· 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 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.

Scholarship auditions will be held on Wednesday, September 12, 2007.

Course	MUS 104 Bard College Orchestra
Professor	Nathan Madsen
CRN	97405
Schedule	Mon 7:30 - 10:30 pm OLIN AUDT
Distribution	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 8th, 2007 for new members from 1pm until 6pm in Blum Hall. * First Orchestra rehearsal will be on Monday September 10^th, 2007 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 Chorus
Professor	James Bagwell
CRN	97406
Schedule	Tu 7:00 - 10:00 pm OLIN AUDT
Distribution	Practicing Arts

First rehearsal will be on Tuesday September 11th, 2007.

Course	MUS 106 Bard Community Chamber Music
Professor	Luis Garcia-Renart
CRN	97407
Schedule	TBA .
Distribution	Practicing Arts

Course	MUS 108B Ensemble: Contemporary
Professor	Joan Tower
CRN	97408
Schedule	Mon 1:30 -3:50 pm Blum Hall
Distribution	Practicing Arts

Additional times to be worked out as needed.

Course	MUS 108D Ensemble: Chamber Singers
Professor	James Bagwell
CRN	97409
Schedule	Tu Th 4:00 -6:00 pm Blum Hall
Distribution	Practicing Arts

2 credits. Auditions will be held by appointment for new members only. First rehearsal will be on Tuesday, September 11^th, 2007 from 4pm to 6pm.

Course	MUS 108F Ensemble: Jazz Big Band
Professor	Thurman Barker
CRN	97410
Schedule	Mon 7:00 -9:00 pm Blum N211
Distribution	Practicing Arts

Course	MUS 108G Ensemble: Chamber
Professor	Colorado Quartet
CRN	97411
Schedule	TBA .
Distribution	Practicing Arts

Course	MUS 108H Ensemble: Balinese Gamelan
Professor	Mercedes Dujunco
CRN	97412
Schedule	Mon 7:00 -9:00 pm .
Distribution	Practicing Arts

Course	MUS 108I Ensemble: Electro-Acoustic
Professor	Marina Rosenfeld
CRN	97413
Schedule	Mon 4:00 -6:20 pm Blum EMS
Distribution	Practicing Arts

Course	MUS 108J Ensemble: Percussion
Professor	Thurman Barker
CRN	97414
Schedule	Tu 1:30 -3:50 pm Blum N211
Distribution	Practicing Arts

Course	MUS 108N Contemporary Jazz Composers
Professor	Erica Lindsay
CRN	97415
Schedule	Tu 4:30 -6:30 pm Blum N211
Distribution	Practicing Arts

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 140 Introduction to World Music
Professor	Mercedes Dujunco
CRN	97416
Schedule	Tu Th 1:00 -2:20 pm Blum N210
Distribution	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. This course fulfills the Music History requirement for majors.

Course	MUS 142 Introduction to Western Music
Professor	Peter Laki
CRN	97494
Schedule	Mon Wed 10:30 - 11:50 am Blum N217
Distribution	Analysis of Arts

By presenting selected masterpieces in the Western tradition, this course will seek to demonstrate some of the ways in which music communicates with the listener. In the process, a number of basic concepts underlying musical form and structure will be clarified. Students will be encouraged to bring their own favorite works to class for general discussion. This non-technical course requires no previous training in music.

Course	MUS 171 Jazz Harmony
Professor	John Esposito
CRN	97417
Schedule	Tu Th 10:30 - 11:50 am Blum N211
Distribution	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	Keith Fitch
CRN	97418
Schedule	Mon Wed 1:30 -2:50 pm Blum Tu Th 1:00 -2:20 pm Blum N217
Distribution	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	97419
Schedule	Mon Wed 10:30 - 11:50 am Blum N210
Distribution	Analysis of Arts

Cross-listed: Africana Studies, American Studies, Integrated Arts, 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 238 History and Literature of Electronic and Computer Music
Professor	Richard Teitelbaum
CRN	97420
Schedule	Tu Th 1:30 -2:50 pm Blum N119
Distribution	Analysis of Arts

Cross-listed: Integrated Arts; STS

In the 1920’s, a number of new electronic instruments such as the Theremin, the Ondes Martenot and the Trautonium were invented, and a number of composers, including Hindemith and Messiaen, composed new works for them. After the invention of magnetic recording tape in the late 40’s electronic music became an enterprise that was produced in special studios and fixed on tape for later playback. Starting around 1960, John Cage and David Tudor began experimental performances with such works as Cartridge Music (1960), Variations II and other pieces that reintroduced the live performer to the electronic medium. Many composers, such as Mumma, Behrman, Lucier, Ashley, Stockhausen, Nono, and Boulez, as well as collective improvisationally-based groups such as AMM Music in London, and Musica Elettronica Viva in Rome soon followed suit. During the 60’s and 70’s, with the advent of smaller and the more personal synthesizers invented by Moog, Buchla and others, the field of live electronic music became a practical reality. Some ten years later, a similar sequence of events took place with regard to computer music, where the large mainframes of the 50’s and 60’s were superseded by the PC revolution of the late 70’s and 80’s. This was followed by the more recent development of the laptop that has enabled performers to carry powerful, portable computers on stage. This course will trace these developments, examine the literature of the field, encourage live performances of “classic” pieces, and the creation and performance of new compositions and improvisations. It is strongly recommended that this course be taken in conjunction with Electro-Acoustic Ensemble.

Course	MUS 254A Pronunciation and Diction for Singers I: Italian, French, German, English & Latin
Professor	Sharon Bjorndal
CRN	97421
Schedule	Tu Th 10:30 - 11:50 am Blum N217
Distribution	Practicing Arts

This two-semester course is an introduction to the International Phonetic Alphabet (IPA), its symbols and practical use in performing or preparing Italian, French, German and English vocal literature. The fall semester will be devoted to the Italian and French languages, the spring to German, English, and Latin. Through songs, arias, and choral literature, students will take from this course a basic understanding of pronunciation rules and rhythm of each language. While it is geared towards singers and collaborative pianists, the course is also useful for other instrumentalists and students seeking to refine pronunciation and accent. Grading will be based on a series of quizzes and two exams, including the preparation and performance of one song per language. Ability to read music is not required. No previous knowledge of the languages is required.

Course	MUS 257 Production and Reproduction
Professor	Paul Geluso
CRN	97524
Schedule	Th 1:30 - 3:50 am Blum N117
Distribution	Practicing 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 260 String Quartets of Beethoven
Professor	Colorado Quartet
CRN	97422
Schedule	Th 1:30 -3:50 pm OLIN 104
Distribution	Analysis of Arts

The Colorado String Quartet will examine the personal and creative life of this great composer through the medium of his sixteen string quartets. The works will be placed in a historical and political context. Beethoven’s relationship with the writers and philosophers of the time, including Goethe, Schiller and Kant, will be examined through his creative development. During the semester the Colorado Quartet will perform selections from the sixteen Beethoven string quartets. No prerequisites, but the ability to read music is a plus. There will be listening and writing assignments.

Course	MUS 264 The Literature and Language of Music I
Professor	James Bagwell
CRN	97423
Schedule	Tu Th 2:30 -3:50 pm Blum N217
Distribution	Analysis of Arts

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 266A American Popular Song, 1900-1929
Professor	John Esposito
CRN	97859
Schedule	Mon Fr 10:30 - 11:50 am Blum Mon Fr 12 noon -1:20 pm Blum N211
Distribution	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 285 Introduction to Ethnomusicology
Professor	Mercedes Dujunco
CRN	97425
Schedule	Tu Fr 10:30 - 11:50 am Blum N210
Distribution	Analysis of Arts

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 288 Opera since 1900
Professor	Peter Laki
CRN	97493
Schedule	Tu Th 4:00 – 5:20 pm Blum N217
Distribution	Analysis of Arts

This course will pursue a double objective. We shall analyze a number of key operas some of which may be part of the standard repertory, others more rarely heard. At the same time, we shall address some general historical, cultural, and aesthetic issues relating to opera in the last 100 years. There will be a research paper due at the end of the semester.

Course	MUS 304 The Arithmetic of Listening
Professor	Johnny Reinhard
CRN	97529
Schedule	Mon 1:30 – 3:50 pm OLIN 104
Distribution	Practicing Arts

An introduction to the overtone series and the history of tuning. Learn how tuning shapes the course of a culture’s music; trace the parallel development of music and the number series back 2500 years to the teachings of Pythagoras. Hear how Bach's and Beethoven’s music sounded in its original tunings. Learn how to discriminate the pitch subtleties that differentiate Indian music; Balinese music, and even the blues from our conventional European tuning. Discover the possible uses of music in meditation; most importantly, sensitize yourself to aspects of listening that we 21st century Westerners have been trained to filter out. Learn to hear what is actually there, not just what you think is there! Final project in this class may take the form of a tuning-based analysis of either European (pre-20^th century) or world music; design and/or construction of a musical instrument; or a performance of original work involving alternate tunings. Basic ability to read music is strongly recommended for this course, though it may be compensated for by a background in mathematics or acoustics.

Course	MUS 331 Jazz: The Freedom Principle I
Professor	Thurman Barker
CRN	97426
Schedule	Mon 1:30 -3:50 pm Blum N210
Distribution	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 352 Electronic, Electro-acoustic and Computer Music Composition
Professor	Richard Teitelbaum
CRN	97427
Schedule	Wed 1:30 -3:50 pm Blum N119
Distribution	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 353 Orchestration
Professor	Keith Fitch
CRN	97428
Schedule	Mon 4:00 -6:20 pm Blum N217
Distribution	Practicing Arts

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.

Course	MUS 356 Arranging Techniques for Jazz Ensemble
Professor	Erica Lindsay
CRN	97429
Schedule	Wed 6:00 -9:00 pm Blum N211
Distribution	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 363 John Cage and His World
Professor	Richard Teitelbaum
CRN	97430
Schedule	Th 4:00 -6:20 pm Blum N210
Distribution	Analysis of Arts

Cross-listed: Integrated Arts; STS

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.

Course	MUS 366C Advanced Contemporary Jazz Techniques III
Professor	John Esposito
CRN	97431
Schedule	Mon Fr 3:00 -4:00 pm Blum Mon Fr 4:30 -6:00 pm Blum N211
Distribution	Practicing Arts

This course will focus on strategies for improvisation without predetermined chord structures or rhythmic frameworks and on methods for shaping performances spontaneously. We will also explore collaboration with artists from other disciplines such as dance, spoken word and visual arts. This class is open to moderated upper college students who have successfully completed advanced contemporary Jazz techniques A & B.

Course	MUS 377 The Music of Johann Sebastian Bach
Professor	Frederick Hammond
CRN	97432
Schedule	Tu Th 10:30 - 11:50 am OLIN 104
Distribution	Analysis of Arts

J.S. Bach is regarded as one of the greatest musicians of the Western art tradition. This survey will examine his life and music in the light of the most recent research. Special emphasis will be placed on various traditions and questions of performance practice, with regular classroom performances. This course satisfies a history requirement for the music major but is also recommended for the general student. A reading knowledge of music is desirable but not mandatory.

MUSIC WORKSHOPS

Course	MUS WKSHA Workshop: Composition
Professor	Joan Tower
CRN	97433
Schedule	Mon 4:00 -6:20 pm Blum Hall
Distribution	Practicing Arts

In the 20^th century a major split occurred between performers and composers that had important consequences for the classical music world. Performers went one way and composers the other—not always with the best results. For the performers, there was an increased emphasis on playing the music of dead composers. The workshop will attempt to bring the performer closer to the composers (both living and dead) by placing them on “the other side of the page”—creating the page themselves, rather than following the directions of someone else’s page. By composing, the performers will not only increase their understanding of what they play, but also engage in a process that puts them “inside” the creative process. All the works written in this workshop will be performed by students in the class. If the works turn out to be exceptional, they will also be performed by professionals. Please see instructor before registration. This course fulfills the composition requirement for music majors not majoring in jazz or electronic composition.

Course	MUS WKSHB Workshop: Performance Class
Professor	Luis Garcia-Renart / Blair McMillen
CRN	97434
Schedule	Tu Th 1:30 -3:50 pm Blum Hall Wed 4:00 -6:20 pm Blum Hall
Distribution	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	97435
Schedule	Tu 1:30 -3:30 pm Bard Hall
Distribution	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 / Rufus Müller
CRN	97436
Schedule	Wed 1:30 -3:50 pm Bard Hall
Distribution	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: Early Music Vocal Performance
Professor	Rufus Müller
CRN	97437
Schedule	Mon 2:00 -4:20 pm Bard Hall
Distribution	Practicing Arts

This course will concentrate on the performance and interpretation of solo vocal Repertoire of the 17^th and 18^th centuries, with attention given to period style and Ornamentation. Specific composers studied will include J.S. Bach, Claudio Monteverdi, and Henry Purcell. This course is primarily for students taking voice lessons and musicians interested in accompanying singers in early music repertoire.

Course	MUS WKSHN Workshop: Play Music History
Professor	Patricia Spencer
CRN	97438
Schedule	Tu 4:00 -6:20 pm Bard Hall
Distribution	Practicing Arts

This class explores our musical past and improves sight-reading skills. By playing a sampling of chamber music from different eras, class members will develop 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 WKSP7 Jazz Vocal Workshop
Professor	John Esposito
CRN	97479
Schedule	Th 7:00 – 9:30 pm Blum N211
Distribution	Practicing Arts

Course	MUS WKSHV Chinese Music Ensemble
Professor	Mercedes Dujunco
CRN	97441
Schedule	Tu Th 4:00 -5:20 pm Blum 117
Distribution	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.

Course	MUS WKSP3 Workshop: Jazz Improvisation I
Professor	Erica Lindsay
CRN	97440
Schedule	Th 4:00 -7:00 pm Blum N211
Distribution	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 WKSPO Introduction to Electronic Music
Professor	Marina Rosenfeld
CRN	97439
Schedule	Mon 1:30 -3:50 pm Blum N119
Distribution	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 electro-acoustic 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.

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	James Bagwell
CRN	97442
Schedule	TBA .
Distribution	Practicing Arts

Course	MUS PROJ EL Special Projects
Professor	Erica Lindsay
CRN	97443
Schedule	TBA
Distribution	Practicing Arts

Course	MUS PROJ R Special Projects
Professor	Luis Garcia-Renart
CRN	97444
Schedule	TBA .
Distribution	Practicing Arts

Course	MUS PROJ U Special Projects
Professor	TBA
CRN	97445
Schedule	TBA
Distribution	Practicing Arts

Course	MUS PROJ V Special Projects
Professor	Joan Tower
CRN	97446
Schedule	TBA .
Distribution	Practicing Arts

Course	MUS PROJ Z Special Projects
Professor	Thurman Barker
CRN	97447
Schedule	.
Distribution	Practicing Arts