Courses

This course is an overview of western "art" music from the Middle Ages to present day. Emphasis is placed on the forms and styles of music categorized by historical periods and the composers' social environment. Extensive music listening is incorporated into the curriculum both in class and as assignments. The ability to read musical notation is not required.

This course will introduce students to the uniquely American art form Jazz, through a study of the musical contributions of its major figures. The course of study will include all styles of jazz, from early jazz (Dixieland) to the music of today.

(Including World/Country, World/Bluegrass). This course explores different approaches to music-making through the world by examining the ritual and social contexts, compositional techniques, performance styles, instruments, and learning traditions of different musical cultures. The course begins with an overview of musical terminology and ethnomusicological methodologies that can be applied to various types of global music. Subsequently, the course builds on this foundational knowledge by examining various case studies from around the world and comparing them to Western classical and popular traditions.

This course seeks to explain the basic foundations of musical construction. The universal elements of pitch, rhythm, and harmony will be uncovered along with musical contexts across varied and diverse styles. Students will also explore their own musical intuitions by learning to use basic recording software. No previous musical experience is necessary.

Recommended for beginners in guitar. Stresses fundamentals of picking, strumming and note reading.

For intermediate guitar students with basic skills. Emphasis on guitar styles and improvisation.

Prerequisite(s): 112 or consent.

The third course in the guitar sequence.

Prerequisite(s): MUS 113 or consent.

An introduction to vocal techniques and pedagogy.

The Alexander Technique is a widely recognized educational method for improving balance, alignment, ease, flexibility and energy. The Technique offers us insight into the underlying principles that govern human movement. When applied, these principles guide us to a dynamic kinesthetic lightness, wherein thinking becomes clearer, feeling accessible, sensations livelier, and movement more pleasurable. Within this fluid, more conscious condition, we find our actions and interactions strengthened and refined, our sense of time expanded, and our rapport with the environment restored. The workshop addresses structural problems treated by performing arts medicine and in addition, neuroscience research which supports evidence of misuse resulting in pain/injury by our own mental process and perceptions of our body's structure. We explore gentle movement and relaxation exercise as well as the application of Body Mapping to gain clear and accurate information about our anatomical structure for optimal movement.

A general category used only in the evaluation of transfer credit.

Fundamentals of written musical materials including terminology, tuning systems, notation, intervals, scales, chords, basic diatonic harmony, rhythm, simple forms, aural skills and computer music applications.

Prerequisite(s): Successful completion of Music Theory Fundamentals (MUS 244) or Music Theory Placement exam or consent.

A historical survey of art music in Western Europe from the Medieval era through 1800. Across the survey, students will learn about the evolution of musical style, political and social contexts, and the development of notation, printing, and performance practices. Assessment includes unit and final exams, short writing assignments and analyses, and discussions of readings. Understanding of musical notation is required.

A historical survey of art music in Western Europe and the United States from 1800 through the present. Across the survey, students will learn about the evolution of musical style, political and social contexts, economic structures, and the impact of folk, popular, and non-Western music. Assessment includes unit and final exams, short writing assignments and analyses, and discussions of readings. Understanding of musical notation is required.

Prerequisite(s): MUS 200.

Beethoven’s symphonies are among the most famous works in the canon of Western classical music and are revolutionary in their conveyance of musical (and some would argue extra-musical) narrative within the symphonic genre. This class explores the idea of narrative and how it is heard in his music through a focused study of the symphonies and overtures written between 1803-1812. The course approaches this topic through reflective and research writing. The ability to read musical notation is required.

A survey of approaches to musical harmony including linear systems (counterpoint), vertical systems (common practice tonality, polytonality), mathematical systems (serialism) and jazz systems.

Prerequisite(s): MUS 200.

An introduction to conducting and orchestration. Students will compose, orchestrate and conduct original works of music.

Prerequisite(s): MUS 205.

The Mass Ordinary is the cornerstone of the eucharistic ritual of the Roman Catholic Church. This course traces the development of western art music through landmark musical settings of the Mass Ordinary. Composers studied include Josquin des Prez, Palestrina, J. S. Bach, F. J. Haydn, Ludwig van Beethoven, Leonard Bernstein, and others. Students will learn about historical events, technological advancements, and socio-political trends that led to changes in ritualistic practices and the music that accompanied them. For music majors, this course is designed to help solidify and contextualize foundational knowledge of western musical history and terminology. For non-music majors, this course will serve as an introductory survey of western sacred musical literature, from the earliest forms of notation and chant through landmark compositions from each of the major musical eras.

A survey of music-making in America from the colonial period to the present, including early American sacred, patriotic, and political music; musical theatre; and various popular and art music genres of the 19th and 20th centuries, particularly as influenced by the collision between European and African musical traditions. The ability to read musical notation is not required.

Broadway musical might seem like toe-tapping, tourist-trapping escapism. But many musicals have used comedy, music, dance and fantasies to issue serious social commentary for audiences. This course will examine a variety of shows from the 1940s through the present, considering both the development and evolution of musical/dramatic conventions and examining shows through lenses of gender, race, exoticism, and historiography to better understand the cultural work these shows have performed in American history. Students will study a show in depth each week and conduct their own research on a show of their choosing.

A study of audio recording focusing on acoustics, microphone techniques, live and studio recording techniques, editing, signal processing and production.

An introduction to creating music with a computer, focusing on sequencing, sampling and direct synthesis.

A consideration of the increasingly complex behavior of music in the modern (or postmodern) world. We will pay particular attention to the function of music: its uses, the ways in which it is part of - and helps to define - daily life for a number of diverse populations in a number of diverse locales, and the ways in which it is transmitted in a global culture. The ability to read musical notation is not required.

Historically, women have played an integral role in musical traditions around the world, although the extent of their contributions has only recently been recognized and studied in an academic context. This course traces the development and current state of women's roles in music, including Western art music composers, performers, critics, and teachers; performers of popular American genres such as jazz, country, and rock; and performers of popular "World Beat" and traditional world musics.

Crosslisting: WGST 220.

This course explores the graphical programming language of Max/MSP. Through collaboration and invention, we will explore the interaction of coding and signal processing to build custom synthesizers, manipulate samples, and consider current systems of music creation. This course focuses on digital synthesis, modulations, sonic morphologies, and contemporary composition practices. The ability to read musical notation is not required.

An exploration of topics in computer music relating to improvisation and live-performance using inter-active programs.

In this course, we will look at the development of Western Art music from the end of the Renaissance period through the careers of J.S. Bach and G.F. Handel, covering an approximate period of 1600-1750. Understanding of musical notation is required.

This course will be devoted to a study of the work of the three principal composers of the classical era: Haydn, Mozart, and Beethoven (early works). We will study the style characteristics, as well as the musical genres and forms employed. Understanding of musical notation is required.

A study of 19th-century Western art music, focusing on the genres of art song, piano music, symphonic music, chamber music, and opera, from late Beethoven to Debussy. Works will be considered in their historical and cultural context, as well as from the point of view of their musical characteristics. Understanding of musical notation is required.

This course provides a more in-depth look into some of the myriad styles, social movements, and aesthetic debates that have shaped the pluralistic music making in the twentieth century. Topics to be explored may include the role of technology, musical borrowing, social and political movements, intersections with other art forms, and changes to musical institutions. Students will be expected to lead and participate in discussions of primary texts and academic scholarship, to listen and analyze key works, and to conduct their own research on a topic of interest related to the course. Completion of Music History II may provide some helpful background, but is not required. Understanding of musical notation is required.

This course examines the musical styles and cultural significance of country and folk musics in the United States, tracing its development from oral traditions through the present day. Primary sources, reviews and critical scholarship provide context for songs. This course touches upon several themes throughout the semester, including technological changes in the country music industry, political uses of country music, definitions of genre, and gender, class, and racial identities of artists and fans.

This course will explore the historical development of African-American gospel music in the 20th Century. The course will begin an examination of the pre-gospel era (pre-1900s-ca. 1920), move on to gospel music's beginnings (ca. 1920s), and continue unto the present. The course will explore the musical, sociological, political, and religious influences that contributed to the development of the various gospel music eras and styles. Through class lectures, demonstrations, music listening, reading and writing assignments, students will learn about the significant musical and non-musical contributions of African American gospel artists and the historical development of African American gospel music. Students will also strive to gain an understanding of the African American musical aesthetic and to determine how it is retained and expressed with African American gospel music and other musical genres. The class is open to students, staff, and faculty of all levels.

Latin American music is incredibly diverse in its historical musical elements, and in turn, is some of the most influential source material of popular music today. The course will focus on several main regions of development each with a central organizing nation: Cuba and the Caribbean, Mexico and Central America, and Brazil and South America. Along with aural analysis of the music itself, focus will be paid to the unique social construction of the prevailing musical styles for each region. The course will culminate with the development of Latin American music in the United States and its influence on modern popular music.

This course attempts to answer the question, “What is Bluegrass Music?” For some the answer appears to be very clear and for others it is very elusive. We will look at the origins and influences and try to pinpoint the moment it came to exist. Who created it? Who developed it? Who continues to influence it? What instruments and sounds are involved and which are out of bounds? We will also attempt to define what it is not. By taking a broad look at American Roots Music from the 20th century, putting Bluegrass music at the center, we will discover the various influences of American acoustic music and better understand its progression into modern times. Throughout the course we will also find that the origins of Bluegrass music are actually very diverse. Along with the impact of European music, we will look at the role that women and African Americans play in the development of bluegrass, old time, early country and American Roots Music in general.

Top ten musical artists of all time—go! Chances are you’ve thought about who would go on your list, who’s overrated, and why some things that are terrible somehow become popular. This course will encourage you to think about the hows and whys of musical tastes. Over the term, we’ll consider the cultural messages put forth when certain kinds of music are lauded or dismissed, the cultural barriers artists face to becoming part of the canon, and just how these public and personal tastes are formed and change over time. Our course will emphasize a melding of data collection and analysis and cultural theory that allow us to contextualize our findings.

This class explores a diversity of movements within rock music from the 1950s through the present. Central to this class is the music itself. Thus one key focus is on building a working knowledge of the musical language of rock (including elements of melody, harmony, rhythm, texture, form, style). In addition, this is a class is historiography where we will investigate how history is created and contested through primary texts such as musicians memoirs and journalistic music criticism. Through these readings, we will discuss rock's relationship to its historical, cultural, and social context, paying particular attention to issues of race, class, gender, and sexuality in postwar US culture. The ability to read musical notation is not required.

This course considers the role music has played in uniting people around social and political change. In particular, this course considers the music of protest movements in the US from the 19th century to the present. By examining the music of several protest movements, students will consider music as a tool of artists and groups used to reclaim a given space or song in order to fight injustice. The ability to read musical notation is not necessary in this course.

Special Topics in Music Performance is a course offering that deals with various aspects of performance within music.

Special Topics in Musicology/Music History is a course offering that deals with music with respects to its history, people, and culture.

Special Topics in Music Composition is a course offering that deals with the creative aspects of music composition.

Special Ensemble in Music Theory is a course offering that deals with the musicianship aspects of Music Theory and Aural Skills.

Special Topics in Music Collaborations are courses that do not fall within the other designations and are collaborative in nature. They may be courses within the department or in collaboration with other Denison departments.

Whether in a business meeting, competing in a sporting event, or in a test-taking situation, performance is often a crucial aspect of success in a variety of domains. Because the careers of performing artists (musicians, dancers, actors, etc.) hinge on successful performance, those artists spend a great deal of energy learning how to harness their own capacities. Not only do performing artists spend practice time training muscles, but they also practice mental strategies that allow for optimal performance under pressure. The purpose of this course is to look at effective mental strategies used by performing artists with the tools afforded to us by research in social psychology. In doing so, we will take the psychological strategies of artists and link them with performance situations in other domains. Work in this class will include readings from relevant psychology research, performing artist narratives, and hands-on, participatory practice techniques.

This course explores how music has been utilized to construct identity in America from the nineteenth century to today. Within the broad themes of race, ethnicity, gender, and queerness, we look at how groups and individuals use music to represent themselves and others. The course covers an array of song, stage, and screen traditions and relies on primary sources, critical scholarship, and audio-visual materials to bring our subjects to life. Although our course makes no attempt at a comprehensive history of any one tradition, it nevertheless demonstrates through a series of historical snapshots how music has served as a powerful tool for representing ourselves and others, no matter how contradictory, incomplete, or intersectional those identities may be. The ability to read musical notation is not required.

A general category used only in the evaluation of transfer credit.

The Junior Recital is a 30 to 40 minute solo performance of appropriate concert literature selected in consultation with the private lesson instructor. Must be taken concurrently with Private Lessons.

Beethoven’s symphonies are among the most famous works in the canon of Western classical music and are revolutionary in their conveyance of musical (and some would argue extra-musical) narrative within the symphonic genre. This class explores the idea of narrative and how it is heard in his music through a focused study of the symphonies and overtures written between 1803-1812. The course approaches this topic through reflective and research writing. The ability to read musical notation is required.

Prerequisite(s): MUS 104.

Music Theory Three will apply and synthesize the skills and knowledge developed in the music theory sequence in order to develop and defend ideas about the music from their performance repertoire. Students will use what they've learned to ask bigger questions, devise and justify their own analytical viewpoint, and to hypothesize approaches to interpreting music that is beyond their own experience. Topics will include chromatic harmony, linear analysis, modality, form, post-tonal approaches, and research.

Prerequisite(s): MUS 205.

The Mass Ordinary is the cornerstone of the eucharistic ritual of the Roman Catholic Church. This course traces the development of western art music through landmark musical settings of the Mass Ordinary. Composers studied include Josquin des Prez, Palestrina, J. S. Bach, F. J. Haydn, Ludwig van Beethoven, Leonard Bernstein, and others. Students will learn about historical events, technological advancements, and socio-political trends that led to changes in ritualistic practices and the music that accompanied them. For music majors, this course is designed to help solidify and contextualize foundational knowledge of western musical history and terminology. For non-music majors, this course will serve as an introductory survey of western sacred musical literature, from the earliest forms of notation and chant through landmark compositions from each of the major musical eras.

A survey of music-making in America from the colonial period to the present, including early American sacred, patriotic, and political music; musical theatre; and various popular and art music genres of the 19th and 20th centuries, particularly as influenced by the collision between European and African musical traditions. The ability to read musical notation is not required.

Broadway musical might seem like toe-tapping, tourist-trapping escapism. But many musicals have used comedy, music, dance and fantasies to issue serious social commentary for audiences. This course will examine a variety of shows from the 1940s through the present, considering both the development and evolution of musical/dramatic conventions and examining sows through lenses of gender, race, exocitism, and historiography to better understand the cultural work these shows have performed in American History. Students will study a show in depth each week and conduct their own research on a show of their choosing.

A consideration of the increasingly complex behavior of music in the modern (or postmodern) world. We will pay particular attention to the function of music: its uses, the ways in which it is part of - and helps to define - daily life for a number of diverse populations in a number of diverse locales, and the ways in which it is transmitted in a global culture. The ability to read musical notation is not required.

Historically, women have played an integral role in musical traditions around the world, although the extent of their contributions has only recently been recognized and studied in an academic context. This course will trace the development and current state of women's roles in music, including Western art music composers, performers, critics, and teachers; performers of popular American genres such as jazz, country, and rock; and performers of popular "World Beat" and traditional world musics.

In this course, we will look at the development of Western Art music from the end of the Renaissance period through the careers of J.S. Bach and G.F. Handel, covering an approximate period of 1600-1750. Understanding of musical notation is required.

This course will be devoted to a study of the work of the three principal composers of the classical era: Haydn, Mozart and Beethoven (early works). We will study the style characteristics, as well as the musical genres and forms employed. Understanding of musical notation is required.

A study of 19th-century Western art music, focusing on the genres of art song, piano music, symphonic music, chamber music, and opera, from late Beethoven to Debussy. Works will be considered in their historical and cultural context, as well as from the point of view of their musical characteristics. Understanding of musical notation is required.

This course provides a more in-depth look into some of the myriad styles, social movements, and aesthetic debates that have shaped the pluralistic music making in the twentieth century. Topics to be explored may include the role of technology, musical borrowing, social and political movements, intersections with other art forms, and changes to musical institutions. Students will be expected to lead and participate in discussions of primary texts and academic scholarship, to listen and analyze key works, and to conduct their own research on a topic of interest related to the course. Completion of Music History II may provide some helpful background, but is not required. Understanding of musical notation is required.

This course examines the musical styles and cultural significance of country and folk musics in the United States, tracing its development from oral traditions through the present day. Primary sources, reviews and critical scholarship provide context for songs. This course touches upon several themes throughout the semester, including technological changes in the country music industry, political uses of country music, definitions of genre, and gender, class, and racial identities of artists and fans.

This course will explore the use of music and sound in Western cinema, from the Classical Hollywood era of the 1940s to the present. Careful attention will be given to developing analysis, research, and writing skills. Students will be expected to complete several original analyses of scenes, culminating in an original research paper analyzing a film or films of the student’s choice. Weekly readings and viewings will be required.

Considers the impact of a composer's or other musical artist's gender and sexual orientation on his or her creative output by addressing questions such as: Is there such a thing as a queer aesthetic or sensibility in music? What, if anything, do gender or sexual orientation have to do with musicality? Do the gender or sexual orientation of a composer or musical artist matter to listeners? What impact does a musical artist's gender or sexual orientation have on his or her ability to get his or her music performed? And how have the answers to these questions changed over time?

This course will explore the historical development of African-American gospel music in the 20th Century. The course will began an examination of the pre-gospel era (pre-1900's-ca 1920), move on to gospel music's beginnings (ca. 1920's), and continue onto the present. The course will explore the musical sociological, political and religious influences that contributed to the development of the various gospel music eras and styles. Through class lectures, demonstrations, music listening, reading and writing assignments, students will learn about the significant musical and non-musical contributions of African American gospel artists and the historical development of African American gospel music. Students will also strive to gain an understanding of the African American musical aesthetic and to determine how it is retained and expressed with African American gospel music and other musical genres. The class is open to students, staff and faculty of all levels.

Latin American music is incredibly diverse in its historical components, and in turn, is some of the most influential source material of popular music today. The course focuses on several main regions of development each with specific countries of influence: Cuba, Puerto Rico, Dominican Republic and the Caribbean; Mexico and North/Central America; and Brazil and South America. Along with aural analysis of the music itself, the course analyzes the unique social construction of the prevailing musical styles for each region. The themes of cultural interaction and collision along with (often forced) population shifts provide a uniting current across the vast geography of study and provide organizing through-line across the region. If time permits, the course will culminate with the development of Latin American music in the United States and its influence on modern popular music.

This course attempts to answer the question, “What is Bluegrass Music?” For some the answer appears to be very clear and for others it is very elusive. We will look at the origins and influences and try to pinpoint the moment it came to exist. Who created it? Who developed it? Who continues to influence it? What instruments and sounds are involved and which are out of bounds? We will also attempt to define what it is not. By taking a broad look at American Roots Music from the 20th century, putting Bluegrass music at the center, we will discover the various influences of American acoustic music and better understand its progression into modern times. Throughout the course we will also find that the origins of Bluegrass music are actually very diverse. Along with the impact of European music, we will look at the role that women and African Americans play in the development of bluegrass, old time, early country and American Roots Music in general.

Top ten musical artists of all time—go! Chances are you’ve thought about who would go on your list, who’s overrated, and why some things that are terrible somehow become popular. This course will encourage you to think about the hows and whys of musical tastes. Over the term, we’ll consider the cultural messages put forth when certain kinds of music are lauded or dismissed, the cultural barriers artists face to becoming part of the canon, and just how these public and personal tastes are formed and change over time. Our course will emphasize a melding of data collection and analysis and cultural theory that allow us to contextualize our findings.

This class explores a diversity of movements within rock music from the 1950s through the present. Central to this class is the music itself. Thus one key focus is on building a working knowledge of the musical language of rock (including elements of melody, harmony, rhythm, texture, form, style). In addition, this is a class is historiography where we will investigate how history is created and contested through primary texts such as musicians memoirs and journalistic music criticism. Through these readings, we will discuss rock's relationship to its historical, cultural, and social context, paying particular attention to issues of race, class, gender, and sexuality in postwar US culture. The ability to read musical notation is not required.

Special Topics in Music Performance is a course offering that deals with various aspects of performance within music.

Special Topics in Musicology/Music History is a course offering that deals with music with respects to its history, people, and culture.

Special Topics in Music Composition is a course offering that deals with the creative aspects of music composition.

Special Ensemble in Music Theory is a course offering that deals with the musicianship aspects of Music Theory and Aural Skills.

Special Topics in Music Collaborations are courses that do not fall within the other designations and are collaborative in nature. They may be courses within the department or in collaboration with other Denison departments.

A general category used only in the evaluation of transfer credit.

The Senior Recital is a 50 to 60 minute solo performance of appropriate concert literature selected in consultation with the private lesson instructor. Must be taken concurrently with Private Lessons.

The Senior Project is a composition or research project in the emphasis of the music major (composition, computer music or music history) to be selected and completed in consultation with the appropriate area instructor.

Offered for beginning piano students, the piano class will focus on fundamental piano technique and score reading, as well as the playing of lead sheets. Students will work on individual electronic pianos, both solo and in groups.

This is designed for non-music majors with no significant background in piano who would like to continue their piano studies. This course is a continuation of Piano Class I (MUSP 111) curriculum. Students will explore the joy of making music through more advanced (late beginning/early intermediate level) repertoire. Other emphasis is placed upon ensemble work (duet, trio, quartet), chord progressions, harmonization, and sight-reading.

Prerequisite(s): Piano Class I or instructor permission.

American Roots Seminar looks closely at the formulas for arranging American Roots Music including bluegrass, blues, old-time string band, Appalachian Fiddle and early country music. Based on our understanding and data collected from the song formulas, students compose vocal songs and instrumental songs reflecting traditional composition styles and topics. Students are assigned parts to compose and will collaborate to develop the components and arrangement of each song: form, chord progression, melody, harmony, lyric writing and instrumental elements including solos, intros and ornamentation. This course is required for students seeking a Bachelor of Arts degree in music with an emphasis in American Roots Music.

A sequence for the music major, minor, and performance certificate student to fulfill the keyboard proficiency in the Department of Music. Other students may enroll with the permission of the instructor.

A sequence for the music major, minor, and performance certificate student to fulfill the keyboard proficiency in the Department of Music. Other students may enroll with permission of the instructor.

A seminar approach to musical composition focusing on individual composition projects, compositional processes, forms, aesthetics and criticism. May be repeated for credit.

The American Roots Ensemble offers students of all skill levels an opportunity to interact, perform and learn about traditional American Roots Music with an emphasis on the Bluegrass/String Band formulas. Music from a variety of styles will be explored including old time fiddle and string band music, country blues, early swing, early country, modern string band and progressive instrumental music. In this course we will break down the elements of the song structure, look at the roll of each instrument and how each one fits into the mix. We will also explore vocal harmonies and attempt to apply all of these elements to the material we arrange and rehearse. All students will be provided with opportunities to play rhythm/back up parts, sing and take solo breaks. A combination of Live performances and recording sessions take place each semester that students are expected to participate in including the Denison University American Roots Radio Show. Pre Approved instruments: guitar, mandolin, banjo, bass, violin, voice. All other instruments subject to approval of the instructor.

Pedagogical and performance skills will be developed through laboratory and observational experiences. Includes Flute Ensemble, Oboe Ensemble, Clarinet Ensemble, Bassoon Ensemble, Woodwind Chamber Music, and Saxophone Chamber Music.

Includes Trumpet Ensemble, French Horn Ensemble, and Brass Ensemble.

An introduction to string techniques and pedagogy.

An introduction to percussion techniques and pedagogy.

A small chamber ensemble dedicated to performance of percussion literature. Meets weekly TBA, with a performance each term.

Is the primary ensemble for all winds, brass, and percussion students. The repertoire of the ensemble reflects the breadth of wind literature and includes music from the late Renaissance to world premieres. The ensemble frequently collaborates with other ensembles on campus (recent examples include Chamber Singers and Jazz Ensemble). Students are expected to commit to membership in Wind Ensemble for a full academic year as our concert preparation spans semesters. Students wishing to join Orchestra must also enroll in Wind Ensemble. Dr. Chris David Westover, conductor. Membership by audition.

This class covers the basics of jazz improvisation and will include the study of modal forms and chord/scale applications, ii-VII-I progression (in the framework of standard jazz compositions) and a transcription project.

Special Ensemble in Music Performance is a course offering that deals with various aspects of performance within music.

Special Ensemble in Music Composition is a course offering that deals with the creative aspects of music composition.

Special Ensemble in Music Theory is a course offering that deals with the musicianship aspects of Music Theory and Aural Skills.

Special Ensemble in Music Collaborations are courses that do not fall within the other designations in nature. They may be courses within the department or in collaboration with other Denison departments.

Special Ensemble in Music Performance is a course offering that deals with various aspects of performance within music.

Special Ensemble in Music Composition is a course offering that deals with the creative aspects of music composition.

Special Ensemble in Music Theory is a course offering that deals with the musicianship aspects of Music Theory and Aural Skills.

Special Ensemble in Music Collaborations are courses that do not fall within the other designations and are collaborative in nature. They may be courses within the department or in collaboration with other Denison departments.