By the time of graduation, all music majors will be
required to have taken three semesters of Music Theory and three semesters of
Music History, including at least one course above the 100 level in each
case. In addition, all music majors are
required to take one class in composition, or 4 credits in some other
equivalent course involving personal musical creativity (such as small jazz
ensemble); and performance class, accompanied by two semesters’ worth of
private performance lessons (performance class may be replaced by some other
class involving regular public performance).
It will be expected that half of these requirements be completed by time
of moderation.
For a Moderation Project, students usually give a
concert of about 25-40 minutes of their own music and/or other composers’
music. Occasionally, a substantial
music history or theory paper can be accepted as a moderation project.
The Senior Project consists of two concerts from 30
to 60 minutes each. In the case of
composers, one concert can be replaced by an orchestra work written for
performance by the American Symphony Orchestra. In certain cases involving expertise in music technology, and at
the discretion of the appropriate faculty, it is possible to submit finished,
sophisticatedly produced recordings of music rather than live
performances. An advanced research
project in music history or theory can also be considered as a senior project.
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.
CRN |
94051 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 104 |
||
Title |
Ensemble:
Orchestra |
||
Professor |
James Bagwell |
||
Schedule |
Mon 7:00 pm - 10:00 pm OLIN AUDT |
This is a yearlong course. Students earn 2 credits per semester, and an
additional 2 credits for registering in private lessons, which are strongly
recommended. Auditions will be held on
Monday September 6th from 7pm – 10pm in Olin Auditorium for 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.
First
orchestra rehearsal will be on Monday September 13th 2004 from 7pm –
10pm.
CRN |
94053 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 105 |
||
Title |
Bard
College Community Chorus |
||
Professor |
James Bagwell |
||
Schedule |
Tu 7:00 pm - 10:00 pm OLIN AUDT |
First rehearsal will be on Tuesday September 7th,
2004.
CRN |
94359 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 106 |
||
Title |
Bard
Community Chamber Music |
||
Professor |
TBA |
||
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 |
94360 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108B |
||
Title |
Ensemble:
Contemporary |
||
Professor |
Joan Tower |
||
Schedule |
Mon 1:30 pm - 3:30 pm Blum
Hall |
Depending on registration, students will form their
own ensembles (2-5 players) to play a work from the 20th century
repertoire.
CRN |
94361 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108D |
||
Title |
Ensemble:
Chamber Singers |
||
Professor |
James Bagwell |
||
Schedule |
Tu Th 4:00 pm - 6:00 pm |
2
credits. Auditions for all members will be on Tuesday
September 7th 2004 from 4pm to 6pm in Blum 202. A sign-up sheet will
be posted at the beginning of the semester.
First rehearsal will be on Tuesday September 14th
2004 from 4pm to 6pm.
CRN |
94362 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108F |
||
Title |
Ensemble: Jazz |
||
Professor |
Thurman Barker |
||
Schedule |
Tu 4:30 pm - 6:30 pm Blum
Hall |
CRN |
94363 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108G |
||
Title |
Ensemble:
Chamber |
||
Professor |
Colorado Quartet |
||
Schedule |
TBA |
CRN |
94364 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108H |
||
Title |
Ensemble:
Balinese Gamelan |
||
Professor |
TBA |
||
Schedule |
Tu 7:00 pm - 9:00 pm OLIN
305 |
CRN |
94365 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108I |
||
Title |
Ensemble:
Electro-Acoustic |
||
Professor |
Richard Teitelbaum |
||
Schedule |
Tu 7:30 pm - 9:30 pm |
CRN |
94366 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108J |
||
Title |
Ensemble:
Percussion |
||
Professor |
Thurman Barker |
||
Schedule |
Tu 10:30 am - 12:50 pm Blum Hall |
CRN |
94367 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 108L |
||
Title |
Ensemble:
Jazz Guitar |
||
Professor |
Staff |
||
Schedule |
TBA |
CRN |
94368 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 133 |
||
Title |
Fundamentals
of Music I / Ear Training |
||
Professor |
Kyle Gann / Sharon Bjorndal |
||
Schedule |
M Tu W Th F 1:30 pm -
2:50 pm Blum 117 |
This course serves as an introduction to music
theory and music making, and is the entry-level course to the classical theory
sequence. Basics of musical notation
will be the starting point, after which we will move quickly to scales and
recognition of triads and seventh chords, as well as rhythmic performance. At all times the course will emphasize
analysis of real music, and an ear-training component will reinforce the
theoretical knowledge with practical experience. There are no prerequisites; the course serves as prerequisite for
Fundamentals II and all high-level theory courses. This course fulfills a music theory requirement for music majors.
CRN |
94436 |
Distribution |
A/F */ (Analysis of Art) |
Course
No. |
MUS 169 |
||
Title |
String Quartets of Shostakovich and Bartok |
||
Professor |
Colorado Quartet |
||
Schedule |
Tu 4:30 pm - 6:50 pm OLIN
104 |
This course will explore the string quartets of
Dmitri Shostakovich and Bela Bartok from the performers’ perspective. We will take a temporal journey through the
21 works of these composers. As we play
the quartets for the class, our exploration will focus on the unique ways each
of these composers reconciled nationalistic and ethnocentric roots with their
own forms of an emerging modernist aesthetic.
In order to better understand the social and political contexts in which
they were working, the class will read Testimony
by S. Volkov, Laurel Fay’s Shostakovich:
A Life, Essays of Bela Bartok
(ed. B. Suchoff), and Bartok Remembered,
by M. Gillies.
Requirements will include 3 papers of 3-5 pages, 2
quizzes and a final exam.
CRN |
94369 |
Distribution |
F */ (Practicing Art) |
Course
No. |
MUS 171 |
||
Title |
Jazz
Harmony |
||
Professor |
John Esposito |
||
Schedule |
Mon 3:00 pm - 4:20 pm OLIN
104 Fr 11:30 am - 12:50 pm OLIN 104 |
Cross-listed: Africana
Studies
This course will include
acquisitions of the basic skills that make up the foundation of all Jazz
styles. We will also study the Jazz language from ragtime to the swing era.
This course fulfills a music theory requirement for music majors.
CRN |
94370 |
Distribution |
B */
(Analysis of Art) |
Course
No. |
MUS 211 |
||
Title |
Jazz
in Literature I |
||
Professor |
Thurman Barker |
||
Schedule |
Mon 10:00 am - 11:20 am Blum 117 Wed 9:00 am - 10:20 am Blum
117 |
Cross-listed: Africana Studies, American Studies
This course presents some of the short stories and
poems by Rudolph Fisher, Langston Hughes, Ann Petry, and Julio Cortazar. The
text used in this section is “Hot and Cool” by Marcela Briton and the “Harlem
Renaissance Reader”, edited by David Lewis.
CRN |
94371 |
Distribution |
A/C */
(Analysis of Art) |
Course
No. |
MUS 219 |
||
Title |
Nineteenth
Century Harmony |
||
Professor |
Kyle Gann |
||
Schedule |
Mon Wed 3:00 pm - 4:20 pm Blum 117 |
This course will explore the Romantic Era in terms
of its most colorful characteristic: harmony. Works by Chopin, Field,
Mendelssohn, Robert and Clara Schumann, Brahms, Liszt and Scriabin will be
analyzed, along with excerpts of larger works by Berlioz, Wagner, Bruckner and
Mahler – 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 extramusically 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. This
course fulfills a music theory requirement for music majors
CRN |
94372 |
Distribution |
A
*/ (Analysis of Art) |
Course
No. |
MUS 232 |
||
Title |
Twentieth
Century Masters: Schoenberg,
Stravinsky, Shostakovich |
||
Professor |
Frederick Hammond |
||
Schedule |
Tu Th 10:00 am - 11:20 am OLIN 104 |
The work of these three composers encapsulates much
of the history, techniques, and aesthetics of twentieth-century Western art
music. Arnold Schoenberg (1874- 1951) carried Wagnerian harmony to what he
considered its logical conclusion, the destruction of tonality.
Igor Stravinsky (1882- 1971), the internationally successful product
of Russian imperial culture, assimilated everything from Tschaikovskian
romanticism to serial technique. The
tormented Dimitri Shostakovich (
1906- 1975) spent most of his career trying to balance his own creative
expression with the demands of the Stalinist government. We will consider a core of major works
(including an opera) by each composer: Schoenberg’s Verklarte Nacht (1899), Pierrot Lunaire (1912), Suite for Piano, Op.
25 (1923), Moses und Aron (1930- 32), and the String Trio, Op. 45 (1946); Stravinsky’s Sacre de Printemps (1913), Les Noces (1923), Apollon Musagete (1928),
The Rake’s Progress (1951), and Agon
(1957); Shostakovich’s Lady Macbeth of
Mdzensk (1932), Symphonies 2 (1927), 13 (“Babiy Yar, “ 1962), and 15 (1971), and the String Quartet no. 15 (1974).
Musical training is useful but not required. The course satisfies a history requirement for Music majors.
CRN |
94373 |
Distribution |
A */ (Analysis of Art) |
Course
No. |
MUS 264 |
||
Title |
The
Literature and Language of Music I |
||
Professor |
James Bagwell |
||
Schedule |
Tu Th 1:30 pm - 2:50 pm Blum
Hall |
A
survey of selected musical works composed from 1450 to 1750. 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. This course
fulfills the music history requirement for music majors.
CRN |
94374 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 266C |
||
Title |
Jazz
Repertory: BEBOP Masters |
||
Professor |
John Esposito |
||
Schedule |
Mon Class:
5:30 pm - 6:30 pm Blum 117 Mon Ensemble:
6:30 pm – 8:30 pm Blum 117 Fr Class: 3:00 pm - 6:00
pm
Blum 117 Fr Ensemble: 4:00 pm – 6:00 pm
Blum 117 |
This performance based course is a survey of the
principal composers and performers of the BEBOP Era. Musicians included are Charlie Parker, Dizzy Gillespie,
Thelonious Monk, Fats Navarro, Bud Powell, Max Roach 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 instructor.
CRN |
94376 |
Distribution |
A */ (Analysis of Art) |
Course
No. |
MUS 276 |
||
Title |
Introduction
to Opera |
||
Professor |
Christopher Gibbs |
||
Schedule |
Tu Th 11:30 am - 12:50 pm OLIN 104 |
This course surveys the history of opera from
Monteverdi to the present day. The
focus will be on a limited number of operas, including treatments of the
Orpheus myth by Peri, Monteverdi, Gluck, and Glass, Handel’s Giulio Cesare, Purcell’s Dido and Aeneas, Mozart’s Don Giovanni, Beethoven’s Fidelio, Wagner’s Die Walkure, Verdi’s La
traviata, Berg’s Wozzeck,
Stravinsky’s The Rake’s Progress, and
Glass’s Einstein on the Beach. As many of these works have significant
literary and dramatic sources, we will pay particular attention to the ways in
which extraordinary works of the written and spoken word are transformed into
compelling musical theater. Classes
will also include video screenings of parts of these works and comparisons of
different productions. It is not expected or required that students be able to
read musical notation. There will be
quizzes, performance reviews, as well as a term paper. This course can be used to fulfill a music
history elective for music majors. Texts include Kerman, Opera as Drama; Sacher, Opera:
A Listener’s Guide; Magee, Aspects of
Wagner; Weiss, Opera: A History in
Documents.
CRN |
94429 |
Distribution |
A/F */ (Analysis of Art) |
Course
No. |
MUS 337 |
||
Title |
World
Music Seminar: Introduction to Asian Music and its Influence on Western
Composers |
||
Professor |
Richard Teitelbaum |
||
Schedule |
Th 1:30 pm – 4:00 pm Blum 101 (EMS) |
A study of the styles and structures of selected
traditional musics of Asia and their influences on 20th century composers.
Among the genres to be studied are the court music (gagaku), Buddhist chant
(shomyo) and shakuhachi music of Japan; Korean court and folk-art music;
Balinese and Javanese gamelan, and the classical musics of the North Indian
(Hindustani) and the South Indian (Carnatic) traditions. Related works by
selected western composers influenced by these traditions will be paired with
their non-western models. The composers will include Debussy, Satie, Messiaen,
Cowell, McPhee, Cage, Harrison, La Monte Young, Terry Riley, Steve Reich, and
Phillip Glass. Past experiments in creating intercultural and metamusical forms
will be explored, and student efforts along these lines will be encouraged as
well.
Admission by consent of the instructor. This course
meets requirements in music history.
CRN |
94377 |
Distribution |
A/F*/ (Analysis of Art) |
Course
No. |
MUS 344 |
||
Title |
Music
and Culture of the African Diaspora I |
||
Professor |
Richard Harper |
||
Schedule |
Th 10:30 am - 12:50 pm Blum 117 |
Cross-listed: Africana Studies
This course focuses on the musical cultures of
Africa. Music and music making are examined in the context of African
philosophy, religion and the specific practices of various cultures. This
examination lays the basis for an investigation of the musical practices of the
Caribbean and other areas of the New World where Africans reside in significant
numbers. In addition to reading, writing and analysis, Music of the African
Diaspora requires critical listening and participatory activities. This course
fulfills the music history requirement for music majors.
CRN |
94378 |
Distribution |
F */ (Practicing Art) |
Course
No. |
MUS 346 |
||
Title |
Interactive
Performance and Composition using MAX / MSP |
||
Professor |
Robert Bielecki |
||
Schedule |
Tu 1:30 pm - 3:50 pm Blum
EMS |
Max/MSP is an object oriented graphical programming
environment for algorithmic music composition, interactivity, live processing,
multimedia and more. The course covers
beginning, intermediate, and advanced methods of using Max/ MSP. This will be a hands-on course with examples
from artist’s work, several programming assignments and final project. Knowledge of computer programming and Midi
is not necessary, but would be helpful.
CRN |
94379 |
Distribution |
F */
(Analysis of Art) |
Course
No. |
MUS 349 |
||
Title |
Jazz:
The Freedom Principle IV |
||
Professor |
Thurman Barker |
||
Schedule |
Wed 10:30 am - 12:50 pm Blum Hall |
Cross-listed: Africana Studies
This is a survey course in Jazz history that is
part four of a four-part course. Part IV is a study of Jazz from 1952 to the
early 70’s. The course will examine the extreme shifts in jazz styles from
Cool, to Hard Bop to the Avant 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. A cultural approach designed to look at the
social climate surrounding the music from 1952-1972 and examine its effect on
the music will be employed. This will be illustrated with recordings and films.
Oral presentation and critical listening required.
CRN |
94380 |
Distribution |
A/F */ (Practicing Art) |
Course
No. |
MUS 351 |
||
Title |
Writing
about Music |
||
Professor |
Kyle Gann |
||
Schedule |
Th 1:30 pm - 3:50 pm OLIN
104 |
Drama criticism has been called “the art of tattooing
soap bubbles,” and music criticism must seem an even more Quixotic
endeavor. How do you pin down, in
stable words on a page, the passage of sound waves in fleeting time? And yet just because music is so intangible
a vapor, it must be written about if we are to be more than just carried away
by it, if we are to integrate it into our intellectual and artistic life. This course will explore many strategies:
critical, analytical, descriptive, historical, philosophical, from the most
subjective to the most objective.
Students will fulfill weekly writing assignments, mostly brief, in
response to recordings and live concerts: pop, classical, jazz, world music,
avant-garde. We will write reviews,
press releases, interviews, encyclopedia articles, thinkpieces. Papers will be evaluated on the basis of not
only musical understanding and accuracy, but originality (when appropriate),
liveliness, and most importantly, style in relation to genre. We will read samples of writing from the
early music critics like E.T.A. Hoffman and Robert Schumann to current cultural
magazines. We will compare recordings,
contrast differing perspectives on the same concert, argue about the
significance and purpose of music in social context, and hopefully emerge
feeling that, though some essence of music may always escape the net of words,
we have nevertheless translated some of its meaning into rational discourse.
The class will contain a balance of musicians and interested
non-musicians, who have much to learn
from each other in this field. For music majors, this course fulfills a music
history requirement.
CRN |
94381 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS 352 |
||
Title |
Workshop
in Electronic, Electroacoustic and
Computer Music Composition |
||
Professor |
Richard Teitelbaum |
||
Schedule |
Wed 1:30 pm - 3:50 pm Blum 101
(EMS) |
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 work as computer programs, digital or analog recordings and scores for
live electronic realization. These will
be examined and commented on by the instructor and other class members. Installations and mixed media works will
also be welcomed. Analyses and class
presentations of classic works by such composers as Stockhausen, Cage, Xenakis,
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.
CRN |
94647 |
Distribution |
A */ (Practicing Art) |
Course
No. |
MUS 353 |
||
Title |
Orchestration |
||
Professor |
George Tsontakis |
||
Schedule |
Wed 1:30 pm - 3:50 pm OLIN
104 |
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.
CRN |
94382 |
Distribution |
A */ (Analysis of Art) |
Course
No. |
MUS 363 |
||
Title |
John
Cage and His World |
||
Professor |
Richard Teitelbaum |
||
Schedule |
Tu 1:30 pm - 3:50 pm OLIN
104 |
Long reviled as a charlatan or a madman, John Cage
has finally achieved recognition as probably the most influential composer and
musical thinker of the latter twentieth century. This course will focus primarily on analysis of Cage’s music,
encompassing such innovations as the prepared piano, chance, and
indeterminacy. It will be set in the
context of the work and thought of his numerous teachers and influences, as
well as colleagues and collaborators from the worlds of music (Satie,
Schoenberg, Varese, Cowell, Harrison, Feldman, Brown, Wolff, Tudor), visual
arts (Duchamp, Futurism, Dada Fluxus, Rauschenberg, Johns), dance (Cunningham
and others) religious thought (Meister Eckhard, Hinduism, Taoism, the I Ching,
Zen Buddhism) literature, political and social writing (Thoreau, Joyce, Fuller,
McLuhan). Student work may take the form of papers, analyses, realizations and
performances of Cage scores, or creation of new works inspired by Cagean
examples. Texts will include Silence, A Year from Monday, and other
writings by and about Cage. By consent of the instructor.
This course fulfills a music history requirement
for music majors.
CRN |
94383 |
Distribution |
F */
(Practicing Art) |
Course
No. |
MUS WKSHA |
||
Title |
Workshop:
Composition |
||
Professor |
Joan Tower |
||
Schedule |
Mon 4:00 pm - 6:20 pm Blum
Hall |
Primarily for music
majors interested in composing music but also for performers who want to get
“on the other side of the page”. 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 students and professional players from
outside, will later 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. Being able to read
music is a prerequisite. See instructor
before registration.
CRN |
94384 |
Distribution |
F |
Course
No. |
MUS WKSHB |
||
Title |
Workshop:
Performance Class |
||
Professor |
Luis Garcia-Renart / Sharon Bjorndal |
||
Schedule |
Wed 4:00 pm - 6:20 pm Blum
Hall |
This class is conceived as a unifying workshop for
performing musicians within the department. Please meet with the instructor
prior to or during registration. (Private lessons can be taken for credit by
registering for this course.)
CRN |
94435 |
Distribution |
F |
Course
No. |
MUS WKSHE |
||
Title |
Workshop:
Songwriting |
||
Professor |
Greg Armbruster |
||
Schedule |
Mon 4:30 pm – 6:50 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 |
94385 |
Distribution |
F |
Course
No. |
MUS WKSHG |
||
Title |
Workshop:
Vocal & Voice |
||
Professor |
Arthur Burrows |
||
Schedule |
Mon 10:00 am - 12:00 pm Blum Hall |
In this singing class we explore the 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, and 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 |
94386 |
Distribution |
F |
Course
No. |
MUS WKSHH |
||
Title |
Workshop:
Classical Guitar |
||
Professor |
Luis Garcia-Renart |
||
Schedule |
Wed 4:30 pm - 6:30 pm Blum
117 |
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 welcome.
CRN |
94387 |
Distribution |
F |
Course
No. |
MUS WKSHL |
||
Title |
Workshop:
Opera Workshop |
||
Professor |
Frederick Hammond / Arthur Burrows |
||
Schedule |
Wed 1:30 pm - 4:30 pm Bard
Hall |
A fully staged and costumed performance (to be
announced) will be the main thrust of
this semester’s work. The class will be dedicated to the memorization of the
music and the mounting of the work. An enterprise of this moment will require
an unspecified amount of extra time that may be needed to achieve the goal.
CRN |
94388 |
Distribution |
F |
Course
No. |
MUS WKSHM |
||
Title |
Workshop:
Voice-Art Song Performance |
||
Professor |
Joan Fuerstman |
||
Schedule |
Mon 2:45 pm - 4:45 pm Bard
Hall |
This class will be
focusing primarily on the study of classical English, Italian, French and
German diction using the International Phonetic Alphabet. Primarily for
students taking voice lessons and for pianists interested in accompanying
singers.
CRN |
94389 |
Distribution |
F |
Course
No. |
MUS WKSHN |
||
Title |
Workshop:
"Hands-on" Music History for Performers |
||
Professor |
Patricia Spencer |
||
Schedule |
Tu 10:30 am - 12:50 pm Blum 117 |
Members of this class will explore our musical past
by playing (or singing) a sampling of chamber music from different eras. The course will improve sight reading skills
as well as building familiarity with a wide variety of harmonies and musical
styles (mostly European) from the Renaissance through the present. Parts and scores will be provided one week
in advance of the class readings for those who prefer to prepare their
sight-reading. Composers may include
but are not limited to Dufay, di Lasso, Sweelinck, Purcell, Frederick the
Great, J.S. Bach and his sons, Vivaldi, Mozart, Haydn, Beethoven, Brahms,
Schumann, Dvorak, Schoenberg, Stravinsky, Ravel, Copland, Cage, Carter, Rzewski
and many more. Works will not be
rehearsed to a performance level but may occasionally be repeated for greater
familiarity.
CRN |
94390 |
Distribution |
F |
Course
No. |
MUS WKSP3 |
||
Title |
Workshop:
Jazz Improvisation I |
||
Professor |
Erica Lindsay |
||
Schedule |
Th 6:00 pm - 8:00 pm Blum
Hall |
This class serves as an introduction to jazz
improvisation. It is intended for
incoming jazz ensemble players who would like to develop as improvisers, or
classical players who would like to explore improvisational techniques in a
jazz framework. Class size limited.
CRN |
94391 |
Distribution |
F |
Course
No. |
MUS WKSP5 |
||
Title |
Workshop:Jazz
Composition III |
||
Professor |
Erica Lindsay |
||
Schedule |
Tu 7:00 pm – 9:00 pm Blum Hall |
Free Form styles of jazz composition will be
explored. Intervalic, rhythmic and
atonal structures will be used to create compositions that give structure to
group ensemble improvisations. Writing
assignments will involve composing for different instrumentations, from solo,
duo, to large ensembles. Performing
these compositions in class will give real time feedback to the effectiveness
of each approach and allow for individual creative strategies to be
developed. Prerequisites are two
semesters of Jazz Composition or Jazz Improvisation I & II with permission
of instructor.
Special Projects are designed for music majors
only, to pursue individual or group projects
with a particular professor.
CRN |
94422 |
Distribution |
F |
Course
No. |
MUS PROJ B |
||
Title |
Special
Projects |
||
Professor |
James Bagwell |
||
Schedule |
TBA |
CRN |
94423 |
Distribution |
F |
Course
No. |
MUS PROJ P |
||
Title |
Special
Projects |
||
Professor |
Sharon Bjorndal |
||
Schedule |
TBA |
CRN |
94424 |
Distribution |
F |
Course
No. |
MUS PROJ R |
||
Title |
Special
Projects |
||
Professor |
Luis Garcia-Renart |
||
Schedule |
TBA |
CRN |
94425 |
Distribution |
F |
Course
No. |
MUS PROJ U |
||
Title |
Special
Projects |
||
Professor |
Kyle Gann |
||
Schedule |
TBA |
CRN |
94426 |
Distribution |
F |
Course
No. |
MUS PROJ V |
||
Title |
Special
Projects |
||
Professor |
Joan Tower |
||
Schedule |
TBA |
CRN |
94427 |
Distribution |
F |
Course
No. |
MUS PROJ Z |
||
Title |
Special
Projects |
||
Professor |
Thurman Barker |
||
Schedule |
TBA |
CRN |
94430 |
Distribution |
F |
Course
No. |
MUS PROJ EL |
||
Title |
Special
Projects |
||
Professor |
Erica Lindsay |
||
Schedule |
TBA |
Scholarships
for private music lessons will be available.
Auditions
for Private Music lesson scholarships will be held on Wednesday, September 8th,
at 6:30 pm in Blum Hall.
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 an 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: 1 or 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.