Music Course Descriptions

MUS 100:       Music as an Art and Science (2 Credits)
An inquiry into Music as a humanistic expression.  The creative genius of man through the ages and in various races and cultures, employing the elementary tools of rhythm, melody, harmony and colour.  A non specialized inquiry into scientific properties of musical sound (such as frequency and intensity) and their psychological counterparts (such as pitch and volume), and an elementary discussion of musical acoustics.
MUS 301:       Music Technology I (2 Credits)
A study of the physical properties of musical instruments and introduction to care and maintenance of commonly used musical instruments.  The art and science of constructing and building musical instruments.
MUS 400:       Introduction to Musical Acoustics (2 Credits)
The scientific properties of Musical sound and their psychological counterparts.  What music is and how it works, production of sound by various sources especially by musical instruments.  Classifying sound sources.  Sound from natural environment.  Propagation of sound from source to listener, by direct transmission through the air and through electronic reinforcement of recording and reproduction.  The speed of sound and simple experiments and demonstrations to illustrate it.  Reflection, refraction, diffraction.  Outdoor Music and the Doppler effect.  Criteria for room acoustics.
MUS 401:       Music Technology (2 Credits)
Exposition of students to modern music recording and production.  This provides the students with the opportunity of learning how to use the computer for music making, recording and production.
MUS 110:       Rudiments of Music (2 Credits)
The Musical fundamentals:  Notation, accidentals, intervals.  Scale – Major, melodic minor, harmonic minor.  Key signatures – major and relative minors.  Circle of fifths.  Closed and open score.  Clefs – Treble, Alto, Tenor and Bass Clefs. Metre and Rhythm.  Simple and Compound Time Signature.  Accent and Syncopation.  Expression marks, Tempo marks, Italian names.
MUS 111:       Tonal Harmony I (2 Credits)
Elementary diatonic materials.  Triads in root position, first invasion (Tonic, Subdominant and Dominant) and in second inversion.  Cadences in major and minor keys.  The harmonization of a complete phrase.  Principles of part writing.  Unessential melodic notes – unaccented notes (passing notes), auxiliary notes, appoggiaturas etc.
MUS 210:       Tonal Harmony II (2 Credits)
Further diatonic materials.  The Cadential tonic six-four chord.  The dominant seventh.  The other chords – the triad on the median and the leading – note triad. Chords of the seventh.  The chromatic scale.  Chromatic Harmony.
MUS 211:       Tonal Harmony III (2 Credits)
Modulations:  Writing modulating passages.  Further use of the unessential, Diminished and Augmented Triads.  Secondary Seventh.  Elliptical Resolutions and more Advanced Modulations.
MUS 310:       Tonal Counterpoint and Further Harmony                                   (2 Credits)
Strict counterpoint is divided into 5 species according to the number and arrangement of the notes of the accompanying melody running against the given subject, thus we have:  1st Species, Second Species, Third Species, Fourth Species, Fifth Species Counterpoint.  This includes a detailed study of the characteristics of each of the species and exercises on the different species.
MUS 311:       Strict Counterpoint (2 Credits)
Chromatic Harmony, Chromatic and Enharmonic Modulation.  Traditional theories regarding ninths, elevenths and thirteenths.  Counterpoint, illustrations from Bach’s Two-Part Inventions, or French Suite.  Inversion.  Two Types of inversion.  Invertible Counterpoint.
MUS 312:  Orchestration
Definition of the Orchestra and Orchestration.  Origin of the orchestra, Orchestration Techniques, classification of the instruments of the modern symphony orchestra, ranges of instruments of the orchestra.  Transposing and non-transposing instruments and reading their scores.  Scoring and arranging for various instruments of the orchestra and instrumental ensembles, small, medium, and large.  Exercises include western as well as African instruments.  Scoring and orchestrating African music tunes, utilizing melo-rhythmic, rhythmic and melody instruments from native culture.  Analyzing selected art songs.
MUS 314:       Musicianship Studies IV                   2 Credits
Score Reading:  Following a melody, studying selected examples, following two staves.  Studying examples, listening to examples with live scores, hearing different timbres.  Sight reading open scores including alto and tenor Clefs.  Exercise should involve both Western and African musical instruments.
MUS 315:       Musicianship Studies V                    2 Credits
Forms in Music.  By means of sheet and recorded music, study a number of forms in western music – Binary, Ternary, Rondo and sonata forms including Air and Variations.  Analysis and synthesis of selections of forms.
MUS 410:  Fugue (2 Credits)
Origin and development of the fugue.  Main principles of fugue and analysis of simple selected examples.  The general principles of fugal construction.  The short Fugue.  What constitutes good style in two – three – and four-part contrapuntal writing both vocal and instrumental.  The invertible counterpoint reconsidered.  Review work on harmonic progression, “hidden” fifth and octave.  The study of the traditional aspects of fugue – the subject and counter-subject.  The “answer” in its simplest form, the writing of expositions.  The middle section – Methods of writing episodes.  The Stretto and Final section.  The Coda, Examples for complete analysis.
MUS 411:  Modern Compositional Techniques:
Setting texts to melodies, scanning and writing music to given poems, completion of an instrumental piece of music with the opening bars given.  The Fugue as a whole.  Studying selected examples in details.  The Voicoal Fugue and its problems.,  Studying of selected examples.  Composing some simple original music in fugal style.  Fugue for Piano or organ or native xylophone, ogenephone or metallophone, writing Fugues on vocal subjects in English and any local language of the country.,  Analysis and syntheses of Counterpoint and Fugue.  Harmonizing advanced Figured Bass examples.
MUS 112:       Musicianship Studies I                      2 Credits
Basic music reading:  Sol-fa Notation, Note pointing in sol-fa.  Matching Pitches.  Musical Notation.  Staff and clefs including ledger lines.  Simple time signatures.  Notes and note values including the effect of dots.  Rhythmic and melodic dictation including the use of rests.
MUS 113:       Musicianship Studies II                    2 Credits
Further sight-singing and musical dictation.  Developing ability to hear music accurately.  Relating what is heard to notated music – aural competence.  Intonation – hearing melodic and harmonic intervals.  Scales including major, harmonic and melodic minors.  Dictation of Compound Time patterns.  Scanning intervals e.g. Major and Minor seconds, etc.
MUS 212:      Musicianship Studies III                    2 Credits
Rhythms of more difficulty, chromatic melodic and harmonic intervals.  Fusing, scanning, anticipation and visual recognition exercises.  Intonation – chords in close and extended positions.  Hearing and notating two part melodies.
MUS 213:       Musicianship Studies IV                   2 Credits
Further aural recognition of chords including dominant seventh chords.  Further melodic dictation – homophonic styles.  Writing outer parts.  Hearing syncopations.  Notating African melodies by ear.  Hearing syncopations.  Notating African melodies by ear.  Hearing modulations, cadences and progressions.
MUS 313:  Composition                                           2 Credits
Two part writing using original tunes in African and classical idioms.  Setting of indigenous and English texts to melodies and providing accompaniment (vocal or instrumental – traditional or western) for same.  Writing and Arranging for young voices.  Writing and arranging for four voices using own themes in the contemporary Nigerian Choral styles.
MUS 121:  Music History:  Antiquity to 1400  2 Credits
Emphasis is on Medieval style and development.
MUS 220:  Western Music History:  The Renaissance Period (1400 – 1600)              2 Credits
Broad perspective of the Western world’s achievements in music during the period 1400 – 1600. Emphasis is on how a knowledge of the cultural background of music enriches the musical experience of the listener.  Leading trends, works, forms, and figures of the period.  The nature of the renaissance, music in the early renaissance (1400 – 1450), and in the high renaissance (14500 – 1600).  The rise of regional schools – Flemish, Roman, English, Spanish, Venetian and German.  Dominant forms, style and language:-  The Church Modes, the Latin Mass, the German Chorale.  The rise of independent instrumental music.  Figures:  Des Prez, Palestrina, Gabrieli di Lasso, Byrd, Morley.
MUS 221:       Music History:  The Baroque Period (1600 – 1750)
Trends:  The Baroque Spirit.  Early Baroque (1600 – 1685), the Late Baroque (1685 – 1850), the culmination of the Baroque.  Equal Temperament.  Forms/Works:  Dramatic vocal forms – Opera, Solo Monodies, Oratorio, Cantata, Prelude and Fugue, Suite, Keyboard Sonata, Concerto Grossso, Passion, Solo Sonata.  Figures:  Monteverdi Scarlatti, Frescobaldi, Buxtchude, Kuhnau, Corelli, Vivaldi, J.S. Bach, Handel.
MUS 320:       Western Music History:  The Classical Period (1750 – 1800)
Emergence of Classicism from Rococo, the classical temper, the invention of the modern hammer piano etc.  The Classical Symphony, Sonata, Chamber Music, Oratorio, Opera.   Contributors:  C. P. E. Bach, Johann,  Stamiz, Gluck, Haydn, Mozart and Beethoven.  Their representative works.
MUS 321:       Music History:  The Romantic Age (1800 – 1900) (2 Credits)
The Romantic Mind, the Climax of the Romantic Movement in Music (1850 – 1900), Etc.  Forms, – the Lied (or song), the Romantic Piano Music, the Romantic Overture, the Romantic Symphony, the Romantic Concerto, the Symphonic poem, the Romantic Sonata, Oratorio, and Opera.  Contributors:  Weber, Schubert, Mendelssohn, Chopin, Schumann, Berlioz, Liszt, Wagner, Verdi, Franck,. Bizet, Brahms, Tchaikovsky.
MUS 420:       History of Music:  The Period of Impressionism (1880 – 1918)
The coming of Impressionism and Expressionism. The Nature of Impressionism:  Characteristics of the Music.  The Musical Impressionism – Debussy and Ravel.  Their Representative works. – Their styles, etc.  Post-Romanticism – Mahler, Wolf and Richard Strauss, Nationalism in Music.
MUS 130:       African Music Studies I                    2 Credits
Types of instruments and their classification.  Organisation and regulation of communal music in Africa.  Performance techniques, roles and functions of instruments.
MUS 131:   African Music Studies II                      2 Credits
External and internal influences on African music and its performance.  Traditional and modern copyright principles.  Roles and relationships of instruments in ensembles.  African music as applied, creative and performing art.
MUS 230:       African Music Studies III                 2 Credits
Analytical perception of melodic and rhythmic patterns.  Ensemble structure, part relationships and developmental devices in African music.  Technical reproduction and writing of African melodies.  African music notation.
MUS 231:       African Music Studies IV                 2 Credits
Melo-rhythmic and rhythmic patterns in African music.  Metric organization, Scalic structure.  Historical, literary and aesthetics of the music of some Nigerian societies.  African music similarities, cross-currents and differences..  Music culture areas.  Distribution of instruments and performance techniques.
MUS 330:       African Music Studies V                  2 Credits
African traditional harmonic concepts and practices, presentational form.  Factors of creativity, form and presentation, cadential techniques, aural analysis of traditional music types:  trends in contemporary African music compositions – traditional, religious, classical and pop.
MUS 331:       African Music Studies VI                 2 Credits
Ensemble part relationship:  polyphony, homophony and unilateral structure.  Transcription and analysis of African music including problems involved:  notation of African composition including popular music.
MUS 332:       Music of Other World Cultures VII        2 Credits
Music of the Afro-American People of the U.S.A – Jazz, Blues, Country and Western, Rock and Roll.  Music of the Arabic Peoples, the Chinese, Hebrews, Indians, Japanese, Caribbean, Indonesians.
MUS 430:       African Music Advanced Topics I        2 Credits
Analysis of modern African composition.  Advanced aural analysis.  Study of views of modern scholars on selected topics in African music.
MUS 431:       African Music Advanced Topics II          2 Credits
Issues and trends in African music culled from scholarly publications.  Bibliographic materials and information on African music for investigative research projects.
MUS 140:       Keyboard Studies I                                 2 Credits
Instruction in basic Keyboard skills.  Acquiring basic chord progressions on the keyboard.
MUS 141:       Keyboard Studies I                                  2 Credits
Drills on Chord Progression as facility for harmonization of simple melodies.
MUS 240:       Keyboard Studies II                    2 Credits
Further chord drills and harmonization of melodies.
MUS 340:       Keyboard Studies IV                     2 Credits
Chord drills:  modulation and improvisation.  Voice – leading and accompanying on keyboard of popular religious, folk and other tunes.
MUS 142:       Individual Performance Studies I         2 Credits
Progressive individual lessons on primary instruments – keyboard and voice.  Not less than one hour of private practice each day is required of the student.  Emphasis is on hymns and chants as well as on western classical songs.
MUS 143:       Individual Performance Studies II        2 Credits
Progressive individual lessons on the chosen primary instrument (MUS 142) continue.
MUS 242:       Individual Performance Studies III 2 Credits
Progression of MUS 143.
MUS 243:       Individual Performance Studies IV 2 Credits
Advancement of MUS 242.
MUS 241:       Keyboard Studies IV:
Progression of MUS 240.
MUS 341:       Keyboard Studies IV:
Progression of MUS 340.
MUS 342:  Individual Performance Studies V 2 Credits
Progression of MUS 243.
MUS 343:  Individual Performance Studies VI             2 Credits
Advancement of MUS 342.
MUS 442:  Individual Performance Studies VII          2 Credits
Progression of MUS 343.
MUS 443:  Individual Performance Studies VIII         2 Credits
Advancement of MUS 442.
MUS 144, 145, 244, 245, 344, 345, 444, 445 – Ensemble Studies   2 Credits each
Supervised workshop studies:  Participation at rehearsals and presentations of selected Western and African musical items such as operatic or choral pieces, wind ensemble or symphony numbers, traditional orchestra, dance drama, folk musical, etc.  These productions are open to music students irrespective of year of study.  Emphasis is on attendance, cooperative participation and enterprise.
MUS 450:       Stress Area Study I (Project)                 2 Credits
Basic conceptual issues in music are dealt with through tutorial and seminar approach.  Thus interests of students are identified and current knowledge areas worthy of investigation are determined.  These are from any one of the following areas:  Music Composition, Ethnomusicology, Music Education and Music Performance.
MUS 451:       Stress Area Studies II (Project)          4 Credits
Continuation of MUS 450 culminating in the identification of a research problem in the chosen area and the writing and completion of a thesis project.
MUS 360:       Choral Studies and Conducting              2 Credits
Basic knowledge for the beginner choral director:  Importance of a good ear, good sense of rhythm, skill of sight singing and score reading.  Understanding style and mood.  Fundamentals of singing.  Improving singing.  Elementary voice training.  The course has to be taken in two parts:  theoretical in the form of seminar/tutorials and practical in the form of a rehearsed demonstration/project.
MUS 361:       Choral Studies and Conducting II          2 Credits
Further basic knowledge areas for the choir director – forming and constituting a choir.  Types of choirs, choir discipline and internal relationships.  Qualities of a good choir director.  Programming a concert.  Programme notes, the rehearsals – beginning and ending. Selecting music.  The learning experiences should be theoretical as well as practical.
MUS 362:  Research Methods and Procedures I       2 Credits
Lectures in research problem selection, data collection techniques, analysis interpretation and presentation.  Concepts and examples are chosen from traditional music and music pedagogical issues.  Selecting problems for research, typos of research design, stages in research design.  Research language:  Measurement, Variable, Hypothesis, Operational Definition, Reliability, Validity, etc.  Types of research vis-a-­vis methods of date collection. 
MUS 363:       Research Methods and Procedures II     Credits
Further to the knowledge gained in MUS 362 more grounds are covered on analysis of data.  Lectures will also focus on the importance and sources of literature review.  Detailed work should also be done on referencing and modern APA style, actual exercises are taken in the form of disciplined library research/seminar paper.
 MUS 462 and 463:  Choral Studies and Conducting III     2 Credits
Further guidelines for Choral Conducting.  Beating time:  Simple time, Compound time, and Complex time.  Use of the hand versus the use of baton.  Musical interp.retation.  Score reading exercises.  Choral literature to include sheet music of relatively high standard as well as brief history of selected famous conductors.
MUS 466 and 467:  School Music Methods I          2 Credits
Learning Principles and Teaching Procedures for music.  Experiences in music – rhythm and singing.  Teaching songs.  Teaching listening.  Teaching movement and creativity.  The musical environment of the home and the School.  Music Reading Readiness.  Sequencing musical learning.  Psychological basis for musical learning.  The Kodaly method of music education.  The Orff Approach, the Carabo-cone methods.  Conductors.