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 credits may be added.
Private lessons must be separately registered.
91504 |
MUS 104 Bard
College Orchestra |
Teresa
Cheung |
M . . . . |
7:30 - 10:00 pm |
FISHER PAC |
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 September 5th, 2011 from 6:00 pm until 7:30pm for new
members. Please call to set up appt., 845-758-7091. * First Orchestra rehearsal
will be on Monday September 12th, 2011 from 7:30 pm until 10:00 pm
in Sosnoff Theatre. * (Please be prepared to play two pieces—one slower and
lyrical, and one faster.) Class size: 30
91505 |
MUS 105 Bard
College Symphonic Chorus |
James
Bagwell |
. T . . . |
7:30 - 10:00 pm |
OLIN AUDT |
PART |
First
rehearsal will be on Tuesday September 6th, 2011. Class
size: 30
91506 |
MUS 106 Bard
Community Chamber Music |
Luis
Garcia-Renart |
TBA |
TBA |
. |
PART |
Class size: 20
91507 |
MUS 108B Ensemble: Contemporary |
Blair
McMillen |
TBA |
TBA |
. |
PART |
Class size: 20
91508 |
MUS 108D Ensemble:
Chamber Singers |
James
Bagwell |
. T . Th . |
4:40 -6:40 pm |
BLM HALL |
PART |
2 credits. Auditions will be held by appointment for new
members on Tuesday August 30th, 2011.
First rehearsal will be on Thursday September 1st, 2011.
Class size: 35
91511 |
MUS 108F Ensemble:
Jazz Big Band |
Thurman
Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
Class size: 16
91512 |
MUS 108H Ensemble:
Balinese Gamelan |
Mercedes
Dujunco |
M . . . . |
7:00 -9:00 pm |
. |
PART |
Class size: 22
91513 |
MUS 108I Ensemble:
Electro-Acoustic |
Marina
Rosenfeld / Zeena
Parkins |
. T . . . |
4:40
– 6:40 pm |
BLM N 110 |
PART |
Class size: 14
91514 |
MUS 108J Ensemble:
Percussion |
Thurman
Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
Class size: 14
91515 |
MUS 108N Contemporary
Jazz Composers |
Erica
Lindsay |
. T . . . |
4:40 -6:40 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. Class size: 10
Music Courses
91516 |
MUS 119 Sound +
Culture |
Mercedes
Dujunco |
. T . Th . |
10:10 - 11:30 am |
BLM N210 |
|
This
course explores the various ways auditive phenomena (sound, silence, noise,
music) are conceived, produced, perceived, and organized by humans into
meaningful (and often musical) forms and events. Beginning with basic concepts
in the physical acoustics of sound (both pitched and unpitched), we will then
discuss how the ear functions and humans hear and perceive sound; the relationship and interaction of sounds
with the environment (soundscapes); the musicalization of natural and man-made
sounds; the social and cultural foundations of music (ideas about music and how
these are manifested in certain musical practices); music’s transformative and
persuasive power such as its use in advertising, propaganda, and as “sonic
wallpaper”; culminating in case studies of music from three different regions
of the students’ choice (e.g. the musics of aboriginal Australia; Tuva; Japan,
etc.). Our ultimate goal is to develop a broader concept and sense of what is
music and musical and thereby enable students to appreciate today’s rapidly
evolving soundscape of mediated and multicultural musics. From time to time, we
will have faculty from within and outside the College come in as guest speakers
to talk on topics relevant to the course. Requirements will include a few short
written assignments and a midterm and a final exam. This fulfills music history
requirements. Maximum class size: 20
91517 |
MUS 142 Easy Listening: Western Art Music
for non-specialists |
Frederick
Hammond |
M . W . . |
10:10 - 11:30 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. Class size: 15
91518 |
MUS 169 Listening to String Quartets: Haydn
through Shostakovich |
Marka
Gustavsson |
. T . Th . |
1:30 -2:50 pm |
BLM N210 |
AART |
Many composers of notated concert-music
reserved the form of the String Quartet for their most profound and unusual
utterances. This course will pursue an
aural exploration of the expressive, conversational music in this genre, from
Haydn, the innovator through Mozart, Beethoven, Schubert, German Romanticism,
European Nationalism, the Second Viennese School, up to and including American
and European Modernism. In addition to
developing tools for listening to this complex polyphonic texture, through
classroom experience with recordings, and attending concerts, we will read
composers’ letters (Beethoven’s Heiligenstadt
testament), literary works that portray performers and composers (Tolstoy’s Kreutzer Sonata, Vikram Seth’s An Equal Music), and selections from
works by active, internationally recognized performers of chamber music
(Steinhardt’s Indivisible by Four,
Dubinsky’s Stormy Applause.) Assignments will include two papers (5-6 pp),
one concert review, informal writing in class, and a final presentation. Knowledge of music notation is not required.
This fulfills a music history requirement for music majors. Class
size: 20
91519 |
MUS 171 Jazz
Harmony |
John
Esposito |
M . W . . |
10:10 - 11:30 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 fulfills a music theory
requirement for music majors. Class size: 20
91520 |
MUS 201 Music
Theory I |
Kyle
Gann / Erika
Switzer |
. T W Th F |
1:30 -2:50 pm |
BLM N217 |
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 fulfills theory requirements. (Prof.
Gann will teach Theory sections on Wed/Fri, Prof. Switzer will teach Ear
Training sections on Tues/Thurs.) Class
size: 25
91521 |
MUS 212 Jazz
Literature II |
Thurman
Barker |
M . W . . |
10:10 - 11:30 am |
BLM N210 |
AART/DIFF |
Cross-listed:
Africana Studies, American Studies We will study the words of Gary
Gidden “Visions in Jazz” and Robert
Gottlieb from his book entitled “Reading
Jazz” in order to bring attention to some important literature on Jazz.
Some of the writers look beyond Jazz as an art form, but also bring attention
to the historical influence on culture, race, tradition and our social
experience. Writers like Albert Murry,
Ralph Ellison, Eudora Welty. There is an attempt in their works to illuminate
the significance of the musical potential the musicians inherit and the
creative option they exercise. This
course includes the words of many who have been hailed as Jazz Greatest
Musicians. This fulfills a music
history requirement for music majors. Class
size: 16
91522 |
MUS 219 19th
Century Harmony |
Kyle
Gann |
. . W . F |
3:10 -4:30 pm |
BLM N217 |
AART |
This
course will explore the Romantic Era in terms of its most colorful
characteristic: harmony. Works by Chopin, Field, Mendelssohn, Robert and Clara Schumann,
Brahms, Liszt and Scriabin will be analyzed, along with excerpts of larger
works by Berlioz, Wagner, Bruckner and Mahler – for form and orchestration, but
most of all to explore the flowering of ultrachromatic harmonic progressions
and modulations. Along with augmented sixth chords, borrowed chords, enharmonic
modulations, and chromatic voice-leading, the class will study the wealth of
thematic transformation techniques that made late Romanticism such a fluid and
often extramusically referential language. This course is intended for music
majors, but is open to anyone who has fulfilled the prerequisite, Fundamentals
I and II or the equivalent. This course fulfills a music theory requirement for
music majors. Class size: 22
91523 |
MUS 228 Renaissance
Counterpoint |
Kyle
Gann |
. T . Th . |
10:10 - 11:30 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. This fulfills theory requirement for
music majors. Class size: 22
91524 |
MUS 229 The Faust
Legend in Literature and Music |
Frederick
Hammond |
. T . Th . |
10:10 - 11:30 am |
OLIN 104 |
AART |
We
will read the versions of the Faust Legend by Christopher Marlowe, Johann
Wolfgang von Goethe, and Thomas Mann. We
will examine their musical realizations
by Schumann, Berlioz, Mendelssohn, Liszt, Gounod, Mahler, Arrigo, Boito,
Feruccio Busoni, and Mann/Schoenberg. No
technical knowledge of music is required.
This
fulfills a music history requirement for music majors. Class
size: 15
91578 |
MUS 254A Pronunciation & Diction for Singers I |
Erika
Switzer |
. T . Th . |
10:10 - 11:30 am |
BARD HALL |
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. Class size: 15
91525 |
MUS 264 Literature
and Language of
Music I |
James
Bagwell |
. T . Th . |
3:10 -4:30 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. Class size: 22
91526 |
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. This
fulfills a music history requirement for music majors. Class size: 15
91527 |
MUS 266D Jazz
Repertory: The
Music of John Coltrane |
John
Esposito |
. . . Th . |
1:30 -3:50 pm |
BLM N211 |
AART |
An
immersion in the music of a Jazz master; includes readings, recorded music and
films. Coltrane’s music will be
performed in a workshop setting by students and instructor. Visiting artists will play and discuss the
music. Prerequisites: Jazz Harmony II, or permission of Instructor. This
fulfills a music history requirement for music majors. Class size: 10
91528 |
MUS 276 Introduction
to Opera |
Christopher
Gibbs |
M . W . . |
11:50 -1:10 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
fulfills a music history requirement for music majors. Class size: 22
91529 |
MUS 320 Musical
Electronics: Analog Synthesis & Processing |
Robert
Bielecki |
. . W . . |
1:30 -3:50 pm |
BLM N119 |
PART |
This
course concentrates on the theory, design and creative use of the basic components
found in Analog Electronic Music Systems. We will examine some of the original
circuits used by Moog, Bode, Serge, Theremin and others. Discussions will
include voltage control techniques, synthesis and processing. As class
projects, we will recreate some of the classic circuits and patches. Enrollment
limited. This fulfills a music theory requirement for music majors. Class size: 10
91745 |
MUS 327 Introduction
to Electronic Music |
Marina
Rosenfeld / TBA |
. T . . |
1:30 -3:50 pm |
BLM N119 |
PART |
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. Foundational practices in electro- acoustic sound production will be
explored alongside 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, 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. 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. Registration is by consent of the instructor.
91530 |
MUS 349 Jazz:
Freedom Principle IV |
Thurman
Barker |
M . . . . |
1:30 -3:50 pm |
BLM N210 |
AART/DIFF |
Cross-listed:
Africana Studies, American Studies This Jazz History course which is part four
of a four part course. Part four is a
study of Jazz after 1952 to the early 70’s.
The course will examine the extreme shifts in jazz styles from Cool, to
Hard bop to the Arvant Garde. Emphasis
will be on musicians associated with these styles such as Stan Getz, Lee
Konitz, Horace Silver, Hank Mobley, Anthony Braxton and Muhal Richard
Abrams. The course will discuss the solo
and combo styles of these musicians. The
course employs a cultural approach designed to look at the social climate
surrounding the music from 1952- 1972 and examine it’s effect on the
music. This will be illustrated with
recordings and films. The class requires
oral presentation and critical listening.
This course is for juniors and seniors who have moderated into
music. This fulfills a music history
requirement for music majors. Class size:
16
91531 |
MUS 352 Electronic,
Electrocoustic & Computer Music Composition |
Richard
Teitelbaum |
. T . . . |
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. This fulfills
music theory requirement. Class size: 10
91532 |
MUS 353 Orchestration |
George
Tsontakis |
M . . . . |
4:40 -7:00 pm |
BLM N217 |
PART |
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. There will be a reading of the orchestrations by the Bard
College Orchestra. Class size: 7
91533 |
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. This
fulfills a music theory requirement for
music majors. Class size: 10
91534 |
MUS 379 Music of
Debussy and Ravel |
Peter
Laki |
. . . Th . |
3:10 – 5:30 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 music majors. Class size: 16
MUSIC
WORKSHOPS: (2 credits)
91535 |
MUS WKSHA Workshop:
Composition |
Joan
Tower |
M . . . . |
3:00 -5:20 pm |
BLM HALL |
PART |
2 credits 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 email Prof. Tower prior to registration to determine eligibility. Class size: 18
91536 |
MUS WKSHB Workshop:
Performance Class |
Luis
Garcia-Renart / Blair
McMillen |
. T . Th . . . W . . |
1:30 -3:50 pm 4:40 -7:00 pm |
BLM HALL |
PART |
2 credits This class is
conceived as a unifying workshop for performing musicians within the
department. Please meet with the instructor prior to or during
registration. Students choose one of
the three sessions. Students must
contact Prof. Garcia-Renart by phone
(x6147) or in person (Blum 201) prior to
on-line registration. Class size: 20
91537 |
MUS WKSHG Workshop:
Vocal & Voice |
Arthur
Burrows |
. . W . . |
10:10 - 12:10 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. Class size: 12
91538 |
MUS WKSHL Workshop:
Opera Workshop |
Ilka
LoMonaco |
. . W . . |
1:30 -3:50 pm |
BDH |
PART |
2
credits Work is to be decided. For more information see Prof. LoMonaco.
Contact Prof. LoMonaco by email: [email protected]
to arrange an audition before registration.
Class size: 20
91539 |
MUS WKSHN "Hands-on"
Music History |
Patricia
Spencer / Peter
Laki |
. T . . . |
4:40 -7:00 pm |
BDH |
PART |
2 credits Members of
this class will explore our musical past by playing it! Also improving sight reading, the course
will cover a sampling of chamber music
from different eras. Members will build
familiarity with a wide variety of harmonies and musical styles (mostly
European) from the Renaissance through the present. Background readings and class discussion
about the composers will provide historical context for the works being played.
Parts and scores will be provided one week in advance 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. Class
size: 20
91542 |
MUS WKSHV Chinese
Music Ensemble |
Mercedes
Dujunco |
. T . Th . |
4:40 -6:00 pm |
BLM 117 |
PART |
Cross-listed:
Asian Studies 2 credits. 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. Class
size: 15
91540 |
MUS WKSP3 Workshop:
Jazz Improvisation
I |
Erica
Lindsay |
. . . Th . |
4:40 -7:40 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. Open to
First-Year Students. Class size: 14
91541 |
MUS WKSP7 Jazz Vocal
Workshop |
John
Esposito / Pamelam
Pentony |
M . . . . |
4:40 -6:40 pm |
BLM N211 |
PART |
2 credits Class size: 16
91543 |
MUS WKSPX Music
Software for Composition & Performance |
Richard
Teitelbaum / Miguel Frasconi |
. . . Th . |
1:30 -3:50 pm |
BLM N119 |
PART |
2 credits 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. Class
size: 20
SPECIAL
PROJECTS: Special
Projects are designed for music majors only,
to pursue individual or group projects with a particular Professor.
91545 |
MUS PROJ
EL
Special Projects |
Erica
Lindsay |
. . . . . |
|
. |
PART |
91544 |
MUS PROJ
JB
Special Projects |
James
Bagwell |
. . . . . |
|
. |
PART |
91548 |
MUS PROJ
JT
Special Projects |
Joan
Tower |
. . . . . |
|
. |
PART |
91547 |
MUS PROJ
KG
Special Projects |
Kyle
Gann |
. . . . . |
|
. |
PART |
91546 |
MUS PROJ
LGR
Special Projects |
Luis
Garcia-Renart |
. . . . . |
|
. |
PART |
91549 |
MUS PROJ
TB
Special Projects |
Thurman
Barker |
. . . . . |
|
. |
PART |