By the time of moderation, music majors will be expected to have successfully completed two semesters of music theory courses and two semesters of music history courses. Please consult your adviser about this.

College and Community Ensembles

Unless otherwise noted, each ensemble is for one credit except where indicated. It is possible to participate in more than one ensemble and receive additional credit accordingly.

CRN

94279

Distribution

F

Course No.

MUS 104

Title

Bard College Community Orchestra

Professor

Joan Tower

Schedule

Mon 7:00 pm - 10:00 pm OLIN AUDITORIUM

This is a year-long course. Students earn 2 credits per semester, and an additional two credits for registering in private lessons which are strongly encouraged. Auditions will be held on September 9 from 9:00 to 6:00 in Blum Hall for both old and new members. A sign-up sheet will be posted in Blum at the beginning of the semester. Please be prepared to play two pieces-one slower and lyrical, and one faster.

CRN

94280

Distribution

F

Course No.

MUS 105

Title

Bard College Community Chorus

Professor

James Bagwell

Schedule

Th 7:00 pm - 9:45 pm Bard Hall

First rehearsal will be held on Thursday, September 7th at 7:00pm in Bard Hall. Music to be announced.

CRN

94281

Distribution

F

Course No.

MUS 106

Title

Bard College Community Chamber Music Program

Professor

Luis Garcia-Renart

Schedule

TBA

The program will select students, alumni, faculty and community performers to present chamber music recitals on and off campus. The program will aim for diversity, both in instrumentation (including voice) as well as in repertoire. Weekly coaching will be given by faculty, and rehearsals between coachings will be expected.

CRN

94282

Distribution

F

Course No.

MUS 108 B

Title

Ensembles: Contemporary

Professor

Joan Tower

Schedule

Tu 10:00 am - 12:00 pm BLM

Depending on registration students will form their own ensembles (2-5 players) to play a work from the 20th century repertoire.

CRN

94283

Distribution

F

Course No.

MUS 108 C

Title

Ensembles:Chamber/Wind & Brass

Professor

Patricia Spencer

Schedule

Tu 5:00 pm - 6:45 pm BLM 117

Lab: Fr 3:00 pm - 5:00 pm BLM 117

CRN

94284

Distribution

F

Course No.

MUS 108 D

Title

Vocal Ensemble

Professor

James Bagwell

Schedule

Mon 7:00 pm - 9:15 pm Bard Hall

Tu 7:00 pm - 9:15 pm Bard Hall

2 credits. This ensemble is for serious singers only, and by audition -a sign-up sheet will be posted at the beginning of the semester. Auditions will be held Friday, September 8th, 9:00-12:30 in Bard Hall.

CRN

94286

Distribution

F

Course No.

MUS 108 F

Title

Ensembles: Jazz

Professor

Thurman Barker

Schedule

Mon 4:00 pm - 6:00 pm Blum Hall

CRN

94327

Distribution

F

Course No.

MUS 108 G

Title

Ensembles: Chamber

Professor

Schedule

The Colorado String Quartet - see Joan Tower

TBA

CRN

94287

Distribution

F

Course No.

MUS 108 H

Title

Ensembles: Balinese Gamelan

Professor

TBA - see Richard Davis

Schedule

TBA

CRN

94288

Distribution

F

Course No.

MUS 108 I

Title

Ensembles: Live Electronic Performance

Professor

Richard Teitelbaum

Schedule

Tu 4:30 pm - 6:20 pm Blum Hall

MUSIC COURSES

CRN

94479

Distribution

A

Course No.

MUS 112

Title

Introduction to Listening

Professor

James Bagwell

Schedule

Mon 10:00 am - 11:20 am OLIN 104

Wed 8:30 am - 9:50 am OLIN 104

In a recent article in the Atlantic Monthly (March 2000), Bottum writes that "Music made sense when the world did. Now the sense is gone but the melody lingers on-everywhere. We live surrounded by music, from torch songs at Starbucks to the Beatles in the elevator, and the barrage may be turning our minds to mush." This class will be an effort to "de-mush" our minds, specifically as it relates to listening skills. A broad selection of musical works from 1700 to the present will be introduced and studied in both musical and historical/cultural contexts. Key examples from the symphonic, chamber, operatic, jazz, popular, and musical theater genres will be examined primarily from the perspective of developing informed and open listening skills. Students will be evaluated based on a series of short essays and two listening exams. Reading music notation is not required for this course.

CRN

94289

Distribution

F

Course No.

MUS 133

Title

Fundamentals of Music I

Professor

Kyle Gann

Schedule

Wed Fr 1:30 pm - 2:59 pm BLM 117

This course will build up skills (from scratch) in reading music and building up and recognizing basic chords of European music, such as triads and seventh chords. The course will culminate in simple composition assignments.

CRN

94290

Distribution

F

Course No.

MUS 171

Title

Jazz Harmony I

Professor

Thurman Barker

Schedule

Wed 3:00 pm - 4:20 pm BLM 117

Fr 11:30 am - 12:50 pm BLM 117

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 its beginnings early in the 20th century through the 'BEBOP' era.

CRN

94291

Distribution

C/D

Course No.

MUS 205

Title

Operas of Verdi

Professor

Frederick Hammond

Schedule

Tu Th 10:00 am - 11:20 am OLIN 104

A survey of Verdi's Complete Operatic Productions. This course does not require a specialist's knowledge of music and is open to all students with a general interest in music.

CRN

94292

Distribution

A/B

Course No.

MUS 212

Title

Jazz in Literature II

Professor

Thurman Barker

Schedule

Mon Wed 10:00 am - 11:20 am BLM 117

Cross-listed: AADS

This is a continuation course in Jazz in Literature designed for music lovers and readers of literature. This study group will explore literary texts (short stories, novels, plays) that have a jazz theme, with the goal of scrutinizing the synergy of two great American art forms -- literature and jazz in the 20th century. Our reading list will include James Baldwin, Langston Hughes, Ann Petry, Toni Morrison, Maya Angelou, Donald Bathelme, Ralph Ellison and others. Two papers will be expected as well as participation in class discussion.

CRN

94293

Distribution

C

Course No.

MUS 215

Title

Topics in the History of Music: Charles Ives and the Definition of an American Music

Professor

Kyle Gann

Schedule

Wed Fr 10:00 am - 11:20 am OLIN 104

Cross-listed: American Studies

In Danbury, Connecticut, in 1874, Charles Ives was born into a world where American music was divided into two kinds: vernacular and cultivated, and cultivated meant European. Ives was the first composer to wrestle with the problem of creating large instrumental and vocal works analogous to those of Europe yet in harmony with American indigenous traditions of band marches, parlor songs, minstrel tunes, folk songs, and ragtime. Long after he had quit composing, in 1939, Ives's Piano Sonata No. 2: Concord, Mass., 1840-1860 was hailed as "the greatest music composed by an American," and many musicians have continued to believe that he remains the greatest American composer of all. This course will explore Ives' relationship to the vernacular musics he drew from; the incredible list of innovations he achieved without European models, including tone clusters, atonality, different tempos at once, simultaneous layers of music; and the legacy of Ives that still haunts every American composer trying to figure out his or her own path between pop idioms and European tradition. In the superb Ives biography by Jan Swafford and the new editions that are appearing of Ives's irascibly optimistic manifesto Essays Before a Sonata, we will grow closer to learning what it means to be an artist in that unappreciative country, the United States.

No prerequisite; music majors and non-majors welcome.

CRN

94294

Distribution

A/C

Course No.

MUS 219

Title

Romantic Harmony

Professor

Kyle Gann

Schedule

Tu Th 1:30 pm - 3:00 pm BLM 117

This course will explore the Romantic Era in terms of its most colorful characteristic: harmony. Works by Chopin, Schumann, Brahms, Liszt, and Scriabin will be analyzed, and excerpts of larger works by Berlioz, Wagner, and Bruckner - for form and orchestration, but most of all to explore the flowering of ultrachromatic harmonic progressions and modulations. Along with augmented sixth chords, borrowed chords, enharmonic modulations, and chromatic voice-leading, the class will study the wealth of thematic transformation techniques that made late Romanticism such a fluid and often extra musically referential language. This course is intended for music majors, but is open to anyone who has fulfilled the prerequisite, Fundamentals I and II or the equivalent.

CRN

94295

Distribution

C/D

Course No.

MUS 311

Title

The Life and Music of Dimitri Shostakovich

Professor

Frederick Hammond

Schedule

Tu 1:30 pm - 3:50 pm OLIN 104

Cross-listed: Russian and Eurasian Studies

Dimitri Shostakovich (1906-1975) is accepted as one of the most important composers of the twentieth century, yet little of his music is known to the general public. His output embraces all the major genres of Western art music, including fifteen symphonies and string quartets, operas, ballet, and film music. His music ranges in tone from an orchestral transcription of "Tea for Two: to one of the grisliest operas in the current repertory and settings of Yevtushenko's poems on life in the gulag. During Hitler's invasion of Russia in World War II, Shostakovich's music came to symbolize for the West the struggle against the Axis, but it was also hostilely received and subjected to official censure. Shostakovich's career encapsulates many of the problems of the relationship between the State and the individual artist. For the general student; a reading of German or Russian would be helpful.

CRN

94480

Distribution

A/C

Course No.

MUS 314

Title

The Literature and Language of Music

Professor

James Bagwell

Schedule

Th 1:30 pm - 2:50 pm OLIN 104

This course will present a survey of selected musical works composed from 1600 to the present. 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 a series 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.

CRN

94296

Distribution

F

Course No.

MUS 332

Title

Jazz: The Freedom Principle II

Professor

Thurman Barker

Schedule

Th 10:30 am - 12:50 pm Blum Hall

Cross-listed: AADS

This is a jazz study of the cross-pollination between Post-Bop in the late fifties and Free Jazz. The course, which employs a cultural approach, is also designed to look at the social climate surrounding the music to examine its effects on the music from 1958 to the mid-sixties. Emphasis will be on artists and composers such as Cecil Taylor, Ornette Coleman, Art Blakey, Thelonious Monk, John Coltrane, Miles Davis, Max Roach, Eric Dolphy, Charles Mingus, and Horace Silver. Illustrated with recordings, films, and videos.

CRN

94297

Distribution

A

Course No.

MUS 337

Title

World Music Seminar

Professor

Richard Teitelbaum

Schedule

Wed 1:30 pm - 3:50 pm Blum Hall

This seminar will combine studies of traditional world musics (emphasizing the classical music of India, Indonesia, China, Korea and Japan) with an examination of the 20th century Western musics which they have influenced. These latter include the California School of Cowell, Harrison and Cage, the minimalists La Monte Young, Terry Riley, Steve Reich and Phillip Glass, Europeans such as Messiaen, Xenakis, Ligeti and others. The work of Western-trained Asian composers who have reintroduced traditional Asian materials into their work such as Chou Wen-chung, Toru Takemitsu, Yuji Takahashi and Tan Dun will be studied as well. Finally, the most recent developments in inter-cultural hybridization by younger composer/improvisers (Jin Hi Kim, Miya Masaoka, Ikue Mori, Fred Ho, etc) will be studied in the context of a developing integrated world music culture that promises to be a major musical trend in the 21st century. Students will be encouraged to carry our research projects as well as to experiment with inter-cultural compositions and performances of their own. Enrollment limited.

MUSIC WORKSHOPS

CRN

94298

Distribution

F

Course No.

MUS WKSH A

Title

Workshop: Composition Seminar

Professor

Joan Tower

Schedule

Mon 1:30 pm - 3:50 pm Blum Hall

This class will compose music that will be written down and passed to players to be rehearsed and taped. Every step of the process is assisted (particularly at the notational level) and discussed. Players in the class, as well as professional players from outside, will join in to help bring each piece to life in sound. In addition, other twentieth-century works are played and discussed and occasional visits to performances of new music are made. Individual meetings are arranged on a regular basis.

CRN

94300

Distribution

F

Course No.

MUS WKSH C1

Title

Workshop: Ear Training I

Professor

Music Faculty

Schedule

Tu 11:30 am - 12:50 pm BLM 117

Lab: Fri 10:00 am - 11:20 am BLM Hall

CRN

94301

Distribution

F

Course No.

MUS WKSH C2

Title

Workshop: Ear Training II

Professor

Music Faculty

Schedule

Th 10:00 am - 11:20 am BLM 117

Lab: Fr 11:30 am - 12:50 pm Blum Hall

CRN

94302

Distribution

F

Course No.

MUS WKSH C3

Title

Workshop: Ear Training III

Professor

Music Faculty

Schedule

Th 3:00 pm - 4:20 pm BLM 117

Lab: Fr 10:00 am - 11:20 am BLM 117

CRN

94303

Distribution

F

Course No.

MUS WKSH E

Title

Workshop: Songwriting

Professor

Greg Armbruster

Schedule

Th 4:00 pm - 6:20 pm OLIN 104

All songwriters, as well as poets, lyricists, singers, instrumentalists, and composers are invited to create and share their original work in this safe forum for collaboration, performance, feedback, discussion, and analysis. The goal is to help participants express more clearly their musical intentions in song form. Lyrics, setting, clarity, musical scene, melody, accompaniment, accompaniment and voice as duet, notation, editing, rewriting, and the collaborative process are examined. Collaborative projects among class participants are organized and writing assignments focus on skill building. Participants present their work with or without self-accompaniment or in collaboration with others. Guests may attend class in order to help participants present their music. Although previously written work may be presented, the focus is primarily on work in progress or work composed during the semester, with the specific goal of writing ten new songs. An open performance is given at the last class meeting.

CRN

94304

Distribution

F

Course No.

MUS WKSH F

Title

Workshop:Integrated Electronic Music and Art

Professor

Robert Bielecki

Schedule

Tu 1:30 pm - 3:50 pm BLM 101

Cross-listed: Integrated Arts

A hands-on, multidisciplinary workshop combining diverse arts and media in interactive live performances and installations. The course offers instruction in the mastery of the facilities of the Blum Electronic Music Studios, including digital sampling, MIDI sequencing, and the programming of real-time, interactive, MIDI-based software, extensible to video and other visual domains (lighting, slides, and the like). It is hoped that a broad range of disciplines will be represented. Collaboration among students in Integrated Arts, Film and Electronic Media, Theater, Dance, Visual Arts, Music, and Writing is actively encouraged, as well as among computer-science students interested in real-time interactive systems, and physics students interested in constructing controls systems and interfaces. Enrollment is limited.

CRN

94305

Distribution

F

Course No.

MUS WKSH G

Title

Workshop:Voice and Vocal Repertoire for Singers and Pianists

Professor

Arthur Burrows

Schedule

Mon 10:00 am - 12:00 pm Blum Hall

In this singing class we explore art songs of America, England, France and Germany, including some opera arias and ensembles depending on the make up of the class. At the same time we learn the necessary technique to perform them successfully. Each class will be divided into two parts. The first will deal with vocal technique, the second with technical issues that arise from individual performance. Requirements: the ability to match pitches, and an adequate vocal range. Pianists will be assigned individual singers to work with and coached in the various musical styles.

CRN

94306

Distribution

F

Course No.

MUS WKSH H

Title

Workshop: Classical Guitar Seminar and Independent Study

Professor

Luis Garcia-Renart

Schedule

Wed 4:00 pm - 6:00 pm Blum Hall

Once a week a two-hour seminar will be offered to everyone to talk about specific technical and interpretation principals of the classical guitar, as well as to listen and to discuss the repertoire. This seminar is to be taken in conjunction with weekly private lessons offered by guitarist Greg Dinger. There will be a fee for the private instructor to be paid at the beginning of the semester. All levels of playing are accepted, beginners to advanced players welcomed.

CRN

94307

Distribution

F

Course No.

MUS WKSH I

Title

Workshop: Percussion Discussion

Professor

Thurman Barker

Schedule

Tu 1:30 pm - 3:50 pm Blum Hall

This performance class will explore rhythms that are commonly found in the music of South and Latin America. Songs that are based on Samba Rhythms, Bossa Nova, and Afro-Cuban 6/8 beats will be studied. Also selected Jazz compositions that use some of these rhythms will be studied. At the same time, we will learn the necessary techniques for playing a variety of percussion instruments such as the guiro that is associated with the particular region being studied. Recommended for serious drummers and percussion players interested in learning the techniques in playing percussion and exploring rhythms from around the world. Assignments will include some research and listening. Requirements: an understanding of syncopation. Rhythmic patterns in off meters such as 3/4, 5/4, 6/8. Also an understanding of major and minor scales in required for this class. Limited enrollment.

CRN

94483

Distribution

F

Course No.

MUS WKSH J

Title

Four Play: The String Quartet

Professor

Colorado String Quartet

Schedule

Mon 1:30 pm - 3:30 pm OLIN 104

The evolution of the String Quartet through the works of the Great Composers since 1750. The workshop will involve outside listening as well as live performances by the Colorado String Quartet and class members. Ability to read music a plus, but not required.

MUSIC SPECIAL PROJECTS

Special Projects are designed for music majors only, to pursue individual or group projects with a particular professor.

CRN

94309

Distribution

F

Course No.

MUS PROJ T

Title

Special Projects

Professor

Richard Teitelbaum

Schedule

By arrangement

CRN

94310

Distribution

F

Course No.

MUS PROJ U

Title

Special Projects

Professor

Kyle Gann

Schedule

By arrangement

CRN

94311

Distribution

F

Course No.

MUS PROJ V

Title

Special Projects

Professor

Joan Tower

Schedule

By arrangement

CRN

94312

Distribution

F

Course No.

MUS PROJ Z

Title

Special Projects

Professor

Thurman Barker

Schedule

By arrangement

Private Music Lessons

All matriculated Bard students may be eligible to receive academic credit and scholarships for private instrumental or voice lessons. The choice of teachers is to be worked out on a case by case basis by the student and the Music Department. The teacher and student arrange payments and schedule.

Requirements for academic credit:

  1. Registered, matriculated Bard College student
  2. Assignment of grade, based on performance in a departmental concert or audition by Evaluating Panel at the end of each semester.
  3. Participation in a music course that provides the student a larger forum of music making. A waiver of this requirement is possible in certain circumstances and is subject to Music Department review.

Credits awarded for the courses:

Lessons: 2 credits

Performance class 2 credits

Ensembles 1 or 2 credits (check description)

Chorus 1 credit

Requirements for scholarship:

  1. Selection for scholarship by departmental evaluating panel, either through performance in a departmental concert or through audition.
  2. Registration in an ensemble or performance class.
  3. Maximum of $20.00 per lesson (towards lesson cost) available, applied as credit to student's Bard account.

Auditions will be held in Blum Hall on September 6th, 6:30pm - 8:00pm. Please sign up ahead of time at Blum.