Musicians Institute’s challenging Bachelor of Music in Performance (Contemporary Styles) is a unique degree program combining contemporary music performance with rigorous education in traditional music disciplines. The intensive program emphasizes the development of stylistic depth, creative maturity and professional competence as part of a comprehensive program preparing students to enter the contemporary music industry. Upon completion of all requirements, students are eligible to receive the Bachelor of Music in Performance in one of five major instruments of study: Guitar, Bass, Drums, Keyboard and Vocals.
Additional options for study include:
BM-Performance (Minor in Music Industry Studies)
The Minor in Music Industry Studies provides an opportunity for Performance Majors to include concentrated studies in record company management and independent artist management and promotion. Minor Area studies replace some Supportive Music requirements and additional credits allow for greater depth in the Minor Area while retaining the comprehensive scope of the Performance Degree. Click Here to download overall credit requirements.
BM-Performance (Minor in Audio Production)
The Minor in Audio Production provides an opportunity for Performance Majors to include concentrated studies in audio recording technology and techniques. Minor Area studies replace some Supportive Music requirements and additional credits allow for greater depth in the Minor Area while retaining the comprehensive scope of the Performance Degree.
All BM students must complete the Major Area and Supportive Music requirements described below (for students taking Minor Studies described above, some requirements are replaced by alternate courses in the minor area). For instrument-specific requirements, click on the appropriate link. Click Here to download overall credit requirements.
MAJOR AREA: ALL INSTRUMENTS
All non-keyboard major degree students must demonstrate keyboard proficiency by the end of their Freshman year through examination or a passing grade of C- or better in Keyboard Proficiency III.
Private Lesson 1-12
Weekly private lesson with an instructor applying principles learned in instrument study to the major instrument and preparation for juries and final projects. One private lesson hour per week per quarter.
Ensembles 1-12
Weekly live performance workshops providing development of ensemble techniques, improvisational skills and repertoire building in various styles as well as preparing students for Sophomore and Senior juries. One ensemble hour per week per quarter.
Performance 1-4
An in-depth study of a variety of contemporary and commercial performancerelated subjects, including prototypical characteristics of influential styles, repertoire, improvisation and interpretation. Dedicated sections for instrumentalists and vocalists. Weekly critiqued performances of selected repertoire. Two ensemble hours per week for one quarter.
Sophomore Jury Prep
Individual preparation for score content, format, rehearsals and performance under the supervision of the jury supervisor, Dean and private instructor. Three ensemble hours per week for one quarter.
Sophomore Jury
Juried performance demonstrating student’s ability to meet lower-division requirements. Includes demonstrations of solo work, transcription skills, stylistic ensemble repertoire and sight-reading. Preparation includes weekly meetings with the jury supervisor and Dean to review arrangements, rehearsal progress and related issues plus monitored rehearsals. Three ensemble hours per week for one quarter.
Senior Jury Prep
Individual preparation for score content, format, rehearsals and performance under the supervision of the jury supervisor, Dean and private instructor. Three ensemble hours per week for one quarter.
Senior Jury
Juried performance demonstrating student’s ability to meet final graduation requirements. Focuses on the student as leader and interpreter with emphasis on individuality, advanced technical skill, stylistic clarity, horn arranging and overall musicianship. Preparation includes weekly meetings with the jury supervisor and Dean to review arrangements, original compositions, rehearsal progress and related issues plus monitored rehearsals. Three ensemble hours per week for one quarter.
SUPPORTIVE MUSIC: ALL INSTRUMENTS
Theory 1
An introduction to fundamental concepts, including intervals, triads, major mode progressions with voice-leading, minor modes and modal scales. Students learn basic techniques for melodic and harmonic analysis. Introduction to four-part writing techniques. Two lecture hours per week for one quarter.
Theory 2
Continuation of four-part writing techniques, including first inversion triads, figured bass, melodic function and structure, further study in melodic analysis, non-harmonic tones and their use. Two lecture hours per week for one quarter.
Theory 3
Basic harmonization of a melody, formulaic four-part writing using second-inversion triads and proper voice leading, cadences and their function in phrases, harmonic rhythm, supporting melodies, independent bass movement, analysis of excerpts and contemporary song forms. Two lecture hours per week for one quarter.
Theory 4
Dominant-seventh voicings and their function, standard resolutions, secondary dominant function and voice-leading, modulation techniques, analysis of modulating progressions, harmonic structure of phrases, antecedent-consequent structure, analysis of orchestral excerpts and contemporary song forms. Two lecture hours per week for one quarter.
Theory 5
Musical textures, irregular resolutions, use of melodic and harmonic sequences and diminished seventh chords. Focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one quarter.
Theory 6
Analysis and application of the incomplete major ninth chord, seventh chords in non-dominant harmonic function, neighbor-chord harmony, ninth, eleventh, thirteenth, and appoggiatura chords. Focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one quarter.
Theory 7
Analysis and application of chromatic altered chords, including the +II7 and +VI7, Neapolitan chords, augmented sixth chords and chords with lowered and raised fifths. Focus on four-part writing, figured bass and harmonization. Two lecture hours per week for one quarter.
Theory 8
Analysis of late 19th- and early 20thcentury scores. Discussion includes pandiatonicism, serial writing, polytonality, parallel harmony and use of symmetrical scales. Two lecture hours per week for one quarter.
Ear Training 1
Introduction to the “Movable Do” system, including basic solfeggio syllables applied to single notes, melodic fragments, diatonic triads and intervals in all major keys. Students learn basic rhythms and four-beat conducting patterns. Dictation of major-key melodies and basic triads. Two lecture hours per week for one quarter.
Ear Training 2
Application of solfeggio to minor keys, including single notes, melodic fragments, diatonic triads and intervals in natural minor, melodic minor and harmonic minor key centers. Students learn more advanced rhythms and two, three, and four-beat conducting patterns. Dictation of minor-key melodies, including note groups and patterns and all types of triads. Two lecture hours per week for one quarter.
Ear Training 3
Dorian and Mixolydian key centers, including single notes, melodic fragments, diatonic triads and intervals as well as two-, three-, four-, five, and six-beat conducting patterns. Dictation of more advanced rhythms, Dorian and Mixolydian melodic examples, including note groups and patterns and seventh chords. Two lecture hours per week for one quarter.
Ear Training 4
Phrygian and Lydian key centers, including advanced use of note groups and patterns in melodic dictation, rhythmic phrases and all types of seventh chords. Two lecture hours per week for one quarter.
Ear Training 5
Locrian and Lydian Dominant scales. Introduction of multiple parts, four-part homophony, diatonic seventh chords and non-chord tones. Two lecture hours per week for one quarter.
Ear Training 6
Study of Locrian T9 and Altered scales with emphasis on hearing chromaticism, altered chords, and related progressions. Continued melodic, rhythmic and harmonic dictation, with applications including bass line transcription and lead sheet preparation. Two lecture hours per week for one quarter.
Roots of Rock and Roll
A survey of Rock’s roots, including Rhythm & Blues, Rockabilly, New Orleans, vocal groups, doo-wop, and early ‘60s pop, including an examination of the major artists and regional influences. Weekly discussion, analysis and listening examples related to each topic. Two lecture hours per week for one quarter.
World Music
A study of music in the context of selected cultures and regions around the world. The many ways in which music and lyrics function in reflecting these cultures are explored through listening, analysis and transcriptions. Two lecture hours per week for one quarter.
Western Art Music: 600-1820
A survey of Western art music from the Middle Ages through the beginning of the 19th century. The course will include discussion of major styles and forms in historical context, supplemented by representative listening and score analysis. Two lecture hours per week for one quarter.
Western Art Music: 1820-21st Century
The history of musical styles from the Romantic period to the present, including cultural contexts and social meaning. Composers and musical developments in European and American Art Music, orchestral, choral, band, chamber music and solo repertoire are combined with the influences of music from other world cultures. Compositional techniques, style characteristics, and relationships are emphasized. In addition to a midterm and final examination, the course requires one critical concert report, workbook assignments, and presentation. Two lecture hours per week for one quarter.
Contemporary Arranging 1
Introduction to instrumentation, arranging techniques, and notation practices for live rhythm section. Emphasis is on score and parts preparation and notation in selected contemporary styles. As a final project, each student completes a studio recording of an arrangement for piano, guitar, bass and drums. Two lecture hours per week for one quarter. Required lab fee: $200.
Contemporary Arranging 2
A continuation of rhythm section arranging with the addition of brass instruments (trumpet and trombone). Discussion will include transposition, range and idiomatic usage of these instruments in popular styles. The objective is to study the brass family with emphasis on two-part and guide-tone writing. As a final project, each student completes a studio recording of an arrangement for trumpet, trombone, piano, bass and drums. Two lecture hours per week for one quarter. Required lab fee: $200.
Contemporary Arranging 3
Arranging techniques for ensembles, including woodwind instruments (saxophone, flute and clarinet). Discussion includes transposition, range and idiomatic usage of these instruments in popular styles. The objective is to study the woodwind family with emphasis on four-part harmonization. As a final project, each student completes a studio recording of an arrangement for trumpet, alto or clarinet, tenor or flute, trombone, guitar, bass and drums. Two lecture hours per week for one quarter. Required lab fee: $200.
Contemporary Arranging 4
Course focuses on string section writing as it applies to contemporary production, with an emphasis on re-harmonization. As a final project, each student completes a studio recording of an arrangement for string quintet and drums. Two lecture hours per week for one quarter. Required lab fee: $200.
Contemporary Arranging 5
Course focuses on combined rhythm section, woodwind, brass and string writing as it applies to contemporary productions. As a secondary objective students learn to analyze scores of contemporary arrangements that include all instruments. As a final project, each student completes a studio recording of an arrangement for rhythm section, woodwinds, brass and strings, including overdubs. Two lecture hours per week for one quarter. Required lab fee: $200.
Directing and Conducting
Fundamentals of conducting, including beat patterns, posture, arm and hand position, articulations, dynamics, left-hand functions, incomplete beats and fermatas will be covered, as well as basic score reading and application of skills to contemporary music. Students will be videotaped for study. Two lecture hours per week for one quarter.
Music Industry Studies
An overview of the contemporary music industry with special concentration on how record companies work, how A&R reps find and sign new talent, copyrighting songs, music publishing and the roles of personal managers, booking agents, business managers and music business attorneys. Current music business news is discussed with regard to its effect on the students as independent artists. Three lecture hours per week for one quarter.
Studio Recording 1
An overall introduction to digital audio techniques using Avid Pro Tools© with primary focus on applications to arranging and composing. Handling of tracks, importing audio, recording of playlists, equalization, and effects will be incorporated into the final project. One and one-half lecture hours per week for one quarter.
Studio Recording 2
A continuation of Avid Pro Tools© recording techniques using Virtual Instruments, MIDI Recording, Sequencing, Trimming, Fading, Tempo, Meter Maps, Time Stretching, Plug-in automation culminating in the mixing of a fully arranged song applying all of the studied techniques. One and one-half lecture hours per week for one quarter.
Computer Music Applications
An introductory course in setting up personal business templates using Microsoft Office; creating songs, demos, and practice tracks using GarageBand; music computer notation from lead sheets and master rhythm scores to threehorn charts using Sibelius software. Students will create projects using each application. Three lecture hours per week for one quarter.
Styles Survey 1
Provides students with an analytical overview of styles, chart reading and critical listening as they relate to repertoire requirements. Styles covered include Rock, Rhythm & Blues, Jazz and Latin. One lecture hour per week for one quarter.
Styles Survey 2
Continues an overview of more advanced styles as they relate to required repertoire, including Latin, Jazz, Rhythm & Blues and Rock & Roll. One lecture hour per week for one quarter.
Contemporary Music Instruction
The skill and art of teaching contemporary music in a variety of settings, including rehearsals, coaching, and group and private lessons. One lecture hour per week for one quarter.
Diction for Vocalists
Degree-specific requirement for Voice Majors. Students improve their articulation and enunciation through the use of drills, exercises, and feedback, and learn to apply these skills to the performance of contemporary music. Specificissues, including accent and dialect reduction and enhancement, will also be addressed. One lecture hour per week for one quarter.
Keyboard Proficiency 1
Degree-specific requirement for non-keyboard majors. Covers basic motor skills involved in playing the keyboard through diatonic scales, arpeggios, and selected repertoire. One hour per week for one quarter.
Keyboard Proficiency 2
Degree-specific requirement for non-keyboard majors. More advanced application addressing harmonic shapes on the keyboard, including chord families, voice leading, and basic keyboard harmony with selected chord repertoire. One hour per week for one quarter.
Keyboard Proficiency 3
Degree-specific requirement for non-keyboard majors. Emphasizes using the keyboard as an arranging tool, lead sheet interpretation, basic score reading and outlining an arrangement. One lecture hour per week for one quarter.
Click Here to download General Education Requirements.
Click Here to download instrument performance placement test information.
Click Here to download Theory and Ear Training placement test information.