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 200 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 7th, 2007.

Course	MUS 104 Bard College Orchestra
Professor	Luis Garcia-Renart
CRN	17085
Schedule	Mon 7:30 - 10:30 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 Saturday February 3^rd, 2007 for new members from 3pm until 6pm in Blum Hall. * First Orchestra rehearsal will be on Monday February 5^th, 2007 from 6:30 pm until 10:30 pm in Olin Hall. * (Please be prepared to play two pieces—one slower and lyrical, and one faster.)

Course	MUS 105 Bard College Symphonic Chorus
Professor	James Bagwell
CRN	17086
Schedule	Tu 7:00 - 10:00 pm OLIN AUDT
Distribution	OLD: F	NEW: Practicing Arts

First rehearsal will be on Tuesday February 6th, 2007.

Course	MUS 106 Bard College Community Chamber Music Program
Professor	Luis Garcia-Renart
CRN	17475
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108B Ensemble: Contemporary
Professor	Joan Tower
CRN	17354
Schedule	Mon TBA
Distribution	OLD: F	NEW: Practicing Arts

Additional times to be worked out as needed.

Course	MUS 108D Ensemble: Chamber Singers
Professor	James Bagwell
CRN	17350
Schedule	Tu Th 4:00 -6:00 pm BLUM HALL
Distribution	OLD: F	NEW: Practicing Arts

2 credits. Auditions will be held by appointment for new members only. First rehearsal will be on Tuesday February 6^th, 2007 from 4pm to 6pm.

Course	MUS 108F Ensemble:Jazz Big Band
Professor	Thurman Barker
CRN	17364
Schedule	Mon 7:00 -9:00 pm BLUM N211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108G Ensemble: Chamber
Professor	Colorado String Quartet
CRN	17476
Schedule	Thurs TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108H Ensemble: Balinese Gamelan
Professor	TBA
CRN	17477
Schedule	Mon 7:00 – 9:00 pm TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108I Ensemble: Electro-Acoustic Performance
Professor	Marina Rosenfeld
CRN	17357
Schedule	Mon 4:00 -6:20 pm BARD HALL
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108J Ensemble: Percussion
Professor	Thurman Barker
CRN	17344
Schedule	Tu 1:30 -3:50 pm BLUM N211
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS 108N Contemporary Jazz Composers
Professor	Erica Lindsay
CRN	17353
Schedule	Tu 4:30 -6:30 pm BLUM N211
Distribution	OLD: F	NEW: Practicing Arts

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

Course	MUS 172 Jazz Harmony II
Professor	John Esposito
CRN	17337
Schedule	Mon Fr 12:00 -1:20 pm BLUM N211
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 A Music Theory II
Professor	Sharon Bjorndal
CRN	17340
Schedule	Tu Th 1:30 -2:50 pm BLUM N217 Ear Training Labs TBA
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 weekly ear-training labs 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 registration

Course	MUS 212 Jazz in Literature II
Professor	Thurman Barker
CRN	17334
Schedule	Mon Wed 10:30 - 11:50 am BLUM N210
Distribution	OLD: B/C	NEW: Analysis of Art

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 249 Chamber Music:Romantic Era
Professor	Colorado Quartet
CRN	17359
Schedule	Th 1:30 – 3:50 pm OLIN 104
Distribution	OLD: A	NEW: Analysis of Art

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 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.

Course	MUS 259 Musical Electronics: Analog Synthesis and Processing
Professor	Robert Bielecki
CRN	17349
Schedule	Th 1:30 -3:50 pm BLUM N105
Distribution	OLD: F	NEW: Practicing Arts

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, Processing, and Circuit Bending. The main focus of the class, however, will be building electronic devices.  We’ll work from existing designs and also design new devices as we hone our skills of soldering, point-to-point wiring and layout. Familiarity with basic electronics and the use of hand tools is helpful but not a prerequisite for this class. Enrollment is limited.

Course	MUS 265 Literature and Language of Music II
Professor	Christopher Gibbs
CRN	17338
Schedule	Mon Wed 12:00 -1:20 pm BLUM N 217
Distribution	OLD: A	NEW: Analysis of Art

A survey of selected musical works composed in the 19^th and 20^th centuries. Works will be placed in a broad historical context with specific focus on stylistic and compositional traits. In addition, musical terminology, composers and historical and theoretical methodology will be introduced and described in relationship to the repertoire. Students will be evaluated on the basis of short essays and two listening exams. As we will be using scores in our discussions, basic skills in music reading are expected. This course is primarily designed for music majors including sophomores. This course counts towards the music history requirement for music majors. It is not required that students have taken the first semester (Music 264), which covered music from the Middle Ages to 1800. On-line registration

Course	MUS 266C Jazz Repertory: BEBOP Masters
Professor	John Esposito
CRN	17478
Schedule	Mon Fr 10:30 –11:50 am BLUM 211
Distribution	OLD: F	NEW: Practicing Arts

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

Course	MUS 283 High / Low: Tensions and Agreements Between “Popular” and “Serious” Music in Western Culture
Professor	James Bagwell
CRN	17479
Schedule	Mon Wed 12:00 -1:20 pm BLUM HALL
Distribution	OLD: A	NEW: Analysis of Art

As far back as the early Renaissance, distinctions were made as to what constituted popular and serious music. In the 15th century some of those distinctions were defined by the music’s relationship to the church. Later, in the 18th and 19th centuries, idiomatic folk music began to be deliberately used in opera and symphonic repertoire to evoke elements of nationalism and “local color.” In the 20 and 21st centuries, characteristics of jazz, folk, and rock music intermingled, and now some earlier distinctions between popular and serious music are being blurred. In this course, key works in Western classical music from the 16th through the 21st centuries will be studied along with the popular music of the day (when available). Careful attention will be paid to critical reaction to these works, along with an examination of the cultural climate and trends that might have contributed to high/low distinctions. Works to be studied will include: Josquin, Missa L’homme arme, Handel, Messiah, Haydn, Symphony No. 104, excerpts from Berlioz’s Les Troyens, Ravel, L’enfant et le sortilege, and excerpts from Philip Glass’s Einstein on the Beach, and John Adam’s Nixon in China. Music of Louis Armstrong, George Gershwin, Miles Davis, The Velvet Underground, The Beatles, and Sonic Youth, among others, will be examined. Evaluation will be based on two exams, four short papers, and a term paper. This course counts toward music history credit.

Course	MUS 287 Musical Ethnography
Professor	Mercedes Dujunco
CRN	17341
Schedule	Tu Fr 10:30 - 11:50 am BLUM N210
Distribution	OLD: A	NEW: Analysis of Art / Rethinking Difference

Cross-listed: Anthropology, Studies in race and Ethnicity

This course provides practical instruction in field research and analytical methods in ethnomusicology. It is intended to assist students who are considering doing a senior project that is ethnomusicological in nature in sorting through critical decisions regarding choice of topic, area interests, research models, etc. by providing a sense of the field, its options, and the real-life practice of ethnomusicology. Topics will include research design, grantsmanship, fieldwork, participant observation, writing fieldnotes, interviews and oral histories, survey instruments, textual analysis, audio-visual methods, archiving, performance as methodology, historical research, and the poetics, ethics, and politics of cultural representation. Students will conceive, design, and carry out a limited research project over the course of a semester. To prepare for the experience of applying for research grants in the future, they will also write up a proposal for a project (this may be the same as the semester project) and defend it in a mock review by a small panel that will include faculty and/or scholars from related disciplines. On-line registration

Course	CNSV 315 Music, Language and Mind
Professor	John Halle
CRN	17552
Schedule	Th 1:30 - 4:30 pm Robbins Seminar

4 credits A survey of recent work focusing on the intersections and interactions between the mental representation of musical and linguistic structure. Topics to be addressed by the class and guest lecturers include metrical structure in music, speech and verse, textsetting, evolution of language and music and the "musilanguage” hypothesis, syntactic structure in music and language. Open to qualified non-Conservatory students.

Course	MUS / RUS 340 Russia on the Opera Stage
Professor	Marina Kostalevsky / Yelena Kodorthovsky
CRN	17445
Schedule	Wed 9:00- 11:00 am HDR 302
Distribution	OLD: D	NEW: Foreign Language, Literature & Culture

Cross-listed: Music, Russian and Eurasian Studies

Modern Russian culture, although it represents an inseparable part of European culture, has a distinctly original character, initially shaped by the Orthodox Christian tradition passed on from Byzantium. This tradition eventually came into contact and conflict with the flow of West European ideas. The monumental achievements of European civilization were absorbed and confronted, transformed and blended with the unique Russian experience. The history of Russian music predictably echoed that path. The early development of Russian music benefited from appropriation of the Byzantine unaccompanied choral singing and at the same time suffered from the absence of instrumental music. By comparison, the Western European music combined the use of vocal and instrumental faculties and resulted in the creation of numerous forms of musical art, including the most elaborate one: opera. The flourishing of this genre in Europe consequently had direct impact on the progress of musical life in Russia; during the nineteenth century, opera became the main agent for (using Richard Taruskin's apt words ) "defining Russia musically." The course will offer the students an opportunity to explore Russian culture through the medium of Russian opera. The material will include selected literary texts, musical recordings, and opera performances on video. This course is one of the first being offered under the auspices of the Bard-Smolny Virtual Campus Project. Students will participate in experimenting with using innovative technologies, including live videoconferencing, to establish direct exchange between students at Bard and students taking the same course in parallel at Smolny College in St. Petersburg, Russia. Conducted in Russian.

Course	MUS 345 Introductory Psychoacoustics
Professor	Robert Bielecki
CRN	17342
Schedule	Tu 1:00 - 2:20 pm BLUM N119 Th 10:30 – 11:50 am BLUM N110 Lab
Distribution	OLD: A	NEW: Analysis of Art

"Reality is a myth, perception is what matters".  This course will examine auditory perception and hearing  and serve as an introduction to how hearing works. The first half of the semester begins with a description of the physiology and function of the ear and how we process auditory information.   Some topics include: perception of pitch, loudness, location, auditory illusions, critical bands, masking, threshold of hearing, hearing loss, and audiometry.   The second half of the semester will focus on sound localization and the technologies used in spatialization and 3-D audio. We will explore auditory localization cues, HRTF, binaural recording, spatial audio synthesis, sound for virtual realities and immersive environments. This course should be of particular interest to anyone involved in music and audio technology.

Course	MUS 349 Jazz: Freedom Principle IV
Professor	Thurman Barker
CRN	17355
Schedule	Mon 1:30 -3:50 pm BLUM N210
Distribution	OLD: A	NEW: Analysis of Art

Cross-listed: Africana Studies, American Studies

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

Course	MUS 357 Special Topics in Ethnomusicology: Music & Tourism in South East Asia
Professor	Mercedes Dujunco
CRN	17347
Schedule	Wed 1:30 -3:50 pm BLUM N210
Distribution	OLD: A	NEW: Analysis of Art / Rethinking Difference

Cross-listed: Anthropology, Asian Studies, Studies in Race & Ethnicity

Each offering in this course series will focus on one of several different topics and its related issues that are presently of interest among scholars in both the humanities and social science disciplines and explore it ethnomusicologically in relation to the music culture(s) of a particular country or region. Through a combination of lectures and discussions based on key readings in the literature and audiovisual materials on the given topic and the music culture(s) being explored, the course will allow students to examine a topic in depth through a musical lens and draw significant insights through the application of relevant theories to specific area case studies. For Spring 2007, we will consider the topic of music and tourism in the context of music cultures in Southeast Asian countries such as the Philippines, Indonesia, Thailand, Malaysia, and Vietnam. Students will gain an understanding of how tourist settings, events, and artifacts are produced, interpreted, and consumed, and the important role of music and music-related practices in the process. In particular, we will zero in on two specific settings common to many tourists' experiences – festivals and the "cultural show". Among the issues that we would explore are the production of difference and the exotic for the consumption of the "other"; tradition and authenticity; the commodification of music culture and history; and the politics and aesthetics of tourist cultural/musical production. Coursework will include three short response papers and a 12 to 15-page research paper. On-line registration

Course	MUS 358 Sound / Art Workshop in Electro-Acoustic Composition and Interdisciplinarity
Professor	Marina Rosenfeld
CRN	17356
Schedule	Mon 1:30 -3:50 pm BLUM N119
Distribution	OLD: F	NEW: Practicing Arts

Cross-listed: Science, Technology & Society

Across the contemporary artistic spectrum, electro-acoustic sound and music are increasingly found in confrontation with the visual. This course will focus on the creative work of student composers with special emphasis on interdisciplinary forms. Readings will supplement compositional exercises, but the course is primarily intended as an open format for the critique and exploration of ongoing student work, as well as examination of works from the field, including in the areas of video, animation, digital media, broad- (or pod-) casting, and new forms of graphical/digital notation. Public presentations of student work will be made at the end of the semester. By consent of the instructor.

Course	MUS 359 20^th Century Innovations
Professor	George Tsontakis
CRN	17480
Schedule	Wed 1:30 -3:50 pm BLUM HALL
Distribution	OLD: F	NEW: Practicing Arts

The first decade of the 20th century saw an explosion of innovative compositional theories and directions. Led by Debussy and pre-serial Schoenberg, composers began to reshape the future of music. Harmonic symmetries commingled with traditional diatonic and chromatic practices brought new colors, textures, form and freedom, leading to the wide array of musical styles and aesthetics heard today. A course in listening and analysis of selected seminal works, from Debussy to Messiaen and Ligeti, in their historical context.   This course counts toward music theory credit. Written analysis of works covered; students will present to the class on selected pieces; some imitative theoretical composition similar to what is expected in traditional harmony classes.

Course	MUS 366B Advanced Contemporary Jazz Techniques II
Professor	John Esposito
CRN	17351
Schedule	Mon Fr (class) 3:00 -4:00 pm BLUM Mon Fr (ensemble) 4:30 – 6:00 pm BLUM
Distribution	OLD: F	NEW: Practicing Arts

This course continues 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.

Course	MUS 367B Jazz Composition II
Professor	Erica Lindsay
CRN	17360
Schedule	Tu 7:00 - 10:00 pm BLUM N211
Distribution	OLD: F	NEW: Practicing Arts

This course continues the strategies from Jazz Composition I, including basic modal harmony, melodic and rhythmic development. Prerequisite: Jazz Composition I.

Course	MUS WKSH A(I) Workshop: Composition for Performers
Professor	Joan Tower
CRN	17363
Schedule	Mon 1:30 – 3:50 pm BLUM HALL
Distribution	OLD: F	NEW: Practicing Arts

In the 20^th century a major split occurred between performers and composers that had important consequences for the classical music world. Performers went one way and composers the other—not always with the best results. For the performers, there was an increased emphasis on playing the music of dead composers. The workshop will attempt to bring the performer closer to the composers (both living and dead) by placing them on “the other side of the page”—creating the page themselves, rather than following the directions of someone else’s page. By composing, the performers will not only increase their understanding of what they play, but also engage in a process that puts them “inside” the creative process. All the works written in this workshop will be performed by students in the class. If the works turn out to be exceptional, they will also be performed by professionals. Please see instructor before registration. This course fulfills the composition requirement for music majors not majoring in jazz or electronic composition.

Course	MUS WKSH A(II) Workshop: Composition
Professor	George Tsontakis
CRN	17481
Schedule	Tu 4:00 – 6:20 pm BLUM N217
Distribution	OLD: F	NEW: Practicing Arts

This course fulfills a requirement of the composers who are not concentrating in Jazz or Electronic Music composition.

Course	MUS WKSH B Workshop: Performance Class
Professor	Luis Garcia-Renart / Blair McMillen
CRN	17345
Schedule	Tu Th 1:30 -3:50 pm BLUM HALL Wed 4:00 – 6:20 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 WKSH E Workshop: Song Writing
Professor	Gregory Armbruster
CRN	17362
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 WKSH G Workshop: Vocal & Voice
Professor	Arthur Burrows
CRN	17332
Schedule	Mon 10:00 - 12:00 pm .
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 WKSH L Workshop: Opera Workshop
Professor	Arthur Burrows
CRN	17348
Schedule	Wed 1:30 -3:50 pm .
Distribution	OLD: F	NEW: Practicing Arts

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.

Course	MUS WKSH M Workshop: French-Art Song Performance
Professor	Rufus Müller
CRN	17352
Schedule	Mon 2:00 – 4:20 pm BARD HALL
Distribution	OLD: F	NEW: Practicing Arts

This semester's class will be focusing on the interpretation and  performance of classical French song, with some training in the use of  the International Phonetic Alphabet. Primarily for students taking voice lessons and for pianists interested in accompanying singers.

Course	MUS WKSH V Chinese Music Ensemble
Professor	Mercedes Dujunco
CRN	17346
Schedule	Tu Th 4:00 -5:20 pm BLUM 117
Distribution	OLD: F	NEW: Practicing Arts

Cross-listed: Asian Studies

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 registration

Course	MUS WKSH W Workshop in Contemporary Electronics: from the Turntable to the Game Boy
Professor	Marina Rosenfeld
CRN	17333
Schedule	Tu 9:30 - 11:50 am BLUM N119
Distribution	OLD: F	NEW: Practicing Arts

The turntable, the sampler, the drum machine, the walkman and other consumer-derived tools are at the crux of a contemporary branch of experimental electronic music that encompasses the work of artists as diverse as Philip Jeck, Christian Marclay, Janet Cardiff, Ikue Mori, Yasunao Tone, Aphex Twin, Laurie Anderson and Otomo Yoshihide. The class will explore this music as an instrument-based practice, with a special emphasis on the turntable as an instrument whose material properties, as well as cultural significance, define its uses as an improvisatory and compositional tool. Conceptualism and visual art, free improvisation, electronic composition, DJ culture, multi-media, as well as the history and legacy of inventor-artists who pioneered the creative use or “misuse” of audio technology (John Cage, King Tubby, Milan Knizak, Grandmaster Flash) will all be considered as antecedents of contemporary practice. Students will be required to create and perform several short pieces and one larger-scale composition project exploiting the properties of one or more electronic instruments.

Course	MUS WKS P4 Workshop in Jazz Improvisation II
Professor	Erica Lindsay
CRN	17361
Schedule	Th 4:00 -7:00 pm .
Distribution	OLD: F	NEW: Practicing Arts

2 credits 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 Imrovisation Workshop I, or consent of the instructor.

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	17482
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ EL Special Projects
Professor	Erica Lindsay
CRN	17483
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ P Special Projects
Professor	George Tsontakis
CRN	17484
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ R Special Projects
Professor	Luis Garcia-Renart
CRN	17485
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ U Special Projects
Professor	TBA
CRN	17486
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ V Special Projects
Professor	Joan Tower
CRN	17487
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

Course	MUS PROJ Z Special Projects
Professor	Thurman Barker
CRN	17488
Schedule	TBA
Distribution	OLD: F	NEW: Practicing Arts

PRIVATE MUSIC LESSONS

Scholarship auditions will be held on Wednesday February 7^th, 2007.

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 12 lessons @ $30.00 per lesson (towards lesson cost) available, applied as credit to student’s Bard account.