By the time of graduation, all music majors will be expected to have taken three semesters of Music Theory and three semesters of Music History, including at least one course above the 200 level in each case. In addition, all music majors are expected 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 credit may be added. Private lessons must be separately registered.

Scholarship auditions will be held on Wednesday September 13th, 2006.

Course	MUS 104 Bard College Orchestra
Professor	Luis Garcia-Renart
CRN	90001
Schedule	Mon 6:30 - 10:30 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. Auditions will be held on Saturday September 9^th, 2006 for new and old members from 1pm until 7pm in Blum Hall. First Orchestra rehearsal will be on Monday September 11^th, 2006 from 7:30 pm until 10:30 pm in Olin Hall. Please be prepared to play two pieces—one slower and lyrical, and one faster.

Course	MUS 105 Bard College Symphonic Chorus
Professor	Sharon Bjorndal
CRN	90002
Schedule	Tu 7:00 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: Practicing Arts

First rehearsal will be on Tuesday, September 12, 2006.

Course	MUS 106 Bard Community Chamber Music
Professor	Luis Garcia-Renart
CRN	90245
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108B Ensemble: Contemporary
Professor	Joan Tower
CRN	90246
Schedule	Mon 1:30 -3:50 pm Blum Hall
Distribution	OLD: F	NEW: Practicing Arts

Additional times to be worked out as needed.

Course	MUS 108D Ensemble: Chamber Singers
Professor	Sharon Bjorndal
CRN	90247
Schedule	Tu Th 4:00 -6:00 pm Blum Hall
Distribution	OLD: F	NEW: Practicing Arts

2 credits. Auditions will be held by appointment for new members only. First rehearsal will be on Tuesday, September 12^th, 2006 from 4pm to 6pm.

Course	MUS 108F Ensemble:Jazz Big Band
Professor	Thurman Barker
CRN	90248
Schedule	Mon 7:00 -9:00 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108G Ensemble: Chamber
Professor	The Colorado Quartet
CRN	90249
Schedule	Th 1:00 -2:20 pm .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108H Ensemble: Balinese Gamelan
Professor	TBA
CRN	90250
Schedule	Mon 7:00 -9:00 pm OLIN 305
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108I Ensemble:Electro-Acoustic
Professor	Richard Teitelbaum
CRN	90251
Schedule	Tu 4:00 -6:20 pm Bard Hall
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108J Ensemble: Percussion
Professor	Thurman Barker
CRN	90252
Schedule	Tu 9:30 - 11:50 am Blum N211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108L Ensemble: Jazz Guitar
Professor	Wed 5:00 -7:00 pm Blum N210
CRN	90253
Schedule	Staff
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108M Open Instrumentation Ensemble
Professor	Kyle Gann
CRN	90254
Schedule	Th 7:30 -9:30 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

This ensemble will rehearse and perform works of the last 45 years whose instrumentation is unspecified, and can be performed by any instruments. Potential repertoire will include Terry Riley’s In C, Frederic Rzewski’s Attica and Les Moutons De Panurge, John Cage’s Hymnkus, and Christian Wolff”s Snowdrop, as well as more recent works by younger composers. It is also hoped that some of the ensemble members will write pieces for performance. Guitarists are particularly welcome. The goal will be to cultivate a looser, ensemble-based performance style in which the performers are required to make major creative decisions.

Course	MUS 108N Contemporary Jazz Composers
Professor	Erica Lindsay
CRN	90255
Schedule	Tu 4:30 -6:30 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

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

Course	MUS 122 Introduction to Music Theory
Professor	Blair McMillen
CRN	90256
Schedule	Wed 1:30 -2:50 pm Blum N210 Th 1:30 -2:50 pm Blum N211
Distribution	OLD: A	NEW: Analysis of Art

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 I
Professor	John Esposito
CRN	90257
Schedule	Mon Fr 10:30 - 11:50 am Blum 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 142 Easy Listening: Western Art Music for the Non-Specialist
Professor	Frederick Hammond
CRN	90258
Schedule	Tu Th 10:30 - 11:50 am OLIN 104
Distribution	OLD:	NEW:

This course is intended to provide the general students with a basic repertory of music in the Western art tradition. We will cover the major composers and genres from ca. 1600 to the end of the twentieth century, including Monteverdi, Bach, Handel, Mozart, Beethoven, Wagner, Verdi, Brahms, Schoenberg, and Stravinsky, whose works will be presented in a larger historical context. No specialized training or knowledge is required. This course does not count toward a music history requirement for music majors.

Course	MUS 169 String Quartets of Shostakovich and Bartok
Professor	The Colorado Quartet
CRN	90259
Schedule	Th 4:00 -6:20 pm OLIN 104
Distribution	OLD: A/F	NEW: Analysis of Art

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.

Course	MUS 171 Jazz Harmony
Professor	John Esposito
CRN	90260
Schedule	Mon Fr 12:00 -1:20 pm Blum 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	90261
Schedule	Mo Tu Wed Th Fr 1:30 -2:50 pm Blum N217
Distribution	OLD: F	NEW: Practicing 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	90262
Schedule	Mon Wed 10:30 - 11:50 am Blum N210
Distribution	OLD: B	NEW: Analysis of Art

Cross-listed: Africana Studies, American Studies, SRE

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 228 Renaissance Counterpoint
Professor	Kyle Gann
CRN	90263
Schedule	Tu Th 10:30 - 11:50 am Blum N217
Distribution	OLD: A/C	NEW: Analysis of Art

The ancient musical technique of counterpoint seems of questionable relevance today. And yet, its premise- that human attention is riveted when a unified impression is created via maximum variety- is a fertile psychological principle relevant to many fields. Overall, this course will follow classical species counterpoint as outlined by the eminent Knud Jeppesen, based on the style of Palestrina. However, we will also examine the freer styles of earlier composers such as Josquin and Ockeghem, and generalize from contrapuntal concepts to such derivatives as the dissonant counterpoint of Charles Seeger and others. The ability to read music, and basic knowledge of musical terminology (intervals, cadences) are prerequisites. The course counts as a music theory credit for music majors.

Course	MUS 241 History and Literature of Electronic Music
Professor	Richard Teitelbaum
CRN	90264
Schedule	Tu 1:00 -2:20 pm Blum N119 Th 4:00 -5:20 pm Blum N119
Distribution	OLD: C	NEW: Analysis of Art

Beginning with a brief survey of the earliest electronic instruments such as the Theremin and Ondes Martenot, this course examines the post-war development of the French School of Musique Concrete, German Elektronische Musik and American Tape Music, among others. Computer Music from early sound synthesis experiments at Bell Labs and elsewhere; Live Electronic Music from Cage and Tudor’s pioneering work to recent and current PC-based interactive “live” computer music; and multi-media works from ‘60’s “classics” to the present. Music studied will be drawn from the works of Varese, Schaeffer, Henry, Stockhausen, Cage, Leuning, Ussachevsky, Babbitt, Arel, Davidovsky, Boretz, Berio, Nono, Boulez, Pousseur, Xanakis, Martirano, Young, Reich, Oliveros, Subotnik, Musica Elettronica Viva (Rzewski, Curran, Teitelbaum) Takemitsu, Josugi, Takahashi, Amacher, Sonic Arts Union ( Mumma, Ashley, Lucier, Behrman) Matthews, Risset, Tenney, Laurie Spiegel, Laurie Anderson, Brian Eno, George Lewis, Laetitia Sonami and other recent and current developments, including the Ambient, Illbient and DJ scenes. Assignments will include extensive listenings, reading, research and analysis, as well as possible recreations of “classical” pieces from the repertoire and original compositional and performance projects inspired by these studies. The class is a continuation/complement to Music 240 and is strongly recommended as a preparation for all electronic music studio courses.

Course	MUS 257 Production and Reproduction
Professor	Robert Bielecki
CRN	90497
Schedule	Tu 4:00 -5:20 pm Blum N119 Wed 10:30 – 11:50 am Blum N119
Distribution	OLD: A	NEW: Analysis of Art

Cross-listed: Integrated Arts

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

Course	MUS 264 Literature and Language of Music
Professor	Christopher Gibbs
CRN	90265
Schedule	Mon Wed 12:00 -1:20 pm Blum N217
Distribution	OLD: A	NEW: Analysis of Art

A survey of selected musical works composed from Gregorian chant in the Middle Ages to the early works of Beethoven around 1800. Works will be placed in a broad historical context with specific focus on stylistic and compositional traits. In addition, musical terminology, composers and historical and theoretical methodology will be introduced and described in relationship to the repertoire. Students will be evaluated on the basis of short essays and two listening exams. As we will be using scores in our discussions, basic skills in music reading are expected. This course is primarily designed for music majors including sophomores. This course counts towards the music history requirement for music majors. It is not required that students take the second semester, which will survey music from Beethoven to the present day.

Course	MUS 282 Populism versus Progress in 20^th Century Music
Professor	Kyle Gann
CRN	90266
Schedule	Mon Wed 3:00 -4:20 pm Blum N217
Distribution	OLD: A	NEW: Analysis of Art

The 20th century opened (circa 1912) with a startling emancipation of sonic phenomena that had been carefully prohibited for centuries. For the next several decades the tide of modernism flowed and ebbed, each move toward abstraction, structural rigor, and complexity countered by another toward populism, accessibility, and musical vernacular. The paradox of the century, source of some astonishing apostasies, was that musical progressivism and political progressivism did not go hand in hand, but were often opposed; Americans with communist sympathies favored folk-tune-based symphonies for the masses, while Soviet composers had a similar ideology imposed from above. Hitler banned “decadent, formalist” modern music; are we now obliged to approve of any music Hilter didn’t like? And the overpowering rise of pop music in the 1960s forever altered classical music’s internal discourse. This course will look at the century’s “classical” music from the political viewpoint, focusing on arguments made by Schoenberg, Cage, Babbit, Cardew, and many other composer protagonists. At its heart is the philosophical question: How does a person choose what kind of music to make in a modern, democratic society? Ability to read music is recommended, but its lack can be compensated for by other interests. This course fulfills a music history requirement for music majors.

Course	MUS 285 Introduction to Ethnomusicology
Professor	Mercedes Dujunco
CRN	90267
Schedule	Tu Fr 10:30 - 11:50 am Blum N210
Distribution	OLD: A	NEW: Analysis of Art

Cross-listed: Anthropology

Ethnomusicology is the study of music in context in relation to other aspects of culture (i.e. language, religion, politics, social organization, etc.). This course will introduce students to the history, scope of subject matter, theory, and methodology of the field of ethnomusicology. We will begin by examining how the ethnomusicological study of music developed in connection with the various nuanced understandings of what “culture” is over the latter half of the past century and music’s position within these different conceptual frameworks, roughly describable as “music in culture,” “music as culture” and, finally, “music-culture”. We then move on to the study of the main research methodologies borrowed from anthropology – ethnographic fieldwork and participant observation – and how these have been adapted to and eventually became hallmarks of ethnomusicological research. By nature, ethnomusicology is a field of growing data and competing theories and approaches, and students will have to not only absorb the contents of readings from the history and present publications of the field, but also consider, debate, and evaluate the statements and theories of others in terms of their own understandings and experiences of music, culminating in a medium-length written work at the end of the semester. The course therefore cannot be “taken” by passive observation, but has to be participated in through discussion, debate, and application of students’ own individual interests in order to serve its purpose.

Course	MUS 335 Jazz:The Freedom Principle III
Professor	Thurman Barker
CRN	90268
Schedule	Mon 1:30 -3:50 pm Blum N210
Distribution	OLD:A	NEW: Analysis of Art

Cross-listed: Africana Studies, American Studies, SRE

The third part of a four-part course in Jazz History. This section is a study of modern jazz from 1937 to 1950. Emphasis will focus on modern musicians such as Charlie Parker, Thelonious Monk, Dizzy Gillispie and Max Roach. We will examine the solo and combo style of these musicians. Also we will examine how the music developed from Swing to Bebop. This will be illustrated with recordings and films. This course employs a cultural approach designed to look at the social climate surrounding the music through the 40’s, such as World War II, Jim Crow laws in the south and the recording industry strike. Classroom discussions will focus on the different styles of each musician. Students will be evaluated by written assignments and oral presentations. This course reaches out to anyone with an interest in Jazz and would like to get a better understanding of the music and its effect on our culture in the last 100 years. Enrollment limited.

Course	MUS 352 A Workshop in Electronic, Electroacoustic and Computer Music Composition
Professor	Richard Teitelbaum
CRN	90269
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 356 Arranging Techniques for Jazz Ensemble
Professor	Erica Lindsay
CRN	90270
Schedule	Wed 6:00 -9:00 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

This class will focus on the various techniques used in jazz ensemble writing, from quintet to big band ensembles. Classic “drop-two” voicings and tertiary approaches will be covered, as well as more contemporary cluster, quartal and line part writing. The various approaches to textural issues that arise in each particular instrumentation will be examined as well various approaches to section writing. Final projects, ranging from Sextet to Big Band, will be either recorded or performed live at the end of the semester. This is an advanced seminar class open to moderated upper college music majors who have successfully completed jazz composition I and II, or the permission of the instructor. This course fulfills an upper level music theory requirement for music majors.

Course	MUS 365 The Music of Japan
Professor	Richard Teitelbaum
CRN	90271
Schedule	Th 1:30 -3:50 pm Blum N210
Distribution	OLD: A	NEW: Analysis of Art

Cross-listed: Asian Studies

The music of Japan offers a history of some 1500 years in which to study unique processes of cultural interactions, including importation, appropriation and the development of new hybrid forms. The course will begin by examining the ancient repertories of Buddhist chant (shomyo) and court music (gagaku), both deeply indebted to the cultures of China and Korea, as well as of India and South East Asia. We will then move on to study such genres as the Zen-inspired shakahachi (end-blown bamboo flute) honkyoku, and music for biwa (lute), shamisen, koto, and other traditional instruments. After exploring the impact of the introduction of Western music since the Meiji period, we will focus on the ever-growing interest in combining traditional Japanese instruments and forms with Western contemporary classical techniques, as exemplified by work of Toru Takemitsu, Yuji Takehashi, Toshi Ichiyangagi and others. We will also investigate post-World War II experimental and avant-garde groups and their relationships to Fluxus and other international movements through such figures as Yoko Ono, Takehisa Kosugi. Finally, the most recent developments in “noise” music by Merzbow, Otomo Yoshihide, and others will be examined in the context of the current scene, where traditionally trained gagaku musicians collaborate freely with electric guitarists, turntabalists and laptop players, offering a possible model for new world music culture of the future. This course is open to moderated, upper college students, and by consent of the instructor. This course fulfills an upper level music history requirement for music majors.

Course	MUS 366A Advanced Contemporary Jazz Techniques
Professor	John Esposito
CRN	90272
Schedule	Mon Fr class 3:00 -4:30 pm Blum N211 Mon Fr ensemble 4:30 -6:00 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

This course introduces methods for the jazz improviser to deconstruct and reorganize the basic harmonic and rhythmic elements for a composition. Issues addressed will include reharmonization, remetering, metric modulation, variations in phrasing, tempo, and dynamics; that is, the arrangement and reorganization of compositional elements. This is performance oriented class and repertoire will include jazz standards and compositions of the instructor. This class is open to moderated upper college students who have successfully completed Jazz Harmony I and II, and previous jazz repertory classes. This course fulfills an upper level music theory requirement for music majors.

MUSIC WORKSHOPS

Course	MUS WKSHA Workshop: Composition
Professor	Joan Tower
CRN	90273
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 20th ‘ 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
CRN	90274
Schedule	Tu Th 1:30 -3:50 pm Blum Hall 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
Professor	Arthur Burrows
CRN	90275
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 WKSHL Workshop: Opera Workshop
Professor	Frederick Hammond / Arthur Burrows
CRN	90276
Schedule	Wed 1:30 -3:50 pm Bard 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	TBA
CRN	90277
Schedule	Mon 1:30 -3:50 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 WKSHN "Hands-on" Music History
Professor	Patricia Spencer
CRN	90278
Schedule	Tu 1:30 -3:50 pm Blum N210
Distribution	OLD: F	NEW:

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.

Course	MUS WKSPO Intro to Electronic Music
Professor	Marina Rosenfeld
CRN	90893
Schedule	Mon 1:30 -3:50 pm Blum EMS
Distribution	OLD: F	NEW: Practicing Arts

This hands-on workshop will serve as an introduction to music technology and will focus primarily on the creation of original work, including a final project, through the use of digital and analog recording techniques and devices. Topics to be covered include the physics of sound, psychoacoustics, and foundational practices in electroacoustic sound production and their contemporary/digital analogues, with particular emphasis on digital signal processing, instrument "discovery" and exploration, field recording, and modes of electronic diffusion, including multichannel installation, broadcast, live performance and multimedia. Students will be given instruction in the use of ProTools, Quicktime with Protools for soundtrack production, and will become familiar with sampling, multi-track recording, editing, and mixing. Throughout the semester, students will produce field recordings and other original recordings in diary format and will receive instruction and guidance in utilizing this work for electronic composition, performance and installation. Examples from the history of electronic music will assist students in exploring the aesthetic, political, historical and personal implications of music technology and its uses. Enrollment in this course automatically gives students access to the Bard electronic music studios. In addition to the digital workstations, students can also explore analog synthesis techniques using the vintage Serge modular synthesizer.

Course	MUS WKSHV Chinese Music Ensemble
Professor	Mercedes Dujunco
CRN	90280
Schedule	Tu Th 4:00 -5:20 pm Blum 117
Distribution	OLD: F	NEW: Practicing Arts

Cross-listed: Asian Studies

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.

Course	MUS WKSP3 Workshop: Jazz Improvisation I
Professor	Erica Lindsay
CRN	90281
Schedule	Th 4:00 -7:00 pm Blum N211
Distribution	OLD: F	NEW:

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	90282
Schedule	Tu 7:00 -9:00 pm Blum N211
Distribution	OLD: F	NEW:

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 WKSPS Workshop:20th C. Composition
Professor	George Tsontakis
CRN	90279
Schedule	Wed 1:30 -3:50 pm Blum Hall
Distribution	OLD: F	NEW: Practicing Arts

A workshop in which composition is influenced by modern masterworks. The study and practical analysis of important 20^th century models in order to expand the inner ear and as an inspiration for personal creativity. A systematic but flexible approach to composing.

SPECIAL PROJECTS

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

Course	MUS PROJ B Special Projects
Professor	TBA .
CRN	90283
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ EL Special Projects
Professor	Erica Lindsay
CRN	90289
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ P Special Projects
Professor	George Tsontakis
CRN	90284
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ R Special Projects
Professor	Luis Garcia-Renart
CRN	90285
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ U Special Projects
Professor	Kyle Gann
CRN	90286
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ V Special Projects
Professor	Joan Tower
CRN	90287
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ Z Special Projects
Professor	Thurman Barker
CRN	90288
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

PRIVATE MUSIC LESSONS

Scholarship auditions will be held on Wednesday September 13th, 2006.

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.

Maximum of 12 lessons @ $25.00 per lesson (towards lesson cost) available, applied as credit to student’s Bard account.