|
11510 |
CNSV 101 Studio Instruction |
Robert Martin |
. . . . . |
|
. |
|
4
credits Required
for all Conservatory performance majors.
|
11511 |
CNSV 103 Composition Tutorial |
Robert Martin |
. . . . . |
|
. |
|
4
credits Required
for all Conservatory composition majors.
|
11512 |
CNSV 105 Secondary Piano |
Frank Corliss |
. . . . . |
|
. |
|
2
credits Students
should contact Prof. Corliss.
|
11513 |
CNSV 109 Aural Skills II |
John Halle |
. T . Th . |
4:00 – 5:00 pm |
. |
|
2
credits Basic
skills in sight-singing, harmonic, melodic and rhythmic dictation, clef
reading, keyboard harmony, harmonic analysis and other requirements of
functional musical literacy.
|
11514 |
CNSV 111 Chamber Music |
Robert Martin |
. . . . . |
|
. |
|
0
credits
|
11515 |
CNSV 113 Orchestral Training & Repertoire |
Leon Botstein / Erica Kiesewetter |
M . . Th . |
7:00 - 9:30 pm |
. |
|
0
credits The purpose of this course is to introduce
Conservatory students to the art of orchestral playing. Twice-weekly
sessions will include preparation for concerts, orchestral exercises, sectional
rehearsals and readings of important orchestral repertoire including concerto
accompaniments for fellow students.
|
11516 |
CNSV 116 Conservatory Seminar II |
John Halle |
. T . . . |
7:00 -9:00 pm |
. |
|
4
credits An examination of the
form and historical context of chamber and solo literature of the baroque,
classical and early romantic period. In class discussion of pieces drawn from
the performance repertoires of participants will augment an introduction to the
basic analytical procedures and selected biographical and historical
readings relevant to the works. A final performance/presentation of
a work of the student's choice will demonstrate the practical application of
the concepts acquired.
|
11518 |
CNSV 211 Alexander Technique for
Musicians |
Alexander Farkas |
. . . . F |
9:00 - 10:30 am |
. |
|
1
credit The Alexander Technique provides a way of teaching
us how to re-connect with our own innate energies. For musicians this
means discovering a way of performing with greater muscular ease, less
accumulated fatigue and a less restrictive approach to technique. This
course introduces both F. M. Alexander's principles and a new set of physical
experiences suited to the musician's specific needs. The aim of the class
will be learning how to apply the Technique to practice and performance
situations. Students will have the opportunity to work with their
instruments in class.
|
11517 |
CNSV 216 Conservatory Seminar IV: Composition |
Robert Martin |
. . . . . |
|
. |
|
|
11519 |
CNSV 220 Music, Language, & Mind |
John Halle |
. . W . .. |
3:00 -5:00 pm |
|
|
4
credits A survey
of recent work in musical cognition focussing on the connections between
language and music. Aniruddh Patel's
recent "Language, Music and the
Brain” will serve as the main text augmented with additional readings by Lerdahl, Baker, Jackendoff, Meyer, Hayes and others. Among the broad
questions we will attempt to address are the following. Does the shared terminology we employ to
refer to the basic elements of music and language-e.g. accent, rhythm, phrase,
stress, etc.- point to underlying similarities in the two mental
systems or does it obscure fundamental
differences? What aspects of music are elucidated by the cognitive approach
which forms the foundation of contemporary linguistics and what important
characteristics of musical experience are, in principle, unanswerable by
viewing music as a Chomskyan "natural object"? Does the evidence offered by contemporary
neuropsychological research indicate that linguistic and musical syntax make
use of similar or distinct neural circuitry?
What kinds of empirical results would a definitive answer to this
question require? What evidence is
there for a musi-language in our evolutionary history which would later
bifurcate into language and music as distinct expressive and cognitive systems?
What are the connections between poetic meter as a formal pattern (as defined
in traditional prosody), rhythmicized speech (as in rap, chant and nursery
rhymes), settings of metrical poetry by composers and song form? Some fluency with musical notation will be
helpful but is not required.
|
11520 |
CNSV 310 Keyboard Skills |
Frank Corliss |
. . . . . |
|
|
|
2 credits For Piano majors.
|
11521 |
CNSV IND A Independent Study: Chamber Music |
TBA |
. . . . . |
|
|
|
2 credits
|
11522 |
CNSV IND B Independent Study: Orchestral Studies |
TBA |
. . . . . |
|
|
|
2
credits