Lewis & Clark Moodle

Psychopharmacology of alcohol and drug abuse., Major drugs and classes of abused substances., Mechanisms of action in the brain, patterns of, physiological response in abuse, addiction, and, recovery. Impact on brain function, cognition,, emotions, behavior, and social effects., Pharmacological adjuncts to detoxification and, treatment.

Psychopharmacology of alcohol and drug abuse.
Major drugs and classes of abused substances.
Mechanisms of action in the brain, patterns of
physiological response in abuse, addiction, and
recovery. Impact on brain function, cognition,
emotions, behavior, and social effects.
Pharmacological adjuncts to detoxification and
treatment.

Psychopharmacology of alcohol and drug abuse., Major drugs and classes of abused substances., Mechanisms of action in the brain, patterns of, physiological response in abuse, addiction, and, recovery. Impact on brain function, cognition,, emotions, behavior, and social effects., Pharmacological adjuncts to detoxification and, treatment.

Psychopharmacology of alcohol and drug abuse.
Major drugs and classes of abused substances.
Mechanisms of action in the brain, patterns of
physiological response in abuse, addiction, and
recovery. Impact on brain function, cognition,
emotions, behavior, and social effects.
Pharmacological adjuncts to detoxification and
treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

Theories of the nature, course, causes, and, effects of addiction to alcohol and drugs of, abuse. Conditions, processes, and patterns of, recovery. Emphasis on physiological, social, learning, and interpersonal models and theories., Natural history of onset, abuse, addiction, and, recovery; effects of intergenerational, transmission, genetic predilection, developmental, risk, and sociocultural factors; effects on, psychosocial development; impact of culture and, gender differences. Implications for treatment.

In their initial supervised clinical training, placement, PMHC-A practicum students learn to, provide direct counseling services in, community-based mental health, addiction, clinic,, or school settings to clients experiencing the, full range of mental health, addiction, and dual, diagnosis issues. Practicum students receive, weekly supervision in this class from a CPSY, faculty or other clinical staff in conjunction, with weekly individual/triadic supervision from a, designated qualified professional at their, clinical site. Student placements are for 8-10, hours per week for a total of 150 hours accrued, during the placement. The group class provides, supervision, feedback, and support for practicum, students while doing their initial clinical, training. Students are expected to demonstrate, appropriate professional skills and the personal, characteristics and professional conduct necessary, for effective and ethical professional mental, health and addiction counseling.

Internship placement is in a community-based, mental health/addiction or school setting., Participants engage in counseling and related, professional activities under supervision., Students write reports, prepare case histories,, and submit work samples for supervisory review.

Tone quality, intonation, breath control, vocal
range, interpretative skills. Preparation of
appropriate song literature for performance.
Introduction to traditional and contemporary vocal
literature. Improvement of singing skills. Fee.
May be repeated for credit.

Tone quality, intonation, breath control, vocal, range, interpretative skills. Preparation of, appropriate song literature for performance., Introduction to traditional and contemporary vocal, literature. Improvement of singing skills. Fee., May be repeated for credit.

Tone quality, intonation, breath control, vocal, range, interpretative skills. Preparation of, appropriate song literature for performance., Introduction to traditional and contemporary vocal, literature. Improvement of singing skills. Fee., May be repeated for credit.

Tone quality, intonation, breath control, vocal
range, interpretative skills. Preparation of
appropriate song literature for performance.
Introduction to traditional and contemporary vocal
literature. Improvement of singing skills.

Rudiments of musical notation and technical
skills, developed through folk music. Basic folk
guitar techniques learned through musical
notation, tablature, visual demonstration. Fee.
May be repeated for credit.

Rudiments of musical notation and technical, skills, developed through folk music. Basic folk, guitar techniques learned through musical, notation, tablature, visual demonstration. Fee., May be repeated for credit.

Rudiments of musical notation and technical, skills, developed through folk music. Basic folk, guitar techniques learned through musical, notation, tablature, visual demonstration. Fee., May be repeated for credit.

Rudiments of musical notation and technical, skills, developed through folk music. Basic folk, guitar techniques learned through musical, notation, tablature, visual demonstration. Fee., May be repeated for credit.

Private lessons in classical guitar. Fee. May be, repeated for credit.

Coached music ensemble for classical guitarists.
Repertory includes works drawn from a wide variety
of music eras and genres. Focus on the development
of music-reading skills on the guitar and the
development of musicianship through rehearsal and
performance. Audition or permission of instructor
required. Fee. May be repeated for credit.

Coached music ensemble for classical guitarists., Repertory includes works drawn from a wide variety, of music eras and genres. Focus on the development, of music-reading skills on the guitar and the, development of musicianship through rehearsal and, performance. Audition or permission of instructor, required. Fee. May be repeated for credit.

Continued study of musicianship and skills taught
in MUP 134. Musical notation and technical skills,
developed through folk music. Basic folk guitar
techniques learned through musical notation,
tablature, visual demonstration. Fee. May be
repeated for credit.

Continued study of musicianship and skills taught, in MUP 134. Musical notation and technical skills,, developed through folk music. Basic folk guitar, techniques learned through musical notation,, tablature, visual demonstration. Fee. May be, repeated for credit.

Continued study of musicianship and skills taught, in MUP 134. Musical notation and technical skills,, developed through folk music. Basic folk guitar, techniques learned through musical notation,, tablature, visual demonstration. Fee. May be, repeated for credit.

Continued study of musicianship and skills taught, in MUP 134. Musical notation and technical skills,, developed through folk music. Basic folk guitar, techniques learned through musical notation,, tablature, visual demonstration. Fee. May be, repeated for credit.

Developing an understanding and appreciation for a, wide range of jazz styles, both old and new,, through the cultivation of listening skills,, examination of the elements of music that define, jazz, and the study of jazz history with an, emphasis on its key figures.

Examines folk, popular, and art musical traditions from around the world with a special focus on the Andes, Ireland, Ghana, Zimbabwe, and Cuba. Drawing on historical and visual sources, recordings, and contemporary ethnography, the course develops interpretive skill sets for analyzing the sound and social life of music in contexts ranging from rituals, festivals, politics, and schools, to recording studios, television, the internet, and global stages. In addition to learning about key topics in the field of ethnomusicology, we engage with traditions firsthand through an ethnographic assignment in Portland and a weekly workshop with performance faculty on campus. Organized into three small-group sessions on Monday evenings, the workshop component introduces music from Ghana, Zimbabwe, and Cuba through rotating sections devoted to each area. Finally, we will also confront how differences of gender, sexual orientation, age, class, race, ethnicity, faith, and nationality influence our understanding of musical life.

This course examines folk, popular, and art musical traditions from around the world with a special focus on the Andes, India, Cuba, Ireland, Turtle Island, Korea, and Mexico. Drawing on historical and visual sources, recordings, and contemporary ethnography, the course develops interpretive skill sets for analyzing the sound and social life of music in contexts ranging from rituals, festivals, politics, and schools, to recording studios, television, the internet, and global stages. In addition to learning about key topics in the field of ethnomusicology, we engage with traditions firsthand through ethnography and a weekly workshop with performance faculty on campus. Organized into three small-group sessions on Monday evenings, the workshop component introduces music from India, the United States, and Cuba through rotating sections devoted to each area. Finally, we will also confront how differences of gender, sexual orientation, age, class, race, ethnicity, faith, disability, and nationality influence our understanding of musical life.

Examines folk, popular, and art musical traditions, from around the world with a special focus on the, Andes, Ireland, Indonesia, Ghana, and India., Drawing on historical and visual sources,, recordings, and contemporary ethnography, the, course develops interpretive skill sets for, analyzing the sound structures, performance, contexts, and cultural significance of music in, rituals, festivals, politics, schools, recording, studios, cinema, the internet, and global stages., In addition to learning about key topics in the, field of ethnomusicology, we engage with, traditions firsthand through an ethnographic, assignment in Portland and a weekly workshop with, performance faculty on campus. Organized into, three small-group sessions, the workshops, introduce music and dance from Indonesia, Ghana,, Zimbabwe, Spain, Latin America, and/or North, India. Specific content may change from year to, year.

Engages with the roles of music in movements for
women's rights, LGBTQ equality, civil rights,
labor reform, and nation building. Will entail
critical listening, examination of primary and
secondary sources, and research papers.

Compositions from the Middle Ages to Bach and
Handel. Medieval, Renaissance, baroque periods;
musical forms developed during these periods;
evolution of musical theory and performance
practice.

Representative compositions from Haydn and Mozart
to those by living composers. Classical, romantic,
and modern periods; musical forms developed during
those periods; evolution of musical theory and
performance practice.

Four-voice chromatic, modulating chorale writing, in all major and minor keys. Harmonization of, chromatic melodies. Analysis of binary and ternary, forms, basic phrase structures. Ear training,, sight singing, keyboard work, and rhythm reading,, including simple chromatic chord progressions,, rhythmic dictation with syncopation at faster, tempi in simple and compound meters, and chromatic, melodic dictation exercises.

Survey of musical traditions from the Asian, continent. Study of music, instruments, and, performance through readings, recordings, and, live performance when possible. Historical, developments, how the music is used. Social, function, political context, art, poetry,, literature, and religion as they assist in, understanding the music and its culture.

Romantic-era chromatic harmonic analysis with
linear (non-functional) progressions; foreign-key
modulations. Formal analysis of sonata, rondo,
sonata-rondo, and other forms, including unusual
periodic, sentence, and phrase-group structures.
Ear training, sight singing, keyboard work, and
rhythm reading, including sophisticated chromatic
chord progressions, rhythmic dictation with
hemiola, metric shifting, and polyrhythm;
chromatic and modulating melodic dictations of
greater length and complexity.

Romantic-era chromatic harmonic analysis with, linear (non-functional) progressions; foreign-key, modulations. Formal analysis of sonata, rondo,, sonata-rondo, and other forms, including unusual, periodic, sentence, and phrase-group structures., Ear training, sight singing, keyboard work, and, rhythm reading, including sophisticated chromatic, chord progressions, rhythmic dictation with, hemiola, metric shifting, and polyrhythm;, chromatic and modulating melodic dictations of, greater length and complexity.

Music theory and compositional practice from late
chromatic harmony to free atonality, polytonality,
expanded and varied scalar and harmonic
structures, neoclassicism, serialism,
indeterminacy, expanded tone colors, minimalism,
and new formal organizations. Ear training, sight
singing, keyboard work, and rhythm reading with
representative works.

Advanced seminar with a different research focus, every semester. Topics announced in advance., Classes will focus on music outside of North, America. Topics in previous semesters have, included music and Chinese philosophy, music and, iconography, music of diaspora, music and ritual,, eco-musicology, women and music, and medieval and, Renaissance music.

Advanced seminar with a different research focus
every semester. Topics announced in advance.
Classes will focus on music outside of North
America. Topics in previous semesters have
included music and Chinese philosophy, music and
iconography, music of diaspora, music and ritual,
eco-musicology, women and music, and medieval and
Renaissance music.

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This course prepares music majors to conduct senior project research leading to a thesis in either musicology or ethnomusicology. A thesis in musicology requires gathering and analyzing historical evidence from primary sources, which may include written documents, records, media, art, scores, and/or oral histories. A thesis in ethnomusicology requires designing a small-scale fieldwork project involving ethnographic methods, which typically includes a combination of participant-observation, field notetaking, media documentation, and semi-structure interviews with knowledge co-creators. In addition to situating the project in relation to contemporary scholarly debates in music studies and related fields, thesis writers must also demonstrate the ability to engage closely with sound materials (i.e. styles, genres, forms, and other elements). Depending on the topic, the project may involve analyzing sound recordings, film, social media, iconographic sources, and/or notated music. Throughout the research process we consider how differences of gender, sexuality, age, class, race, ethnicity, faith, ability, and nationality shape our historical, sociocultural, and musical lines of inquiry.

Fall varsity sports: volleyball (W), football (M),, cross country (M&W), soccer (W). Spring varsity, sports: swimming (M&W), basketball (M&W), tennis, (M&W), track and field (M&W), softball (W),, baseball (M), golf (M&W), crew (M&W). Credit/no, credit. May be repeated for credit. Registration, is subject to coaching-staff approval during the, add/drop period.

Fall varsity sports: volleyball (W), football (M),, cross country (M&W), soccer (W). Spring varsity, sports: swimming (M&W), basketball (M&W), tennis, (M&W), track and field (M&W), softball (W),, baseball (M), golf (M&W), crew (M&W). Credit/no, credit. May be repeated for credit. Registration, is subject to coaching-staff approval during the, add/drop period.

Fall varsity sports: volleyball (W), football (M),, cross country (M&W), soccer (W). Spring varsity, sports: swimming (M&W), basketball (M&W), tennis, (M&W), track and field (M&W), softball (W),, baseball (M), golf (M&W), crew (M&W). Credit/no, credit. May be repeated for credit. Registration, is subject to coaching-staff approval during the, add/drop period.