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.
91739 |
MUS 104 Bard
College Orchestra |
Geoffrey
McDonald |
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 for new members on Monday,
Sept. 9th 6:30-10:00 at the Fisher Center. Please call to set up
appt., 845-758-7091. * The first Orchestra
rehearsal will be on September 16 from 7:30
pm -10:30 pm in the Fisher Center.* (Please be prepared to play two
piecesone slower and lyrical, and one faster.) Class size: 30
91382 |
MUS 105 Bard
College Symphonic Chorus |
James
Bagwell |
. T . . . |
7:30
10:00 pm |
OLIN HALL |
PART |
First rehearsal will be on Tuesday September 10th,
2013. Class
size: 35
91740 |
MUS 106 Bard
Community Chamber Music |
Luis
Garcia-Renart |
TBA |
|
. |
PART |
Class size: 20
91381 |
MUS 108D Ensemble:
Chamber Singers |
James
Bagwell |
. T . Th . |
4:40
6:40 pm |
BITO
HALL |
PART |
2 credits. Auditions will be held by appointment for new
members. Class size: 30
91384 |
MUS 108F Ensemble:Jazz |
Thurman
Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
Class size: 14
91398 |
MUS 108G Ensemble:
Cello |
Garfield
Moore |
. . . . F |
5:00
7:00 pm |
BLM HALL |
PART |
Cass size: 12
91743 |
MUS 108G2 Chamber
Ensemble of any Instrument |
Patricia
Spencer |
. T . . . |
7:30 -9:30 pm |
BDH |
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. Class size: 20
91741 |
MUS 108H Ensemble:
Balinese Gamelan |
Richard
Davis |
M . . . . |
7:00 -9:00 pm |
TBA |
PART |
Class size: 22
92149 |
MUS 108I Electro-Acoustic
Ensemble |
Marina
Rosenfeld |
. . W . . |
1:30 -3:30 pm |
BLM HALL |
PART |
Class size: 14
91742 |
MUS 108J Ensemble:
Percussion |
Thurman
Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
Class size: 14
91397 |
MUS 108N Contemporary
Jazz Composers |
Erica
Lindsay |
. T . . . |
4:40
6:40 pm |
BLM N211 |
PART |
Class size: 15
91719 |
MUS 108P Ensemble:
Baroque |
Alexander
Bonus |
TBA . . . |
TBA |
BLM 117 |
PART |
Performance ensemble focusing on music from 1600-1750. Requires an audition for acceptance.
Class size: 14
91838 |
MUS / DAN 130 The Body on Stage: Movement for the Performer |
Jean
Churchill |
. . . Th . |
10:30 12:30 pm |
CAMPUS MPR |
PART |
See Dance section for description.
MUSIC COURSES
91423 |
MUS 169 Listening to String Quartets, Haydn through Shostakovich |
Marka
Gustavsson |
. T . Th . |
11:50
1:10 pm |
OLIN 104 |
AART |
Many
composers of string quartets reserved that particular genre for their most
profound and unusual utterances. We will listen to the expressive, conversational
music in this form, from its roots in the classical First Viennese School,
through 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 such as Beethovens Heiligenstadt
testament, as well as articles from current publications including such authors
as Alex Ross, Kyle Gann, Christopher Gibbs, and Richard Taruskin.
Assignments will include two papers (5 pages), one concert review, informal
writing in class, and a final project. Knowledge of music notation is not
required. Class size: 20
91391 |
MUS 171 Jazz
Harmony |
John
Esposito |
M . W . . |
9:40
11:30 am |
BLM N211 |
PART |
Cross-listed: Africana Studies 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 keyboard skills are learned including transposition.
The semester includes a short historical survey of Blues and of Jazz from
Ragtime to the Swing era as part of the effort to understand the practice
of the technical/aesthetic fundamentals specific to Jazz as a 20th century
African-American music including an introduction to the contribution of female
musicians to the Jazz legacy. There is an ear-training component to this
course. The melodic component includes singing the basic 20th century harmonic
materials, Blues melodies and transcriptions of solos by Jazz masters. It
includes the practice of the syncopated 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.
This course fulfills a music theory/performance requirement for music
majors. Required course for moderating into the Jazz
program. Class size: 40
91383 |
MUS 183 High/Low:
Tensions & Agreements |
James
Bagwell |
. T . Th . |
11:50
1:10 pm |
BLM N217 |
AART |
As
far back as the early Renaissance, distinctions were made as to what constituted
popular and serious music. In the 15th
century some of those distinctions were defined by the musics relationship to
the church. Later, in the 18th and 19th
centuries, idiomatic folk music began to be deliberately used in opera and
symphonic repertoire to evoke elements of nationalism and local color. In the 20 and 21st centuries, characteristics
of jazz, folk, and rock music intermingled, and now some earlier distinctions
between popular and serious music are being blurred. In this course, key works in Western
classical music from the 16th through the 21st centuries will be studied along
with the popular music of the day (when available). Careful attention will be paid to critical
reaction to these works, along with an examination of the cultural climate and
trends that might have contributed to high/low distinctions. Works to be studied will include: Josquin, Missa Lhomme arme, Handel, Messiah, Haydn, Symphony No. 104,
excerpts from Berliozs Les Troyens, Ravel, Lenfant et le
sortilege, and excerpts from Philip Glasss Einstein on the Beach, and John Adams Nixon in China. Music of
Louis Armstrong, George Gershwin, Miles Davis, The Velvet Underground, The
Beatles, and Sonic Youth, among others, will be examined. Evaluation will be based on two exams, four
short papers, and a term paper. This
course counts toward music history credit. Class
size: 20
91983 |
MUS 185 Introduction
to Ethnomusicology |
Andrew
Eisenberg |
. T . Th . |
11:50
-1:10 pm |
BITO 210 |
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: 20
91388 |
MUS 201 Music
Theory I |
Alexander
Bonus / Erika
Switzer |
M T W Th . |
1:30
-2:50 pm |
BLM N217 |
PART |
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
91420 |
MUS 210 The Roaring
Twenties: Music and Society in Europe and the US in the years after World War
I |
Peter
Laki |
M . W . . |
10:10
-11:30 am |
BLM N217 |
AART |
This
course will explore the music of the 1920s in New York, Paris, Berlin, Vienna
and Petrograd/Leningrad. The emphasis
will be placed on the relationships between composers and other artists and
musical institutions in their historical and social context. Among the issues explored will be the meaning
of the term avant-garde, as well as interactions between various Western and
non-Western art-forms. No technical
knowledge of music is necessary. Among
the composers studied will be Gershwin, Copland, Stravinsky, Milhaud, Weill,
Schoenberg, Berg, and Shostakovich.
There will be an eclectic reading list, as well as some film screenings
in the evening that will require attendance two or three times during the
semester. Students will write one term
paper whose contents they will also present in class; in addition, there will
be a mid-term quiz and a final exam.
This course can be cross-listed in the History program and advertised in
the Arts and Lang&Lit Divisions. It will count towards the music history requirement
for music majors and Conservatory students.
Class size: 20
91831 |
MUS 212 Jazz in
Literature II |
Thurman
Barker |
M . W . . |
10:10
11:30 am |
BLM N210 |
AART |
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: 18
91979 |
MUS 253 Special
Topics in Ethnomusicology:
Black Music & African Retention Theories |
Andrew
Eisenberg |
M . W . . |
11:50
1:10 pm |
BLM N210 |
AART |
This
course explores scholarly and popular debates over the nature of black music in
the U.S., focusing on the development of questions and theories of African
retentions from the 1920s to the present. It is at once an introduction to the
concept of black music, a survey of African American musical traditions from
the slave songs to hip hop, and a review of the history of debates over music
and race in U.S. academia and public culture. Students will be asked to read
critically and respond to a diverse set of readings from literary criticism,
anthropology, musicology, and ethnomusicology, and to engage in analytical
listening. Class size: 20
91751 |
MUS 254A Pronunciation
and Diction for
Singers I |
Erika
Switzer |
. T . Th . |
10:10 - 11:30 am |
BDH |
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 English and Italian languages, the spring to German and French. Through
song literature, students will take from this course a basic understanding of
pronunciation rules and rhythm of each language. No previous knowledge of the
languages is required. Class size: 12
91753 |
MUS 256 Orchestration
Workshop |
George
Tsontakis |
. T . . . |
3:10 -5:30 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
91752 |
MUS 265B Literature
and Language of
Music III: 20th & 21st Centuries |
Kyle
Gann |
. . W . F |
3:10 -4:30 pm |
BLM N217 |
AART |
Around
1910 musicians began abandoning the rules of harmony and counterpoint that had
guided musics course for more than three centuries, leaving every composer free
to imagine and develop his or her own musical system or language. This course
will attempt to bring order to the resulting chaotic history of classical and
postclassical music since 1910. We will focus on the era through the lenses of
movements fauvism, dodecaphony, serialism,
neoclassicism, neoromanticism, minimalism, totalism, postmodernism and major figures, as well as the
changing relation to (and often reaction against) capitalism. As we will be
using scores in our discussions, basic skills in music reading are expected.
Grades will be based on papers, classroom and Moodle
discussion, and two listening tests. This course counts towards the music
history requirement for music majors. Literature and Language I and II courses
are not prerequisites. Class size: 22.
91754 |
MUS 266A American
Popular Song 1900-1929 |
John
Esposito |
M . W . . |
11:50 -1:10 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 Jerome Kern, Irving Berlin, George Gershwin, Walter Donaldson, Vincent Youmans, Richard Whiting, Henderson/Da Silva/ Brown 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
91747 |
MUS 273 From
Hungary to the World: Contributions
of Bιla Bartσk, Gyφrgy Ligeti & Gyφrgy Kurtαg to 20th Century
Music |
Peter
Laki |
. T . Th . |
10:10 - 11:30 am |
BLM N210 |
AART |
Hungary,
a Central European country smaller than New York State, has given the world
more than its share of great composers and performers. Paradoxically, Bιla
Bartσk and Zoltαn Kodαly, the two great Hungarian composers of the first half
of the 20th century, were able to make Hungarian music
internationally relevant by making it more recognizably Hungarian. It was partly to this end that they undertook
their historic research and analysis of Hungarian folk music, which will be
explored in the class. Their successors
in the second half of the century, Gyφrgy Ligeti and Gyφrgy Kurtαg, built on this legacy in some fundamentally new
ways, redefining the relationship between the local and the universal. We will discuss the consequences of the fact
that Bartσk, Ligeti and Kurtαg were all born in areas that now belong to Romania,
not Hungary. A strong musical background
and proficiency in score reading are desirable.
There will be some reading assignments, but the emphasis will be on
active, analytical listening. Students
will write one term paper whose contents they will also present in class; in
addition, there will be a mid-term quiz and a final exam. The course will count towards the music
history requirement for music majors and Conservatory students. Class size: 20
91834 |
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,
Handels Giulio Cesare, Purcells
Dido and Aeneas, Mozarts Don Giovanni, Beethovens Fidelio,Wagners Die Walkure, Verdis La traviata, Bergs
Wozzeck, and Glasss 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: 20
91746 |
MUS 302 Advanced
Analysis Seminar: Minimalism |
Kyle
Gann |
. . . Th . |
1:30 -3:50 pm |
BLM N210 |
AART |
The focus of this semesters 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 its 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, well analyze
La Monte Youngs The Well-Tuned Piano,
a six-hour improvisatory piano work in altered tuning; Steve Reichs popular Music for 18 Musicians; Philip Glasss Einstein on the Beach; Tom Johnsons An Hour for Piano; John Adamss Phrygian Gates; and also postminimalist works by William Duckworth, Lois Vierk, Paul Epstein, Peter Garland, and others. Work will
consist of weekly score analyses and a final analysis paper. Prerequisite: any
200-level theory course or permission of the instructor. Open only to moderated upper college students. Class size: 15
91387 |
MUS 320 Musical
Electronics: Analog Synthesis and Processing |
Robert
Bielecki |
. T . . . |
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. Enrollment limited. Open
only to moderated upper college students. Class
size: 12
91835 |
HUM 332 Performing
Arendt |
Robert
Woodruff |
M . . . . . . W . . |
3:00 -6:00 pm 11:50 -1:20 pm |
FISHER PAC |
PART |
See Theater section for description.
91833 |
MUS 349 Jazz: The
Freedom Principle IV |
Thurman
Barker |
M . . . . |
1:30
3:50 pm |
BLM N210 |
AART |
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 70s. 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 its
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: 15
91750 |
MUS 348 Behind Open Doors: Vocal Works of Benjamin Britten and
Francis Poulenc |
Rufus
Muller / Erika
Switzer |
M . . . . |
4:40 -7:00 pm |
BDH |
AART |
2013
marks the 50th anniversary of Francis Poulencs death and the 100th
anniversary of Benjamin Brittens birth.
These two composers shared biographical similarities notably their
close work with singer-partner-muses Pierre Bernac
and Peter Pears. The fruit of their
inspired partnerships reveals a deep understanding of vocalism and expression
evidenced in a rich body of song. This
course will introduce students to the lives and vocal works of Britten and
Poulenc through assigned readings, written assignments, guided discussions,
listening, musical study, and performance.
Recommended for vocal and piano majors as well as budding
musicologists. Limited to Upper College Students. Class
size: 12
91748 |
MUS 352 Electronic,
Acoustic, Computer Music Composition I |
Marina
Rosenfeld |
. . W . . |
10:10 - 12:30 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,
original work in the form of recordings, scores, and/or digital realizations. These
will be examined and commented on by the instructor and other class
members. Installation and inter-media works will also be
welcomed. Analyses and class presentations of classic works by such
composers as Stockhausen, Cage, Lucier, 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: 15
91749 |
MUS 365 The Music
of Japan |
Richard
Teitelbaum |
. . W . . |
1:30 -3:50 pm |
BLM N210 |
AART |
Cross-listed: Asian
Studies The course begins
with an examination of the ancient repertories of Buddhist chant (shomyo) and court music (gagaku)
that form the basis for traditional Japanese classical music. Other
traditional genres to be studied will include the Zen-inspired shakuhachi (end-blown bamboo flute) honkyoku,
and music for biwa (lute), shamisen and koto. After
exploring the impact of Western music on Japan in the 19thand 20th centuries,
the class will focus on the combination of traditional Japanese instruments and
forms with Western contemporary classical techniques, as exemplified by the
path breaking work of Toru Takemitsu, as well as that
of Yuji Takahashi, Toshi Ichiyanagi,
and others. Postwar experimental groups, such as Gutai,
Group Ongaku, etc. that include such key figures as
Yoko Ono, Takehisa Kosugi,
and other Fluxus members will be examined, as well as
Japanese Free Jazz musicians such as Masayuki Takayanagi,
Masahiko Togashi, and Toshinori
Kondo. Finally, recent developments in noise music by such figures as Merzbow, Otomo Yoshihide, Toshimaru Nakamura,
Sachiko M and others that combine turntables, no input mixers and laptops
with Japanese and western acoustic instruments will be studied. Class size: 15
91937 |
MUS 366C Advanced
Contemporary Jazz
Techniques III |
John
Esposito |
. . . Th . |
11:50
2:30 pm |
BLM
N211 |
PART |
Cross-listed: Africana Studies This course will focus on strategies for improvisation without
predetermined chord structures or rhythmic frameworks and on methods for
shaping performances spontaneously. We will also explore collaboration
with artists from other disciplines such as dance, spoken word and visual arts.
This class is open to moderated upper college students who have successfully
completed advanced contemporary Jazz techniques A & B. Class size: 15
91395 |
MUS 367A Jazz
Composition I |
Erica
Lindsay |
. . W . . |
6:00
-9:00 pm |
BLM
N211 |
PART |
This class acts as an introduction to jazz
composition, covering first practical aspects of notation, instrumentation,
Sibelius/Finale and score/parts preparation that will be necessary for the
remainder of the two-year sequence. The focus of the first semester is on the
less structured realm of modal harmony. Students compose and have their piece
performed in class on a weekly basis allowing them to begin to find their own
voice and to master the practical techniques necessary for a successful performance
of their work. This fulfills a
music theory requirement for music majors.
Open
to moderated students and students who are preparing for their moderation into
the music program. Class size: 12
MUSIC WORKSHOPS:
Workshops
carry 2 credits, unless otherwise noted.
91757 |
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 music to players in the class (as well as some conservatory
players when needed). They will later be recorded by the professional group,
the Da Capo Chamber 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. Open
to serious first-year students who can read music and play an instrument. Interested students should email Prof. Tower ([email protected])
prior to registration to determine eligibility.
Class size: 18
91759 |
MUS WKSHB Performance
Class |
Luis
Garcia-Renart / Michael Bukhman |
. T . Th . . . W . . |
1:30 -3:50 pm 4:00 -6:30 pm |
BLM HALL 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: 18
91390 |
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: 14
91761 |
MUS WKSHF Samba
School |
Carlos
Valdez |
. . . . F . . . . F |
12:00 -2:00 pm 2:00 -4:00 pm |
BLM N211 BLM N211 |
PART |
2 credits Samba School
provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba
reggae). All skill levels welcome, Advanced students will register for the 12:00
2:00 slot, Beginners in 2:00-4:00. Class
size: 60
91758 |
MUS WKSHJ New
Music/New Music Performance |
Blair
McMillen |
. T . . . |
6:30 -8:30 pm |
BLM HALL |
PART |
2 credits 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: 18
91760 |
MUS WKSHL Opera
Workshop |
Rufus
Muller / Ilka
LoMonaco / Teresa
Buchholz |
. . W . . |
4:40 -7:00 pm |
BDH |
PART |
2
credits Opera Workshop: In the Fall Semester,
we prepare a themed program of operatic excerpts (choruses, ensembles, solos), which
is then performed in the Fisher Center, fully staged and with orchestra, in the early part of the Spring Semester. Typically
this involves intensive rehearsals during the week before Spring Semester, and
evening rehearsals in the first week of semester. Students enrolling in the
Fall Semester for two credits thus commit themselves to the final rehearsals
and performances in the Spring Semester, which earn them an additional two
credits. Enrollment is by audition.
Please contact Professors Mόller ([email protected]) and LoMonaco ([email protected])
for details. Class size: 18
91756 |
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
91396 |
MUS WKSP3 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: 15
91425 |
MUS WKSP7 Jazz Vocal
Workshop |
Pamela
Pentony |
M . . . . |
4:00
7:00 pm |
BLM N211 |
PART |
2 credits 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. Rhythmic and melodic alterations are
explored. 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
are 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. Jazz chorus meets separately. There is a final
exam in this class. Class size: 30
91421 |
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.
Laptop synthesizers 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 9 (Intro or full version) or arrange regular access to the department's computers.
Students should already have a basic understanding of electronic music. Class
size: 16
91929 |
MUS WKSH Sonata
Workshop |
Blair
McMillen/ Erica
Kiesewetter/ Marka
Gustavsson |
. T. . . |
4:00
-6:00 pm |
BLM
HALL |
PART |
This
workshop will explore the wide repertoire of sonatas with instrument and piano,
as coached by the professors. Students may sign up as a pre-formed group or be
placed. Open to college and conservatory students by recommendation or
audition.
91934 |
MUS WKSH Mixed
Trios, Quartets, & Quintets |
Patricia
Spencer |
. TBA . . |
|
|
PART |
SPECIAL
PROJECTS: Special Projects are designed for
music majors only to pursue individual or group projects with a particular
Professor.
91769 |
MUS PROJ
CG
Special Projects |
Christopher
Gibbs |
. . . . . |
|
. |
PART |
91763 |
MUS PROJ
EL
Special Projects |
Erica
Lindsay |
. . . . . |
|
. |
PART |
91768 |
MUS PROJ
ES
Special Projects |
Erika
Switzer |
. . . . . |
|
. |
PART |
91762 |
MUS PROJ
JB
Special Projects |
James
Bagwell |
. . . . . |
|
. |
PART |
91766 |
MUS PROJ
JT
Special Projects |
Joan
Tower |
. . . . . |
|
. |
PART |
91765 |
MUS PROJ
KG
Special Projects |
Kyle
Gann |
. . . . . |
|
. |
PART |
91764 |
MUS PROJ
LGR
Special Projects |
Luis
Garcia-Renart |
. . . . . |
|
. |
PART |
91770 |
MUS PROJ
PL
Special Projects |
Peter
Laki |
. . . . . |
|
. |
PART |
91767 |
MUS PROJ
TB
Special Projects |
Thurman
Barker |
. . . . . |
|
. |
PART |
PRIVATE LESSONS
Please Note: There is a $150.00 Private Lesson Fee each semester for any
student taking private lessons. If a student decides to drop private
lessons they must fill out a Drop/Add form, have it signed by the appropriate
department faculty and deliver it to the Office of the Registrar on or before
Wednesday, September 18th, 2013, 5 PM or they will be charged and responsible
for the $150.00 Department Fee. Students who opt to take lessons not-for-credit
will be responsible for the full cost of the lessons themselves. Not
available for on-line registration. Please note: you can audit an ensemble, but
you cannot audit lessons. Private Lessons are offered as follows:
David Arner - piano (jazz, classical
and improvisation)
Teresa Buchholz classical voice
Michael Bukhman classical piano
Ira Coleman - jazz bass
Kenny Davis - jazz bass
Mike DiMicco - jazz guitar
Greg Dinger - classical guitar
Daniel Fishkin -
Serge modular synthesizer
James Fitzwilliam - coach and accompanist
Laura Flax - clarinet
Miguel Frasconi - electronic music
Otto (Richard) Gardner - bass
Greg Glassman - jazz trumpet
Marka
Gustavsson violin, viola
Stephen Hammer - oboe and recorder
Ryan Kamm - classical bass
Erica Kiesewetter violin
Ilka
LoMonaco- classical voice
Laura Majestic harp
Blair McMillen - piano
Garfield Moore cello
Rufus Mόller classical voice
Peter O'Brien - jazz drums
Sakiko Ohashi - piano
Pamela Pentony - voice (jazz)
Elisabeth Romano - bassoon
Pat Spencer - flute
John Thomas, trumpet
Carlos Valdez - Latin jazz percussion
Alexander Waterman - cello
Bruce Williams - jazz and classical saxophone