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  • CFA MP 651: Symphonic Literature 1
    This course is an in-depth score study of a wide range of symphonic & orchestral music from the beginning of orchestral repertoire to the current day.
  • CFA MP 652: Symphonic Literature 2
    This course is a survey of symphonic music from the 20th century to the present.
  • CFA MP 660: Orchestral Techniques: Brass
    For advanced performers on orchestral instruments. Problems for various instruments in standard orchestral literature. Graduate students only. 1 cr..
  • CFA MP 663: Trombone Literature
    Students will meet one hour a week with a specialist trombone instructor. Students will do a comprehensive study of trombone literature. Listening assignments will be assigned. Students will compile from these discussions a comprehensive annotated music literature list, of their designated instrument for future use. 1.0 credit.
  • CFA MP 670: Percussion Ensemble
    For advanced performers on orchestral instruments. Study and preparation of standard orchestral excerpts, critique and mock-auditions. 1.0 credit.
  • CFA MP 671: Percussion Ensemble
    Study and performance of chamber music for combinations of percussion instruments. May be repeated for credit. 1 cr
  • CFA MP 680: Score Reading
    This course is designed to refine skills for effective score reading. Students will study topics crucial to studying and analyzing full scores. Topics include reading clefs and transpositions away from and at the piano, score reduction, aural skills, principles of sight reading, and developing skills to read and reduce full scores.
  • CFA MP 681: Introduction to the Organ
    Introduction to the Organ, a companion course to MP682 Introduction to the Harpsichord, will cover organ technique, repertoire, registration, history, and design. Basic techniques of touch, pedaling and coordination, and hymn playing will be addressed, as well as a survey of the literature written for the organ as related to developments in organ design and technology. Visits to local organs on and off campus will be included as well as classes regularly held in Room 426 where there is a seven-stop Noack mechanical studio organ. 1 cr.
  • CFA MP 682: Harpsichord for Keyboard Majors
    Study and performance of the harpsichord and its literature. Students instructed in the various aspects of harpsichord playing, including technique, registration, basso continuo realization, performance practice, national styles, and the major composers for the instrument. 2.0 credits.
  • CFA MP 685: Organ Seminar
    Organ Seminar. Contact the School of Music for more information regarding this course.
  • CFA MP 690: Orchestral Conducting Seminar
    Students enrolled in Orchestral Conducting Seminar study orchestral repertoire in detail, including the role of the conductor as collaborator and accompanist in both vocal and concerto repertoire. Attention is given to the conductor's role in tuning an orchestra, development of orchestral sound, and study of string, wind, bass and percussion techniques. (3cr; may be repeated for credit; required for all MM and DMA orchestral conducting majors; open to non-conducting majors only by permission of instructor)
  • CFA MP 700: ORCH CONDUCTING
    ORCH CONDUCTING
  • CFA MP 705: Writing for the DMA Recital Track
    Prerequisite: successful completion of MH711. Research, development, and guided preparation of elements of the DMA Recital Track Lecture Recital including: project proposal, literature review, outline, bibliography, powerpoint presentation, and research paper from which the Lecture Recital will be extracted.
  • CFA MP 720: Accompaniment Practicum
    Advanced collaborative accompaniment experience and instruction in instrumental sonata repertoire. Required for piano majors in the Performance Diploma curriculum; elective course for all other graduate piano majors; not open to enrollment by undergraduates. Enrolled pianists are assigned to accompany one School of Music instrumental major.
  • CFA MP 721: Vocal Coaching Techniques
    Concentrated instruction in vocal coaching techniques from the piano. Required for MM collaborative piano majors; open by permission of instructor to graduate pianists. 1 credit. Fall semester only.
  • CFA MP 723: Opera Arias for Pianists 1
    Study and performance of standard opera aria repertoire for collaborative pianists. Topics include study of recitative, operas of Mozart, and the Bel Canto operas of Bellini, Rossini, Donizetti and Verdi.
  • CFA MP 730: Opera Institute
    Performance-based curriculum taught by full-time and adjunct faculty members, along with guest professionals who are currently in the business or have had significant operatic careers. Includes voice lessons, repertoire coaching, Italian Conversation, Acting, Movement (Stage Combat, Ballet, Period Styles, Commedia, Alexander Technique), Business Strategies, Social Protocols for the Artist, Auditions, and Networking. Singers have the opportunity to participate in two large-scale productions with a full orchestra per year, a Fringe Festival of significant one-act operas, and outreach programs.
  • CFA MP 731: Selected Topics in Song Literature
    Focus on the nineteenth-century Lied. Song study will occur in the context of the socio-political transformation of German-speaking lands during this period, which brought about a great flowering of folk poetry, literature, and musical achievement. Composers will include Beethoven, Schubert, Loewe, Felix and Fanny Mendelssohn, Robert and Clara Schumann, Liszt, and Wagner.
  • CFA MP 735: Vocal Pedagogy 1
    Introduction to the fundamentals of vocal tract physiology, acoustics, and technique. Open to all graduate students.
  • CFA MP 781: Special Topics in Performance Practice 1
    Consideration of major performance issues in the music of Monteverdi, Handel, Bach, et al. Covers topics such as ornamentation, tempo, articulation, tuning and temperament, baroque instruments and their playing techniques, baroque dance, and various national styles of playing. Students perform on their instruments, discuss performance issues, read primary sources and other material about 17th and 18th century performance, compose ornamentation, and listen to and discuss recorded performances. occasional guest lecturers. Required of all historical performance majors. Open to other music graduate students with permission of the instructor.
  • CFA MP 782: Special Topics in Performance Practice 2
    Continuation of CFA MP781.
  • CFA MP 899: Independent Project/Directed Study
    Specialized, individually tailored and guided work on projects not connected with a thesis, dissertation or other terminal document, but of particular interest to the graduate student. Variable credit.
  • CFA MP 929: Research, Directed Study, and Performance in Conducting
    Preparation of project in the field of conducting. Credit amount varies.
  • CFA MT 101: Music Theory 1
    Elements of tonal music are explored through listening, writing, improvisation, and analytical work. The course investigates the structure and usage of triads, seventh chords, and basic cadence types. An introduction to general voice-leading principles will be covered through figured-bass exercises and harmonization of tunes. Formal structures such as motive, phrase, period, and sentence will be introduced. A keyboard-harmony component will be covered in separate weekly meetings. Placement test may be required.
  • CFA MT 102: Music Theory 2
    Prerequisite: CFA MT 101. A continued study of tonal music is approached through listening, writing, improvisation, and analytical work. The course explores the structure and usage of secondary functions, the concepts of tonicization and modulation to closely related keys. Continued work in applying general voice-leading principles will be covered through figured-bass exercises and harmonization of melodies. Formal structures such as binary, ternary, and rondo will be introduced. A keyboard harmony component will be covered in separate weekly meetings.
  • CFA MT 105: Elements of Music Theory
    Elements of Music Theory (CFA MT105) provides a creative introduction to the foundational principles of musical structure. Using a multi-modal approach, combining in-class performance exercises, listening, composition, keyboard, aural (and oral) learning, students acquire an analytical vocabulary and the basic knowledge to support the exploration of musical repertoires, to enhance their own performances, and to develop their own musical compositions. Analytical and music-composition projects engage concepts of musical space, time, pitch, rhythm, and harmony as employed in tonal music. Effective Fall 2018, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Creativity/Innovation. Course may not be taken by CFA music majors
    • Aesthetic Exploration
    • Creativity/Innovation
  • CFA MT 111: Aural Skills 1
    Sight singing and dictation of diatonic materials in multiple clefs and using all intervals. Exercises in rhythmic reading, conducting, prepared singing, and intonation. 1 cr.
  • CFA MT 112: Aural Skills 2
    Undergraduate Prerequisite: CFA MT 111 or placement by exam. Continuation of MT 111. An introduction to chromaticism and modulation within a tonal context. Triplets and compound rhythms. Melodic, harmonic, and rhythmic dictation. 1 cr.
  • CFA MT 121: Basic Composition 1
    Introduction to principles of composition. Instruction in calligraphy and manuscript preparation. Examination of contemporary music techniques. Written work modeled on analyses of representative forms. 2 cr. Permission of instructor required
  • CFA MT 122: Basic Composition 2
    Prereq: CFA MT 121. Continued examination of principles of composition, calligraphy, and manuscript preparation. Examination of contemporary music devices. Written work modeled on analyses of representative forms. 2 cr.
  • CFA MT 201: Music Theory 3
    Prerequisite: CFA MT102. Further study of chromatic tonal music is approached through listening, writing, improvisation, and analytical work. The course explores the structure and usage of augmented-sixth chords, mode mixture/borrowed chords, and modulation to distantly related keys. Continued work in applying general voice-leading principles will be covered through figured-bass exercises and harmonization of tunes. Formal structures such as the sonata principle and sonata-hybrids will be introduced. A keyboard-harmony component will be covered in separate weekly meetings. Effective Fall 2018, this course is part of a Hub sequence: when taken with CFA MT 202, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Quantitative Reasoning I, Creativity/Innovation.
    • Part of a Hub sequence
  • CFA MT 202: Music Theory 4
    Prerequisite: CFA MT201. Further study of chromatic music in the common-practice period is approached through listening, writing, and analytical work. The course explores the structure and usage of augmented-sixth chords, mode mixture/borrowed chords, the Neapolitan triad, and modulation to distantly related keys. Continued work in applying general voice-leading principles will be covered through figured-bass exercises and harmonization of melodies. Formal structures such as sonata and sonata hybrids will be introduced. A keyboard harmony component will be covered in separate weekly meetings. Effective Fall 2018, this course is part of a Hub sequence: when taken with CFA MT 201, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Quantitative Reasoning I, Creativity/Innovation.
    • Aesthetic Exploration
    • Creativity/Innovation
    • Quantitative Reasoning I
  • CFA MT 211: Aural Skills 3
    Undergraduate Prerequisites:CFA MT 111 and MT 112 or placement by exam.Continuation of CFA MT 112. More challenging exercises in sight singing and preparation of increasingly chromatic or melodically disjunct materials. Melodic, harmonic, two-part, and rhythmic dictation. Two-part rhythmic exercises and conducting. 1 cr.
  • CFA MT 212: Aural Skills 4
    Undergraduate Prerequisites: CFA MT 111, MT 112, and MT 211 or placement by exam. Continuation of CFA MT 211. Greater emphasis on non-diatonic material;, more difficult exercises in prepared singing, sight-singing, dictation, and rhythm. 1cr.
  • CFA MT 221: Composition 3
    Prereq: CFA MT 122. Original work in traditional and non-traditional forms of musical composition. (May be repeated for credit.) 2 cr. Undergraduate.
  • CFA MT 222: Composition 4
    Prereq: CFA MT 221. Continued composition of original work in traditional and non-traditional forms of musical composition. (May be repeated for credit) 2 cr. Undergraduate.
  • CFA MT 301: Music Theory 5
    Prerequisite: CFA MT202. Analytical and theoretical concepts of post-tonal music will be explored in music of the 20th and 21st centuries. Major stylistic trends and approaches, such as free atonality, centricity/scale-based music, neo-classicism, twelve- tone/serial music, experimentalism, and new approaches to tonality will be covered. Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Quantitative Reasoning II.
    • Quantitative Reasoning II
  • CFA MT 302: Music Theory 6
    Prerequisite: CFA MT301. Special Topics in Music Theory; this course covers a variety of approaches, styles, and periods. Individual subjects are offered on a rotational basis. Refer to specific course sections for current offerings.
  • CFA MT 311: Aural Skills 5
    Undergraduate Prerequisites: CFA MT 111, MT 112, MT 211, and MT 212 or placement by exam. Continuation of CFA MT 212. Advanced work in preparing chromatic, atonal and melodically disjunct material, sight-singing, rhythmic reading, and dictation. May be taken for graduate credit with permission. 1 cr.
  • CFA MT 321: Composition 5
    Prereq: CFA MT 222. Original work in contemporary composition. (May be repeated for credit.) 2 cr. Undergraduate.
  • CFA MT 322: Composition 6
    Prerequisite: CFA MT 321. Original work in contemporary composition. (May be repeated for credit.) 2 cr. Undergraduate.
  • CFA MT 341: Modal Counterpoint 1
    Prereq: CFA MT 102. Analysis and writing of examples of sixteenth-century vocal styles including the motet. 2 cr.
  • CFA MT 342: Tonal Counterpoint 2
    The study of the early eighteenth-century styles of J.S. Bach and his contemporaries, with an emphasis on the relationship between theory and practice. Special attention will be paid to composing and analyzing invertible counterpoint, canon, two-part inventions and fugue. This is an undergraduate course, cross-listed with the graduate course MT642. 2.0 credits.
  • CFA MT 401: Graduate Theory Review
    This course is dependent on a student's theory proficiency exam results. Review of fundamental music theory and analysis through the study of chord grammar, voice leading principles, figured bass, four-part chorale harmonization and form. Materials are approached through listening, writing and analytical work. Pre-requisite for MT601 and/or MT602 unless placed out via theory proficiency exam.
  • CFA MT 411: Music Theories of the World
    In "Music Theories of the World" we study music theory from within a variety of traditions, from different parts of the world and with focus on different elements, such as rhythm, instrumentation, tuning, mode, melody, and harmony. The goal is to learn theories indigenous to each tradition, coming from practitioners rather than being imposed from a foreign tradition. By learning many different such theories in one course, we will discover not only the diversity of human music thought but also how many concepts are shared between makers of often very different kinds of music. Effective Spring 2023 this course fulfills a single unit in each of the following BU Hub areas: Global Citizenship and Intercultural Literacy, Creativity/Innovation.
    • Creativity/Innovation
    • Global Citizenship and Intercultural Literacy
  • CFA MT 421: Senior Composition 7
    Prereq: CFA MT 322. More advanced original work in contemporary musical composition. Undergraduate. 3 cr.
  • CFA MT 422: Senior Composition 8
    Prerequisite: CFA MT 421. More advanced original work in contemporary musical composition. Preparation for senior recital. Undergraduate. 3 cr.
  • CFA MT 431: Orchestration 1
    Basic techniques in scoring for chorus, orchestra, band, and ensembles. Ranges and transpositions of voices and instruments; idiomatic writing, score reading, and clef transposition. 2 cr.
  • CFA MT 432: Orchestration 2
    Prerequisite: CFA MT 431. Contemporary orchestral techniques. Advanced study in scoring for modern orchestras, ensembles, choruses, and bands. 2 cr.
  • CFA MT 435: Composing with Electronic Sounds and Computers 1
    Offers aesthetic and technical knowledge for creative work in electronic media via computers, recording equipment, and digital audio software. Develops skills in synthesis, recording, and live sound. Assignments include literature, listening, aspects of acoustic and electronic theory, and creative work. Required for Music Composition and Theory Majors. Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Digital/Multimedia Expression.
    • Digital/Multimedia Expression
  • CFA MT 436: Composing with Electronic Sounds and Computers 2
    Prereq: CFA MT 435 or equivalent experience and permission from instructor. Expansion of aesthetic and technical knowledge in the domains of computer music, sound manipulation and sound recording. Introduction to computer-assisted composition environments and real-time interaction between electronics and instruments.
  • CFA MT 441: Acoustical and Psychoacoustical Basis of Music
    Music is a complex system of human behavior with a basis in the physics of sound, musical instruments, and human physiology and cognition. There is a deep base of knowledge about music in the application of different modes of scientific inquiry -- physics, psychology, neuroscience -- to this complex system. This knowledge is a valuable resource for musicians and music researchers. In this class we investigate how we can use the science of sound and auditory perception to explain aspects of musical practice, and apply it to aspects of musical performance, composition, and music theory. Effective Spring 2024, this course fulfills a single unit in each of the following BU Hub areas: Social Inquiry II, Scientific Inquiry I, Critical Thinking.
    • Critical Thinking
    • Scientific Inquiry I
    • Social Inquiry II
  • CFA MT 472: Music Perception and Cognition
    Covers selected topics in empirical research on music perception and cognition. These may include the cognitive processing of melody, harmony, rhythm, and timbre, the connection of music to emotion, computational study of musical corpora, the quantitative study of music performance, and the connection of music to other areas of human intelligence. Students learn to evaluate research articles, apply statistical models to musical and behavioral data, and propose their own studies. Effective Fall 2018, this course fulfills a single unit in each of the following BU Hub areas: Social Inquiry II, Quantitative Reasoning II, Research and Information Literacy.
    • Quantitative Reasoning II
    • Research and Information Literacy
    • Social Inquiry II
  • CFA MT 499: Independent Study: Undergraduates
    Individual projects arranged between undergraduate students and faculty, often in areas outside of the regular curriculum. Plans must be submitted in advance of registration. Variable credit.
  • CFA MT 520: Composers' Forum
    Required seminar for all composers. Visiting composers present and discuss their music. Students also present their own music and lead topics for discussion.
  • CFA MT 601: Analytical Techniques 1
    Investigations into musical form and harmonic techniques in tonal repertoire in a variety of historical periods, styles, and genres. Students learn and practice methods of interpretation and analysis. Credits not applicable to MusAD in Composition.
  • CFA MT 602: Analytical Techniques 2
    Analysis of post-tonal music. Investigation into compositional methods and procedures used in 20th and 21st century music. Lectures leading to individual analytical projects. Credits not applicable to MusAD in Composition. 3 cr.
  • CFA MT 621: Graduate Composition
    Prereq: Two years of composition. Original work in advanced musical composition. May be repeated for credit. 3 cr.
  • CFA MT 631: Orchestration 1
    Basic techniques in scoring for chorus, orchestra, band, and ensembles. Ranges and transpositions of voices and instruments; idiomatic writing, score reading, and clef transposition. 3 cr.
  • CFA MT 632: Orchestration 2
    Prereq: CFA MT 631. Contemporary orchestral techniques. Advanced study in scoring for modern orchestras, ensembles, choruses, and bands.
  • CFA MT 635: Composing with Electronic Sounds and Computers 1
    Aesthetic and technical knowledge needed to complete individual, creative work using electronic media alone or with acoustic instruments. Use of computers, recording equipment, digital editing software, and sound analysis software: developing basic skills in synthesis, sampling, digital recording and live performance techniques. Listening assignments provide an introduction to existing literature and relevant aspects of acoustic and electronic theory. May not be taken concurrently with CFA MT436. 2 cr. Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Digital/Multimedia Expression.
    • Digital/Multimedia Expression
  • CFA MT 636: Composing with Electronic Sounds and Computers 2
    Prereq: CFA MT 635 or equivalent experience and permission from instructor. Expansion of aesthetic and technical knowledge in the domains of computer music, sound manipulation and sound recording. Introduction to computer-assisted composition environments and real-time interaction between electronics and instruments. 2 cr.
  • CFA MT 641: Modal Counterpoint
    Analysis and writing of sixteenth-century vocal styles based on the practices of Palestrina, Lassus, and others. 2 cr.
  • CFA MT 642: Tonal Counterpoint
    The study of the early eighteenth-century styles of J.S. Bach and his contemporaries, with an emphasis on the relationship between theory and practice. Special attention will be paid to composing and analyzing invertible counterpoint, canon, two-part inventions and fugue. This is a graduate course, cross-listed with the undergraduate course MT 342. 2 cr.
  • CFA MT 681: Music of Our Time: Composers and Repertoire
    Overview of a cross-section of contemporary composers, and trends in music. Focus on composers and places that have become major hubs of compositional activity and ideas. Composers of many different nationalities and aesthetic orientations will be studied. 3 cr.
  • CFA MT 701: Doctoral Proseminar-Skills
    Preparation for doctoral qualifying examination in general music theory skills and chorale harmonization. Course may not be taken by MM students or undergraduates. 3 cr.
  • CFA MT 702: Doctoral Proseminar-Analysis
    Preparation for doctoral qualifying examination in tonal and post-tonal analysis. Course may not be taken by MM students or undergraduates. 3 cr.
  • CFA MT 762: Advanced Contemporary Analysis
    In-depth review of analytical techniques and terminology developed for diverse musical styles from the 20th and 21st centuries. Analysis of representative works from the literature. 3 cr.
  • CFA MT 772: Music Perception and Cognition
    This course is designed to introduce students to scientific literature on music preparation, music performance, and related topics. It is designed as a readings course in selected topics with an introduction to statistical methods and methods of experimental design, flexible in response to the background of students and subjects of interest to them. Previous offerings have enrolled only music students from a variety of degree programs (Performance DMAs, Composition DMAs, Theory MMs, and undergraduates). This version of the course may be cross-listed with the new undergraduate HUB course in Music Perception and Cognition, MT472, and therefore will only enroll graduate students and remains a three-credit course to best fit into current graduate programs. 3cr Effective Fall 2019, this course fulfills a single unit in each of the following BU Hub areas: Social Inquiry II, Quantitative Reasoning II, Research and Information Literacy.
    • Quantitative Reasoning II
    • Research and Information Literacy
    • Social Inquiry II
  • CFA MT 899: Independent Project/Directed Study
    Specialized, individually tailored and guided work on projects not connected with a thesis, dissertation or other terminal document, but of particular interest to the graduate student. Variable credit.
  • CFA MU 090: CHAMBER MUSIC
    CHAMBER MUSIC
  • CFA MU 091: Marching Band
    The Boston University Marching Band is a campus-wide ensemble that is open to all students. The ensemble performs each fall at college band shows, university and civic events, and regional high school band shows as a featured collegiate band in exhibition. The Marching Band schedule is built to fit within the busy BU student's schedule. There are no auditions required for entry to the BU Marching Band. The ensemble meets 3 times per week, and rehearses less than most high school bands. The marching season ends in early November, five-to-six weeks before final exams begin. In addition to registering for Marching Band, students must also complete the ensemble Join Form: http://www.bu.edu/bands/join/
  • CFA MU 092: Concert Band
    The Boston University Concert Band is a large concert ensemble comprising approximately 55 members from a multitude of majors throughout the University. The ensemble is open to all students wishing to continue making music throughout their collegiate years. The Concert Band performs a diverse section of the wind band repertoire ranging from traditional works to premieres and recent compositions by leading composers. For more information please visit www.bu.edu/bands 0 credits.
  • CFA MU 093: Pep Band
    The BU Pep Band is the most flexible music ensemble to join. We form two bands that rotate through performances, and students can miss a performance if they get a sub from the other band. The BU Pep Band is the driving force of the game day experience at all home Hockey and Basketball games. With a song list of over 100 classic and current tunes, the Pep Band is a high-energy, powerful ensemble beloved by our teams and fans alike. The Pep Band is also an integral part of the "Dog Pound" student fan section. Since our teams are perennial contenders for post-season play, the ensemble has many opportunities for paid travel to conference and NCAA tournaments around the country. There are even opportunities to get paid for playing at games that occur over breaks. Come be a part of this vibrant, energetic ensemble! There are no auditions required for entry to the BU Pep Band. In addition to registering for Pep Band, students must also complete the ensemble Join Form: http://www.bu.edu/bands/join/
  • CFA MU 094: Jazz Ensemble
    Auditions are required for entry (visit http://www.bu.edu/bands/bands-and-ensembles/jazz-ensembles/ for information). The BU Big Band performs a variety of jazz including contemporary, classic, popular, and rare, from across the decades. Musicians often have the opportunity to work with guest artists and clinicians. The Big Band uses standard instrumentation: 4-5 trumpets, 4-5 trombones, 5 saxes, and a rhythm section (guitar, vibes, piano, bass, optional aux. percussion, and drum set). Performances consist of several concerts per semester including BU Jazz Fest and occasional high-level university functions around campus. In addition to registering for Jazz Ensemble, students must also complete the ensemble Join Form: http://www.bu.edu/bands/join/
  • CFA MU 095: Jazz Combo
    The Honors Combo is dedicated to playing small group jazz, consisting mainly of a rhythm section (bass, drums, piano or guitar) and one to four other instruments, depending on balance and ability level. This ensemble is open by audition only. The Honors Combo performs several times throughout the semester. Auditions take place during the first week of classes in the fall. For more information please visit www.bu.edu/bands 0 cr.
  • CFA MU 097: All Campus Orchestra
    The All-Campus Orchestra is a full symphonic orchestra open by audition to the Boston University Community. The orchestra rehearses twice a week and performs two public concerts each semester. Participation in the ACO gives student and BU community musicians the tools, experience, and understanding to appreciate music for the rest of their lives, either as discerning listeners or as participants in the vibrant world of amateur music-making. Auditions for all orchestral instruments are held in the fall with auditions at mid-year for any open positions. All qualified string players are accepted, but the normal composition of an orchestra dictates limited positions for winds, brass, and percussion. For more information, please visit http://www.bu.edu/cfa/ensembles/university- ensembles/all-campus-orchestra/.
  • CFA MU 099: Symphonic Chorus
    Symphonic Chorus
  • CFA MU 185: Marching Band
    Boston University Athletic Bands are designed to bring together students of all majors, backgrounds, experience levels, and interests from across the University. The ensembles are campus-wide. Fall ensembles include Marching Band and Pep Band, and Spring ensembles include Winter Drumline, Winter Guard, and Pep Band. These ensembles can be taken individually or simultaneously. Effective Fall 2020, this course, when taken in sequence (Fall and Spring) fulfills a single unit in the BU Hub area of Teamwork/Collaboration.
    • Part of a Hub sequence
  • CFA MU 186: Pep Band
    Boston University Athletic Bands are designed to bring together students of all majors, backgrounds, experience levels, and interests from across the University. The ensembles are campus-wide. Fall ensembles include Marching Band and Pep Band, and Spring ensembles include Winter Drumline, Winter Guard, and Pep Band. These ensembles can be taken individually or simultaneously. Effective Fall 2020, this course, when taken in sequence (Fall and Spring) fulfills a single unit in the BU Hub area of Teamwork/Collaboration.
    • Part of a Hub sequence

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