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Home Academics Programs and Majors Music
The Music Degree program is designed to provide students with a rich foundation and core curriculum for the development of the professional musician through music theory, history, performance, and production. Associate of Arts degrees are offered in both traditional and jazz studies with an emphasis in either instrumental or vocal performance.
The Commercial Music program is designed to serve as a springboard for a career in the music business. The program offers Associate of Arts degrees and certificates in audio recording or music business. Students study with industry professionals and learn in ARC's state-of-the-art equipped recording studios and facilities. Visit the Commercial Music Program website for more information.
Division Dean Angela Milano
Department Chair Dyne Eifertsen
Fine & Applied Arts Division Office
Associate Degrees for Transfer
A.A.-T. in Music
Completion of this degree provides a foundation in music. Program offerings include course work in music theory and aural skills, applied composition, instrumental and vocal instruction, and ensemble performance.
The Associate in Arts in Music for Transfer provides students with a major that fulfills the general requirements of the California State University for transfer. Students with this degree will receive priority admission with junior status to the California State University system.
The Associate in Arts in Music for Transfer (A.A.-T.) may be obtained by the completion of 60 transferable, semester units with a minimum of a 2.0 GPA, including (a) the major or area of emphasis described in the Required Program outlined below (earning a C or better in these courses), and (b) the Intersegmental General Education Transfer Curriculum (IGETC).
MUFHL 400 Music Theory and Musicianship I 4
MUFHL 401 Music Theory and Musicianship II 4
MUFHL 410 Music Theory and Musicianship III 4
MUFHL 411 Music Theory and Musicianship IV 4
MUIVI 420 Applied Music 1
MUIVI 421 Applied Music II 1
MUIVI 422 Applied Music III 1
MUIVI 423 Applied Music IV 1
Subtotal Units: 20
Guitarists/Pianists/Composers
MUP 310 Orchestra (2)
MUP 311 Advanced Orchestra (1 - 2)
MUP 320 Jazz Band (2)
MUP 321 Advanced Jazz Band (1 - 2)
MUP 323 Latin Jazz Ensemble (2)
MUP 324 Advanced Latin Jazz Ensemble (1 - 2)
MUP 330 Concert Band (2)
MUP 331 Advanced Concert Band (1 - 2)
MUP 340 Symphonic Band (2)
MUP 341 Advanced Symphonic Band (1 - 2)
MUP 350 Concert Choir I (2)
MUP 352 Advanced Concert Choir (2)
MUP 360 Chamber Singers (2)
MUP 361 Advanced Chamber Singers (2)
MUP 400 Vocal Jazz Ensemble (2)
MUP 401 Advanced Vocal Jazz Ensemble (1 - 2)
Guitarists/Pianists/Composers Units: 8
Instrumentalists Units: 8
Vocalists Units: 8
The Associate in Arts in Music for Transfer (AA-T) degree may be obtained by completion of 60 transferable, semester units with a minimum 2.0 GPA, including (a) the major or area of emphasis described in the Required Program, and (b) the Intersegmental General Education Transfer Curriculum (IGETC).
analyze musical scores and compositions
critique personal music performances and those of other musicians
analyze and perform the elements of music (rhythm, melody, harmony, and form)
create derivative or original music at a level appropriate to the area of specialization
Individuals with four-year degrees in music may be placed in the K-12 educational field as well as performers in professional music ensembles, directors for religious and community music groups, private music studio instructors, composers for media and publishing, music therapists, and administrative staff for music organizations. Advanced degrees in music may lead to careers as educators at the college or university level, performers, music directors, and music editors and journalists.
A.A. in Commercial Music: Business
This degree explores the inner workings of the music industry in areas such as publishing, entertainment, distribution, and music law. Course work addresses industry-specific issues such as copyright, record contracts, publishing agreements, artist management, promotion, and marketing.
BUS 300 Introduction to Business 3
BUS 340 Business Law 3
BUS 350 Small Business Management/Entrepreneurship 3
MUFHL 321 Basic Musicianship 3
MUFHL 330 World Music 3
MUSM 110 The Business of Music 3
MUSM 112 The Business of Music/Artist Management 3
MUSM 113 The Business of Music/Promotion 3
MUSM 120 Contemporary Songwriting 3
BUS 210 The Business Plan (1)
BUS 212 Marketing for Small Businesses (1)
BUS 214 Financing a Small Business (1)
BUS 216 Essential Records for the Small Business (1)
BUS 218 Management Skills for the Small Business (1)
BUS 220 Retailing and Merchandising for the Small Business (1)
BUS 224 Customer Service (1)
BUS 228 Selling Techniques for the Small Business (1)
The Commercial Music: Business Associate in Arts (A.A.) degree may be obtained by completion of the required program, plus general education requirements, plus sufficient electives to meet a 60-unit total. See ARC graduation requirements.
create a music business and marketing plan
organize an artist tour, assemble a promotional packet, create a publicity campaign, and develop media, industry, and fan lists
evaluate and implement recordkeeping systems for financial, employment, and tax records
demonstrate a basic knowledge of music fundamentals, cross-cultural influences from diverse geographical regions, and song composition/arranging techniques
analyze case problems and apply legal principles to interpret regulations, laws, and statutes related to the music industry
compare the job descriptions and duties of attorneys, publishers, merchandisers, record company personnel, agents, managers, and producers
assess record contract points, publisher-writer exclusive agreements, attorney-client contracts, as well as management and touring agreements
Typical career options include booking agent, personal manager, business manager, concert promotion, studio owner/manager, music legal services, publicity writer/public relations, tour management, music retail, music publishing and distribution, and music licensing. The degree also prepares students for transfer to a four-year institution.
A.A. in Commercial Music: Recording
This degree provides students the core skills needed to enter a career in audio engineering. Foundational classes in the theory and art of recording are coupled with significant laboratory experiences in order to prepare the student for further study at a four-year institution or for an entry-level career position.
ET 302 Principles of Electricity and Electronics 4
MUIVI 340 Beginning Piano 2
MUSM 140 Concert Sound Reinforcement 2
MUSM 334 Introduction to Musical Instrument Digital Interface (MIDI) 2
MUSM 342 Recording Studio Techniques I 3
MUSM 344 Recording Studio Techniques II 3
MUSM 350 Recording Studio Techniques III 3
MUSM 352 Recording Studio Techniques IV 3
MUSM 356 Pro Tools 101, Introduction to Pro Tools 1.5
MUSM 357 Pro Tools 110 Intermediate Pro Tools 1.5
The Commercial Music: Recording Associate in Arts (A.A.) degree may be obtained by completion of the required program, plus general education requirements, plus sufficient electives to meet a 60-unit total. See ARC graduation requirements.
analyze the signal flow and understand the operation of electrical components found in a typical recording studio
set up and employ the use of mixing consoles, multi-track recorders, Digital Audio Workstations (DAWs), and sound reinforcement systems
select and set up outboard signal processing hardware and software plug-ins for audio enhancement
explain music fundamentals, cross-cultural influences from diverse geographical regions, and song composition/arranging techniques
create Musical Instrument Digital Interface (MIDI) sequencing and notation projects utilizing music keyboard input devices and various software packages
design and equip a fully-functioning and acoustically-sound recording studio
formulate and implement effective musical and technical recording session techniques
Typical career paths include recording engineer, broadcast engineer, live sound reinforcement, post-production audio, sound effects editor, multi-media/internet audio, and audio/music education.
A.A. in Jazz Studies
The Jazz Studies degree provides a rigorous curriculum of jazz theory, history, performance groups, improvisation, piano, and individual applied instruction.
MUFHL 315 Jazz History 3
MUFHL 420 Beginning Jazz Theory 2
MUIVI 385 Jazz Styles and Improvisation (2) 2
or MUIVI 390 Jazz and Popular Vocal Styles and Improvisation I (2)
MUIVI 400 Beginning Jazz Piano 2
MUIVI 425 Applied Music - Jazz I 1
MUIVI 426 Applied Music - Jazz II 1
The Jazz Studies Associate in Arts (A.A.) degree may be obtained by completion of the required program, plus general education requirements, plus sufficient electives to meet a 60-unit total. See ARC graduation requirements.
analyze musical scores and compositions from the jazz idiom
analyze and perform the basic elements of music (rhythm, melody, harmony, and form)
create (compose and improvise) jazz music appropriate to the area of specialization
compare and contrast the characteristics of various historical periods of jazz
arrange compositions and assemble musicians for a performance
This degree prepares a student for careers in performance (concert and studio), education, arranging/composing, and in the music industry. It also prepares students for transfer to a four-year institution.
A.A. in Music
The Music degree includes vocal and instrumental components, as well as courses in music, history, and theory. The general program is designed to provide students with a foundation in music theory and history. Performance opportunities in both vocal and instrumental music enhance a student's understanding and skill levels.
MUFHL 310 Survey of Music History and Literature (Greek Antiquity to 1750) 3
MUFHL 311 Survey of Music History and Literature (1750 to the present) 3
The Music Associate in Arts (A.A.) degree may be obtained by completion of the required program, plus general education requirements, plus sufficient electives to meet a 60-unit total. See ARC graduation requirements.
compare and contrast the characteristics of various musical cultures and historical periods from the origin of music history to the present
The Music degree prepares students for careers in music performance, education, composition, conducting, retail music industry, music publishing, and music therapy. The degree also prepares students for further study at a four-year institution.
Certificates of Achievement
Commercial Music: Business Certificate
This certificate explores the inner workings of the music industry in areas such as publishing, entertainment, distribution, and music law. Course work addresses industry-specific issues such as copyright, record contracts, publishing agreements, artist management, promotion, and marketing.
Gainful Employment Information for Commercial Music: Business Certificate of Achievement
Typical career options include booking agent, personal manager, business manager, concert promotion, studio owner/manager, music legal services, publicity writer/public relations, tour management, music retail, music publishing and distribution, and music licensing.
Commercial Music: Recording Certificate
This certificate provides the core skills needed to enter a career in audio engineering. Foundational classes in the theory and art of recording are coupled with significant laboratory experiences in order to prepare the student for further study at a four-year institution or for an entry-level career position.
Gainful Employment Information for Commercial Music: Recording Certificate of Achievement
Digital Audio Production Certificate
This certificate is intended to provide a practical foundation in audio production skills, provide suitable preparation to begin work in the recording and sound production industry, or to serve as a foundation for further study. It also enables people currently employed in the field of audio recording and other associated fields a means to upgrade and expand their skills.
MUSM 366 Pro Tools 201, Advanced Pro Tools (1.5) 1.5 - 3
or MUSM 350 Recording Studio Techniques III (3)
Total Units: 12.5 - 14
create, arrange, and notate music using standard Musical Instrument Digital Interface (MIDI) software
produce audio recordings, music mixes, and audio post-production projects using a Digital Audio Workstation (DAW)
evaluate various formats and platforms of digital audio recording hardware and software
integrate outboard signal processing equipment and plug-ins into the audio signal path for audio enhancement
formulate and implement effective recording session techniques
analyze the fundamental process and sequence involved in the production of digital audio
Typical career paths include post-production audio, broadcast engineer, sound effects editor, multimedia/Internet audio, professional recording studio engineer, and owner/engineer of a smaller demo production studio.
Music Management and Promotion Certificate
This certificate offers an overview of the core skills essential to enter the music industry in careers such as artist and music facility management, concert promotion, marketing, and publishing. It also assists those who wish to pursue a career as an independent artist, set up their own record label, or manage their own career.
evaluate and critique recording, management, publishing, and other music industry contracts
propose and employ networking skills and tools to develop contacts in the music industry
compare and contrast traditional and alternative music distribution channels
research merchandising considerations including design, pricing, manufacturing, and distribution
create marketing and business plans
describe emerging trends, models, and entrepreneurial opportunities in the music industry
assess promotion tools such as radio, television, and new media, such as YouTube, social networking, and viral campaigns
Music Instructional Assistant Certificate
The certificate is an introductory program for students planning careers in music education for grades K-12
MUIVI 200 Introduction to Music Education 0.5
A minimum of 1 unit from the following: 1
MUIVI 298 Work Experience in Instrumental/Voice Instruction (1 - 4)
Subtotal Units: 8.5
Total Units: 10.5
three years of experience in any band or choir
interpret a music score and play a melody with accompanying block chords (I, IV, V7)
evaluate the playing of others
recommend and demonstrate good practice habits
formulate practice routines specific to an instrument
create basic lesson plans for beginning instrumental or choral ensembles
evaluate and critique performance ensembles
select appropriate teaching materials for beginning band or choral ensembles
compose for various instrumental and vocal combinations
apply effective leadership styles at work, with consideration to group dynamics, team and individual decision making, and workforce diversity
This certificate prepares a student for careers in music education, grades K-12, in paraprofessional roles such as a docent, tutor, or instructional assistant.
Studio Jazz/Pop Voice Instructor Certificate
This certificate offers an overview of the skills essential to enter the studio jazz/pop voice teaching profession as either a member of a retail studio or as an independent voice instructor, coach, consultant, or tutor.
MUIVI 310 Voice Class I 2
MUIVI 311 Voice Class II 2
MUIVI 390 Jazz and Popular Vocal Styles and Improvisation I 2
MUIVI 391 Jazz and Popular Vocal Styles and Improvisation II 2
MUP 400 Vocal Jazz Ensemble 2
MUFHL 321 Basic Musicianship (3) 2 - 3
or MUIVI 340 Beginning Piano (2)
or MUIVI 385 Jazz Styles and Improvisation (2)
or MUIVI 400 Beginning Jazz Piano (2)
or MUIVI 370 Beginning Guitar (2)
Total Units: 12 - 13
diagnose poor vocal habits.
formulate a pedagogical plan to resolve poor vocal habits.
evaluate a voice student's vocal skills.
devise a pedagogical plan to develop or improve basic vocal skills.
devise a pedagogical plan to develop or improve jazz/pop style.
assess a vocalist's ability to maintain independence in a harmonic setting.
devise and implement a pedagogical plan to develop or improve a vocalist's ability to maintain independence in a harmonic setting.
demonstrate the basic skills necessary to sing with appropriate breath support and jazz/pop tone quality.
demonstrate the basic skills necessary to expand the vocal range and flexibility.
Typical career options include employment as owner or employee of a private voice studio and vocal consultant to local recording studios, bands, and music troupes.
Studio Music Instructor Certificate
This certificate focuses on studio music teaching and prepares students for employment as an owner or employee of a private or public music studio. It includes tutoring and coaching students/clients in basic instrumental/vocal technique with an emphasis on performance pedagogy.
Guitarists/Pianist/Composers
Guitarists/Pianist/Composers Units: 2
three years of experience in either band or choir.
design and implement an effective practice routine
compare and contrast music from different musical eras written for instrument/voice
analyze music performance skills
demonstrate the skills needed to play simultaneously with other pianists/musicians
demonstrate individual musical skills commensurate with the Level I & II National Association of Schools of Music (NASM) guidelines
analyze basic music form and structure
construct scales, chords, harmonic progressions and rhythms
This certificate offers an overview of the skills essential to enter the music teaching profession as either a member of a retail studio or as an independent music instructor, coach, consultant, or tutor.
Studio Voice Instructor Certificate
This certificate offers an overview of the skills essential to enter the studio voice teaching profession as either a member of a retail studio or as an independent voice instructor, coach, consultant, or tutor.
MUIVI 320 Voice Class III 2
MUIVI 321 Voice Class IV 2
MUP 350 Concert Choir I (2) 2
or MUP 360 Chamber Singers (2)
or MUP 400 Vocal Jazz Ensemble (2)
classify voice types based upon range.
demonstrate the basic skills necessary to sing with appropriate breath support and tone quality.
The Studio Voice Instructor will find employment as owner or employee of a private voice studio. This position will include coaching students/clients in basic vocal technique with an emphasis on traditional vocal pedagogy.
Music - Fundamentals, History, and Literature (MUFHL)
MUFHL 300 Introduction to Music
Advisory:Eligible for ENGRD 310 or ENGRD 312 AND ENGWR 300; OR ESLR 340 AND ESLW 340.
General Education:AA/AS Area I; CSU Area C1; IGETC Area 3A
C-ID:C-ID MUS 100
This course is an introductory examination of how composers and songwriters apply the various elements of music to heighten the expressive impact of a composition. Aspects of melody, rhythm, harmony, tone, and structure are studied through focused listening of works from the Renaissance to contemporary styles of avant-garde and popular music. This course requires no previous musical study.
define terms regarding sound, music, notation and history of music
compare and contrast various forms and styles of music
critique musical performances utilizing course concepts
compare styles and ensembles from the Renaissance to the present
identify specific masterworks and composers
MUFHL 308 Introduction to Music: Rock & Roll
This course examines social, political, cultural, and economic issues as they relate to the history of Rock & Roll music. It includes guided listening and video presentations to show the evolution of Rock from its roots to current stylistic trends. This course requires no previous musical study.
compare and contrast substyles of the Rock & Roll genre.
analyze the national and international historical events of past decades and the influence of these events on the Rock & Roll idiom.
identify the influences of social, political, ethnic, and gender issues on Rock & Roll.
describe the influence of world cultures (e.g. England, Africa, Ireland, Eastern India, South America, Mexico) on Rock & Roll.
evaluate musical examples by applying techniques of analytical listening.
MUFHL 310 Survey of Music History and Literature (Greek Antiquity to 1750)
Advisory:MUFHL 321 and 400; AND eligible for ENGRD 310 or ENGRD 312 AND ENGWR 300; OR ESLR 340 AND ESLW 340.
This is part of a two-course series that offers a survey of the history of music, including the most significant composers and works from antiquity to 1750. It provides background on medieval, renaissance, and baroque music, thus increasing understanding of modern styles derived from these early periods of music.
assess and describe various musical styles from Late Antiquity through the Baroque period.
analyze and aurally identify significant music from the medieval era through the Baroque period.
evaluate the contributions of important composers of various time periods.
relate early music to its historical and social context.
critique and differentiate musical instruments through the history of early music to 1750.
MUFHL 311 Survey of Music History and Literature (1750 to the present)
Advisory:MUFHL 321 and 400; Eligible for ENGRD 310 or ENGRD 312 AND ENGWR 300; OR ESLR 340 AND ESLW 340.
This is part of a two-course series that offers a survey of the history of music including the most significant composers and works from the Classical period to the present. It provides background on Classical, Romantic, Impressionistic, and 20th century music, thus increasing understanding of modern styles derived from these periods of music.
evaluate and describe the major eras and stylistic differences in music history since 1750.
differentiate diverse musical examples by applying techniques of analytical listening skills.
critique the various historical events that contributed to the evolution of music.
compare various composers from the Classical, Romantic, and Modern periods of music.
classify and catalogue instruments and instrumental music from 1750 to present.
MUFHL 315 Jazz History
General Education:AA/AS Area I; AA/AS Area VI; CSU Area C1; IGETC Area 3A
This course introduces the history of jazz. Topics include ethnicity, ethnocentrism, racism, ageism, class differences, and gender issues. Guided listening presentations show how African and early African American musical traditions have led to the development of various improvisational forms and styles including ragtime, swing, bebop, free jazz, fusion, and acid jazz.
compare and contrast traditions of jazz music throughout the world
recognize and distinguish between diverse musical styles and musical traditions
identify and evaluate the historical and social content of the world's cultures through musical expression
compare and contrast ethnicity, ethnocentrism, racism, ageism, class differences, and multicultural gender issues through the study of traditions of jazz music throughout the world
evaluate stylistic and formulaic traits of jazz music through analytical listening
MUFHL 321 Basic Musicianship
Transferable:CSU; UC (UC credit limitation: No credit if taken after MUFHL 400)
This course introduces the elements of music including scales, chords, aural skills, harmonic progression, form, notation, and composition. No previous musical study is required.
play, sing, or identify major, minor, augmented, diminished, and dominant seventh chords.
construct all key signatures in both treble and bass clef.
construct all major scales in both treble and bass clef using accidentals.
play, sing, or identify basic diatonic root motions.
discuss the relationship between a major scale and its relative minor.
demonstrate the intervallic relationship between the notes in the natural, harmonic, and melodic minor scales.
MUFHL 330 World Music
This course is an introduction to folk, dance, ceremonial, and popular music from around the world. Guided listening presentations show how traditional forms and styles have led to the urban, professional music popular in many countries today known as "World Beat." Concepts of ethnicity, ethnocentrism, racism, ageism, class differences, and gender issues are addressed. Music of the Americas, Africa, Asia, India, Europe, and the Middle East are compared. No previous musical experience is required.
compare and contrast traditions of music throughout the world.
critique and differentiate diverse musical styles and musical instruments.
describe the historical and social content of the world's cultures through musical expression.
assess concepts of ethnicity, ethnocentrism, racism, ageism, class differences, and gender issues of various cultures through the study of traditions of music throughout the world.
evaluate musical examples by applying techniques of analytical listening skills.
MUFHL 400 Music Theory and Musicianship I
Advisory:MUIVI 340 (Beginning Piano) or knowledge of musical notation
C-ID:C-ID MUS 125; C-ID MUS 120
This course is a study of scales, intervals, triads, diatonic harmonies, part writing, rhythms, sight singing, ear training, dictation, history, and performance. Short creative assignments are included to provide experience in the application of materials learned in class. It includes analysis and composition and is required for music majors.
analyze major, minor, modal, chromatic, and whole tone scales and identify them when played or sung
analyze components of melody and write a variety of melody types involving motive, phrase member, period, double period, and song forms
distinguish voice ranges and instrumental ranges
compose a four-part chorale primarily in root position and also in first- and second-inversions
notate music for a variety of non-transposing and transposing instruments
construct major, minor, augmented, and diminished triads and describe their function in tonal music
assemble key signatures for all major and minor keys
MUFHL 401 Music Theory and Musicianship II
Prerequisite:MUFHL 400 with a grade of "C" or better
Advisory:MUIVI 341
General Education:CSU Area C1; IGETC Area 3A
This course is a continuation of MUFHL 400. It provides a more in-depth study of scales, triads, diatonic harmonies, part writing, rhythms, sight singing, ear training, dictation, form, history, and performance. It also includes the study of harmonic progression, dominant and non-dominant seventh chords, modulation, secondary function chords, and binary and ternary form. It includes analysis and composition and is required for music majors.
analyze and sing major, minor, modal, chromatic, and whole-tone scales and identify them when played or sung
create and interpret components of melody through analysis and composition
apply a variety of melody types to idiomatic chord progressions
distinguish voice ranges and instrumental ranges of both non-transposing and transposing instruments
compose music in four-part chorale style using primarily root-position chords with limited use of first- and second-inversion chords
demonstrate an understanding of the use of functional harmony by analysis and composition of music which incorporates modulation to closely related key centers
illustrate knowledge of the chord symbols used in classic Western music, American popular song, blues, boogie, and jazz
write and analyze music in simple binary and ternary forms
analyze and compose music which includes major-minor dominant seventh chords, leading-tone seventh chords, and non-dominant seventh chords
analyze and compose music which utilizes secondary dominant chords and secondary leading-tone chords
score music for various instrumental and vocal combinations
MUFHL 410 Music Theory and Musicianship III
This course is a continuation of MUFHL 401. It includes the study of 16th- and 18th- century counterpoint, fugue, variation, altered chords, sonata allegro, and rondo forms, and late 19th-century writing techniques; practice in rhythmic, melodic, harmonic, and contrapuntal sight singing; ear training, and dictation. This course is required for music majors.
analyze successful compositions from the 16th century through the 19th century
compose, critique, and discuss music using 16th- and 18th-century polyphony
recognize, analyze, and synthesize musical concepts through composition, performance, and arrangements of music using harmonic structures that include borrowed chords, Neapolitan 6th chords, and augmented 6th chords
evaluate, compose, and analyze music in theme and variation, sonata, and rondo forms
incorporate common practice period part-writing techniques and Roman numeral analysis symbols in music analysis and composition
recognize and analyze music using 9th, 11th, 13th, and altered dominant chords
demonstrate aural skills related to sight singing and musical dictation using increasingly complex melodies, rhythms, intervals, and harmonic structures
MUFHL 411 Music Theory and Musicianship IV
This course is a continuation of MUFHL 410. It includes a more in-depth study of altered chords and late 19th- and 20th-century writing techniques including: 9th, 11th and 13th chords; altered dominants; chromatic harmony; dodecaphony; set theory; aleatory; minimalism; and analysis techniques. It includes practice in rhythmic, melodic, harmonic and contrapuntal sight-singing, ear-training and dictation. This course is required for music majors.
analyze and evaluate compositions from the 19th to the 21st Century
compose music using 19th-, 20th-, and 21st-century techniques such as whole-tone, synthetic, and pentatonic scales, 9th, 11th, and 13th chords, neomodality, pandiatonicism, polytonality, non-accentual rhythm, pitch sets, dodecaphony, and aleatory
apply aural skills to dictate more complex melodies, harmonies and rhythms as implemented in 19th- through 21st-century compositions
recognize, analyze, and employ harmonic circle progressions
diagram and analyze dodecaphonic music using a pitch-set matrix
MUFHL 420 Beginning Jazz Theory
Advisory:MUIVI 385 and 400
This course introduces the elements of jazz theory including harmonic, melodic, and formal elements of the jazz idiom. It includes analysis and composition and is required for jazz majors.
build the blues scale, the bebop scale, the diatonic modes, the pentatonic scale, all triads, 7th, 9th, 11th, and 13th chords, and II-V-I progressions in all keys
apply chord symbol notation in written form
apply melodic and harmonic techniques to an instrument or voice
analyze melodic, harmonic, and formal elements of jazz compositions, including modulation, secondary function, modal interchange, and tonicization
synthesize melodic, harmonic, and formal elements of jazz into original compositions
distinguish common formal, rhythmic, melodic, and harmonic techniques used in the jazz idiom through ear-training exercises
MUFHL 421 Advanced Jazz Theory
This course presents a continuation of jazz concepts presented in MUFHL 420. It emphasizes advanced elements of jazz theory including composition and arranging, as well as harmonic, melodic, and formal analysis in the jazz idiom.
apply reharmonization concepts to jazz compositions
apply melodic and harmonic techniques to an instrument
analyze advanced melodic, harmonic, and formal elements of jazz compositions
synthesize melodic, harmonic, and formal elements of jazz into original compositions and arrangements
investigate advanced melodic and harmonic techniques used in the jazz idiom through ear-training exercises
MUFHL 495 Independent Studies in Music Fundamentals/History and Literature
Hours:54 - 162 hours LAB
Independent Study is an opportunity for the student to extend classroom experience in this subject, while working independently of a formal classroom situation. Independent study is an extension of work offered in a specific class in the college catalog. To be eligible for independent study, students must have completed the basic regular catalog course at American River College. They must also discuss the study with a professor in this subject and secure approval. Only one independent study for each catalog course will be allowed.
Music - Instrumental/Voice Instruction (MUIVI)
MUIVI 200 Introduction to Music Education
Prerequisite:MUFHL 321 (Basic Musicianship) with a grade of "C" or better, or equivalent, AND three years of experience in either band or choir.
This course is a survey of the resources used in the music education profession as a band or choir teacher. It introduces the basic skills necessary to teach beginning band or choir. Topics include creating lesson plans, classroom management, and basic conducting patterns.
communicate with school administration to address scheduling, facility, and recruitment needs.
create basic lesson plans for beginning instrumental or choral ensembles.
select appropriate teaching materials for beginning band or choral ensembles.
use basic instructional technology in the classroom.
employ basic methods of classroom management.
prepare basic methods of recruitment for ensembles.
make basic repairs on band instruments.
demonstrate basic conducting patterns.
MUIVI 298 Work Experience in Instrumental/Voice Instruction
Enrollment Limitation:Students must be in a paid or unpaid internship, volunteer position, or job related to the instrumental/voice instruction field with a cooperating site supervisor. Students are advised to consult with the Music Department faculty to review specific certificate and degree work experience requirements.
This course provides students with opportunities to develop marketable skills in preparation for employment or advancement within the instrumental/voice instruction field. It is designed for students interested in work experience and/or internships in associate degree level or certificate occupational programs. Course content includes understanding the application of education to the workforce, completion of Title 5 required forms which document the student's progress and hours spent at the work site, and developing workplace skills and competencies.
During the semester, the student is required to complete 75 hours of related paid work experience, or 60 hours of related unpaid work experience for one unit. An additional 75 or 60 hours of related work experience is required for each additional unit. All students are required to attend the first class meeting, a mid-semester meeting, and a final meeting. Additionally, students who have not already successfully completed a Work Experience course will be required to attend weekly orientations while returning participants may meet individually with the instructor as needed. Students may take up to 16 units total across all Work Experience course offerings. This course may be taken up to four times when there are new or expanded learning objectives. Only one Work Experience course may be taken per semester.
demonstrate mastery of specific job skills in the instrumental/voice instruction field related to an associate degree or certificate occupational program level career as written in the minimum three (3) learning objectives created by the student and his/her employer or work site supervisor at the start of the course.
make effective decisions, use workforce information, and manage his/her personal career plans.
behave professionally, ethically, and legally at work, consistent with applicable laws, regulations, and organizational norms.
behave responsibly at work, exhibiting initiative and self-management in situations where it is needed.
develop effective leadership skills at work, with consideration to group dynamics, team and individual decision making, and workforce diversity.
communicate in oral, written, and other formats, as needed, in a variety of contexts at work.
locate, organize, evaluate, and reference information at work.
demonstrate originality and inventiveness at work by combining ideas or information in new ways, making connections between seemingly unrelated ideas, and reshaping goals in ways that reveal new possibilities using critical and creative thinking skills such as logical reasoning, analytical thinking, and problem-solving.
MUIVI 310 Voice Class I
Course Family:Traditional Voice Fundamentals
Advisory:MUFHL 321
General Education:CSU Area C1
This course is the study of solo singing. Topics include basic vocal technique, breathing, mouth position, and solo repertoire.
differentiate between and choose the mouth positions needed to create stylistically appropriate vowel timbre
evaluate and demonstrate correct singing posture and breathing technique
manage an even timbre throughout the vocal registers and across the passagio
differentiate between syllabic and neumatic text setting and scalar and arpeggiated melodies
perform songs in English, Italian, Spanish, and German
demonstrate appropriate stage presence
MUIVI 311 Voice Class II
Prerequisite:MUIVI 310 with a grade of "C" or better
This course is the continued study of solo singing. Topics include vocal technique, breathing, mouth positions and vowel formation, the International Phonetic Alphabet, and solo repertoire.
identify melismatic text setting
sing a melisma with consistent timbre, flexibility, and breath intensity
diagnose basic vocal issues in others including incorrect register choice, improper placement, and poor breathing skills
extend both the upper and lower range
differentiate breath intensity from volume
produce an intensified tone at all dynamic levels
MUIVI 320 Voice Class III
Course Family:Traditional Voice Technique and Repertoire
This course is the continued study of solo singing. Topics include tone placement, register balance, vocal health, and solo repertoire.
analyze the results of a laryngoscopy for evidence of poor vocal habits
demonstrate healthy singing habits
schedule and utilize efficient rehearsal habits
choose a practice regimen consisting of various long tone, agility, and range exercises
assemble a song set based upon range, tessitura, agility requirements, and phrase length
MUIVI 321 Voice Class IV
This course is the continued study of solo singing. Topics include bel canto technique, Italian and German solo repertoire, tone placement, register balance, and vocal health.
integrate methods of non-verbal communication of tempi, tempo rubato, fermatas, and dynamics into a song performance
demonstrate correct vocalization of Italian consonant combinations
research historical, cultural, and stylistic considerations for song interpretation
differentiate between portamento, sforzando, trill, and turn
MUIVI 340 Beginning Piano
Course Family:Traditional Piano Fundamentals
This course introduces piano/keyboard skills. Beginning concepts of music theory, music notation, and harmonizing simple melodies are presented. This course is open to all students and is recommended for music majors who do not demonstrate equivalent piano proficiency.
identify and define a three-octave range of notes and the notation used to express them
demonstrate coordination of the hands playing together
analyze a simple melody and transpose to another key
sightread an eight-measure composition with a single line in each hand
MUIVI 341 Piano II
This continuation of MUIVI 340 is designed for students interested in piano as a medium of expression and enjoyment, as well as for prospective preschool, kindergarten and elementary-school teachers. This course covers major and minor scales and chords, bass styles, chromatic scales, and literature with greater rhythmic and harmonic complexity. It is the second semester of a four-semester sequence for music majors who need to demonstrate piano proficiency.
identify and define a five-octave range of notes and the notation used to express them
interpret a music score and play a melody with varying accompaniment styles using I, IV, V7 chords and their minor variants
demonstrate the skills needed to play in an ensemble setting
sightread an eight-measure composition with a single line in each hand or a melody with accompanying chords
cite and demonstrate good practice habits
MUIVI 350 Intermediate Piano
Course Family:Traditional Piano Technique and Repertoire
Prerequisite:MUIVI 341 with a grade of "C" or better; or the ability to play major scales (one octave, hands together C, G, F, D, A, and E-major) and the ability to play a simple melody with basic chordal accompaniment in a major or minor key.
This course expands on the foundations of piano playing studied in MUIVI 341 and includes further study of the harmonization of melodies, major and minor scales, and repertoire.
perform numerous repertoire selections representing several style periods
analyze and improvise simple melodies with chordal harmonizations
identify, define, and play major and minor triads as well as their inversions
interpret a music score and play a melody with varying accompaniment styles (i.e. Latin, Alberti Bass, Waltz, Boogie)
identify and play major and minor scales (all major keys and harmonic minor in A, E, B, F, D, and G, 3 octaves, hands together)
play in an ensemble setting
transpose a simple melody in all keys
sight read an eight-measure composition with a single line in each hand or a melody with accompanying chords
perform pieces written in simple 4-part harmony (chorales, hymns)
evaluate the piano playing of others
employ good practice habits
MUIVI 351 Piano IV
Prerequisite:MUIVI 350 with a grade of "C" or better, or the ability to play all major scales, hands together, two octaves and harmonic minor in A, E, B, F, D, and G.
This course is the second year of piano study. It is a continuation of MUIVI 350. The course includes the further development of insight into music as an artistic means of communication through the study of scales, chords, melodic harmonization and repertoire. The course also serves to develop the fundamental skills for the non-keyboard music major.
Perform numerous repertoire selections
Analyze and improvise simple melodies with choral harmonizations
Identify, define and play major and minor triads and their inversions
Identify and play major and minor scales and arpeggios for two octaves
Demonstrate transposition of a simple melody in all keys
Demonstrate simple melodies with different styles of accompaniment (i.e., Latin, Alberti Bass, Waltz, Boogie)
Employ sight reading skills
Evaluate the playing of other pianists
MUIVI 370 Beginning Guitar
Course Family:Traditional Guitar and Bass
This course provides guitar instruction emphasizing the fundamentals of music reading, basic technique and skills in note reading, improvisation, accompanying, and development of personal style.
incorporate and identify a 3-octave range of notes and the notation used to express them
demonstrate hand coordination while playing the guitar
analyze notated music at a beginning level
critique the guitar playing of others
structure good practice habits
demonstrate the basic skills of guitar playing
MUIVI 371 Intermediate Guitar
This course is a continuation of MUIVI 370 with emphasis on increased skills in note reading, improvisation, accompanying, and development of personal style.
analyze music for the guitar from a variety of historical eras
read melodic lines with conventional notation and guitar tablature
express a theoretical knowledge of guitar playing
incorporate creative musical expression
demonstrate increased dexterity in strumming and chording
demonstrate finger picking abilities
MUIVI 385 Jazz Styles and Improvisation
Course Family:Jazz Instrumental
Enrollment Limitation:Ability to play a melodic instrument or ability to sight sing; ability to read music in the treble or bass clef.
This course is the study of instrumental and vocal applications of jazz improvisation. It includes analysis and composition and is required for jazz studies majors.
identify and apply call and response, melodic embellishment, and neighbor tones in a jazz improvisation
develop a motive in an improvised melody
compose a jazz melody incorporating techniques such as the blues scale, the bebop scale, the diatonic modes, the pentatonic scale, call and response, melodic embellishment, and neighbor tones
create a spontaneous jazz improvisation incorporating techniques such as the blues scale, the bebop scale, the diatonic modes, the pentatonic scale, 7th, 9th, 11th, and 13th chords, and II-V-I progression, call and response, melodic embellishment, and neighbor tones
This course is the study of advanced instrumental and vocal applications of jazz improvisation. It includes analysis and is a continuation of the concepts covered in MUIVI 385.
build idiomatic jazz vocabulary on the Blues, Standard, Modal, Post-bop, ballad, and Funk compositions
identify and apply idiomatic phrases such as ii-V-I, diatonic patterns, ballad patterns, sequences, neighboring tones, and Blues devices in a chord progression
compose a jazz melody incorporating the techniques listed above
create a spontaneous jazz improvisation incorporating the techniques listed above
MUIVI 390 Jazz and Popular Vocal Styles and Improvisation I
Course Family:Jazz Voice
Advisory:MUFHL 321 and MUIVI 310
This course is a study of popular and jazz solo singing styles and improvisation. Topics include jazz and pop styles, microphone technique, basic improvisation, and vocal technique.
critique stylistic articulations, tone, and vibrato type relevant to specific jazz and popular vocal styles
express appropriate stylistic articulations, tone, and vibrato type relevant to specific jazz and popular vocal styles
analyze and evaluate various stylistic interpretations of lyrics
express, through vocal nuance, an emotional response to lyrics
create a comprehensive set of songs either within a specific style or including several styles
build and sing the blues scale, the bebop scale, the diatonic modes, the pentatonic scale, triads, 7th, 9th, 11th and 13th chords, and II-V-I progressions in several keys
create a spontaneous jazz improvisation incorporating techniques such as the blues, the bebop scale, the diatonic modes, the pentatonic scale, triads, 7th, 9th, 11th and 13th chords, and II-V-I progressions in several keys
MUIVI 391 Jazz and Popular Vocal Styles and Improvisation II
This course is the continued study of popular and jazz singing styles and improvisation. Topics include rhythm section rehearsal techniques for singers, funk styles, pentatonic scales, Lydian dominant improvisation, and transposition.
analyze stylistic articulations, tone, and vibrato relevant to Latin jazz
build the Lydian dominant scale and the pentatonic scale and utilize them in a Latin jazz ballad
transpose a song several times then choose the appropriate key and write a lead sheet
develop the skills to rehearse the jazz rhythm section
create a comprehensive set of songs including several styles of jazz (blues, swing, bebop, Latin, funk) and popular music
MUIVI 400 Beginning Jazz Piano
Course Family:Jazz Piano
Advisory:MUFHL 400, MUFHL 420, or MUIVI 385
This course is an introduction to the fundamentals of jazz piano. Topics include blues, left-hand voicings, two-hand voicings, and scale theory applications to the keyboard.
build triads, seventh chords, shell voicings, and rootless voicings at the keyboard
apply chord symbol notation to root position chords, shell voicings, four-note voicings for the left hand, and four-note voicings for both hands
apply the blues scale and diatonic modes to chord symbols at the keyboard
produce a simple jazz piano arrangement from a lead sheet
evaluate the efforts of others to solve musical and technical problems
MUIVI 401 Intermediate Jazz Piano
This course covers intermediate studies in jazz piano. Topics include arranging jazz harmonies at the keyboard using techniques such as three- and four-note rootless voicings, five-note mixed-modal voicings, "Drop 2," Red Garland voicings, and the "So What" chord.
build three- and four-note rootless voicings for the left hand at the keyboard
apply chord symbol notation to "Drop 2," Red Garland style, five-note mixed-modal, and "So What" chord voicings for both hands at the keyboard
produce an intermediate jazz piano arrangement from a lead sheet
MUIVI 420 Applied Music
Hours:7 hours LEC; 33 hours LAB
Course Family:Traditional Applied Music Fundamentals
Corequisite:Enrolled in one of the following: MUP 310, 320, 330, 340, 350, 360, or 400; AND enrolled in one of the following: MUIVI 340, or MUFHL 321, 400, 401, 410, 411, 420, or 421.
Enrollment Limitation:Audition
This is the first course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes one-on-one or small-group instrumental, composition, or vocal instruction seven hours per semester. It also includes six hours per semester of solo performance, recital participation, masterclasses, and a final juried performance. It also includes one and one-half hours monitored practice time per week. This course is required for all traditional performance and jazz music majors. Student must be concurrently enrolled in a large performance ensemble, and either a music theory course or MUIVI 340 (Beginning Piano).
demonstrate individual musical skills commensurate with the Level I National Association of Schools of Music (NASM) guidelines
interpret solo repertoire for an instrument/voice
analyze musical performance skills
compare and contrast music from different musical eras written for an instrument/voice
MUIVI 421 Applied Music II
This is the second course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes one-on-one or small-group instrumental, composition, or vocal instruction seven hours per semester. It also includes six hours per semester of solo performance, recital participation, masterclasses, and a final juried performance. It also includes one and one-half hours monitored practice time per week. This course is required for all traditional performance and jazz music majors. Student must be concurrently enrolled in a large performance ensemble, and either a music theory course or MUIVI 340 (Beginning Piano).
demonstrate individual musical skills commensurate with the Level II National Association of Schools of Music (NASM) guidelines
MUIVI 422 Applied Music III
Course Family:Traditional Applied Music Technique and Repertoire
Corequisite:Enrolled in one of the following: MUP 310, 320, 330, 340, 350, 360, or 400; AND enrolled in one of the following: MUFHL 400, 401, 410, or 411
This is the third course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes one-on-one or small group instrumental, composition, or vocal instruction seven hours per semester. It also includes seven hours per semester of solo performance, recital attendance, masterclasses, and a final juried performance. It also includes one and one-half hours monitored practice time per week. This course is required for all traditional performance and jazz music majors. Students must be concurrently enrolled in a large performance ensemble and a music theory course.
demonstrate individual musical skills commensurate with the Level III National Association of Schools of Music (NASM) guidelines
MUIVI 423 Applied Music IV
This is the final course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes one-on-one or small group instrumental, composition, or vocal instruction seven hours per semester. It also includes seven hours per semester of solo performance, recital attendance, masterclasses, and a final juried performance. It also includes one and one-half hours monitored practice time per week. This course is required for all traditional performance and jazz music majors. Students must be concurrently enrolled in a large performance ensemble and a music theory course.
demonstrate individual musical skills commensurate with the Level IV National Association of Schools of Music (NASM) guidelines
MUIVI 425 Applied Music - Jazz I
Course Family:Jazz Applied Music
Corequisite:Enrolled in 2 units from: MUP 320 or 400. Also enrolled in 4 units from: MUFHL 400, 401, or 410; OR enrolled in 2 units from: MUFHL 420 or 421.
This is the third course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes seven hours of individualized instrumental or vocal instruction with a private instructor, four hours per semester of solo performance and recital attendance, and a final juried performance. It also includes five and one-half hours monitored practice time per week, and six hours of additional research, rehearsal, and performance evaluation per week as scheduled in the semester syllabus. This course is required for all jazz studies majors. Students must be concurrently enrolled in a large performance jazz ensemble and a music theory course.
interpret solo jazz repertoire for an instrument/voice
evaluate musical performance skills
compare and contrast jazz music from different stylistic periods for an instrument/voice
incorporate improvisation concepts into a jazz ensemble
MUIVI 426 Applied Music - Jazz II
This is the final course in a four-part series which focuses on the development of individual performance skills and solo and ensemble repertoire. It includes seven hours of individualized instrumental or vocal instruction with a private instructor, four hours per semester of solo performance and recital attendance, and a final juried performance. It also includes five and one-half hours monitored practice time per week, and six hours of additional research, rehearsal, and performance evaluation per week as scheduled in the semester syllabus. This course is required for all jazz studies majors. Students must be concurrently enrolled in a large performance jazz ensemble and a music theory course.
MUIVI 495 Independent Studies in Music Instrumental/Voice Instruction
This course provides students with opportunities to develop marketable skills in preparation for employment or advancement within the instrumental/voice instruction field. It is designed for students interested in work experience and/or internships in transfer-level degree occupational programs. Course content includes understanding the application of education to the workforce, completion of Title 5 required forms which document the student's progress and hours spent at the work site, and developing workplace skills and competencies. During the semester, the student is required to complete 75 hours of related paid work experience, or 60 hours of unpaid work experience for one unit. An additional 75 or 60 hours of related work experience is required for each additional unit.
First-time participants are also required to attend a weekly orientation, the first class meeting, a mid-semester meeting and a final meeting. Returning participants are required to attend the first class meeting, a mid-semester meeting, and a final meeting and may meet individually with the instructor as needed to complete a work site observation and all program forms, receive updates, and assignments.
Students may take up to 16 units total across all Work Experience course offerings. This course may be taken up to four times when there are new or expanded learning objectives. Only one Work Experience course may be taken per semester.
demonstrate mastery of specific job skills in the instrumental/voice instruction field related to a transfer degree level career as written in the minimum three (3) learning objectives created by the student and his/her employer or work site supervisor at the start of the course.
communicate in oral, written, and multimedia formats in a variety of contexts at work.
Music - Performance (MUP)
MUP 310 Orchestra
Enrollment Limitation:Ability to play an orchestral instrument.
This course is the study and performance of orchestral repertoire. It is open to those who play an orchestral instrument. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform orchestral repertoire in various styles
compare musical and aesthetic values of a wide variety of orchestral styles
demonstrate the interpersonal skills necessary to work within an ensemble
MUP 311 Advanced Orchestra
Hours:9 - 18 hours LEC; 27 - 54 hours LAB
Prerequisite:MUP 310 with a grade of "C" or better; or an audition.
This course is the continuing study and performance of orchestral repertoire. Additional topics include experience in conducting, rehearsal techniques, and section leading. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform advanced orchestral repertoire in various styles
analyze rehearsal techniques and apply those techniques to new sections of orchestral music
demonstrate the interpersonal skills necessary to work within and lead an ensemble in rehearsal
formulate and maintain practice routines specific to an instrument
MUP 320 Jazz Band
Enrollment Limitation:Ability to play at least one instrument commonly used in jazz ensemble; audition required.
This course is the study and performance of jazz band repertoire encompassing a wide variety of music in the jazz style. Public performances and field trips are required. This course may be taken four times for credit.
prepare and perform jazz band repertoire in various jazz styles
compare and contrast jazz band performance styles
critique musicianship
perform beginning analysis of jazz band repertoire
evaluate and critique other performance ensembles
incorporate jazz styles into performance practice
MUP 321 Advanced Jazz Band
Prerequisite:Completion of 8 units of MUP 320 with a grade of "C" or better
This course is the continuing study and performance of jazz band repertoire and techniques. Additional topics include improvising, conducting, rehearsal technique, and section leading. Public performances, recording sessions, and field trips may be required. This course may be taken four times for credit.
analyze advanced jazz band repertoire
organize and manage sectionals
MUP 323 Latin Jazz Ensemble
This course is the study and performance of Latin jazz repertoire encompassing a wide variety of Latin American and Afro-Cuban jazz styles. Public performance and field trips are required. This course may be taken up to four times for credit.
prepare and perform Latin jazz repertoire in various styles
compare and contrast Latin jazz performance styles
analyze beginning Latin jazz repertoire
incorporate Latin jazz into performance practice
MUP 324 Advanced Latin Jazz Ensemble
This course is the further study and performance of Latin jazz repertoire encompassing a wide variety of Latin American and Afro-Cuban jazz styles. Public performance and field trips are required. This course may be taken up to four times for credit.
analyze advanced Latin jazz repertoire
MUP 327 Chamber Jazz Ensemble
Enrollment Limitation:Ability to play at least one instrument commonly found in a jazz ensemble; audition required.
This course examines and evaluates techniques of chamber jazz group organization, jazz arranging, and jazz improvisation. Chamber jazz recording techniques are analyzed focusing on studio etiquette, microphone setup, headphone mix, and playback critique. Public performance and field trips are required. This course may be taken four times for credit.
compare jazz styles.
compare and contrast rehearsal and performance components of small and large jazz ensembles.
evaluate technical skills through ensemble practice and performance.
construct and evaluate jazz improvisations.
create and prepare a program of songs for performance.
demonstrate professional demeanor in a chamber jazz ensemble.
MUP 328 Advanced Chamber Jazz Ensemble
This course examines and evaluates advanced techniques of chamber jazz ensemble organization. Ensemble members select music, formulate rehearsal strategy, conduct rehearsals, and set up and evaluate group performances. Public performances and field trips are required. This course may be taken four times for credit.
examine modern jazz styles
organize and assemble a contemporary small jazz ensemble
evaluate advanced technical skills through ensemble practice and performance
construct and evaluate jazz improvisations on advanced chord progressions
arrange contemporary jazz songs for a small jazz ensemble
create and prepare a program of songs for performance
apply conducting and rehearsal techniques
MUP 330 Concert Band
Enrollment Limitation:Ability to play a concert band instrument.
This course is the study and performance of concert band repertoire. It is open to those who play a concert band instrument. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform concert band repertoire in various styles with artistic expression
apply basic techniques (tone, projection, support, posture) and formulate specific practice routines
identify balance, intonation, and tempo within the section and across the ensemble to produce an artistic performance
evaluate and critique music performance ensembles
MUP 331 Advanced Concert Band
Prerequisite:MUP 330 (Concert Band) with a grade of "C" or better; or audition.
This course is the continuing study and performance of concert band literature. Additional topics include conducting, rehearsal techniques, and section leading. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform advanced concert band repertoire in various styles with artistic expression
analyze rehearsal techniques and apply those techniques to new sections of concert band music
critique musicianship, including balance, intonation, and tempo within the section and across the ensemble
analyze and/or demonstrate basic conducting patterns and gestures
demonstrate the interpersonal skills necessary to learn and work within an ensemble in rehearsal
MUP 340 Symphonic Band
Enrollment Limitation:Ability to play a symphonic band instrument.
This course is the study and performance of symphonic band repertoire. It is open to those who play a symphonic band instrument. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform symphonic band repertoire in various styles with artistic expression
formulate specific practice routines and apply basic techniques (tone, projection, support, posture)
critique musicianship, including balance, intonation, and tempo within the section and across the ensemble to produce an artistic performance
MUP 341 Advanced Symphonic Band
Prerequisite:MUP 340 (Symphonic Band) with a grade of "C" or better; or audition.
This course is the continuing study and performance of advanced symphonic band literature. Additional topics include conducting, rehearsal techniques, and section leading. Public performances and/or field trips are required. This course may be taken up to four times for credit.
prepare and perform advanced symphonic band repertoire in various styles with artistic expression
analyze rehearsal techniques and apply those techniques to new sections of symphonic band music
critique musicianship including balance, intonation, and tempo within the section and across the ensemble
analyze and/or demonstrate conducting patterns and gestures
MUP 350 Concert Choir I
Enrollment Limitation:Ability to match pitch and produce a good tone demonstrated in the audition
This course is the study and performance of choir literature including classical works, contemporary pieces, and music of many diverse cultures. Public performances, festivals, and field trips may be required. This course may be taken up to four times for credit.
analyze and perform choral pieces and masterworks of various styles and cultures
demonstrate musical, historical and aesthetic understanding of various styles of choral music
formulate appropriate practice habits
incorporate appropriate facial expression to enhance the song's poetry/lyrics
MUP 352 Advanced Concert Choir
Prerequisite:MUP 350 with a grade of "C" or better
This course provides continued study and performance of advanced choir literature including classical works, contemporary pieces, and music of many diverse cultures. Advanced ensemble members may conduct pieces and lead sectionals. Public performances, festivals, and field trips are required. This course may be taken four times for credit.
demonstrate proper basic vocal technique (posture, breathing, diction, resonance, and stage deportment) for ensemble singing
formulate and maintain appropriate practice habits
demonstrate the interpersonal skills necessary to work within an ensemble and lead an ensemble in rehearsal and sectional
recognize various musical style periods
describe the musical, historical and aesthetic elements of various style periods of choral music
analyze rehearsal techniques and apply those techniques to new sections of music or new pieces
MUP 360 Chamber Singers
Enrollment Limitation:Audition required. Auditions generally occur the first week of class. The audition includes sight singing, the preparation of a short musical excerpt, and an aural skills assessment.
This course is an advanced choral ensemble of limited size performing a wide variety of music–classical, world music, folksong arrangements, and contemporary compositions. Audition required. Public performances, festivals, and field trips may be required. This course may be taken up to four times for credit.
compare and contrast various choral music styles
analyze and perform choral pieces and masterworks of various styles and cultures appropriate for a chamber choir
formulate and apply good rehearsal practice habits
evaluate and constructively critique other performance ensembles
incorporate appropriate facial expression and interact with fellow singers during a performance
MUP 361 Advanced Chamber Singers
Prerequisite:8 units of MUP 360 with a grade of "C" or better
This course is an advanced choral ensemble of limited size performing a wide variety of music–classical, world music, folksong arrangements, and contemporary compositions. Advanced ensemble members may conduct pieces and lead sectionals. Public performances, festivals, and field trips are required. This course may be taken four times for credit.
incorporate appropriate facial expression and interact with fellow singers during the performance
apply conducting, rehearsal technique and section leading concepts as deemed appropriate by the instructor
MUP 370 Rehearsal and Performance - Musical Ensemble
Same As:TA 466
Course Family:Musical Performance and Technical Production
Enrollment Limitation:Audition/Interview
This course provides a workshop training experience in the preparation and performance of musical theatre ensemble productions. A different production is presented each semester the course is offered. Students interested in singing/acting roles audition with the director. Students interested in instrumental positions audition with the musical director. Students interested in technical work interview with the technical director. Field trips may be required. A portion of this course may be offered in a TBA component of 27-162 hours which may include acting, singing, dancing, musical, or technical rehearsals and preparation. It is not open to students who have completed TA 466.
practice and perform a musical production.
evaluate the professional responsibilities of an actor, singer, musician, or technician in a production as appropriate.
analyze the evolution of a participant's role in a production from rehearsal to performance.
integrate acting, singing, and/or dancing skills in an intensive rehearsal/performance environment (if participating as an actor/singer).
integrate musical skills in an intensive rehearsal/performance environment (if participating as a musician).
incorporate basic technical skills in the creation or manipulation of sets, props, costumes, lighting, or sound as appropriate (if participating as a technician).
analyze and solve problems associated with the creation and presentation of acting, musical, and technical challenges.
analyze the differences in producing musical theatre from other styles of theatre.
MUP 400 Vocal Jazz Ensemble
Enrollment Limitation:Audition is required. The audition will include sight singing, aural skills, improvisation and the preparation of a short musical excerpt.
This course is a vocal jazz ensemble of limited size performing a wide variety of music in the jazz style. Public performance, festival and field trips are required. This course may be taken up to four times for credit.
prepare and perform vocal jazz repertoire in various jazz styles
demonstrate musical, historical and aesthetic understanding of a wide variety of jazz styles
demonstrate appropriate practice habits
MUP 401 Advanced Vocal Jazz Ensemble
This course is the continuing study of vocal jazz ensemble repertoire and techniques. Additional topics include experiences in scat singing, conducting, rehearsal technique and section leading. Public performance, festivals, recording sessions and field trips are required. This course may be taken up to four times for credit.
prepare and perform vocal jazz repertoire in various jazz styles including, but not limited to, singing one on a part in complex 4- to 5-part harmony
demonstrate the interpersonal skills necessary to work and lead an ensemble in rehearsal and sectional
set up and maintain appropriate practice habits
evaluate his/her own conducting abilities
MUP 420 Special Ensemble Participation
This course is open to all students who sing or play musical instruments. Studies are designed for instrumental and vocal groups of various combinations. Students may explore chamber music, large ensemble, or solo repertoire. Public performances and field trips are required. This course may be taken up to four times for credit.
prepare and perform repertoire in various musical styles
compare musical, historical, and aesthetic values of a wide variety of musical styles
MUP 495 Independent Studies in Music Performance
Music - Specializations in Music (MUSM)
MUSM 110 The Business of Music
C-ID:C-ID CMUS 140X
This course gives an overview of the processes of the music industry. This includes record contracts as well as the duties and responsibilities of record producers, agents, managers, and performing artists.
critique key points of a recording agreement
compare and contrast job descriptions of record company personnel, agents, managers, and producers
evaluate the duties and responsibilities of a recording artist
assess options of music licensing and artist royalties for new technologies
design an artist career ladder
Prerequisite:MUSM 110 with a grade of "C" or better
The course gives an in-depth view of the fundamentals and organization of the music business. This includes the duties of attorneys, publishers, and radio stations regarding musical and financial matters. The course also defines and analyzes publishing agreements, merchandising contracts, trademark, and service mark points.
research the components needed to complete a servicemark and trademark application
assess and analyze a publisher/writer exclusive agreement and an attorney/client contract
prioritize the duties of attorneys, publishers, merchandisers, and radio staff
evaluate a merchandising agreement
differentiate terrestrial, satellite, and Internet radio formats
MUSM 112 The Business of Music/Artist Management
This course covers the definitions, duties, and agreements of artist management. Topics include the functions of a personal manager, guidelines to career planning, choosing managers and clients, record company negotiations, and selecting other team players. It also analyzes the personal manager agreement and how to organize an artist's tour.
critique management and touring agreements
organize a two-week artist tour
prioritize and classify management roles and duties
recommend and evaluate an artist career plan
assess strategies for networking in the entertainment industry
MUSM 113 The Business of Music/Promotion
This course covers the process of music promotion. Topics include definitions of promotion, developing media/industry fan lists, and assembling a promotion packet. This course also discusses current Internet strategies and new technologies developed for promotion. In addition, a campaign for album release and distribution is discussed and planned. Field trips may be required.
choose effective methods for creating a promotional packet for an artist
recommend a five-week campaign plan for releasing and distributing an album
critique strategies for developing media as well as industry and fan lists
construct alternate avenues of distribution using various technologies
produce an effective press release and artist bio
MUSM 120 Contemporary Songwriting
This course examines the processes of the songwriting industry in popular music today, including instrumental and vocal arrangements in jazz, pop, and rock musical styles. Other related topics such as lyrics, formation of melodies and harmonies, popular music form, and musical notation are covered.
evaluate and create rhythm and chord patterns
compose a lead sheet for a piece of music
choose effective lyrics for pop music formats
coordinate musical and lyrical elements
evaluate melodic development in song sections
This course covers the processes of writing popular songs, including lyric evaluation, song forms, and music styles. Production techniques, publishing, and marketing strategies are also included.
compose music in different popular music styles
evaluate and critique lyrical content
recommend production techniques to record and perform songs
research and register original song material
structure a song collaboration agreement
MUSM 140 Concert Sound Reinforcement
This course is an overview of live concert sound reinforcement. Topics include basic sound system theory and its application. It also covers individual sound system component operation, including microphones, mixers, effects, power amplifiers, and speaker systems. This course offers opportunities for hands-on experiences in troubleshooting, sound checking, and mixing sound for live performance and touring. Field trips may be required.
distinguish the principles of room acoustics that relate to speaker setup and calibration to achieve even coverage throughout the room
assess basic concert sound system design principles, safety concepts, and procedures
assemble and operate a basic concert sound system for various live audio applications
operate and program digital audio consoles and their associated software applications
diagnose, troubleshoot, and solve problems that commonly occur in sound reinforcement systems
set up and program Digital Signal Processing (DSP) based speaker management hardware and software
MUSM 295 Independent Studies in Music Specializations in Music
MUSM 334 Introduction to Musical Instrument Digital Interface (MIDI)
Advisory:MUFHL 321 or MUIVI 340
This introductory course examines the terminology, hardware, software, techniques, and concepts related to using Musical Instrument Digital Interface (MIDI) and associated music technology. It surveys the principles and practices of sound, MIDI, synthesis, notation, and audio recording, as well as hardware and software platforms.
explain the history, terminology, and theoretical concepts associated with MIDI technology
demonstrate a conceptual and practical understanding of MIDI hardware and software
construct, edit, and output music using music sequencing software
produce a score of music using music notation software
describe the properties and components of an audio recording workstation
integrate a fundamental knowledge of sound, including waveforms, frequency, amplitude, and harmonics into music projects
differentiate between fundamental synthesis techniques such as subtractive, digital, additive, wavetable, and sampling
MUSM 335 Intermediate Musical Instrument Digital Interface (MIDI)
This course builds on skills learned in MUSM 334 and introduces intermediate techniques in MIDI composition and arranging for various styles of music. Topics include integrating MIDI and digital audio, film and video scoring, and the use of sound editing software.
produce music using intermediate MIDI workstation techniques
create recordings which incorporate both MIDI and digital audio
incorporate synchronized media within the computer workstation environment
compose and record audio and MIDI scores in varying styles for film and video
evaluate and propose appropriate compositional devices for specific musical styles
MUSM 342 Recording Studio Techniques I
This is the first course in a four-part series of Recording Studio Techniques. It covers entry-level techniques in audio/music production, microphone fundamentals and applications, studio equipment, recording console functions, and multitrack recording procedures. Field trips may be required.
demonstrate a basic understanding of the equipment used in audio recording
create recordings on a multitrack recorder and mixing console
evaluate proper signal flow connections between recording components
analyze, select, and place microphones for various instrumental and vocal music applications
research and plan the equipment for a multitrack recording studio
MUSM 344 Recording Studio Techniques II
This is the second course in a four-part series of Recording Studio Techniques. It covers intermediate techniques of audio and music production, and introduces mixdown session techniques, outboard gear application, remote recording, and studio design. Field trips may be required.
plan and engineer a recording session with acoustic and electronic instruments
choose and apply appropriate mixdown session techniques
create recordings of live concerts
assess and implement effective microphone techniques
analyze signal flow block diagrams
design and equip a complete recording facility
MUSM 350 Recording Studio Techniques III
This is the third course in a four-part series of Recording Studio Techniques. Topics include studio design and management principles, managing and organizing sessions, and recording, editing, and mixing in a Digital Audio Workstation (DAW) environment. Field trips may be required.
organize, manage, and create productive studio sessions that deliver a finished product
utilize DAW and server-based file management protocols
apply business and management principles associated with a recording studio
choose specific advanced outboard processing to achieve artistic and musical goals
set up, operate, and maintain a large-format, analog, multitrack recorder
record, edit, and mix sessions within a DAW environment
MUSM 352 Recording Studio Techniques IV
Prerequisite:MUSM 350 and 356 with grades of "C" or better
This is the fourth course in a four-part series on Recording Studio Techniques. It covers advanced techniques of audio engineering and is designed for recording engineers seeking careers in audio and post production. It includes advanced concepts of analog and digital recording, mixdown, surround sound, synchronizing audio to video, and mastering. Field trips may be required.
generate and integrate Foley, sound effects, and voice-overs that are synced to video
organize and facilitate a multitrack recording of a live concert
create a 5.1 music mix and create a Digital Theater System (DTS) encoded surround file
perform audio restoration using advanced plug-in and editing techniques
utilize final mastering techniques by creating a multi-song production master that conforms to industry specifications
create a music mix using advanced automation and plug-ins, as well as utilizing digital and analog processing
MUSM 356 Pro Tools 101, Introduction to Pro Tools
This course is an introduction to Avid's Pro Tools digital audio workstation software application. Basic Pro Tools principles, including how to complete a Pro Tools project from initial set up to final mixdown are covered. Topics also include how to record, edit, and mix music and Musical Instrument Digital Interface (MIDI) tracks within the Pro Tools application. This course is the first in a series of courses leading to multiple Avid Pro Tools certifications.
create a Pro Tools session capable of accomplishing common audio production tasks.
employ navigation and editing skills in a multi-track Pro Tools session.
incorporate proper recording and mixing techniques to audio and Musical Instrument Digital Interface (MIDI) files in the Pro Tools environment.
analyze and interpret session file structures, as well as the user interface and tool set.
MUSM 357 Pro Tools 110 Intermediate Pro Tools
This is an intermediate-level course in Avid's Pro Tools digital audio workstation hardware and software application. Concepts and skills needed to operate large sessions in a project studio environment are covered. Topics also include managing large track counts, multiple channels of simultaneous inputs and outputs, and the use of specialized plug-ins for specific music and post-production tasks. This course is the second in a series of courses leading to multiple Avid Pro Tools certifications.
manage large track counts and multiple channels of simultaneous inputs and outputs during a session.
create appropriate Pro Tools hardware settings.
set up troubleshoot input/output (I/O) functions.
assess and integrate virtual instruments and specialized plug-ins for specific music and post-production tasks.
incorporate automated mixing techniques into the work flow.
analyze Elastic Audio methods to select appropriate techniques yielding the desired tempo and/or rhythmic outcome.
apply clip-based editing techniques to audio and Musical Instrument Digital Interface (MIDI) tracks.
MUSM 366 Pro Tools 201, Advanced Pro Tools
This is an advanced-level course in Avid's Pro Tools digital audio workstation hardware and software application. Topics include the core concepts and skills needed to operate a Pro Tools HD system in a professional studio environment. Advanced recording, editing, and mixing techniques are presented. This course is the third in a series of courses leading to multiple Avid Pro Tools certifications.
assess the differences between a standard Pro Tools environment and Pro Tools HD systems.
set up and operate the necessary hardware components of a Pro Tools HD system.
structure and customize Pro Tools HD software to meet advanced session requirements.
choose and implement advanced Pro Tools HD editing and mixing techniques.
MUSM 495 Independent Studies in Music Specializations
Independent Study is an opportunity for students to extend classroom experience in this subject, while working independently of a formal classroom situation. Independent study is an extension of work offered in a specific class in the college catalog. To be eligible for independent study, students must have completed the basic regular catalog course at American River College. They must also discuss the study with a professor in this subject and secure approval. Only one independent study for each catalog course will be allowed.
Eric Chun
Office: ARC Main, Fine & Applied Arts, 524
Email: ChunE@arc.losrios.edu
Web: Eric Chun's Profile Page
Frank Cook
Email: CookF@arc.losrios.edu
Web: Frank Cook's Profile Page
Brendan Duffey
Email: DuffeyB@arc.losrios.edu
Web: Brendan Duffey's Profile Page
Dyne Eifertsen
Email: EifertDC@arc.losrios.edu
Web: Dyne Eifertsen's Profile Page
Catherine Fagiolo
Email: FagiolC@arc.losrios.edu
Web: Catherine Fagiolo's Profile Page
Joseph Gilman
Office: ARC Main, Fine & Applied Arts, 517A
Email: GilmanJ@arc.losrios.edu
Web: Joseph Gilman's Profile Page
Harley Glynn
Email: GlynnH@arc.losrios.edu
Web: Harley Glynn's Profile Page
Susan Hamre
Email: hamreS@arc.losrios.edu
Web: Susan Hamre's Profile Page
Ralph Hughes
Office: ARC Main, Fine & Applied Arts, 517C
Email: HughesR@arc.losrios.edu
Web: Ralph Hughes's Profile Page
Email: JohnsoR3@arc.losrios.edu
Web: Robert Johnson's Profile Page
Arthur Lapierre
Email: LapierA@arc.losrios.edu
Web: Arthur Lapierre's Profile Page
Shelly Rink
Email: RinkS@arc.losrios.edu
Web: Shelly Rink's Profile Page
Tatiana Scott
Email: ScottT@arc.losrios.edu
Web: Tatiana Scott's Profile Page
Steven Thompson
Email: ThompsS@arc.losrios.edu
Web: Steven Thompson's Profile Page
Heidi Van Regenmorter
Email: VanRegH@arc.losrios.edu
Web: Heidi Van Regenmorter's Profile Page
Merlyn Van Regenmorter
Office: ARC Main, Fine & Applied Arts, 517B
Email: VanregM@arc.losrios.edu
Web: Merlyn Van Regenmorter's Profile Page
Learn more about our programs.
ARC Music Department Website


Hospital in Madison, WI with Madison Chapter coordinator Joleen Adkins to sew with the kids and help deliver pillowcases. They so enjoyed seeing the smiles that a fun and cheerful pillowcase can bring!
Right now, the Madison Chapter is in need of holiday/winter-themed pillowcases for the kids, along with fun pillowcases that would be suitable for boys. In order to help them out, we're sponsoring a little contest! If you send us a holiday/winter-themed pillowcase AND a boy-themed pillowcase, you'll be entered to win one of three Gidget Sewing Tables. That's right, we'll be picking three random winners from all of the pillowcase entries that we receive. We'll need to receive the cases by Dec. 14th so that we can deliver them to the Madison Chapter in time for the holidays. Check out the rules below and let's make those kids smile!
1. Make one holiday/winter-themed pillowcase and one boy-appropriate pillowcase following the guidelines posted here on the ConKerr Cancer website: http://conkerrcancer.org/pillowdirections.html The Madison Chapter would love sports-related cases for the boys, especially Badgers or Packers ones! Remember, these are for kids, so they should be bright and cheery!
3. Cases need to be received by Friday, Dec. 14th to be eligible.
4. We will select three random winners from the eligible entries to receive a Gidget Sewing table!
We've got a slew of winners to announce today!
It's Constance Bunn from Sharpsville, IN! Congrats Constance!
It's Ruth Williams from Brewer, ME! Congrats Ruth!
It's Pamela VanAustin! Great work on the quiz Pam! Prizes will be shipped this week, so watch your mailbox!


INTRAcel - Say No To The Scalpel.
A favourite with Hollywood A listers and described by Tatler as the best high-tech treatment-The latest star in the cosmetic world, Intracel, has arrived at Estetica in Chertsey.
Estetica is one of only a few places in the country to be performing the revolutionary INTRAcel treatment originating from South Korea.
This skin tightening, collagen rejuvenating system combines three cutting edge technologies: micro needling, radio frequency and fractional treatment.
INTRAcel, injects radio frequency heat energy into the deepest layers of the dermis via fine needles, creating thousands of microscopic wounds that stimulate cells into producing fresh, young collagen.
It is ideal for sagging jawlines, crepey necks, smokers lines, crows feet, acne scars and vein removal.
It not only tightens skin, but it uniquely changes skin quality and texture and continues to do this long after the treatments. It is also revolutionising treatment of acne scars.
Anaesthetic cream is applied for about an hour before treatment with Intracel. The superfine gold needles are then charged up with a radio frequency current and applied to the skin. It is relatively comfortable and quick. For the more sensitive areas around the mouth Estetica offers dental block injections so if you have a low pain tolerance the treatment is still suitable.
The energy is delivered deep into the dermis, without burning or damaging the epidermis, so facial tissue is stimulated, collagen production is boosted and skin is tightened.
You can see immediate, on-table results from INTRAcel as the face is gently lifted and specific problem areas targeted, and this tightening and lifting keeps improving over time. Subtle changes include fuller cheeks, tighter jawline, lines are softer, skin glows and is bouncier with smaller pores.
There is minimal downtime after using INTRAcel which is one of the reasons it's such a sought after treatment and unlike other treatments you don't need to avoid the sun or change your skin care regime. A course of three treatments six weeks apart is recommended for optimum results.
INTRAcel is pushing the envelope in skin tightening and lifting and if you don't want to take the leap to full surgery, then this is as good as it gets.
Estetica Website Offer: Estetica are offering website readers a special price of £550 per session for the full face. Quote code Intracel3 when you call Estetica on 01932 570099.


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A wide variety of high quality hydraulic mobile crusher options are available to you, There are 139 high quality hydraulic mobile crusher suppliers, mainly located in Asia. The top supplying country is China (Mainland), which supply of high quality hydraulic mobile crusher respectively.
Cone Crusher, Hydraulic Cone Crusher, Hydraulic Crusher manufacturer / supplier in China, offering Single Cylinder Hydraulic Mobile Cone Crusher (GPY100), V Shape Hydraulic Jaw Crusher for Mining/ Quarry, Granite Compound Cone Crusher Shanghai and so on.
Home Products Mobile Crusher hydraulic mobile crusher Wood Chipper - Multi-Utility Wood Chipper and Shredder ... Product Price : Get Latest Price The Heavy Duty Mobile Crusher is one of the offered model of Wood Chipper Machines which is a heavy duty machine and fitted on a mobile carting arrangement for ease of transportation.
The jaw crusher has separate Hydraulic Power pack which allows for simple hydraulic adjustment. A "TURN KEY DESIGN" INCLUDES A NEW approx. 350 HP JOHN DEERE(OR EQUIVALENT) DIESEL POWER PLANT with HEAVY DUTY HYDRAULIC POWER PACK. "NO CLUTCH DESIGN". 42″ X approx. 25′ Under Crusher front discharge conveyor,Complete with hydraulic power.


Elizabeth Lang and Nathan Aldridge were married July 9, 2011, at St. Isidore Catholic Church, Manhattan, with Father Kevin Weber officiating.
Parents of the couple are Tim and Lisa Lang, Hays, and Denise and Dennis Pfeifer and James and Chris Aldridge, all of Silver Lake.
Grandparents of the couple are Ralph and Bertie Lang, Yvonne and Ken Braun, the late Ronald Rohleder, Muriel Aldridge, the late Raymon Aldridge, Norman Adams and the late Joy Adams.
Honor attendant was Emily Thomasson, sister of the bride. Attendants were Megan Rohleder, cousin of the bride, Ashley Lang, sister-in-law of the bride, Jessica Berry, friend of the bride, and Stacy Velleca, cousin of the bride.
Best man was Todd Spreer, friend of the groom. Groomsmen were Matt Grunewald, friend of the groom, Devin Lang, brother of the bride, Scott Thomasson, brother-in-law of the bride, and Matthew Aldridge, brother of the groom. Ushers were Derek Francis, Ron Reichenberger, Andrew Miksch and Jake Pullen, all friends of the groom.
Candlelighters were Lisa Lang and Denise Pfeifer, mothers of the couple. Flower girls were Alliana Thomasson, niece of the bride, and Bailey Aldridge, niece of the groom. Ringbearer was Jace Thomasson, nephew of the bride.
The bride is a 2000 graduate of Thomas More Prep-Marian High School and a 2004 graduate of Kansas State University. She is an English and journalism teacher at Wamego High School.
The bridegroom is a 2001 graduate of Silver Lake High School. He is a power plant operator at Jeffrey Energy Center.
Following a wedding trip to Negril, Jamaica, the newlyweds are at home in Wamego.


The keep watch over of place of work has lengthy been considered as the most important to figuring out strength and coverage within the Soviet procedure. What, notwithstanding, money owed for this keep watch over of workplace? a number of traditional stories have addressed this question via targeting the people who make up the Soviet elite at one time or one other. This publication adopts a special standpoint by way of treating the team of workers procedure itself as a suite of strength family that govern the mobility of the participants inside of it. utilizing the Belorussian Republic because the web site of the research, the writer analyzes the pursuits of people as sequences of complicated interrelations dependent by means of the method. He demonstrates how regionalism has performed a major position and patronage the decisive position in shaping the styles of elite move in Belorussia, and descriptions adjustments in those comparable styles following the appearance of the Gorbachev management, alterations that have been expected in a few respects by means of occasions in Belorussia.
Indicates the place to discover federal jobs and the way to navigate the various software techniques for the numerous federal firms. specialist step by step information and resume samples for utilising for jobs with the government.
American international coverage is a dynamic and infrequently arguable box, and is at the moment a subject of deep curiosity given fresh advancements within the center East, North Korea and China. so that it will comprehend the place US international coverage is headed, it is very important first study the place it got here from. This booklet presents an research of the political, monetary and army background of yankee international coverage, with the purpose of divulging vital information that the majority humans have both by no means discovered or forgotten for that reason the word open secrets and techniques .
Coverage making is not just in regards to the lower and thrust of politics. it's also a bureaucratic job. during this ground-breaking paintings, top experts come jointly to ascertain the realm of the coverage bureaucrat for the 1st time. the quantity attracts in an important debates over responsibility and democratic ideology, hierarchy and services, and will determine itself as a significant aspect of reference for students and practitioners alike.
This book traces the subjects in the East Timor independence circulate and notes how those have contibuted to post-independence matters, specifically the political tensions that just about observed East Timor cave in as a attainable nation in 2006. It concludes with an evaluate of the 2007 elections.
Having assigned these two sets of positions to Stratum 1, it became clear that such a ranking would not serve the purpose of generating a sizeable second stratum for the hierarchy. That is, there is a relatively high frequency of circulation among those holding jobs in the top stratum and a rather low degree of mobility into this stratum. Moreover, if regular Buro membership and executive jobs at the national level were the criteria for inclusion into Stratum 1, might not consistency suggest that irregular Buro membership and subexecutive jobs at the all-union level constitute the criteria for membership in Stratum 2?
Here, the assumption is that moving into one of these all-union positions is equivalent to moving into one of the jobs regularly represented on the Buro of the KPB. In either case, a promotion to the top stratum has occurred. 11 The two sets of jobs yielded a top stratum numbering 25 positions, 13 of which were regularly represented on the Buro of the KPB, 12 of which were executive jobs at the national level. Having assigned these two sets of positions to Stratum 1, it became clear that such a ranking would not serve the purpose of generating a sizeable second stratum for the hierarchy.
A number of considerations bear upon this choice. This stratum functions as the ultimate 'destination' of all those holding jobs in the Belorussian Republic. , such that the hierarchy thereby derived will contain a number of strata suited to the purpose for which the model was devised. With these considerations in mind, two sets of positions were selected for the top stratum. , those to whom a seat on the Buro was awarded at at least four of the five congress of the KPB held during the time frame of the study).