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 one course at the 300 level in theory and one 300 level course in
history. In addition, all music majors are expected to take one semester
in composition, or an equivalent course. Students are expected to take private
lessons for credit or an equivalent (such as private composition lessons). In order to receive credit for the lessons,
they must participate in an ensemble or performance class. The number of semesters in which students
participate in private lessons will be determined by the advisor. It is
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 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
recordings of music rather than live performances. An advanced research
project in music history or theory can also be considered as a senior project.
For further information, please go to the music program website at: http://music.bard.edu/
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.
|
11699 |
MUS 104 Bard
College Orchestra |
Gregory
Armbruster / Geoffrey McDonald |
M . . . . |
7:30 - 10:30 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. Auditions will be held for new members on January 27th, 6:30-10:00 at the
Fisher Center. Please call to set up appt., 845-758-7091. * The first Orchestra
rehearsal will be on February 3rd from 7:30 pm -10:30 pm in the Fisher Center.
* (Please be prepared to play two pieces—one slower and lyrical, and one
faster.) Class size: 30
|
11669 |
MUS 105 Bard College
Symphonic Chorus |
James
Bagwell |
. T . . . |
7:30 - 10:00 pm |
OLIN AUDT |
PART |
First
rehearsal will be on February 4th.
Class size: 35
|
11689 |
MUS 106 Bard
Community Chamber Music |
Luis
Garcia-Renart |
TBA |
|
. |
PART |
Class size: 16
|
11668 |
MUS 108D Ensemble:
Chamber Singers |
James
Bagwell |
. T . Th . |
4:40 -6:40 pm |
BITO HALL |
PART |
2 credits First rehearsal will be on
February 4, 2014.
Class size: 30
|
11672 |
MUS 108F Ensemble:Jazz |
Thurman
Barker |
M . . . . |
7:00 -9:00 pm |
BLM N211 |
PART |
Class size: 14
|
11706 |
MUS 108G Chamber
Ensemble for Any Instrument |
Patricia
Spencer |
. T . . . |
7:30 -9:30 pm |
BARD HALL |
PART |
The
large variety of works written “for any instruments” invites exploration of
atypical groupings – flute, marimba and tuba have been known to project
wonderful blends. This repertoire often requires a high degree of
responsibility on the part of the performer: not only choosing dynamics and
tempos but also instrumentation of various phrases and sometimes overall
structure. Members of this ensemble will engage in musical thinking
outside the bounds of “normal” chamber music, and will discover how (or if) that
may open a new dimension in their approach to more conventional
performance. Class size: 12
|
11707 |
MUS 108G Mixed
Chamber Ensemble: Wind and
Strings |
Patricia
Spencer |
. T . . . |
TBA |
BLM |
PART |
Class size: 15
|
11701 |
MUS 108G GM Ensemble: Cello |
Garfield
Moore |
. . . . F |
5:00 -7:00 pm |
BLM HALL |
PART |
Class size: 12
|
11680 |
MUS 108H Ensemble:
Balinese Gamelan |
Richard
Davis |
M . . . . |
7:00 -9:00 pm |
TBA |
PART |
Class size: 22
|
11673 |
MUS 108J Ensemble: Percussion |
Thurman
Barker |
. T . . . |
1:30 -3:50 pm |
BLM N211 |
PART |
Class size: 14
|
11697 |
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: 15
|
11677 |
MUS 108P Ensemble:
Baroque |
Alexander
Bonus |
M . . . . |
1:30 -3:50 pm |
BLM 117 |
PART |
Performance ensemble focusing on music from 1600-1750. Requires
an audition for acceptance. Class
size: 14
MUSIC COURSES
|
11679 |
MUS 122 Introduction
to Music Theory |
Michael
Bukhman |
. . W . F |
1:30 -2:50 pm |
BLM N210 |
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.)
Class size: 20
|
11704 |
MUS 143 Contemporary
Electronics: From the
Turntable to the Game Boy |
Marina
Rosenfeld |
M . . . . |
4:40 -7:00 pm |
BLM N119 |
PART |
The
turntable, the sampler, the drum machine, the Walkman, the Gameboy
and other consumer-derived tools have been at the crux of a contemporary branch
of experimental electronic music that encompasses the work of artists as
diverse as Philip Jeck, Christian Marclay,
Ikue Mori, Yasunao Tone and
Aphex Twin. 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. Dub, DJ and dance
cultures, 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 be considered as antecedents of contemporary practice. Students will be
required to create and perform several short pieces and one larger-scale
composition project. Class size: 20
|
11694 |
MUS 144 Mozart and
His World: An
Exploration of His Life and Works |
Peter
Laki |
. T . Th . |
10:10 - 11:30 am |
BLM N217 |
AART |
Not
a single hour goes by in the world without a work by Mozart being played in
concert, on the radio, or on the CD players and iPods of millions of music
lovers everywhere. Mozart is much more
than a composer: he is an icon of
Western culture, familiar to anyone who is even marginally cognizant of
classical music. his
course will explore Mozart’s extraordinary life and survey his musical
legacy. Students will become acquainted
with key genres (opera, symphony, concerto, string quartet, etc.) and important
classical forms (sonata, rondo, variation, etc.) We will be reading from his letters, follow
him on his travels, and sample contemporary responses to his music. There will be three brief papers (concert
reviews or responses to individual pieces) and three take-home quizzes. No previous musical training or experience is
required. This course will not
count toward the music history requirement for moderation in music. Class
size: 20
|
11684 |
MUS 172 Jazz
Harmony II |
John
Esposito |
M . W . . |
9:40 - 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: 30
|
11678 |
MUS 202 Music
Theory II |
James
Bagwell / Alexander
Bonus |
M T W Th . |
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 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, two days cover theory, 2 days cover
ear-training.) Class size: 20
|
11670 |
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. This course
counts towards the music history requirement for the music program. Class size: 18
|
11687 |
MUS 228 Renaissance
Counterpoint |
Kyle Gann |
. T . Th . |
3:10 -4:30 pm |
BLM N217 |
AART |
The ancient musical technique of counterpoint seems
of questionable relevance today. And
yet, its premise- that human attention is riveted when a unified impression is
created via maximum variety- is a fertile psychological principle relevant to
many fields. Overall, this course will
follow classical species counterpoint as outlined by the eminent Knud Jeppesen, based on the style
of Palestrina. However, we will also examine the freer
styles of earlier composers such as Josquin and Ockeghem, and generalize from contrapuntal concepts to such
derivatives as the dissonant counterpoint of Charles Seeger and others. The ability to read music, and basic knowledge of musical
terminology (intervals, cadences) are prerequisites. This fulfills theory requirement for music
majors. Class size: 22
|
12051 |
MUS
238 The History
and Literature of Electronic and Computer Music |
Richard
Teitelbaum |
. . W . . |
1:30 – 3:50 pm |
BLM N211 |
AART |
In
the 1920’s, a number of new electronic instruments such as the Theremin, the Ondes Martenot and the Trautonium were invented, and a number of composers,
including Hindemith and Messiaen, composed new works
for them. After the invention of magnetic recording
tape in the late 40’s electronic music became an enterprise that was produced
in special studios and fixed on tape for later playback. Starting around 1960,
John Cage and David Tudor began experimental performances with such works as
Cartridge Music (1960), Variations II and other pieces that reintroduced the live performer to the electronic
medium. Many composers, such as Mumma, Behrman, Lucier, Ashley,
Stockhausen, Nono, and Boulez, as well as collective improvisationally-based groups such as AMM Music in London,
and Musica Elettronica Viva
in Rome soon followed suit. During the
60’s and 70’s, with the advent of smaller and the more personal synthesizers
invented by Moog, Buchla and others, the field of
live electronic music became a practical reality. Some ten years later, a
similar sequence of events took place with regard to computer music, where the
large mainframes of the 50’s and 60’s were superseded by the PC revolution of
the late 70’s and 80’s. This was
followed by the more recent
development of the laptop that has enabled performers to carry
powerful, portable computers on stage. This course will trace these
developments, examine the literature of the field, encourage
live performances of “classic” pieces, and the creation and performance of new
compositions and improvisations. It is strongly recommended that this course be
taken in conjunction with Electro-Acoustic Ensemble. This course counts towards the music history
requirement for music majors. Class size:
15
|
11676 |
MUS 243 Making of the Band: A History of
Musical Instruments and Ensembles, from the Medieval Age to the Present |
Alexander
Bonus |
. . W . F |
11:50 -1:10 pm |
BLM N217 |
AART |
Cross-listed: Experimental Humanities, Medieval Studies Many musicians dream of
being in a great band—but the desire is not exclusive to “Rockers” alone. This
course surveys a variety of past and present “bands,” their instruments, and
their repertoire, in order to uncover some often-neglected details about
musical history. Topics include instrument construction, performance styles,
and compositional analysis. From
Medieval town pipers to Victorian brass bands to the electro-acoustic groups of
today, “Making of the Band” documents musical history from the instrument’s
perspective. Grading is based upon weekly readings, listening, and class
participation, along with two exams and a final project. This course counts
towards the music history requirement.
Class size: 20
|
11682 |
MUS
/ ANTH 253 Special
Topics in Ethnomusicology: Popular Music and Politics in Africa |
Andrew
Eisenberg |
M . W . . |
11:50 -1:10 pm |
BLM N210 |
AART |
Cross-listed: Africana
Studies, Anthropology, Global & Int’l Studies, Human Rights Africa’s vibrant popular musics are intimately interconnected with the formation of
publics and projects of nation building. This course examines African popular
music genres as resonant spaces where publics are produced and mobilized, where
the symbolic girders of the postcolonial state are reinforced and/or attacked,
and where cosmopolitanism confronts the conceits of nationhood. In addition to
covering essential literature on nationalism, popular culture, globalization,
and the postcolony, we will explore the histories and
formal characteristics of key African popular music genres, including Nigerian Afrobeat, Tanzanian taarab,
Zimbabwean chimurenga, South African mbaqanga, and Kenyan hip-hop. Class
size: 20
|
11708 |
MUS 254B Pronunciation
and Diction for
Singers II |
Erika
Switzer |
. T . Th . |
10:10 - 11:30 am |
BDH |
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: 20
|
11698 |
MUS 257 Production
& Reproduction |
Thomas
Mark |
. . W . . |
1:30 -3:50 pm |
BLM 117 |
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
|
11667 |
MUS 264 Literature
and Language of Music I |
James
Bagwell |
. T . Th . |
11:50 -1:10 pm |
BLM N217 |
AART |
Cross-listed: Medieval Studies A survey of selected
musical works composed from Gregorian chant in the Middle Ages to the early
works of Beethoven around 1800. 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 take the second semester, which will
survey music from Beethoven to the present day. Class
size: 22
|
11685 |
MUS 266B American
Popular Song II 1930-1950 |
John
Esposito |
M . W . . |
11:50 -1:10 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. Class
size: 20
|
11683 |
MUS 287 Musical
Ethnography |
Andrew
Eisenberg |
. T . Th . |
11:50 -1:10 pm |
BLM N210 |
AART/DIFF |
Cross-listed:
Anthropology 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. Class size: 20
|
11675 |
MUS /
ART 321 Sculpture
& Electronic Music: Sound as a Sculptural Medium |
Robert
Bielecki / Julianne
Swartz |
. T . . . |
1:30 -4:30 pm |
UBS |
PART |
Cross-listed: Art This course will explore
methods of physicalizing sound through the creation
of installations and objects. We will examine unconventional techniques
including acoustic and non-electronic methods of generating, focusing and
amplifying sound. Certain projects will utilize sculptural processes such as
casting and laser engraving. Technical demonstrations, field trips, and slide
discussions will inform our study. We will examine artists who use sound
as a material and discuss their strategies in relation to object making and
sound in/as architecture. A final project will be the culmination of the
semester's activities, combining creative artistic and technological
disciplines in individual and/or collaborative works. Class size: 15
|
11671 |
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 This course counts towards the music history requirement
for the music program. Class
size: 15
|
11674 |
MUS 345 Introductory
Psychoacoustics |
Robert
Bielecki |
. . . Th . |
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: 20
|
11709 |
MUS 352 Electronic,
Electro-Acoustic, and Computer Music
Composition |
Richard Teitelbaum |
. T . . . |
1:30 -3:50 pm |
BLM 117 |
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
|
11718 |
MUS 353 Advanced
Score Study |
George
Tsontakis |
M . . . . |
3:10 -5:30 pm |
BLM N217 |
PART |
A workshop for composers, conductors and
instrumentalists, wherein a myriad of musical scores from all periods of
“classical music” will be examined, to include almost any genre – orchestral or
otherwise. Emphasis will be on discussing what makes the particular piece
“work”, whether it be its dramatic power, balanced
form, figuration design, orchestral flair or melodic and harmonic uniqueness.
In short, trying to get to the essence of “just what's so great about this
piece?”. The instructor will present certain works but
an equal and complimentary part of the workshop will be students introducing
and leading class discussions on a work they choose to present, with the first
question always to be answered: “why did you choose this work?” Prerequisites:
advanced theory and general music experience.
Class size: 7
|
11691 |
MUS 354 Opposites Attract: Beethoven
and Schubert |
Christopher
Gibbs |
M . . . . |
1:30 -3:50 pm |
BITO 210 |
AART |
By
the age of 35 Ludwig van Beethoven had emerged as Europe’s leading composer and
during the remaining two decades of his life his compositions further expanded
musical horizons. Franz Schubert, 27 years younger, worshipped Beethoven and
built a career in his shadow. When Beethoven died in 1827 Schubert was a
torchbearer at the funeral. Schubert himself died the next year at age 31 and
was buried alongside the master he so revered. This seminar will compare
specific aspects of the lives and careers of these two composers with an
emphasis on the genres in which the excelled (for example, symphony versus
song), and on how their compositions established certain kinds of musical
values. Study of selected compositions (focusing on late ones) will consider
the context in which they created, and how their works were first presented and
received in Vienna. We will consider the benefits as well as the problems of
using biographical information to discuss music. The course is offered in
advance of the 25th Bard Music Festival this summer devoted to
Schubert. Students will observe the planning process of the festival. There
will be reading and listening assignments, a seminar presentation, and a final
paper. Ability to read music is not required to take this course, which counts
toward fulfilling the music history requirement for College and Conservatory
students. Class size: 15
|
11686 |
MUS 366B Advanced
Contemporary Jazz Techniques II |
John
Esposito |
. . . Th . |
11:50 -2:30 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. Class size: 15
|
11695 |
MUS 367B Jazz
Composition II |
Erica
Lindsay |
. . W . . |
6:00 -9:00 pm |
BLM N210 / 211 |
PART |
This class covers diatonic jazz harmony, starting
with traditional forms of functional harmony, the interplay between the major
and minor systems, followed by the progression of its breakdown into a more
fluid, chromatic and open-form system.
Melodic styles, harmonic rhythm, modal interchange and modulation
sequences will be examined, with the emphasis being on composing pieces, using
as inspiration the material covered in class.
Class size: 15
MUSIC WORKSHOPS:
Workshops
carry 2 credits, unless otherwise noted.
|
11692 |
MUS WKSH GKM Sonata Workshop |
Erica
Kiesewetter / Marka
Gustavsson / Blair
McMillen |
. T . . . |
4:00 -6:00 pm |
BLM HALL |
PART |
Class size: 12
|
11693 |
MUS WKSH MG String Quartet Repertoire |
Marka
Gustavsson |
. . . . F |
1:30 -3:50 pm |
BLM N217 |
PART |
The
musical context for two hundred years of quartet writing is bookended by
Haydn’s innovation, Mozart’s perfection, and Beethoven’s revolution within this
genre. The workshop will focus on playing the foundational works which
established and came to define the string quartet as a genre. With that in mind
we will study and rehearse works by Haydn, Mozart, and Beethoven’s six early
quartets, Opus 18. A hands-on approach to these pieces is valuable in building
interpretive skills through a guided rehearsal process. Class
size: 12
|
11710 |
MUS WKSHA Workshop:
Composition |
Joan
Tower |
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: 10
|
11688 |
MUS WKSHB Workshop:
Performance Class |
Luis
Garcia-Renart |
. . W . . . T . Th . |
4:00 -6:20 pm 1:30 -3:50 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. Students choose one of
three sections. Class size: 25
|
11702 |
MUS WKSHB Performance
Class: “Nobody
puts Baby in a corner!” 19th Century Female Composers |
Rufus
Muller |
M . . . . |
4:40 -7:00 pm |
BITO HALL |
PART |
In
the nineteenth century, women were generally discouraged from composing. This course will
mainly conccntrate on women composers whose works
were eclipsed by those of their famous husbands, fathers or brothers. We shall
study and perform the songs of Clara Schumann, Fanny Mendelssohn, Alma Mahler,
Josephine Lang, Maria Malibran, and Pauline Viardot. For classical singers and
pianists. Class size: 12
|
11681 |
MUS WKSHD Sight
Reading Workshop |
Michael
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: 14
|
11713 |
MUS WKSHF Samba
School: Beginner |
Carlos
Valdez |
. . . . F |
2:01 -4:00 pm |
BLM N211 |
PART |
2 credits Samba School provides the
opportunity to learn exotic Brazilian rhythms (samba, maracatu,
batucada, samba reggae).
Class size: 30
|
11712 |
MUS WKSHF Samba
School: Advanced |
Carlos
Valdez |
. . . . F |
12:00 -2:00 pm |
BLM N211 |
PART |
2 credits Samba School provides the
opportunity to learn exotic Brazilian rhythms (samba, maracatu,
batucada, samba reggae).
Class size: 30
|
11700 |
MUS WKSHJ New
Music/New Music Performance |
Blair
McMillen |
. . W . . |
6:30 -8:30 pm |
BLM HALL |
PART |
2 credits This class will
explore a wide variety of 20th and 21st-century music through live
performances, discussions, listening assignments, and talks by visiting or
faculty artists. A stylistically
omnivorous class, we will study and work on: conventionally-notated scores,
popular music, the recent “alt-classical” movement, improvisatory works and
graphic scores, electro-acoustic music, and much else. Students will rehearse on their own in
smaller combinations outside of class, and will be encouraged to perform
regularly. There will be an
end-of-semester concert. Open to
instrumentalists, singers, and composers from both the Conservatory and the
Music Program. Class size: 18
|
11696 |
MUS WKSP4 Jazz
Improvisation II |
Erica
Lindsay |
. . . Th . |
4:40 -7:40 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: 15
|
11703 |
MUS WKSP7 Jazz Vocal
Workshop |
Pamela
Pentony |
M . . . . |
4:00 -6:50 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: 12
|
12327 |
MUS
WKSPO Introduction
to Electronic Music |
Marina
Rosenfeld |
M . W
. . |
1:30 -2:50 pm |
BLM N119 |
PART |
4 credits This hands-on
workshop will serve as an introduction to music technology and will focus on
the creation of original work, including a final project, through the use of
digital and analog tools and processes. Students will be introduced to
foundational practices in electro-acoustic sound production and their
contemporary/digital analogues, with particular emphasis on signal processing,
studio and field recording, and modes of diffusion, including multichannel
installation and live performance, as well as receive instruction in ProTools for multi-track recording, editing, and mixing.
Examples from the history of electronic music will assist students in exploring
contemporary approaches to electronic music software and technology. 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
SPECIAL
PROJECTS:
Special Projects are designed for music
majors only to pursue individual or group projects with a particular Professor.
|
11959 |
MUS PROJ CG Special Projects |
Christopher
Gibbs |
. . . . . |
|
. |
PART |
|
11960 |
MUS PROJ EL Special Projects |
Erica
Lindsay |
. . . . . |
|
. |
PART |
|
11961 |
MUS PROJ ES Special Projects |
Erika
Switzer |
. . . . . |
|
. |
PART |
|
11962 |
MUS PROJ JB Special Projects |
James
Bagwell |
. . . . . |
|
. |
PART |
|
11711 |
MUS PROJ JT Special Projects |
Joan
Tower |
. . . . . |
|
. |
PART |
|
11963 |
MUS PROJ KG Special Projects |
Kyle Gann |
. . . . . |
|
. |
PART |
|
11690 |
MUS PROJ LGR Special Projects |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
|
11964 |
MUS PROJ PL Special Projects |
Peter
Laki |
. . . . . |
|
. |
PART |
|
11965 |
MUS PROJ TB Special Projects |
Thurman
Barker |
. . . . . |
|
. |
PART |
PRIVATE
LESSONS
Please Note: In order to receive credit
for lessons a student must be enrolled in an ensemble or performance class. 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 12, 2014, 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:
Ø
David
Arner - piano (jazz, classical and improvisation)
Ø
Teresa
Buchholz – classical voice
Ø
Michael
Bukhman – classical piano
Ø
Ira
Coleman - jazz bass
Ø
Mike
DiMicco - jazz guitar
Ø
Greg
Dinger - classical guitar
Ø
Daniel
Fishkin- Serge modular synthesizer
Ø
Laura
Flax – clarinet
Ø
Amy
Garapic - percussion
Ø
Otto
(Richard) Gardner - bass
Ø
Greg
Glassman - jazz trumpet
Ø
Marka Gustavsson –
violin, viola
Ø
Stephen
Hammer - oboe and recorder
Ø
Bruce
Jackson – classical bass
Ø
Ryan
Kamm - classical bass
Ø
Erica
Kiesewetter – violin
Ø
Ilka LoMonaco-
classical voice
Ø
Blair
McMillen - piano
Ø
Garfield
Moore – cello
Ø
Rufus
Müller – classical voice
Ø
Peter
O'Brien - jazz drums
Ø
Sakiko Ohashi -
piano
Ø
Pamela
Pentony - voice (jazz)
Ø
Patricia
Spencer - flute
Ø
John
Thomas - trumpet (classical and jazz)
Ø
Carlos
Valdez - Latin jazz percussion
Ø
Bruce
Williams - jazz and classical saxophone