CNSV 100

 Studio Instruction

Frank Corliss





4 credits This course is for Conservatory performance majors studying their primary instrument and consists of 13 one-hour private lessons with members of the Bard College Conservatory faculty. This course is required for all performance majors in every semester. Class size: 35



CNSV 102

 Composition Tutorial

Joan Tower





This course is for Conservatory composition majors  and consists of 13 one-hour private lessons with members of the Bard College Conservatory composition faculty. This course is required for all performance majors in every semester. Class size: 10



CNSV 104

 Secondary Piano

Frank Corliss





Students in this course develop technical and musical skills through weekly private lessons in piano. Students are graded based on the quality of preparation for lessons, attendance at lessons, and a final end of the semester jury. This course is open to students at all levels of pianistic skill and experience. This course is open to Conservatory students only. College students wishing to take secondary piano do so through the undergraduate music program.  Class size: 20



CNSV 108

 Introduction to Chamber Music

Marka Gustavsson

  W         7:30-9:30 pm




1 credit. Incoming first-year Conservatory undergraduates are required to take this class in the fall semester of their first year. Students will be assigned to groups, and guided through the tools of chamber music by reading and rehearsing with faculty, and Advanced Performance Studies student mentors. Attendance at the Wednesday evening Chamber Music Forum is required as part of this course. Class size: 10



CNSV 110

 Chamber Music

Marka Gustavsson

  W         7:30-9:30 pm




2 credits. Enrollment in this course is required of all Bard Conservatory performance undergraduates for 7 semesters.** In registering for the class, students are assigned or may form their own groups of 2-9 performers, with whom they commit to the preparation and performance of formative repertoire. Preparation requirements are at least two weekly 90 minute rehearsals, and regular coaching. Performances include the Chamber Music Marathon, noon concerts, and student recitals; the groups participate in the Chamber Music Forum on 7 Wednesday evenings (dates tbd). **Note: For those undergraduate students who enrolled before the fall of 2016, chamber music is required every semester. Students may now take the class for 2 credits, wherein it was previously 0 credits. Students who have an exceptional need to reduce their work load may apply for a waiver for chamber music; they may be granted a waiver for up to three semesters. You’ll find the waiver form here: https://docs.google.com/forms/d/e/1FAIpQLSdPwC9tG8aTdGCVAyRCmMu9yZrpPlXh5sMfrIM83XvZnwDl7A/viewform?c=0&w=1https://docs.google.com/forms/d/e/1FAIpQLSdPwC9tG8aTdGCVAyRCmMu9yZrpPlXh5sMfrIM83XvZnwDl7A/viewform?c=0&w=1

For consideration, the waiver form must be submitted on registration day.  Class size: 20



CNSV 112

 Orchestral Training & Rep.

Erica Kiesewetter

 T  Th    7:00-9:30 pm




0 credits This class will focus on training and performance of orchestral literature (standard and also unusual and contemporary). Bi-annual auditions help familiarize students with this process, and sectionals are held by members of the American Symphony orchestra, Metropolitan Opera Orchestra and other faculty. Four programs a year including opera, and extra performances in major US cities and abroad. Maestro Leon Botstein is the music director, and guest conductors appear for two programs a year.  Class size: 20



CNSV 130

 Orchestral Repertoire

Edward Carroll

  W         4:45-6:45 pm




Works drawn from the core of the symphonic repertoire are studied and rehearsed in 2- hour sessions throughout the semester. This course addresses issues of ensemble playing, intonation and musical expression for wind, brass, percussion, and harp players in orchestra. This course also broadens the knowledge of the symphonic repertoire through actual playing experience. Woodwind/Brass class will follow from 7:30 pm – 9:30 pm.  Class size: 20



CNSV 140

 Tonal Harmony/Counterpoint

John Halle

M  W      1:30-2:50 pm

BITO 210



Core Sequence in Theory, Analysis, and Composition. Harmony and Counterpoint is an accelerated introduction to species counterpoint and traditional harmony, now increasingly weighted towards the latter as a necessary background for Composing in Tonal Forms. There are no prerequisites to the class aside from basic musical literacy, particularly the ability to read treble bass and alto clefs reasonably fluently. A very few conservatory students will require a review of musical fundamentals, obtainable through the music department Theory I class. Exemption policy: Exemption is to be determined by a placement exam. Those who have taken theory and counterpoint at others schools are generally well prepared to place. Class size: 20



CNSV 211

 Alexander Technique  for Musicians

Alexander Farkas

    F        9:00-4:00 pm

BITO 210



1 credit  The Alexander Technique provides a way of teaching us how to re-connect with our own innate energies. For musicians this means discovering a way of performing with greater muscular ease, less accumulated fatigue and a less restrictive approach to technique. This course introduces both F. M. Alexander's principles and a new set of physical experiences suited to the musician's specific needs. The aim of the class will be learning how to apply the Technique to practice and performance situations. Students will have the opportunity to work with their instruments in class.  Class size: 20



CNSV 240

 Composing in Classical Forms

John Halle

 T  Th    1:30-2:50 pm

BITO 210



Core Sequence in Theory, Analysis, and Composition. Composing in Styles is a class based on the study of musical form, the large scale plan according to which extended works unfold in time. You will learn about these forms by composing four complete pieces within each type, generally these have included 1) a baroque dance form movement-modelled on the Bach solo violin Partitas and the Bach cello suites 2) a set of five variations on a ground bass, 3) a group of waltzes and 4) a complete sonata exposition. The process of composing these involves examining several pieces of each formal type, extracting from them the basic principles of their construction. Then, you will immediately compose sections of the work submitting them to me for suggestions for revision, reworking each section until a musically satisfying and coherent piece within the basic style is achieved. Pre-requisite: CNSV 140 or permission of the instructor. Exemption policy: Students who have composed works in the tonal style can place out of CNSV 240 by submitting a portfolio of these pieces. Class size: 20



CNSV 308

 Aural Skills III

John Halle

M  W      10:45-11:30 am

BITO 210



2 credits. This course should be taken at the same time as, or previous to, taking Core Sequence I (Harmony and Counterpoint). It is recommended that this course and Aural Skills IV be taken in the first two years of the Conservatory degree. Class size: 20



CNSV 310

 Keyboard Skills

Frank Corliss





Class size: 20



CNSV 330

 Composition for Performers

Joan Tower

 T           10:00-11:30 am

BITO 118



Core Sequence in Theory, Analysis, and Composition. The composition seminar is taught by the conservatory composition faculty Joan Tower and George Tsontakis, two of our most celebrated composers and teachers of composition. Students will produce several original compositions to be performed by themselves and others at a final concert. Exemption policy: Students can petition for exemption based on their having produced substantial original works. (Of course, those with an interest in composition will be unlikely to pass up the opportunity to study with two major figures in contemporary music.)  Class size: 20



CNSV 340


Jindong Cai

 T           10:10-12:30 pm

BLM N210





Western classical music first came to China 400 years ago. Since its arrival, it has largely served a non-musical purpose.  The European priests who introduced it used it as a tool for religious conversion.  Western diplomats and settlers who followed adopted Western music as a tool of diplomacy and a pillar of colonialism.  Reform-minded Chinese intellectuals saw it as a means to change China and Communist revolutionaries adopted it as a weapon for liberating the masses and a vehicle for propaganda.  Over the centuries, Western music has become so closely intertwined with Chinese politics that the two are often hard to separate and each has affected the other's development in remarkable ways. This seminar will survey the history of Western music in China and its close association with domestic politics and international diplomacy. It is designed for students interested in social history, cultural studies, China studies, international relations and music. We will listen to music but a musical background is not required or expected.

Class size: 15



CNSV 403

 Conservatory Project

Peter Laki





4 credits.  Class size: 20