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.
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 17th, 2008.
98001 |
MUS 104 Bard College Orchestra |
Nathan Madsen |
M . . . . |
7:30
- 10:30 pm |
OLIN
AUDT |
PART |
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 6th, 2008 from 1:00 pm to 6:00 pm in Blum Hall, for new
members. Please call to set up appt., 845-758-7091. Please be prepared to play
two pieces—one slower and lyrical, and one faster. First Orchestra rehearsal will be on Monday September 8th,
2008 from 7:30 pm until 10:30 pm in Olin Hall.
98002 |
MUS 105 Bard College Symphonic Chorus |
James Bagwell |
. T . . . |
7:30
- 10:00 pm |
OLIN
AUDT |
PART |
First rehearsal will be on Tuesday September 9th, 2008.
98249 |
MUS 106 Bard Community Chamber Music |
Luis Garcia-Renart |
.TBA. . . |
|
|
PART |
98250 |
MUS 108B Ensemble: Contemporary |
Joan Tower / Blair McMillen |
TBA . . . |
TBA |
BLM
HALL |
PART |
98251 |
MUS 108D Ensemble: Chamber Singers |
James Bagwell |
. T . Th . |
4:00
-6:00 pm |
BLM
HALL |
PART |
2 credits. Auditions will be held by
appointment for new members on Tuesday September 2nd, 2008. First
rehearsal will be on Thursday,
September 4th,
2008 from 4pm to 6pm.
98252 |
MUS 108F Ensemble:Jazz Big Band |
Thurman Barker |
M . . . . |
7:00
-9:00 pm |
BLM
N211 |
PART |
98253 |
MUS 108G Ensemble: Chamber |
Colorado Quartet |
.TBA . . |
|
. |
PART |
98254 |
MUS 108H Ensemble: Balinese Gamelan |
Mercedes Dujunco |
M . . . . |
7:00
-9:00 pm |
TBA |
PART |
98255 |
MUS 108I Ensemble: Electro-Acoustic |
Marina Rosenfeld |
. . W . . |
6:00
-8:00 pm |
BLM
N110 |
PART |
98256 |
MUS 108J Ensemble: Percussion |
Thurman Barker |
. T . . . |
1:30
-3:50 pm |
BLM
N211 |
PART |
98257 |
MUS 108N Contemporary Jazz Composers |
Erica Lindsay |
. T . . . |
4:30
-6:30 pm |
BLM
N211 |
PART |
98258 |
MUS 122 Introduction to Music Theory |
Blair McMillen |
. . W . . . . . Th . |
1:30
-2:50 pm 2:30
-3:50 pm |
BLM
N217 BLM
N211 |
AART AART |
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.
98259 |
MUS 141 The
Music of Wolfgang Amadeus Mozart (1756-1791) |
Frederick Hammond |
. T . Th . |
10:30
- 11:50 am |
OLIN
104 |
AART |
The course will focus especially
on Mozart’s music during the last decade of his life, more or less coinciding
with his independence and his move to Vienna, although important earlier works
will also be studied. The operas will
receive special attention. The course
is intended for the general music lover and no specialized preparation is
required. This course will fulfill a
music history requirement for unmoderated music majors.
98260 |
MUS 142 Introduction to Western Music |
Peter Laki |
M . W . . |
10:30
- 11:50 am |
BLM
N217 |
AART |
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.
98261 |
MUS 171 Jazz Harmony |
John Esposito |
M . W . . |
10:30
- 11:50 am |
BLM
N211 |
PART |
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.
98262 |
MUS 201 Music Theory I |
Kyle Gann / Sharon Bjorndal |
. T . Th . M . . . F |
1:00
-2:20 pm 1:30
-2:50 pm |
BLM
N217 BLM
N217 |
AART AART |
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.
98263 |
MUS 211 Jazz in Literature I |
Thurman Barker |
M . W . . |
10:30
- 11:50 am |
BLM
N210 |
AART |
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.
98264 |
MUS 230 20th Century Music of Conflict |
Colorado Quartet |
. . . Th . |
1:30
-3:50 pm |
OLIN
104 |
AART |
This
course will explore the origins of eclecticism in 20th Century
musical expression. Through live performances by the Colorado Quartet and guest
artists, the discussion will focus on cause and effect of the disintegration of
tonal harmony and traditional formal relationships for composers and their
audiences. Significant works by such composers as Shostakovich, Bartok,
Schulhoff, Messiaen, and Crumb will serve to illuminate the relationship of
music to the artistic, literary and social/political climate of their day.
Readings may include Solzhenitzyn, Grass, Remarque, Denisovich, Orwell, Camus,
Sartre.
98265 |
MUS 233 Evolution of the Sonata |
Kyle Gann |
M . W . . |
3:00
-4:20 pm |
BLM
N217 |
AART |
Sonata
form is the most important collective achievement in European music, running
from the early 18th century on and still influencing the way much
music is written today. It was
considered such a natural phenomenon that it was discussed as having been
“discovered,” not merely invented by mere humans, yet in many ways it was an
artificial formula that killed as much
music as it enlivened. This analysis
course will study sonata form in its glorious heyday, before it was officially
labeled by A.B. Marx in 1828. We’ll
start with primitive binary forms of Kuhnau and Sammartini, proceeding through
works of C.P.E. Bach, Haydn, Clementi, Mozart, Dussek, Beethoven, Hummel and
Schubert. Along the way we’ll learn
techniques of musical logic that could still benefit composers today, as well
as fleshing out a musical era that is too incompletely seen in terms of the
Haydn-Mozart-Beethoven trio. This
course is intended for musicians who have had Fundamentals I and II or the
equivalent, but any interested and qualified student is welcome.
98266 |
MUS 254A Pronunciation & Diction for Singers |
Sharon Bjorndal |
. T . . F |
10:30
- 11:50 am |
BLM
N217 |
PART |
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.
98267 |
MUS 259 Musical Electronics: Analog, Synthesis
& Processing |
Robert Bielecki |
. T . Th . |
1:00
-2:20 pm |
BLM
N105 |
PART |
This
course concentrates on the creative use of electronic circuitry and the
construction of devices for musical applications. Students will develop an understanding of how basic electronic
components are used in audio circuits and how to read schematic diagrams. We’ll discuss topics such as Voltage
Control, Synthesis, Filtering, Waveshaping, Phase Shifting, Ring Modulation,
Theremins, Circuit Bending, etc. We’ll
work from existing designs and also create new devices as we hone our skills of
soldering, point-to-point wiring and layout.
Familiarity with basic electronics and the use of hand tools is helpful
but not a prerequisite for this class.
Enrollment limited.
98268 |
MUS 264 Literature & Language of Music I |
James Bagwell |
. T . Th . |
2:30
-3:50 pm |
BLM
N217 |
AART |
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.
98269 |
MUS 266C Jazz Repertory: BEBOP |
John Esposito |
M . W . . |
12:00
-2:00 pm |
BLM
N211 |
PART |
This performance based course is a survey of the principal
composers and performers of the BEBOP Era.
Musicians included are Charlie Parker, Dizzy Gillespie, Thelonious Monk,
Fats Navarro, Bud Powell, Max Roach and others. The course will include readings, recorded music and films. The students and instructor will perform the
music studied in a workshop setting. Prerequisite: Jazz Harmony I or
permission of instructor. This can be taken as a companion course with Jazz
Harmony II.
98270 |
MUS 276 Introduction to Opera |
Christopher Gibbs |
M . W . . |
12:00
-1:20 pm |
BLM
N217 |
AART |
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.
98271 |
MUS 302 Advanced Analysis Seminar |
Kyle Gann |
. T . . . |
1:30
-3:50 pm |
BLM
N210 |
AART |
The
focus of this semester’s seminar will be minimalist and minimalist-influenced
music. Minimalism was a musical style that reintroduced simplicity, drones, and
repetition into music in the 1960s, but it’s methods are not always as simple
as they sound, and some of the formal structures it introduced have become
important paradigms for postmodern music, particularly in expanding the
listening frame beyond the scale of normal concert performance. Tracing the historical developments of the
movement, we’ll analyze La Monte Young’s The Well-Tuned Piano, a
six-hour improvisatory piano work in altered tuning; Steve Reich’s popular Music
for 18 Musicians; parts of Philip Glass’s Einstein on the Beach;
Tom Johnson’s An Hour for Piano; John Adam’s Phrygian
Gates; and also postminimalist works by William Duckworth, Lois
Vierk, Paul Epstein, Peter Garland, Michael Gordon, and others. Work will consist of weekly score analysis
and a final analysis paper.
Prerequisite: "any 200-level theory course past Theory 1 and 2, or permission
of the instructor.
98272 |
MUS 335 Jazz:The Freedom Principle III |
Thurman Barker |
M . . . . |
1:30
-3:50 pm |
BLM
N210 |
AART |
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.
98273 |
MUS 340 Intro to Experimental Music |
Richard Teitelbaum |
. T . . . |
1:30
-3:50 pm |
OLIN
104 |
PART |
This course deals with the experimental tradition starting
from Henry Cowell’s radical innovations early in the 20th century,
through those of his students, pre-eminently John Cage and others of the
“California School” of the 30’s and 40’s, and “The New York School” around Cage
that included Feldman, Brown, Wolf and Tudor in the 50’s. The primary focus however will be on the
development of new forms, media and social organizations begun in the sixties
and seventies, as exemplified by: text-based “event” pieces of the
international Fluxus movement (and others); live electronic music of AMM in
London, Musica Electronica Viva in Rome and Sonic Arts Union in New York; the
early minimalist works of La Monte Young, Terry Riley, Steve Reich and Philip
Glass; and the influence of “open form” “free jazz” and “creative music” in
establishing improvisationally-based compositional techniques and systems in
the works of Anthony Braxton, George Lewis and others. Important precursors and
influences such as Arnold Schoenberg (Cage’s other main teacher), Eric Satie,
and such early 20th century European avant-garde movements as
Dadaism, Futurism and Surrealism will be examined as background, as will the
innovations of Ives, Varese and others in the United States. In addition to
studying the body of work this tradition has produced and discussing its
aesthetic and philosophic underpinnings, students will be encouraged to realize
and perform works by the composers and artists studied, as well as to create
new ones of their own.
98274 |
MUS 352 Electronics, Electroacoustic and Computer Music Composition |
Richard Teitelbaum |
. . W . . |
1:30
-3:50 pm |
BLM
N110 |
PART |
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.
98275 |
MUS 357A Topics in Ethnomusicology: Music &
Ritual in China and East Asia |
Mercedes Dujunco |
. . W . . |
1:30
-3:50 pm |
BLM
N210 |
AART/DIFF |
Cross-listed: Anthropology, Asian Studies, Religion This course will consider the topic of
music and ritual in the context of China and other Confucianized East Asian
music cultures such as Japan, Korea, and Vietnam. Students will gain an
understanding of the
relationship of music and ritual in this region, historically as well as in the
present age. Ritual as understood
here is any performed act separated from the flow of common, everyday
experience and imbued with a special significance in that it is intended to and
has the power to transform the states of being of its participants. Given the great upheavals and radical social and political
transformations in China and other East Asian countries during the 20th
century, how have traditional and folk musics in these countries managed to
retain their ritualistic nature? In what ways have they changed or adapted to
changing times and historical circumstances? What ritual purpose or function do
they serve now in this day and age marked by intense market capitalism and
increasing globalization? How are state agents dealing with or coming to terms
with the persistence of religious practices amidst such changes? How are
meaningful forms of beliefs and rituals (re)produced in response to modern and
postmodern life? In conjunction with this course, students will be
required to attend the 13th Annual CHIME Conference on the topic,
“Music and Ritual in China & East Asia,” which will be convening at Bard on
October 16-19, 2008. As a final requirement, they
will be expected to produce a medium-length piece of writing that encapsulates
what they have learned after revisiting and re-examining the powerful roles of religious
traditions and ritual practices and their convergences with East Asian musics.
98276 |
MUS 367A Jazz Composition I |
Erica Lindsay |
. . W . . |
6:00
-9:00 pm |
BLM
N211 |
PART |
This
course explores the strategies of Jazz Composition including basic modal
harmony, melodic and rhythmic development.
98277 |
MUS 378 Music, Spectacle & Patronage In
17th Century Italy |
Frederick Hammond |
. . W . . |
1:00
-3:50 pm |
OLIN
104 |
AART |
This
course will serve as an examination of musical patronage thorough historical
documents, works of art and architecture, the decorative arts, and music. We will consider such forms of spectacle as
festivals, chivalric combat, opera, and chamber entertainments. Of special interest will be the 1628 Parma
wedding celebration, for which Monteverdi served as principal composer, and the
artistic patronage of the Barberini family in Rome (1623-1644). Recommended for music historians, cultural
historians, art historians, and Italianists.
A reading knowledge of Italian is desirable but not mandatory.
This course will fulfill a music history requirement for moderated music
majors. Cross-Listing: Italian Studies, Art History, Dance and
Theatre Arts.
98278 |
MUS 379 Music of Debussy and Ravel |
Peter Laki |
M . . . . |
4:00
-6:20 pm |
BLM
N210 |
AART |
This
course will be devoted to the works of the two great French composers in the
context of their time. We will study a
broad selection of the two composers’ works, including piano and chamber music,
as well as symphonic and stage works.
Topics will include an examination of their innovations in the areas of
harmony and timbre; we will also explore their connections with literature and
the visual arts. Reading will include
chapters from The Cambridge Companion to Debussy and The Cambridge Companion to
Ravel. Students will be expected to do
individual research and write a substantial term paper by the end of the
semester. The course will fulfill a
music history requirement for moderated
music majors.
MUSIC
WORKSHOPS
98279 |
MUS WKSHA Workshop: Composition |
Joan Tower |
M . . . . |
4:15
-6:35 pm |
BLM
HALL |
PART |
This
workshop is for both composers and performers- primarily music majors who can
read music. The process is one of learning how to put one's musical soul
onto the page, pass that page first to players in the class and
then eventually to professionals(the
Da Capo Players) who give a concert of some of that music at the
end of each semester. All along the way, the hope is that the music will
"come back" to the composer as he or she had
intended it to with some kind of profile and excitement. Please contact the
instructor before registration.
98280 |
MUS WKSHB Workshop: Performance Class |
Luis Garcia-Renart / Blair McMillen |
. T . Th . . . W . . |
1:30
-3:50 pm 4:00
-6:20 pm |
BLM
HALL |
PART |
This
class is conceived as a unifying workshop for performing musicians within the
department. Please meet with the instructor prior to or during registration.
98281 |
MUS WKSHG Workshop: Vocal & Voice |
Arthur Burrows |
. T . . . |
10:00
- 12:00 pm |
BDH |
PART |
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.
98282 |
MUS WKSHL Workshop: Opera Workshop |
Rufus Müller / Ilka LoMonaco |
. . W . . |
1:30
-3:50 pm |
BDH |
PART |
4
credits Work is to
be decided. For more information see
Professor Muller. Contact Prof. Müller by email: [email protected] to arrange an audition
before registration.
98283 |
MUS WKSHM Workshop: Haydn and Who? |
Rufus Müller |
M . . . . |
2:00
-4:20 pm |
BDH |
PART |
2 credits In this performance-oriented class we shall explore
the many composers either known to, or influenced by, Josef Haydn. Whilst nodding at obvious composers such as
Mozart and Beethoven, the main emphasis of the class will be songs by Haydn
himself, and his English contemporaries such as the Linleys, Pinto, Hook,
Shield, Jackson, and Haydn’s impresario Salomon. This course is primarily for
students taking singing lessons.
Accompanists are also most welcome.
Registration is
available after contact with Prof. Müller by email: [email protected]
98284 |
MUS WKSHV Chinese Music Ensemble |
Mercedes Dujunco |
. T . Th . |
4:00
-5:20 pm |
BLM
117 |
PART |
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.
98287 |
MUS WKSHW Workshop in Contemporary Electronics:
Turntable to Game Boy |
Marina Rosenfeld |
. . W . . |
1:30
-3:50 pm |
BLM
N119 |
PART |
Cross-listed: STS The turntable, the
sampler, the drum machine, the walkman and other consumer-derived tools are at
the crux of a contemporary branch of experimental electronic music that
encompasses the work of artists as diverse as Philip Jeck, Christian Marclay,
Janet Cardiff, Ikue Mori, Yasunao Tone, Aphex Twin, Laurie Anderson and
Otomo Yoshihide. The class will explore this music as an instrument-based
practice, with a special emphasis on the turntable as an instrument whose
material properties, as well as cultural significance, define its uses as an
improvisatory and compositional tool. Conceptualism and visual art, free
improvisation, electronic composition, DJ culture, multi-media, as well as the
history and legacy of inventor-artists who pioneered the creative use or
“misuse” of audio technology (John Cage, King Tubby, Milan Knizak, Grandmaster
Flash) will all be considered as antecedents of contemporary practice. Students
will be required to create and perform several short pieces and one
larger-scale composition project exploiting the properties of one or more
electronic instruments.
98285 |
MUS WKSP3 Workshop: Jazz Improvisation I |
Erica Lindsay |
. . . Th . |
4:00
-7:00 pm |
BLM
N211 |
PART |
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, open to
first-year students.
98286 |
MUS WKSP7 Jazz Vocal Workshop |
John Esposito |
. . . Th . |
7:01
-9:30 pm |
BLM
N211 |
PART |
SPECIAL
PROJECTS:
Special
projects are designed for music majors only, to pursue individual or group
projects with a particular professor. Schedules will be arranged.
98288 |
MUS PROJ
B Special Projects |
James Bagwell |
. . . . . |
|
. |
PART |
98289 |
MUS PROJ
EL Special Projects |
Erica Lindsay |
. . . . . |
|
. |
PART |
98290 |
MUS PROJ
R Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
98291 |
MUS PROJ
U Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
98292 |
MUS PROJ
V Special Projects |
Joan Tower |
. . . . . |
|
. |
PART |
98293 |
MUS PROJ
Z Special Projects |
Thurman Barker |
. . . . . |
|
. |
PART |