By the time of graduation, all music majors will be expected to have successfully completed three semesters of Music Theory and three semesters of Music History, including at least one course at the 300 level or above. In addition, all music majors are required to successfully complete one class in composition, or 4 credits in some other equivalent course involving personal musical creativity with the approval of the Music Program Chairman; there is also a requirement for participation in a 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. 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.
11515 |
MUS 104 Bard
College Orchestra |
Gregory Armbruster / Geoffrey McDonald |
M . . . . |
7:30 pm - 10:00 pm |
FISH |
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. BCO auditions for NEW members (those who did not participate in the fall term) will take place in the Sosnoff Theater on Monday, January 28, from 6:30 to 7:30 PM. Candidates should email Greg Armbruster ([email protected]) as soon as possible for a time slot. Plan to present two short excerpts of your choice, one fast, the other slow. The first BCO rehearsal will be on 2/11/2013, from 7:30 to 10:00 PM, in the Sosnoff Theater.
Class size: 30
11516 |
MUS 105 Bard
College Symphonic Chorus |
James Bagwell |
. T . . . |
7:30 pm - 10:00 pm |
OLIN AUDT |
PART |
1 credit. First rehearsal will be on Tuesday, February 5th, 2013. Class size: 35
11517 |
MUS 106 Bard
Community Chamber Music |
Luis Garcia-Renart |
TBA |
|
. |
PART |
2 credits. Class size: 20
11518 |
MUS 108B Ensemble:
Contemporary |
Blair McMillen |
. . . . . |
|
. |
PART |
Class size: 20
11519 |
MUS 108D Ensemble:
Chamber Singers |
James Bagwell |
. T . Th . |
4:40 pm -6:40 pm |
BLM HALL |
PART |
2 credits Please make an appointment for auditions. The first rehearsal will be January 29, 2013
Class size: 30
11520 |
MUS 108F Ensemble:Jazz |
Thurman Barker |
M . . . . |
7:00 pm -9:00 pm |
BLM N211 |
PART |
Class size: 14
11521 |
MUS 108G Ensemble:
Chamber/Cello |
Garfield Moore |
. . . . F |
5:00pm-7:00pm |
BLM HALL |
PART |
Class size: 10
11522 |
MUS 108H Ensemble:
Balinese Gamelan |
I Ketut Suadin |
M . . . . |
7:00 pm -9:00 pm |
OLIN 305 |
PART |
Class size: 22
11524 |
MUS 108J Ensemble:
Percussion |
Thurman Barker |
. T . . . |
1:30 pm -3:50 pm |
BLM N211 |
PART |
Class size: 14
11526 |
MUS 108N Contemporary
Jazz Composers |
Erica Lindsay |
. T . . . |
4:40 pm -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
11525 |
MUS 108P Ensemble:
Baroque |
Alexander Bonus |
TBA |
|
. |
PART |
Performance ensemble focusing on music
from 1600-1750. Requires an audition for acceptance. Class size: 14
COURSES
11527 |
MUS 122 Introduction
to Music Theory |
Blair McMillen |
. T . . . . . . Th . |
4:40 pm -6:40 pm 11:50 am -1:10 pm |
BLM N217 |
PART |
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 (This course does not count towards the theory requirement for the music program.)
11528 |
MUS 172 Jazz
Harmony II |
John Esposito |
M . W . . |
10:10am - 11:30 am |
BLM N211 |
PART |
Cross-listed: Africana Studies 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/performance requirement for music majors.
Class size: 20
11530 |
MUS 202 Music
Theory II |
Alexander Bonus / Erika Switzer |
M T W Th F* |
1:30 pm -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 ear-training classes focused on the singing and recognition of harmonies, score-reading and rhythmic studies. 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 cover ear-training.) Class size: 20
11531 |
MUS 211 Jazz in
Literature I |
Thurman Barker |
M . W . . |
10:10am - 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 This course counts towards
the music history requirement for the music program.
11532 |
CNSV/MUS 220 Music,
Language, & Mind |
John Halle |
. . . Th . |
1:30 pm -3:50 pm |
OLIN 106 |
AART |
(4 credits) A survey of recent work in musical cognition focusing 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. Class size: 20
11529 |
MUS 237 Machine-Made
Music, Past and Present |
Alexander Bonus |
. T . Th . |
10:10am - 11:30 am |
BLM N217 |
AART |
Cross-listed: Experimental Humanities; Science, Technology & Society The forgotten term “mechanical music” once distinguished compositions born of human interpretation from those works created through a mechanized process. Using this designation, it can be argued how musical clocks, self-playing organs, phonographs, as well as today’s laptops and iPads form a single musical genre, whereby the living performer is largely useless. “Machine-Made Music” explores this alternate narrative of music culture, in which various technologies play the most important parts. By analyzing devices and their repertoire, we will discover how composers and inventors across history have drastically revised the connections between machinery and musicality. This course counts towards the music history requirement for the music program. Class size: 20
11896 |
MUS 241 History and
Literature of Electronic and Computer Music |
David Behrman |
M
. . . |
1:30 pm-3:50 pm |
BLM N119 |
AART |
Beginning with a brief survey of the earliest electronic instruments such as the Theremin and Ondes Martenot, this course examines the post-war development of the French School of Musique Concrete, German Elektronische Musik and American Tape Music, among others. Computer Music from early sound synthesis experiments at Bell Labs and elsewhere; Live Electronic Music from Cage and Tudor’s pioneering work to recent and current PC-based interactive “live” computer music; and multi-media works from ‘60’s “classics” to the present. Music studied will be drawn from the works of Varese, Schaeffer, Henry, Stockhausen, Cage, Leuning, Ussachevsky, Babbitt, Arel, Davidovsky, Boretz, Berio, Nono, Boulez, Pousseur, Xanakis, Martirano, Young, Reich, Oliveros, Subotnik, Musica Elettronica Viva (Rzewski, Curran, Teitelbaum) Takemitsu, Kosugi, Takahashi, Amacher, Sonic Arts Union (Mumma, Ashley, Lucier, Behrman) Matthews, Risset, Tenney, Laurie Spiegel, Laurie Anderson, Brian Eno, George Lewis, Laetitia Sonami and other recent and current developments, including the Ambient, Illbient and DJ scenes. Assignments will include extensive listenings, reading, research and analysis, as well as possible recreations of “classical” pieces from the repertoire and original compositional and performance projects inspired by these studies. The class is a continuation/complement to Music 240 and is strongly recommended as a preparation for all electronic music studio courses. Class size: 15
11547 |
MUS 246 Improvisation:Theory/Practice |
Marina Rosenfeld |
. T . . . . . W . . |
1:30 pm -2:50 pm 1:30 pm -2:50 pm |
BLM N119 BLM HALL |
PART |
This course, which replaces the Electro-Acoustic Ensemble for Spring Semester and fulfills a Performance requirement, will be an in-depth scholarly and practical exploration of the many practices associated with improvised music-making in recent and contemporary music. Areas of study include experimental notation, free and structured improvisation, interactivity, game structures and live electronic music performance. Students will analyze and perform classic works from the field, as well as devise new structures, models and techniques for improvised music-making on their own instruments. Open to both acoustic and electronic musicians. Permission of the instructor required. Class size: 15
11533 |
MUS 254B Pronunciation
and Diction for Singers II |
Erika Switzer |
. T . Th . |
10:10am - 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 English and Italian languages, the spring to German and
French. Through songs, arias, and oratorio 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 conductors, other instrumentalists and
students seeking to refine pronunciation and accent. Grading will be
based on a series four 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
11534 |
MUS 257 Production
& Reproduction |
Thomas Mark |
. . . Th . |
1:30
pm – 3:50 pm |
BLM N117 |
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: 12
11535 |
MUS 265 Literature
and Language of Music II |
Peter Laki |
M . W . . |
11:50 am -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
11536 |
MUS 266C Jazz Repertory:
BEBOP Masters |
John Esposito |
M . W . . |
11:50 am -1:10 pm |
BLM N211 |
PART |
Cross-listed: Africana Studies 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. This course counts towards the music history requirement for music
majors. This course
counts towards the music history/performance requirement for the music
program. Class size: 20
11537 |
MUS 325 Between
Music, Art and Anthropology |
Tomie Hahn |
. T . . . |
10:10am - 12:30pm |
BDH |
PART |
Cross-listed: Anthropology. This seminar explores music, the arts, and culture from creative and ethnographic standpoints. Creative artists and ethnographers often share common practice-based investigations, resulting in a diversity of works that raise such issues as: ethics, advocacy, reflexivity, and collaboration. This is a project-based seminar—students will examine theoretical issues raised through their own musical/artistic creative work in conjunction with the study of the anthropology of the senses. Students will learn basic approaches to performance, fieldwork, and participant-observation to ask: how might I creatively display the “data” that I find? No prior experience needed. Class size: 10
11541 |
MUS 331 Jazz: The
Freedom Principle I |
Thurman Barker |
M . . . . |
1:30 pm -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 This course counts towards the music history requirement for the music
program.
11540 |
MUS 341 Evolution
of the Sonata |
Kyle Gann |
. . W . F |
3:10 pm -4:30 pm |
BLM N217 |
AART |
Sonata form is the most important collective achievement in European music, running from the early 18th century on and still influencing the way much music is written today. It was considered such a natural phenomenon that it was discussed as having been "discovered," not merely invented by mere humans, yet in many ways it was an artificial formula that killed as much music as it enlivened. This analysis course will study sonata form in its glorious heyday, before it was officially labeled by A.B. Marx in 1828. We'll start with primitive binary forms of Kuhnau and Sammartini, proceeding through works of C.P.E. Bach, Haydn, Clementi, Mozart, Dussek, Beethoven, Hummel, and Schubert. Along the way we'll learn techniques of musical logic that could still benefit composers today, as well as fleshing out a musical era that is too incompletely seen in terms of the Haydn-Mozart-Beethoven trio. This course is intended for musicians who have had Theory 1 and 2 or the equivalent, but any interested and qualified student is welcome. This course counts towards the music theory requirement for the music program. Class size: 15
11544 |
MUS 345 Introductory
Psychoacoustics |
Robert Bielecki |
. T . . . |
1:30 pm -3:50 pm |
BLM N117 |
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
11545 |
MUS 346 Interactive
Performance and Composition |
Robert Bielecki |
. . . Th . |
1:30 pm -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 MIDI is not necessary, but would be helpful. This fulfills music theory requirements. Class size: 15
11546 |
MUS 352 Electronic,
Acoustic, Computer Music Composition I |
Marina Rosenfeld |
. . W . . |
10:10am - 12:30 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, original work in the form of recordings, scores, and/or digital realizations. These will be examined and commented on by the instructor and other class members. Installation and inter-media works will also be welcomed. Analyses and class presentations of classic works by such composers as Stockhausen, Cage, Lucier, 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
11539 |
MUS 355 Death Set
to Music |
James Bagwell |
. . W . . |
1:30 pm -3:50 pm |
BLM N210 |
AART |
This
seminar will consist of in-depth analysis of Johannes-Passion (St. John Passion) and Matthäus-Passion (St. Matthew Passion) both by Johann Sebastion
Bach (1685-1750). Both of these works
will be studied in a number of ways including musical analysis, text,
performance style, theological and religious practice, and historical
context. The first half of the semester
will focus on Johannes-Passion;
during the second half, we will concentrate on Matthäus-Passion. Your grade will be
determined by the following: four reading summaries, two exams, and a term
paper due at the end of the semester.
This class is designed to coincide with a performance of Johanne-Passion on March 1 and 2, 2013. This course counts towards the music history requirement for
the music program. Class size: 15
11538 |
MUS 366A Advanced
Contemporary Jazz Techniques I |
John Esposito |
. . . Th . |
11:50 am -2:30 pm |
BLM N211 |
PART |
Cross-listed:
Africana Studies This course introduces 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
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. Class size: 15 This course counts towards the music theory/performance
requirement for the music program.
11548 |
MUS 367B Arranging for Jazz Ensemble II |
Erica Lindsay |
. . W . . |
6:00 pm -9:00 pm |
BLM N211 |
PART |
This class
will focus on the various techniques used in jazz ensemble writing, from sextet
to big band ensembles. Classic tertiary voicings, cluster, quartal and line part
writing will be covered. Final projects ranging from Sextet to Big Band will be
recorded or performed live at the end of the semester. This is an advanced
seminar class for moderated music majors. Prerequisite are Jazz Composition I
and II or the permission of the instructor. Class size: 15
MUSIC WORKSHOPS: (2 credits unless otherwise noted)
11550 |
MUS WKSHA Workshop:
Composition |
George Tsontakis |
M . . . . |
3:00 pm -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. Tsontakis prior to registration to determine eligibility.
Class size: 18
11551 |
MUS WKSHB Workshop:
Performance Class |
Luis Garcia-Renart |
. T . Th F . . W . . |
1:30 pm -3:50 pm 4:00 pm -6:30 pm |
BLM HALL 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
11552 |
MUS WKSHD Sight
Reading Workshop |
Michael DeMicco |
. T . . . |
12:00 pm -1:00 pm |
. |
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
11553 |
MUS WKSHF Samba
School |
Carlos Valdez |
. . W . . . . . . F |
4:00 pm – 6:00 pm 12:00 pm -2:00 pm |
BLM N211 |
PART |
2 credits Samba School provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba reggae). All skill levels welcome.
Class size: 20
11885 |
MUS WKSH HB
Performance Workshop - American Tableaux |
Helena Baillie |
. . . . F |
1:30pm- 3:00 pm |
OLIN AUDT/ BLUM HALL |
PART |
Cross-listed: Dance
2 credits American Tableaux sets multiple art forms in dynamic relation by inviting students from various arts to collaborate with music students towards a public performance. In planning, creating, producing, and performing an interdisciplinary event, we will seek original solutions to questions of visual, spatial, and aural coherence and contemplate how each discipline grows more or less distinct as it searches for definition against the others. Students will choose one or more musical works to form the basis of a collaborative piece. As a starting point, we will use George Tsontakis's KnickKnacks and Nico Muhly's Motion. From these evocative and effervescent works, we will add and create work to develop the final performance in accordance with the vision that we create collectively. Class time will be divided between performance and discussion groups. Each week, students will be asked to create program notes that describe the creative processes involved. This course is open to both Conservatory and Music Program students. Contact Helena Baillie by email: [email protected] to arrange an audition before registration. Class size: 15
12148 |
MUS WKSHI Intro to Electronic Music |
Miguel Frasconi |
. . W . . |
1:30 – 3:50 pm |
BLM N119 |
PART |
4 credits 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, live performance and multimedia. Students will be given instruction in the use of digital audio workstations (DAWs), 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. Class size: 15
11554 |
MUS WKSHL Workshop:
Opera Workshop |
Teresa Buchholz / Rufus Muller / Ilka LoMonaco |
. . W . . |
1:30 pm -3:50 pm |
BDH |
PART |
2 credits Opera Workshop: In the Fall Semester, we prepare a themed program of operatic excerpts (choruses, ensembles, solos), which is then performed in the Fisher Center, fully staged and with orchestra, in the early part of the Spring Semester. Typically this involves intensive rehearsals during the week before Spring Semester, and evening rehearsals in the first week of semester. Students enrolling in the Fall Semester for two credits thus commit themselves to the final rehearsals and performances in the Spring Semester, which earn them an additional two credits. Enrollment is by audition. Please contact Professors Müller ([email protected]) and LoMonaco ([email protected]) for details. Class size: 20
11555 |
MUS WKSHM A Passion
for JSB |
Rufus Muller |
M . . . . |
3:00 pm -5:20 pm |
BDH |
PART |
In this performance class, we shall mainly work on arias and accompagnato recitatives from the St. John and St. Matthew Passions of Johann Sebastian Bach, as well as arias from the B-minor Mass and cantatas. Students will be required to have studied the music and language thoroughly beforehand. Particular attention will be paid to diction, style, and effective communication with the audience. In addition there will be opportunities to explore the soundworld of baroque instrumental accompaniments with Alexander Bonus. Class size: 16
11556 |
MUS WKSP4 Jazz
Improvisation II |
Erica Lindsay |
. . . Th . |
4:40 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. Class size: 16
11557 |
MUS WKSP7 Jazz Vocal
Workshop |
Pamela Pentony |
M . . . . |
4:00 pm -6:59 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: 20
11549 |
MUS WKSPP Orchestral
and Festival Audition Preparation for String Players |
Erica Kiesewetter |
TBA |
|
. |
PART |
This workshop will cover various aspects of preparing orchestral repertoire for orchestral and festival auditions. Knowledge of the style of the composer within the context of the score will be stressed, and players are expected to play in class weekly. The class will culminate with a mock audition to which outside adjudicators will be invited. Open to college and conservatory players by audition or recommendation. Class size: 8
11794 |
MUS WKSH ES Singing and
Song in the Global Era |
Erika Switzer |
TBA |
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AART |
This workshop explores the idea that the intersection of diverse musical traditions can be the means to a broader sense of repertory and expression. A survey of the work of selected singers and singing styles is designed to broaden the student’s range of expressive possibilities. The study of folk songs and folk song settings lays a foundation for working with less familiar languages and cultivating directness in communication. This course is available to moderated voice majors by recommendation of the instructor and approval of the Conservatory's Vocal Arts Program. Class size: 12
1798 |
MUS WKSH ES2 English Diction |
Erika Switzer |
TBA |
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AART |
This course reviews the pronunciation and phonetic spelling
of Neutral American English, Mid-Atlantic and British English and applies all
pronunciations to solo vocal repertoire with regard to clarity, ease,
expression, and interpretive choices. This course is available to moderated voice
majors by recommendation of the instructor and approval of the Conservatory's
Vocal Arts Program. Class size:
12
SPECIAL PROJECTS:
Special Projects are designed
for music majors only, to pursue individual or group projects with a particular
professor.
11558 |
MUS PROJ EL Special Projects |
Erica Lindsay |
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PART |
11559 |
MUS PROJ JB Special Projects |
James Bagwell |
. . . . . |
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PART |
11560 |
MUS PROJ JE Special Projects |
John Esposito |
. . . . . |
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PART |
11561 |
MUS PROJ KG Special Projects |
Kyle Gann |
. . . . . |
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PART |
11562 |
MUS PROJ LGR Special Projects |
Luis Garcia-Renart |
. . . . . |
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PART |
11563 |
MUS PROJ TB Special Projects |
Thurman Barker |
. . . . . |
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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 13,
2013, 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. Please note: you can audit an
ensemble, but you cannot audit lessons.
Private Lessons are offered as
follows:
• David Arner -
piano (jazz, classical and improvisation)
• Teresa Buchholz – classical voice
• Michael Bukhman –
classical piano
• Ira Coleman - jazz bass
• Kenny Davis - jazz bass
• Mike DiMicco -
jazz guitar
• Greg Dinger - classical guitar
• Daniel Fishkin -
Serge modular synthesizer
• James Fitzwilliam - coach and accompanist
• Laura Flax - clarinet
• Miguel Frasconi - electronic
music
• Otto (Richard) Gardner - bass
• Greg Glassman - jazz trumpet
• Marka Gustavsson –
violin, viola
• Stephen Hammer - oboe and recorder
• Ryan Kamm -
classical bass
• Erica Kiesewetter
– violin
• Ilka LoMonaco-
classical voice
• Laura Majestic – harp
• Blair McMillen -
piano
• Garfield Moore – cello
• Rufus Müller –
classical voice
• Peter O'Brien - jazz drums
• Sakiko Ohashi - piano
• Pamela Pentony -
voice (jazz)
• Elisabeth Romano - bassoon
• Pat Spencer - flute
• John Thomas, classical trumpet
• Carlos Valdez - Latin jazz percussion
• Alexander Waterman - cello
• Bruce Williams - classical saxophone