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.

 

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.

 

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.

MUSIC WORKSHOPS

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

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

 

PRIVATE MUSIC LESSONS

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.