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 4, 2009.
|
19171 |
MUS 104 Bard College Orchestra |
Nathan Madsen |
M . . . . |
7:00 -10:30 pm |
OLIN
AUDT |
PART |
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 Monday January
26th, 2009 for new members. Please call to set up appt., 845-758-7131. * First
Orchestra rehearsal will be on Monday January 26th, 2009 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.)
|
19172 |
MUS 105 Bard College Symphonic Chorus |
James Bagwell |
. T . . . |
7:00 -10:00 pm |
OLIN
AUDT |
PART |
First rehearsal will be on Tuesday February 3rd,
2009.
|
19462 |
MUS 106
Bard Community Chamber Music |
Luis Garcia-Renart |
.TBA. . . |
|
. |
PART |
Not available for on-line registration.
|
19463 |
MUS 108B Ensemble: Contemporary |
Joan Tower / Blair McMillen |
M . . . . |
1:30
pm -3:50 pm |
BLM
HALL |
PART |
Not available for on-line registration.
|
19464 |
MUS 108D Ensemble: Chamber Singers |
James Bagwell |
. T . Th . |
4:00
pm -6:00 pm |
BLM
HALL |
PART |
2 credits. Auditions
will be held by appointment for new members.
First rehearsal will be on Tuesday,
February 3rd, 2009. Not available for on-line registration.
|
19465 |
MUS 108F Ensemble:Jazz Big Band |
Thurman Barker |
M . . . . |
7:00
pm -9:00 pm |
BLM
N211 |
PART |
Not available for on-line registration.
|
19466 |
MUS 108G Ensemble: Chamber |
The Colorado Quartet |
. TBA . . |
|
. |
PART |
Not available for on-line registration.
|
19467 |
MUS 108H Ensemble: Balinese Gamelan |
TBA |
M . . . . |
7:00
pm -9:00 pm |
. |
PART |
|
19468 |
MUS 108I Ensemble: Live Electronic Perf |
TBA |
. . W . . |
6:30
pm -8:30 pm |
BLM
HALL |
PART |
|
19469 |
MUS 108J Ensemble: Percussion |
Thurman Barker |
. T . . . |
1:30
pm -3:50 pm |
BLM
N211 |
PART |
Not available for on-line registration.
|
19470 |
MUS 108N Contemporary Jazz Ensemble |
Erica Lindsay |
. T . . . |
4:30
pm -6:30 pm |
BLM
N211 |
PART |
|
19471 |
MUS 172 Jazz Harmony II |
John Esposito |
M . W . . |
10:30 -11:50 am |
BLM
N211 |
PART |
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.
|
19472 |
MUS 202 Music Theory II |
Kyle Gann / Sharon Bjorndal |
M . . . F . T . Th . |
1:30
pm -2:50 pm 1:00
pm -2:20 pm |
BLM
N217 BLM
N217 |
PART |
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. (Monday and Thursday sessions are Theory, Tuesday and Friday
are Labs.)
|
19473 |
MUS 212 Jazz Literature II |
Thurman Barker |
M . W . . |
10:30 -11:50 am |
BLM
N210 |
AART/DIFF |
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. Not available for on-line registration.
|
19474 |
MUS 219 19th Century Harmony |
Kyle Gann |
M . W . . |
3:00
pm -4:20 pm |
BLM
N217 |
AART |
This course will explore the Romantic Era in terms
of its most colorful characteristic: harmony. Works by Chopin, Field,
Mendelssohn, Robert and Clara Schumann, Brahms, Liszt and Scriabin will be
analyzed, along with excerpts of larger works by Berlioz, Wagner, Bruckner and
Mahler – for form and orchestration, but most of all to explore the flowering
of ultrachromatic harmonic progressions and modulations. Along with augmented
sixth chords, borrowed chords, enharmonic modulations, and chromatic
voice-leading, the class will study the wealth of thematic transformation
techniques that made late Romanticism such a fluid and often extramusically
referential language. This course is intended for music majors, but is open to
anyone who has fulfilled the prerequisite, Fundamentals I and II or the
equivalent. This course fulfills a music theory requirement for music majors.
|
19475 |
MUS 232 20th Century Masters: Schoenberg, Stravinsky, Shostakovich
|
Frederick Hammond |
. T . Th . |
10:30 -11:50 am |
OLIN
104 |
AART |
The work of these three composers encapsulates much
of the history, techniques, and aesthetics of twentieth-century Western art
music. Arnold Schoenberg (1874- 1951) carried Wagnerian harmony to what he
considered its logical conclusion, the destruction of tonality.
Igor Stravinsky (1882- 1971), the internationally successful product
of Russian imperial culture, assimilated everything from Tschaikovskian
romanticism to serial technique. The
tormented Dimitri Shostakovich (
1906- 1975) spent most of his career trying to balance his own creative
expression with the demands of the Stalinist government. We will consider a core of major works
(including an opera) by each composer: Schoenberg’s Verklarte Nacht (1899), Pierrot Lunaire (1912), Suite for Piano, Op.
25 (1923), Moses und Aron (1930- 32), and the String Trio, Op. 45 (1946); Stravinsky’s Sacre de Printemps (1913), Les Noces (1923), Apollon Musagete (1928),
The Rake’s Progress (1951), and Agon
(1957); Shostakovich’s Lady Macbeth of
Mdzensk (1932), Symphonies 2 (1927), 13 (“Babiy Yar, “ 1962), and 15 (1971), and the String Quartet no. 15 (1974).
Musical training is useful but not required. The course satisfies a history requirement for Music majors. Not available for on-line registration.
|
19476 |
MUS 254B Pronunciation & Diction for Singers
II |
Sharon
Bjorndal
|
. T . . F |
10:30 -11:50 am |
BLM
N217 |
PART |
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.
|
19477 |
MUS 257 Production & Reproduction |
Robert Bielecki |
. . . Th . |
1:30
pm -3:50 pm |
BLM
N110 |
PART |
This course will focus on the theory and practice of
sound recording. Students will learn the use of recording equipment including
digital tape recorders, mixing consoles, signal processing devices, and
microphones. A/B listening tests will be used to compare types of microphones,
microphone placement and many different recording techniques. ProTools software
will be available for digital editing and mastering to CD. Assigned projects
will include both multitrack and direct to stereo recordings of studio and
concert performances. Enrollment is limited.
Not available for on-line registration.
|
19478 |
MUS 260 String Quartets of Beethoven |
Colorado Quartet |
. . . Th . |
1:30
pm -3:50 pm |
OLIN
104 |
PART |
The Colorado String Quartet will examine the
personal and creative life of this great composer through the medium of his sixteen
string quartets. The works will be placed in a historical and political
context. Beethoven’s relationship with the writers and philosophers of the
time, including Goethe, Schiller and Kant, will be examined through his
creative development. During the semester the Colorado Quartet will perform
selections from the sixteen Beethoven string quartets. No prerequisites, but
the ability to read music is a plus. There will be listening and writing
assignments. Not available for
on-line registration.
|
19479 |
MUS 265 Literature and Language of Music II |
Peter Laki |
M . W . . |
12:00
pm -1:20 pm |
BLM
N217 |
AART |
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.
|
19480 |
MUS 266C Jazz Repertory: BEBOP Masters |
John Esposito |
M . W . . |
12:00
pm -1:20 pm |
BLM
N211 |
PART |
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.
|
19602 |
MUS 266D The Music of John Coltrane |
John Esposito |
.
. Th . |
1:30
pm -3:50 pm |
BLM
N211 |
AART |
An
immersion in the music of a Jazz master; includes readings, recorded music and
films. Coltrane’s music will be
performed in a workshop setting by students and instructor. Visiting artists will play and discuss the
music. Prerequisites: Jazz Harmony II, or permission of Instructor.
|
19481 |
MUS 290 Death Set to Music |
James Bagwell |
. T . Th . |
2:30
pm -3:50 pm |
BLM
N217 |
AART |
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.
|
19482 |
MUS 345 Introductory Psychoacoustics |
Robert Bielecki |
. T . . . |
1:30
pm -3:50 pm |
BLM
N110 |
AART |
"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.
|
19483 |
MUS 349 Jazz: Freedom Principle IV |
Thurman Barker |
M . . . . |
1:30
pm -3:50 pm |
BLM
N210 |
AART/DIFF |
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. Not available for on-line
registration.
|
19484 |
MUS 352 Electronics, Electroacoustic, and Computer Composition |
. TBA |
. . . Th . |
9:30 -11:50 am |
BLM
N119 |
PART |
This course, intended primarily for music majors,
will be focused on the individual creative work of the students enrolled. Each will be expected to bring in his or her
ongoing work as computer programs, digital or analog recordings and scores for
live electronic realization. These will
be examined and commented on by the instructor and other class members. Installations and mixed media works will
also be welcomed. Analyses and class
presentations of classic works by such composers as Stockhausen, Cage, Xenakis,
etc., will also be expected of the students during the semester. Public presentations of student work will be
made at the end of the semester. By consent of the instructor.
|
19560 |
MUS 365 Music
of Japan, Ancient and Modern |
Richard Teitelbaum |
. . W . . |
1:30pm
– 3:50 pm |
BLM
N210 |
AART |
Cross-listed:
Asian Studies The course begins with an
examination of the ancient repertories of Buddhist chant (shomyo) and court
music (gagaku) that form the basis for traditional Japanese classical
music. Other traditional genres to be studied will include the Zen-inspired
shakuhachi (end-blown bamboo flute) honkyoku, and music for biwa (lute),
shamisen and koto. After exploring the impact of Western music on Japan in the
19th and 20th centuries, the class will focus on the
combination of traditional Japanese instruments and forms with Western
contemporary classical techniques, as exemplified by the path breaking work of
Toru Takemitsu, as well as that of Yuji Takahashi, Toshi Ichiyanagi, and
others. Postwar experimental groups, including such key figures and groups as
Yoko Ono, Takehisa Kosugi, Fluxus and Group Ongaku will be examined. Finally,
recent developments in “noise” music by such figures as Merzbow, Otomo
Yoshihide, and others that combine turntables and laptops with Japanese and
western acoustic instruments will be studied. To this end, a special event
featuring a concert and workshops by several leading Japanese composers
and performers of computer and instrumental music will be presented at Bard
during the week of March 9th by Music From Japan. These include
computer composer Takayuki Rai, composer/performer Tomomi Adachi, shamisen
player Mojibei Tokiwazu V and violinist Mari Kimura. Not available for on-line registration.
|
19486 |
MUS 367B Jazz Composition II |
Erica Lindsay |
. . W . . |
6:00
pm -9:00 pm |
BLM
N211 |
PART |
This course continues the strategies from Jazz
Composition I, including basic modal harmony, melodic and rhythmic development.
Prerequisite: Jazz Composition I.
|
19461 |
MUS 371 Last Operas |
Christopher Gibbs |
M . . . . |
4:00
pm -6:20 pm |
BLM
N210 |
AART |
This course will explore the last opera of some of
the greatest and most prolific composers of musical theater, with particular
focus on Monteverdi’s The Coronation of Poppea (1642), Mozart’s The
Magic Flute (1791), Wagner’s Parsifal (1882), Verdi’s Falstaff
(1893), Puccini’s Turandot (1924), Strauss’s Capriccio (1942),
and Britten’s Death in Venice (1973). We will consider the aesthetic
category of “lateness” and the phenomenon of last works to see what
commonalities might emerge from operas written in very different times and
places. For each opera we will consider its literary and musical sources, its
genesis, initial performance and reception, and production history. Every
member of the seminar will focus on one “last opera” (not necessarily limited
to those listed above) for a presentation and research paper.
MUSIC WORKSHOPS
|
19487 |
MUS WKSHA Workshop: Composition |
Joan Tower |
M . . . . |
4:30
pm -6:50 pm |
BLM
HALL |
PART |
This workshop is for both composers and performers-
primarily music majors who can read music. The process is one of learning how
to put one's musical soul onto the page, pass that page first to
players in the class and then eventually to professionals(the Da Capo Players) who give a concert of some
of that music at the end of each semester. All along the way, the hope is
that the music will "come back" to the composer as he or she had
intended it to with some kind of profile and excitement. Not open for
on-line registration, please contact Prof. Tower.
|
19488 |
MUS WKSHB Workshop: Performance Class |
Luis Garcia-Renart / Blair McMillen |
. T . Th . . . W . . |
1:30
pm -3:50 pm 4:00
pm -6:20 pm |
BLM
HALL |
PART |
This class is conceived as a unifying workshop for
performing musicians within the department. Please meet with the instructor
prior to or during registration. Not
available for on-line registration.
|
19489 |
MUS WKSHG Workshop: Bach Arias |
Frederick Hammond / Arthur Burrows |
. . W . . |
10:00 -12:00 pm |
BDH
RECI |
PART |
(2 credits) In this
singing class we will explore the arias and duets in the vast literature of the
sacred cantatas of J.S. Bach. We will
consider technical vocal matters, historical context, performance practice, and
general interpretation. Recommended for advanced vocal students. Not available for on-line registration.
|
19490 |
MUS WKSHL Opera Workshop |
Rufus Muller |
. . W . . |
1:30
pm -3:50 pm |
BDH |
PART |
4 credits Work is to
be decided. For more information see
Professor Muller. Contact Prof. Müller by email: [email protected] to arrange an
audition before registration.
|
19491 |
MUS WKSHM Workshop: The Queen is
Dead |
Rufus Muller |
M . . . . |
2:00
pm -4:20 pm |
BDH |
PART |
(2 credits)
With the death of Queen Victoria in 1901, the
opulent era of 19th century music began to give way to a century of
change and upheaval. In this course we
shall explore the art song repertoire of 20th century Europe and
America, with particular emphasis on performance and communication with the
listener. The course ends with a public
recital.
|
19494 |
MUS WKSP4 Workshop:Jazz Improvisation II |
Erica Lindsay |
. . . Th . |
4:00
pm -7:00 pm |
BLM
N211 |
PART |
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.
|
19495 |
MUS WKSP7 Jazz Vocal Workshop |
John Esposito |
. . . Th . |
7:01
pm -9:30 pm |
BLM
N211 |
PART |
|
19492 |
MUS WKSPO Introduction to Electronic Music |
. TBA |
. . W . . |
1:30
pm -3:50 pm |
BLM
N119 |
PART |
This hands-on workshop will serve as an
introduction to music technology and will focus primarily on the creation of
original work, including a final project, through the use of digital and analog
recording techniques and devices. Topics to be covered include the physics of
sound, psychoacoustics, and foundational practices in electro-acoustic sound
production and their contemporary/digital analogues, with particular emphasis
on digital signal processing, instrument "discovery" and exploration,
field recording, and modes of electronic diffusion, including multichannel
installation, broadcast, live performance and multimedia. Students will be
given instruction in the use of ProTools, Quicktime with Protools for
soundtrack production, and will become familiar with sampling, multi-track
recording, editing, and mixing. Throughout the semester, students will produce
field recordings and other original recordings in diary format and will receive
instruction and guidance in utilizing this work for electronic composition,
performance and installation. Examples from the history of electronic music
will assist students in exploring the aesthetic, political, historical and
personal implications of music technology and its uses. Enrollment in this
course automatically gives students access to the Bard electronic music
studios. In addition to the digital workstations, students can also explore
analog synthesis techniques using the vintage Serge modular synthesizer.
SPECIAL PROJECTS
Special projects are designed for music majors only,
to pursue individual or group projects with a particular professor. Schedules will be arranged.
|
19496 |
MUS PROJ
B Special Projects |
James Bagwell |
. . . . . |
|
. |
PART |
|
19497 |
MUS PROJ
EL Special Projects |
Erica Lindsay |
. . . . . |
|
. |
PART |
|
19498 |
MUS PROJ
R Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
|
19499 |
MUS PROJ
U Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
|
19500 |
MUS PROJ
V Special Projects |
Joan Tower |
. . . . . |
|
. |
PART |
|
19501 |
MUS PROJ
Z Special Projects |
Thurman Barker |
. . . . . |
|
. |
PART |