Contact Information

314 Linden Street
Camden, New Jersey, 08102
Voice: (856) 225-6176
Fax: (856) 225-6330

Facebook Twitter

Student Spotlight

We R Arts and Sciences: Andy Zazzera

Andy ZazzeraFor Andy Zazzera, the decision to attend Rutgers-Camden was, in his words, “a no-brainer.” Read more ...

Home » Music Program » Music Course Requirements

Music Course Requirements

Music Major Requirements (minimum 45 credits)

Upon admittance to the school, incoming freshman and transfer student music majors should contact
the music program coordinator for information on placement exam and audition dates: Prof. Schiavo
or call 856.225.6539 or 6176.

Students majoring in music must earn a grade of C or better in the following courses:

Music Core Requirements (26 credits):
50:700:161-162 Basic Musicianship I,II (2,2)
50:700:205-206  Basic Musicianship III,IV (2,2)
50:700:225-226  Music Theory I,II (3,3)
50:700:271 Computer Applications in Music (3)
50:700:291,292 History of Music I,II (3,3)
50:700:325 Music Theory III (3)

Performance (7 Credits):
50:701:161,162,261,262 Piano (1,1,1,1) and pass keyboard competency examination by the end of junior year
50:701:140 Rutgers Choir (3) or 50:701:347 Madrigal Ensemble (3) or 50:701:348 Performance Ensemble (3)
or 50:701:321 Jazz Ensemble I

Performance Electives:

50:701:322 Jazz Ensemble II

History/Theory Concentration (15 Credits):

50:700:293,294 Music History III, IV (3,3)
50:700:203 Introduction to World Music (3) or 50:700:413 World Music (3)
50:700:305 Gender in Music (3)
50:700:332 Advanced Theory and Analysis (3)
50:700:337 History of Opera (3)
50:700:415 Senior Seminar in  Music (3)

History/Theory Electives:

50:700:272 Computer Applications in Music II (3)
50:700:321 Counterpoint (3)
50:700:385 Introduction Musical Composition (3)
50:700:390 Electronic Music
50:700:490 Music Internship (BA)
50:700:495-496 Honors in Music (3,3)

Music majors with a concentration in history/theory are required to take a comprehensive examination in music history
and theory during their senior year. Please see the music program webpage for information: http://finearts.camden.rutgers.edu/music.

Electroacoustic Composition/Theory Concentration (15 Credits):

50:700:173 Studies in Composition I (3)
50:700:390 Electronic Music (3)
50:700:391 Music and Computers (3)
50:700:392 Topics in Electroacoustic Music (3)
50:700:393 Electroacoustic Composition and Performance (3)

Composition Electives:
50:700:174 Studies in Composition II (3)
50:700:321 Counterpoint (3)
50:700:332 Advanced Theory and Analysis (3)
50:700:373 Composition (3)
50:700:421 Advanced Theory and Analysis (3)
50:700:449 Audio Post-Production (3)
50:700:491 Electronic Music Internship (BA)
50:700:495-496 Honors in Music (3,3)

Music majors with a concentration in electroacoustic composition/theory are required to submit a portfolio of their work
and take a comprehensive examination in music theory during their senior year. Please see the music program webpage
for information: http://finearts.camden.rutgers.edu/music.

Recommended courses in foreign language:
50:470:102 Elementary German II (4), or 50:560:102 Italian II (4)
Attendance at 10 college recitals or concerts each academic year

Transfer students should consult with the music program coordinator prior to enrollment.

Music Minor Requirements (minimum 20 credits)

50:700:125 Introduction to Music Theory (3)
50:700:161 Basic Musicianship I (2)
50:700:202 Introduction to Music (3)
or
50:700:203 Introduction to World Music (3)
or
50:700:413World Music (3)
50:700:225-226 Music Theory I,II (3,3)

  • A minimum of 6 credits of music history.
  • Attendance at five college recitals or concerts each academic year strongly recommended.

Music Major with Teacher Certification (minimum 44 credits)

Students seeking teacher certification in music must complete the following requirements for music. For details regarding
admission to the Teacher Preparation Program and its requirements, students should consult both their program director and
the director of the Teacher Preparation Program.

50:300:443 Materials and Methods of Teaching Music (3)
50:700:161-162 Basic Musicianship I,II (2,2)
50:700:202 Introduction to Music (3) (or credit by examination)
50:700:203 Introduction to World Music (3)
or     50:700:413 World Music (3)
50:700:225-226 Music Theory I,II (3,3)
50:700:292, 293 History of Music I, II (3,3)
50:700:329 Introduction to Conducting (2)
50:701:161,162, 261,262 Piano (1,1,1,1) and pass keyboard proficiency examination
50:701:348 Performance Ensemble (1)
50:701:471 Instrumental Methods: Percussion (1)
50:701:478 Instrumental Methods: Strings (1)
50:701:488 Instrumental Methods: Woodwinds (1)
50:701:494 Instrumental Methods: Brass (1)

Attendance at ten college recitals or concerts each academic year.


Performance Studies (Applied Music 701)

The aim of performance studies is to present music as a liberal art, for its value as literature and as a record of one aspect of human achievement. Students are strongly encouraged to acquire and improve performing techniques as a necessary means of cultivating the art. The music program offers instruction in instrumental and vocal music with a distinguished faculty of artist associates and welcomes students at all levels, including beginners. Note that an additional fee for private instruction is required.


Exams

 

Music Theory Placement Exam

Music Theory Placement Test for First-Year Music Majors

Exam date: TBD

All incoming first-year music majors are required to take a music theory placement exam. The theory placement exam allows students to place out of Introduction Music Theory (700:125) and into Music Theory I (700:225).

Upon admission to the college, students are asked to contact the Fine Arts Department to register for the placement exam at 856.225.6176.

Our diagnostic examination checks students’ knowledge of musical fundamentals. All students who receive a high score on the test can test out of our basic music theory class (called “Introduction to Music Theory” 700:125). The Theory Placement Test consists of:

  • Pitches in treble and bass clefs 
  • Simple note and rest values (up to thirty-second notes/rests) 
  • Meters and time signatures (simple, e.g. 2/4, and compound, e.g., 6/8) 
  • All major scales and their key signatures 
  • All minor scales (in all three types: natural, harmonic and melodic) and minor key signatures 
  • The size and quality of all simple intervals (e.g., major thirds, augmented fourths) 
  • All types of triads (major, minor, augmented and diminished)

Prospective students are encouraged to review these skills before entering the program. Almost any basic harmony or music appreciation textbook will have introductory chapters that students may consult for preparation.

Here are some suggestions on how to prepare for the written music theory placement examt:

  1. Use on-line resources to study any of the above topics. Click here to view a list of on-line resources. 
  2. Buy a book on essential musicianship / introductory music theory, e.g. J. T. Kolosick / A. H. Simon: Explorations. A New Approach to Music Fundamentals (2nd edition; Mountain View: Mayfield Publishing, 1998), J. Clough / J. Conley / C. Boge: Scales, Intervals, Keys, Triads, Rhythm, and Meter (3rd edition, New York: W. W. Norton, 1999), or William Duckworth: A Creative Approach to Music Fundamentals (with CD-ROM) 10th Edition, Wadsworth, 2007. The latter book (by Duckworth) is the one currently used in our Introduction to Music Theory course. However, in our Theory I through III courses, we are using the latest edition of S. Kostka / Dorothy Payne: Tonal Harmony (5th edition, Boston: McGraw Hill, 2004); all topics on the diagnostic test are also covered in chapters 1 through 4 of Tonal Harmony. 
  3. Hire a tutor. Any college-trained musician should be able to help you with essential musicianship.

Some additional suggestions for the study of music theory in general:

  1. If you are not playing piano already, start taking piano lessons, regardless of the instrument you are playing. Playing the piano supports the study of music theory; in addition, you can already work towards the piano proficiency which is required of all music majors at Rutgers-Camden. 
  2. If you are not a singer, start singing on a regular basis. You do not need to take voice lessons, but you should be able to sing in tune and match pitches. In Basic Musicianship classes, you train your abilities to sing at sight, etc. 
  3. In Basic Musicianship classes, you will also train your ear, especially with writing down what you hear. You can get a head-start by using some on-line resources for aural learning or by buying ear-training software. (The ear-training books & software we are currently using in our Aural Learning classes are Music For Sight Singing, 6th ed. by Robert W. Ottman, Studying Rhythm, 3rd ed. by Anne Carothers Hall, and Auralia Ear-training Software by Sibelius).

If you have questions about the music curriculum at Rutgers-Camden, please do not hesitate to contact Dr. Joe Schiavo at schiavo@rutgers.edu.

Diagnostic Examination – Sample Exam (To view the exam, you’ll have to download a musical font plugin from Sibelius.com).
Diagnostic Examination – Answer Key

 


Piano Proficiency Examination

Satisfactory completion of the examination is a graduation requirement for all Bachelor of Arts music majors and minors.

Procedures

  1. The Keyboard Proficiency Examination is given as the final exam in Piano IV (701:262) each spring semester. It is also given each semester, two to four weeks before final exams, for those students not enrolled in piano.
  2. It is recommended that music majors and minors complete the examination no later than the spring semester of the third year. Those parts of the exam that are not passed at that time can be retaken in the following year.
  3. Music majors in the Teacher Preparation Program must successfully complete the examination prior to Student Teaching.
  4. It is expected (but not required) that a student will be enrolled in individual instruction in the music program during the semester in which the Proficiency Examination is taken.

Requirements

  1. Play all major scales, all harmonic and melodic minor scales starting on the white keys, and all major, minor, fully diminished 7th and dominant 7th arpeggios, through at least two octaves, hands together, at a moderate speed, with proper fingerings.
  2. Perform one simple homophonic piece comparable to a first movement from a sonatina by Clementi.
  3. Perform one simple polyphonic piece comparable to one of the pieces in the Anna Magdalena Notebook by J.S. Bach.
  4. Sight-reading commensurate with level of advancement.

 

 

Comprehensive B.A. Examination

The comprehensive exam for the B.A. in music is given twice a year in October and February. All music majors must take the exam after completing the music history sequence (700:291,292,293, and 294). We strongly advise you to take the exam before your last semester. Please contact Prof. Schiavo for more information: 225.6539 or e-mail
Dr. Joe Schiavo

Composer Dates 
You will be given a list of 20 composers, selected from the list below.
Provide a date that falls within each composer’s mature career.
To be counted correct, the date must be after the composer’s 20th year and before his or her death.

 

Hildegard von Bingen
Leonin
Perotin
De la Halle
De Vitry
Machaut
Landini
Ciconia
Dunstable
Dufay
Binchois
Ockeghem
Obrecht
Josquin
Willaert
Palestrina
Lassus
Byrd
Marenzio
Gesualdo
Monteverdi
Gabrieli
Frescobaldi
Froberger
Cavalli

Schütz
Lully
Purcell
Corelli
Vivaldi
D. Scarlatti
Handel
J.S. Bach
Telemann
Rameau
C.P.E. Bach
J.C. Bach
Gluck
Haydn
Mozart
Beethoven
Schubert
Mendelssohn
Berlioz
Chopin
Liszt
Schumann
Meyerbeer
Weber
Wagner 

R. Strauss
J. Strauss
Rossini
Bellini
Donizetti
Verdi
Puccini
Bizet
Saint-Saens
Fauré
Brahms
Tchaikovsky
Mussorgsky
Rimsky-Korsakov
Dvorak
Mahler
Schoenberg
Berg
Webern
Debussy
Ravel
Sibelius
Elgar
Vaughan Williams 

Bartok
Stravinsky
Prokofiev
Shostakovich
Schnittke
Poulenc
Hindemith
Weill
Britten
Tippett
Ives
Cowell
Copland
Barber
Sessions
Varèse
Boulez
Stockhausen
Babbitt
Berio
Carter
Crumb
Reich
Glass
Adams

(100 names)

 

Title Identification
You will be given a list of of about 30 works, selected from the list below.
For each work, identify the composer and provide an approximate date.
To be counted correct, the date must be within 20 years of the actual date.

 

Victimae paschali laudes
Ordo Virtutum
The Play of Daniel
Jeu de Robin et Marion
Alleluia Pascha nostrum
Sederunt principes
Messe de Notre Dame
Sumer is icumen in
Nuper rosarum flores
Missa Se la face ay pale
Missa Mi-mi
Missa prolationum
Innsbruck, ich muss dich lassen
Déploration sur le trépas de Johannes Ockeghem
Missa Hercules dux Ferrariae
Pope Marcellus Mass
O magnum mysterium
Gradualia
Cruda Amarilli
The Triumphes of Oriana
Flow, my tears
L’Euridice
L’Orfeo
Lamento d’Arianna
L’incoronazione di Poppea
Il pomo d’oro
Combattimento di Tancredi et Clorinda
In ecclesiis
Jephtha
Symphoniae sacrae

Saul, was verfolgst du mich
Banchetto musicale
La Rhétorique des dieux
Dido and Aeneas
Leçons de ténèbres
The Well-Tempered Clavier
L’Art de toucher le clavecin
Twelve solo sonatas, Op.5
Traité de l’harmonie
Clavier-Übung
The Art of Fugue
A Musical Offering
Goldberg Variations
St. Matthew Passion
Mass in B minor
Giulio Cesare
Israel in Egypt
Semele
La serva padrona
Orfeo ed Euridice
Alceste
Essay on the True Art of 
Playing Keyboard Instruments
Le Matin, Le Midi, & Le Soir Symphonies
Farewell Symphony
London Symphonies
Quartets, Op.33 
Seven Last Words of Christ
The Creation
Dissonant Quartet

Jupiter Symphony
Idomeneo
Le nozze di Figaro
Don Giovanni
Cosi fan tutte
Die Zauberflöte 
Fidelio
Sonate pathétique
Sinfonia eroica
Rasumovsky Quartets
Kreutzer Sonata
Pastoral Symphony
Appassionata Sonata
Emperor Concerto
Diabelli Variations
Missa solemnis
Grosse Fuge 
The Hebrides Overture
Italian Symphony
Scottish Symphony
Spring Symphony
Variations on a Theme by Haydn
Symphonie fantastique
Harold en Italie
A Faust Symphony 
Les Préludes
Romeo and Juliet Fantasy-Overture
Pathétique Symphony
Swan Lake
New World Symphony
   
Death and the Maiden Quartet
Wanderer Fantasie
Songs without Words
Carnaval
Kreisleriana
Symphonic Etudes
Années de pèlerinages
Trout Quintet
Erlkönig
Die schöne Müllerin
Winterreise
Dichterliebe
Frauenliebe und –leben
Italienisches Liederbuch
Grande Messe des Morts
Les Huguenots
Les Troyens
Faust
Carmen
Il barbiere di Siviglia
Guillaume Tell
Lucia di Lammermoor
Norma
Rigoletto
La Traviata
Don Carlos
Aida
Otello
Falstaff
Manzoni Requiem
La Boheme
Tosca
Turandot
Der Freischütz
Tannhäuser
Tristan und Isolde
Die Meistersinger von Nürnberg

Der Ring des NibelungenParsifal
Salome
Elektra
Der Rosenkavalier
Wozzeck
Lulu
Moses und Aron
Lieder eines fahrenden Gesellen
Kindertotenlieder
Das Lied von der Erde
Also sprach Zarathustra
Till Eulenspiegel
Don Quixote
Boris Godunov
Pictures at an Exhibition
Sheherazade
The Bartered Bride
Peer Gynt
Enigma Variations
Fantasy on a Theme of Thomas Tallis
The Planets
Rhapsody on a Theme by Paganini
Prélude à l’après-midi d’un faun
La mer
Pelléas et Mélisande
Children’s Corner Suite
La Valse
Gaspard de la nuit
Daphnis et Chloé
Le Tombeau de Couperin
Bluebeard’s Castle
Mikrokosmos
Music for Strings, Percussion, and Celesta
Peter Grimes
War Requiem
Mathis der Maler
Die Dreigroschenoper

Dialogues des CarmelitesThe Fire Bird
Petrushka
Le Sacre du printemps
L’Histoire du soldat
Pulcinella
Les Noces
Oedipus Rex
The Rake’s Progress
Symphony of Psalms
Classical Symphony
Leningrad Symphony
Verklärte Nacht
Pierrot lunaire
Lyric Suite
Quatuor pour la fin du temps
Le Marteau sans Maître
Gesang der Jünglinge
Poème électronique
Threnody for the Victims of Hiroshima
Ionisation
Klavierstück XI
Rhapsody in Blue
Concord Sonata
Three Places in New England
The Banshee
Appalachian Spring
Dover Beach
Four Saints in Three Acts
Philomel
Ancient Voices of Children
Black Angels
Einstein on the Beach
Nixon in China
Sinfonia (1968)
Sequenza

(200 titles)

 

Terms/Names
You will be given a list of of about 20 terms, titles, or names, selected from the list below.
For each, provide definitions or identifications and indicate the repertory and time period to which it applies.