The Carthage Choir presents concerts of both anthems and longer works, sings for school and community functions, hosts an annual choral workshop, takes an annual spring tour, and tours in Europe every third J-Term. Membership by individual audition. 0-2 credits

The Chapel Choir is a mixed choral ensemble that regularly sings both sacred and secular music in a variety of venues. Membership by individual audition. 0 or 1 credit.

The Lincoln Chamber Singers is a select, small vocal ensemble that performs secular and sacred music of a more intimate nature both on and off-campus. 0 or 1 credit.

This experience is geared toward individuals or very small groups in order for them to become acquainted with and perform vocal chamber literature with instruments. Enrollment with consent of instructor.

The Carthage Wind Orchestra focuses on developing individual musical expression within a large ensemble setting, presents concerts and participates in various campus and community events. Membership by individual audition. 0 - 2 credits.

The Kenosha Symphony is a municipal orchestra of amateur and professional musicians. Membership by audition only. 0 or 1 credit.

The Carthage String Orchestra is a chamber orchestra that performs as a unit and in smaller ensembles. 0 or 1 credit.

The Jazz Band is a laboratory ensemble that studies and performs music in various jazz styles, both on and off-campus. Membership by individual audition. 0 or 1 credit.

This experience is geared toward individuals or very small groups in order for them to become acquainted with and perform chamber literature. Enrollment with consent of instructor.

The Pep Band regularly plays at all home football and basketball games. Membership by individual audition.

The Gospel Messengers perform gospel music.

The Carthage College Masterworks Chorale is comprised of students and community performers.

The Carthage Women's Ensemble regularly sings both sacred and secular music on and off- campus. Membership by individual audition. 0 or 1 credit.

Required of all music majors each term and of all music minors during their four semesters of applied study. Music education emphasis majors are exempt during their practice-teaching term.

A historical-analytical approach to the study of theory and harmony. Includes music notation, rhythmic analysis, concepts of key and scale, interval quality and inversion, tertian harmony, chord analysis, and non-harmonic tone analysis.

The development of aural skills, applied to the musical concepts studied in Music Theory I, through sight-singing, rhythmic reading, and melodic and harmonic dictation.

A continuation of Music Theory I. Includes tonicization and modulation, small melodic forms, binary and ternary forms, and principles of melodic analysis.

A continuation of Aural Skills I, applied to musical concepts studied in Music Theory II.

A continuation of Music Theory II. Music Theory III includes a study of the fugue, counterpoint, harmonization, and analysis of larger forms (variation, rondo, sonata).

A continuation of Aural Skills II, applied to the musical concepts studied in Music Theory III, with particular emphasis on secondary key areas, modulations, and nineteenth-century harmony.

A continuation of Music Theory III. Music Theory IV includes early and late chromaticism, musical form within larger structures, and the extension of traditional tonality with emphasis on twentieth century compositional techniques, including serial music, electronic music, and other avant-garde music.

A continuation of Aural Skills III, applied to musical concepts studied in Music Theory IV and with particular focus on twentieth century melody, harmony, and rhythm.

A course designed to acquaint the music student with techniques and problems involved in the teaching and performance of woodwind instruments in grades five through twelve.

A course designed to acquaint the music student with techniques and problems involved in the teaching and performance of brass instruments in grades five through twelve.

A course designed to acquaint the music student with techniques and problems involved in the teaching and performance of percussion instruments in grades five through twelve.

A course designed to acquaint the music student with techniques and problems involved in the teaching and performance of stringed instruments in grades five through twelve.

A survey of materials for teaching global music in the classroom. Emphasis will be placed on non-Western art music, including music from cultures around the world as well as indigenous American music such as jazz, blues, and Native American music. Students will develop an understanding of culturally authentic music through listening, participating, and leading activities. Global improvisation lab required - a lab experience in the folk, popular, and art music of Western and non-Western cultures, incorporating ethnic and non-Western instruments suitable for classroom use.

Fundamentals of phonetics and sound production as applied to singing in English, Italian, German, and French. Study of representative vocal literature of each language.

Continues development of topics described in Piano Pedagogy and Literature I; also includes the acquisition of bibliographic information and the importance of continuing education and ongoing professional development. The focus of pre-collegiate literature in this term is intermediate and early advanced repertoire.

This course for the singer-actor provides formal and informal venues to develop Music Theater skills: character development and portrayal, scene study, and audition skills. The laboratory format allows students to learn from the instructor as well as each other as they cover varied repertory. The course culminates in a performance at the end of each term.

The study and application of the various facets involved in opera production: scenes from the operatic repertoire and/or full-scale operas will be studied and performed. May be repeated.

Advanced formal and stylistic analysis of selected major works from the Baroque to the present.

A study of hymns and psalms in Christian worship from an historical perspective as well as a survey of contemporary hymns and performance practices.

This segment of the two-part music history survey covers the music of the Western classical tradition from chant through Beethoven. The course will acquaint the student with a substantial body of musical works by placing them within the larger context of European history. In examining these works and their aesthetic underpinnings, the course employs various techniques, including music analysis, critical listening, cultural critique, and aesthetic theory.

This segment of the two-part music history survey covers the music of the Western classical and popular traditions from Romanticism through the present day. The course will acquaint the student with a substantial body of musical works by placing them within the larger context of European and American history. In examining these works and their aesthetic underpinnings, the course employs various techniques, including music analysis, critical listening, cultural critique, and aesthetic theory.

Survey of Western music from 1900 to the present.

The study of Christian liturgics from an historical perspective as well as an overview of contemporary practice.

The philosophy and materials of music in worship. This includes strategies for implementing good church music programs, planning weekly services, choosing music for liturgical and non-liturgical services, programs and concerts with and without choir, and purchasing and maintaining instruments.

Basic gestures of conducting and basic procedures for training an instrumental ensemble to achieve its musical and technical potential.

Basic gestures of conducting and basic procedures for training a choral ensemble to achieve its musical and technical potential.

The study of instrumental timbres and idioms. Scoring and arranging for various ensembles with performance whenever possible.

Survey of choral literature of all eras, for all voices, and of all types major works and short pieces, sacred and secular, accompanied and unaccompanied.

A lab course designed for music students in the general and choral music education emphases that will provide the background for teaching about instruments in the elementary general music classroom. By means of hands-on experiences, students will gain competencies with the four basic families of instruments.

The first term of a two-term study of service playing techniques, learning to lead the congregation in the music of worship services.

The second term of a two-term study of service playing techniques, learning to lead the congregation in the music of worship services.

Each student is assigned to a specific school. The central feature of the field experience is the opportunity it affords to explore the relationship between professional academic courses and the future teaching experience. Placements require faculty supervision and regular meetings between the student and the supervising faculty member.

An exploration of how drama, art, movement, and music combine into the "spectacular" form of Music Theater. This course is designed to provide foundational grounding in music theatre history and criticism. Specific attention will be paid to developing analytical skills specific to the art form of music theatre. Course activities will include critical listening and analysis as well as research practices in music theatre. Given that music theatre is performance-based, application of course content to performance practice will constitute an important dimension of the course. Ticket fee.

Includes observation of group and private teaching by experienced teachers, practice teaching lessons with two students (one beginner and one with some prior training) under the supervision of a pedagogy instructor and with peer/teacher evaluation, critique, and commentary of lessons through audio and video taping. May be repeated once.

An intensive study of a selected topic or period in music with occasional reports and a final seminar paper.

The Practicum in Church Music in the church music emphasis is comparable to student teaching in the education curriculum. It offers the student an opportunity to experience church music work first-hand, supervised by a member of the music faculty. The student interns at a local church, possibly working with the staff church musician there, or at one of the many churches in the area needing a church musician. The faculty member observes, oversees, and guides the student.

This course is an historical survey of piano literature from the late Baroque through the twentieth century. It is intended for music majors who are piano students and for any other students who have substantial background and skills in piano performance. Representative literature of each composer and style period will be studied so that students may gain a comprehensive foundation of structural, stylistic, and technical points.

A survey of methods and materials for teaching instrumental music in the public schools. Course content will include development of instrumental music programs at the elementary and secondary level, including materials, instructional methods, organization, management, and assessment. A significant portion of the course will involve practice microteaching off campus. Students seeking licensure are required to have a grade of C- or better.

The survey of methods and materials for teaching general music in the elementary and secondary classroom. Course content will include developing lesson plans, effective classroom management strategies, and evaluation in the general music classroom. A significant portion of the course will involve practice microteachings off-campus. Guitar lab required. Students seeking Wisconsin licensure are required to have a grade of C- or better.

A survey of methods and materials for teaching in the public school vocal program. Course content will include development of choral music programs at the elementary and secondary level, including materials, instructional methods, organization, management, and assessment. A significant portion of the course will involve practice microteaching off campus. Students seeking licensure are required to have a grade of C- or better. 

Possible topics include Pedagogy (vocal or instrumental), Piano Plus (chamber music, accompanying, and/or arranged two-piano literature), and Composition (with consent of instructor).