The music performance minor combines courses in music theory, music history, and world music with practical application through ensemble participation and applied music study. This combination of the academic and the practical offers students a more profound understanding of the art of music, and in a broader sense, an introduction to cultural development and the communication of ideas. A total of 15 credit hours from the suggested list of courses must be earned for the minor, with three credits in music theory and three credits from ensemble participation, required. Students can substitute 3 credits of Applied Music for three credits of ensemble, upon approval from the department of performing arts.
Notes about this minor:
Posting of the minor on the student's academic transcript requires a minimum GPA of 2.0 in the minor.
Notations may appear in the curriculum chart below outlining pre-requisites, co-requisites, and other curriculum requirements (see footnotes).
The plan code for Music Performance Minor is MUSICPF-MN.
Curriculum for 2023-2024 for Music Performance Minor
This course is designed for the student who has basic musical literacy (ability to read music notation). In addition to the writing of melody, two-part counterpoint and four-part harmony, some attention will be given to the analysis of form and style. Because it is important that theoretical understanding be coordinated with musical application, time will be devoted to the development of musicianship. Consideration will be given to individual skills and abilities, hopefully allowing for the maximum development of each student. (Elementary music reading ability) Lecture 3 (Fall).
Students choose at least three semester credits of the following one credit courses:
The RIT Singers is an experiential-learning course in which students learn music theory and historical context by learning pieces from the 16th century to the present and performing them at three major concerts a year. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. In addition, students from the RIT Singers have opportunities to sing in a variety of small vocal ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Singers can enroll without further permission.) Studio 3 (Fall, Spring).
The RIT Orchestra performs three major concerts a year of standard orchestral repertoire from the 16th century to the present. In addition, students from the RIT Orchestra have the opportunity to play in a variety of chamber music ensembles. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Orchestra can enroll without further permission.) Studio (Fall, Spring).
RIT Concert Band
The RIT Concert Band is an experiential-learning course in which students learn music theory and historical context by learning several works from the Concert Band literature including standard wind band literature, contemporary compositions, marches, and orchestral transcriptions. The ensemble prepares to perform three major concerts a year and participates in departmental performances. Participation in learning and performing such music gives students an experiential appreciation and understanding of the role of music in modern society. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Concert Band can enroll without further permission.) Studio 1 (Fall, Spring).
World Music Ensemble
The World Music Ensemble is a hands-on course, in which students learn the fundamentals of music as a sociological phenomenon and a variety of concepts and world views to answer the question, What is music? This is accomplished by introducing students to several music cultures, through learning fundamental instrumental and dance techniques, with African music being central to the study. Ensemble is coached four-to-six-times-a-year by professional musicians and dancers, including Ghanaian Master Drummer Martin Kwaku Obeng, and performs several times each school year, both on campus and in the community. Enrollment is open to all interested students, faculty, and staff, regardless of musical proficiency. Developing cooperation and teamwork is a necessary outcome of participation in this ensemble. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in World Music Ensemble can enroll without further permission.) Studio 3 (Fall, Spring).
RIT Jazz Ensemble
Preparing for and performing concerts of jazz repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Jazz Ensemble performs three major concerts a year of standard repertoire from the early 20th century to the present. Students from the RIT Jazz Ensemble also have the opportunity to play in a variety of informal performances both on and off campus. Auditions will be held to assess proper placement. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Jazz Ensemble can enroll without further permission.) Studio 3 (Fall, Spring).
RIT Chamber Orchestra
Preparing for and performing concerts of orchestral repertoire offers students the opportunity to broaden their knowledge of and appreciation for music, and its role in society, through the careful analysis of musical forms and ideas, and the comparison of exemplary works from a variety of times, places and social/cultural necessities. The RIT Chamber Orchestra is a select group of advanced players It performs concerts and engages in other activities, in particular the exploration of performing practices and stylistic considerations apropos to 17th, 18th, and 20th century music. In particular, the RIT Chamber Orchestra revives works from the 18th and early 19th centuries that have not been performed in modern times. Participation is by invitation of the music director, or by audition. Contact instructor for more information. (Auditions will be held to assess proper placement. Contact the instructor for information. Students who have previously participated in RIT Chamber Orchestra can enroll without further permission.) Studio (Spring).
Students will receive private (one-to-one) instrumental or voice lessons and participate in studio performance opportunities. Private lessons are offered to support the RIT ensembles program, therefore only students who are active participants in an approved RIT ensemble will be eligible for lessons. Studio 1 (Fall, Spring, Summer).
Choose three of the following:‡
Music & Global Cultures
A course designed to explore selected music cultures from North America, South America, Africa, India, Asia, East Asia, and Central and Southeastern Europe. The primary goal of the course will be to expand understanding of and perceptions about music both outside and within Western cultural traditions. In addition to class discussions, students will have opportunities for hands-on activities associated with the cultures studied. Lecture 3 (Fall).
American Popular & Rock Music
This course examines the history and elements of popular and rock music in the United States from the end of the 19th century to current times. Emphasis will be placed on the music that was written and performed after WWII. Students will be introduced to various styles of this genre as well as an introduction to those musical elements necessary to define a rudimentary analysis of the music. Among the composers and performers to be studied are early Minstrel performers, Louis Armstrong, Scott Joplin, George Gershwin, Blues musicians, Benny Goodman, Frank Sinatra, R and B musicians, country and western, Elvis Presley, Motown, Ray Charles, folk, Jimi Hendrix, disco, punk, metal, grunge, and pop. Lecture 3 (Spring).
Music & the Stage
A historical and cultural survey of collaboration between the arts of music and theatre, focusing on a selection of significant creative products that combine music and drama. Possible works studied include those by Shakespeare, Monteverdi, Mozart-Daponte, John Gay, Beethoven-Goethe, Wagner, Puccini, Brecht-Weill, and Bernstein, spanning the genres of Renaissance tragedy and comedy, opera seria, opera buffa, ballad opera, incidental music, romantic drama, Italian opera, music-drama, epic theatre, cabaret, vaudeville, and musical comedy. Lecture 3 (Biannual).
Composing for Media
Composing for Media will guide the student through the process of creating original music to accompany a visual medium. The course begins by focusing on the aesthetics, terminology, procedures, and technical aspects of film scoring. As the course progresses, the skills acquired will progress towards a class project of scoring a short film or animation. By using a broad range of techniques including click tracks, spotting, scoring under dialogue, free timing, and the creative use of overlap cues, students will learn how to develop a dramatic concept for a score and how to synchronize it seamlessly to visual events. This course is applicable to musicians interested in scoring music to visual media as well as students with skills in the areas of audio engineering, film and animation and video gaming. No previous film scoring experience is required. Fundamental knowledge and a background in music will be introduced in the class topics. In addition to a good ear for music, a functional ability with MIDI sequencing, via DAW—a proficiency in the use of sample libraries and audio plug-ins and basic audio mixing—is expected. Entrance to the class requires instructor permission. Lecture 3 (Fall).
Medieval and Renaissance Music
The beginning of the Western tradition of art music can be traced to Medieval Europe ca. 600 CE, as systems of music notation began to develop in and disseminate through important liturgical text sources. This desire to preserve and disseminate certain musical-textual traditions grew and developed steadily throughout Christendom over the next millennium, in both sacred and secular contexts. This course examines this development of music and text during the Medieval and Renaissance periods (ca. 600-1600 CE), with attention drawn to specific aspects of cultural context and performance practices that offer modern musicians and music connoisseurs a solid basis for experiencing the music in live performance, both in active listening (concert/liturgy attendance) and in participating (in-class singing). Lecture 3 (Biannual).
Bach, Handel, and the Baroque
European society experienced many changes during the late 16th through the early 18th centuries, and music's role and development within the context of these changes was varied, and profound. This course explores the creation and performance of music within the context of European cultural, religious, political and artistic ideals from 1580 to 1750, culminating in in-depth discussion of the life and works of J. S. Bach and G. F. Handel. Lecture 3 (Fall).
Era of Haydn, Mozart, & Beethoven
Many of the characteristics of art music up to the present day have their beginnings in the late 18th century. This course explores the creation and performance of music within the context of European cultural, political and artistic ideals from 1740 to 1825, with particular attention given to the works of Haydn, Mozart, and Beethoven. Lecture 3 (Spring).
Electronic Music Production
This course explores the composition, arrangement, mixing, and mastering of modern electronic music. Topics include aesthetics of formal song structure and melodic and harmonic construction techniques, synthesis and sound design, using a digital audio workstation (DAW) to program musical elements using audio or MIDI, sound processing using effects such as equalization and compression, and introductory mastering techniques. Lecture 3 (Spring).
Music of the Romantic Era
Survey of the rise of romanticism from Beethoven to Strauss in the context of the development of 19th century musical styles in general. Topics of exploration include national trends in 19th century music, the rise of the general public as arbiters of musical taste, philosophical influences, and performance considerations. (Prerequisites: FNRT-110 or FNRT-205 or FNRT-211 or equivalent course.) Lecture 3 (Fall).
Music Since 1900
Survey of the cultivated traditions of music in the 20th and 21st centuries, particularly in the U.S., taking into account its political, social, and historical frameworks. (Prerequisites: FNRT-205 or equivalent course.) Lecture 3 (Spring).
Survey of Jazz
This course will survey the development of American jazz music, highlighting representative composers and performers and significant works. Particular attention will be drawn to the multi-racial influences on the creation of jazz music and its relationship to American culture as a whole. Lecture 3 (Fall).
Composing for Video Games and Interactive Media
An audio professional working in the gaming industry is required to possess not only musical and audio talent, but also knowledge and experience with typical audio workflow. Composing for Video Games and Interactive Media prepares the student for a career in the industry by covering the many facets of sound production and engineering that are particular to game music and other forms of interactive media. Lecture 3 (Annual).
Music Theory 2
This course is designed for the student who has a knowledge of basic music theory and an understanding of four-part diatonic composition. In addition to the continuing study of melodic construction and development, thematic development in two-part counterpoint, four-part harmony, chromatic materials and modulation, and analysis of form and style, emphases will be placed on the development of individual music skills. (Prerequisites: FNRT-205 or equivalent course.) Lecture 3 (Spring).
Music History 1: Antiquity to Bach
This course explores the creation, performance, and reception of music within the context of Western cultural, religious, political and artistic ideals, and related non-Western traditions, from Greek antiquity to ca. 1750. Topics of exploration include the development of musical notation, musical instrument technology, the interrelationships of music theorists, composers, performers, patrons, and audiences, music as a communicative and expressive art, aesthetics, and musical analysis and criticism. Lecture 3 (Fall).
Music History 2: Haydn to Stravinsky
American Musical Theater
This course is a survey of the development of the American Musical Theater, highlighting representative works, composers, librettists and performers of both the cultivated and vernacular traditions. It is further designed as an appreciation course, fostering the development of a greater appreciation for all types of stage music and the ability to better evaluate the quality of a work, the performance, and the performers. Lecture 3 (Spring).
Russian Music and National Identity
Russia’s history contains a complex blend of indigenous artistic expression and artistic influences from beyond its borders. Given its large land mass and geographical position spanning Europe and Asia, Russian monarchs struggled with understanding who the Russian people were, but also how to best navigate the cultural and economic commonalities and differences among their neighbors, with whom they desired relationships. This course explores the many ways music in Russia reflected the cultural influences apropos to its complex history and national identity in the world. The focus will be on the political, social, and artistic aspects of Russian music nationalism emerging in the 19th century and continuing into the 20th-century Soviet Era, but will include a review of the cultural and historical background from the 9th through the 18th centuries which led to Russia’s own, unique musical and artistic language. This is a writing-intensive seminar-format course, encouraging students to develop their research and writing skills, and their abilities to analyze, argue and persuade within historic, cultural, artistic, and aesthetic fields. Seminar 3 (Fall, Spring).
The Harmonica & the Blues
From the mid-1800s to today, the harmonica has largely been learned informally, passed down by generations of musicians who have used it to play melodies, solos, and chord accompaniment. It was a natural for the blues because of its human voice-like quality and flexible way to play “blue” notes. Blues musicians developed a harmonica style that reverberates in many musical styles today.
This interdisciplinary course focuses on the history and culture of the harmonica and the blues. Students learn about era-related harmonica styles, influential harmonica players, the basics of playing blues-style diatonic harmonica, and the fundamentals of sound. Students will attend a live music performance in the Rochester community. (This class is restricted to undergraduate students with at least 2nd year standing.) Lec/Lab 3 (Fall, Spring).
* Three credits in Music Theory and three credits of ensemble participation are required.
† A maximum of three semester of FNRT-256 may be counted as an elective course.
‡ A minimum of two courses must be taken at the 300-level or above.