By the time of graduation, all music majors will be expected to have taken three semesters of Music Theory and three semesters of Music History, including at least one course above the 100 level in each case. In addition, all music majors are expected to take one class in composition, or 4 credits in some other equivalent course involving personal musical creativity (such as small jazz ensemble); and performance class, accompanied by two semesters’ worth of private performance lessons (performance class may be replaced by some other class involving regular public performance). It will be expected that half of these requirements be completed by time of moderation.

For a Moderation Project, students usually give a concert of about 25-40 minutes of their own music and/or other composers’ music. Occasionally, a substantial music history or theory paper can be accepted as a moderation project.

The Senior Project consists of two concerts from 30 to 60 minutes each. In the case of composers, one concert can be replaced by an orchestra work written for performance by the American Symphony Orchestra. In certain cases involving expertise in music technology, and at the discretion of the appropriate faculty, it is possible to submit finished, sophisticatedly produced recordings of music rather than live performances. An advanced research project in music history or theory can also be considered as a senior project.

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 credit may be added. Private lessons must be separately registered.

Scholarship auditions will be held on Wednesday,

February 1st, 2006.

Course	MUS 104 Bard Community Orchestra
Professor	Mandarano
CRN	16003
Schedule	Mon 6:30 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: Practicing Arts

This is a yearlong course. Students earn 2 credits per semester, and an additional 2 credits for registering in private lessons, which are strongly recommended. Auditions will be held on Tuesday January 24^th, 2006 for new members from 6pm until 10pm in Blum Hall. Please be prepared to play two pieces—one slower and lyrical, and one faster.

First orchestra rehearsal will be on Monday January 30^th, 2006 from 7pm – 10pm in Olin.

Course	MUS 105 Bard College Community Chorus
Professor	James Bagwell
CRN	16004
Schedule	Tu 7:00 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: Practicing Arts

First rehearsal will be on Tuesday January 31st, 2006.On-line

Course	MUS 106 Bard Chamber Music
Professor	Luis Garcia-Renart
CRN	16222
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108B Ensemble: Contemporary
Professor	Joan Tower
CRN	16223
Schedule	Mon 1:30 -3:50 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

Additional times to be worked out as needed. On-line

Course	MUS 108D Ensemble: Chamber Singers
Professor	James Bagwell
CRN	16224
Schedule	Tu Th 4:00 -6:00 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

2 credits. Auditions will be held by appointment for new members only. First rehearsal will be on Tuesday, January 31, 2006 from 4pm to 6pm.

Course	MUS 108F Ensemble:Jazz Big Band
Professor	Thurman Barker
CRN	16225
Schedule	Mon 7:00 -9:00 pm BlumN211 Tu 4:30 -6:30 pm BlumN211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108G Ensemble: Chamber
Professor	Colorado Quartet
CRN	16226
Schedule	Th 1:00 -2:20 pm .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108H Ensemble: Balinese Gamelan
Professor	TBA
CRN	16227
Schedule	Tu 7:00 -9:00 pm OLIN 305
Distribution	OLD: F	NEW: Practicing Arts

Cross-listed: Asian Studies

Course	MUS 108I Ensemble: Live Electronic Performance
Professor	Maryanne Amacher
CRN	16228
Schedule	Th 1:30 -3:30 pm BlumN211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108J Ensemble: Percussion
Professor	Thurman Barker
CRN	16229
Schedule	Tu 9:30 - 11:50 am BlumN211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108L Ensemble: Jazz Guitar
Professor	Staff
CRN	16230
Schedule	Wed 7:00 -9:00 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

MUSIC COURSES

Course	MUS 122 Introduction to Music Theory
Professor	Sharon Bjorndal
CRN	16231
Schedule	Tu Th 9:00 - 10:20 am BlumN217
Distribution	OLD: A	NEW: Analysis of Arts

This course will serve as an introduction to reading, studying, and analyzing tonal music. Introduction to Music Theory is geared toward non-music majors as well as potential music majors who have had little or no exposure to reading music. We will begin with the basics of musical notation, progressing to the identification of scales, triads, and seventh chords. The class will have an ear-training component that allows for practical reinforcement of the aural concepts presented. Grading will be based on a mid-term and final exam, plus a series of short quizzes throughout the semester. There are no prerequisites. On-line

Course	MUS 123 Popular Musics of the Non-Western World
Professor	Mercedes Dujunco
CRN	16232
Schedule	Mon Wed 2:30 -3:50 pm OLIN 104
Distribution	OLD: A	NEW: Analysis of Arts

Cross-listed: Asian Studies

What does it mean for a music to be “popular” and how does it become that way? In different parts of the world, the production, consumption, and distribution of popular music are shaped by a society’s distinct encounter with and cultural-specific ways of negotiating modernity. They have to do with mediations of identity, space, and place that result in local scenes, global trends, musical hybridity, and cross-pollination. This course will look at various popular music genres in different geographical regions, particularly Asia, Africa, Latin America, and the Middle East, and explore issues related to the emergence of each one and their localized meanings. Through discussions based on a combination of selected readings, films/videos, and music recordings, students will not only get acquainted with popular musics well beyond their own or what they normally listen to; they will also gain insights regarding the processes in which these came about, as well as alternative perspectives on what constitutes “popular music” in various non-Western contexts and their significance. This course does not fulfill a music history elective for music majors. On-line

Course	MUS 130 Topics in 19th Century Chamber Music: Beethoven & Schubert; What a Neighborhood
Professor	Colorado String Quartet
CRN	16233
Schedule	Tu 3:00 - 5:20 pm OLIN 104
Distribution	OLD: A	NEW: Analysis of Arts

The Colorado Quartet will explore the relationship between these two giants of the early 19^th century through their rich contributions to the quartet repertoire. Many works will be performed in their entirety during the class meetings, recreating the intimate, rarified atmosphere of the initial premieres. Additionally, required readings will include Maynard Soloman’s biography of Beethoven, Christopher Gibbs’ biography of Schubert, as well as Goethe’s The Sorrows of Young Werther. Requirements will include 3 papers of 3-5 pages, 2 quizzes and a final exam. This course does not fulfill a music history requirement for music majors. On-line

Course	MUS 138 Jazz Ear Training II
Professor	John Esposito
CRN	16234
Schedule	Mon Fr 10:30 - 11:50 am BlumN211
Distribution	OLD: F	NEW: Practicing Arts

Part II - A creative jazz improviser strives for spontaneity of expression and emotional immediacy. There are many techniques to train for these goals. In this course the student will be introduced to a number of different practice techniques while exploring a wide range of improvisational materials including chords, intervals, and recorded jazz solos from composers such as Louis Armstrong and John Coltrane. All musical materials introduced in this course will be sung or played. Jazz Ear Training is open to both singers and instrumentalists. This course will fulfill a theory requirement for music majors.

Course	MUS 172 Jazz Harmony II
Professor	John Esposito
CRN	16235
Schedule	Mon Fr 12:00 -1:20 pm BlumN211
Distribution	OLD: F	NEW: Practicing Arts

Part II - 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. This course fulfills a music theory requirement for music majors

Course	MUS 202 Music Theory II
Professor	Kyle Gann / Sharon Bjorndal
CRN	16236
Schedule	Mon Tu Wed Th Fr 1:30 -2:50 pm BlumN217
Distribution	OLD: F	NEW: Practicing Arts

Continuation of Music Theory 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, modulations, and so on. Prerequisite: Music Theory I or equivalent (knowledge of scales and keys). This course fulfills a music theory requirement for music majors. On-line

Course	MUS 212 Jazz in Literature II
Professor	Thurman Barker
CRN	16237
Schedule	Mon Wed 10:30 - 11:50 am BlumN210
Distribution	OLD: B/C	NEW: Analysis of Arts

Cross-listed: Africana Studies, 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.

Course	MUS 216 The Arithmetic of Listening
Professor	Kyle Gann
CRN	16238
Schedule	Wed Fr 3:00 -4:20 pm BlumN217
Distribution	OLD: F	NEW: Practicing Arts

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.

Course	MUS 226 Music of China
Professor	Mercedes Dujunco
CRN	16239
Schedule	Tu Th 10:30 - 11:50 am BlumN210
Distribution	OLD: A	NEW: Analysis of Arts

Cross-listed: Asian Studies

This course will examine various forms of Chinese music, focusing in particular on instrumental genres. The goal is to provide students with a comprehensive knowledge of musical styles, concepts and recurring themes in Chinese music history. Although the specific aim is not to present the history of Chinese music per se, the topical organization of the course will follow a more or less chronological order as attention is drawn to certain issues and prominent characteristics of music and musical life in China from the ancient times to the present. Material will be drawn from lecture-discussions, assigned readings, listening and viewing assignments, and performance demonstrations by guest artists. This course can be used to fulfill a music history elective for music majors. On-line

Course	MUS 235 The Music of Claudio Monteverdi
Professor	Frederick Hammond
CRN	16240
Schedule	Tu Th 10:30 - 11:50 am OLIN 104
Distribution	OLD: A	NEW: Analysis of Arts

Claudio Monteverdi (1567-1643) was the first great composer of the Baroque, and his music continues to grow in interest and attraction. We will consider his career in its various historic and artistic contexts: its beginning at the brilliant court of the Gonzaga family in Mantua, and its conclusion in Venice, where in 1613 Monteverdi had become master of the ducal chapel of San Marco. We will examine his productions in their various genres: the madrigal; opera (including L’Orfeo, his first opera, and L’incoronazione di Poppea, his last); the masque, combining singing, dancing, and staged action; and sacred music in the great Venetian tradition (not only the well-know Mass and Vespers of 1610, but also the equally great mass of Thanksgiving to the Madonna of the Salute for deliverance from the Plague in 1631). The course will be coordinated with a full-length concert of Monteverdi’s work by the Bard Chamber Singers, including a staged performance of the 1608 masque, The Ballo delle ingrate. The course fulfills a music history requirement for music majors.

Course	MUS 266B II Jazz Repertory: American Popular Song 1930-1940
Professor	John Esposito
CRN	16241
Schedule	Mon Fr (class) 3:00 -4:30 pm BlumN211 Mon Fr (ensemb) 4:30 – 6:00 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

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 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.

Course	MUS 281 Literature and Language of Western Music II
Professor	Christopher Gibbs
CRN	16242
Schedule	Mon Wed 12:00 -1:20 pm BlumN217
Distribution	OLD: A	NEW: Analysis of Arts

The second part of a year-long course that surveys the history of western music. It is expected that music majors in history, theory, composition, and performance will take these courses (not necessarily in the same year). The spring semester will examine a limited number of exemplary compositions from around 1750 to the present day. 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 no 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 brief essays and 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 and counts toward the music history requirement for music majors. On-line

Course	MUS 332 Jazz: The Freedom Principle II
Professor	Thurman Barker
CRN	16243
Schedule	Mon 1:30 -3:50 pm BlumN210
Distribution	OLD: F	NEW: Practicing Arts

Cross-listed: Africana Studies, SRE

This is a survey course in Jazz History, which is part II of a four- part course. This is a study of Jazz from 1927 to 1942, the big band or swing era. Emphasis will be on band leaders such as Jimmie Lunceford, Benny Goodman, Tommy Dorsey, Teddy Wilson, Count Basie and Duke Ellington. This course employs a cultural approach designed to look at the social climate surrounding the music from 1927 to 1942 and examine its’ effect on the music. This will be illustrated with recordings, films and videos. This class requires oral presentation and critical listening.

Course	MUS 346 Interactive Performance and Composition using MAX / MSP
Professor	Robert Bielecki
CRN	16244
Schedule	Mon 1:30 -3:50 pm BlumN119
Distribution	OLD: F	NEW: Practicing Arts

MAX/MSP is an object oriented graphical programming environment for algorithmic music composition, interactivity, live processing, multimedia and more. This course covers beginning, intermediate, and advanced methods of using MAX/MSP. This will be a hands-on course with examples from artist’s work, several programming assignments and a final project. Knowledge of computer programming and MIDI is not necessary, but would be helpful.

Course	MUS 352B Workshop in Electronic, Electroacoustic, and Computer Music Composition
Professor	Maryanne Amacher
CRN	16245
Schedule	Wed 1:30 – 3:50 pm BlumN119
Distribution	OLD: F	NEW: Practicing Arts

As today’s media begin to enhance the sensitive range of our perceptual modes, will the auditory arts do likewise? Will sound art explore emergent technologies to delve consciously into these expanded sensitivities? And in what ways? Taking VR (Virtual Reality 3D sonic imaging and graphics, telepresence, and cyberspace) as a point of departure, this workshop examines possibilities of individualizing sonic architectures for listeners and for spaces- an approach to composition as “perceptual geography.” Scenarios will be proposed for future sonic worlds (future spaces, future minds). Cross- sensory explorations will be investigated. After images. Threholds. Physiological resonances. Acoustic spaces of felt sound phenomena, experienced either subliminally, or making recognizably direct physical resonances to the body as distinguished from the perception of an acoustic space, aurally, as “image”. Readings include selected excerpts from a wide range of sources, spanning musical theory and acoustics, neuroscience, and the literature of the imagination; internet sources will be used extensively to access new developments in interface and enhancement technologies. Active class discussions with concentration on the individual creative work of the students enrolled. Each will be expected to bring in ongoing projects as computer programs, digital or analog recordings, and/or scores for live electronic realization, including those to be produced as installations and mixed media works. Public presentations of student work will be made at the end of the semester.

Course	MUS 353 Orchestration
Professor	Keith Fitch
CRN	16246
Schedule	Mon 4:00 -6:20 pm BlumN217
Distribution	OLD: F	NEW: Practicing Arts

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.

Course	MUS 355 Death Set to Music
Professor	James Bagwell
CRN	16247
Schedule	Tu Th 2:30 -3:50 pm BlumN210
Distribution	OLD: A	NEW: Analysis of Arts

This course will discuss and analyze a number of key musical works that use death and mourning as subject matter. Works to be analyzed will include the Requiems of Wolfgang Amadeus Mozart, Giuseppe Verdi, Johannes Brahms, Benjamin Britten and Paul Hindemith. Other works will include Johann Sebastian Bach’s Johannes-Passion, and Ich habe genug (Cantata 82). Evaluation will be based on two exams and a research paper. Prerequisites: One semester of Literature and Language of Music or an equivalent music history course. This course fulfills a music history requirement for music majors.

MUSIC WORKSHOPS

Course	MUS WKSHA Workshop: Composition
Professor	Joan Tower
CRN	16248
Schedule	Mon 4:00 -6:20 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

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 notation level) and discussed. Players in the class as well as students and professional players from outside (including the Da Capo Chamber Player and the Colorado Quartet) will later join in to help bring each piece to life in sound. In addition, other 20^th – century works of new music are played and discussed. Individual meetings are arranged on a regular basis. Being able to read music is a prerequisite. See instructor before registration. (Not open to first year students) On-line

Course	MUS WKSHB Workshop: Performance Class
Professor	Luis Garcia-Renart / Blair McMillen
CRN	16249
Schedule	Wed 4:00 -6:20 pm Blum Hall Tu Th 1:30 –3:50 pm Blum Hall
Distribution	OLD: F	NEW: Practicing Arts

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.)

Course	MUS WKSHE Workshop: Song Writing
Professor	Gregory Armbruster
CRN	16250
Schedule	Mon 4:00 -6:20 pm OLIN 104
Distribution	OLD: F	NEW: Practicing Arts

All songwriters, as well as poets, lyricists, singers, instrumentalists, and composers are invited to create and share their original work in this safe forum for collaboration, performance, feedback, discussion, and analysis. The goal is to help participants express more clearly their musical intentions in song form. Lyrics, setting, clarity, musical scene, melody, accompaniment, accompaniment and voice as duet, notation, editing, rewriting, and the collaborative process are examined. Collaborative projects among class participants are organized and writing assignments focus on skill building. Participants present their work with or without self-accompaniment or in collaboration with others. Guests may attend class in order to help participants present their music. Although previously written work may be presented, the focus is primarily on work in progress or work composed during the semester, with the specific goal of writing ten new songs. An open performance is given at the last class meeting.

Course	MUS WKSHG Workshop: Vocal & Voice
Professor	Arthur Burrows
CRN	16251
Schedule	Mon 10:00 - 12:00 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

2 credits 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.

Course	MUS WKSHH Workshop: Classical Guitar
Professor	Luis Garcia-Renart / Gregory Dinger
CRN	16252
Schedule	Wed 1:30 -3:30 pm BlumN211
Distribution	OLD: F	NEW: Practicing Arts

2 credits 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.

Course	MUS WKSHL Workshop: Opera Workshop
Professor	Frederick Hammond / Arthur Burrows
CRN	16253
Schedule	Wed 1:30 -3:50 pm BlumHALL
Distribution	OLD: F	NEW: Practicing Arts

Scenes and Arias from operas will be sung, memorized and finally staged. An important part of the class will be stage department techniques as well as the use of the voice in singing operatic material. Some knowledge of music reading skills is desirable but not completely necessary.

Course	MUS WKSHM Workshop: Voice-Art Song Perf.
Professor	Joan Fuerstman
CRN	16254
Schedule	Mon 1:30 -3:50 pm BDH RECI
Distribution	OLD: F	NEW: Practicing Arts

2 credits 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.

Course	MUS WKSHV Chinese Music Ensemble
Professor	Mercedes Dujunco
CRN	16258
Schedule	Tu Th 4:00 -5:20 pm Blum117
Distribution	OLD: F	NEW: Practicing Arts

A beginner's workshop for students interested in learning to play Chinese folk music through performance on instruments of the "silk and bamboo" (Chinese string and wind instruments) category. Students acquire basic skills on one of several instruments that may include the di (bamboo transverse flute), the erhu (2-stringed fiddle), zheng (21-string plucked board zither), yangqin (hammered dulcimer), pipa (short-necked pear-shaped plucked lute), and sanxian (long-necked 3-stringed plucked lute), with the goal of eventually playing together in ensemble. Prerequisite: Permission of the instructor. On-line

Course	MUS WKSP2 Workshop: Jazz Composition II
Professor	Erica Lindsay
CRN	16256
Schedule	Wed 6:00 -9:00 pm BlumN211
Distribution	OLD: F	NEW: Practicing Arts

2 credits This class will serve as an introduction to jazz composition. Basic modal harmony as well as melodic and rhythmic development will be explored. Writing assignments will be performed and worked on in class. Selected final projects will be performed by faculty in concert. Enrollment limited.

Prerequisite: Jazz Harmony I, or consent of the instructor.

Course	MUS WKSP4 Workshop:Jazz Improvisation II
Professor	Erica Lindsay
CRN	16257
Schedule	1^st section) Th 4:00 -5:30 pm BlumN211 2^nd section) Th 5:30 – 7:00 pm Blum N211
Distribution	OLD: F	NEW: Practicing Arts

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: Jazz Improvisation Workshop I

Course	MUS WKSPO Introduction to Electronic Music
Professor	Robert Bielecki
CRN	16255
Schedule	Th 1:30 -3:50 pm BlumEMS
Distribution	OLD: F	NEW: Practicing Arts

This hands-on workshop will serve as an introduction to music technology/electronic art and will focus primarily on the creation of original work through the use of digital and analog recording techniques and devices. Some of the topics to be covered include physics of sound, psychoacoustics, field recording, editing, mixing, sampling, processing, analog synthesis, midi. Students will be given instruction in the use of ProTools and will have access to the Bard Electronic Music Studios. Students are expected to present 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.

Course	MUS PROJ B Special Projects
Professor	James Bagwell
CRN	16259
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ EL Special Projects
Professor	Erica Lindsay
CRN	16265
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ P Special Projects
Professor	Keith Fitch
CRN	16260
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ R Special Projects
Professor	Luis Garcia-Renart
CRN	16261
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ U Special Projects
Professor	Kyle Gann
CRN	16262
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ V Special Projects
Professor	Joan Tower
CRN	16263
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

On-line

Course	MUS PROJ Z Special Projects
Professor	Thurman Barker
CRN	16264
Schedule	TBA .
Distribution	OLD: F	NEW: Practicing Arts

PRIVATE MUSIC LESSONS

Scholarship auditions will be held on Wednesday,

February 1st, 2006.

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: 1 or 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.

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