15459 |
CNSV
100 Studio Instruction |
John Halle |
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PART |
This course
consists of 13 one-hour private lessons with members of the Bard College
Conservatory faculty. Class size: 25
15460 |
CNSV
102 JT Composition Tutorial |
Joan Tower |
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PART |
Class size: 10
15461 |
CNSV
104 Secondary Piano |
Frank Corliss |
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PART |
Class size: 15
15462 |
CNSV
110 Chamber Music |
Marka Gustavsson |
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Primary chamber
music assignments consist of one or more groups made up of 2 to 9 players, for
each student, every semester of their enrollment in the Bard Conservatory. The
groups meet for a minimum of two 90 minute rehearsals each week, and have
regular coachings with faculty through the semester, roughly 10 times. In
addition to performance opportunities through the semester such as noon
concerts and student recitals, the Conservatory presents a weekend Chamber
Music Marathon. The groups are expected to perform complete works at a polished
professional level. Class size: 20
15463 |
CNSV
112 Orchestral Training & Repertoire |
Erica Kiesewetter |
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7:00pm-9:30pm |
FISHER PAC |
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This class will
focus on training and performance of orchestral literature (standard and also
unusual and contemporary). Bi-annual auditions help familiarize students with
this process, and sectionals are held by members of the American Symphony
orchestra, Metropolitan Opera Orchestra and other faculty. 4 programs a year
including opera, and extra performances in major US cities and abroad. Maestro
Leon Botstein is the music director, and guest conductors appear for two
programs a year. Class size: 20
15464 |
CNSV
130 Orchestral repertoire |
Edward Carroll |
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4:30pm-6:30pm |
BITO |
PART |
The process
of composing involves examining several pieces of each formal type, extracting
from them the basic principles of their construction. Then, you will immediately compose sections of the work submitting
them for suggestions for revision,
reworking each section until a musically satisfying and coherent piece within
the basic style is achieved. Class size: 20
15465 |
CNSV
211 Alexander Technique for Musicians |
Alexander Farkas |
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9:00am-1:00pm |
BITO |
PART |
Class size: 20
15466 |
CNSV
220 Music, Language, & Mind |
John Halle |
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1:30pm-3:50pm |
OLIN 106 |
AART |
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 overlapping 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: 14
15467 |
CNSV
309 Aural Skills IV |
Benjamin Laude |
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10:45am-11:30am |
OLIN 104 |
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This is the fourth
of four levels of Aural Skills courses offered at Bard. The course aims to
continue developing skills that were acquired from Aural Skills I-III. Advanced
topics including aural identification of medieval modes, sight-singing of
atonal melodies in various clefs, complex rhythm control, modulation, and
extended harmonic progressions will be covered, in addition to general
reinforcement of previously learned skills. Class
size: 20
15468 |
CNSV
310 Keyboard Skills |
Frank Corliss |
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PART |
Class size: 20
15469 |
CNSV
330 Composition FOR PERFORMERS (Formerly Conservatory Seminar IV) |
Joan Tower |
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10:10am-12:30pm |
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Core Sequence
in Theory, Analysis, and Composition. The composition seminar is taught by two
of our most celebrated composers and teachers of composition. Students will
produce several original compositions to be performed by themselves and others
at a final concert. Exemption policy: Students can petition for exemption based
on their having produced substantial original works. (Of course, those with an
interest in composition will be unlikely to pass up the opportunity to study
with two major figures in contemporary music.) Class size: 15
15470 |
CNSV
332 Conservatory Seminar (Formerly Conservatory Seminar II) |
John Halle |
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1:30pm-2:50pm |
BITO 210 |
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The signature
class of the core sequence in theory, analysis and composition, Conservatory Seminar
examines pieces from the conservatory orchestra repertoire, either current or
recently performed, addressing broad questions such as how these works were
received by audiences, the political and social context in which they were
composed and understood, the relationship between the formal structure of the
work and others of a similar general type, how the form of the work conveys
meaning for particular sets of listeners, how these meanings have evolved
through time etc. As an indication of some of these topics, in previous years,
we have examined Tschaikovsky's Manfred
Symphony investigating the influence of Lord Byron's Manfred both on formal
aspects of the symphony, as well as how the character of Manfred was (and was
not) relevant to Tschaikovsky's experience in Tsarist Russia negotiating his
non-standard sexual preference-(a biographical fact now being denied by the
Russian political establishment). We also examined Mahler's Fifth Symphony in comparison to Ives's Decoration Day and Three Places in New England addressing the role of quotation in
each, and how the source materializes are defamiliarized, along lines suggested
in an essay by Robert Morgan. Last we discussed how the Copland Third and
Shostakovich's Fifteenth Symphonies functioned in the context
of the cold war politics and broad modernist and post modernist currents in the
music and the arts. It is strongly recommended that students delay taking the
Conservatory Seminar as they will find that the knowledge which they have
acquired in other classes at Bard having to do with historical events, literary
styles and techniques and trends within the arts, politics and culture will
serve as crucial background to in class discussions and allow them to develop
their own perspective on the repertoire. There are assigned readings, frequent
short written assignments and two midterm exams where students will demonstrate
familiarity both with the pieces and the literature surrounding them as well as
helping them refine and sharpen personal reactions to the works under
consideration. Class size: 20
15471 |
CNSV
403 Conservatory Project |
Peter Laki / John Halle |
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Class size: 20