A student choosing to major in music can develop a course of study intended to cultivate specific musical interests and abilities. Advisers in each music field may suggest the best academic plan for each student. Areas of focus include performance or composition in classical, jazz, or electronic music genres; western music research and history; music theory and analysis; and ethnomusicology. To fulfill requirements in a desired focus, students are suggested to take no fewer than six 200/300 level theory and history courses by the time of graduation. Additional requirements may include regular enrollment in one or more of the performance workshops, private lessons, composition workshops, or ensembles that are offered each semester. By the time of moderation, a student should ideally have completed half of their suggested course requirements.

 

Students’ Moderation and Senior Projects should ideally reflect their expressed musical interests and goals, whether they are based in performance, composition, research, analysis, or any combination of these. The Moderation Project for a student focused on composition or performance usually consists of a 25-40 minute recital, highlighting original work and/or other repertoire. For students interested in music scholarship or analysis, a substantial music history or theory paper serves as an appropriate moderation project.

 

A Senior Project in music can be accomplished in a variety of ways. Performers and composers usually present two concerts from 30 to 60 minutes each. For some composers, one concert can be replaced by an orchestra work written for performance by The Orchestra Now. In certain circumstances, a finished, sophisticatedly produced recording or multimedia project serves in place of a live performance. Music History and Theory students typically present an advanced, scholarly research or analysis paper as the main component of a Senior Project.

 

 

College & Community Ensembles

Unless otherwise noted, each ensemble is for one credit.  It is possible to participate in more than one ensemble and receive additional credit accordingly.  If private lessons are taken in conjunction with an ensemble, one or two credits may be added.  Private lessons must be separately registered.

 

18256

MUS 104

 Bard College Orchestra

Erica Kiesewetter

Zachary Schwartzman

M         7:30 pm-10:00 pm

OLIN AUDT

PA

PART

2 credits   Auditions for new members will be on February 5, 2018. Please contact Greg Armbruster at garmbrus@bard.edu regarding auditions. The first rehearsal will be February 12, 2018.  Class size: 30

 

18233

MUS 105

 Bard College Symphonic Chorus

James Bagwell

 T        7:30 pm-10:00 pm

OLIN AUDT

PA

PART

First rehearsal will be Tuesday, February 6, 2018 at 7:30 pm.  Class size: 35

 

18249

MUS 106

 Bard Community Chamber Music

Luis Garcia-Renart

    TBA    -

 

PA

PART

Class size: 16

 

18241

MUS 108 AB

 Bard Baroque Ensemble

Alexander Bonus

 T        10:00 am-12:00 pm

BLM 117

PA

PART

Performance ensemble focusing on music from 1550-1750. Instrumentalists and vocalists are welcome to audition.   Class size: 15

 

18287

MUS 108 CV

 Samba Ensemble

Carlos Valdez

    F     12:00 pm-2:00 pm

BLM N211

PA

PART

Samba Ensemble provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba reggai). Class size: 25

 

18273

MUS 108 MS

 Electro-acoustic Ensemble

Matthew Sargent

M         6:40 pm-8:00 pm

BLM HALL

PA

PART

Class size: 15

 

18276

MUS 108 MS2

 Eastern European Ensemble

Maria Sonevytsky

  W      1:00 pm-3:00 pm

BLM HALL

PA

PART

Bard’s Eastern European Ensemble will focus on the repertoires of a variety of Eastern European musical traditions, including but not limited to Ukrainian, klezmer, Bulgarian, Macedonian, and Crimean Tatar traditions. Students will be encouraged to innovate within specific musical idioms, and, in addition to playing, we will listen to a variety of musicians whose musical projects cut across indigenous, experimental, and popular music genres. This ensemble is open to instrumentalist and vocalists. Please e-mail the instructor with a paragraph stating your musical performance experience and interest. 

Class size: 12

 

18277

MUS 108 PS

 Mixed Trios, Quartets & Quintets

Patricia Spencer

    TBA    -

 

PA

PART

Mixing winds and strings in an ensemble offers special challenges (such as matching tonguing and bowing) as well as unique colors, and taps into an wealth of repertoire. Choices for flute and strings include classics by Mozart, Beethoven and Haydn, strong works by more recent composers (Amy Beach, Alberto Ginastera, and others) and contemporary giants such as John Harbison, Thea Musgrave and Nicholas Maw.  Choices for clarinet or oboe or bassoon and strings likewise include a wide range:  Mozart, Danzi, Brahms, Joan Tower, Shulamit Ran, and many, many more.  Class meetings are arranged according to the schedules of those who sign up. Class size: 6

 

18278

MUS 108 PS2

 Ensemble for any InstrumentS

Patricia Spencer

 T        7:30 pm-9:00 pm

BDH

PA

PART

The large variety of works written “for any instruments” invites exploration of atypical groupings – flute, marimba and tuba have been known to project wonderful blends.  This repertoire often requires a high degree of responsibility on the part of the performer: not only choosing dynamics and tempos but also instrumentation of various phrases and sometimes overall structure.  Members of this ensemble will engage in musical thinking outside the bounds of “normal” chamber music, and will discover how (or if) that may open a new dimension in their approach to more conventional performance. 

Repertoire under consideration:


Frederic Rzewski, Attica [or Les moutons de Panurge]

Arnold Schoenberg, Canon for Thomas Mann, and other canons

Judith Shatin, Grito del Corazón

John Cage, Living Room Music

Kurt Schwitters, Ursonate (selection)

Stefan Wolpe, Selections from “Music for Any Instruments”

Kenneth Amis, Interludes I - V


Class size: 6

 

18234

MUS 108D

 Ensemble: Chamber Singers

James Bagwell

 T  Th  4:40 pm-6:40 pm

BITO CPS

PA

PART

2 credits   Class size: 25

 

18239

MUS 108F

 Ensemble:Community Jazz Orch.

Thurman Barker

M         7:00 pm-9:00 pm

BLM N211

PA

PART

Class size: 12

 

18280

MUS 108H

 Ensemble: Balinese Gamelan I

Ketut Suadin

M         5:00 pm-7:00 pm

OLIN GREEN ROOM

PA

PART

Class size: 20

 

18306

MUS 108H

 Ensemble: Balinese Gamelan II

Ketut Suadin

M         7:05 pm-9:00 pm

OLIN GREEN ROOM

PA

PART

Class size: 20

 

18238

MUS 108J

 Ensemble: Percussion

Thurman Barker

 T        1:30 pm-3:50 pm

BLM N211

PA

PART

Class size: 12

 

18258

MUS 108N

 Contemporary Jazz Composers

Erica Lindsay

M         4:40 pm-6:40 pm

BLM N211

PA

PART

2 credits This class will involve the interpretation of contemporary composers’ works, ranging from sextet to big band.  This will be an advanced class restricted to instrumentalists (and vocalists) who have the necessary reading, technical, and interpretive skills to perform demanding music.  There will be a featured composer who will visit as a guest artist and perform in concert with the ensemble each semester.  Pieces written by student composers involved in the jazz composition classes will also be performed.  Class size will vary according to the amount of qualified instrumentalists and the instrumentation requirements of the featured composer.  Interested students are encouraged to sign up at registration, although confirmation of participation will only be given after auditions are held. Auditions will be conducted during the first scheduled class meeting. Class size: 12

 

18261

MUS 108R

 Bard Georgian Choir

Carl Linich

   Th    4:40 pm-7:00 pm

BDH

PA

PART

The Bard Georgian Choir is an all-vocal group that studies and performs traditional polyphonic songs from the Republic of Georgia (former USSR). Most songs are taught orally, and no previous singing experience or music reading skills are required. Special vocal techniques are also explored, including ornamented singing and yodeling. The group performs concerts at the end of each semester. Carl Linich, the choir’s director, has been a scholar, teacher and acclaimed performer of Georgian polyphonic singing since 1990, and is a founding member of Trio Kavkasia. A basic ability to match pitch is required. Please contact the instructor directly: clinch@bard.edu to arrange auditions.  Class size: 30

 

 

MUSIC COURSES

 

18265

MUS 122

 Introduction to Music Theory

Blair McMillen

   Th    11:50 am-1:10 pm

      F   1:30 pm-2:50 pm

BLM N217

BLM HALL

PA

PART

This course will serve as an introduction to reading, studying, and analyzing tonal music. Introduction to Music Theory is geared toward non-music majors as well as potential music majors who have had little or no exposure to reading music. We will begin with the basics of musical notation, progressing to the identification of scales, triads, and seventh chords.  (This course does not count towards the theory requirement for the music program.  Class size: 20

 

18272

MUS 143

 Contemporary Electronics

Matt Sargent

  W      4:40 pm-7:00 pm

BLM N119

PA

PART

This course will provide an introduction to electronic and experimental music with a particular focus on hacking culture, musical sampling, and the history of recording technology. Students will participate in hands-on demonstrations of electronic music tools (microphones, transducers, piezos, etc.) as well as in-class recreations of classic experimental music pieces. The course will also include connections with other disciplines, such as sound poetry and conceptual writing. Throughout the course, there will be an emphasis on the creation of new musical works as a method of communing with the course material. Students will be expected to make several compositions in the electronic music studio.  Class size: 20

 

18245

MUS 172

 Jazz Harmony II

John Esposito

M  W   10:10 am-11:30 am

BLM N211

PA

PART

Cross-listed: Africana Studies This course will include acquisition of the basic skills that make up the foundation of all jazz styles.  We will also study the jazz language from the BEBOP ERA up to the 60’s. This course fulfills a music theory/performance requirement for music majors. Class size: 22

 

18240

MUS 202

 Music Theory II / Ear Training

Erika Allen

Alexander Bonus

M T W Th                1:30 pm-2:50 pm

BLM N217

PA

PART

Continuation of Music Theory I, introduction to harmony, various seventh chords, secondary dominants, basics of modulation, four-part writing and voice-leading.  End result: ability to write a hymn, song or brief movement of tonal music.  Theoretical work will be complemented by ear-training classes focused on the singing and recognition of harmonies, score-reading and rhythmic studies. Prerequisite: Music Theory I or equivalent (knowledge of scales and keys).  This course fulfills a music theory requirement for music majors. ( *Note: course will meet 4 days weekly, two days cover theory, 2 days cover ear-training.)  Class size: 20

 

18236

MUS 212

 Jazz in Literature II

Thurman Barker

M  W   10:10 am-11:30 am

BLM N210

AA

AART

DIFF

Cross-listed: Africana Studies; American Studies  We will study Gary Giddens’ book Visions in Jazz and Robert Gottlieb’s Reading Jazz in order to bring attention to some important literature on Jazz. Some of the writers look beyond Jazz as an art form, but also bring attention to its historical influence on culture, race, tradition, and our social experience, as well as connecting with writers like Albert Murry, Ralph Ellison, Eudora Welty. There is an attempt in their works to illuminate the significance of the musical potential the musicians inherit and the creative options they exercise. This course includes the words of many who have been hailed as Jazz’s greatest musicians.  This fulfills a music history requirement for music majors.  Class size: 22

 

18235

MUS 215

 Introduction to Conducting

James Bagwell

 T  Th  11:50 am-1:10 pm

BLM N211

PA

PART

This course will introduce the student to the basic elements of conducting.  While the development of the physical gesture and rehearsal techniques will be the primary goals, we will also work on score reading, ear training, instrumental transposition, and historical performance practice.  Repertoire will include both orchestral and choral repertoire. Evaluation will be based on the individual's improvement in gesture and rehearsal technique.  Prerequisites for the course are the successful completion of Music Theory I and II or equivalent.  Class size: 15

 

18275

MUS 224

 Socialist Musical Imaginaries

Maria Sonevytsky

 T  Th  3:10 pm-4:30 pm

BLM N210

SA

D+J

SSCI

DIFF

Cross-listed: Anthropology; Global & International Studies; Russian  What is the relationship between musical culture and political ideology? Taking examples from China, Cuba, Eastern Europe and the former Soviet Union, this course surveys the cultural policies of socialist states and their effects on the lives, listening habits, and creative output of musicians and music consumers. From the politics of Azeri opera, to the subversive sounds of Siberian punk, to the performance of masculinity in Chinese and Cuban pop music, we will investigate how political ideologies generated state support for certain kinds of music while suppressing other forms of unofficial, underground and protest music. Students will develop an understanding of how socialist cultural policy models in diverse regions of the world have understood the uses and the threats posed by musical culture in daily and symbolic life. Furthermore, we will evaluate what happens when the ideological imperatives of a regime transform, fade away, or are suddenly replaced with a new political ideology. Readings include historical, anthropological, and musicological texts that examine the relationship of musical sound to publics, counterpublics and states. Students will produce written works responding to class readings and themes, and develop final projects according to their own research interests. Students do not need to read musical notation to take this class. This course fulfills requirements for the Global and International Studies program and counts towards the moderation requirements in ethnomusicology.   Class size: 22

 

18274

MUS 236

 Music, Sexuality & Gender

Maria Sonevytsky

 T  Th  10:10 am-11:30 am

BLM N210

AA

AART

Cross-listed: Anthropology; Experimental Humanities; Gender and Sexuality Studies   This course surveys musicological approaches to the study of sexuality and gender, asking how music informs and reflects cultural constructions of femininity and masculinity. Taking wide-ranging examples that include opera, popular music, folk and indigenous musics, we will investigate how modern gendered subjectivities are negotiated through musical practices such as composition, performance and consumption. Class readings will include musicological, anthropological, feminist, Marxist and queer theory approaches. Students will practice writing skills in a variety of formal and informal formats, culminating in an in-class presentation based on original research.  Class size: 22

 

18283

MUS 252

 Electronic Composition

Richard Teitelbaum

 T        1:30 pm-3:50 pm

BLM N110 / BLM 117

PA

PART

This course, intended primarily for music majors, will be focused on the individual creative work of the students enrolled.  Each will be expected to bring in his or her ongoing, original work in the form of recordings, scores, and/or digital realizations. These will be examined and commented on by the instructor and other class members. Installation and inter-media works will also be welcomed.  Analyses and class presentations of classic works by such composers as Stockhausen, Cage, Lucier, etc., will also be expected of the students during the semester.  Public presentations of student work will be made at the end of the semester. By consent of the instructor. This fulfills a music theory requirement.  Class size: 15

 

18281

MUS 254B

 Pronunciation  & Diction for  Singers II

Erika Switzer

 T  Th  10:10 am-11:30 am

BDH

PA

PART

This two-semester course is an introduction to the International Phonetic Alphabet (IPA), its symbols and practical use in performing or preparing Italian, French, German and English vocal literature.  The fall semester will be devoted to the English and Italian languages, the spring to German and French.  Through songs, arias, and oratorio literature, students will take from this course a basic understanding of pronunciation rules and rhythm of each language.  While it is geared towards singers and collaborative pianists, the course is also useful for conductors, other instrumentalists and students seeking to refine pronunciation and accent.  Grading will be based on a series four exams, including the preparation and performance of one song per language.  Ability to read music is not required.  No previous knowledge of the languages is required. Class size: 10

 

18286

MUS 256

 Orchestration Workshop

George Tsontakis

  W      3:10 pm-5:00 pm

BLM HALL

PA

PART

Students will learn how to score for instrumental combinations beginning with small ensembles up to full orchestra. There will be live demonstrations of orchestral instruments, listening and score study of orchestral literature, chord voicing and notation of bowings, breathing, articulations, and special orchestral effects as well as practice of basic conducting patterns and skills. Prerequisites:  Fundamentals of Music and composition workshop. There will be a reading of the orchestrations by the Bard College Orchestra.  Class size: 8

 

18264

MUS 257

 Production & Reproduction

Thomas Mark

   Th    1:30 pm-3:50 pm

BLM 117

PA

PART

This course will focus on the theory and practice of sound recording. Students will learn the use of recording equipment including digital tape recorders, mixing consoles, signal processing devices, and microphones. A/B listening tests will be used to compare types of microphones, microphone placement and many different recording techniques. ProTools software will be available for digital editing and mastering to CD. Assigned projects will include both multitrack and direct to stereo recordings of studio and concert performances. Class size: 12

 

18334

MUS 264

 Literature & Language of Music: Medieval - Renaissance

Peter Laki

 T  Th  10:10 am-11:30 am

BLM N217

AA

AART

A survey of selected musical works composed from Gregorian chant in the Middle Ages to the end of the 16th century. Works will be placed in a broad historical context with specific focus on stylistic and compositional traits. In addition, musical terminology, composers and historical and theoretical methodology will be introduced and described in relationship to the repertoire. Students will be evaluated on the basis of short essays and two listening exams. As we will be using scores in our discussions, basic skills in music reading are expected. This course is primarily designed for music majors including sophomores. This course counts towards the music history requirement for music majors. .Class size: 20

 

18246

MUS 266B

 American Popular Song II 1930-1950

John Esposito

M  W   11:50 am-1:10 pm

BLM N211

PA

PART

Cross-listed: Africana Studies; American Studies  This performance-based course is a survey of the major American popular song composers of the Tin Pan Alley era, whose work forms the core of the jazz repertoire. Composers studied will include Gershwin, Berlin, Porter, Ellington, Warren, Rodgers, and others. The course will include readings, recorded music, and films. The students and instructor will perform the music studied in a workshop setting. Prerequisite: Jazz Harmony II or permission of the instructor.  Class size: 22

 

18248

MUS 311

 Musical Offering and the History of Bach interpretation

Gergely Fazekas

    F     10:10 am-12:30 pm

BLM N217

AA

AART

Cross-listed: Conservatory Designed for musicians, composers and musically trained Bach enthusiasts the course explores Musical Offering, one of the final, enigmatic work by Johann Sebastian Bach, consisting of 10 canons, two majestic fugues and a sonata. We will analyze the movements and read both 18th century documents and modern interpretations of the piece (by musicologists Ursula Kirkendale, Michael Marissen, David Yearsley etc.) to understand the historical background, Bach’s compositional mechanisms, and the different perspectives of Bach interpretation. In the second half of the semester we will face the question of Bach interpretation in its more concrete and musical sense, and go through the rich history of Bach performance from the 19th century to the present day,from Mendelssohn and Liszt to Pablo Casals, Glenn Gould, Nikolaus Harnoncourt and John Eliot Gardiner.

Class size: 12

 

18284

MUS 340

 Introduction to  Experimental Music

Richard Teitelbaum

  W      1:30 pm-3:50 pm

BLM N119

PA

PART

This course deals with the experimental tradition starting from Henry Cowell’s radical innovations early in the 20th century, through those of his students, pre-eminently John Cage and others of the “California School” of the 30’s and 40’s, and “The New York School” around Cage that included Feldman, Brown, Wolf and Tudor in the 50’s. The primary focus however will be on the development of new forms, media and social organizations begun in the sixties and seventies, as exemplified by: text-based “event” pieces of the international Fluxus movement; the early minimalist works of La Monte Young, Terry Riley, Steve Reich and Philip Glass; live electronic music of AMM in London, Musica Elettronica Viva in Rome and Sonic Arts Union in New York; the work of Cornelius Cardew and the Scratch Orchestra in London; and the influence of “open form” “free jazz” and “creative music” in establishing improvisationally-based compositional techniques and systems in the works of Anthony Braxton, George Lewis and others. In addition to studying the works this tradition has produced and discussing their aesthetic and philosophic underpinnings, students will be encouraged to realize and perform works by these composers, and to create new ones of their own.  Class size: 15

 

18558

MUS 342

 “Viva la libertà!”: Mozart’s Operas and the Enlightenment

Christopher Gibbs

  W      1:30 pm-3:50 pm

BLM N210

AA

AART

Mozart is often viewed as embodying central ideals of the Enlightenment and nowhere is this more apparent than in his operas. This seminar will focus on two relatively early ones (Idomeneo and The Abduction from the Seraglio), center on his trilogy from the mid-1780s composed to librettos by Lorenzo Da Ponte (The Marriage of Figaro, Don Giovanni, and Così fan Tutte), and conclude with The Magic Flute. These works take us from the teenage Mozart breaking with operatic conventions to his dying months, at age 35. He engaged with both Italian and German operas, comedy and tragedy, exoticism, gender issues, and radical politics of the day—the time of the American and French revolutions. We will consider the literary sources of the operas, most importantly Beaumarchais’s play Le mariage de Figaro. Scenes from the Da Ponte operas will be performed at Bard next semester and the Metropolitan Opera will present Così fan Tutte. Class sessions will be supplemented with screenings of film and DVD performances directed by Ingmar Bergman, Joseph Losey, Peter Sellars, and others. This course counts toward music history credit for College and Conservatory students. It is open to any student; the ability to read music is not required.  Class size: 10

 

18254

MUS 346

 Interactive Performance and Composition

Paul Hembree

   Th    1:30 pm-3:50 pm

BLM N119

PA

PART

This course will focus on MAX/MSP, an object-oriented programming environment for real-time audio processing, computer-assisted composition, live laptop performance, musical interactivity, video generation, and more. Students will learn fundamental concepts of digital audio and computer programming while engaging in creative projects. We will explore examples of MAX programming utilized in contemporary music and sound art repertoire. The course will conclude with a final project. Introduction to Electronic Music is recommended as prerequisite. This course fulfills a music theory requirement for music majors.

Class size: 15

 

18237

MUS 349

 Jazz: Freedom Principle IV

Thurman Barker

M         1:30 pm-3:50 pm

BLM N210

AA

AART

DIFF

Cross-listed: Africana Studies, American Studies  This Jazz History course which is part four of a four part course.  Part four is a study of Jazz after 1952 to the early 70’s.  The course will examine the extreme shifts in jazz styles from Cool, to Hard bop to the Arvant Garde.  Emphasis will be on musicians associated with these styles such as Stan Getz, Lee Konitz, Horace Silver, Hank Mobley, Anthony Braxton and Muhal Richard Abrams.  The course will discuss the solo and combo styles of these musicians.  The course employs a cultural approach designed to look at the social climate surrounding the music from 1952- 1972 and examine its effect on the music.  This will be illustrated with recordings and films.  The class requires oral presentation and critical listening.  This course is for juniors and seniors who have moderated into music.  This fulfills a music history requirement for music majors. Class size: 15

 

18271

MUS 361

 Topics in Music Production: electronic music in live performance

Matthew Sargent

 T        4:40 pm-7:00 pm

BLM N119 /

BLM HALL

PA

PART

This seminar will address technical, practical, and critical considerations of live performance with electronic instruments. Students will learn techniques essential for live electronic performance through hands-on tutorials with common mixing consoles, speaker arrays, microphones, and audio interfaces. Using these techniques, students will develop new live electronic compositions and improvisations. Through peer response, students will refine their compositional ideas, while evaluating the technical strategies of their performance. Students will strive to develop a creative practice that matches musical ideas with possible technical realizations. The course will include weekly composition projects, reading and listening assignments, a midterm essay, and a final portfolio. Introduction to Electronic Music is required as a pre- requisite. The class is designed for upper-level electronic music and sound majors, but also available to other qualified students interested in electronic music performance. Class size: 12

 

18555

MUS 366D

 Advanced Contemporary Jazz Techniques IV

John Esposito

 T        9:30 am-11:45 am

BLM N211

PA

PART

Cross-listed: Africana Studies  This course will focus on strategies for improvisation without predetermined chord structures or rhythmic frameworks and on methods for shaping performances spontaneously.  We will also explore collaboration with artists from other disciplines such as dance, spoken word and visual arts. This class is open to moderated upper college students who have successfully completed advanced contemporary Jazz techniques A & B. This fulfills music theory requirements. Class size: 15

 

18259

MUS 367B

 Jazz Composition II

Erica Lindsay

  W      6:00 pm-9:00 pm

BLM N211

PA

PART

This class covers diatonic jazz harmony, starting with traditional forms of functional harmony, the interplay between the major and minor systems, followed by the progression of its breakdown into a more fluid, chromatic and open-form system.  Melodic styles, harmonic rhythm, modal interchange and modulation sequences will be examined, with the emphasis being on composing pieces, using as inspiration the material covered in class.  Class size: 12

 

18250

MUS PROJ LGR

 Special Projects

Luis Garcia-Renart

    TBA

 

 

PART

See Prof. Garcia- Renart. Class size: 8

 

 

MUSIC WORKSHOPS:

Workshops carry 2 credits, unless otherwise noted.

 

18255

MUS WKSH EK

 Upper String practice and Technique Workshop

Erica Kiesewetter

    F     3:00 pm-4:30 pm

BITO 202

PA

PART

Cross-listed: Conservatory  This class will explore a comprehensive collection of string left and right hand techniques , including string crossings, various strokes, vibrato and double-stops. We will explore a variety of practice techniques including self-recording and mental playing. This class is open to advanced violin (and viola) players in the college and conservatory.  Class size: 8

 

18252

MUS WKSH GM

 Sonata & Chamber Workshop

Marka Gustavsson

Blair McMillen

    TBA    -

 

PA

PART

This workshop will explore the wide repertoire of sonatas with instrument and piano, as coached by the professors. Students may sign up as a pre-formed group or be placed. Open to college and conservatory students by recommendation or audition.  Class size: 12

 

18262

MUS WKSH IL

 Feldenkrais & the Voice

Ilka LoMonaco

  W      4:40 pm-7:00 pm

BDH

PA

PART

2 credits This course will focus on improving the vocal ability of singers through the Feldenkrais Method, developed by the Israeli-born nuclear physicist, engineer and Judo master Moshe Feldenkrais. The Feldenkrais Method is an approach to learning and change through movement. It uses a process of organic learning, movement and sensory perception to free the student from habitual patterns and unnecessary tensions, as well as facilitating new modes of thinking, moving and feeling to emerge. During the first hour of the class all students will receive an original ATM  (Awareness through Movement) lesson, especially chosen for its pertinence to singing,  as designed by Moshe Feldenkrais.  An ATM consists of guiding students verbally through a carefully designed sequence of gentle movements in such a way that the student remains mindful and keeps an inward awareness. By sequencing movements in small, easily accessible increments and working with deliberate constraints, unnecessary tensions can be released to form a new pattern of movement with increased refinement and complexity. During the second half of the class we will be working individually on repertoire, applying the principles of the Method.  Requirement: ability to perform a song or aria  - auditions required.  Class size: 6

 

18285

MUS WKSHA

 Workshop: Composition

Joan Tower

M         1:30 pm-3:50 pm

BLM HALL

PA

PART

This workshop is for both composers and performers- primarily music majors who can read music. The process is one of learning how to put one's musical soul onto the page, pass that  page first to players in the class  and then to Conservatory players as well as the College Players who record and play these pieces.  All along the way, the hope is that the music will "come back" to the composer as he or she had intended it to with some kind of profile and excitement.  Students should email Prof. Tower (tower@bard,edu) prior to registration to determine eligibility. Class size: 6

 

18244

MUS WKSHD

 Sight Reading Workshop

Michael DeMicco

 T        12:00 pm-1:00 pm

BLM HALL

PA

PART

This workshop is designed to improve basic music reading skills.  Drawing from a varied selection of material such as lead sheets, jazz fake

book charts and simple to intermediate classical etudes, students learn to read melody and rhythm more confidently. This course works well for C

(concert) instruments and may be adapted for other instruments as well. Class size: 14

 

18243

MUS WKSHL

 Workshop: Opera Workshop

Teresa Buchholz

Ilka LoMonaco

Rufus Muller

            -

 

PA

PART

Part II of Opera Workshop which began In the Fall Semester. We prepare a themed program of operatic excerpts (choruses, ensembles, solos), which is performed in the Fisher Center, fully staged and with orchestra, in the early part of the Spring Semester. Typically this involves intensive rehearsals during the week before Spring Semester, and evening rehearsals in the first week of semester. Students enrolling in the Fall Semester for two credits thus commit themselves to the final rehearsals and performances in the Spring Semester, which earn them an additional two credits.  Enrollment is by audition.  Please contact one of the professors for details - their email addresses are:  Professor LoMonaco: Ilka98@aol.com, Professor Muller: rumu2000@earthlink.net, Professor Buchholz: buchmezzo@hotmail.com.  Class size: 30

 

18267

MUS WKSHM RM

 Not Love, Actually: Art Songs about anything except love

Rufus Muller

M         4:40 pm-7:00 pm

BITO CPS

PA

PART

Song recitals can often be boring, or even alienating.  In this class we explore ways to make the performance of art song moving and satisfying for performers and public alike. For collaborative pianists as well as singers.  Class size: 15

 

18260

MUS WKSP3

 Workshop: Jazz Improvisation

Erica Lindsay

   Th    4:40 pm-7:40 pm

BLM N211

PA

PART

This class is an ensemble performance workshop focused on developing improvisational skills within the harmonic context of both jazz harmony and free improvisation. The goal is to develop facility in being able to improvise over harmonic structures from the blues to more free form styles of improvisation. Students are assigned to an ensemble that is appropriate to the level of their experience. Class size: 12

 

18269

MUS WKSP7

 Jazz Vocal Workshop

Pamela Pentony

 T        4:00 pm-7:00 pm

BLM N211

PA

PART

The Jazz Vocal Workshop is a performance workshop designed to familiarize the beginning singer with the components of a successful jazz performance.  How to begin a song (intros) and how to end a song (outros and turnarounds), how to pick a key, a song and a tempo.  How to utilize simple (and not so simple) arrangements.  Particular attention is paid to phrasing.  The language of scat singing, with emphasis on practice in every class.  The forms of the blues, rhythm changes and 32 bar song form, and practical applications taken from The Great American Songbook.  There is one (or more) concert(s) scheduled during the semester and students are encouraged to seek out and perform in many local venues.  There is a final exam in this class.

 

 

PRIVATE LESSONS – (register for lessons with a drop/add form.)

All students are eligible for private music instruction. Lessons can be taken for either one or two credits or audited (no credit). In order to receive credit, the student must be registered with the Registrar’s office. Registration for private lessons must be completed by the end of the add/drop period (February 8th).

When lessons are taken for credit, the student must also be enrolled in a music ensemble or the equivalent,  to be determined by the instructor. The ensemble can be taken for credit or audited. Students taking lessons for credit are assessed a nominal lab fee of $200 per semester by the college (approximately $16.66 per lesson X 12 lessons) whether it is 1 or 2 credits. Students receive 12 lessons per semester

If private lessons are audited (no credit), a fee is mutually agreed upon by the student and the instructor. Audited lessons will not appear in the student’s registration or on the transcript. If students are taking more than one lesson, the same rules apply as above – the student must be enrolled in another ensemble to receive the lesson rate of $200 per semester.

 


Ø Kathryn Aldous - violin

Ø David Arner - piano (jazz, classical and improvisation)

Ø Teresa Buchholz – classical voice

Ø Ira Coleman - jazz bass

Ø David Degge - percussion

Ø Mike DiMicco - jazz guitar

Ø Dani Dobkin-  Serge modular synthesizer

Ø Greg Glassman - jazz trumpet

Ø Marka Gustavsson – violin, viola

Ø Larry Ham – jazz piano

Ø Ryan Kamm - classical bass

Ø Erica Kiesewetter – violin

Ø Ilka LoMonaco- classical voice

Ø Blair McMillen - piano

Ø Rufus Müller – classical voice

Ø Peter O'Brien - jazz drums

Ø Isabelle O’Connell - piano

Ø Pamela Pentony - voice (jazz)

Ø Steve Raleigh – jazz guitar

Ø Raman Ramakrishnan - cello

Ø Patricia Spencer – flute

Ø Erika Switzer – classical piano

Ø John Charles Thomas - trumpet (classical and jazz), French horn and didjeridu

Ø Carlos Valdez – Latin jazz, hand percussion and drums

Ø Bruce Williams - jazz and classical saxophone