By 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 100 level in each case. In addition, all music majors are expected to take one class in composition, or four 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 typically 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.

College and Community Ensembles

Each ensemble is for one credit except where indicated. It is possible to participate in more than one ensemble and receive additional credit accordingly.

CRN	14326	Distribution	F
Course No.	MUS 104
Title	Ensemble: Bard College Orchestra
Professor	James Bagwell
Schedule	Mon 7:00 pm - 10:00 pm OLIN AUDT

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. A sign-up sheet will be posted in Blum at the beginning of the semester. Please be prepared to play two pieces—one slower and lyrical, and one faster. First orchestra rehearsal will be on Monday, February 9^th 2004.

CRN	14327	Distribution	F
Course No.	MUS 105
Title	Bard College Community Chorus
Professor	James Bagwell
Schedule	Tu 7:30 pm - 10:00 pm OLIN AUDT

Rehearsals begin on Tuesday February 10th, 2004

CRN	14328	Distribution	F
Course No.	MUS 106
Title	Bard Community Chamber Music
Professor	Luis Garcia-Renart
Schedule	TBA

The program will select students, alumni, faculty and community performers to present chamber music recitals on and off campus. The program will aim for diversity, both in instrumentation (including voice) as well as in repertoire. Weekly coaching will be given by faculty, and rehearsals between coachings will be expected.

CRN	14329	Distribution	F
Course No.	MUS 108B
Title	Ensemble: Contemporary
Professor	George Tsontakis
Schedule	Tu 1:30 pm - 3:50 pm BLM 117

Depending on registration, students will form their own ensembles (2-5 players) to play a work from the 20^th century repertoire.

CRN	14330	Distribution	F
Course No.	MUS 108D
Title	Ensemble: Chamber Singers
Professor	James Bagwell
Schedule	Tu Th 4:00 pm - 6:00 pm BDH

2 credits. Auditions for new members will be on Thursday February 5^th 2004 in Blum 202 from 4:00 pm. to 6:00 p.m. in Blum 202. A sign-up sheet will be posted at the beginning of the semester. First rehearsal will be on Tuesday February 10^th 2004.

CRN	14331	Distribution	F
Course No.	MUS 108F
Title	Ensemble: Jazz
Professor	Thurman Barker
Schedule	Tu 4:30 pm - 6:30 pm BLM

CRN	14332	Distribution	F
Course No.	MUS 108G
Title	Ensemble: Chamber
Professor	Luis Garcia-Renart / Colorado Quartet
Schedule	TBA

CRN	14333	Distribution	F
Course No.	MUS 108H
Title	Ensemble: Balinese Gamelan
Professor	TBA
Schedule	Tu 7:00 pm - 9:00 pm OLIN 305

CRN	14334	Distribution	F
Course No.	MUS 108I
Title	Ensemble:Electro-Acoustic
Professor	Brenda Hutchinson
Schedule	Tu 7:30 pm - 9:30 pm BDH

CRN	14335	Distribution	F
Course No.	MUS 108J
Title	Ensemble: Percussion
Professor	Thurman Barker
Schedule	Tu 10:30 am - 12:50 pm BLM

CRN	14336	Distribution	F
Course No.	MUS 108K
Title	Jazz Vocal Ensemble
Professor	Thurman Barker
Schedule	TBA

CRN	14337	Distribution	F
Course No.	MUS 134
Title	Fundamentals of Music II / Ear Training II
Professor	Kyle Gann / James Bagwell
Schedule	Mon Tu Wed Th Fr 1:30 pm - 2:50 pm BLM

Continuation of Fundamentals I, introduction to harmony, various seventh chords, secondary dominants, basics of modulation, four-part writing and voice-leading. End result: ability to write a hymn, song or brief movement of tonal music. Theoretical work will be complemented by an ear-training segment focused on developing the ability to sing and recognize secondary dominants, moduclations, and so on.

Prerequisite: Fundamentals I or equivalent (knowledge of scales and keys).

CRN	14338	Distribution	F
Course No.	MUS 172
Title	Jazz Harmony II
Professor	John Esposito
Schedule	Mon 3:00 pm - 4:20 pm OLIN 104

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.

CRN	14339	Distribution	A/C
Course No.	MUS 206
Title	Operas of Mozart
Professor	Frederick Hammond
Schedule	Tu Th 10:00 am - 11:20 am OLIN 104

A chronological survey beginning with a summary of Mozart's early work in opera and related genres and centering on a detailed examination of his seven mature operatic masterpieces. For the general student.

CRN	14340	Distribution	B/C
Course No.	MUS 212
Title	Jazz in Literature II
Professor	Thurman Barker
Schedule	Mon 10:00 am - 11:20 am BLM 117 Wed 9:00 am - 10:20 am BLM 117

Cross-listed: AADS, American Studies, SRE

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.

CRN	14341	Distribution	F
Course No.	MUS 216
Title	The Arithmetic of Listening
Professor	Kyle Gann
Schedule	Mon Wed 3:00 pm - 4:20 pm BLM 117

Cross-listed: Integrated Arts

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.

CRN	14342	Distribution	A
Course No.	MUS 237
Title	Music and the Brain
Professor	Melvin Chen
Schedule	Tu 1:30 pm - 3:50 pm OLIN 104

Music in its myriad form is ubiquitous throughout human society. Why is music such an integral part of the human experience? How do we hear sound, and how do certain combinations of pitches and rhythms invoke emotion? This course explores these and other fundamental questions of music through an examination of how, using psychophysics, cognitive psychology, and neurology, the human brain processes sound and the combination of sounds into a meaningful experience. Each class will focus on a different musical topic, including melody, harmony, rhythm, and emotion. No scientific or musical background necessary. Assignments will include reading, short papers, and homework problems. Texts will be chosen from among T. Rossing’s The Science of Sound, W. Yost’s Fundamentals of Hearing, B. Moore’s Introduction to the Psychology of Hearing, and others.

CRN	14343	Distribution	F
Course No.	MUS 249
Title	German Romantic Chamber Music from Schubert through Brahms
Professor	Colorado Quartet
Schedule	Tu 4:30 pm - 6:50 pm OLIN 104

This course is a survey of 19^th-century German chamber music, beginning with Franz Schubert, continuing with Felix Mendelssohn and Robert Schumann, and culminating with the enormous contributions in the genre by Johannes Brahms. The Colorado String Quartet will be joined by other Bard faculty (Melvin Chen, Robert Martin) for in-class performances. We will also explore concurrent trends in art, philosophy, and literature, aided by guest lecturers (including Susan Bernofsky) in order to shed light on the musical world of German Romanticism. Readings to include Schubert’s Vienna (Erickson, ed.), Schubert by Christopher Gibbs, the Dover edition of Schumann’s critical writings, Nancy Reich’s biography of Clara Schumann, Grillparzer’s “Der Arme Spielmann,” and writings of Kleist and Leon Botstein. Ability to read music is not required, but class attendance is mandatory. Grading will be based on writing assignments and class participation.

CRN	14344	Distribution	A/F
Course No.	MUS 257
Title	Production & Reproduction
Professor	Robert Bielecki
Schedule	Wed 7:00 pm - 10:00 pm BLM HALL

Cross-listed: Integrated Arts

This course will focus on the theory and practice of sound recording. Students will learn the use of recording equipment including digital tape recorders, mixing consoles, signal processing devices, and microphones. A/B listening tests will be used to compare types of microphones, microphone placement and many different recording techniques. ProTools software will be available for digital editing and mastering to CD. Assigned projects will include both multitrack and direct to stereo recordings of studio and concert performances. Enrollment is limited.

CRN	14345	Distribution	F
Course No.	MUS 259
Title	Musical Electronics: Analog Synthesis and Processing
Professor	Robert Bielecki
Schedule	Tu 1:30 pm - 3:50 pm BLM EMS

This course concentrates on the theory, design and creative use of the basic components found in analog electronic music systems. We’ll examine some of the original circuits used by Moog, Bode, Serge, Thermin and others. Discussions will cover voltage control techniques, synthesis and processing. As class projects, we’ll re-create some of the classic circuits and patches. Enrollment limited.

CRN	14346	Distribution	F
Course No.	MUS 267
Title	Jazz Repertory II: American Popular Song
Professor	John Esposito
Schedule	Mon (class) 5:30 pm – 6:30 pm BLM 117 Mon (ensemble) 6:30 pm – 8:30 pm BLM 117 Fr (class) 12:00 pm - 1:00 pm BLM 117 Fr (ensemble) 1:00 pm – 3:00 pm BLM 117

Cross-listed: AADS, 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 Gershwin, Berlin, Porter, Ellington, Warren, Rodgers, 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.

CRN	14347	Distribution	A
Course No.	MUS 268
Title	The Literature and Language of Music III
Professor	Christopher Gibbs
Schedule	Tu Th 11:30 am - 12:50 pm OLIN 104

This course will explore selected musical masterpieces of the late

Romantic and early Modernist periods (roughly 1870's to 1920). The composers to be treated in depth are Wagner, Bruckner, Strauss, Debussy, Stravinsky, Mahler, Schoenberg, Webern, and Berg. Particular emphasis will be given to Wagner and his legacy and to the musical activities in fin-de-siecle Vienna around the circles of Mahler and Schoenberg. Operas by Wagner, Debussy, Strauss, and Berg will be examined. Classroom discussions will focus on the style and organization of individual pieces, as well as on issues of biographical, cultural, and historical context. There will be an attempt for comprehensive chronological coverage, but rather we will consider a representative variety of genres and of compositional, aesthetic, and biographical concerns. Students will be evaluated on the basis of a series of short essays and listening exams. As we will be using scores in our discussions, basic skills in music reading are helpful, but not essential. This courses is primarily designed for first and second year students and counts toward the music history requirement of the music program. It is not necessary to have taken earlier components of the Language and Literature of Music; this course will stand on its own.

CRN	14348	Distribution	A
Course No.	MUS 270
Title	Notes not Necessary: Exploring Other Ways to Make Music
Professor	Brenda Hutchinson
Schedule	Mon Th 4:30 pm - 5:50 pm BLM EMS

Cross-listed: Integrated Arts

This is an applied class in experimental music and is recommended for students from any discipline. We will examine the works of contemporary composers working in a variety of styles and sound media, and assignments will be based on the models we study in class. We will discuss new conceptual models for form, content, and ways to work with sounds, the environment, and our own perceptions to create music. Students will be expected to discuss and present their own work in class and assist and support each other through performances of assignments; formulate questions; read, discuss, and write in response to selected writings; composer pieces performable in class; and keep a journal of their impressions and criticism.

CRN	14349	Distribution	A
Course No.	MUS 335
Title	Jazz: The Freedom Principle III
Professor	Thurman Barker
Schedule	Wed 10:30 am - 12:50 pm BLM HALL

Cross-listed: AADS, American Studies, SRE

This is a survey course in Jazz history, which is part three of a four part course. Part three is a study of jazz from 1937 to 1952, the era of modern jazz. Emphasis will be on the first wave of modern musicians such as Alto Saxophonist Charlie Parker, pianist Thelonius Monk and trumpeter Dizzy Gillespie. This course will discuss the solo and combo styles of these musicians and the big band of Woody Herman and Dizzy Gillespie. This course employs a cultural approach designed to look at the social climate surrounding the music from 1937-1952 and examine its effect on the music. This will be illustrated with recordings, films, and videos. This class requires oral presentation and critical listening.

CRN	14350	Distribution	A
Course No.	MUS 347
Title	Music and Culture of the African Diaspora II
Professor	Richard Harper
Schedule	Th 10:30 am - 12:50 pm BLM 117

Cross-listed: AADS

This course is a continuation of African Diaspora I (music and culture of Africa) focusing on the culture, history, and music of the African Diaspora in the new world. Included are musical cultures of the Caribbean and Latin America with special emphasis on the United States pre-1920. Interrelationships among new world cultures will be explored. In addition to reading, writing, and analysis, music and culture of the African Diaspora requires oral presentations, critical listening, and participation in activities.

CRN	14351	Distribution	A
Course No.	MUS 350
Title	Collaborating with Strangers: Individuals, Communities, and Institutions
Professor	Brenda Hutchinson
Schedule	Tu 4:30 pm - 6:50 pm BLM EMS

Cross-listed: Integrated Arts

This course addresses making art in the public arena, focusing on collaborating with strangers (as opposed to work generated within a studio). We will examine the work of visual and audio artists who create public art projects and installations, as well as those who work within existing communities or communities created specifically for the immediate piece. Students will use trading, mapping, interviewing, and collecting strategies adopted from a variety of methods including anthropology, private investigation, and street performance. The result of students’ work will be presented on the street, in the community, and as proposals in class. This is an interdisciplinary course appropriate for performers, composers, dancers, sculptors, painters, and multimedia artists – and for those who would like to take more risks in their work.

MUSIC WORKSHOPS

CRN	14354	Distribution	F
Course No.	MUS WKSH A
Title	Workshop: Composition
Professor	George Tsontakis
Schedule	Tu 4:00 pm - 7:00 pm BLM 117

Primarily for music majors interested in composing music but also for performers who want to get “on the other side of the page”. This class will compose music that will be written down and passed to players to be rehearsed and taped. Every step of the process is assisted (particularly at the notational level) and discussed. Players in the class, as well as students and professional players from outside, will later join in to help bring each piece to life in sound. In addition, other twentieth-century works are played and discussed and occasional visits to performances of new music are made. Individual meetings are arranged on a regular basis. Being able to read music is a prerequisite. See instructor before registration.

CRN	14355	Distribution	F
Course No.	MUS WKSH B
Title	Workshop: Performance Class
Professor	Luis Garcia-Renart
Schedule	Th 3:00 pm - 5:20 pm BLM HALL

This class is conceived as a unifying workshop for performing musicians within the department. Please meet with the instructor prior to or during registration. (Private lessons can be taken for credit by registering for this course.)

CRN	14357	Distribution	F
Course No.	MUS WKSH G
Title	Workshop: Vocal & Voice
Professor	Arthur Burrows
Schedule	Mon 10:00 am - 12:00 pm BLM HALL

In this singing class we explore the art songs of America, England, France and Germany, including some opera arias and ensembles depending on the make-up of the class. At the same time we learn the necessary technique to perform them successfully. Each class will be divided into two parts. The first will deal with vocal technique, and the second with technical issues that arise from individual performance. Requirements: the ability to match pitches, and an adequate vocal range. Pianists will be assigned individual singers to work with and coached in the various musical styles.

CRN	14358	Distribution	F
Course No.	MUS WKSH H
Title	Workshop: Classical Guitar
Professor	Luis Garcia-Renart
Schedule	Wed 4:00 pm - 6:00 pm BLM HALL

Once a week a two-hour seminar will be offered to everyone to talk about specific technical and interpretation principals of the classical guitar, as well as to listen and to discuss the repertoire. This seminar is to be taken in conjunction with weekly private lessons offered by guitarist Greg Dinger. There will be a fee for the private instructor to be paid at the beginning of the semester. All levels of playing are accepted. Beginners to advanced players welcome.

CRN	14413	Distribution	F
Course No.	MUS WKSH K
Title	Workshop: Musical Structure for Performers
Professor	Patricia Spencer
Schedule	Tu 10:30 am – 12:30 pm BLM 117

Parallel tritones in a Bach flute sonata: A development section in a Haydn symphony that begins in the “wrong key”? So?

This course will help performers define and expand their role in understanding and conveying to the listener the excitement of musical structures. Motivic, harmonic, and formal analysis will be combined with a modified Schenkerian approach exploring foreground and background forces in music. An emphasis will be placed on poetic description of musical shapes as a means of bringing them to life in performance. In addition, works will be examined in a historical context. Repertoire will be selected from pieces currently being performed or studied by class members. This course is primarily for music majors.

CRN	14359	Distribution	F
Course No.	MUS WKSH L
Title	Workshop: Opera Workshop
Professor	Frederick Hammond / Arthur Burrows / Joan Fuerstman
Schedule	Wed 1:30 pm - 4:30 pm BDH

A fully staged and costumed performance (to be announced) will be the main thrust of this semester’s work. The class will be dedicated to the memorization of the music and the mounting of the work. An enterprise of this moment will require an unspecified amount of extra time that may be needed to achieve the goal.

CRN	14360	Distribution	F
Course No.	MUS WKSH M
Title	Workshop: Voice-Art Song Performance
Professor	Joan Fuerstman
Schedule	Mon 2:45 pm - 4:45 pm BDH

This class will be focusing primarily on the study of classical English, Italian, French and German diction using the International Phonetic Alphabet. Primarily for students taking voice lessons and for pianists interested in accompanying singers.

CRN	14361	Distribution	F
Course No.	MUS WKSP3
Title	Workshop: Jazz Improvisation II
Professor	Erica Lindsay
Schedule	Fr 3:00 pm - 5:00 pm BLM HALL

This class is structured as a continuation of Jazz Improvisation I. The goal will be to gain mastery over all of the basic scales used in traditional jazz improvisation, and to attain the ability to improvise over basic two-five patterns and simple modal progressions.

Prerequisite: MUS WKSH:Jazz Improvisation Workshop P1

CRN	14362	Distribution	F
Course No.	MUS WKSH P4
Title	Workshop:Jazz Composition II
Professor	Erica Lindsay
Schedule	Tu 7:00 pm - 9:00 pm BLM HALL

This class will explore the classic 32-bar standard jazz form and how it evolved into the art form called be-bop. Through performance we will discover the harmonic, rhythmic, and melodic structures used to take this form to a new level of complexity. Musical composition assignments, worked on extensively in class, will reflect this emphasis. The class ensemble will perform final semester projects in concert. Jazz Prerequisite: MUS WKSH Composition Workshop P2

CRN	14363	Distribution	F
Course No.	MUS WKSH Q
Title	Workshop: Introduction to Electro-Acoustic Music
Professor	Brenda Hutchinson
Schedule	Wed 1:30 pm - 3:50 pm BLM EMS

This hands-on workshop will serve as an introduction to music technology/electronic art, and will focus on the creation of original work through the use of digital and analog recording techniques and devices. Topics to be covered include physics of sound, psych-acoustics, and analog and digital recording. Students will be given instruction in the use of ProTools, and will become familiar with sampling, multitrack recording, editing, mixing, and digital signal processing. Students will produce field recordings and work with found sound, eventually presenting original work including a final project of their own design.

SPECIAL PROJECTS

Special Projects are designed for music majors only, to pursue individual or group projects with a particular professor.

CRN	14364	Distribution	F
Course No.	MUS PROJ B
Title	Special Projects
Professor	James Bagwell
Schedule	By arrangement

CRN	14365	Distribution	F
Course No.	MUS PROJ EL
Title	Special Projects
Professor	Erica Lindsay
Schedule	By arrangement

CRN	14366	Distribution	F
Course No.	MUS PROJ P
Title	Special Projects
Professor	TBA
Schedule	By arrangement

CRN	14367	Distribution	F
Course No.	MUS PROJ R
Title	Special Projects
Professor	Luis Garcia-Renart
Schedule	By arrangement

CRN	14368	Distribution	F
Course No.	MUS PROJ U
Title	Special Projects
Professor	Kyle Gann
Schedule	By arrangement

CRN	14369	Distribution	F
Course No.	MUS PROJ V
Title	Special Projects
Professor	George Tsontakis
Schedule	By arrangement

CRN	14370	Distribution	F
Course No.	MUS PROJ Z
Title	Special Projects
Professor	Thurman Barker
Schedule	By arrangement

PRIVATE MUSIC LESSONS

Scholarships for private music lessons will be available.

Sign-ups for audition times will be in the Music office.

All matriculated Bard students may be eligible to receive academic credit and scholarships for private instrumental or voice lessons. The choice of teachers is to be worked out on a case by case basis by the student and the Music Department. The teacher and student arrange payments and schedule.

Requirements for academic credit:

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.

Credits awarded for the courses:

Lessons: 2 credits

Performance class 2 credits

Ensembles 1 or 2 credits (check description)

Chorus 1 credit

Requirements for scholarship:

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.

Maximum of $20.00 per lesson (towards lesson cost) available, applied as credit to student’s Bard account.