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 credits may be added. Private lessons must be separately
registered.
91896 |
MUS 104 Bard College Orchestra |
Gregory
Armbruster / Geoffrey McDonald |
M . . . . |
7:30 pm - 10:00 pm |
FISH |
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. 8th 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 15 from 7:30 pm -10:30 pm in the
Fisher Center. * (Please be prepared to play two pieces—one slower and
lyrical, and one faster.)
91426 |
MUS 105 Bard College Symphonic Chorus |
James
Bagwell |
. T . . . |
7:30 pm - 10:00 pm |
OLIN AUDT |
PART |
First
rehearsal will be Tues. Sept. 9th. Class size: 35
91442 |
MUS 106 Bard Community Chamber Music |
Luis
Garcia-Renart |
TBA |
|
. |
PART |
Class size: 16
91425 |
MUS 108D Ensemble: Chamber Singers |
James
Bagwell |
. T . Th . |
4:40 pm -6:40 pm |
BITO HALL |
PART |
Class size: 25
91429 |
MUS 108F Ensemble:Jazz |
Thurman
Barker |
M . . . . |
7:00 pm -9:00 pm |
BLM N211 |
PART |
Class size: 14
91462 |
MUS 108G Chamber Ensemble for any instrument |
Patricia
Spencer |
. T . . . |
7:30 pm -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: 6
91464 |
MUS 108G Ensemble: MIXED Chamber (WIND AND STRINGS) |
Patricia
Spencer |
. T . . . |
8:30
pm–10:00 pm |
BLM
004 |
PART |
Mixing
winds and strings in an ensemble offers special challenges (such as matching
tonguing and bowing) as well as unique colors, and taps into a wealth of repertoire.
Choices for flute and strings include classics by Mozart, Beethoven and Haydn,
strong works by more recent composers (Amy Beach, Alberto Ginastera,
and others) and contemporary giants such as John Harbison, Thea Musgrave and
Nicholas Maw. Choices for clarinet or oboe or bassoon and strings likewise
include a wide range: Mozart, Danzi, Brahms, Joan
Tower, Shulamit Ran, and many more. Class
size: 6
91898 |
MUS 108G GM Ensemble: Cello |
Garfield
Moore |
. . . . F |
5:00 pm -7:00 pm |
BLM HALL |
PART |
Class size: 12
91899 |
MUS 108H Ensemble: Balinese Gamelan |
Maria
Sonevytsky |
M . . . . |
7:00
pm – 9:00 pm |
TBA |
PART |
Class size: 20
91626 |
MUS 108I Ensemble: Electro-Acoustic |
Marina
Rosenfeld |
. T . . . |
6:00 pm -7:30 pm |
BLM HALL |
PART |
Class size: 15
91430 |
MUS 108J Ensemble: Percussion |
Thurman
Barker |
. T . . . |
1:30 pm -3:50 pm |
BLM N211 |
PART |
Class size: 14
91455 |
MUS 108N Contemporary Jazz Composers |
Erica
Lindsay |
. T . . . |
4:40 pm -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: 12
91433 |
MUS 108P Ensemble: Baroque |
Alexander
Bonus |
M . . . . |
1:30 pm -3:30 pm |
BLM 117 |
PART |
Performance ensemble focusing on music from 1600-1750. Requires
an audition for acceptance. Class size: 14
Music Courses
91452 |
MUS 145 BIG BROTHER IS LISTENING: Music & Politics ACROSS the Ages |
Peter
Laki |
M . W . . |
10:10 am- 11:30 am |
BLM N217 |
AART |
This
course will explore two basic kinds of political music: music written in support of a state or regime,
and music written in protest against a state or regime. Both types have a long history in the Western
world, on which we will focus predominantly if not exclusively. After surveying a few examples from the Middle Ages through the classical era, we will move to more
recent points in time to investigate political music under modern democratic
and totalitarian governments. Both classical and popular genres will be
considered. Readings will be placed on reserve or handed out in class. There will be three take-home exams. Each student wiII
have to do two brief presentations in class (l0 minutes each) about a piece of
music with a political message, describing the historical context and analyzing
the chosen work. The presentations will
also have to be submitted in written form.
Class size: 20
91450 |
MUS 169 Listening to String Quartets |
Marka
Gustavsson |
. T . Th . |
1:30 pm -2:50 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
Beethoven’s 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: 16
91437 |
MUS 171 Jazz Harmony I |
John
Esposito |
M . W . . |
9:40 am - 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. This course fulfills a music theory/performance requirement
for music majors. Required course for moderating into
the Jazz program. Class
size: 25
91461 |
MUS 185 Intro to Ethnomusicology |
Maria
Sonevytsky |
. T . Th . |
10:10 am- 11:30 am |
BLM N210 |
SSCI/DIFF |
Cross-listed: Anthropology This course surveys the
discipline of ethnomusicology, the study of music in and around its social and
cultural contexts. Through our exploration of the materiality and meaning of
music, we will listen to wide-ranging examples of sounds from around the globe.
We will consider ways to listen deeply and to write critically about music. We
will examine how music has been represented in the past and how it is variously
represented today, and will develop ethnographic research and writing skills.
We will ask questions about the utility and value of music as a commodity in
our everyday lives and in our globalized world. We will debate the ethics of
musical appropriations and collaborations. We will examine both the
foundational questions of the discipline (addressing debates about musical
authenticity, musical origins, universals, comparative frameworks, and the
preservationist ethos) as well as recent subjects of ethnomusicological
concern. Topics will include: media and technology; post-colonial issues; music
and language; hybridity; circulation and consumption; music and labor; music
and gender; and the relevance of music to contemporary indigenous politics and
human rights. Students are expected to read assigned readings in advance of
class, participate in weekly discussions online and in class, take a midterm
and final exam, and produce a variety of informal and formal written
assignments (ranging from one-paragraph reading responses to two papers that
are 5-7 pages in length). Class size: 22
91432 |
MUS 201 Music Theory / Ear Training I |
Alexander
Bonus |
M T W Th . |
1:30 pm -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
91427 |
MUS 212 Jazz Literature II |
Thurman
Barker |
M . W . . |
10:10 am- 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
91424 |
MUS 215 Introduction to Conducting |
James
Bagwell |
. T . Th . |
11:50 am -1:10 pm |
BLM HALL |
PART |
This
course will introduce the 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 individual's
improvement in gesture and rehearsal technique.
Prerequisites for the course are the successful completion of Music
Theory I and II or equivalent. Class size: 10
91460 |
MUS 218 Musical Exoticisms |
Maria
Sonevytsky |
. T . Th . |
3:10 pm -4:30 pm |
BLM N210 |
HUM/DIFF |
Cross-listed: Anthropology, Human Rights Since Ancient Greece,
Western “civilization” has defined itself against the broader world perceived
to be inhabited by “barbarians.” But what do “civilization” or “barbarism”
sound like? In this course, we will read and listen to examples of musical
exoticisms from around the globe, exploring the connections between stereotype,
sound, and the (post-) colonial condition. From Herder’s idealized “folk” to
Malinowski’s “natives,” from the ritual songs of Omaha Native Americans to
Stravinsky’s neo-primitivist ballets, from “pygmy
pop” to the Eurovision Song Context, our class will trace how stereotypes of
exoticism have appeared in a variety of musical traditions from the 18th
century to the modern day. Modern political discourses of indigeneity seek
to challenge and undo histories of “otherness,” yet indigenes must often struggle
against the paradox of appearing “inauthentic” when they try to make a living
from creative enterprises. We will explore this conundrum through classic texts
on the anthropology of music, more recent works on postcolonialism
and music, situating accounts of musical exoticism into the broader context of
European imperialism. Along the way, we will listen to a wide variety of musics, exploring the logics of musical systems that were
once labeled as “primitive.” Students will generate weekly discussion
questions based on reading and listening assignments that will be posted online
in advance of class meetings. There will be in-class midterm and final exams,
and a variety of brief writing exercises in a range of informal and formal
styles. Every week, selected students will be required to bring in an “object”
to discuss in class, offering a brief presentation that explains the relevance
of the object to our course’s theme. Class size: 22
91465 |
MUS 254A Pronunciation and Diction for Singers I |
Erika
Switzer |
. T . Th . |
10:10 am- 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: 10
91469 |
MUS 256 Orchestration Workshop |
George
Tsontakis |
. T . . . |
10:10 am- 12:30 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: 8
91445 |
MUS 265 LitERATURE AND
Language of Music II |
Christopher
Gibbs |
M . W . . |
11:50 am -1:10 pm |
BLM N217 |
AART |
A
survey of selected musical works composed in the late 18th and 19th
centuries. 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 have taken the first semester (Music
264), which covered music from the Middle Ages to 1800. Class
size: 20
91438 |
MUS 266C Jazz Repertory: BEBOP Masters I |
John
Esposito |
M . W . . |
11:50 am -1:10 pm |
BLM N211 |
PART |
Cross-listed: Africana Studies 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/performance requirement for the music program. Class
size: 12
91434 |
MUS 308 Bach, the Baroque & Beyond |
Alexander
Bonus |
. . W . . |
1:30 pm -3:50 pm |
BLM N210 |
AART |
Cross-listed: Experimental Humanities "Who was J.S.
Bach?" is something of a trick question; the answer all depends on the
specific historical moment at hand. Bach, the "genius" composer
famous to our society, was in his own lifetime considered a far different
musician, one not as admired (or even recognized) as we might assume. This
seminar delves into Bach's life, his sizable musical family, and his creative
influences. Some of his most revered compositions are analyzed and compared to
other repertoire from the 17th and 18t h centuries. In addition, the course
highlights landmark performances that served to promote Bach’s greatness in
following generations. Through the work of notable musicians – including
Mendelssohn, Brahms, Albert Schweitzer, Stravinsky, Casals, Glenn Gould, Wendy
Carlos, and John Eliot Gardiner-- the
answer to "Who was Bach?" is
seen to transform alongside the changing ideals of modern Western culture. Grades are determined through weekly reading
and listening assignments, an exam, and a final project in which class members
build an online Bach performance and research archive. Counts
towards the music history requirement.
Class size: 14
91431 |
MUS 320 Musical Electronics |
Robert
Bielecki |
. . . Th . |
1:30 pm -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. We’ll discuss topics such as Voltage Control, Synthesis,
Filtering, Waveshaping, Phase Shifting, Ring
Modulation, Theremins, Circuit Bending, etc. We’ll work from existing designs
and also create new devices as we hone our skills of soldering, point-to-point
wiring and layout. Familiarity with
basic electronics and the use of hand tools is helpful but not a prerequisite for
this class. Enrollment limited. Class
size: 14
91428 |
MUS 332 Jazz: The Freedom Principle II |
Thurman
Barker |
M . . . . |
1:30 pm -3:50 pm |
BLM N210 |
AART/DIFF |
Cross-listed:
Africana Studies This is
a survey course in Jazz History, which is part II of a four- part course. This
is a study of Jazz from 1927 to 1942, the big band or swing era. Emphasis will be on band leaders such as
Jimmie Lunceford, Benny Goodman, Tommy Dorsey, Teddy
Wilson, Count Basie and Duke Ellington. This course employs a cultural approach
designed to look at the social climate surrounding the music from 1927 to 1942
and examine its’ effect on the music.
This will be illustrated with recordings, films and videos. This class
requires oral presentation and critical listening. Class
size: 15
91466 |
MUS 340 INTRODUCTION TO Experimental Music |
Richard
Teitelbaum |
. T . . . |
1:30 pm -3:50 pm |
BLM N119 |
PART |
This
course deals with the experimental tradition starting from Henry Cowell’s
radical innovations early in the 20th century, through those of
his students, pre-eminently John Cage and others of the “California School” of
the 30’s and 40’s, and “The New York School” around Cage that included Feldman,
Brown, Wolf and Tudor in the 50’s. The primary focus however will be on
the development of new forms, media and social organizations begun in the
sixties and seventies, as exemplified by: text-based “event” pieces of the
international Fluxus movement; the early minimalist
works of La Monte Young, Terry Riley, Steve Reich and Philip Glass; live
electronic music of AMM in London, Musica Elettronica Viva in Rome and Sonic Arts Union in New York;
the work of Cornelius Cardew and the Scratch
Orchestra in London; and the influence of “open form” “free jazz” and “creative
music” in establishing improvisationally-based
compositional techniques and systems in the works of Anthony Braxton, George
Lewis and others. In addition to studying the works this tradition has produced
and discussing their aesthetic and philosophic underpinnings, students will be
encouraged to realize and perform works by these composers, and to create new
ones of their own. Class size: 12
91441 |
MUS 351 ANALYZING Late Beethoven |
Kyle Gann |
M . W . . |
3:10 pm -4:30 pm |
BLM N217 |
AART |
Ludwig van Beethoven's last five piano sonatas and last five string
quartets, along with the Ninth Symphony, Missa Solemnis, and last two cello sonatas, have
long had a reputation as the most
profound and transcendent music ever
written, unsurpassed in depth and
modernity. Starting with the "Archduke" Trio, this course will go through Beethoven's music of 1811 to
1827, his late period, with primary attention to how he increasingly molded all movements of a multi-movement form from a single idea, and also how he managed to overlay
genres such as sonata form, variations,
and fugue into a single movement, in a
synthesizing apotheosis of classical form
that no successor ever followed up on.
In addition, we will also consider his minor works of the period- canons, folk
song arrangements, marches- to gain a fuller view of
what constituted a composer's daily life in the 1820s. The course is intended
to satisfy a theory requirement for music majors, but might instead be used for a music history requirement if the student 's
midterm and final papers take that
approach. Class size: 22
91624 |
MUS 352 Electronic, electro-Acoustic and computer Composition |
Marina
Rosenfeld |
. . W . . |
1:30 pm -3:50 pm |
BLM N119 |
PART |
This course, intended primarily for music majors,
will be focused on the individual creative work of the students
enrolled. Composition assignments isolating problems of form,
technique and materials will help students explore the process of making and
performing electronic music. Each student will be expected to create original
work throughout the semester and bring this to class for discussion and
critique. Analyses and class presentations of relevant works by such composers
as Stockhausen, Lucier, and Oliveros,
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 course fulfills music
theory requirement. Class size: 15
91453 |
MUS 356 Arranging Techniques: Jazz |
Erica
Lindsay |
. . W . . |
6:00 pm -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: 10
91625 |
MUS 358 Sound / Art |
Marina
Rosenfeld |
. T W . . |
11:50 am -1:10 pm |
BLM N110 |
PART |
What
is "sound art" and how does it intersect with the visual? the musical? the sculptural? Is it
sound that prioritizes a relationship to architecture and space over time and
performance? That refuses the category of the musical? Or that recuperates
concerns such as noise, silence, site and performance, and incorporates them
back into music? How do the shifting categories of 21st century arts free the
artist to work across traditional disciplinary boundaries? Reading and writing,
in-class study of key works, and creative student work will be undertaken in
this course to explore how and why “sound” or the sonic has become a key
contemporary form. Class size: 15
91440 |
MUS 359 ANALYSIS OF The Classics of Modernism |
Kyle Gann |
. T . Th . |
3:10 pm -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: 22
MUSIC WORKSHOPS:
Workshops
carry 2 credits, unless otherwise
noted.
91960 |
MUS WKSH ES Workshop: GERMAN DICTION |
Erika
Switzer |
TBA . . . . |
TBA |
BITO HALL |
PART |
This
course reviews German pronunciation and phonetic spelling and applies these systems
to solo vocal repertoire with regard to clarity, ease, expression, and
interpretive choices. This course is available to moderated voice majors
by recommendation of the instructor and audition for the graduate committee of
the Conservatory's Vocal Arts Program. Class
size: 16
91446 |
MUS WKSH GKM Sonata & Duo Workshop |
Erica
Kiesewetter Marka
Gustavsson Blair
McMillen |
. T . . . |
4:00 pm -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. Class
size: 12
91467 |
MUS WKSHA Workshop: Composition |
Joan
Tower |
M . . . . |
3:00 pm -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: 8
91443 |
MUS WKSHB Workshop: Performance Class |
Luis Garcia-Renart |
. T . Th . . . W . . |
1:30 pm -3:50 pm 4:00 pm -6:20 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. Students choose one of
three sections. Class size: 25
91435 |
MUS WKSHD Sight Reading Workshop |
Michael
DeMicco |
. T . . . |
12:00 pm -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
91471 |
MUS WKSHF CV2 Beginner Samba School |
Carlos
Valdez |
. . . . F |
2:05 pm -4:00 pm |
BLM N211 |
PART |
2 credits Samba School provides the
opportunity to learn exotic Brazilian rhythms (samba, maracatu,
batucada, samba reggae) Class
size: 30
91470 |
MUS WKSHF CV Advanced Samba School |
Carlos
Valdez |
. . . . F |
12:00 pm -2:00 pm |
BLM N211 |
PART |
2 credits Samba School provides the
opportunity to learn exotic Brazilian rhythms (samba, maracatu,
batucada, samba reggae) Class
size: 30
91457 |
MUS WKSHL Workshop: Opera Workshop |
Teresa
Buchholz / Rufus Müller / Ilka LoMonaco |
. . W . . |
4:40 pm -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 Müller ([email protected])
and LoMonaco ([email protected])
for details. Class size: 30
91456 |
MUS WKSHM OH LA LA! Love AND Passion in French Song |
Rufus Müller |
M . . . . |
4:40 pm -7:00 pm |
BITO HALL |
PART |
Song
recitals can be so stale or overwrought.
In this performance-oriented course for singers and pianists, our particular
emphasis is on how to communicate vividly with our audience, as well as
providing guidance on French diction and style.
Class size: 12
91463 |
MUS WKSHN "Hands-on" Music History |
Patricia
Spencer / Peter
Laki |
. T . . . |
4:40 pm -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: 6
91454 |
MUS WKSP3 Workshop: Jazz ImprovISAtion I |
Erica
Lindsay |
. . . Th . |
4:40 pm -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: 12
91458 |
MUS WKSP7 Jazz Vocal Workshop |
Pamela
Pentony |
. . . Th . |
2:00 pm -4:30 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, 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
91451 |
MUS WKSPP ADVANCED Orchestral Audition Prep. |
Erica
Kiesewetter |
. . . Th . |
4:00 pm -6:00 pm |
BITO 202 |
PART |
2 credits This class is for advanced
violinists (and violists) who would like to learn orchestral excerpts for
festival and orchestra auditions. The student is expected to bring in new
excerpts every week; the class will involve detailed coaching on the excerpts
including a focus on understanding the work in context and the composer's
style, advice on preparation and performance anxiety and mock audition
practice. Class size: 6
Special
Projects - Special Projects are
designed for music majors only to pursue individual or group projects with a
particular Professor.
91952 |
MUS PROJ
EK |
Erica
Kiesewetter |
|
|
|
PART |
91944 |
MUS PROJ
AB |
Alexander
Bonus |
|
|
|
PART |
91929 |
MUS PROJ
CG |
Christopher
Gibbs |
|
|
|
PART |
91930 |
MUS PROJ
EL |
Erica Lindsay |
|
|
|
PART |
91931 |
MUS PROJ
ES |
Erica
Switzer |
|
|
|
PART |
91932 |
MUS PROJ
JB |
James
Bagwell |
|
|
|
PART |
91933 |
MUS PROJ
KG |
Kyle Gann |
|
|
|
PART |
91934 |
MUS PROJ
PL |
Peter
Laki |
|
|
|
PART |
91935 |
MUS PROJ
TB |
Thurman
Barker |
|
|
|
PART |
91468 |
MUS PROJ JT |
Joan
Tower |
|
|
|
PART |
91444 |
MUS PROJ LGR |
Luis
Garcia-Renart |
|
|
|
PART |
91444 |
MUS PROJ
JE |
John
Esposito |
|
|
|
PART |
PRIVATE LESSONS – (register for lessons with a drop/add form.)
Please Note: In order to receive credit
for lessons a student must be enrolled in an ensemble or performance class. 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 17, 2014, 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:
Ø
Erika
Allen – classical piano
Ø
David
Arner - piano (jazz, classical and improvisation)
Ø
Teresa
Buchholz – classical voice
Ø
Ira
Coleman - jazz bass
Ø
Mike
DiMicco - jazz guitar
Ø
Greg
Dinger - classical guitar
Ø
Daniel
Fishkin- Serge modular synthesizer
Ø
Laura
Flax – clarinet
Ø
Amy
Garapic - percussion
Ø
Otto
(Richard) Gardner - bass
Ø
Greg
Glassman - jazz trumpet
Ø
Marka Gustavsson –
violin, viola
Ø
Stephen
Hammer - oboe and recorder
Ø
Bruce
Jackson – classical bass
Ø
Ryan
Kamm - classical bass
Ø
Erica
Kiesewetter – violin
Ø
Ilka LoMonaco-
classical voice
Ø
Blair
McMillen - piano
Ø
Garfield
Moore – cello
Ø
Rufus
Müller – classical voice
Ø
Peter
O'Brien - jazz drums
Ø
Sakiko Ohashi -
piano
Ø
Pamela
Pentony - voice (jazz)
Ø
Patricia
Spencer - flute
Ø
John
Thomas - trumpet (classical and jazz)
Ø
Carlos
Valdez - Latin jazz percussion
Ø
Bruce
Williams - jazz and classical saxophone