Course Descriptions
Please note:
Courses with online syllabi are linked.
Not all courses are offered every year.
104 World Music.
This course explores the role of music in the fascinating cultures of Bali, Native North America, Africa, Ireland, India, and Japan. Students develop an appreciation of the rich and meaningful musical traditions the members of these cultures have developed and learn to interpret music and performance events using interdisciplinary methods. Working with musicians from the cultures represented, students learn to perform songs and instrumental music from Bali, Ireland, and Zimbabwe and perform a public recital of world music on authentic instruments. Students further enhance their musical skills through creative, analytical, and research projects. The course addresses both historic and new musical repertories, including popular music. No prior musical background is necessary. (Fulfills only one unit of the Social Science distribution requirement.) This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) First-year students only. 2 units — Levine.
150 Music in Western Culture.
For the non-music major. This course will examine the socio-cultural influences on music from antiquity to modern times. The music of each period will be examined in terms of its stylistic characteristics, its performance practices and its function within the society. Selected genres, composers and musical form will be studied through directed listening sessions. Special attention will be given to the aesthetic ideas that shaped the music of each period. (Meets the Critical Perspectives: The West in Time requirement.) 2 units — Brink, M. Grace.
185 Great Hits in American Music: From Plymouth Rock to Rock.
This course will examine selected highpoints in American music and their cultural roots in American society. Both popular and classical music traditions will be studied with special attention given to the social and political circumstances in which they developed. In the first block, the emergence of innovative U.S. musical traditions in the19th Century (such as civil war songs, Sousa’s band music, the Boston School of the late 1800s, and Tin-Pan Alley) will be seen as the foundations for subsequent developments in jazz, musical theater, the nationalistic works of Ives, Copland and others, and the avant garde of the mid 20th Century. The second block will focus mostly on popular music of the 20th Century through the present, with special attention given to African American contributions; traditions including the blues, rock and roll, rhythm and blues, soul, funk, and hip hop will be examined in terms of their sound and style and relation to the music industry, technological developments, race and gender relations, and other cultural issues. One unit counts toward the CP:D requirement. First-year students only. (Not offered 2009-10.) 2 units.
190 Art and Music From Ancient to Modern Times: Harmony or Discord?.
Examines the histories of western art and music, how the arts reflect cultural ideas and how their evolving styles and meanings seem either “harmonious” or “discordant” with one another. The course will cover key developments in both disciplines in antiquity, the middle ages, the Renaissance, Baroque, Romantic Impressionist, and Modern eras. (Meets the Critical Perspectives: The West in Time requirement.) (Also listed as Art History 190.) (Not offered 2009–10.) 2 units.
199 Pre-Theory.
Develops understanding of the basic elements of music through written and aural exercises and analysis. Rudiments of music theory involving melody, rhythm, and harmony. Concentration on notation and aural recognitions of rhythm and meter, key signatures, scales, and intervals; the construction and connection of basic triads and chords; basic keyboard and sight singing skills. Designed to assist students planning to take Theory I-IV or for students interested in gaining knowledge of the musician's basic materials and skills. Cannot be used as a credit toward the music major. Prerequisite: Consent of Instructor. 1 unit — Bhattacharjya, D. Brink.
Introduction to digital sound in all three categories of composition, orchestration and musical arrangement, with primary focus on Finale Notation Software. Work in the computer lab will explore a range of possibilities that combine digital samples, multimedia, and the Internet. Students will create their own orchestral arrangements and explore new combinations of sound and rhythm in an atmosphere of experimentation and discovery. Students will print, playback and record their own music. Prerequisite: Consent of instructor. (May be offered as a January half-block). .5 unit — Ben-Amots.
201 American Music: From Plymouth Rock to Rock.
Survey of music in the United States from the colonial era to present. Both popular and classical music traditions will be examined with special attention given to the social and political contexts in which they developed. The emergence of innovative U. S. musical traditions in the 18th and 19th centuries will be seen as the foundations for the subsequent schools of jazz, musical theater, the nationalistic works of Ives, Copland, and others, the avant garde of the mid 20th century, and the evolution of pop to rock during the 1950s, 60s, and 70s. Finally, attention will be given to recent developments by living composers. No musical background is required. (Not offered 2009-10). 1 unit.
204 From Mozart to Mahler: A History of the Symphony.
No previous musical experience needed. An exploration of the development of the symphony, beginning with its inception as an amalgamation of various national characteristics in courtly circles during the middle of the 18th century. Haydn, Mozart, and Beethoven elaborated and transformed the genre as it moved into the 19th century, when it flourished as a dramatic vehicle for large public concerts during the great age of Romanticism. An analysis of the symphony's mid-to late-19th century manifestations will examine the continuity of its forms as well as the myriad innovations that eventually led both to the profound creations of Mahler and others as well as the ultimate decline of the genre in the 20th century. (Not offered 2009-10). 1 unit.
205 Jazz.
An introduction to the history, theory and literature of American jazz music. Jazz as a primarily Afro-American cultural expression. Traditional African music and its relation to ragtime and blues. The evolution of jazz from its New Orleans origins to the present, as traced in the recorded legacy of such key innovators as Armstrong, Ellington, Parker, Davis, Monk and Coltrane. Guided listening and collective improvisation. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Scott.
207 Opera.
An introduction to operatic conventions from the origin of opera in the late Renaissance to the operatic masterworks of the 20th century. Sociological elements behind the presentation of opera will be discussed as well as concepts in staging and production. 1 unit — Agee.
210 Splendor of the Baroque.
No previous musical experience needed. A kaleidoscopic introduction to the passionate and lofty music of the late 16th, 17th, and early 18th centuries. The course examines the fascinating English developments of the late Renaissance and early Baroque, the rediscovery of ancient music and the invention of opera, the flowering of instrumental music across Europe, and the final apotheosis of the high Baroque in the dramatic spectacle of Handel and the contrapuntal genius of Bach. (Not offered 2009-10.) 1 unit.
211 Miles Ahead: The Miles Davis Years.
This course traces the remarkable fifty-year career of one of jazz's most important innovators. His thinking inspired several distinct stylistic movements in the music, and he was mentor to many younger players who developed into major voices under his leadership. Guided listening to several of Miles most important recordings as well as those of some of his significant proteges and investigation of some of the extra-musical issues surrounding his life and music. No prerequisite, though 205 Introduction to Jazz is recommended. Prerequisite: Music 205 is recommended. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Scott.
212 Mozart & His Age.
A study of Mozart's life, character and works in the context of 18th-century Europe. The course will examine each genre of music composed by Mozart and compare his works with those of his immediate predecessors and contemporaries such as Handel and Haydn. Mozart's place in 18th century society - his relationships with employers, contemporary musicians and works, family, friends, and the Masonic movement - will be examined as a context for the study of his music. No musical background is required. 1 unit — M. Grace).
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221/222 Topics in Ethnomusicology. Special topics in ethnomusicology, approached through emphasis on a particular musical area, theoretical issue, genre or repertory, compositional technique, or instrument. The course is devoted to non-Western musical cultures. Meets the ethnomusicology requirement for the music minor.
Topics in Ethnomusicology: Music of Cuba.
An introduction to the cultural and political scene of Cuba, past and present. Through a careful examination of the classical repertoire and salon music of the 18th to the 20th centuries, we will explore the Danz-n Music of the various Afro-Cuban religious groups as well as the Santeria, Palo and the Abakua carnival music of the indigenous Spanish population. Discussion of the different forms of Rhumba, the history of Son and its influence on contemporary Salsa, as well as topics such as the Cuban bolero, Hip-Hop and Jazz. Special attention will be given to the marketing and commercializing of the contemporary Cuban music as demonstrated by the enormous success of “The Buena Vista Social Club.” (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 221.) 1 unit — Schormann.
Topics in Ethnomusicology: Global Pop.
What does popular music sound and look like in other places? What determines how similar or how different that music sounds from what we know? What determines whether or not music from those places makes its way here? In this course we will explore these questions and other topics, including the globalization of the music industry, the changing role of technology and mass media, the problem of authenticity in popular culture, and the politics of identity in the context of various popular music traditions from around the world. Case studies will include include Afro-pop, reggae, and global hip-hop among other traditions and examine each of those traditions' stylistic elements and historical development. 1 unit - Bhattacharjya.
Topics in Ethnomusicology: Music, Sex, and Intoxication.
Sex, drugs, and rock and roll. Wine, women, and song. Variations of these themes have appeared throughout time around the world. Do sex, drugs, and rock and roll have the same effect on the body? Are wine, women, and song interchangeable? In this course we explore how music relates to sexuality and altered states of consciousness, and how in turn, music creates an alternate way of engaging with the world-- even an alternate sense of identity. Readings, discussions, and listening assignments will cover a wide range of topics-- historical and contemporary, local and global. Theoretical approaches drawn from anthropology, feminist studies, gender and sexuality studies, and queer theory help us define music's relationship to the body. (Also listed as Anthropology 222.) 1 unit—Bhattacharjya.
223 Beethoven, or "Da-Da-Da-DUMMM".
An exploration of the life and music of Ludwig van Beethoven (1770-1827). The course will begin with an overview of Beethoven's artistic inheritance from Haydn and Mozart, particularly in regard to symphonies, piano sonatas and concertos, string quartets, music for the stage, and sacred music. The powerful and daring works of Beethoven's middle period, the time of his increasing deafness, proved a challenge to this inheritance, and these compositions dominated the aesthetic concerns of the most important Western composers who followed Beethoven in the nineteenth century. The transcendental, reflective, and even puzzling works that Beethoven created in his last years - while his behavior was becoming more erratic and disturbing - were not fully appreciated by his contemporaries and immediate successors. Indeed, their artistic value and influence were not generally acknowledged until the twentieth century. This course will focus on the musical and biographical considerations that can be used to describe Beethoven as a Viennese Classical, Romantic, and post-Romantic figure, as well as his role in forming the modern concept of the performing artists and composer. No musical background is required. 1 unit — Agee.
224 Jewish Music.
This interdisciplinary course traces the many musical traditions of the Jewish world communities in a journey from Temple singing and desert ceremonies in biblical times, through music of Mendelssohn, Mahler, and Schoenberg, to works of individuals such as Gershwin, Copland, Berlin, and Bernstein. Included will be a comparative study of the three major religions of the Western world exploring their respective voices and musical interaction. Sociology, literature, religion and history, as well as issues of ethnicity, cultural unity and self-expression, will be engaged in this multicultural search for musical identity. (Also listed as Religion 224.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Ben-Amots.
225 Wagner's "Ring".
An exploration of the romantic operas, the music-dramas, and the aesthetic principles of Richard Wagner, with special emphasis on The Ring of the Niebelung. Excellent production of the Ring music-dramas (The Rhine Gold, The Valkyrie, Siegfried, Twilight of the Gods) will be viewed on videotape, laserdisc and DVD. (Not offered 2009-10.) .5 unit.
227/228 Topics in Music.
Particular aspects in music, approached through emphasis on a form, period, composer(s), area or medium.
227 History of Pop.
How do we relate what we hear around us today to a longer history of popular music in the United States? This course provides a historical background as we examine the advent of sound recording and the rise of Tin Pan Alley before introducing the blues, country, and rhythm and blues. Later we explore more contemporary genres including rock and soul, punk and disco, rap and metal, and alternative music as well as sub-genres and stylistic variants of these sounds. This course presents an in-depth treatment of the music itself--including discussions of stylistic elements and analyses of musical examples-- in the context of the music industry and consumer preferences, historical and political events, technological developments, race, ethnicity, gender, and region. 1 unit —Bhattacharjya.
232 Popular Music from South Asia, the Middle East, and North.
Explores popular music from South Asia, the Middle East, and North Africa, as well as from these regions' diasporic populations in the United States and Europe. Considers how technology, mass media, and migration have shaped and still shape communities' respective cultural identities, particularly in the contemporary context of globalization. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 250.) 1 unit — Bhattacharjya.
233 From Bombay to Bollywood: Music and the Popular Indian Film.
Examines how film music has helped define the global industry now known as "Bollywood." Also examines how film song sequences, hallmarks of Indian popular cinema, work within and outside films' narratives to create a unique aesthetic. Course surveys both old and recent popular Bombay films. It explores elements of songs within the film including stylistic conventions, context within films, and their life outside the cinema hall. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 223.) 1 unit — Bhattacharjya.
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290 American Indian Music.
Explores American Indian history, culture, society, religion, ritual, aesthetic expression, and contemporary issues through the domain of music. Develops ability to identify, describe, and analyze various American Indian music; considers diverse styles and performance contexts. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2009-10.) 1 unit.
291 Southwest American Indian Music.
Music and culture of Southwest American Indians, with emphasis on Pueblo and Athabascan peoples. Considers origin narratives, cosmology, ritual drama, dance, and other aesthetic modes as related to Southwest Indian musical performance. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 291 and Southwest Studies 291.) 1 unit — Levine.
294 Latino Musics of the United States.
Explores the role of music in the expression of ethnicity and ethnic identity among Latino peoples of the United States. Various musical styles and genres performed by New Mexicans, Texas-Mexicans, Native Americans, Puerto Rican Americans, and Cuban Americans are considered. Traditional and popular Latino music is examined within their cultural and historical contexts. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2009-10.) 1 unit.
295 Indonesian Music.
Surveys Indonesian history, culture, society, religion, and aesthetic values through music. Students become familiar with a variety of Indonesian musical repertories, styles, and performance contexts, including court traditions of Java, Sunda, and Bali and village traditions throughout the Indonesian archipelago. Traditional as well as new music is discussed. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 295 and Asian Studies 295.) 1 unit — Lasmawan, Levine.
301 Composition.
Practical guidance in the composition of original music, with reference to 20th century music theory and compositional methods. Students will be able to concentrate on both the creative and the analytical aspects of contemporary composition. Prerequisite: Consent of instructor. 1 unit — Ben-Amots.
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315 Music History I.
Music of the Ancient World, Middle Ages, Renaissance, and Baroque. Forms, techniques, media, and aesthetic elements as fundamentals of style. An examination of music and music theory from classical antiquity through the middle of the 18th century, including the diffusion of early Christian chant, the rise of mainstream sacred polyphony in Paris during the twelfth and thirteenth centuries, the spread of sacred and secular forms during the late Middle Ages, the influence of English style on the French-Flemish composers who would dominate sacred musical style in the fifteenth and early sixteenth centuries, the appearance of important Italian composers in the late Renaissance, the national manifestations of Renaissance and early Baroque secular forms, and the international High Baroque style of Vivaldi, Bach, Handel, and Rameau. Prerequisite: Consent of instructor and 199. (315 and 316 taken in the same year meet the Critical Perspectives: The West in Time requirement.) 1 unit — Agee.
316 Music History II.
Music of the Classical and Romantic periods, and the 20th century until 1945. Forms, techniques, media, and aesthetic elements as foundations of style. Music of the Classical era concentrating on the works of Haydn, Mozart, and Beethoven, studied in the context of the age of Enlightenment and the freedom of the composer from patronage systems. The emergence of a romantic ideal in 19th century music with special focus on Schubert, Schumann, Chopin, Liszt, Berlioz, Brahms, Verdi, Wagner, nationalistic composers in Russia, and Mahler. The languages of 20th-century music as a part of rapid cultural change including the music of Debussy, Stravinsky, Schonberg, Webern, Berg, and Bartok. Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed. Prerequisite: Consent of instructor and 199. (Music 315 and 316 taken in the same academic year meet the Critical Perspectives: The West in Time requirement.) 1 unit — Grace.
(Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed.)
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325 Conducting (Choral).
Basic conducting and rehearsal techniques; interpretation in light of performance practices of various historical periods. Some outside reading required. Taught as an extended format course and must be taken for a full year. Prerequisite: Consent of instructor. 1 unit — Teske .
342 Music Education in the Elementary Grades.
Prerequisite: Consent of instructor (extended format). (Also listed as Education 342.) 1 unit — Anderson.
391 Theory I: Introduction to Counterpoint.
Introduces students to the basic aspects of musicianship – intervallic and chordal quality recognition; simple melodic dictation; elementary cadential progressions at the keyboard; sightsinging of melodies in treble, alto, and bass clefs, singing melodies with piano accompaniment, and singing duets (either part as requested); rhythmic exercises with simple conducting patterns; and the singing of canons together as a class. The daily written assignments introduce students to the elementary principles of melodic construction and voice-leading, beginning with the structure of simple melodies followed by species counterpoint in two voices – in first species whole notes against the cantus firmus; in second species, half notes against the cantus firmus; in third species, quarter notes against the cantus firmus; in fourth species, suspensions and syncopations in half notes against the cantus firmus; and in fifth species, a mixture of the previous four species against the cantus firmus. Florid counterpoint without a cantus firmus and invertible counterpoint follow. Students also learn the principles behind the standard contrapuntal genres of canon and fugue. The final project is the composition of a canon for two voices. Prerequisite: MU199 or COI (by passing the Pre-Theory placement exam with at least 60% correct). 1 unit — Agee.
392 Theory II: Introduction to Diatonic Harmony.
This course continues to build on the basic aspects of musicianship – intervallic and chordal quality recognition; melodic dictation and dictation in two voices; cadential progressions at the keyboard; sightsinging of melodies in treble, alto, and bass clefs, singing melodies with piano accompaniment, singing duets (either part as requested); and rhythmic exercises with simple conducting patterns. The daily written assignments explore the principles of melodic construction, including non-harmonic tones and their use; triad and seventh chord construction and voicing, and voice leading in a diatonic three or four-voice setting, both with root-position and inverted chords. The use of simple melodic and harmonic sequences, cadences, and the basics of musical form are also explored and practiced. The final project is the composition of a song for voice and keyboard employing the principles of harmonic motion and melodic writing studied. Prerequisite: Music 391. 1 unit — Brink.
393 Comparative Music Theory.
Explores musical thought and process in non-Western cultures, with emphasis on Native North America, Indonesia, and India; traditional notation and sight-singing systems, ear-training, melodic and rhythmic dictation, formal analysis. This course meets the ethnomusicology requirement for the music minor. Prerequisite: Music 392. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit — Levine.
399 Experimental Music.
Study and practical work in the "American Experimental Tradition" of Ives, Cowell, Cage, Partch and Young, and their international contemporaries and disciples. Primary focus on the development of new acoustic sound sources, including extended instrumental and vocal techniques, instrument design and building. Some attention also to compositional and performance issues. Prerequisite: Music 150 or 391. 1 unit — Scott.
401/402 Readings in Music.
Specialized concentration in fields appropriate to the needs of the individual student, under the direction of the music faculty. May be taken by non-music majors. Prerequisite: Consent of instructor. 1 unit — Department.
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411 Theory III: Advanced Diatonic Harmony.
The materials covered in this class include tenor clef, modulatory melodies, two-voice dictation, common chord identification with their inversions (including dominant seventh chords), elementary score-reading, compound meters with syncopation (while conducting), beginning atonal sightsinging, and advanced cadential progressions, modulation, and realization of figured bass at the keyboard. The daily written materials will include a constant review of basic diatonic harmony, tonicization, secondary or applied dominants, modulation, sequences, diminished seventh chords, binary form structures, and an introduction to string quartet texture. The final project will be the composition of a minuet and trio (rounded binary forms) scored for string quartet. Prerequisite: MU392. 1 unit — Agee.
412 Theory IV: Chromatic Harmony.
This course rounds out the theory and musicianship sequence offered by Colorado College. The class continues the study of theoretical principles of tonal harmony, while focusing on chromatic and extended chords and their usage. "Chromatic Harmony" emphasizes the use of secondary dominants, extended subdominants, special sixth chords (such as German, French, Italian, and Neapolitan) as well as the 9th, 11th, and 13th chords in progressions and modulations. A thorough study of musical form examines the binary, rounded binary, ternary, sonata allegro, rondo, and a variety of romantic Lied forms. Students complete a final project of a thorough harmonic, motivic, and formal analysis of a Beethoven sonata-allegro movement and the composition of an original sonata exposition for piano. Ear training and keyboard harmony proficiency complements the analytic study. This material includes advanced modulating melodies as well as atonal melodies in dictation, three- and four-part dictation (such as Bach chorales) and higher order chords. Other topics include score recognition and a continuation of score reading practice. The intensive activities relating to the aural, visual, analytic, and written musical skills lead the students toward mastery of the course materials and a successful completion of the theory sequence. Prerequisite: Music 411. 1 unit — Ben-Amots.
435 Senior Project.
Advanced work on the senior project in music, such as a written thesis, a senior recital, or a major composition. This course may be taken by any music major of senior standing with the consent of the department. Only seniors who have completed the senior project will be considered for departmental honors upon graduation. Overall performance in course work and the quality of the senior project will be used to determine honors status. (Offered as a block or extended format.) Prerequisite: Consent of department. 1 unit — Department.
Performance – Instrument Instruction
African Music – MASANGO; Brass – SCHEFFELMAN, VAN HOY, T. WILSON; Organ – SHELTON; Percussion – COOPER; Piano – ANDERSON, D. BRINK, S. GRACE, PENNINGTON, POLIFKA, C. WILSON; Strings – BOLGER, HEAD, JORGENSEN, KNIGHT, LISS, D.MILLER, M. MILLER, REED, SIZER, TAYLOR; Voice – BURNS, A. BRINK, HANSEN, ROWLAND; Woodwinds – DING, EKBERG, MATZKE, NAGEM, STEVENS, VIEIRA.
Private instruction by qualified professionals in voice and all instruments (12 private lessons of 40 minutes per semester) and class instruction in African drumming, guitar, piano, and voice are available for a fee. The instruction includes study of technique, tone production, interpretation, and repertoire depending on the student’s ability and degree of previous advancement. All students MUST register with the music department supervisor at the beginning of EACH semester. Private and class instruction are offered as adjunct courses for .25 unit per semester.
124 Class Instruction in Piano.
Small group lessons for beginners, developing basic skills in technique, tone production, and musicianship. Music fundamentals, ear-training, sight-reading, and keyboard harmony. Meets once a week. Prerequisite: Consent of department. .25 unit — Brink.
125 Class Instruction in Voice.
Students will discover aspects of good vocal production (singing, speaking) including posture, breathing, general vocal physiology, relaxation techniques, performance skills and more. For students who do not take private lessons. Individual attention given. Four to twelve students, no previous experience required. Meets once a week. Prerequisite: Consent of department. .25 unit — Hansen.
126 Class Instruction in Guitar.
Small group lessons for beginners, developing basic skills in technique, tone production, and musicianship. Meets once a week. Prerequisite: Consent of department. .25 unit — Miller.
146 Instrumental Ensemble: Methods.
Two-semester course. .25 unit per semester — Hanagan.
Performance – Ensembles
Instrumental Ensemble and Vocal Ensemble credits (only for non-music majors) may be counted toward a degree provided the student does not have a total of more than 2 units of work in all.
130 World Music Ensemble: African Music Ensemble. .25 unit — Masango.
131 Balinese Gamelan Music. (Also listed as Asian Studies 131.) .25 unit — Lasmawan.
144 Concert Band. .25 unit — Van Hoy.
145 Chamber Orchestra. .25 unit — D. Brink.
147 Jazz Ensemble. .25 unit — Sweum.
148 Bowed Piano Ensemble. .25 unit — Scott.
149 Small Chamber Ensemble Program. .25 unit — Department.
157 Chamber Chorus. .25 unit — Teske.
159 College Choir. .25 unit — Teske.
175 Collegium Musicum. .25 unit (Not offered 2008-09).