PERFORMANCE-BASED EDUCATION IN CONTEMPORARY MUSIC

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.

INSTRUMENT STUDY

Playing Techniques 3
Techniques for performing fundamental styles and grooves, including straight eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and 4/4-meter swing. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 4
A continuation of Playing Techniques 3 with concentration on styles and grooves, including 3/4 rock, 3/4 swing, odd-meter grooves, standard Brazilian grooves, sixteenth-note funk and standard Afro-Cuban grooves. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 5
Course applies both finger and slap-style electric bass techniques to a variety of contemporary grooves, including Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture hour and one lab hour per week for one quarter.

Playing Techniques 6
Continued application of finger and slap-style electric bass techniques to a variety of contemporary grooves, including Afro-Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and funk. One lecture hour and one lab hour per week for one quarter.

Fretboard Basics 3
Expand diatonic harmonic components over a wide range of notes, neck area, fingerings and hand positions, including simple intervals, diatonic triads, seventh chords, and inversions over the entire length of the neck. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 4
Expands fingerings taught in Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 1
Concentrates on the study of modes and modal playing, major II-V-I’s and building a melodic vocabulary through the analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 2
A continuation of Fretboard Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords and continued development of a melodic vocabulary through the analysis of solos. One lecture hour plus one lab hour per week for one quarter.

Reading 3
Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of styles, including rock, funk, pop and contemporary instrumental. Concentration is on rhythmic accuracy, pitch recognition and song form. One lecture hour plus one lab hour per week for one quarter.

Reading 4
A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter.

Reading 5
Students learn contemporary chart reading skills through the extensive use of transcriptions and professionally written arrangements. Focus is placed on sight-reading, pitch and rhythm pattern recognition, position playing, and creating a cohesive sound. Class materials correlate with the All-MI Real World Live Performance Workshop. One lecture hour plus one lab hour per week for one quarter.

Reading 6
A continuation of Reading 5. One lecture hour plus one lab hour per week for one quarter.

The Associate of Arts in Performance (Bass) program includes a combination of general and instrument-specific courses designed to produce skilled, knowledgeable, stylistically versatile contemporary performing bassists. Courses are described below (see course catalog for specific course descriptions and other information). Combined with regular seminars, clinics, and small open counseling sessions with internationally-known bassists, the AA-Bass program provides the world's premier contemporary bass educational experience.

GENERAL REQUIREMENTS
Degree requirements vary by instrument and include some or all of the following courses. See each emphasis for details on specific requirements.

All course descriptions include course number, title, number of credit units per quarter (multiply by number of required quarters for total credit amount), prerequisites (where applicable), description of content, and contact hours per week.

MAJOR AREA (All Instruments)

Private Lesson
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship and style in support of core curricular goals. The instructor and student jointly determine a specific course of study depending on student needs, strengths and experience. One private lesson hour per week per quarter.

Live Performance Workshops 1-6
Students perform regularly throughout the program in a variety of styles and settings. Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Blues
Classic Rock
Country Rock
Modern Rock
Hard Rock
Metal
Classic R&B
Punk
Contemporary R&B
Hip-Hop
Fusion
Funk
Reggae
Latin
Billboard Hot 100


*LPW offerings vary by quarter; check current course schedule for availability

MUSICIANSHIP (Requirements vary by instrument)

Harmony and Theory 1
Students perform regularly throughout the program in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Harmony and Theory 2
A continuation of the study of musical notation and diatonic structures, including rhythmic values, time signatures, natural minor scales and key signatures, harmonized minor scales diatonic seventh chords, and key centers. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 3
Variations on diatonic structures. Topics include pentatonic scales and blues, inverted, extended and non-standard chord types, chord symbols and modes. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 4
Non-diatonic melody and harmony. Topics include variations in minor-key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one quarter.

Ear Training 1
An introduction to Ear Training as it applies to popular music. Areas of focus include matching pitch, major scale melodies, and melodic intervals in the context of examples drawn from contemporary popular music. One lecture hour and one lab hour per week for one quarter.

Ear Training 2
Topics include meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm on the staff, harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 3
Concentrates on the recognition and transcription of diatonic minor-key melodies and chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 4
Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab hour per week for one quarter.

Ear Training 5
Triplet rhythms, blues harmony and melody, seventh chords, secondary dominants, non-diatonic root movement and quality, inversions. One lecture hour and one lab hour per week for one quarter.

Ear Training 6
Applied transcription skills, including chart notation, rhythm charts, lead sheets. One lecture hour and one lab hour per week for one quarter.

MAJOR AREA

Private Lesson
Twelve credit units required (two per quarter). See “General Requirements” for course descriptions.

Live Performance Workshops 1-6
Six credit units required (one per quarter). See “General Requirements” for course descriptions.

Playing Techniques 1
Covers techniques for finger style bass playing, including correct posture, hand positioning, finger independence, picking, and muting. All techniques are trained through extensive exercises. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 2
Covers techniques for slap-style bass playing, including thumb/pluck technique, muting, articulation and rhythmic variations and embellishment. All techniques are trained through extensive exercises. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 3
Class applies the techniques developed in Playing Techniques 1-2 to fundamental styles and grooves, including straight eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and 4/4-meter swing. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 4
A continuation of Playing Techniques 3 with concentration on styles and grooves, including 3/4 rock, 3/4 swing, odd-meter grooves, standard Brazilian grooves, sixteenth-note funk and standard Afro-Cuban grooves. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 5
Course applies both finger and slap-style electric bass techniques to a variety of contemporary grooves, including Latin, jazz, odd-meter, funk, swing, shuffles, hip-hop and others. One lecture hour and one lab hour per week for one quarter.

Playing Techniques 6
Continued application of finger and slap-style electric bass techniques to a variety of contemporary grooves, including Afro-Cuban, jazz ballad, 4/4 swing, blues, cut-time Latin, and funk. One lecture hour and one lab hour per week for one quarter.

Fretboard Basics 1
Trains students to break the diatonic scale into smaller components (modal patterns, intervals and triads) and directly relate this information to the electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 2
Trains students to break the harmonized major, minor, harmonic minor and melodic minor scales into their fundamental components, including triads and diatonic seventh chords and directly relate this information to the electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 3
Course expands diatonic harmonic components to a wider range of notes, neck area, fingerings and hand positions, including simple intervals, diatonic triads and seventh chords, including inversions over the entire length of the neck. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 4
Expands fingerings taught in Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 1
Concentrates on the study of modes and modal playing, major II-V-I’s and building a melodic vocabulary through the analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 2
A continuation of Fretboard Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords, and continued development of a melodic vocabulary through the analysis of solos. One lecture hour plus one lab hour per week for one quarter.

Reading 1
Introduces the novice reader to the basic elements of music reading in bass clef, including rhythmic subdivisions, pitch identification, position playing on all four strings and scale forms. Students perform in solo and ensemble settings. One lecture hour plus one lab hour per week for one quarter.

Reading 2
A continuation of Reading 1. Introduces the bassist to more advanced elements of music reading, including triplet subdivisions, flat-key pitch identification, ties, dynamic markings, chord symbols and basic chart reading. One lecture hour plus one lab hour per week for one quarter.

Reading 3
Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of styles, including rock, funk, pop and contemporary instrumental. Concentration is on rhythmic accuracy, pitch recognition and song form. One lecture hour plus one lab hour per week for one quarter.

Reading 4
A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter.

Reading 5
Students learn contemporary chart reading skills through the extensive use of transcriptions and professionally written arrangements. Focus is placed on sight-reading, pitch and rhythm pattern recognition, position playing and creating a cohesive sound. Class materials correlate with the All-MI Real World Live Performance Workshop. One lecture hour plus one lab hour per week for one quarter.

Reading 6
A continuation of Reading 5. One lecture hour plus one lab hour per week for one quarter.

Rhythm Section Workshop 1
An introduction to ensemble performance with concentration on listening, dynamics, awareness of song form, and basic chart reading as well as practical performing techniques, such as giving and following cues, instrument setup, sound, and stage presence. Students perform each week and develop fundamental technical approaches to a variety of popular styles while gaining live experience. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 2
A continuation of Rhythm Section Workshop 1, with a concentration on learning practical performing techniques in a variety of grooves and styles, including shuffles, sixteenth-note grooves, ballads and walking basslines. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 3
Emphasizes the fundamental rhythm section textures of various popular styles and the skills necessary for playing them. Concentration on handling variations in typical song form, improving chart-reading skills, and taking a leadership role within the group. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 4
A continuation of Rhythm Section Workshop 3, with concentration on performing ballads, half-time-feel grooves, double-timefeel grooves, bass intros and changing meters. Two lecture-ensemble hours per week for one quarter.

Bass Studio Recording 1
Development of the bassist as a studio musician in the digital recording environment. Students create, perform and record bass lines for prerecorded curriculum-related tracks under the direction of a bass instructor-producer. As a final project, students compile a CD of their recorded performances to use as a demo of their playing abilities. One private recording session hour per week for one quarter.

Bass Studio Recording 2
Continuation of Bass Recording 1. One private recording session hour per week for one quarter.

MUSICIANSHIP

Harmony and Theory 1-4
Six credit units required (one and one-half per quarter). See General Requirements for course description.

Ear Training 1-6
Nine credit units required (one and one-half per quarter). See General Requirements for course description.

ELECTIVES

20th Century Jazz Bass I
20th Century Jazz Bass II
Melodic Duets for Electric Bass
Music Minus One for Bass
Blues Bass
Progressive Rock Bass
R&B/Funk Bass
Beatles Basslines
Classic Metal Basslines
Contemporary Metal Basslines
Jaco Pastorius Basslines
Les Claypool Basslines
Red Hot Chili Peppers Basslines
Walking Basslines
Bass and Drum Workshop
James Brown Rhythm Section
Rhythm Reading Workout
Afro-Cuban Bass
Brazilian Bass
Fretless Bass
Jazz Bass
Slap Bass
Advanced Bass RSW 1
Advanced Bass RSW 2
Motown Bass I
Motown Bass 2
Contemporary Improvisation
Modal Improvisation
Private Upright Lessons
Led Zeppelin Basslines

Associate of Arts students in instrument performance programs (Bass, Drums, Guitar, Keyboard Technology, Vocals) may opt for a combined course of study which is a combination of the performance program and a music industry program (Audio Engineering, Film, Guitar Craft, Music Business, Independent Artist).

Enrollment in such programs is dependent upon admission approval and space availability.

*Associate programs are vocational and do not include General Education requirements or specific preparation for study at the Baccalaureate level.

The Certificate in Performance (Bass) is a four-quarter, 60 credit-unit curriculum that provides a broad foundation in contemporary electric bass playing skills, musical knowledge, and performing experience. The program starts with a proven system of intensive technical training and applied performance taught by a world-class teaching staff of professional bassists. The unique approach equips you to handle any style from funk to rock, jazz, R&B and more, unlocking your unique style of playing and putting you on the path toward your professional and creative goals.

GENERAL REQUIREMENTS
Degree requirements vary by instrument and include some or all of the following courses. See each emphasis for details on specific requirements.

All course descriptions include course number, title, number of credit units per quarter (multiply by number of required quarters for total credit amount), prerequisites (where applicable), description of content, and contact hours per week.

MAJOR AREA (All Instruments)

Private Lesson
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship and style in support of core curricular goals. The instructor and student jointly determine a specific course of study depending on student needs, strengths and experience. One private lesson hour per week per quarter.

Live Performance Workshops 1-4
Students perform regularly throughout the program in a variety of styles and settings. Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Blues
Classic Rock
Country Rock
Modern Rock
Hard Rock
Metal
Classic R&B
Punk
Contemporary R&B
Hip-Hop
Fusion
Funk
Reggae
Latin
Billboard Hot 100

*LPW offerings vary by quarter; check current course schedule for availability

MUSICIANSHIP (Requirements vary by instrument)

Harmony and Theory 1
Students perform regularly throughout the program in a variety of styles and settings (see section on Live Playing Workshops for overview of workshop offerings). Minimum requirement of ten performances per quarter. One ensemble hour per week per quarter.

Harmony and Theory 2
A continuation of the study of musical notation and diatonic structures, including rhythmic values, time signatures, natural minor scales and key signatures, harmonized minor scales diatonic seventh chords, and key centers. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 3
Variations on diatonic structures. Topics include pentatonic scales and blues, inverted, extended and non-standard chord types, chord symbols and modes. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 4
Non-diatonic melody and harmony. Topics include variations in minor-key harmony and melody, modal interchange, secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one quarter.

Ear Training 1
An introduction to Ear Training as it applies to popular music. Areas of focus include matching pitch, major scale melodies, and melodic intervals in the context of examples drawn from contemporary popular music. One lecture hour and one lab hour per week for one quarter.

Ear Training 2
Topics include meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm on the staff, harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 3
Concentrates on the recognition and transcription of diatonic minor-key melodies and chord progressions. One lecture hour and one lab hour per week for one quarter.

Ear Training 4
Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab hour per week for one quarter.

MAJOR AREA

Private Lesson
Twelve credit units required (two per quarter). See General Requirements for course descriptions.

Live Performance Workshops 1-4
Six credit units required (one per quarter). See “General Requirements” for course descriptions.

Playing Techniques 1
Covers techniques for finger style bass playing, including correct posture, hand positioning, finger independence, picking, and muting. All techniques are trained through extensive exercises. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 2
Covers techniques for slap-style bass playing, including thumb/pluck technique, muting, articulation and rhythmic variations and embellishment. All techniques are trained through extensive exercises. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 3
Class applies the techniques developed in Playing Techniques 1-2 to fundamental styles and grooves, including straight eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and 4/4-meter swing. One lecture hour plus one lab hour per week for one quarter.

Playing Techniques 4
A continuation of Playing Techniques 3 with concentration on styles and grooves, including 3/4 rock, 3/4 swing, odd-meter grooves, standard Brazilian grooves, sixteenth-note funk and standard Afro-Cuban grooves. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 1
Trains students to break the diatonic scale into smaller components (modal patterns, intervals and triads) and directly relate this information to the electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 2
Trains students to break the harmonized major, minor, harmonic minor and melodic minor scales into their fundamental components, including triads and diatonic seventh chords and directly relate this information to the electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 3
Course expands diatonic harmonic components to a wider range of notes, neck area, fingerings and hand positions, including simple intervals, diatonic triads and seventh chords, including inversions over the entire length of the neck. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 4
Expands fingerings taught in Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 1
Concentrates on the study of modes and modal playing, major II-V-I’s and building a melodic vocabulary through the analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. One lecture hour plus one lab hour per week for one quarter.

Fretboard Improvisation 2
A continuation of Fretboard Improvisation 1, including a concentrated study of minor tonality, soloing over static dominant chords, and continued development of a melodic vocabulary through the analysis of solos. One lecture hour plus one lab hour per week for one quarter.

Reading 1
Introduces the novice reader to the basic elements of music reading in bass clef, including rhythmic subdivisions, pitch identification, position playing on all four strings and scale forms. Students perform in solo and ensemble settings. One lecture hour plus one lab hour per week for one quarter.

Reading 2
A continuation of Reading 1. Introduces the bassist to more advanced elements of music reading, including triplet subdivisions, flat-key pitch identification, ties, dynamic markings, chord symbols and basic chart reading. One lecture hour plus one lab hour per week for one quarter.

Reading 3
Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of styles, including rock, funk, pop and contemporary instrumental. Concentration is on rhythmic accuracy, pitch recognition and song form. One lecture hour plus one lab hour per week for one quarter.

Reading 4
A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter.

Rhythm Section Workshop 1
An introduction to ensemble performance with concentration on listening, dynamics, awareness of song form, and basic chart reading as well as practical performing techniques, such as giving and following cues, instrument setup, sound, and stage presence. Students perform each week and develop fundamental technical approaches to a variety of popular styles while gaining live experience. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 2
A continuation of Rhythm Section Workshop 1, with a concentration on learning practical performing techniques in a variety of grooves and styles, including shuffles, sixteenth-note grooves, ballads and walking basslines. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 3
Emphasizes the fundamental rhythm section textures of various popular styles and the skills necessary for playing them. Concentration on handling variations in typical song form, improving chart-reading skills, and taking a leadership role within the group. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 4
A continuation of Rhythm Section Workshop 3, with concentration on performing ballads, half-time-feel grooves, double-timefeel grooves, bass intros and changing meters. Two lecture-ensemble hours per week for one quarter.

Bass Studio Recording 1
Development of the bassist as a studio musician in the digital recording environment. Students create, perform and record bass lines for prerecorded curriculum-related tracks under the direction of a bass instructor-producer. As a final project, students compile a CD of their recorded performances to use as a demo of their playing abilities. One private recording session hour per week for one quarter.

Bass Studio Recording 2
Continuation of Bass Recording 1. One private recording session hour per week for one quarter.

MUSICIANSHIP

Harmony and Theory 1-4
Six credit units required (one and one-half per quarter). See General Requirements for course description.

Ear Training 1-4
Nine credit units required (one and one-half per quarter). See General Requirements for course description.

ELECTIVES

20th Century Jazz Bass I
20th Century Jazz Bass II
Melodic Duets for Electric Bass
Music Minus One for Bass
Blues Bass
Progressive Rock Bass
R&B/Funk Bass
Beatles Basslines
Classic Metal Basslines
Contemporary Metal Basslines
Jaco Pastorius Basslines
Les Claypool Basslines
Red Hot Chili Peppers Basslines
Walking Basslines
Bass and Drum Workshop
James Brown Rhythm Section
Rhythm Reading Workout
Afro-Cuban Bass
Brazilian Bass
Fretless Bass
Jazz Bass
Slap Bass
Advanced Bass RSW 1
Advanced Bass RSW 2
Motown Bass I
Motown Bass 2
Contemporary Improvisation
Modal Improvisation
Private Upright Lessons
Led Zeppelin Basslines

ENCORE

The Encore Program (Non-Certificate Training in Music Performance) is designed to allow students to create a full-time, ten-week program by choosing from available lessons, classes, performance workshops and other activities. Enrollment is available at the beginning of any quarter and may be repeated for additional quarters.

THE ENCORE PROGRAM INCLUDES:

Schedule
Based on an initial evaluation, the Encore Coordinator provides each student with a list of available courses that are appropriate to the student’s level of knowledge and skill. From that list, the student creates a class schedule equal to a full-time credit load of fifteen units.

Note: Course offerings vary by quarter and some courses and programs are not available for Encore enrollment. A list of available courses will be provided to each student by the Encore Coordinator prior to registration. To confirm the availability of specific courses, please consult with the Encore Coordinator prior to enrollment.

Private Lessons
Every instrument Encore session includes weekly, one-hour private lessons on the student’s primary instrument. Instructor and student jointly develop a lesson plan based on the student’s particular interests and the instructor provides general guidance throughout the program.

Note: Requests for private lessons with a specific instructor are subject to instructor availability.

Access
Encore enrollment includes 24-hour access to MI’s facilities for practice and rehearsal, access to extra-curricular activities and the library, and admission to clinics and seminars offered during the student’s period of enrollment.

IMPORTANT ADDITIONAL INFORMATION:

• Financial Aid – Encore is not eligible for State or Federal financial aid.
• January and July enrollments – Most Core classes available to entering Encore students in performance programs during January and July quarters are at intermediate-to-advanced levels. January or July enrollment is not advised for beginning-level Encore students.
• Materials – Encore students are entitled to receive curriculum and other materials applicable to courses included in their official course schedule only.
• Fees – Encore students are responsible for all applicable fees; see “Tuition and Fees” for specific information.
• Course Credit – Courses taken during an Encore session do not earn course credit. Attendance or completion of any course does not guarantee subsequent advanced placement in a Certificate or Degree program.