201. THEORY III. (3) (a) Basic principles of harmonic organization in the style of the 19th century composers; (b) the rondo, sonata, and variation forms; (c) piano, voice, and strings. 202. THEORY IV. (3) (a) Chorales, 18th century counterpoint; (b) invention, chorale prelude, canon, fugue, and suite; (c) piano, voice, and brass. 301. THEORY V. (3) (a) Modal harmony, 16th century counterpoint; (b) the motet, cantata, and oratorio; (c) piano and voice. 302. THEORY VI. (3) (a) 20th century harmony and counterpoint; (b) the fantasy and free forms; (c) piano, voice, and woodwinds. 4-01. THEORY VII. (3) (a) Original composition; (b) the symphony and the concerto grosso; (c) the orchestra. 402. THEORY VIII. (3) (a) Arranging; (b) hymns, songs, and anthems; (c) piano, voice, and small orchestra. CHURCH MUSIC Each semester of study includes: (a) conducting and choral methods; (b) liter­ ature; (c) organization and administration. 203. CHURCH MUSIC I. (3) (a) Elements of conducting, congregational song leading; (b) literature of the 19th century; (c) music in the church school. 204. CHURCH MUSIC II. (3) (a) Choral conducting; (b) literature of the 18th century; (c) music in the worship service, hymnology, order of service. 303. CHURCH MUSIC III. (3) (a) Advanced choral conducting; (b) literature of the 16th and 17th centuries; (c) music for youth meetings, special days, special services. 304. CHURCH MUSIC IV. (3) (a) Instrumental conducting; (b) literature of the 20th century; (c) children's and youth choirs. 4-03. CHURCH MUSIC V. (3) (a) Choral workshop; (b) the preparation of a one-year choir program; (c) adult choirs and special groups. 4-04. CHURCH MUSIC VI. (3) (a) Choral workshop continued; (b) the preparation of a one-year music pro­ gram for the entire church; (c) the place of the Minister of Music. MUSIC HISTORY AND LITERATURE Each semester of study includes: (a) history of music; (b) score reading; (c) listening to representative works, both by recordings and by guest performers. 48

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