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As appropriate for elementary and secondary licensure in music education, the program of study for the Bachelor of Music degree includes coursework and field experiences at the elementary and secondary levels. Courses specific to instrumental teaching techniques and literature prepare students for entry into the field. The field experiences provide the necessary breadth and depth in observing and applying best pedagogical approaches and use of appropriate materials for music learning in vocal and general music.

Students who successfully complete the Bachelor of Music Education degree are certified to teach music in grades K-12 in the state of Arkansas. Students often complete graduate study to pursue careers in higher education.

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Music scholarship's views of Franz Schubert's instrumental works continue to evolve. How might aesthetic values, historiographies, revisions to the composer's biography, and disciplinary commitments affect how we interpret his music?

Schubert's Instrumental Music and Poetics of Interpretation explores the aesthetic positions and operations that underlie critical assessments of Schubert's instrumental works. In six chapters, each devoted to one or two of Schubert's pieces, Ren Rusch examines the conditions that have prompted scholarship to reevaluate the composer's music and legacy, considers how different conclusions about his music may be reflective of certain aesthetic values, investigates the role of narrative in both music analysis and constructions of history, and explores alternative forms of coherence through updated analyses of the composer's instrumental works. Rusch's observations and comparative analyses address four significant areas of scholarly focus in Schubert studies, including his approach to chromaticism, his unique musical forms, the relationship between his music and biography, and the influence of Beethoven.

Drawing from a range of philosophical, hermeneutic, historical, biographical, theoretical, and analytical sources, Schubert's Instrumental Music and Poetics of Interpretation offers readers a unique and innovative foray into the poetics of contemporary analyses of Schubert's instrumental music and develops new ways to engage with his repertoire.

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Racer Instrumental Music Academy (RIMA) is a week-long summer music camp at Murray State University. Be part of a large concert band and prepare a variety of fun and challenging band literature, culminating with a final Saturday morning showcase concert. Students will improve ensemble performance skills, focusing on intonation, balance, blend, tone quality, and musicianship.

Master Classes: Participate in studio master classes designed to foster musical growth through the art of performance in a positive and supportive atmosphere. Topics of study may include: concept of sound, embouchure, breathing, phrasing, intonation, styles, technique, solo repertoire, recordings, pedagogy, and equip.m.ent.

Musicianship Seminars: Learn various musical topics throughout the week taught by Murray State Faculty including How to Practice, Overcoming Performance Anxiety, The Healthy Musician, Careers in Music, and more.

When campers arrive on Sunday, they will participate in a chair placement audition. This audition will determine their placement in the large band. Faculty will select audition music and students will have the opportunity to practice the repertoire and prepare for the audition before arriving.

April 15, 2009 at 09:46 PM The discussion on another thread regarding Bach's music opens another subject area. Bach certainly autographed a large number of his works with a reference to God, but I find it odd that music which has no text (as in the sonatas/partitas discussed on another thread) can be identified as religious in nature simply because it was written by Bach. Bach certainly wrote works that were not written for the church (his gig though was as a church musician). But can we identify his instrumental works that were religious or non-religious simply by hearing their melody or harmony--or can we hear his intent because of voice leading? That interpretation can certainly leave the door open for many unintended consequences--some of which people (and some churches) are grappling with on a weekly basis. If we allow that some instrumental music can be identified as religious (or referencing God), then we also have instrumental music that is non-religious or pagan. Taking that thought process further, we then have music that must have other intrinsic qualities also, such as instrumental music that is inherently good or evil. Hummmm... slippery slope indeed.

April 15, 2009 at 10:13 PM music is music. there is no christian music. no secular music. there are christian lyrics and secular lyrics. but also consider that if God created everyone in his image with the capacity to also create, then is everything not also spiritual?

April 16, 2009 at 12:54 AM I know it sounds really beginner, but when I listen to music, I imagine what I want and don't even bother to imagine if it is in relation with "religion" or not. If it makes me think of something divine, it is because it is very beautiful and no more! The contrary is true also for me! :) But I know Bach did a lot of officially named "church music"

April 16, 2009 at 02:12 AM This is a really fun question! You have to think about the context in which the music was written. I cannot say I'm much of an expert because it's been awhile since I read that section in Grout. However, one interesting factoid: The "C" meaning 4/4 time doesn't stand for common time; it's an incomplete circle. Composers used to use a full circle for 3/4 or "Perfect" time. It was thought that the number three was sacred (Father, Son, Holy Spirit) and he will occasionally evoke this.

For example, I will be supervising an hour-long after school detention next month, and I believe that I will find a minute-long snippet of music, say something insipid and irritating from the likes of some common shallow pop "artist" and loop it incessantly for the entire hour.

April 16, 2009 at 03:51 AM When I was in high school, some kids got detentions for throwing a protest. So, the teacher that had to supervise detention that day brought his old protest music on vinyl and played through the entire detention as punishment.

April 16, 2009 at 05:24 AM In my late teens I was a reborn christian (nobody is perfect ;-). I played electric guitar in my church band, it was in the 70s. Then they told me not to play Santana tunes, because Santana was then a dedicated follower of some obscure guru. They argued that his music was evil. I continued to play Santana songs (to great sucess) and explained that through my christian mind, soul and fingers this evil heathen music gets transformed into sacred music, inspired by the holy spirit. This experience was one reason for me to gradually become unable to take religion for serious.

Btw, a lot of the most beautiful baroque music uses religious themes and inspiration. The music is still alive and fresh, but the spiritual background is outdated. (I prefer instrumental music, partly because many of the words used in baroque oratorios kind of offend me.) It is significant that this music makes no difference between glorifying a secular or a ("the" ;-) divine lord, it's only a matter of who payed for the composer's job. So it is obvious that the music itself contains no spirituality in whatever sense, even if there may be some elements interpreted as symbols.

April 16, 2009 at 01:14 PM Instrumental music can sound like it has religious (or pagan, or folk, or martial) themes but that doesn't make it inherently "good" or "bad." Music is not about ethical or moral values or personal improvement. It's art. Art is artifice, an artificial creation which has psychological resonance with the listener but leaves the listener about as good (or bad) as before the listening experience.

April 16, 2009 at 01:58 PM We could discuss the relative beauty of music: of course there is a level of subjectivity here, but we would probably be able to agree on the extremes of beauty and ugliness.

Now, because people seem to want to equate beauty with virtue, or "good", we also seem to want to equate ugly with evil. If we held to this way of thinking, then we would say this music, being beautiful, is good, and vice versa.

April 16, 2009 at 10:13 PM Interesting discussion and one that I've run into several times as a Christian violinist. While definitely many composers used symbolism in music, I think the bigger questions is "What does the music itself communicate?"

For example--we would all agree that music does communicate emotion, evoke images, etc. We would not all agree what specific emotions or images a certain piece of music might evoke! However, especially among certain ages or cultures there would probably be a similarity of interpretation.

The Bach discussion probably deals more with the symbolism side, though I haven't studied that in a while. The interpretation side is the one I tend to encounter more and the one most of us seem to be talking about--a good question might be, what does this music communicate? to me, as well as to my audience (which may be slightly different things)? Once I have an idea what it communicates, can I call that objectively good or bad, or can I determine whether it's appropriate or inappropriate for my purpose. ff782bc1db