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 9th, 2009.
99001 |
MUS 104 Bard College Orchestra |
Nathan Madsen |
. . W . . |
7:30 - 10:00 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 Monday, August
31st, 2009 for new members. Please call to set up appt., 845-758-7131. * First
Orchestra rehearsal will be on Monday, September 7th, 2009 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.)
99002 |
MUS 105 Bard College Symphonic Chorus |
James Bagwell |
. T . . . |
7:00 - 10:00 pm |
OLIN AUDT |
PART |
First rehearsal will be on Tuesday September 8th,
2009.
99425 |
MUS 106 Bard Community Chamber Music |
Luis Garcia-Renart |
TBA |
|
. |
PART |
99426 |
MUS 108B Ensemble: Contemporary |
Joan Tower |
M . . . . |
1:30 -3:50 pm |
BLM HALL |
PART |
99427 |
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. First
rehearsal will be on Thursday,
September 3rd, 2009.
99428 |
MUS 108F Ensemble:Jazz Big Band |
Thurman Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
99429 |
MUS 108H Ensemble: Balinese Gamelan |
Richard Davis |
M . . . . |
7:00 -9:00 pm |
OLIN 305 |
PART |
Cross-listed: Asian Studies
99892 |
MUS 108I Electro Acoustic Ensemble |
Marina Rosenfeld |
. . W . . |
1:30 -3:50 pm |
BLM |
PART |
99430 |
MUS 108J Ensemble: Percussion |
Thurman Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
99431 |
MUS 108N Contemporary Jazz Composers |
Erica Lindsay |
. T . . . |
4:30 -6:30 pm |
BLM N211 |
PART |
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.
MUSIC
COURSES
99432 |
MUS 122 Introduction to Music Theory |
Blair McMillen |
. . W . . |
3:00 -4:20 pm |
BLM N211 |
AART |
|
|
|
. . . Th . |
4:00 -5:20 pm |
BLM N217 |
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. Enrollment limited to 18.
99433 |
MUS 142 Western Art Music for the Non-Specialist |
Frederick Hammond |
M . W . . |
10:30 - 11:50 am |
OLIN 104 |
AART |
This course is intended to provide all 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.
99434 |
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.
99435 |
MUS 201 Music Theory I |
Kyle Gann / Sharon Bjorndal |
. . W . F . T . Th . |
1:30 -2:50 pm 1:00 -2:20 pm |
BLM BLM |
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.
99436 |
MUS 211 Jazz in Literature I |
Thurman Barker |
M . W . . |
10:30 - 11:50 am |
BLM N210 |
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.
99437 |
MUS 217 Voice, Body, Machine: Women Artists & the Evolution of the Composer |
Marina Rosenfeld |
. . W Th . |
10:30 - 11:50 am |
BLM N119 |
AART |
Cross-listed:
Gender & Sexuality Studies This class explores the works and legacy of
a diverse group of artists, mostly female, whose hybrid, often interdisciplinary
practices challenged conventional ideas of embodiment, performance, expression
and technology, and redefined the fields of experimental and electronic music
during the last half-century. Course work
includes critical writing as well as creative compositional and/or performance
work. Artists considered include
Pauline Oliveros, Yoko Ono, Joan La Barbara, Alison Knowles, Maryanne Amacher,
Eliane Radigue, Diamanda Galas, Laetitia Sonami, Pamela Z. Terre Thaemlitz,
Slits, Kembra Pfahler, Kaffe Matthews, Fe-Matt, Sachiko M, and others.
99438 |
MUS 222 Music and Spectacle in Baroque Rome |
Frederick Hammond |
. T . Th . |
10:30 - 11:50 am |
OLIN 104 |
AART |
Cross-listed: Italian Studies We will examine musical patronage through historical
documents, works of art and architecture, the decorative arts, and music. Our principal focus will be on Rome and
Venice, with special emphasis on the music of Claudio Monteverdi. We will consider such forms of spectacle as
festivals, chivalric combat, opera, and chamber entertainments. The course is recommended for music
historians, cultural historians, art historians, and Italianists. It fulfills a music history requirement for
moderated music majors. Cross-listing:
Italian Studies, Art History, Dance and Theater Arts. On-line registration.
99439 |
MUS 228 Renaissance Counterpoint |
Kyle Gann |
. T . Th . |
10:30 - 11:50 am |
BLM N217 |
AART |
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.
99440 |
MUS 238 The History and Literature of Electronic
& Computer Music |
Richard Teitelbaum |
. . W . . |
1:30 -3:50 pm |
BLM N119 |
PART |
Related interest:
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.
99441 |
MUS 251 Expressions of National Identity in Music |
Peter Laki |
M . W . . |
10:30 - 11:50 am |
BLM N217 |
AART |
We routinely associate music with the country it comes
from and few would disagree that geography has always played a major role in
the evolution of musical styles. Yet
the idea that a country should have a distinctive musical “voice” is relatively
new: it arose in the 19th C., paralleling (but not identical with)
political nationalism. In this course,
we shall explore a wide range of repertoire that is narrowly linked to a
particular nation. Students will be
allowed to propose countries of their choice to be included in the
discussions. There will be one term
paper and a number of “symposia” where students will respond to one another’s
presentations. Students should
contact Prof. Laki prior to registration to determine eligibility for
enrollment.
99442 |
MUS 254A Pronunciation and Diction for Singers I: Italian, French, German, English
& Latin |
Sharon Bjorndal |
. T . Th . |
2:30 -3:50 pm |
BLM N210 |
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.
99443 |
MUS 264 Literature and 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.
99444 |
MUS 266A American Popular Song 1900-1929 |
John Esposito |
M . W . . |
1:30 -2:50 pm |
BLM N211 |
AART/DIFF |
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.
99445 |
MUS 285 Intro to Ethnomusicology |
Tomie Hahn |
. . W . . . . . . F |
1:30 -2:50 pm 10:30 - 11:50 am |
BLM N210 BLM N210 |
AART |
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.
99446 |
MUS 304 Arithmetic of Listening |
Kyle Gann |
. . W . F |
3:00 -4:20 pm |
BLM N217 |
AART/DIFF |
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-20th 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.
99447 |
MUS 324 Mahler & Fin-de-Siecle Vienna |
Christopher Gibbs |
. T . . . |
4:00 -6:20 pm |
BLM N210 |
AART |
This course will explore the fascinating musical, cultural,
and political world of fin-de-siecle Vienna through a thorough investigation of
the music of Gustav Mahler. We will
consider the genesis of his songs and symphonies, their literary and
intellectual sources, and the initial reception of his works in Vienna. Mahler’s accomplishment will be situated
with regard to his older and younger musical contemporaries, most notably
Wagner, Brahms, Strauss, Schoenberg, Webern, and Berg. Taking a broader view as well, we will look
at Mahler’s relationship to the artistic, intellectual, and political trends of
his time through figures like Sigmund Freud (whom Mahler consulted when his
marriage to the beautiful Alma Schindler was in trouble), Arthur Schnitzler,
Karl Kraus, and Gustav Klimt. Students
will give seminar presentation and write a term paper.
99448 |
MUS 331 Jazz: The Freedom Principle I |
Thurman Barker |
M . . . . |
1:30 -3:50 pm |
BLM N210 |
AART |
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.
99564 |
MUS 334 Topics in Music History and Theory: Disorder, Chaos and Madness |
Raphael Mostel |
. . . . F |
1:30 -3:50 pm |
BLM N210 |
AART |
From
the Chaos Overture of Hadyn's "Creation" to Wozzeck's madness in
Berg's opera to Ligeti's elegant "Desordre," composers throughout
history have sought to give form to non-form. This seminar will examine the
concepts, contradictions and achievements when composers walk on the wild side.
Each student will be expected to make individual presentations in class of
selected examples, to be critiqued and enlarged on by the class. The revised,
collected presentations as pdf or powerpoint will be the final.
99451 |
MUS 346 Interactive Performance and Composition
Using MAX/MSP |
Robert Bielecki |
. . . Th . |
1:30 -3:50 pm |
BLM N119 |
PART |
MAX/MSP
is an object oriented graphical programming environment for algorithmic music
composition, interactivity, live processing, multimedia and more. This course covers beginning, intermediate,
and advanced methods of using MAX/MSP.
This will be a hands-on course with examples from artist’s work, several
programming assignments and a final project. Knowledge of computer programming and MIDI is not necessary, but
would be helpful.
99452 |
MUS 352 Electronic, Electroacoustic and
Computer Music Composition |
Richard Teitelbaum |
. T . . . |
1:30 -3:50 pm |
BLM N119 |
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.
99453 |
MUS 366A Advanced Contemporary Jazz Techniques I |
John Esposito |
. . . Th . |
1:30 -3:50 pm |
BLM N211 |
PART |
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.
99454 |
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.
WORKSHOPS:
99455 |
MUS WKSHA
II Workshop: Composition |
Joan Tower |
M . . . . |
4:00 -6:20 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. Students should contact Prof. Tower prior
to registration to determine eligibility.
99456 |
MUS WKSHB Workshop: Performance Class |
Luis Garcia-Renart / Blair McMillen |
. T . Th . . . W . . |
1:30 -2:50 pm 4:00 -6:20 pm |
BLM HALL 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.
99457 |
MUS WKSHG Workshop: Vocal & Voice |
Arthur Burrows |
. . W . . |
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.
99458 |
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.
99459 |
MUS WKSHM Workshop: Full Fathom Five |
Rufus Muller |
M . . . . |
2:00 -4:20 pm |
BDH |
PART |
In
this course we shall study Shakespeare song settings from all eras and in all
languages. Both singers and pianists
are highly encouraged to participate in this exploration of performance and
communication with the listener. The
course ends with a public recital.
99460 |
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.
99461 |
MUS WKSP7 Jazz Vocal Workshop |
John Esposito |
. . . Th . |
7:00 -9:30 pm |
BLM N211 |
PART |
99504 |
MUS WKSPX Music Software for Composition and
Performance |
Richard Teitelbaum |
. T . . . |
1:30 -3:50 pm |
BLM N110 |
PART |
This
workshop will explore popular software used in music today. The main focus will
be on Ableton Live, both as a composing/performing tool and as a host for
software instruments and audio plugins. Programs such as Kontakt, Absynth,
Reason, and Reaktor will also be explored as well as the use of hardware
controllers. Students will learn how to integrate audio processing with
acoustic instruments, use audio clip s and re-sampling in an interactive
environment, and mix finished compositions. Creative use of these techniques
will be encouraged and the student's own work shared through weekly listening
sessions and a final concert. Students should have their own copy of Ableton
Live (LE or full version) or arrange regular access to the department's
computers.
SPECIAL
PROJECTS:
Special Projects are
designed for music majors only, to pursue individual or group projects with a
particular Professor. Schedules are arranged individually.
99462 |
MUS PROJ
B Special Projects |
James Bagwell |
. . . . . |
|
. |
PART |
99463 |
MUS PROJ
EL Special Projects |
Erica Lindsay |
. . . . . |
|
. |
PART |
99464 |
MUS PROJ
R Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
99465 |
MUS PROJ
U Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
99466 |
MUS PROJ
V Special Projects |
Joan Tower |
. . . . . |
|
. |
PART |
99467 |
MUS PROJ
Z Special Projects |
Thurman Barker |
. . . . . |
|
. |
PART |