The Master of Arts in Music degree is a liberal arts degree that requires 30 credits of course study plus a final project, or 36 credits of course study with thesis.

At least one half of the course credits earned must be in Music, with at least 21 credits at the graduate level (600). 

Two thirds of the credits must be earned at UAF.  This means that up to 1/3 of the courses might be tranferrable to UAF for inclusion in the degree.

Other curriculum requirements for the Masters of Music Degree in Music may be seen by clicking on this link.

The procedure for applying for admission may be seen by clicking on this link.

It is mandatory that all graduate students take diagnostic examinations at the beginning of their program to determine if any academic deficiencies exist in the student's knowledge of music history and literature, music theory or other areas of music study, depending upon the major are declared by the student. These examinations can only be taken once. UAF undergraduate students in music may elect to take them during their senior year. The preliminary examinations are described below:

Music Theory: This examination is given in two different parts of two different times. The written theory examination is two hours in length and must be taken by all students regardless of declared major. A second examination in music aural comprehension (ear training) is also mandatory for all students and is given by appointment during the week following the date which the written theory exam was given.

The written theory examination consists of definitions normally associated with first and second year music theory, chord construction and related nomenclature, techniques of harmonic analysis including chord inversion designation and Roman numeral analysis, designation of non-harmonic tones, ecclesiastical modes, cadences, and principals of four-part chord connection. Blank staff paper will be provided. It is suggested that students bring a number of sharp pencils for this examination.

The department may elect to administer an examination to determine a student's ear training ability if the entrant displays limitations in this competence.

Basic Materials in Music Theory by Greg Steinke (Allyn & Bacon).

Harmonic Materials in Tonal Music, Part I. and Harmonic Materials in Tonal Music, Part II. by Greg Steinke (Allyn & Bacon).

For review of sight singing and melodic dictation, students should review pp. 1-75 of Music for Sightsinging by Robert Ottman (Prentice Hall) or other books with melodies of similar difficulty.

Music History and Literature: Students should be familiar with the different eras of music history, the dates or events which are commonly understood to indicate the beginning or end of these eras, and the predominant vocal or instrumental forms characteristic of these eras. Students should understand the formal structure of major musical forms characteristic of each era. Music excerpts from major compositions will be presented in score form. Students will be asked to identify these works and the composer (or likely composer). This examination will allow students some latitude in selection of items from which they may describe, however, the complete spectrum of music history will be tested. The following textbooks are recommended for review in music history and literature:

College Outline Series: History of Music by Hugh M. Miller (Barnes & Noble),

A History of Western Music by Donald J. Grout (W.W. Norton),

Harvard Dictionary of Music ed. by Willi Apel (Belknap Press).

Music Education: students who have declared a major in music education must take this examination. It requires from one to two hours to complete. Music education majors will be required to complete a section pertaining to organizations, literature, knowledge of instruments and voice, and rehearsal techniques appropriate for public school music instruction. Students taking this examination should also be able to address the following topics: 1) the broad aims of music education, 2) the concrete social objectives, 3) specific program objectives, including the musical behaviors desired in particular age groups of learners, and 4) specific instructional objectives, including specific competencies to be developed in each music class or activity. These aims and objectives should be discussed with respect to the broad student body and not limited to the "band program" or "choral program" at the high school level. Particular attention should be given to the major influences on the current curriculum in American music education. Students specializing in instrumental music will be expected to know the ranges and transpositions for the commonly used instruments, as well as basic finger patterns, slide positions, or string hand positions. Such students should also be expected to understand instrumental methods and techniques as applied to different grade levels of instruction.

Music in the Elementary School by Nye & Nye (Prentice Hall),

Essentials of Teaching Elementary School Music by Nye & Nye (Prentice Hall),

The Eclectic Curriculum in American Music Education: Dalcroix, Kodaly, and Orff published by MENC in 1972.

Guide for the Beginning Choral Director. Available from the American Choral Directors Association, P.O. Box 5310, Lawton, Oklahoma 73504.

Choral Techniques by Gordon H. Lamb (Wm. C. Brown).

The Vocal Sound by Barbara Kinsey Sable (Prentice Hall).

The Free Voice by Cornelius Reid available from Joseph Patelson Music House, New York, N.Y.

Techniques of Orchestration by Kent Kennan (Prentice Hall).