By the time of graduation, all music majors will be expected to have taken three semesters of Music Theory on the 200 level or above, and three semesters of Music History, on the 200 level or above. All music majors are expected to take one class in composition, or 4 credits in some other equivalent course involving personal musical creativity. These courses may include a small jazz ensemble or the performance class, accompanied by two semesters’ worth of private 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 the Moderation Project, students usually give a concert of about 25-40 minutes of their own music and/or other composers’ music. 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.

Scholarship auditions will be held on Wednesday September 7, 2005.

Course	MUS 104 Bard College Community Orchestra
Professor	Gregory Armbruster / James Bagwell
CRN	95001
Schedule	Mon 7:00 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: PRACTICING ARTS

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. Grading for this course is honors/pass/fail. Auditions will be held on Monday September 5 for new members from 7pm until 10pm in Olin. Please be prepared to play two pieces—one slower and lyrical, and one faster. First orchestra rehearsal will be on Monday September 12, 2005 from 7pm–10pm.

Course	MUS 105 Bard College Community Chorus
Professor	James Bagwell
CRN	95002
Schedule	Tu 7:00 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: PRACTICING ARTS

First rehearsal will be on Tuesday September 6th, 2005. Grading for this course will be honors/pass/fail. Repertoire will include Mass in Time of War by Franz Joseph Haydn.

Course	MUS 106 Bard Community Chamber Music
Professor	TBA
CRN	95317
Schedule	TBA
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108B Ensemble: Contemporary
Professor	Joan Tower
CRN	95318
Schedule	Mon 1:30 -3:20 pm BLM HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

Additional times to be worked out as needed.

Course	MUS 108D Ensemble: Chamber Singers
Professor	James Bagwell
CRN	95319
Schedule	Tu Th 4:00 -6:00 pm BLUM HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits. Auditions will be held on Tuesday August 30, 2005 and on Thursday, September 1, 2005 from 4pm until 6 pm in Blum N121. A sign up sheet will be posted at the beginning of the semester.

First rehearsal will be on Tuesday September 6 2005 from 4pm to 6pm.

Course	MUS 108F Ensemble:Big Band
Professor	Thurman Barker
CRN	95320
Schedule	Tu 4:30 -6:30 pm BLM N211
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108G Ensemble: Chamber
Professor	Colorado Quartet
CRN	95321
Schedule	TBA .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108H Ensemble: Balinese Gamelan
Professor	TBA
CRN	95322
Schedule	Tu 7:00 -9:00 pm OLIN 305
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108I Ensemble: Electro-Acoustic
Professor	Richard Teitelbaum
CRN	95323
Schedule	Tu 7:30 -9:30 pm Bard Hall
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108J Ensemble: Percussion
Professor	Thurman Barker
CRN	95324
Schedule	Tu 9:30 - 11:50 am BLM N211
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS 108L Ensemble: Jazz Guitar
Professor	Staff
CRN	95325
Schedule	Wed 7:00 -9:00 pm BLM N211
Distribution	OLD: F	NEW: PRACTICING ARTS

MUSIC COURSES

Course	MUS 122 Introduction to Music Theory
Professor	Sharon Bjorndal
CRN	95326
Schedule	Tu Th 9:00 - 10:20 am BLM N217
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

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. The class will have an ear-training component that allows for practical reinforcement of the aural concepts presented. Grading will be based on a mid-term and final exam, plus a series of short quizzes throughout the semester. There are no Prerequisites.

Course	MUS 137 Jazz Ear Training
Professor	John Esposito
CRN	95327
Schedule	Mon Fr 10:30 - 11:50 am BLM N211
Distribution	OLD: F	NEW: PRACTICING ARTS

A creative jazz improviser strives for spontaneity of expression and emotional immediacy. There are many techniques to train for these goals. In this course the student will be introduced to a number of different practice techniques while exploring a wide range of improvisational materials including chords, intervals, and recorded jazz solos from composers such as Louis Armstrong and John Coltrane. All musical materials introduced in this course will be sung or played. Jazz Ear Training is open to both singers and instrumentalists. There is no Prerequisite. This course will fulfill a theory requirement for music majors.

Course	MUS 140 Introduction to World Music
Professor	Mercedes Dujunco
CRN	95487
Schedule	Tu Th 2:30 – 3:50 OLIN 104
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

This course surveys various folk and traditional musics of the non-Western world. Music cultures will be discussed individually in turn, all the while maintaining a cross-cultural or cross-regional perspective in order to discern underlying themes and processes common to many of them as well as differences and points of divergence that make each one unique. Although organized according to geographical and cultural areas, attention will be paid to important cross-cultural considerations such as ideas about music, the social organization of music, repertoires of music, the material culture of music, culture contact, and musical change. Discussion will also include issues such as cultural ownership, appropriation, and commodification that have arisen as the countries and places where the musics originate from get more deeply implicated in the global economy. Some class time will be devoted to exercises in critical listening and aural analysis. Background in music is not required.

Course	MUS 171 Jazz Harmony I
Professor	John Esposito
CRN	95328
Schedule	Mon Fr 12:00 -1:20 pm BLM N211
Distribution	OLD: F	NEW: PRACTICING ARTS

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.

Course	MUS 201 Music Theory I
Professor	Kyle Gann / Sharon Bjorndal
CRN	95473
Schedule	Mon Tu Wed Th Fr 1:30 -2:50 pm Blum N217
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

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 Music Theory II and all high-level theory courses. This course fulfills a music theory requirement for music majors.

Course	MUS 211 Jazz in Literature I
Professor	Thurman Barker
CRN	95329
Schedule	Mon Wed 10:00 - 11:20 am BLM N210
Distribution	OLD: B	NEW: ANALYSIS OF ARTS

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.

Course	MUS 234 Analyzing Beethoven
Professor	Kyle Gann
CRN	95330
Schedule	Tu Th 3:00 -4:20 pm BLM N217
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

Contrary to his public image, Beethoven wasn’t really more experimental than his predecessors Haydn and Mozart; rather, he accepted his inherited forms, but vastly increased the range of drama and dynamic contrast inherent in sonata form. In so doing he arrived at a music so logical that it can sometimes be memorized after a reading or two, and created archetypes for musical expression that dominated Europe for a century and continue to resonate today. This analysis course will follow the development of Beethoven’s formal ideas, leading up to a detailed examination of the astonishing late piano sonatas and string quartets, still considered by some the most “avant-garde” music ever written, in which he seemed to try to synthesize the entire Classical era by superimposing sonata form, variation form, and fugue all at once. Our examination of sonata form will be based on the latest musicological views as propounded in William E. Caplin’s Classical Form (1998), and we will also read literature relevant to the public image of Beethoven’s late music, such as Thomas Mann’s Doctor Faustus, and Rose Rosengard Subotnick’s “Adorno’s Analysis of Beethoven’s Late Style: Early Symptom of a Fatal Condition.” Prerequisites: Theory I and II (formally Fundamentals I and II) or the equivalent (familiarity with Roman numeral analysis, secondary dominants, and augmented sixth chords). The course fulfils a theory requirement for music majors.

Course	MUS 255 Analysis of the Classics of Modernism
Professor	Kyle Gann
CRN	95331
Schedule	Wed Fr 3:00 -4:20 pm BLM N217
Distribution	OLD: A/C	NEW: ANALYSIS OF ARTS

The half-century from 1910 to 1960 saw an explosion of dissonance, complexity and apparent musical chaos. And yet, beneath the surface it was also an era of unprecedented intricacy of structure and musical systematization. The liberation of dissonance and dissolution of melody left composers insecure, and they often compensated by creating systems of tremendous rigor not always apparent to the listener. This course will analyze in depth several works that changed the way we think about composing, and which pioneered the growth of an atonal musical language. Explore the cinematographic intercutting of Stravinsky’s Le Sacre du Printemps; the textural overlayering of Ives’s Three Places in New England; the elegant mathematical proportioning of Bartok’s Music for Strings Percussion and Celeste: the delicate symmetries of Webern’s Symphonie Op. 21; the total organization of Stockhausen’s Gruppen; and the compelling multi tempo climaxes of Nancarrow’s Study No. 36. Intended for music majors, for whom it counts as music theory credit, but other strongly motivated students are welcome.

Prerequisite: Fundamentals of Music or the equivalent (ability to analyze tonal harmony).

Course	MUS 266B Jazz Repertory:American Popular Song
Professor	John Esposito
CRN	95332
Schedule	Mon Fr 3:00 -4:30 pm BLM N211 (class) Mon Fr 4:30 -6:00 pm BLM N211(ensemble)
Distribution	OLD: F	NEW: PRACTICING ARTS

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.

Course	MUS 267 The Art of Acoustic Recording
Professor	Julie Last
CRN	95826
Schedule	Wed 5:00 – 7:30 pm Blum
Distribution	OLD: F	NEW: PRACTICING ARTS

Building on ProTools fundamentals, this class will explore techniques for creating quality recordings of a wide variety of instruments and voices.  We will be developing an understanding of the sonic and musical properties that make each instrument unique, skills for working with live instrumentalists/vocalists in the studio and advanced ProTools techniques. Students will be required to spend time each week recording and mixing your own multitrack sessions and are encouraged to work collaboratively with others.  We will also be listening to a variety of types of recorded music and applying our observations to your own projects.  

Course	MUS 276 Introduction to Opera
Professor	Christopher Gibbs
CRN	95333
Schedule	Mon Wed 12:00 -1:20 pm Blum N217
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

This course surveys the history of opera from Monteverdi at the beginning of the seventeenth century to recent developments in performance art and musical theater. The focus will be on a limited number of operas, including treatments of the Orpheus myth by Monteverdi and Gluck, 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, and Glass’s Satyagraha. As many of the works to be examined 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 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 brief writing assignments. This course can be used to fulfill a music history elective for music majors.

Course	MUS 280 Literature and Language of Western Music I
Professor	James Bagwell
CRN	95334
Schedule	Tu Th 10:30 - 11:50 am Blum N217
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

The first part of a year-long course that surveys the history of western music. It is expected that music majors in history, theory, composition, and performance will take these courses (not necessarily in the same year). The fall semester considers selected musical works composed from the middle ages 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 brief essays and 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 and counts toward the music history requirement for music majors.

Course	MUS 331 Jazz: The Freedom Principle I
Professor	Thurman Barker
CRN	95336
Schedule	Mon 1:30 -3:50 pm Blum N210
Distribution	OLD: F	NEW: ANALYSIS OF ARTS

Cross-listed: Africana Studies, American Studies, SRE

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.

Course	MUS 337 World Music Seminar: Introduction to Asian Music
Professor	Richard Teitelbaum
CRN	95337
Schedule	Th 1:30 -3:50 pm Blum N210
Distribution	OLD: A/F	NEW: ANALYSIS OF ARTS

Cross-listed: Asian Studies

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.

Course	MUS 339 Perspectives in 20th Century Music
Professor	Frederick Hammond
CRN	95338
Schedule	Tu Th 10:30 - 11:50 am OLIN 104
Distribution	OLD: F	NEW: ANALYSIS OF ARTS

As the dust begins to settle on the twentieth century, the outlines of its musical history emerge more clearly—acknowledged masterpieces, unacknowledged masterpieces, turning points, false starts and roads not taken, great incomprehensibles, fallen idols, and outright flops. The seminar will examine an eclectic cross-section of twentieth-century works under such rubrics as Music and Painting (Hindemith, Mathis der Maler); Music and Transcendentalism (Ives, “Concord” Sonata); Music and Sex (Shostakovich, Lady Macbeth, Britten, Death in Venice); Music and Ideology (Brecht-Weill, Mahagonny, Shostakovich, Symphony # 11, Prokofiev, Alexander Nevsky, Britten, War Requiem); Music and Race (Gershwin, Porgy and Bess); Great Incomprehensibles (Carter, Double Concerto); Academic Composers (Babbitt, Philomel, works by Bard composers); songs by Bessie Smith and Cole Porter; Great Flops (Stravinsky, Mavra, Barber, Anthony and Cleopatra). There will be frequent short papers. For upper-level students, music majors, and with permission of the instructor: fulfills a history requirement for music majors.

Course	MUS 345 Introductory Psychoacoustics
Professor	Robert Bielecki
CRN	95339
Schedule	Mon 1:00 -2:20 pm Blum EMS N119 Th 1:00 -2:20 pm Blum EMS N119 (lab)
Distribution	OLD: A	NEW: PRACTICING ARTS

Cross-listed: Science, Technology & Society

A scientist at Bell Labs once said, ”Reality is a myth, perception is what matters”. This course is about perception and hearing. The first half of the semester begins with a description of the physiology and function of the ear and how we process auditory information. Some topics include: the threshold of hearing and it’s measurement, perception of pitch, loudness and location, auditory illusions, critical bands and masking. Some of this material is of a technical nature and can be ‘dry’ for some students, thus we plan to enliven the presentation through the use of graphic illustrations, recorded examples, interactive demonstrations and experiments. There will also be a guest lecturer and a visit to a studio/lab. The second half of the semester will focus on sound localization and the technologies used in spatialization and 3-D audio. We will explore auditory localization cues, binaural recording, spatial audio synthesis, sound for virtual realities and immersive environments. This course should be of particular interest to anyone involved in music and audio technology. Enrollment is limited.

Course	MUS 352A Workshop in Electronic, Electroacoustic and Computer Music Composition
Professor	Richard Teitelbaum
CRN	95340
Schedule	Wed 1:30 -3:50 pm Blum N119
Distribution	OLD: F	NEW: PRACTICING ARTS

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.

Course	MUS 363 John Cage and His World
Professor	Richard Teitelbaum
CRN	95341
Schedule	Tu 1:30 -3:50 pm Blum N210
Distribution	OLD: A	NEW: ANALYSIS OF ARTS

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

Course	MUS WKSHA Workshop: Composition
Professor	Joan Tower
CRN	95342
Schedule	Mon 4:00 -6:20 pm Blum HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

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 notation level) and discussed. Players in the class as well as students and professional players from outside (including the Da Capo Chamber Player and the Colorado Quartet) will later join in to help bring each piece to life in sound. In addition, other 20^th – century works of new music are played and discussed. Individual meetings are arranged on a regular basis. Being able to read music is a Prerequisite. See instructor before registration. (Not open to first year students)

Course	MUS WKSHB Workshop: Performance Class
Professor	Luis Garcia-Renart / Blair McMillen
CRN	95343
Schedule	Wed 4:00 -6:20 pm Blum HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

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.)

Course	MUS WKSHG Workshop: Vocal & Voice Repertoire for Singers and Pianists
Professor	Arthur Burrows
CRN	95344
Schedule	Mon 10:00 - 12:00 pm Blum HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits 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.

Course	MUS WKSHH Workshop: Classical Guitar
Professor	Luis Garcia-Renart / Gregory Dinger
CRN	95345
Schedule	Wed 1:30 -3:30 pm Blum N211
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits 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.

Course	MUS WKSHL Workshop: Opera Workshop
Professor	Frederick Hammond / Arthur Burrows
CRN	95346
Schedule	Wed 1:30 -4:00 pm Blum HALL
Distribution	OLD: F	NEW: PRACTICING ARTS

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.

Course	MUS WKSHM Workshop: Voice-Art Song Performance
Professor	Joan Fuerstman
CRN	95347
Schedule	Mon 2:30 -4:45 pm Bard Hall
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits 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.

Course	MUS WKSP1 Workshop:Jazz Composition I
Professor	Erica Lindsay
CRN	95349
Schedule	Wed 6:00 -9:00 pm Blum N211
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits This class will serve as an introduction to jazz composition. Basic modal harmony as well as melodic and rhythmic development will be explored. Writing assignments will be performed and worked on in class. Selected final projects will be performed by faculty in concert. Enrollment limited.

Prerequisite: Jazz Harmony I, or consent of the instructor.

Course	MUS WKSP3 Workshop: Jazz Improvisation I
Professor	Erica Lindsay
CRN	95350
Schedule	Th 4:00 -5:30 pm Blum N211 Th 5:30 -7:00 pm Blum N211
Distribution	OLD: F	NEW: PRACTICING ARTS

2 credits 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.

Course	MUS WKSP5 Workshop:Jazz Improvisation III
Professor	Erica Lindsay
CRN	95351
Schedule	Tu 7:00 -8:30 pm Blum N211
Distribution	OLD: F	NEW: PRACTICING ARTS

This class will involve exploring more complex harmonic structures for jazz improvisation, primarily the major and minor two-five-one patterns and the infinite variations of this pattern from which most standard and be-bop pieces are formed.

Learning strategies from which to play both over and through these harmonic patterns will provide a step by step structure to help gain mastery over what often feels like a daunting task. The class will also be a continuation of Jazz Improvisation II in that classic pieces involving more complex modal structures combined with standard jazz harmonies will also be explored and performed. The final class project will be a recording featuring the improvising skill of each member of the class.

Course	MUS WKSPU(A) Workshop: Keyboard Skills for Music Majors
Professor	Blair McMillen
CRN	95352
Schedule	TBA .
Distribution	OLD: F	NEW: PRACTICING ARTS

This is a basic piano course that will give composers, instrumentalists and singers fluency at the keyboard. This course will consist of one weekly half-hour lesson with 2 students per session. A minimum of one hour of daily practice will be expected of each student. At the end of the semester, there will be a required informal concert, where each student will perform a small piece from the literature studied in the lessons.

Course	MUS WKSPU(B) Workshop: Keyboard Skills for Music Majors
Professor	Sharon Bjorndal
CRN	95353
Schedule	TBA .
Distribution	OLD: F	NEW: PRACTICING ARTS

See description above.

Course	MUS WKSHV Workshop: Chinese Music Ensemble
Professor	Mercedes Dujunco
CRN	95488
Schedule	TBA .
Distribution	OLD: F	NEW: PRACTICING ARTS

A beginner's workshop for students interested in learning to play Chinese folk music through performance on instruments of the "silk and bamboo" (Chinese string and wind instruments) category. Students acquire basic skills on one of several instruments that may include the di (bamboo transverse flute), the erhu (2-stringed fiddle), zheng (21-string plucked board zither), yangqin (hammered dulcimer), pipa (short-necked pear-shaped plucked lute), and sanxian (long-necked 3-stringed plucked lute), with the goal of eventually playing together in ensemble. Prerequisite: Permission of the instructor.

SPECIAL PROJECTS

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

Course	MUS PROJ EL Special Projects
Professor	Erica Lindsay
CRN	95360
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ JB Special Projects
Professor	James Bagwell
CRN	95354
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ P Special Projects
Professor	TBA
CRN	95355
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ R Special Projects
Professor	Luis Garcia-Renart
CRN	95356
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ U Special Projects
Professor	Kyle Gann
CRN	95357
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ V Special Projects
Professor	Joan Tower
CRN	95358
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

Course	MUS PROJ Z Special Projects
Professor	Thurman Barker
CRN	95359
Schedule	To be arranged .
Distribution	OLD: F	NEW: PRACTICING ARTS

PRIVATE MUSIC LESSONS

Scholarships auditions will be held on Wednesday, September 7, 2005.

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.