Music Program Requirements

 

A student choosing to major in music can develop a course of study intended to cultivate specific musical interests and abilities. Advisers in each music field may suggest the best academic plan for each student. Areas of focus include performance or composition in classical, jazz, or electronic music genres; western music research and history; music theory and analysis; and ethnomusicology. To fulfill requirements in a desired focus, students are suggested to take no fewer than six 200/300 level theory and history courses by the time of graduation. Additional requirements may include regular enrollment in one or more of the performance workshops, private lessons, composition workshops, or ensembles that are offered each semester. By the time of moderation, a student should ideally have completed half of their suggested course requirements.

 

Students’ Moderation and Senior Projects should ideally reflect their expressed musical interests and goals, whether they are based in performance, composition, research, analysis, or any combination of these. The Moderation Project for a student focused on composition or performance usually consists of a 25-40 minute recital, highlighting original work and/or other repertoire. For students interested in music scholarship or analysis, a substantial music history or theory paper serves as an appropriate moderation project.

 

A Senior Project in music can be accomplished in a variety of ways. Performers and composers usually present two concerts from 30 to 60 minutes each. For some composers, one concert can be replaced by an orchestra work written for performance by the American Symphony Orchestra. In certain circumstances, a finished, sophisticatedly produced recording or multimedia project serves in place of a live performance. Music History and Theory students typically present an advanced, scholarly research or analysis paper as the main component of a Senior Project.

 

 

College & Community Ensembles

Unless otherwise noted, each ensemble is for one credit.  It is possible to participate in more than one ensemble and receive additional credit accordingly.  If private lessons are taken in conjunction with an ensemble one or two credits may be added.  Private lessons must be separately registered.

 

91827

MUS  104   

 Bard College Orchestra

Zachary Schwartzman

M . . . .

7:30 pm - 10:30 pm

OLIN AUDT

PART

This is a yearlong course. Students earn 2 credits per semester, and an additional 2 credits for registering in private lessons, which are strongly recommended.   Auditions for new members: please contact Greg Armbruster at garmbrus@bard.edu. Auditions are Monday, Sept. 7,  2015.  (Please be prepared to play two pieces—one slower and lyrical, and one faster.)  The first rehearsal will be Monday, Sept. 21, 2015.  Class size: 30

 

91802

MUS  105   

 Bard College Symphonic Chorus

James Bagwell

. T . . .

7:30 pm - 10:00 pm

OLIN AUDT

PART

First rehearsal will be Tuesday, Sept. 8th, 2015 at 7:30 pm.  Class size: 35

 

91816

MUS  106   

 Bard Community Chamber Music

Luis Garcia-Renart

. . . . .

TBA

BLM HALL

PART

Class size: 16

 

91845

MUS  108   CV

 Ensemble: Samba

Carlos Valdez

. . . . F

12:00 pm -2:00 pm

BLM N211

PART

Samba  provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba reggae)  Class size: 20

 

91837

MUS  108   PS

 Mixed Trios, Quartets, Quintet

Patricia Spencer

TBA

TBA

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 an 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, many more.  Class meetings are arranged according to the schedules of those who sign up.  Class size: 10

 

91801

MUS  108D   

 Ensemble: Chamber Singers

James Bagwell

. T . Th .

4:40 pm -6:40 pm

BITO CPS

PART

2 credits  Class size: 25

 

91805

MUS  108F   

 Ensemble:COMMUNITY Jazz ORCHESTRA

Thurman Barker

M . . . .

7:00 pm -9:00 pm

BLM N211

PART

Class size: 14

 

91838

MUS  108G   PS

 Ensemble for Any Instruments

Patricia Spencer

. T . . .

7:30 pm -9:00 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 [or Les moutons de Panurge]

Arnold Schoenberg, Canon for Thomas Mann, and other canons

Christian Wolff, Snowdrop

Judith Shatin, Grito del Corazón

Kurt Schwitters, Ursonate (selection)

Stefan Wolpe, Selections from “Music for Any Instruments”

Class size: 10

 

91839

MUS  108H   

 Ensemble: Balinese Gamelan

Nyoman Suadin

M . . . .

6:30 pm -8:30 pm

OLIN 305

PART

Class size: 20

 

92042

MUS  108I   

 Ensemble: electro-acoustic

Matthew Sargent

M . . . .

6:20 pm – 7:40 pm

BLM HALL

PART

Class size: 10

 

91806

MUS  108J   

 Ensemble: Percussion

Thurman Barker

. T . . .

1:30 pm -3:30 pm

BLM N211

PART

Class size: 15

 

91825

MUS  108N   

 Contemporary Jazz Composers

Erica Lindsay

. T . . .

4:40 pm -6:40 pm

BLM N211

PART

2 credits 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

 

91834

MUS  108R   

 Bard Georgian Choir

Carl Linich

Sun

6:30 pm -8:30 pm

BARD HALL

PART

1 credit  The Bard Georgian Choir is an all-vocal group that studies and performs traditional polyphonic songs from the Republic of Georgia (former USSR). Most songs are taught orally, and no previous singing experience or music reading skills are required. Special vocal techniques are also explored, including ornamented singing and yodeling. The group performs concerts at the end of each semester. Carl Linich, the choir’s director, has been a scholar, teacher and acclaimed performer of Georgian polyphonic singing since 1990, and is a founding member of Trio Kavkasia. Class size: 15

 

 

MUSIC COURSES

 

91840

MUS  128   

 Unravelling the Song: A COMPARATIVE EXPLORATION OF SUNG STORYTELLING

Erika Switzer

. T . Th .

11:50 am -1:10 pm

BARD HALL

AART

This course will explore the relationship of text and music and the structures of sung stories. With musical examples from all eras, medieval to contemporary, and classical through popular forms, we will take a comparative view of the tools and interpretations of text-setting. Students will participate in class discussions, give presentations and submit written assignments in exploration of their own personal playlists, learning to articulate not only what they hear but also why they hear it that way. This course doe not fulfill a music history credit.  Class size: 20

 

91820

MUS  169   

 LISTENING TO String Quartets:

Haydn-Shostakovich

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.  This course does no fulfill a music history credit. Class size: 16

 

91810

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

 

91833

MUS  185   

 Intro to Ethnomusicology

Maria Sonevytsky

M . W . .

11:50 am -1:10 pm

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: 20

 

91800

MUS  201   

 Music Theory / Ear Training I

James Bagwell /

Erika Allen

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

 

91803

MUS  211   

 Jazz in Literature I

Thurman Barker

M . W . .

10:10 am - 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.  This course counts towards the music history requirement for the music program.  Class size: 16

 

91835

MUS  236   

 Music, Sexuality & Gender

Maria Sonevytsky

. T . Th .

10:10 am -11:30 am

BLM N217

AART

Cross-listed: Anthropology, Gender & Sexuality Studies  This course surveys musicological approaches to the study of sexuality and gender, asking how music informs and reflects cultural constructions of femininity and masculinity. Taking wide-ranging examples that include opera, popular music, folk and indigenous musics, we will investigate how modern gendered subjectivities are negotiated through musical practices such as composition, performance and consumption. Class readings will include musicological, anthropological, feminist, Marxist and queer theory approaches. Students will practice writing skills in a variety of formal and informal formats, culminating in an in-class presentation based on original research.  Class size: 20

 

91842

MUS  238   

 History of Electronic Music

Richard Teitelbaum

. . W . .

1:30 pm -3:50 pm

BLM N119

AART

In the 1920’s, a number of new electronic instruments such as the Theremin, the Ondes Martenot and the Trautonium were invented, and a number of composers, including Hindemith and Messiaen, composed new works for them.  After the invention of  magnetic recording tape in the late 40’s electronic music became an enterprise that was produced in special studios and fixed on tape for later playback. Starting around 1960, John Cage and David Tudor began experimental performances with such works as Cartridge Music (1960), Variations II and other pieces that reintroduced  the live performer to the electronic medium.  Many composers, such as Mumma, Behrman, Lucier, Ashley, Stockhausen, Nono, and Boulez, as well as collective improvisationally-based groups such as AMM Music in London, and Musica Elettronica Viva in Rome soon followed suit.  During the 60’s and 70’s, with the advent of smaller and the more personal synthesizers invented by Moog, Buchla and others, the field of live electronic music became a practical reality. Some ten years later, a similar sequence of events took place with regard to computer music, where the large mainframes of the 50’s and 60’s were superseded by the PC revolution of the late 70’s and 80’s.  This was followed by the more recent  development of the laptop that has enabled performers to carry powerful, portable computers on stage. This course will trace these developments, examine the literature of the field, encourage live performances of “classic” pieces, and the creation and performance of new compositions and improvisations. It is strongly recommended that this course be taken in conjunction with Electro-Acoustic Ensemble.  This course counts towards the music history requirement for music majors. Class size: 15

 

91831

MUS  240   

 Introduction to Electronic Music

Matthew Sargent

. T . Th .

11:50 am -1:10 pm

BLM N119

PART

This hands-on course will serve as an introduction to music technology and will focus on the creation of original work, including a final project, through the use of digital and analog tools and processes. Students will be introduced to foundational practices in electro-acoustic sound production and their contemporary/digital analogues, with particular emphasis on signal processing, studio and field recording, and modes of diffusion, including multichannel installation and live performance, and instruction in digital audio workstation software (Logic Pro, Pro Tools, and others). Examples from the history of electronic music will assist students in exploring contemporary approaches to electronic music software and technology. Enrollment in the course automatically gives students access to the Bard electronic music studios. In addition to the digital workstations, students can also explore analog synthesis techniques using the vintage Serge modular synthesizer.  Class size: 20

 

91841

MUS  254A   

 Pronunciation & Diction for Singers I

Erika Switzer

. T . Th .

10:10 am -11:30 am

BARD HALL

PART

This two-semester course is an introduction to the International Phonetic Alphabet (IPA), its symbols and practical use in performing or preparing Italian, French, German and English vocal literature. The fall semester will be devoted to the 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

 

91822

MUS  264   

 LitERATURE AND Language of Music: mIDDLE aGES & rENAISSANCE

Peter Laki

M . W . .

10:10 am -11:30 am

BLM N217

AART

A survey of selected musical works composed from Gregorian chant in the Middle Ages to the end of the 16th century. 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. Class size: 20

 

91811

MUS  266A   

 AmericAn Popular Song 1900-1929

John Esposito

M . W . .

11:50 am -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: 18

 

91812

MUS  266D   

 Jazz Repertory: John Coltrane

John Esposito

. . . Th .

10:10 am - 12:30 pm

BLM N211

AART

An immersion in the music of a Jazz master; includes readings, recorded music and films.  Coltrane’s music will be performed in a workshop setting by students and instructor.  Visiting artists will play and discuss the music. Prerequisites: Jazz Harmony II, or permission of Instructor. This fulfills a music history requirement for music majors.  Class size: 15

 

91818

MUS  276   

 Introduction to Opera

Christopher Gibbs

M . W . .

11:50 am -1:10 pm

BLM N217

AART

The course will survey selected masterpieces in the history of opera from the birth of the genre around 1600 to the present day. We will focus on a limited number of pieces, including treatments of the Orpheus myth by Monteverdi and Gluck, Handel’s Giulio Cesare, Purcell’s Dido and Aeneas, Mozart’s Don Giovanni, Beethoven’s Fidelio, Wagner’s Die Walkűre, Verdi’s La traviata, Berg’s Wozzeck, as well as some recent trends. Many of these works are based on significant literary and/or 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 screenings of parts of these works and comparisons among different productions. It is not expected or required that students be able to read musical notation. This course fulfills a music history requirement of music majors and conservatory students.  Class size: 20

 

91813

MUS  304   

 Arithmetic of Listening

Kyle Gann

. T . Th .

3:10 pm -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 culture’s music; trace the parallel development of music and the number series back 2500 years to the teachings of Pythagoras. Hear how Bach's and Beethoven’s music sounded in its original tunings. Learn how to discriminate the pitch subtleties that differentiate Indian music, Balinese music, and even the blues from our conventional European tuning, 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: 22

 

91814

MUS  319   

 19th Century Harmony

Kyle Gann

. . W . F

3:10 pm -4:30 pm

BLM N210

AART

The most important ongoing innovation in 19th-century music was in the field of harmony, and this course will trace that development in historical context. After starting with Field and Chopin, we will be weaving back and forth between the so-called “Music of the Future” – Berlioz, Liszt, Wagner, Bruckner, Mahler – and the “New German” composers – Mendelssohn, Robert and Clara Schumann, Brahms – ending at the dawn of the 20th-century with Scriabin, Debussy, and Schoenberg.  We will look at form and orchestration, but mostly we will be involved with Roman numeral analysis of augmented sixth chords, borrowed chords, enharmonic modulations, and chromatic voice-leading, applying Neo-Riemannian techniques where appropriate.  More compositionally, we will study the wealth of thematic transformation techniques that made late Romanticism such a fluid and often extramusically referential language. Primary grading points will be two analysis papers (10 pages each) and two composition projects, plus occasional smaller assignments, along with active participation in class analyses.  Class size: 22

 

91808

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: 15

 

91804

MUS  349   

 Jazz: Freedom Principle IV

Thurman Barker

M . . . .

1:30 pm -3:50 pm

BLM N210

AART/DIFF

Cross-listed: Africana Studies, American Studies  This Jazz History course which is part four of a four part course.  Part four is a study of Jazz after 1952 to the early 70’s.  The course will examine the extreme shifts in jazz styles from Cool, to Hard bop to the Arvant Garde.  Emphasis will be on musicians associated with these styles such as Stan Getz, Lee Konitz, Horace Silver, Hank Mobley, Anthony Braxton and Muhal Richard Abrams.  The course will discuss the solo and combo styles of these musicians.  The course employs a cultural approach designed to look at the social climate surrounding the music from 1952- 1972 and examine it’s effect on the music.  This will be illustrated with recordings and films.  The class requires oral presentation and critical listening.  This course is for juniors and seniors who have moderated into music.  This fulfills a music history requirement for music majors. Class size: 15

 

91832

MUS  352   

 Electronic, ELECTROAcoustic, & Computer Composition

Matthew Sargent

. T . . .

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. The course will serve as a workshop environment for student work: participants will be expected to regularly present and discuss their ongoing compositional projects. These will be examined by the instructor and other class members. Students may also take on collaborative works, installations, and intermedia projects. Analyses and class presentations of 20/21st century electroacoustic repertoire (Stockhausen, Cage, Lucier, etc.) will also be expected of the students during the semester. A public performance of student works will be produced by the class at the end of the semester. By consent of the instructor. This fulfills a music theory requirement.  Class size: 12

 

91824

MUS  367A   

 Jazz Composition I

Erica Lindsay

. . W . .

6:00 pm -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

 

91823

MUS  379   

 Music of Debussy and Ravel

Peter Laki

M . W . .

3:10 pm -4:30 pm

BLM N217

AART

This course will be devoted to the works of the two great French composers in the context of their time.  We will study a broad selection of the two composers’ works, including piano and chamber music, as well as symphonic and stage works.  Topics will include an examination of their innovations in the areas of harmony and timbre; we will also explore their connections with literature and the visual arts.  Reading will include chapters from The Cambridge Companion to Debussy and The Cambridge Companion to Ravel.  Students will be expected to do individual research and write a substantial term paper by the end of the semester.  The course will fulfill a music history requirement for music majors.   Class size: 15

 

 

MUSIC WORKSHOPS:

Workshops carry 2 credits, unless otherwise noted.

 

91830

MUS  WKSH   

 Workshop in Transcription 

and Analysis

Franz Nicolay

. T . . .

4:40 pm -7:00 pm

BLM N217

PART

This seminar offers a practical and theoretical orientation to transcription and analysis in music studies. Musical examples will include a range of field recordings and commercial releases spanning jazz, classical, indigenous and popular musics. We will explore the utility and limitations of notation as a descriptive, prescriptive, and pedagogical tool. Students should have completed two semesters of jazz harmony or music theory.  Class size: 10

 

91819

MUS  WKSH   GKM

 Sonata & Duo Workshop

Erica Kiesewetter /

Marka Gustavsson /

Blair McMillen

. . W . .

4:00 pm -6:00 pm

OLIN 104

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

 

91843

MUS  WKSHA   

 Workshop: Composition

Joan Tower

M . . . .

1:30 pm -3:50 pm

BLM HALL

PART

This workshop is for both composers and performers- primarily music majors who can read music. The process is one of learning how to put one's  musical soul onto the page, pass that  page first to players in the class  and then to Conservatory players as well as the Da Capo Chamber Players who record and play these pieces.  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: 10

 

91815

MUS  WKSHB   

 Workshop: Performance Class

Luis Garcia-Renart

. . W . .

4:00 pm -7:00 pm

BLM HALL

PART

This class is conceived as a unifying workshop for performing musicians within the department. Please meet with the instructor prior to or during registration.  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.  Students choose a section from the three options. Class size: 20

 

91828

MUS  WKSHB   

 oPERATORIO – THE arIA:  Performance Class

Rufus Muller

M . . . .

4:40 pm -7:00 pm

BITO CPS

PART

In this course, for singers and collaborative pianists, students will perform solo arias from both opera and oratorio. We shall work not only on communication with and moving the audience, but also on the different challenges inherent in each medium – how dramatic should a singer be in an opera aria, how formal in one from an oratorio? And for the pianists, should they merely “stay out of the way”, or actively recreate a whole orchestra with their playing? The course ends with a public recital.  Class size: 15

 

91809

MUS  WKSHD   

 Sight Reading Workshop

Michael DeMicco

. T . . .

12:00 pm -1:00 pm

BLM N211

PART

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

 

91829

MUS  WKSHL   

 Workshop: Opera Workshop

Rufus Muller

Teresa Buchholz

Ilka LoMonaco

. . W . .

4:40 pm -7:00 pm

BARD HALL

PART

In the Fall Semester we prepare a themed program of operatic excerpts (choruses, ensembles, solos), which is 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 (rumu2000@earthlink.net) and LoMonaco (ilka98@aol.com) for details. Class size: 15

 

91836

MUS  WKSHN   

 "Hands-on" Music History

Patricia Spencer /

Peter Laki

. T . . .

5:00 pm -7:00 pm

BARD HALL

PART

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: 10

 

91826

MUS  WKSP3   

 Workshop: Jazz Improvisation

Erica Lindsay

. . . Th .

4:40 pm -7:40 pm

BLM N211

PART

This class is an ensemble performance workshop focused on developing improvisational skills within the harmonic context of both jazz harmony and free improvisation. The goal is to develop facility in being able to improvise over harmonic structures from the blues to more free form styles of improvisation. Students are assigned to an ensemble that is appropriate to the level of their experience, with a beginning ensemble always being held in the fall semester.  Class size: 12

 

91983

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

 

91821

MUS  WKSPP   EK

 Advanced Orchestral Audition Prep.

Erica Kiesewetter

TBA

TBA

BITO 202

PART

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:

Designed for music majors to pursue individual or group projects with a particular professor. Students should contact the instructor regarding special projects.

 

 

PRIVATE MUSIC LESSONS:

All students are eligible for private music instruction. Lessons can be taken for either one or two credits or audited (no credit). In order to receive credit, the student must be registered with the Registrar’s office. Registration for private lessons must be completed by the end of the add/drop period.

When lessons are taken for credit, the student must also be enrolled in a music ensemble or the equivalent,  to be determined by the instructor. The ensemble can be taken for credit or audited. Students taking lessons for credit are assessed a nominal lab fee of $200 per semester by the college (approximately $16.66 per lesson X 12 lessons) whether it is 1 or 2 credits. Students receive 12 lessons per semester

If private lessons are audited (no credit), a fee is mutually agreed upon by the student and the instructor. If students are taking more than one lesson, the same rules apply as above – the student must be enrolled in another ensemble to receive the lesson rate of $200 per semester.


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  Greg Glassman - jazz trumpet

Ø  Marka Gustavsson – violin, viola

Ø  Stephen Hammer - oboe and recorder

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  Isabelle O’Connell – piano (classical)

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