Scholarships for private music lessons will be available. Sign-ups for audition times will be in the Music Office.

2 credits. This ensemble is for serious singers only, and by audition. A sign-up sheet will be posted at the beginning of the semester.

This course will include acquisition of the basic skills that make up the Foundation of all jazz styles. We will also study the Jazz Language from the BEBOP ERA up to the 60's.

Prerequisite: Jazz Harmony I or permission of instructor.

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.

The music of the Caribbean region has had a profound impact on world music. Cuban son and rumba, Jamaican ska and reggae, Trinidadian calypso and soca, Haitian compas and mizik rasin, and French Antillean beguine and zouk are among the Caribbean musical genres that are performed, marketed, and consumed internationally. This course will explore the complex history that produced this rich and enormously diverse regional musical culture, which has roots in Africa, Europe, and several other parts of the world. Special attention will be given to the ways in which Caribbean musical styles, both at home and when exported to new contexts (such as Europe, the U.S., and Africa), have come to express and embody a multiplicity of identities defined by notions of race, ethnicity, gender, class and various kinds of nationalism. The significant related questions of resistance, accommodation, and musical appropriation will also be examined. The course will incorporate perspectives from music history, anthropology, cultural studies, and especially, ethnomusicology ( a field that has produced a growing and increasingly sophisticated literature on the close association between music and identity), using these to shed light on readings and musical examples from across the region. Students will also be expected to attend performances of Caribbean music in the area, and to analyze and interpret these, drawing on the ethnomusicological methodologies discussed in the course.

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. Discover the possible uses of music in meditation; most importantly, sensitize yourself to aspects of listening that we 21st century Westerners have been trained to filter out. Learn to hear what is actually there, not just what you think is there! Final project in this class may take the form of a tuning-based analysis of either European (pre-20^th 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.

This is 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 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.

The Venetian playwright Carlo Gozzi (1720-1806) is less known than his contemporary and opponent Carlo Goldoni. To Goldoni's realistic bourgeois comedies, Gozzi opposed an aristocratic, atemporal, allegorical conception of theater, including the improvised elements of the commedia dell'arte rejected by Goldoni. Gozzi embodied his ideas in a series of Theatrical Fables which proved unusually attractive to later composers. Of the many operas based on Gozzi's Fiabe this seminar will examine Wagner's Die Feen (1834, La donna serpente), Ferruccio Busoni's Turandot (1917), Prokofiev's Love for three oranges (1921, L'amore delle tre melarance), Puccini's Turandot (1926), Alfredo Casella's La donna serpente (1932), and Hans-Werner Henze's Konig Hirsch (1956, Il re cervo). We will also look at other works employing the commedia dell'arte conventions, such as Strauss' Ariadne auf Naxos and Stravinsky's Pulcinella.

A hands-on, multidisciplinary workshop combining diverse arts and media in interactive live performances and installations. The course offers instruction in the mastery of the facilities of the Blum Electronic Music Studios, including digital sampling, ProTools recording/editing, Analog synthesis and the programming of real-time, MIDI-based software, extensible to video and other visual domains (lighting, slides and the like). It is hoped that a broad range of disciplines will be represented. Collaboration among students in Integrated Arts, Film and Electronic Media, Theater, Dance, Visual Arts, Music, and Writing is actively encouraged, as well as among Physics and Computer-Science students interested in control systems and interfaces. Enrollment is limited.

1. Registered, matriculated Bard College student
2. Assignment of grade, based on performance in a departmental concert or audition by an evaluating panel at the end of each semester.
3. Participation in a music course that provides the student a larger forum of music making. A waiver of this requirement is possible in certain circumstances and is subject to Music Department review.

Lessons: 2 credits Performance class 2 credits Ensembles 1 or 2 credits (check description) Chorus 1 credit

1. Selection for scholarship by departmental evaluating panel, either through performance in a departmental concert or through audition.
2. Registration in an ensemble or performance class.
3. Maximum of $20.00 per lesson (towards lesson cost) available, applied as credit to student's Bard account.