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.
|
91602 |
MUS 104 Bard
College Orchestra |
Geoffrey
McDonald |
M . . . . |
7:30 - 10:30 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 for new members, date to be determined. Please
call to set up appt., 845-758-7131. * First Orchestra rehearsal will be
announced. * (Please be prepared to play two piecesone slower and
lyrical, and one faster.) Class size: 30
|
91603 |
MUS 105 Bard
College Symphonic Chorus |
James
Bagwell |
. T . . . |
7:30 - 10:00 pm |
OLIN AUDT |
PART |
1 credit. First
rehearsal will be on Tuesday September 11, 2012. Class
size: 35
|
91604 |
MUS 106 Bard
Community Chamber Music |
Luis
Garcia-Renart |
TBA |
|
. |
PART |
2 credits. Class size: 20
|
91605 |
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. Class size: 30
|
91606 |
MUS 108F Ensemble:
Jazz Big Band |
Thurman
Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
Class size: 14
|
91641 |
MUS 108G Ensemble:
Chamber/Cello |
Garfield
Moore |
. . . . F |
5:00 -7:00 pm |
BLM N211 |
PART |
Class size: 12
|
91652 |
MUS 108G Ensemble:
Chamber Ensemble of
Any Instruments |
Patricia
Spencer |
. T . . . |
7:30 9:30 pm |
Bard Hall |
PART |
The large variety of works written for any
instruments invites exploration of atypical groupings flute, marimba and
tuba have been known to project wonderful blends. This repertoire often
requires a high degree of responsibility on the part of the performer, not only choosing
dynamics and tempos but also instrumentation of various phrases and sometimes
overall structure. Members of this ensemble will engage in musical
thinking outside the bounds of normal chamber music, and will discover how (or
if) that may open a new dimension in their approach to more conventional
performance. Repertoire under consideration: Frederic Rzewski, Attica; Arnold
Schoenberg, Canon for Thomas Mann, and other canons; Christian Wolff, Snowdrop;
Judith Shatin, Grito
del Corazn; Kurt Schwitters,
Ursonate (selection); Stefan Wolpe, Selections from Music for Any Instruments Class
size: 10
|
91607 |
MUS 108H Ensemble:
Balinese Gamelan |
Tomie
Hahn |
M . . . . |
7:00 -9:00 pm |
TBA |
PART |
Class size: 22
|
91773 |
MUS 108I Ensemble:
Electro-Acoustic |
Marina
Rosenfeld |
. . . Th . |
4:40 -6:40 pm |
Bard Hall |
PART |
Class size: 14
|
91608 |
MUS 108J Ensemble:
Percussion |
Thurman
Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
Class size: 14
|
91609 |
MUS 108N Contemporary
Jazz Composers |
Erica
Lindsay |
. T . . . |
4:30 -6:30 pm |
BLM N211 |
PART |
2 credits This class will involve the interpretation of contemporary composers 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: 12
MUSIC COURSES
|
91613 |
MUS 127 History of
the Keyboard |
Peter
Laki |
M . W . . |
10:10 - 11:30 am |
BLM N217 |
AART |
This
course will assume no previous knowledge about music. It will introduce students to the history of
Western music through an exploration of the keyboard instruments. (organ, harpsichord, piano) and their evolution over the
centuries. Students will also become
acquainted with some of the great keyboard performers of the past and the
present. There will be a reading list,
three quizzes and a term paper. Class size: 20
|
91626 |
MUS 169 String
Quartets: Romantic
Nationalism in Music from Beethoven through Debussy |
Marka
Gustavsson |
. T . Th . |
1:30 -2:50 pm |
BLM N210 |
AART |
In
grappling with his deafness, Beethovens heroic struggle with Fate manifested
itself in his music in what E. T. A. Hoffman described as a new spirit of
Romanticism. The thread of this overtly passionate expression continued to
impact nineteenth century artistic movements. Definitions of identity through
language and folk customs formed a significant movement of cultural nationalism
in music and led to the creation of very striking works distinguished by
their blending of idiomatic folk musics into formal concert
music. This course will focus on the stylistic transformation of music during
the nineteenth century through the genre of the string quartet. Assignments
will include two papers (5-6 pp), one concert review, informal writing in
class, and a final project. Knowledge of music notation is not required. Class size: 20
|
91611 |
MUS 171 Jazz
Harmony I |
John
Esposito |
M . W . . |
10:30 - 11:30 am |
BLM N211 |
PART |
2
credits Introduces the basic
harmonic structures that are components of the blues and the Tin Pan Alley
songs that modern jazz musicians used as vehicles for improvisation. Basic keybaord skils are learned and
the history of jazz from ragtime to the swing era is survyed.
Required course for moderating into the jazz program. Class
size: 20
|
91612 |
MUS 173 Jazz Ear
Training I |
John
Esposito |
M . W . . |
9:45 - 10:29 am |
BLM N211 |
PART |
2
credits The practice of
the technical/aesthetic fundamentals specific to jazz as a 20th
century African-American music. It includes the practice of the syncopted rhythmic language underlying linear melodic
phrasing. The harmonic work includes singing the basic 20th century
harmonic materials, blues melodies and transcriptions of solos by jazz masters.
Required course for moderating into the jazz program.
It is suggested that Jazz Ear Training I and Jazz Harmony I be taken together.
Students who have already completed Jazz Harmony I may take Jazz Ear Training
separately. Class size: 20
|
91619 |
MUS 201 Music Theory
I |
Erika
Switzer |
M . . . . . T W Th F |
1:30 -2:50 pm 1:30 -2:50 pm |
BDH 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. Class size: 20
|
91615 |
MUS 211 Jazz in
Literature I |
Thurman
Barker |
M . W . . |
10:10 - 11:30 am |
BLM N210 |
AART |
Cross-listed:
Africana Studies, American Studies 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. Class size: 18
|
91616 |
MUS 217 Voice,
Body, Machine: Women
Artists and the Evolution of the Composer -
Performer |
Marina
Rosenfeld |
. . . Th . |
1:30 -3:50 pm |
BLM N110 |
AART |
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. Class size: 20
|
91631 |
MUS 239 Monsters! Madness! Mayhem! Embracing the Wild Side of Baroque Music |
Alexander
Bonus |
. . W . F |
10:10 - 11:30 am |
BDH |
AART |
Due to the conventions of popular culture, baroque music has
received a reputation for being primarily elegant and soothing-a background soundtrack
intended for fancy dinner parties or a good nap. This course strongly
challenges such misconceptions by exploring the volatile, passionate themes
regularly expressed in music spanning from the late 16th through 18th
centuries. We will analyze vocal and instrumental works for the chamber,
church, and stage that evoke the darker side of human nature and mythology.
Focus is given to Monteverdi, Purcell, Lully, Scarlatti, Handel, and J.S. Bach.
Their lesser-known compositions show that a great deal of baroque music is
wildly inappropriate for todays typical wedding ceremony. Class size: 15
|
91618 |
MUS 254A Pronunciation
& Diction for
Singers I |
Erika
Switzer |
. T . Th . |
10:10 - 11:30 am |
BLM N211 |
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: 20
|
92016 |
MUS 256 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: 15
|
91620 |
MUS 264 Literature
and Language of Music I |
Peter
Laki |
. T . Th . |
11:50 -1:10 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: 20
|
91622 |
MUS 266C Jazz
Repertory: BEBOP Masters |
John
Esposito |
M . W . . |
11:50 -1:10 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. This course counts towards the music history requirement for music
majors. Class size: 20
|
91623 |
MUS 285 Introduction
to Ethnomusicology |
Tomie
Hahn |
M . . . . |
10:10 - 12:30 pm |
OLIN 104 |
AART |
Cross-listed:
Anthropology Ethnomusicology encompasses the study of
music-making throughout the world, from the distant past to the present. Ethnomusicologists
examine music as central to human experience throughout space and time, and
explore its profound relationship to cognition, emotion, language, dance,
visual arts, spiritual belief, social organization, collective identity,
politics, economics, and the physical body. Students will study the performing
arts as culture. This course will introduce students to the history,
theories, and methodologies of the field of ethnomusicology through weekly
readings and multi-media. It will also be a project-based seminar, driven by
students individual ethnographic projects and themes. Class size: 12
|
91624 |
MUS 304 Arithmetic
of Listening |
Kyle
Gann |
. T . Th . |
3:10 -4:30 pm |
BLM N217 |
AART |
This course is an introduction to the overtone series and the
history of tuning. Learn how tuning shapes the course of a cultures music;
trace the parallel development of music and the number series back 2500 years
to the teachings of Pythagoras. Hear how Bach's and Beethovens 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, and discover how American composers like Harry Partch, Ben Johnston, and La Monte Young have created a new
tonal universe from the in-between pitches. Most importantly, sensitize
yourself to aspects of listening that we 21st century Westerners have been
trained to filter out. 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. Class size: 15
|
91629 |
MUS 320 Musical
Electronics: Analog
Synthesis & Processing |
Robert
Bielecki |
. . W . . |
1:30 -3:50 pm |
BLM N119 |
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. Well discuss topics such as Voltage Control, Synthesis,
Filtering, Waveshaping, Phase Shifting, Ring
Modulation, Theremins, Circuit Bending, etc. Well 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. Class size: 15
|
91610 |
MUS 323 Conducting |
James
Bagwell |
. . W . . |
1:30 -3:50 pm |
BLM HALL |
PART |
This
course will introduce the advanced student to the basic elements of
conducting. While the development of the
physical gesture and rehearsal techniques will be the primary goals, we will
also work on score reading, ear training, instrumental transposition, and
historical performance practice.
Repertoire will include both orchestral and choral repertoire. Evaluation will be based on the individuals
improvement in gesture and rehearsal technique.
Prerequisites for the course are the successful completion of Music
Theory I and II or equivalent. This
course is open to both Conservatory and Music Program students. Enrollment: 6 students. 4
credits. Class size: 6
|
91625 |
MUS 324 Mahler
& Fin-de-Siecle Vienna |
Christopher
Gibbs |
M . . . . |
2:00 -4:30 pm |
BLM N217 |
AART |
This
course will explore aspects of the musical, cultural, and political world of
fin-de-sicle Vienna through an examination of the life and works of Gustav Mahler
(1860-1911). We will consider the genesis of his songs and symphonies, their
literary sources, and initial reception. Mahlers accomplishment will be
situated with regard to his older and younger musical contemporaries, most
notably Richard Wagner, Johannes Brahms, Anton Bruckner, Richard Strauss,
Arnold Schoenberg, and Alban Berg. Taking a broader view, we will look at the
artistic, intellectual, and political trends in Mahlers Vienna through
studying works by Sigmund Freud (whom Mahler consulted when his marriage was in
trouble), Arthur Schnitzler, Karl Kraus, Stefan Zweig, Gustav Klimt, and
others. This course will be connected with performances by Leon Botstein and
the American Symphony Orchestra of Mahlers Eighth Symphony at Carnegie Hall in
New York City (in which Bard students will be singing in the chorus) and of the
Second Symphony at the Fisher Center (in which Bard students will be singing
and playing). Class size: 15
|
91627 |
MUS 331 Jazz: The
Freedom Principle I |
Thurman
Barker |
M . . . . |
1:30 -3:50 pm |
BLM N210 |
AART |
Cross-listed:
Africana Studies, American Studies
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. Class
size: 15
|
91614 |
MUS 356 Arranging
Techniques: Jazz |
Erica
Lindsay |
. . W . . |
6:00 -9:00 pm |
BLM N211 |
PART |
This composition class will focus on the
various techniques used in jazz ensemble writing from trio to quintet ensembles
with heavy emphasis on rhythm section arranging. Final projects will be
recorded or performed live at the end of the semester. This is an advanced
seminar class for moderated music majors. Prerequisite are Jazz Composition I
and II or the permission of the instructor. Class
size: 15
|
91642 |
MUS 359 The
Classics of Modernism |
Kyle
Gann |
. . W . F |
3:10 -4:30 pm |
BLM N217 |
AART |
The decades from 1910 to 1970 saw an explosion of dissonance,
complexity, and apparent musical chaos. And yet, beneath the surface it was
also an era of unprecedented intricacy of structure and musical
systematization. The liberation of dissonance and dissolution of melody left
composers insecure, and they often compensated by creating systems of
tremendous rigor not always apparent to the listener. This course will analyze
in depth several works that changed the way we think about composing, and which
pioneered the growth of an atonal musical language. Explore the cinematographic
intercutting of Stravinsky's Le Sacre du Printemps; the tonal
axis system of Bartok's Sonata for Two
Pianos and Percussion; the elegant number structures of Messiaen's
Quartet for the End of Time; the
delicate symmetries of Webern's Symphonie Op. 21;
the total organization of Stockhausen's Gruppen; the
fanatical precision of Babbitt's Post-Partitions;
and the compelling multi tempo climaxes of Nancarrow's
Study No. 36. Intended for music
majors, but other strongly motivated students are welcome. Prerequisite: Theory
1 and 2 or the equivalent (ability to analyze tonal harmony). Class size: 15
|
91617 |
MUS 363 John Cage
and His World |
Richard
Teitelbaum |
. T . . . |
1:30 -3:50 pm |
BLM N110 |
AART |
Cross-listed:
Science, Technology & Society Long reviled as a charlatan or a madman, John
Cage, born 100 years ago this year, has finally achieved recognition as
probably the most influential composer and musical thinker of the mid-latter
twentieth century. The course will focus primarily on analysis of Cages
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. Class
size: 15
|
91630 |
MUS 366A Advanced
Contemporary Jazz Techniques I |
John
Esposito |
. . . Th . |
11:50 -2:30 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. Class
size: 15
Music Workshops (2 credits
unless otherwise stated)
|
91633 |
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
|
91634 |
MUS WKSHB Workshop:
Performance Class |
Luis
Garcia-Renart / Blair
McMillen |
. T . Th . . . W . . |
1:30 -3:50 pm 4:00 -6:30 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 to
determine eligibility (x6147). Class size: 20
|
91639 |
MUS WKSHD Sight
Reading Workshop |
Michael
DeMicco |
. T . . . |
12:00 -1:00 pm |
BLM N211 |
PART |
2 credits This workshop is
designed to improve basic music reading skills.
Drawing from a varied selection of material such as lead sheets, jazz
fake
book charts and simple to intermediate
classical etudes, students learn to read melody and rhythm more confidently.
This course works well for C
(concert) instruments and may be adapted for other instruments
as well. Class size: 12
|
91638 |
MUS WKSHF Samba
School |
Carlos
Valdez |
. . W . . . . . . F |
4:00 - 6:00 pm 12:00 -2:00 pm |
BLM N211 |
PART |
2 credits Samba School
provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba
reggae). All skill levels welcome.
Class size: 25
|
91643 |
MUS WKSHJ New
Music/New Music Performance |
Blair McMillen |
. T . . . |
6:30 -8:30 pm |
BLM N211 |
PART |
This
class will explore a wide variety of 20th and 21st-century music through live
performances, discussions, listening assignments, and talks by visiting or
faculty artists. A stylistically
omnivorous class, we will study and work on: conventionally-notated scores,
popular music, the recent alt-classical movement, improvisatory works and
graphic scores, electro-acoustic music, and much else. Students will rehearse on their own in
smaller combinations outside of class, and will be encouraged to perform regularly. There will be an end-of-semester
concert. Open to instrumentalists,
singers, and composers from both the Conservatory and the Music Program. Class
size: 14
|
91635 |
MUS WKSHL Workshop:
Opera Workshop |
Rufus
Muller / Ilka
LoMonaco |
. . W . . |
5:00 -7:30 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
|
91653 |
MUS WKSHM Workshop:
Performance Class: "It's a Zoo!" |
Rufus
Muller |
M . . . . |
3:00 -5:20 pm |
BDH |
PART |
2 credits Recitals
are often boring. This performance-oriented course is for singers and pianists
interested in developing ways of communicating vividly with an audience.
We shall focus on art songs based on the natural world - animals, fish,
insects, birds and bees - from all eras and in all languages, with guidance on
diction. There will be a public recital at the end of semester. Contact Prof. Mller
by email: [email protected] to
arrange an audition before registration.
Class size: 20
|
91632 |
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: Gesualdo, Machaut, di Lasso, Monteverdi, 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
|
91636 |
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. Class size: 16
|
91637 |
MUS WKSP7 Jazz Vocal
Workshop |
Pamela
Pentony |
M . . . . |
4:00 -6:59 pm |
BLM N211 |
PART |
2 credits Beginning level
course: The Jazz Vocal Workshop is a performance workshop designed to
familiarize the beginning singer with the components of a successful jazz
performance. How to begin a song (intros) and how to
end a song (outros and turnarounds), how to pick a key,
a song and a tempo. How to utilize simple (and
not so simple) arrangements. Particular attention is paid to
phrasing. The language of scat singing is explored, with emphasis on
practice in every class. The forms of the blues, rhythm
changes and 32 bar song form, and practical applications taken from The Great
American Songbook. There is one (or more) concert(s) scheduled
during the semester and students are encouraged to seek out and perform in many
local venues. There is a final exam in this class. Class size: 16
|
91640 |
MUS WKSPX Music
Software for Composition and
Performance |
Miguel
Frasconi |
. . . Th . |
1:30 -3:50 pm |
BLM N119 |
PART |
4 credits This class 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 and
smart-phone devices. Through weekly assignments, students will learn how to
integrate audio processing with acoustic instruments, use audio clips 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 (Intro or full
version) or arrange regular access to the department's computers. Class size: 16