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 credits may be added.
Private lessons must be separately registered. See end of Music
section for instructions on registering for lessons.
|
12457 |
MUS
104 |
Teresa Cheung |
M . . . . |
7:30 - 10:00 pm |
FISHER PAC |
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. * (Please be prepared to play two pieces—one slower and
lyrical, and one faster.)
Class
size: 30
|
12456 |
MUS
105 |
James Bagwell |
. T . . . |
7:30 - 10:00 pm |
OLIN AUDT |
PART |
1 credit. First rehearsal will be on
Tuesday, February 14, 2012. Class
size: 35
|
12636 |
MUS
106 Bard Community
Chamber Music |
Luis Garcia Renart |
TBA |
TBA |
TBA |
PART |
2
credits. Class size: 20
|
12637 |
MUS
108B Ensemble:
Contemporary |
Blair McMillen |
TBA |
TBA |
TBA |
PART |
Class
size: 20
|
12446 |
MUS
108D Ensemble:
Chamber Singers |
James Bagwell |
. T . Th . |
4:40 -6:40 pm |
BLM HALL |
PART |
Class
size: 30
|
12438 |
MUS
108F Ensemble:Jazz |
Thurman Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
Class
size: 14
|
12594 |
MUS
108G Ensemble:
Chamber/Cello |
|
. . . . F |
5:00 -7:00 pm |
BLM |
PART |
Class
size: 10
|
12641 |
MUS
108H Ensemble:
Gamelan |
Mercedes Dujunco |
M . . . . |
7:00 -9:00 pm |
OLIN 305 |
PART |
Class
size: 22
|
12449 |
MUS
108I Ensemble:
Electro-Acoustic |
Marina Rosenfeld |
. T . . . |
4:40 -6:40 pm |
BDH |
PART |
Class
size: 16
|
12436 |
MUS
108J Ensemble:
Percussion |
Thurman Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
Class
size: 14
|
12439 |
MUS
108N Contemporary
Jazz Composers |
Erica Lindsay |
. T . . . |
4:40 -6:40 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. Class
size: 10
MUSIC COURSES
|
12432 |
MUS
122 Introduction
to Music Theory |
Blair McMillen |
. T . . . . . . Th . |
4:40 -6:40 pm 11:50 -1:10 pm |
BLM N217 BLM N211 |
AART |
This course will serve as an
introduction to reading, studying, and analyzing tonal music. Introduction to
Music Theory is geared toward non-music majors as well as potential music majors
who have had little or no exposure to reading music. We will begin with the
basics of musical notation, progressing to the identification of scales,
triads, and seventh chords. Class size: 20
|
12424 |
MUS
123 Popular
Music of the Non-Western World |
Mercedes Dujunco |
. T . Th . |
10:10 - 11:30 am |
BLM N210 |
AART |
Cross-listed: Asian Studies What
does it mean for a music to be “popular” and how does it become that way? In different
parts of the world, the production, consumption, and distribution of popular
music are shaped by a society’s distinct encounter with and cultural-specific
ways of negotiating modernity. They have
to do with mediations of identity, space, and place that result in local
scenes, global trends, musical hybridity, and
cross-pollination. This course will look
at various popular music genres in different geographical regions, particularly
Asia, Africa, Latin America, and the
|
12425 |
MUS
169 Origin of the String Quartets: Haydn, Mozart, Beethoven and Schubert |
Marka Gustavsson |
. T . Th . |
1:30 -2:50 pm |
BLM N210 |
AART |
In this class we will listen to the
innovative work of Haydn as he developed, and defined the Classical features of
the string quartet genre. We will explore his influence on Mozart, who
synthesized the European strands of common tonal practice into many perfect,
operatically expressive examples. Haydn’s most famous student, Beethoven, then
expanded the formal and expressive boundaries and, together with Schubert,
built the foundation of German Romanticism, which found a specific and highly
personal outlet in the string quartet. The class will focus on listening; we
will read composers’ letters, articles from current publications, as well as
Christopher Gibbs’ biography of Schubert. Writing requirements will include two
five-page papers, a final project, and a short concert review. Knowledge of
notation is not required. Class size: 18
|
12433 |
MUS
172 Jazz
Harmony II |
John Esposito |
M . W . . |
10:10 - 11:30 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. Class size: 20
|
12430 |
MUS
183 High/Low: Tensions & Agreements |
James Bagwell |
. T . Th . |
3:10 -4:30 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. Class size: 20
|
12428 |
MUS
202 Music
Theory II |
John Halle / Erika
Switzer |
M . W . F . T . Th . |
1:30 -2:50 pm* 1:30 -2:50 pm |
BLM N217 BDH |
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.
+Note: course will meet 4 days weekly, to be determined. Two days cover
theory, 2 days of lab.) Class size: 20
|
12422 |
MUS
211 Jazz in
Literature I |
Thurman Barker |
M . W . . |
10:10 - 11:30 am |
BLM N210 |
AART |
Cross-listed:
Africana Studies, American Studies This course presents some of the short stories and
poems by Rudolph Fisher, Langston Hughes, Ann Petry,
and Julio Cortazar. The text used in this section is
‘Hot and Cool’ by Marcela Briton and the ‘Harlem
Renaissance Reader’, edited by David Lewis.
Class
size: 18
|
12577 |
MUS
215 Masterworks
of Music |
Peter Laki |
M . W . . |
3:10 -4:30 pm |
BLM N217 |
AART |
This course parallels Literature &
Language of Music, but will focus on just a handful of pieces, exploring those
pieces in great depth from a number of different viewpoints. Students will read a substantial amount of
specialized literature on each chosen work.
There will be two oral exams, one at mid-term and one at the end of the
semester, where students will have to demonstrate familiarity with the works we
have discussed and respond to the issues raised in the readings. In addition, students will write a term paper
on a work of their choice from the time period covered, applying the approaches
and methodologies learned in class to some new material. The following works
will be studied in the class: Dufay: “L’homme arme” Mass-Josquin: “L’homme arme” Mass (super voces musicales)- Palestrina: “L’homme arme” Mass; Monteverdi:
The Cornonation of Poppea;
Bach: Six Brandenburg Concertos;
Beethoven: String Quartet in B flat, op
130 and Grosse Fuge, op. 133.
Class
size: 15
|
12553 |
MUS / CNSV
220 Music,
Language, & Mind |
John Halle |
. . . Th . |
1:30
– 3:50 pm |
OLIN 106 |
AART |
(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. Open to college and
conservatory students.
|
12573 |
MUS
254B Pronunciation
and Diction for Singers II |
Erika Switzer |
. T . Th . |
10:10 - 11:30 am |
BLM N211 |
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. Class size: 15
|
12592 |
MUS
257 Production & Reproduction |
Tom Mark |
M . . .
. |
1:30
– 3:50 pm |
BLM N210 |
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. Class size: 15
|
12495 |
MUS
265 Literature
and Language of Music II |
Christopher Gibbs |
M . W . . |
11:50 -1:10 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. Class
size: 20
|
12434 |
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
|
12440 |
MUS
266D Jazz
Repertory: John Coltrane |
John Esposito |
. . . Th . |
1:30 -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. This
fulfills a music history requirement for music majors. Class
size: 18
|
12423 |
MUS
331 Jazz: The
Freedom Principle I |
Thurman Barker |
M . . . . |
1:30 -3:50 pm |
BLM N210 |
AART |
Cross-listed: Africana
Studies, American Studies A jazz study of the cross-pollination
between Post-Bop in the late fifties and Free Jazz. The course, which employs a
cultural approach, is also designed to look at the social climate surrounding
the music to examine its effects on the music from 1958 to the mid-sixties.
Emphasis will be on artists and composers such as Cecil Taylor, Ornette Coleman, Art Blakey, Thelonious Monk, John Coltrane, Miles Davis, Max Roach,
Eric Dolphy, Charles Mingus,
and Horace Silver. Illustrated with recordings, films, and
videos. Class size: 15
|
12426 |
MUS
336 Studies in French
Music in the 19th Century |
Peter Laki |
. T . . . |
4:40 -7:00 pm |
BLM N210 |
AART |
Cross-listed: Victorian Studies This
seminar will address selected aspects of French music in the 19th
century from Berlioz to Fauré. The focus will be on listening and
reading. We will cover examples from all
genres: opera, choral music, symphonic
and chamber music, piano music and art song.
Students will have to choose their special areas of research during the
first few weeks of the course, give oral presentations
and write a paper (an extended version of the presentation). Special attention will be paid to the
historical background including the 1830 and 1848 revolutions, the Second
Empire, the Franco-Prussian war and the
|
12523 |
MUS
340 Introduction to Experimental Music |
Richard Teitelbaum |
. . W . . |
1:30 -3:50 pm |
BLM N119 |
PART |
This course deals with the
experimental tradition starting from Henry Cowell’s
radical innovations early in the 20th century, through those of
his students, pre-eminently John Cage and others of the “California School” of
the 30’s and 40’s, and “The New York School” around Cage that included Feldman,
Brown, Wolf and Tudor in the 50’s. The primary focus however will be on
the development of new forms, media and social organizations begun in the
sixties and seventies, as exemplified by: text-based “event” pieces of the
international Fluxus movement; the early minimalist
works of La Monte Young, Terry Riley, Steve Reich and Philip Glass; live
electronic music of AMM in London, Musica Elettronica Viva in Rome and Sonic Arts Union in New York;
the work of Cornelius Cardew and the Scratch
Orchestra in London; and the influence of “open form” “free jazz” and “creative
music” in establishing improvisationally-based
compositional techniques and systems in the works of Anthony Braxton, George
Lewis and others. In addition to studying the works this tradition has produced
and discussing their aesthetic and philosophic underpinnings, students will be
encouraged to realize and perform works by these composers, and to create new
ones of their own. Class size: 15
|
12451 |
MUS
345 Introductory
Psychoacoustics |
Robert Bielecki |
. T . . . |
1:30 -3:50 pm |
BLM 117 |
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. This
course fulfills music theory requirements.
Class size: 15
|
12454 |
MUS
346 Interactive
Performance/Compos |
Robert Bielecki |
. . . Th . |
1:30 -3:50 pm |
BLM N119 |
PART |
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
|
12455 |
MUS
352 Electronic,
Acoustic, and Computer Music
Composition I |
Richard Teitelbaum |
. T . . . |
1:30 -3:50 pm |
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. This fulfills music theory requirement. Class
size: 15
|
12431 |
MUS
353 Orchestration |
George Tsontakis |
M . . . . |
4:40 -7:00 pm |
BLM N217 |
PART |
Students
will learn how to score for instrumental combinations beginning with small
ensembles up to full orchestra. There will be live demonstrations of orchestral
instruments, listening and score study of orchestral literature, chord voicing
and notation of bowings, breathing, articulations, and special orchestral
effects as well as practice of basic conducting patterns and skills.
Prerequisites: Fundamentals of Music and
composition workshop. There will be a reading of the orchestrations by the Bard
College Orchestra. Class size: 15
|
12427 |
MUS
357 Ethnomusicology: Music and Tourism in |
Mercedes Dujunco |
. . W . . |
1:30 -3:50 pm |
BLM N210 |
AART/DIFF |
Cross-listed:
Anthropology, Asian Studies When
music interfaces with tourism, a booming multinational industry, the result is
a doubly potent medium of encounter. There is hardly a place on earth left
untouched by the recreational geography of tourism. But the transformation of
the general image of Southeast Asia, a region viewed as a tumultuous war zone
as recently as two decades ago, to tourist paradise in the current period is
nothing short of phenomenal and owes in large part to the annexation and
highlighting of music and music-related forms within the tourism enterprise of
many Southeast Asian countries. This
course will look at music-related tourism and tourist productions, including
tourist discourse, settings, events, experiences, and artifacts from an ethnographic
perspective focusing on the region of Southeast Asia. We will pay close
attention to the political economy of tourism as seen through an analysis of
specific sites within the region and analyze how music lends its powerful
emotive role and ability to act as a metaphor to tourism in creating new local
economies and changing the shape and infrastructure of places on the one hand,
while raising questions of cultural authenticity and the nature of power
relations between local people, tourist promoters, and tourists on the other.
By zooming in on different experiences of music-related travel such as
pilgrimage, hedonism, and heritage celebration in the form of festivals and
cultural shows, it is hoped that students would not only learn about Southeast
Asia, but also come to a deeper understanding of and critical engagement with
theories of globalization, imperialism, experience, and identity that they
could extrapolate and apply to an examination of tourism in relation to their
individual areas of interest.
Class
size: 15
|
12453 |
MUS
358 Sound / Art Workshop in Electro-Acoustic
Composition and Interdisciplinarity |
Marina Rosenfeld |
. . W . . |
1:30 -3:50 pm |
BLM 117 |
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.
|
12441 |
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. Class
size: 15
MUSIC WORKSHOPS (2
credits unless otherwise noted)
|
12445 |
MUS
WKSHA Workshop:
Composition |
|
M . . . . |
3:00 – 5:20 pm |
BLM HALL |
PART |
2
credits 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. Students
should email Prof. Tower prior to registration to determine eligibility. Class size: 18
|
12444 |
MUS
WKSHB Workshop:
Performance Class |
Luis Garcia-Renart |
. T . Th F . . W . . |
1:30 -3:50 pm 4:00 -6:30 pm |
BLM HALL |
PART |
2
credits 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 choose one of the three sessions. Students must contact Prof. Garcia-Renart by phone (x6147) or in person (Blum
201) prior to on-line registration. Class
size: 20
|
12537 |
MUS
WKSHD Workshop:
Sight |
Mike DeMicco |
. .T . . . |
12:00 -1:00 pm |
BLM N211 |
PART |
2
credits This
workshop is designed to improve basic music reading skills. Drawing from a varied selection of material
such as lead sheets, jazz fake
book
charts and simple to intermediate classical etudes, students learn to read
melody and rhythm more confidently. This course works well for C
(concert)
instruments and may be adapted for other instruments as well. Class size: 12
|
12538 |
MUS WKSHF Workshop: |
Carlos Valdez |
. . . . . |
|
. |
PART |
2
credits Samba
School provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba
reggae). All skill levels welcome.
Class
size: 12
|
12497 |
MUS
WKSHG Workshop:
Vocal & Voice |
Arthur Burrows |
. . W . . |
10:10 - 12:10 pm |
BDH |
PART |
2 credits In this singing class we explore
the art songs of
Class
size: 12
|
12498 |
MUS
WKSHL Workshop:
Opera Workshop |
Rufus Muller / Ilka LoMonaco |
. . W . . |
1:30 -3:50 pm |
BDH |
PART |
2 credits Work is to be decided. For more information see Prof. LoMonaco. Contact Prof. LoMonaco by email: [email protected] to arrange an
audition before registration. Class size: 20
|
12496 |
MUS
WKSHM Evidence of
Things Not Seen |
Rufus Muller |
M . . . . |
3:00 -6:00 pm |
BDH |
PART |
2
credits "Evidence of Things Not Seen": excerpts from Ned
Rorem's eponymous song cycle for four singers, and American art songs of the
20th and 21st centuries. Both
pianists and singers are highly encouraged to participate in this performance
course, in which the emphasis is on communication with the listener.
There will be a public recital at the end of the semester. Class
size: 20
|
12450 |
MUS
WKSHV Chinese
Music Ensemble |
Mercedes Dujunco |
. T . Th . |
4:40 -6:00 pm |
BLM 117 |
PART |
Cross-listed: Asian Studies 2 credits. 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.
Class
size: 15
|
12452 |
MUS
WKSHW Workshop in
Contemporary Electronics: The Turntable to Gameboy |
Marina Rosenfeld |
. . W . . |
10:10 - 12:30 pm |
BLM N119 |
PART |
Cross-listed: Science, Technology, and Society 2 credits The turntable, the sampler, the drum machine, the walkman and other consumer-derived tools are at the crux of a contemporary branch of experimental electronic music that encompasses the work of artists as diverse as Philip Jeck, Christian Marclay, Janet Cardiff, Ikue Mori, Yasunao Tone, Aphex Twin, Laurie Anderson and Otomo Yoshihide. The class will explore this music as an instrument-based practice, with a special emphasis on the turntable as an instrument whose material properties, as well as cultural significance, define its uses as an improvisatory and compositional tool. Conceptualism and visual art, free improvisation, electronic composition, DJ culture, multi-media, as well as the history and legacy of inventor-artists who pioneered the creative use or “misuse” of audio technology (John Cage, King Tubby, Milan Knizak, Grandmaster Flash) will all be considered as antecedents of contemporary practice. Students will be required to create and perform several short pieces and one larger-scale composition project exploiting the properties of one or more electronic instruments. Class size: 16
|
12442 |
MUS
WKSP4 Workshop: Jazz Improvisation
II |
Erica Lindsay |
. . . Th . |
4:40 -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. Class
size: 16
|
12435 |
MUS
WKSP7 Jazz Vocal
Workshop |
Pamela Pentony |
M . . . . |
4:00 -5:00 pm |
BLM N211 |
PART |
2
credits Beginning
level course: The Jazz Vocal Workshop is
a performance workshop designed to familiarize the beginning singer with the
components of a successful jazz performance.
How to begin a song (intros) and how to end a song (outros and turnarounds), how to pick a key, a song and a
tempo. How to
utilize simple (and not so simple) arrangements. Particular attention is paid to
phrasing. The language
of scat singing, with emphasis on practice in every class. The forms of the blues,
rhythm changes and 32 bar song form, and practical applications taken from The
Great American Songbook. There is
one (or more) concert(s) scheduled during the semester and students are
encouraged to seek out and perform in many local venues. There is a final exam in this class. Class
size: 16
SPECIAL PROJECTS Special Projects are
designed for music majors only, to pursue individual or group projects with a
particular professor.
|
12460 |
MUS
PROJ
EL
Special Projects |
Erica Lindsay |
. . . . . |
|
. |
PART |
|
12461 |
MUS
PROJ
JB
Special Projects |
James Bagwell |
. . . . . |
|
. |
PART |
|
12465 |
MUS
PROJ
JE
Special Projects |
John Esposito |
. . . . . |
|
. |
PART |
|
12462 |
MUS
PROJ
JT
Special Projects |
|
. . . . . |
|
. |
PART |
|
12463 |
MUS
PROJ
KG
Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
|
12443 |
MUS
PROJ
LGR
Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
|
12464 |
MUS
PROJ
TB
Special Projects |
Thurman Barker |
. . . . . |
|
. |
PART |
PRIVATE
LESSONS
Please Note: There is a $150.00 Private Lesson Fee each
semester for any student taking private lessons. If a student decides to
drop private lessons they must fill out a Drop/Add form, have it signed by the
appropriate department faculty and deliver it to the Office of the Registrar on
or before Wednesday, February 15, 2012, 5 PM or they will be charged and
responsible for the $150.00 Department Fee. Students who opt to take lessons
not-for-credit will be responsible for the full cost of the lessons
themselves. Not available for on-line
registration.
Private Lessons are offered as follows:
|
JAZZ Instructor: |
Instrument: |
CLASSICAL Instructor: |
Instrument: |
|
David Arner |
Piano |
Greg Dinger |
Guitar |
|
Ira Coleman |
Bass |
Steven Hammer |
Oboe |
|
Kenny Davis |
Bass |
Laura Majestic |
Harp |
|
Mike DeMicco |
Guitar |
|
Cello |
|
Greg Glassman |
Trumpet |
Sakiko Ohashi |
Piano |
|
Peter O’Brien |
Drums |
Elisabeth Romano |
Bassoon |
|
Pamela Pentony |
Voice |
Erica Switzer |
Sight |
|
Vincent Prudente |
Trombone |
John
Charles Thomas |
Trumpet |
|
Carlos Valdez |
Percussion |
Alex Waterman |
Cello |
|
Bruce Williams |
Saxophone |
|
|