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.
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.
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 |
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 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 |