Class size: 10

91881

MUS 108D

Ensemble: Chamber Singers

James Bagwell

T Th 5:00 pm-7:00 pm

BITO HALL

PART

2 credits. Class size: 25

91885

MUS 108F

Ensemble:Community Jazz OrchESTRA

Thurman Barker

M 7:00 pm-9:00 pm

BLM N211

PART

Class size: 15

91924

MUS 108H

Ensemble: Balinese Gamelan

Ketut Suadin

M 6:30 pm-8:30 pm

OLIN 305

PART

Class size: 20

91886

MUS 108J

Ensemble: Percussion

Thurman Barker

T 1:30 pm-3:50 pm

BLM N211

PART

Class size: 15

91910

MUS 108N

Contemporary Jazz Composers

Erica Lindsay

M 4:40 pm-6:40 pm

BLM HALL

PART

2 credits This class will involve the interpretation of contemporary composers’ works, ranging from sextet to big band. This will be an advanced class restricted to instrumentalists (and vocalists) who have the necessary reading, technical, and interpretive skills to perform demanding music. There will be a featured composer who will visit as a guest artist and perform in concert with the ensemble each semester. Pieces written by student composers involved in the jazz composition classes will also be performed. Class size will vary according to the amount of qualified instrumentalists and the instrumentation requirements of the featured composer. Interested students are encouraged to sign up at registration, although confirmation of participation will only be given after auditions are held. Auditions will be conducted during the first scheduled class meeting. Class size: 12

91890

MUS 108P

Ensemble: Baroque

Alexander Bonus

TBD -

BLM 117

PART

Performance ensemble focusing on music from 1550-1750. Instrumentalists and vocalists are welcome to audition. Class size: 20

91911

MUS 108R

Bard Georgian Choir

Carl Linich

W 7:30 pm-9:30 pm

BDH

PART

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: 30

MUSIC COURSES

91908

MUS 144

Mozart and His World:

An Exploration of His Life and Works

Peter Laki

M W 3:10 pm-4:30 pm

BLM N217

AART

Not a single hour goes by in the world without a work by Mozart being played in concert, on the radio, or on the CD players and iPods of millions of music lovers everywhere. Mozart is much more than a composer: he is an icon of Western culture, familiar to anyone who is even marginally cognizant of classical music. his course will explore Mozart’s extraordinary life and survey his musical legacy. Students will become acquainted with key genres (opera, symphony, concerto, string quartet, etc.) and important classical forms (sonata, rondo, variation, etc.) We will be reading from his letters, follow him on his travels, and sample contemporary responses to his music. There will be three brief papers (concert reviews or responses to individual pieces) and three take-home quizzes. No previous musical training or experience is required. This course will not count toward the music history requirement for moderation in music.

Class size: 20

91905

MUS 169

LISTENING TO String Quartets:

Haydn - Shostakovich

Marka Gustavsson

T Th 10:10 am-11:30 am

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

91894

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 20^th-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 20^th-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: 22

91919

MUS 185

Intro to Ethnomusicology

Maria Sonevytsky

T Th 3:10 pm-4:30 pm

BLM N210

D+J

SSCI

DIFF

2 credits This course will meet for the first seven weeks of the semester. Cross-listed: Anthropology This course provides an introduction to 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. Class size: 22

91889

MUS 201

Music Theory I / Ear Training

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

91883

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 texts 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: 20

91880

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: 15

91926

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: 22

91915

MUS 240

Introduction:Electronic Music

Matthew Sargent

M W 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

91907

MUS 245

Bartok and Stravinsky

Peter Laki

T Th 10:10 am-11:30 am

BLM N210

AART

This course will investigate the music of Béla Bartók and Igor Stravinsky, two of the greatest composers in the 20^th century. Both were influenced, albeit in very different ways, by folk music and both exhibited neo-Classical tendencies, again in very different ways. Both ended up in the United States and died in New York City. We will explore their respective cultural milieux in Budapest, St. Petersburg, Paris, and New York, and analyze some of their most important compositions, comparing and contrasting them at each stage of their careers. There will be reading and listening assignments, a midterm, a final quiz and two short papers (5 pages each). The course will count towards the music history requirements for music majors. Class size: 20

91898

MUS 255

ANALYSIS OF The Classics of Modernism

Kyle Gann

T Th 3:10 pm-4:30 pm

BLM N217

AART

The half-century from 1910 to 1960 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 textural overlayering of Ives’s Three Places in New England; the elegant mathematical proportioning of Bartok’s Music for Strings Percussion and Celeste: the delicate symmetries of Webern’s Symphonie Op. 21; the total organization of Stockhausen’s Gruppen; and the compelling multi tempo climaxes of Nancarrow’s Study No. 36. Intended for music majors, for whom it counts as music theory credit, but other strongly motivated students are welcome. Prerequisite: Fundamentals of Music or the equivalent (ability to analyze tonal harmony). Class size: 22

91930

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: 10

92144

MUS 261

Musical Protest in the U. S.

Maria Sonevytsky

T Th 11:50 am-1:10 pm

BLM N210

AART

2 credits This course will meet for the first seven weeks of the semester. Cross-listed: American Studies Can a song change a mind? Can a song change the world? This seven-week class will survey episodes of musical protest in the United States from the Civil War to the #BlackLivesMatter movement. We will consider what the function, potential, and limits of musical protest have been in transforming American civic life. Our course will examine peace and abolition songs composed during the Civil War era, anti-capitalist and labor songs, songs against fascism, music of the Civil Rights Era, Vietnam War, Iraq War, activist music festivals, compositions that protest nuclear power and environmental damage, and recent music that addresses police brutality and structural racism. We will consider acts of musical protest aligned with “the right side of history” as well as music that challenges this very notion. We will include pieces that critique gender, class, and racial inequality in the United States, as well as pieces against violence, greed, and complacency. We end by analyzing songs that protest the very genre of “protest music.” Students will be required to write weekly reading and listening responses and produce a final research project around a single act of musical protest. You do not need to read musical notation to take this class. Class size: 22

91888

MUS 264

Literature and Language of Music: Baroque and Classical

Alexander Bonus

M W 10:10 am-11:30 am

BLM N217

AART

A survey of selected musical works composed from the late 1500s to the end of the 18^th century. Works by Monteverdi, Vivaldi, Bach, Haydn, Mozart and others 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

91895

MUS 266C

Jazz Rep: 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: 22

91899

MUS 302

Advanced Analysis Seminar:

minimalism

Kyle Gann

W 1:30 pm-3:50 pm

BLM N210

AART

The focus of this semester’s 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, we’ll analyze La Monte Young’s The Well-Tuned Piano, a six-hour improvisatory piano work in altered tuning; Steve Reich’s popular Music for 18 Musicians; Philip Glass’s Einstein on the Beach; Tom Johnson’s An Hour for Piano; John Adams’s 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

91887

MUS 320

Musical Electronics

Robert Bielecki

T 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. Class size: 15

91903

MUS 324

GUSTAV Mahler & His World

Christopher Gibbs

M 1:30 pm-3:50 pm

BITO 210

AART

This course will explore the musical, cultural, and political world of fin-de-siècle Vienna by focusing on the life and work of Gustav Mahler. We will consider the genesis of his songs and symphonies, their literary and intellectual sources, and the reaction to his works in Europe and America. Mahler’s accomplishment will be situated with regard to his older and younger musical contemporaries, most notably Richard Wagner, Johannes Brahms, Richard Strauss, Arnold Schoenberg, Anton Webern, and Alban Berg. Taking a broader view as well, we will look at Mahler’s relationship to the fascinating artistic, intellectual, and political trends of his time through figures such as Sigmund Freud (whom Mahler consulted when his marriage was in trouble), writers Arthur Schnitzler and Karl Kraus, and painter Gustav Klimt. This course is offered in connection with planned performances at the College of the First and Fourth Symphonies during the semester. Class size: 12

91884

MUS 331

Jazz: The Freedom Principle I

Thurman Barker

M 1:30 pm-3:50 pm

BLM N210

AART

Cross-listed: Africana Studies, American Studies A jazz study of the cross-pollination between Post-Bop in the late fifties and Free Jazz. The course, which employs a cultural approach, is also designed to look at the social climate surrounding the music to examine its effects on the music from 1958 to the mid-sixties. Emphasis will be on artists and composers such as Cecil Taylor, Ornette Coleman, Art Blakey, Thelonious Monk, John Coltrane, Miles Davis, Max Roach, Eric Dolphy, Charles Mingus, and Horace Silver. Illustrated with recordings, films, and videos. Class size: 15 This course counts towards the music history requirement for the music program. Class size: 15

91916

MUS 352

Electronic, ELECTROAcoustic, & Computer Composition

Matthew Sargent

M 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 20/21^st 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

91909

MUS 356

Jazz Arranging Techniques – ACCELERATED SEMINAR

Erica Lindsay

W 6:00 pm-9:00 pm

BLM N211

PART

This class will focus on the various techniques used in jazz ensemble writing from trio to large ensembles. Classic drop-two voicings and tertiary approaches will be covered as well as more contemporary cluster, quartal and line part writing. The various approaches to textural issues that arise in each particular instrumentation will be examined as well as various approaches to section writing. Final projects ranging from Sextet to Big Band will be either 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: 12

91897

MUS 366A

Advanced Contemporary Jazz Techniques I

John Esposito

T 9:10 am-11:30 am

BLM N211

PART

Cross-listed: Africana Studies This course introduces methods for the jazz improviser to deconstruct and reorganize the basic harmonic and rhythmic elements for a composition. Issues addressed will include reharmonization, remetering, metric modulation, variations in phrasing, tempo, and dynamics; that is, the arrangement and reorganization of compositional elements. This is performance-oriented class and repertoire will include jazz standards and compositions of the instructor. This class is open to moderated upper-college students who have successfully completed Jazz Harmony I and II, and previous jazz repertory classes. This course fulfills an upper level music theory requirement for music majors. Class size: 15 This course counts towards the music theory/performance requirement for the music program. Class size: 15

MUSIC WORKSHOPS:

Workshops carry 2 credits, unless otherwise noted.

91925

MUS WKSH ES

CROSSING THE LINE: A COLLABORATIVE WORKSHOP FOR Pianists

Erika Switzer

TBD -

BLM 202

PART

This workshop for pianists explores the technical skills and practical challenges of collaboration with instrumental and vocal partners. Through the preparation of assigned works, in-class coaching, and discussion, students can expect to gain experiential insight into the process of musical teamwork. Diverse guest partners will offer opportunities to test out chamber and vocal repertoire in a guided setting. This workshop will be scheduled in coordination with student availability. Class size: 10

91904

MUS WKSH GKM

Sonata & Chamber Workshop

Marka Gustavsson

Erica Kiesewetter

Blair McMillen

Th 3:10 pm-5:10 pm

BDH

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

91927

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 College 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: 8

91912

MUS WKSHB

Workshop: Performance Class – “bEFORE i wAKE”, SONGS OF SLEEP, DREAM, AND NIGHTMARE

Rufus Muller

M 4:40 pm-7:00 pm

BITO CPS

PART

Song recitals can often be boring for an audience, or even alienating. In this course, for singers and collaborative pianists, students will learn to perform art song in ways that are moving and satisfying for performers and public alike. Class size: 15

91900

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: 15

91893

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

91891

MUS WKSHL BLM

Workshop: Opera Workshop

Teresa Buchholz

Ilka LoMonaco

Rufus Muller

W 4:40 pm-7:00 pm

BDH

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 ([email protected]) and LoMonaco ([email protected]) for details. Class size: 30

91922

MUS WKSHN

"Hands-on" Music History

Patricia Spencer

T 5:00 pm-7:00 pm

BDH

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: 6

91929

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: 10

91914

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

91906

MUS WKSPP EK

Orchestral Audition Prep.

Erica Kiesewetter

F 2:30 pm-4:30 pm

BITO

PART

2 credits. This class is for advanced violinists (and any orchestral instrumentalist) who would like to learn orchestral excerpts for festival and orchestra auditions. The student is expected to prepare 3-5 excerpts in the semester, play in class most weeks, and participate in feedback. 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. Final is a mock audition with 3-5 excerpts. Class size: 6

PRIVATE LESSONS – (register for lessons with a drop/add form.)

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.