Course Proposal

Course Number: Music 170A (3 units) / Music 299 (12 units)

Course Title: Lab Orchestra Seminar
Meeting Time: Once per week, 4 hours (e.g. M 6-10PM)
Meeting Location: 250 Morrison (6-8PM) / 320 Hertz (8-10PM)
Instructor: David Milnes
Prerequisites: Music 161A + Music 161B + Music 200A/202/204 (one); or consent of instructor.
Course Description: The Lab Orchestra is conducted by students of the Orchestral Conducting
program under the supervision of David Milnes, and gives both the student conductors and
student musicians the opportunity to learn major works of orchestral repertoire while working
each week with Professor Milnes and/or special guests. It typically meets weekly (coinciding
with the usual chamber orchestra rehearsal schedule) and performs once each semester. It is
required for all freshman and first-year members of UC Berkeley Symphony Orchestra to
concurrently enroll in Lab Orchestra Seminar (or audit for the rehearsal portion if not able to add
more units). A maximum of eight conductors will be allowed to enroll in the course.
Course Syllabus:
Class Participation: 60%
Concert Participation: 30%
Writing Assignment: 10%
A typical weekly class will include 2 hours of score study and analysis. The goal at the end of
the semester is for all conductors enrolled to be able to conduct all movements of all pieces on
the concert. Topics of analysis will include advanced Roman numeral harmony, orchestration
techniques, linear/counterpoint analysis, form analysis (including Schenkerian techniques),
twentieth century methods, etc. (depending on the work studied). Score study sessions will also
discuss history and historiography of composers and works discussed, as well as efficacy of
analysis techniques for various selections of the repertoire. Readings will be assigned out of
course texts. This will culminate in each student (both conductors and instrumentalists)
submitting an analysis of a single movement or work studied over the course of the semester
(e.g. scheme of a sonata form or Schenkerian graph).
In addition, each class will also have 2 hours of rehearsal with the orchestra. All rehearsals will
be video recorded for individual student analysis. Classes will alternate weekly between
Professor Milnes giving active lessons on the podium and Professor Milnes observing
independent rehearsal technique. The goal for rehearsals is to both learn and apply practical
rehearsal technique for larger ensembles, as well as prepare the orchestra for the end-ofsemester recital. In addition, while not required for grading purposes of this course, it is
expected for all students to attend all UC Berkeley Symphony Orchestra rehearsals and
concerts.
Repertoire will be assigned to the conductors at the beginning of each semester to conduct on
the recital, and each week will focus on analysis on one of the works programmed. Rehearsals
will rotate between all works each week. The class will be divided into two evening recitals at
the end of the semester to cover all works conducted through the semester.

Weekly Schedule

Week 1 - Bach
Repertoire: Orchestral Suite No. 3
Readings: Geminiani Violin Treatise, Quantz Flute Treatise
Guest Speaker: Davitt Moroney (on Bach)

Week 2 - Bach
Repertoire: Concerto for Two Violins
Readings: Jeppesen Conterpoint, Del Mar Anatomy of the Orchestra The Strings
Guest Speaker: Kristin Zoernig (on historically informed techniques)

Week 3 - Early Mozart

Repertoire: Symphony No. 31 Paris
Readings: Leopold Mozart Violin Treatise, Del Mar Anatomy of the Orchestra The Strings
Guest Speaker: James Davies (on the Mannheim School)

Week 4 - Late Mozart

Repertoire: Symphony No. 41 Jupiter
Readings: Rosen Classical Style Mozart: Comic Opera, Del Mar The Woodwind

Week 5 - Late Mozart

Repertoire: Symphony No. 41 Jupiter
Readings: Rosen Classical Style Mozart: The Concerto, Del Mar The Woodwind, Jeppesen
Counterpoint

Week 6 - Beethoven
Repertoire: Symphony No. 1
Readings: Rosen Classical Style Haydn: The Symphony, Haydn: The Popular Style

Week 7 - Beethoven
Repertoire: Symphony No. 1
Readings: Rosen Classical Style Beethoven, Del Mar Timpani and Percussion

Week 8 - Brahms
Repertoire: Variations on a Theme by Haydn
Readings: Rosen Classical Style Beethovens Later Years, Del Mar Horns

Week 9 - Brahms
Repertoire: Variations on a Theme by Haydn

Readings: Del Mar The Heavy Brass

Week 10 - Stravinsky
Repertoire: Pulcinella Suite
Readings: Schoenberg Counterpoint
Guest Speaker: Robert Yamasato (on linear counterpoint)

Week 11 - Stravinsky
Repertoire: Pulcinella Suite
Readings: Del Mar Keyboard and Other Instruments

Week 12 - Contemporary Music

Repertoire: To be chosen from graduate composers
Guest Speaker: Ken Ueno (on extended technique)

Week 13 - Recital Preparation

Three hours of orchestra rehearsal with two 10 minute breaks

Week 14 - Recital Preparation

Three hours of orchestra rehearsal with two 10 minute breaks

Week 15 - Recitals

Recital Programs:
Beethoven Symphony No. 1
Bach Orchestral Suite No. 3
Bach Concerto for Two Violins
- INTERMISSION Mozart Symphony No. 41 Jupiter (split between two conductors)
___________________________
Mozart Symphony No. 31 Paris
Stravinsky Pulcinella Suite
- INTERMISSION Contemporary Work TBD
Brahms Variations on a Theme by Haydn

Course materials:
Baton
Scores (works to be determined based on student enrollment and interest)
Anatomy of the Orchestra by Norman Del Mar
Counterpoint by Knud Jeppesen
The Classical Style by Charles Rosen
Seminal orchestral recordings (to be distributed by Professor Milnes as files on bCourses)
Readings taken from historical treatises (also to be distributed by Professor Milnes on
bCourses)
GSI Requirements:
There will be two graduate student instructor (GSI) assigned to the class. The responsibilities
(to be divided among the two GSIs) combine administrative tasks (such as taking attendance
and collecting materials to be graded), presenting historical and analytical backgrounds of works
during certain score study sessions, rehearsal setup, as well as serving as librarian for the lab
orchestra.
Concert Requirements:
Students are expected to be tuned and on stage for designated warm-up times. Concert dress
is identical to requirements of UC Berkeley Symphony Orchestra.
For women: all black, with either dresses extending below knees when seated or pants.
For men: tuxedo or black suit with white shirt and black bowtie.
Practice parts will be distributed at the beginning of each semester. Any original parts borrowed
by members of the Lab Orchestra must be returned at the end of the concert.