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 6th, 2008.

 

Course

MUS 104   Bard College Orchestra

Professor

Nathan Madsen

CRN

18005

 

Schedule

Mon      7:00 - 10:30 pm     Olin AUDT

Distribution

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 Friday February 1st, 2008 for new members. Please call to set up appt., 845-758-7091. * First Orchestra rehearsal will be on Monday February 4th, 2008 from 7:30 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 Chorus

Professor

James Bagwell

CRN

18006

 

Schedule

Tue       7:00 - 10:00 pm     Olin AUDT

Distribution

Practicing Arts

First rehearsal will be on Tuesday February 5th, 2008.

On-line registration 

 

Course

MUS 106   Bard Community Chamber Music

Professor

Luis Garcia-Renart

CRN

18380

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS 108B   Ensemble: Contemporary

Professor

Keith Fitch

CRN

18381

 

Schedule

Mon      1:30 -3:50 pm        Blum HALL

Distribution

Practicing Arts

 

Course

MUS 108D   Ensemble: Chamber Singers

Professor

James Bagwell

CRN

18382

 

Schedule

Tu Th    4:00 -6:00 pm        Blum HALL

Distribution

Practicing Arts

2 credits. Auditions will be held by appointment for new members only. First rehearsal will be on Tuesday, February 5th, 2008 from 4pm to 6pm. On-line registration 

 

Course

MUS 108F   Ensemble:Jazz

Professor

Thurman Barker

CRN

18383

 

Schedule

Mon      7:00 -9:00 pm        Blum N211

Distribution

Practicing Arts

 

Course

MUS 108G   Ensemble: Chamber

Professor

Colorado Quartet

CRN

18384

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS 108H   Ensemble: Balinese Gamelan

Professor

Mercedes Dujunco

CRN

18385

 

Schedule

Mon      7:00 -9:00 pm        .

Distribution

Practicing Arts

On-line registration 

 

Course

MUS 108I   Ensemble: Electro-Acoustic Ensemble

Professor

Marina Rosenfeld

CRN

18386

 

Schedule

Wed      4:00 -6:20 pm        Blum N211

Distribution

Practicing Arts

 

Course

MUS 108J   Ensemble: Percussion

Professor

Thurman Barker

CRN

18388

 

Schedule

Tue       1:30 -3:50 pm        Blum N211

Distribution

Practicing Arts

 

 

Course

MUS 108N   Contemporary Jazz Composers

Professor

Erica Lindsay

CRN

18391

 

Schedule

Tue       4:30 -6:30 pm        Blum N211

Distribution

Practicing Arts

 

Course

MUS 172   Jazz Harmony II

Professor

John Esposito

CRN

18393

 

Schedule

Tu Th    10:30 - 11:50 am    Blum N211

Distribution

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 183   High / Low Tensions and  Agreements

Professor

James Bagwell

CRN

18394

 

Schedule

Tu Th    2:30 -3:50 pm        Blum N217

Distribution

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. On-line registration 

 

Course

MUS 202   Music Theory II

Professor

Kyle Gann / Keith Fitch

CRN

18395

 

Schedule

Tue (theory) Th (lab)  1:00 -2:20 pm  Blum N217

Wed (lab)  Fri (theory) 1:30 -2:50 pm Blum N217

Distribution

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.

 

Course

MUS 212   Jazz in Literature II

Professor

Thurman Barker

CRN

18397

 

Schedule

Mon Wed   10:30 - 11:50 am                Blum N210

Distribution

Analysis of Art/ Rethinking Difference

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 235   Music of Claudio Monteverdi

Professor

Frederick Hammond

CRN

18400

 

Schedule

Tu Th    10:30 - 11:50 am    Olin 104

Distribution

Analysis of Art

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 238  The  History and Literature of  Electronic and Computer  Music

Professor

Richard Teitelbaum

CRN

18403

 

Schedule

Tu Th    1:30 -2:50 pm        Blum N119

Distribution

Practicing Arts

In the 1920’s, a number of new electronic instruments such as the Theremin, the Ondes Martenot and the Trautonium were invented, and a number of composers, including Hindemith and Messiaen, composed new works for them.  After the invention of  magnetic recording tape in the late 40’s electronic music became an enterprise that was produced in special studios and fixed on tape for later playback. Starting around 1960, John Cage and David Tudor began experimental performances with such works as Cartridge Music (1960), Variations II and other pieces that reintroduced  the live performer to the electronic medium.  Many composers, such as Mumma, Behrman, Lucier, Ashley, Stockhausen, Nono, and Boulez, as well as collective improvisationally-based groups such as AMM Music in London, and Musica Elettronica Viva in Rome soon followed suit.  During the 60’s and 70’s, with the advent of smaller and the more personal synthesizers invented by Moog, Buchla and others, the field of live electronic music became a practical reality. Some ten years later, a similar sequence of events took place with regard to computer music, where the large mainframes of the 50’s and 60’s were superseded by the PC revolution of the late 70’s and 80’s.  This was followed by the more recent  development of the laptop that has enabled performers to carry powerful, portable computers on stage. This course will trace these developments, examine the literature of the field, encourage live performances of “classic” pieces, and the creation and performance of new compositions and improvisations. It is strongly recommended that this course be taken in conjunction with Electro-Acoustic Ensemble. 

 

Course

MUS 254B   Pronunciation and Diction for Singers II: Italian, French, German, English & Latin

Professor

Sharon Bjorndal

CRN

18435

 

Schedule

Mon      7:00 -9:30 pm        Blum N217

Distribution

Practicing Arts

This two-semester course is an introduction to the International Phonetic Alphabet (IPA), its symbols and practical use in performing or preparing Italian, French, German and English vocal literature.  The fall semester will be devoted to the Italian and French languages, the spring to German, English, and Latin.  Through songs, arias, and choral literature, students will take from this course a basic understanding of pronunciation rules and rhythm of each language.  While it is geared towards singers and collaborative pianists, the course is also useful for other instrumentalists and students seeking to refine pronunciation and accent.  Grading will be based on a series of quizzes and two exams, including the preparation and performance of one song per language.  Ability to read music is not required.  No previous knowledge of the languages is required. 

 

Course

MUS 255   Analysis of the Classics of Modernism

Professor

Kyle Gann

CRN

18411

 

Schedule

Wed Fri                                3:00 -4:20 pm              Blum N217

Distribution

Analysis of Art

The half-century from 1910 to 1960 saw an explosion of dissonance, complexity and  apparent musical chaos.  And yet, beneath the surface it was also an era of unprecedented intricacy of structure and musical systematization.  The liberation of dissonance and  dissolution of melody left composers insecure, and they often compensated by creating systems of tremendous rigor not always apparent to the listener. This course will analyze in depth several works that changed the way we think about composing, and which  pioneered the growth of an atonal musical language.  Explore the cinematographic intercutting of Stravinsky’s Le Sacre du Printemps; the textural overlayering of Ives’s Three Places in New England; the elegant mathematical proportioning of Bartok’s Music for Strings Percussion and Celeste: the delicate symmetries of Webern’s Symphonie Op. 21; the total organization of Stockhausen’s Gruppen; and the compelling multi tempo climaxes  of Nancarrow’s Study No. 36.  Intended for music majors, for whom it counts as music theory credit, but other strongly motivated students are welcome.

Prerequisite:  Fundamentals of Music or the equivalent (ability to analyze tonal harmony).

 

Course

MUS 265   Literature  and Language of Music II

Professor

Peter Laki

CRN

18412

 

Schedule

Mon Wed  12:00 -1:20 pm  Blum N217

Distribution

Analysis of Art

A survey of selected musical works composed in the 19th and 20th 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.

 

Course

MUS 266B   American Popular Song 1930-1950

Professor

John Esposito

CRN

18413

 

Schedule

Mon Fr (lecture) 10:30 - 11:50 am Blum N211

Mon Fr (ensemble) 12:00 -1:20 pm Blum N211

Distribution

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 332   Jazz: The Freedom Principle II

Professor

Thurman Barker

CRN

18415

 

Schedule

Mon      1:30 -3:50 pm        Blum N210

Distribution

Practicing Arts / Rethinking Difference

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 345   Introductory Psychoacoustics

Professor

Robert Bielecki

CRN

18416

 

Schedule

Fri         9:30 -11:50 am      BLM

Distribution

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 346   Interactive Performance and Composition

Professor

Robert Bielecki

CRN

18436

 

Schedule

Wed      9:30 - 11:50 am     Blum N119

Distribution

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 358   Sound / Art Workshop in  Electro-Acoustic Composition and Interdisciplinarity

Professor

Marina Rosenfeld

CRN

18417

 

Schedule

Wed      1:30 -3:50 pm        Blum N119

Distribution

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.

 

Course

MUS 366D   Advanced  Contemporary Jazz Techniques IV

Professor

John Esposito

CRN

18418

 

Schedule

Mon Fr (class)  3:00 -4:00 pm Blum N211

Mon Fr (ensemble) 4:30 -6:00 pm Blum N211

Distribution

Practicing Arts

A continuation of  A & B semesters.  This course will focus on strategies for improvisation without predetermined chord structures or rhythmic frameworks and on methods for shaping performances spontaneously.  We will also explore collaboration with artists from other disciplines such as dance, spoken word and visual arts. This class is open to moderated upper college students who have successfully completed advanced contemporary Jazz techniques A & B.

 

Course

MUS / ANTH 368   Applied Ethnomusicology

Professor

Mercedes Dujunco

CRN

18419

 

Schedule

Wed      1:30 -3:50 pm        Blum N210

Distribution

Social Science / Rethinking Difference

Cross-listed:  Anthropology

As the old notion of a disengaged academic “ivory tower” continues to lose its relevance, ethnomusicologists are faced with a variety of hands-on roles in the wider community as consultants, activists, specialists, and educators.  The term “applied ethnomusicology” has emerged to help define how ethnomusicologists interact with people and interests beyond the traditional domain of academia.  But what does “applied” actually mean?  In what ways has “traditional” ethnomusicology already demonstrated community engagement?  How do we problematize long-held distinctions between theory and praxis, home and field, and the university and society?  Are there limits to the scholar’s role in advocacy and social justice? As it stands, applied ethnomusicology encompasses community activism, world music pedagogy, archiving, and grassroots organizing among many other forms of engagement.  This seminar will address the theoretical, practical, and ethical issues that develop from their community application.  It will discuss real-world applications of archiving and museum work, sound media production, ethnographic filmmaking, concert promotion and artist management, cultural policy/brokering, and world music pedagogy.  The course will include a practical component that involves a collaborative class project through which students will have an opportunity to put the things they learn in this class into actual practice in connection with a neighborhood community.  The neighborhood community that will be the focus of the collaborative class project will vary each semester this course is offered. Transportation to the project site will be provided.

On-line registration 

 

Course

MUS 369   Prokofiev & Shostakovich

Professor

Peter Laki

CRN

18420

 

Schedule

Mon      4:00 -6:20 pm        Blum N210

Distribution

Analysis of Art

The works of Prokofiev and Shostakovich are mainstays of the standard concert repertoire.  The course will seek to place them in the context of their time.  We shall survey Russian history from the Bolshevik Revolution of 1917 until the 1970’s, and read excerpts from relevant literary works, in addition to discussing key compositions – operas, symphonic and chamber works – by the two composers. Students will be required to choose a research topic and produce a term paper which they will also present orally in class.

MUSIC WORKSHOPS

Course

MUS WKSHA   Workshop: Composition

Professor

Keith Fitch

CRN

18421

 

Schedule

Mon      4:00 -6:20 pm        Blum HALL

Distribution

Practicing Arts

In the 20th 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 WKSHB   Workshop: Performance Class

Professor

Luis Garcia-Renart / Blair McMillen

CRN

18422

 

Schedule

Tu Th    1:30 -3:50 pm        Blum HALL

Wed      4:00 -6:20 pm        Blum HALL

Distribution

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 WKSHG   Workshop: Vocal & Voice

Professor

Arthur Burrows

CRN

18423

 

Schedule

Tue       10:00 - 12:00 pm    BDH

Distribution

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. On-line registration

 

Course

MUS WKSHL   Workshop: Opera Workshop

Professor

Frederick Hammond / Arthur Burrows

CRN

18424

 

Schedule

Wed      1:30 -3:50 pm        BDH

Distribution

Practicing Arts

The class this semester will be working on material for the commencement concert to be presented by the American Symphony Orchestra.  The opera Falstaff  will be used as a template for the class.  There will be an ensemble of solo singers picked by audition and/or seniority to learn the difficult opera finale that will require memorization and considerable musical skills.  When time permits, scenes and arias from the opera will be considered and staged.  Auditions will be held the week of registration.  For more information see professors Burrows, Hammond or Muller. On-line registration

 

Course

MUS WKSHM   English & American Art Song

Professor

Rufus Muller

CRN

18425

 

Schedule

Mon      2:00 -4:20 pm        BDH

Distribution

Practicing Arts

This class will focus on English and American song, ranging from Tudor Lute Song to contemporary America.  Special attention will be paid to performing style and techniques, and on communication with the listener.  This course is primarily for students taking voice lessons.  Accompanists are also very welcome.

 

Course

MUS WKSHV   Chinese Music Ensemble

Professor

Mercedes Dujunco

CRN

18427

 

Schedule

Tu Th    4:00 -5:20 pm        Blum 117

Distribution

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 registration 

 

Course

MUS WKSP4   Workshop:Jazz Improvisation II

Professor

Erica Lindsay

CRN

18428

 

Schedule

Th         4:00 -6:55 pm        Blum N211

Distribution

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 Improvisation Workshop I, or consent of the instructor.

 

Course

MUS WKSP7   Jazz Vocal Workshop

Professor

John Esposito

CRN

18426

 

Schedule

Th         7:00 -9:30 pm        Blum N211

Distribution

Practicing Arts

 

 

SPECIAL PROJECTS

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

Course

MUS PROJ B  Special Projects

Professor

James Bagwell

CRN

18429

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS PROJ EL  Special Projects

Professor

Erica Lindsay

CRN

18430

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS PROJ R  Special Projects

Professor

Luis Garcia-Renart

CRN

18431

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS PROJ U  Special Projects

Professor

Kyle Gann

CRN

18432

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS PROJ V  Special Projects

Professor

TBA

CRN

18433

 

Schedule

TBA                                       .

Distribution

Practicing Arts

 

Course

MUS PROJ Z  Special Projects

Professor

Thurman Barker

CRN

18434

 

Schedule

TBA                                       .

Distribution

Practicing Arts