Wells School of Music

MUE 510: CURRENT TRENDS IN MUSIC EDUCATION (3 CR.) – Distance Education – Asynchronous

An exploration of current trends in music education, including but not limited to: philosophy of music education, curriculum development, instructional methods, music technology, music technology for special learners, and evolution of teacher training.

MUE 601: INNOVATIONS IN ELEMENTARY MUSIC EDUCATION (3 CR.) - Distance Education – Asynchronous

Review analysis and practical applications of current and developing pedagogy, materials, and assessment techniques for the K-6 elementary general music classroom. Instructors will include leading innovative guest faculty who are nationally and internationally recognized for their expertise in this area.

MUE 570: ORFF-SCHULWERK: LEVEL I BASIC MUSICIANSHIP (2 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Designed to develop fundamental Orff processes through the acquisition of basic musical skills through pentatonic activities.

MUE 571: ORFF-SCHULWERK: LEVEL I RECORDER (1 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Designed to develop fundamental Orff processes through elemental proficiency on the soprano recorder.

MUE 572: ORFF-SCHULWERK: LEVEL I MOVEMENT (1 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Designed to develop fundamental Orff processes through movement, locomotor, dance, descriptive, free improvisation.

MUE 573: ORFF-SCHULWERK: LEVEL 2 BASIC MUSICIANSHIP (2 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Designed to develop theoretical comprehension of the evolution of elemental music through the Baroque period. Liturgical and diatonic modes are used as vehicles in developing harmonic concepts. Admission to program by audition. Pre / Co requisites: MUE 573 requires prerequisites of MUE 570 and MUE 571 and MUE 572.

MUE 574: ORFF-SCHULWERK: LEVEL 2 RECORDER (1 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Designed to develop skills on alto, tenor, and bass recorders through improvisation, accompaniment, and ensemble playing in various styles and historical periods. Pre / Co requisites: MUE 574 requires prerequisites of MUE 570 and MUE 571 and MUE 572.

MUE 575: ORFF-SCHULWERK: LEVEL 2 MOVEMENT (1 CR.) – In-Person
Workshop Faculty: Drue Bullington, Ashley Brown Woodside, Russell Nadel

Continued development of movement techniques through improvisation, choreography in set or free focus with either rhythm, music, Or dramatic content, or a combination thereof. Pre / Co requisites: MUE 575 requires prerequisites of MUE 570 and MUE 571 and MUE 572.

MUE 510: CURRENT TRENDS IN MUSIC EDUCATION (3 CR.) - Distance Education – Asynchronous

An exploration of current trends in music education, including but not limited to: philosophy of music education, curriculum development, instructional methods, music technology, music technology for special learners, and evolution of teacher training.

MUE 603: INNOVATIONS IN INSTRUMENTAL MUSIC EDUCATION^ (3 CR.) - Distance Education – Asynchronous

Review analysis and practical applications of current and developing pedagogy, materials, assessment techniques for the elementary/secondary instrumental music program. Instructors will include leading innovative guest faculty who are nationally and internationally recognized for their expertise in this area.

MUE 560: KODÁLY 1 MUSICIANSHIP TRAINING*^ (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Designed to develop musicianship for teaching the Kodály process in primary grades and to develop students' ability to sing pentatonic literature and basic rhythms at sight in a classroom setting.

MUE 561: KODÁLY 1 METHODOLOGY*^ (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Designed to present lesson-planning strategies for teaching Kodály-based methodology in the primary grades.

MUE 562: KODÁLY 2 MUSICIANSHIP TRAINING* (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Designed to develop musicianship for teaching the Kodály process in intermediate grades and the student's ability to sing diatonic Literature and advanced rhythms at sight in a classroom setting. Pre / Co requisites: MUE 562 requires prerequisite of MUE 560 or MUE 561.

MUE 563: KODÁLY 2 METHODOLOGY* (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Designed to present lesson-planning strategies for teaching Kodály-based methodology in the intermediate grades. Pre / Co requisites: MUE 563 requires prerequisite of MUE 560 or MUE 561.

MUE 564. KODÁLY: LEVEL 3 MUSICIANSHIP TRAINING* (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Designed to develop musicianship skills for teaching the Kodály process in secondary grades through classical music. Pre / Co Requisites: MUE 564 requires prerequisite of MUE 562 or MUE 563.

MUE 565. KODÁLY: LEVEL 3 METHODOLOGY* (2 CR.) – In-Person
Workshop Faculty: Dr. Jill Trinka, Dr. Ken Carter, Amy Carter

Strategies and materials for listening lessons will be presented as well as teaching techniques for secondary classrooms. Students are expected to submit a 30–35 minute teaching tape for purposes of coordinating all Kodály teaching skills. Pre / Co requisites: MUE 565 requires prerequisite of MUE 562 or MUE 563.

AIM 680: SPECIAL SUBJECTS SEMINAR: WIND BAND CONDUCTING SYMPOSIUM (3 CR.) – In-Person
Craig Kirchhoff, Cynthia Johnston Turner, Guest Clinicians, 2022
Andrew Yozviak, M. Gregory Martin and Adam Gumble, Host Clinicians

The West Chester University Summer Wind Conducting Symposium is designed to provide musicians the opportunity to sharpen conducting skills, strengthen score study techniques, broaden knowledge of wind literature and refine rehearsal strategies. Conductors may participate in the symposium in one of two different levels. Conducting participants will conduct chamber ensembles during the morning sessions and a full wind ensemble in the afternoon. Participation at this level will be limited to the first sixteen applicants with paid deposits. Observers will be engaged in all the daily activities but will not conduct the ensembles. A workshop fee is required in addition to tuition.

VOC 536: VOCAL-CHORAL MUSIC WORKSHOP (3 CR.) – In-person
David Rayl, Michigan State University, Guest Clinician
David P. DeVenney and Ryan Kelly, Host Clinicians

The West Chester University Summer Choral Symposium is designed to sharpen podium gestures and communication skills, enhance knowledge of repertoire, and deepen score study and analysis techniques. It is designed for working conductors in public schools, churches, and community choirs. Conductors may participate in two ways: as Conducting Participants, who will get ample podium time with master teachers; or as Observers, who will be engaged in all activities but who will not conduct. All sessions will be video recorded and given to participating conductors. A workshop fee is required in addition to tuition.

MTC 591: MUSIC THEORY REVIEW (3 CR.) - Distance Education – Asynchronous
Dr. Adam Silverman

A graduate level review of tonal harmony, this course is for students to prepare for further study based on placement test or perceived need.

MHL 520: MUSIC HISTORY FOR MUSIC EDUCATORS (3 CR.) - Distance Education – Asynchronous
Dr. Jordan Stokes

Designed to help music educators explore music historical topics in depth and synthesize what they have learned into lessons that they could then go on to use in the classroom. The course is not defined by method rather than by content: students will learn about variety of topics at a postsecondary level, and then synthesize this knowledge into lessons aimed at a variety of age ranges.

MTC 512: COMPOSITION 1 (3 CR.) - Individual lessons scheduled by appointment
Dr. Robert Maggio

Exploration of basic compositional principles with a focus on the development of student's individual musical interests. Students write short pieces, each elaborated over a period of several weeks, exploring different principles of instrumental texture (e.g., monody, homophony, polyphony) and formal design (e.g., theme and variations, motivic development, song, dance forms). Works in progress are evaluated by peer and instructor critiques of notation files.