of assessing and tracking progress.

Solo and Small Ensemble Literature (GMUS 558), 1 cr.
Douglas C. Orzolek, Ph.D.
June 29-July 2
8:30-11:45 a.m., Brady Educational Center, 110

Opportunity for instrumental music educators to review and study standard and significant solos, as well as small ensemble literature. Examination, analysis and listening to important solo works for all instruments and a variety of small ensembles. Emphasis on a review of literature for all levels of solo small ensemble playing, pedagogical techniques and resources. 

Teaching Guitar and Ukulele (GMUS 544-07), 1 cr.
Chris Kachian, D.M.A.
Aug. 3-7
9-11:30 a.m., Brady Educational Center, 111

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 the middle and high school teacher.


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 study at St. Thomas introduces students to music education that emphasizes musical knowledge and understanding through sequential skill development. The National Standards for Music are addressed through an approach that develops the musician-educator. The development of musical and pedagogical skills occurs in an atmosphere of joyful and systematic exploration of a Kodaly-inspired approach to music education.

Kodály Levels I-III

Faculty: Casey Barker, Nyssa Brown, Leigh Ann Garner, Ed.D. and Dan LeJeune

M.A. Kodály concentration students and OAKE-Endorsed Kodály Certificate students enroll in one class per level of study, as follows:

Level I: GMUS 741
Level II: GMUS 742
Level III: GMUS 743

All courses are required for M.A. Kodály Concentration students and OAKE-Endorsed Kodály Certificate students.

All levels (I, II, III) will meet in Brady Educational Center, LL30A (rehearsal hall) on Monday, July 6 at 8 a.m.

Kodály Level I (GMUS 741), 3 cr.
July 6-17
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level I studies in musicianship and choral ensemble; materials, analysis, classification & retrieval systems; and curriculum, pedagogy and instructional techniques. Emphasis is placed on teaching grades  K and 1.

Additional course fee: $45

Course Materials: Kodály Level I.

Kodály Level II (GMUS 742), 3 cr.
July 6-17
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level II studies in musicianship and choral ensemble; materials, analysis, classification & retrieval systems; and curriculum, pedagogy & instructional techniques. Emphasis is placed on teaching grades 2 and 3.

Prerequisite: Kodály Level I (MUS 741 or GMUS 750, GMUS 751, and GMUS 752) or equivalent
Additional course fee: $45

Course Materials: Kodály Level II

Kodály Level III (GMUS 743), 3 cr.
July 6-17
8 a.m.-4:45 p.m., Brady Educational Center

Kodály Level III studies in musicianship and choral ensemble; materials, analysis, classification and retrieval systems; and curriculum, pedagogy & instructional techniques. Emphasis is placed on teaching grades 4 and 5.

Prerequisite: Kodály Level II (MUS 742 or GMUS 753, GMUS 754, and GMUS 755) or equivalent
Additional course fee: $45

Course Materials: Kodály Level III

Kodály Master Class: Planning and Integrating Diverse, Kodály-Inspired Learning Techniques: Curriculum, Artistry and Assessment (GMUS 544-01), 2 cr.
Nyssa Brown and Leigh Ann Garner Ed.D.
June 22-26
9 a.m.-2 p.m., Brady Educational Center, LL03

Advanced study in Kodály-inspired teaching. Topics such as curriculum planning, assessment, movement, and musicianship through group performance will be covered. In addition, advanced pedagogical strategies  will be explored in a peer teaching setting.

The Orff Schulwerk program is a model of innovation for Orff 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 practical application of ensemble work in a daily pedagogy hour at each level of study.

Orff Schulwerk study at St. Thomas introduces students to music education that emphasizes skill development and musical understanding through creative participation in open-ended activities. the National Standards for Music are addressed through an approach that develops the body, ear, and mind in a variety of collective music-making processes. The development of musical and pedagogical skills occurs in an atmosphere of joyful exploration in an Orff Schulwerk approach to music education.

Orff Curriculum Development (GMUS 735), 2 cr.
Diana Hawley
Aug. 3-7
9 a.m.-2 p.m., Brady Educational Center, LL03

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.

Orff Schulwerk Levels I-III

Faculty: Jay Broeker, Andrew Ellingsen, Mona Mann, Beth Melin Nelson and Megan Tietz
All Levels (I, II, III) will meet in the Brady Educational Center, 120 (auditorium) on Monday, July 20 at 8 a.m.

GMUS 731, 732, 733, and 735 are required for M.A. Orff concentration and Orff mastery certificate students.

Orff Schulwerk Level I (GMUS 731), 3 cr.
July 20, 8 a.m.-4:45 p.m.; July 21-31, 8:30 a.m.-4:45 p.m.

Basic Orff elemental musicianship, including study of pentatonic melodies, ostinati, bordun accompaniments, and elemental forms; soprano recorder technique; classroom application, technique, and improvisation; basic movement skills and classroom application, and folkdance.

Additional course fee: $45‌
Course materials: Orff Level I

Orff Schulwerk Level II (GMUS 732), 3 cr.
July 20, 8 a.m.-4:45 p.m.; July 21-31, 8:30 a.m.-4:45 p.m.

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.
Additional course fee: $45‌
Course Materials: Orff Level II

Orff Schulwerk Level III (GMUS 733), 3 cr.
July 20, 8 a.m.-4:45 p.m.; July 21-31, 8:30 a.m.-4:45 p.m.

Improvisation in diatonic modes, asymmetric meters, and harmonic accompaniments; ensemble performance of all recorder voices; choreography and improvisation relative to movement and music. 

Prerequisite: GMUS 732 or equivalent AOSA approved course.
Additional course fee: $45‌
Course Materials: Orff Level III

Keyboard Literature (GMUS 619), 3 cr.
Vanessa Cornett-Murtada, D.M.A.
June 22-July 31
Online

This course is an in-depth online survey of the solo keyboard repertoire from 1700 to the present.  Students will explore the literature through listening, score study, reading, and online discussion boards, with special focus on issues of performance practice and pedagogy.

Module 1: Baroque and Classical (June 22-July 3)
Explore the most significant keyboard works by J.S. Bach, Scarlatti, Handel, Haydn, Mozart, and Beethoven.

Module 2: Romantic (July 6-17)
Discover the piano repertoire of Schubert, Schumann, Mendelssohn, Chopin, Liszt, Brahms, and post-Romantic composers.

Module 3: Twentieth-Century and beyond (July 20-31)
Focus on the keyboard music of Debussy and Ravel; the music of 20th-century Russia, America, France, and Germany; and the most influential avant-garde piano music from 1950 to the present.

Performance Anxiety Management for Musicians (GMUS 544-03), 1 cr.
Vanessa Cornett-Murtada, D.M.A.
June 29-July 2
12:30-3:45 p.m., Brady Educational Center, 111

Stage fright is a universal challenge for student and professional musicians; performance fear is often cited as the reason why many students discontinue their music study. This course examines the psychology, neuroscience, and physiology of music performance anxiety, focusing on coping techniques supported by the most recent cognitive-behavioral and sport psychology research. Participants will explore holistic mental skills strategies to prevent anxiety before it manifests in solo or ensemble musicians. This course also addresses stress and anxiety management techniques for teachers, conductors, and music directors.

Supervised Teaching (GMUS 800), 2 cr.
Faculty direction and observation of each student's teaching. Students will videotape their own piano students for the basis of the class. Prerequisite: completion of pedagogy courses.

African Music Ensemble (GMUS 671), 2 cr.
Sowah Mensah
June 15-19
9 a.m.-2 p.m., Brady Educational Center, LL30A

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. All instruments provided, except flute and CD's which can be purchased in class.

Global Music Traditions for Choir (GMUS 652), 2 cr. 
Karen Howard, Ph.D.
June 29-July 2  
9 a.m.-4:30 p.m., Brady Educational Center, LL03

Participants will experience singing and choral traditions from a wide variety of musical cultures. Emphasis will be placed on musical characteristics and healthy vocal techniques to achieve particular culturally specific timbres and styles. The music will hail from a variety of countries including (but not limited to) Bulgaria, Macedonia, Tahiti, Ghana, and Tanzania. This course is appropriate for singers and choral directors with a particular focus on upper elementary through secondary choral settings.

Smithsonian Folkways Certification Course in World Music Pedagogy (GMUS 536), 3 cr.
Karen Howard, Ph.D.
July 6-10
9 a.m.-4:30 p.m., Brady Educational Center, LL03

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.

The prerequisite for enrolling in the Master of Arts in Music Education core courses is acceptance into the master's program.

Application deadlines are:

  • July 1 for fall admission
  • Dec. 1 for spring admission
  • April 1 for summer admission
  • Complete applications will be reviewed on a rolling basis.

Students design their degree coursework in consultation with the program director.

Foundations of Music Education (GMUS 608), 3 cr.
Bruce Gleason, Ph.D.
June 22-July 31, Mondays and Wednesdays
6-9:30 p.m., Brady Educational Center, 110

Consideration of cultural, philosophical, and historical contexts of music education through reading assignments and student presentations.

Introduction to Scholarship and Research Methods in Music Education (GMUS 600), 3 cr.
Karen Howard, Ph.D.
June 22-July 31
Online

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; developing skills generally in academic writing and American written English - and particularly in accordance with the Publication Manual of the American Psychological Association, 6th Edition; and provide an opportunity for initial thinking about how they will carry out their work for GMUS 890 in terms of a topic and format.

Musicianship (GMUS 750), 1 cr. 
Kathy Thomsen, Ph.D.
June 29-July 2 
9 a.m.-12:15 p.m., Brady Educational Center, auditorium

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).

Perspectives in Music Theory (GMUS 611), 3 cr. 
Shersten Johnson, Ph.D.
June 22-July 31, Mondays and Wednesdays
6-9:30 p.m., Brady Educational Center, 111

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.

Philosophical Foundations and Aesthetics in Music Education (GMUS 840), 3 cr.
Douglas C. Orzolek, Ph.D.
June 22-July 31 Tuesdays & Thursdays
6-9:30 p.m. Brady Educational Center

Application of philopsophical theory to practical issues and problems facing the field of arts education. One of the primary goals of the course is the development of a personal philosophy of arts education. Topics include art and feeling, the creative process, aesthetic meaning, aesthetic experience, musical meaning and experiences in arts education. Please note that the primary artsitic area explored will be music.

Teaching and Learning (GMUS 601), 3 cr.
Douglas C. Orzolek, Ph.D.
June 22-July 31, Tuesdays and Thursdays
6-9:30 p.m., Brady Educational Center, 111

Comprehensive overview of learning theories, instructional theories, and implications for the teaching of music to children in grades K-12. Applications of principles and concepts inherent in these theories to the teaching and learning of music.

Topics in Music History, Literature & Theory (GMUS 612), 3 cr.

June 22-July 31, Tuesdays and Thursdays
6-9:30 p.m., Brady Educational Center, 110

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. song, 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 Examination.

Directed Research (GMUS 876), 0 cr.
Graduate Music Education Faculty

  1. The only occasions students register for GMUS 876 are when: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.
    • 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.
    • GMUS 876-99 terms are limited to one per student.
    • For students doing 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 below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-03 Directed Research, Dr. Bruce Gleason
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek 
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

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

GMUS 890-01 Final Project, Dr. Karen Howard
GMUS 890-03 Final Project, Dr. Bruce Gleason
GMUS 890-05 Final Project, Dr. Alan Bryan
GMUS 890-07 Final Project, Dr. Doug Orzolek 
GMUS 890-11 Final Project, Dr. Shersten Johnson
GMUS 890-13 Final Project, Dr. Sarah Schmalenberger
GMUS 890-15 Final Project, Dr. Vanessa Cornett-Murtada

Applied Performance Studies (GMUS 570-593), 1 cr.
Performance Faculty

Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor BEFORE registering. Specify the instructor and duration of lessons on the course registration form.

GMUS 570 Harpsichord GMUS 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

 

MUSW 501-01 Big Band Workshop, 1 cr.
June, 2020

Shell Lake Arts Center

Study with the Pros! You'll perform jazz ensemble big band under the guidance of our nationally recognized teaching-artist faculty. This workshop for adults is open to all levels of experience, from beginner to advanced. Whether you're perfecting your jazz skills or need to polish the dust off your instrument, this workshop is for you!

Non-Credit: $300
Graduate Credit: $425

Future Courses

Applied Performance Studies (GMUS 570-592), 1 cr. Performance Faculty

Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor BEFORE registering. Specify the instructor and duration of lessons on the course registration form.

GMUS 570 Harpsichord GMUS 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

Introduction to Scholarship and Research Methods (GMUS 600), 3 cr. 
Karen Howard, PhD
Feb. 3-May 22, Online

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; developing skills generally in academic writing and American written English - and particularly in accordance with the Publication Manual of the American Psychological Association, 6th Edition; and provide an opportunity for initial thinking about how they will carry out their work for GMUS 890 in terms of a topic and format.

Supervised Teaching (GMUS 800), 2 cr.

Piano faculty direction and observation of each student's teaching in an online format. Students will videorecord their own piano students for the basis of the class. Open to non-St. Thomas piano teachers. Prerequisite: instructor's permission.

Directed Research (GMUS 876), 0 cr.
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.
    • 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.
    • GMUS 876-99 terms are limited to one per student.
    • 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 below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-03 Directed Research, Dr. Bruce Gleason 
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek 
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

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

GMUS 890-01 Final Project, Dr. Karen Howard
GMUS 890-05 Final Project, Dr. Bruce Gleason 
GMUS 890-05 Final Project, Dr. Alan Bryan
GMUS 890-07 Final Project, Dr. Doug Orzolek
GMUS 890-11 Final Project, Dr. Shersten Johnson
GMUS 890-13 Final Project, Dr. Sarah Schmalenberger
GMUS 890-15 Final Project, Dr. Vanessa Cornett-Murtada

Applied Performance Studies (GMUS 570-592), 1 cr.
Performance Faculty

Twelve 50-minute individual lessons: 1 cr.; Twelve 30-minute individual lessons: 1 cr. Arrange private lessons with the instructor BEFORE registering. Specify the instructor and duration of lessons on the course registration form.

GMUS 570 Harpsichord GMUS 582 French Horn
GMUS 571 Piano GMUS 583 Trombone
GMUS 572 Lute GMUS 584 Euphonium
GMUS 573 Recorder GMUS 585 Tuba
GMUS 574 Voice GMUS 586 Percussion
GMUS 575 Organ GMUS 587 Violin
GMUS 576 Flute GMUS 588 Viola
GMUS 577 Oboe GMUS 589 Cello
GMUS 578 Clarinet GMUS 590 Double Bass
GMUS 579 Bassoon GMUS 591 Guitar
GMUS 580 Saxophone GMUS 592 Harp
GMUS 581 Trumpet GMUS 593 Composition

Piano Pedagogy for the Young Beginner (GMUS 544-01), 1 cr.
Suzanne Schons, PhD
Oct. 7-Nov. 1, Online

This course provides an introduction to teaching piano to young students who begin lessons before the age of 7. topics will include developmenetal stages of preschool students, philosophies and approaches to teaching them, instructional setting, methods and programs, repertoire, techniques and musicianship activities, motivation, parental involvement, and practice expectations. The course will also survey some general music programs foryoung children (ages 0-5) that can help prepare students for preschool music lessons and serve as an additional source of income and student recruitment for piano teachers.

Teaching and Learning (GMUS 601), 3 cr.
Douglas Orzolek, PhD
Sept. 4-Dec. 13, Mondays
6-9:30 p.m., Brady Educational Center, 111

Comprehensive overview of learning theories, instructional theories, and implications for the teaching of music to children in grades K-12. Applications of principles and concepts inherent in these theories to the teaching and learning of music.

Topics in Music History, Literature & Theory (GMUS 612), 3 cr.
Sarah Schmalenberger, PhD
Sept. 4-Dec. 13, Online

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. song, 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 Examination.

Supervised Teaching (GMUS 800), 2 cr.
Piano faculty direction and observation of each student's teaching. Students will videotape their own piano students for the basis of the class. Prerequisite: completion of pedagogy courses.

Directed Research (GMUS 876), 0 cr.
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.
    • 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.
    • GMUS 876-99 terms are limited to one per student.
    • 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 below:

GMUS 876-01 Directed Research, Dr. Karen Howard
GMUS 876-03 Directed Research, Dr. Bruce Gleason
GMUS 876-05 Directed Research, Dr. Alan Bryan
GMUS 876-07 Directed Research, Dr. Doug Orzolek 
GMUS 876-11 Directed Research, Dr. Shersten Johnson
GMUS 876-13 Directed Research, Dr. Sarah Schmalenberger
GMUS 876-15 Directed Research, Dr. Vanessa Cornett-Murtada
GMUS 879-99 Directed Research, not working with advisor

M.A. Project (GMUS 890), 1 cr.
Graduate Music Education Faculty

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

GMUS 890-01 M.A. Project, Dr. Karen Howard
GMUS 890-03 M.A. Project, Dr. Bruce Gleason
GMUS 890-05 M.A. Project, Dr. Alan Bryan
GMUS 890-07 M.A. Project, Dr. Doug Orzolek
GMUS 890-11 M.A. Project, Dr. Shersten Johnson
GMUS 890-13 M.A. Project, Dr. Sarah Schmalenberger
GMUS 890-15 M.A. Project, Dr. Vanessa Cornett-Murtada