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 3rd, 2010.
11250 |
MUS 104 Bard College Orchestra |
Nathan Madsen |
. . W . . |
7:00 - 10:00 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 25th, 2010 from 6:00 pm until 9:00pm for new
members. Please call to set up appt., 845-758-7131. * First Orchestra rehearsal
will be on Wednesday January 27th, 2010 from 7:00 pm until 10:00 pm in Sosnoff
Theatre. * (Please be prepared to play two pieces—one slower and lyrical,
and one faster.)
11294 |
MUS 105 Bard College Symphonic Chorus |
James Bagwell |
. T . . . |
7:30 - 10:00 pm |
OLIN AUDT |
PART |
11478 |
MUS 106 Bard Community Chamber Music |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
Students
must contact Prof. Garcia-Renart by
phone (x6147) or in person (Blum 201)
prior to on-line registration.
11251 |
MUS 108B Ensemble: Contemporary |
Joan Tower |
M . . . . |
1:30 -3:50 pm |
BLM HALL |
PART |
11295 |
MUS 108D Ensemble: Chamber Singers |
James Bagwell |
. T . Th . |
4:00 -6:00 pm |
BLM HALL |
PART |
2 credits. Auditions will be held by appointment for
new members. First rehearsal will be on
Tuesday, February 2nd, 2010.
11252 |
MUS 108F Ensemble: Jazz Big Band |
Thurman Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
11479 |
MUS 108H Ensemble: Balinese Gamelan |
Richard Davis |
M . . . . |
7:00 -9:00 pm |
OLIN 305 |
PART |
11296 |
MUS 108J Ensemble: Percussion |
Thurman Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
11480 |
MUS 108N Contemporary Jazz Composers |
Erica Lindsay |
. T . . . |
4:30 -6:30 pm |
BLM N211 |
PART |
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.
11285 |
MUS 126 Beethoven & His World |
Christopher Gibbs |
M . W . . |
12:00 -1:20 pm |
BLM N217 |
AART |
This course will survey the life and works of Beethoven in the context of Viennese culture from the 1790’s to the 1820’s. We will sample a variety of Beethoven’s compositions in most of the major genres in which he wrote: keyboard, chamber, and vocal music, as well as orchestral (symphonies, overtures, and concertos), dramatic (especially the opera Fidelio), and religious. His accomplishment will be compared with that of his immediate musical predecessors- notably Mozart and his teacher Haydn – and contemporaries, figures such as Rossini and Schubert. We will explore as well relevant philosophical trends at the time ( Kant and Hegel), as well as influential literary currents ( Schiller and Goethe). This course is given as a complement to a cycle of the complete symphonies of Beethoven that will be performed at the Fisher Performing Arts Center by the American Symphony Orchestra conducted by Leon Botstein. Students will attend rehearsals and performances of the symphonies. Live performances of selected keyboard, chamber, and vocal pieces will also be presented in class. The ability to read music or play an instrument is not necessary to take this course- all interested students are welcome.
11481 |
MUS 140 Introduction to World Music |
Mercedes Dujunco |
. T . Th . |
10:30 - 11:50 am |
BLM N217 |
AART |
Cross-listed:
Asian Studies This course
surveys various folk and traditional musics of the non-Western world. Music
cultures will be discussed individually in turn, all the while maintaining a
cross-cultural or cross-regional perspective in order to discern underlying
themes and processes common to many of them as well as differences and points
of divergence that make each one unique. Although organized according to
geographical and cultural areas, attention will be paid to important
cross-cultural considerations such as ideas about music, the social
organization of music, repertoires of music, the material culture of music,
culture contact, and musical change. Discussion will also include issues such
as cultural ownership, appropriation, and commodification that have arisen as
the countries and places where the musics originate from get more deeply
implicated in the global economy. Some class time will be devoted to exercises
in critical listening and aural analysis. Background in music is not
required. This course fulfills the
Music History requirement for majors.
11286 |
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.
11297 |
MUS 183 High / Low: Tensions And Agreements |
James Bagwell |
. T . Th . |
2:30 -3:50 pm |
BLM N217 |
AART |
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.
11287 |
MUS 202 Music Theory II |
Kyle Gann / Sharon Bjorndal Lavery |
. T . Th . . . W . F |
1:00 -2:20 pm 1:30 -2:50 pm |
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. (Tuesday and
Thursday sessions are Theory, Wednesday and Friday are Labs.)
11288 |
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.
11298 |
MUS 235 Music of Claudio Monteverdi |
Frederick Hammond |
. T . Th . |
10:30 - 11:50 am |
OLIN 104 |
AART |
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 fulfills a music history
requirement for music majors.
11299 |
MUS 254B Pronunciation & Diction for Singers
II: Italian, French, German, English & Latin |
Sharon Bjorndal Lavery |
. T . Th . |
2:30 -3:50 pm |
BLM N210 |
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.
11302 |
MUS 255 Analysis of the Classics of Modernism |
Kyle Gann |
. . W . F |
3:00 -4:20 pm |
BLM N217 |
AART |
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).
11300 |
MUS 259 Musical Electronics: Analog Synthesis and
Processing |
Robert Bielecki |
. T . . . |
1:30 -3:50 pm |
BLM N119 |
PART |
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, Filtering, Waveshaping, Phase Shifting, Ring Modulation,
Theremins, Circuit Bending, etc. We’ll
work from existing designs and also create 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 limited.
11289 |
MUS 265 Literature & Language of Music II |
Peter Laki |
M . W . . |
10:30 - 11:50 am |
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.
11290 |
MUS 266B American Popular Song 1930-1950 |
John Esposito |
M . W . . |
1:30 -2:50 pm |
BLM N211 |
PART |
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.
11482 |
MUS 287 Musical Ethnography |
Mercedes Dujunco |
. . W . . . . . . F |
1:30 -2:50 pm 10:30 - 11:50 am |
BLM N210 |
AART/DIFF |
Cross-listed: Anthropology, SRE 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.
11291 |
MUS 332 Jazz: The Freedom Principle II |
Thurman Barker |
M . . . . |
1:30 -3:50 pm |
BLM N210 |
AART/DIFF |
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.
11598 |
MUS
333 Sound / Art Workshop in |
Marina
Rosenfeld |
.
.W . . |
1:30
-3:50 pm |
BLM
N119 |
PART |
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.
11496 |
MUS 345 Introductory Psychoacoustics |
Robert Bielecki |
. . . Th . |
1:30 -3:50 pm |
BLM N119 |
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.
11599 |
MUS
358 Workshop in Electronic Music Performance |
Marina
Rosenfeld |
.
T . . . |
4:00 -6:20 pm |
BLM
N110 |
PART |
How
do we perform historical works of electronic and experimental music in 2010? Do
we re-enact or reinterpret originary circumstances, substitute software
for hardware, attempt to reproduce authentic or "period" sounds,
remix, sample or otherwise historicize documentary evidence of
"classic" performances? This is a hands-on workshop that will
challenge students to consider theoretical and practical aspects of the
interpretation and performance of selected works by Stockhausen, Cage, Tenney
and others, through live ensemble performance.
11602 |
MUS
363
John Cage and His World |
Richard
Teitelbaum |
.
T . . . |
4:00
-6:20 pm |
BLM
N210 |
AART |
Cross-listed:
STS Long reviled as a charlatan or a madman, John Cage has finally
achieved recognition as probably the most influential composer and musical
thinker of the latter twentieth century. This course will focus primarily
on analysis of Cage’s music, encompassing such innovations as the prepared
piano, chance, and indeterminacy. It will be set in the context of the
work and thought of his numerous teachers and influences, as well as colleagues
and collaborators from the worlds of music (Satie, Schoenberg, Varese, Cowell,
Harrison, Feldman, Brown, Wolff, Tudor), visual arts (Duchamp, Futurism, Dada
Fluxus, Rauschenberg, Johns), dance (Cunningham and others) religious thought
(Meister Eckhard, Hinduism, Taoism, the I Ching, Zen Buddhism) literature,
political and social writing (Thoreau, Joyce, Fuller, McLuhan). Student work
may take the form of papers, analyses, realizations and performances of Cage
scores, or creation of new works inspired by Cagean examples. Texts will
include Silence, A Year from Monday, and other writings by and about
Cage. By consent of the instructor. This course fulfills a music history
requirement for music majors.
11307 |
MUS 366B Advanced Contemporary Jazz Techniques II |
John Esposito |
. . . Th . |
1:30 -3:50 pm |
BLM N211 |
PART |
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 a 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.
11483 |
MUS 367B Jazz Composition II |
Erica Lindsay |
. . W . . |
6:00 -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.
MUSIC
WORKSHOPS:
11292 |
MUS WKSHA Workshop: Composition |
Joan Tower |
M . . . . |
4:00 -6:20 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 to
first-year students. Students
should contact Prof. Tower prior to registration to determine eligibility.
11301 |
MUS WKSHB Workshop: Performance Class |
Luis Garcia-Renart / Blair McMillen |
. T . Th . . . W . . |
1:30 -3:50 pm 4:00 -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. Students must contact
Prof. Garcia-Renart by phone (x6147) or
in person (Blum 201) prior to on-line
registration.
11303 |
MUS WKSHG Vocal Music: Heinrich Schütz |
Frederick Hammond / Arthur Burrows |
. . W . . |
10:00 - 12:00 pm |
BDH |
PART |
In this singing class we will explore the vocal
works of Heinrich Schütz (1585- 1672), the greatest German composer of the
seventeenth century and the first German composer of international stature, who
transformed the styles of his teachers, Giovanni Gabrieli and Claudio
Monteverdi, into a uniquely personal
idiom.
11304 |
MUS WKSHL Workshop: Opera Workshop |
Rufus Müller / Ilka
LoMonaco |
. . W . . |
1:30 -3:50 pm |
BDH |
PART |
2 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.
11293 |
MUS WKSHM Music Workshop: THE GERMANS ARE COMING! |
Rufus Müller |
M . . . . |
2:00 -4:20 pm |
BDH |
PART |
Song
recitals can be so stale, so in this performance-oriented course for singers
and pianists focusing on the German Lied of the 19th and 20th centuries, our
particular emphasis is on how to communicate vividly with our audience, as well
as providing guidance on German diction.
11618 |
MUS
WKSPO
Introduction to Electronic Music |
see
Richard Teitelbaum. Miguel Frasconi |
.
T . . . |
1:30
-3:50 pm |
BLM
N110 |
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.
11485 |
MUS WKSHV Chinese Music Ensemble |
Mercedes Dujunco |
. T . Th . |
4:00 -5:20 pm |
BLM 117 |
PART |
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.
11484 |
MUS WKSP4 Workshop: Jazz Improvisation II |
Erica Lindsay |
. . . Th . |
4:00 -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.
11305 |
MUS WKSP7 Jazz Vocal Workshop |
John Esposito |
M . . . . |
4:30 -6:50 pm |
BLM N211 |
PART |
Not
open to first-year students
SPECIAL
PROJECTS:
Special
Projects are designed for music majors only, to pursue individual or group
projects with a particular professor. Schedules are arranged individually.
11486 |
MUS PROJ
B Special Projects |
James Bagwell |
. . . . . |
|
. |
PART |
11487 |
MUS PROJ
EL Special Projects |
Erica Lindsay |
. . . . . |
|
. |
PART |
11488 |
MUS PROJ
R Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
11489 |
MUS PROJ
U Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
11490 |
MUS PROJ
V Special Projects |
Joan Tower |
. . . . . |
|
. |
PART |
11491 |
MUS PROJ
Z Special Projects |
Thurman Barker |
. . . . . |
|
. |
PART |
PRIVATE
MUSIC LESSONS
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.
Maximum of 12 lessons @ $30.00 per
lesson (towards lesson cost) available, applied as credit to student’s Bard
account.