Music Program
Requirements
A student
choosing to major in music can develop a course of study intended to cultivate
specific musical interests and abilities. Advisers in each music field may suggest
the best academic plan for each student. Areas of focus include performance or
composition in classical, jazz, or electronic music genres; western music
research and history; music theory and analysis; and ethnomusicology. To
fulfill requirements in a desired focus, students are suggested to take no
fewer than six 200/300 level theory and history courses by the time of
graduation. Additional requirements may include regular enrollment in one or
more of the performance workshops, private lessons, composition workshops, or
ensembles that are offered each semester. By the time of moderation, a student
should ideally have completed half of their suggested course requirements.
Students’
Moderation and Senior Projects should ideally reflect their expressed musical
interests and goals, whether they are based in performance, composition,
research, analysis, or any combination of these. The Moderation Project for a
student focused on composition or performance usually consists of a 25-40
minute recital, highlighting original work and/or other repertoire. For
students interested in music scholarship or analysis, a substantial music
history or theory paper serves as an appropriate moderation project.
A Senior
Project in music can be accomplished in a variety of ways. Performers and
composers usually present two concerts from 30 to 60 minutes each. For
some composers, one concert can be replaced by an orchestra work written for
performance by the American Symphony Orchestra. In certain circumstances,
a finished, sophisticatedly produced recording or multimedia project serves in
place of a live performance. Music History and Theory students typically
present an advanced, scholarly research or analysis paper as the main component
of 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.
|
16317 |
MUS 104
Bard College Orchestra |
Zachary Schwartzman |
M
7:30 pm-10:30 pm |
OLIN AUDT |
PART |
This
is a yearlong course. Students earn 2
credits per semester, and an additional 2 credits for registering in
private lessons, which are strongly recommended. Auditions for new members: please contact
Greg Armbruster at [email protected].
(Please be prepared to play two
pieces—one slower and lyrical, and one faster.) Auditions for new members will be on Monday,
February 8, 2016. Please contact Greg Armbruster at [email protected]
regarding auditions. The first rehearsal
will be Monday, February 15, 2016. Class size: 30
|
16285 |
MUS 105
|
James Bagwell |
T 7:30 pm-10:00 pm |
OLIN AUDT |
PART |
1 credit First rehearsal will be February 16, 2016
at 7:30 pm. Class size: 35
|
16300 |
MUS 106
Bard Community Chamber Music |
Luis Garcia-Renart |
By arrangement.- |
|
PART |
Class size: 16
|
16329 |
MUS 108
CV Samba Ensemble |
Carlos Valdez |
F 12:00 pm-2:00 pm |
BLM N211 |
PART |
1 credit Samba Ensemble provides the opportunity to learn
exotic Brazilian rhythms (samba, maracatu, batucada, samba reggai). Class size: 20
|
16316 |
MUS 108
MS Electric Guitar Ensemble |
Matthew Sargent |
M
6:20 pm-7:40 pm |
BLM N119 |
PART |
This
ensemble will focus on contemporary/experimental electric guitar repertoire,
including Reich, Vierk, Tenney,
Polansky, Cage, and others. Enrolled students will also be encouraged to
compose new works for the ensemble. The ensemble will present a concert at the
end of the semester. The course requires the ability to read musical notation
(non-reading students committed to learning notation may contact Matt Sargent
prior to registration). Class size: 10
|
16319 |
MUS 108
MS2 Eastern European Ensemble |
Maria Sonevytsky |
W 7:00 pm- 9:00 pm |
BLM HALL |
PART |
Bard’s
Eastern European Ensemble will focus on the repertoires of a variety of Eastern
European musical traditions, including but not limited to Ukrainian, klezmer,
Bulgarian, Macedonian, and Crimean Tatar traditions. Students will be
encouraged to innovate within specific musical idioms, and, in addition to
playing, we will listen to a variety of musicians whose musical projects cut
across indigenous, experimental, and popular music genres. This ensemble is
open to instrumentalist and vocalists. Please e-mail the instructor with a
paragraph stating your musical performance experience and interest. Class
size: 15
|
16320 |
MUS 108
PS Mixed Trios, Quartets, Quintets |
Patricia Spencer |
T 5:00 pm-7:00 pm** |
BLM HALL |
PART |
Mixing
winds and strings in an ensemble offers special challenges (such as matching
tonguing and bowing) as well as unique colors, and taps into a wealth of
repertoire. Choices for flute and strings include classics by Mozart, Beethoven
and Haydn, strong works by more recent composers (Amy Beach, Alberto Ginastera, and others) and contemporary giants such as John
Harbison, Thea Musgrave and Nicholas Maw. Choices for clarinet or oboe or
bassoon and strings likewise include a wide range: Mozart, Danzi, Brahms,
|
16321 |
MUS 108
PS2 Ensemble for Any Instrument |
Patricia Spencer |
T 7:30 pm-9:00 pm |
BDH |
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.
Repertoire under consideration: Frederic Rzewski, Attica [or
Les moutons de Panurge]; Arnold Schoenberg, Canon
for Thomas Mann, and other canons; Christian Wolff, Snowdrop; Judith
Shatin, Grito del
Corazón; Kurt Schwitters,
Ursonate (selection); Stefan Wolpe, Selections from “Music for Any Instruments” Class
size: 15
|
16283 |
MUS 108D
Ensemble: Chamber Singers |
James Bagwell |
T Th 4:40 pm-6:40 pm |
BITO CPS |
PART |
Class size: 25
|
16323 |
MUS 108H
Ensemble: Balinese Gamelan |
Ketut Suadin |
M
6:30 pm-8:30 pm |
OLIN 305 |
PART |
Class size: 20
|
16308 |
MUS 108N
Contemporary Jazz Composers |
Erica Lindsay |
M
4:40 pm-6:40 pm |
BLM HALL |
PART |
2 credit s This class
will involve the interpretation of contemporary composers’ 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: 12
|
16289 |
MUS 108P
Ensemble: Baroque |
Alexander Bonus |
To be arranged. |
BLM 117 |
PART |
2 credits Performance ensemble focusing on music from
1600-1750. Requires
an audition for acceptance.
Class size: 15
|
16310 |
MUS 108R
Bard Georgian Choir |
Carl Linich |
W 7:30 pm-9:30 pm |
BDH |
PART |
The Bard Georgian Choir is an all-vocal group that
studies and performs traditional polyphonic songs from the
Music
Courses
|
16312 |
MUS 122
Introduction to Music Theory and basic musicianship |
Blair McMillen |
W 1:30 pm-2:50 pm Th 3:10 pm-4:30 pm |
BLM N211 OLIN 104 |
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. (This
course does not count towards the
theory requirement for the music program.) Class size: 20
|
16305 |
MUS 127
INTRO TO WESTERN MUSIC: the Keyboard |
Peter Laki |
M
W 10:10 am-11:30 am |
BLM N217 |
AART |
This
course will assume no previous knowledge about music. It will introduce students to the history of
Western music through an exploration of the keyboard instruments (organ, harpsichord,
piano) and their evolution over the
centuries. Students will also become
acquainted with some of the great keyboard performers of the past and the
present. There will be a reading list,
three quizzes and a term paper. Class size: 20
|
16451 |
MUS 131
Introduction to Jazz History |
Franz Nicolay |
W F 3:10 pm-4:30 pm |
BLM N210 |
AART |
Cross-listed:
Africana Studies; American Studies The course will survey the development of jazz from its roots in the combination
of African indigenous elements with American popular music of the late 19th
century through its establishment as a concert music. Through close listening
and reading, students will learn to identify the basics of jazz form, the
stages of improvisational technique, and the roles of pivotal figures. We will
also cover important meta-discussions including: the “neo-classical” movement
and institutionalization of jazz, attempts to integrate jazz language into
classical music; jazz, drugs, and “hipsterism;” the move from jazz as popular
music in social settings to art music in concert settings, the role of
improvisation, and questions of race, class, gender, and appropriation.
Students will develop critical writing and listening skills through a variety
of formal and informal exercises. There are no prerequisites for this course,
and it requires no previous musical experience. It satisfies the music history
requirement for music majors. Class size: 22
|
16315 |
MUS 143
Contemporary Electronics |
Matthew Sargent |
T 4:40 pm-7:00 pm |
BLM N119 |
PART |
This
course will provide an introduction to electronic and experimental music with a
particular focus on hacking culture, musical sampling, and the history of
recording technology. Students will participate
in hands-on demonstrations of electronic music tools (turntables, transducers,
contact mics, etc.) as well as in-class recreations of classic experimental
music pieces. The course will also include connections with other disciplines,
such as sound poetry and conceptual writing.
Throughout the course, there will be an emphasis on the creation of new
musical works as a method of communing with the course material. Students will
be expected to make several compositions in the electronic music studio. The
class will present a public concert at the end of the semester. Class
size: 20
|
16296 |
MUS 172
Jazz Harmony II |
John Esposito |
M
W 10:10 am-11:30 am |
BLM N211 |
PART |
Cross-listed:
Africana Studies 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:
25
|
16294 |
MUS 202
Music Theory / Ear Training II |
Erika Allen Kyle Gann |
M
W 1:30 pm-2:50 pm T
Th 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, two days cover theory, 2 days cover ear-training.)
Class
size: 20
|
16306 |
MUS 203
FROM ORPHEUS TO OEDIPUS: Greek Themes IN Western
Music FROM 1600 TO THE PRESENT |
Peter Laki |
M
W 3:10 pm-4:30 pm |
BLM N217 |
AART |
Cross-listed:
Classical Studies
This course will focus on a selected
number of works (operas, oratorios, symphonic poems, art songs) based on
ancient Greek topics. We will begin with
early opera and move through the Classic and Romantic eras to the 20th
and 21st centuries. The focus
will be on how composers of different eras, nationalities and stylistic
orientations found inspiration in the same literary sources and how they
reinterpreted those sources to give expression to their own artistic
personalities. At the beginning of the
semester, I will provide a list of works from which students will have to
choose one for their individual research projects, presented both orally and in
written form.
|
16318 |
MUS 224
Socialist Musical Imaginaries |
Maria Sonevytsky |
M
W 10:10 am-11:30 am |
BLM N210 |
SSCI DIFF |
Cross-listed:
Anthropology; Global & International Studies; Russian &
Eurasian Studies What is the relationship between musical culture and
political ideology? Taking examples from
|
16322 |
MUS 242
Music of the
European Avant-Garde |
Dragana Stojanovic-Novicic |
T Th 11:50 am-1:10 pm |
BLM N210 |
AART |
This
course explores European avant-garde music of the twentieth century. Topics
will include precursors of the post-WWII developments, the lives and activities
of European composers after WWII, and new musical techniques of the mid- to
late 20th-century: dodecaphony and pointillism (Arnold Schoenberg, Anton von
Webern), total serialism (Olivier Messiaen, Pierre
Boulez, Karlheinz Stockhausen), aleatory music
(Boulez, Stockhausen), micropolyphony (György Ligeti), tone clusters (Witold Lutosławski, Krzysztof Penderecki,
Rajko Maksimović),
instrumental theater (Mauricio Kagel, Vinko Globokar), electronic
music (Stockhausen, Edgard Varèse),
and music’s cross-fertilization with architecture and science (Iannis Xenakis). Coursework will
include an exam, a final project, readings, and listening assignments.
Prerequisites: at least one semester of Literature and Language of Music or the
equivalent. The course counts as a history requirement for music majors. Class
size: 20
|
16325 |
MUS 244
Introduction to
Analog Synthesis |
Richard Teitelbaum |
W 1:30 pm-3:50 pm |
BLM N119 |
PART |
After
a brief introduction to the basic acoustics of music, the class will
concentrate on the concept and uses of the voltage controlled synthesizer. It
will cover voltage controlled oscillators, amplifiers, filters, envelope
generators, and envelope followers and their creative patching. There will also
be a study of connecting these and other modules to external sound sources via
microphones, computers, brainwave amplifiers, etc. In addition to equipment
available in the department, students should have access either to analog
hardware of their own and/or virtual analog synthesizers available on line.
Both compositional and improvisational approaches with be encouraged. Class size: 15
|
16326 |
MUS 252
Electronic & Computer Composition |
Richard Teitelbaum |
T 1:30 pm-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
|
16324 |
MUS 254B
PronunciatioN and Diction for Singers II |
Erika Switzer |
T Th 10:10 am-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: 12
|
16311 |
MUS 257
Production & Reproduction |
Thomas Mark |
Th 1:30 pm-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
|
16302 |
MUS 265
LITerature and Language of Music: ROMANTIC MUSIC |
Christopher Gibbs |
M
W 11:50 am-1:10 pm |
BLM N217 |
AART |
A
survey of selected musical works composed in the late 18th and 19th
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.
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
|
16297 |
MUS 266B
American Popular Song II: 1930-1950 |
John Esposito |
M
W 11:50 am-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
|
16298 |
MUS 266D
Jazz Repertory: John Coltrane II |
John Esposito |
Th 10:10 am-12:30 pm |
BLM N211 |
AART |
Cross-listed:
Africana Studies 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
|
16295 |
MUS 302
AdvANCED Analysis
Seminar: CHARLES Ives |
Kyle Gann |
M
1:30 pm-3:50 pm |
BLM N210 |
AART |
Charles
Ives’s groundbreaking music, most of it written between 1890 and 1925 but some
of it anticipating trends of later decades, blends tonality and atonality, cacophony
and Americana, microtonality and high Romantic
idioms. He is one of the most inconsistent of composers, composing sometimes
through improvisation and other times through intricate systems. The backbone
of this course will be a detailed in-class analysis of one of Ives’s most
iconic works, the Concord Sonata,
along with a reading of the book Ives wrote to accompany it, Essays Before
a Sonata. We will
examine all the manuscripts of the
|
16268 |
MUS / ART 305
JS Sculpture III: Sound AS A SCULPTURAL MEDIUM |
Julianne Swartz Robert Bielecki |
W 1:30 pm-4:30 pm |
UBS |
PART |
Cross-listed: Studio 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: 14
|
16288 |
MUS 329
MONSTERS! MADNESS! MAYHEM!: The Wild Side of Baroque Music |
Alexander Bonus |
T 1:30 pm-3:50 pm |
BLM N210 |
AART |
Cross-listed:
Experimental Humanities Music from the Baroque era is full of wild things --
Furious gods; enraged lovers; clashing armies; hideous villains; and chaotic
storms, just to name a few. This course explores a rich variety of French,
German and Italian compositions that embrace these more volatile and violent
aspects of Baroque culture. Particular emphasis is placed on the mythological
origins and literary inspirations for these musical works. Each week, students
will synthesize diverse materials and contribute to class discussions by offering
analyses and opinions on reading and listening assignments. A final project
consists of a well-researched paper and class presentation, which gives each
student an opportunity to explore other “wild” Baroque compositions or
composers not addressed in weekly lectures or discussions. Class size: 14
|
16284 |
MUS 330
High/Low:Tensions & Agreements IN 20TH AND
21ST CENTURY AMERICAN MUSIC |
James Bagwell |
M
4:40 pm-7:00 pm |
BLM N210 |
AART |
Musicologist
H. Wiley Hitchcock described American music as often being caught between
vernacular traditions (folk and popular idioms) and cultivated traditions
(European-based classical music). This
seminar will examine the tensions and agreements between these two distinct
traditions by investigating specific musical works that reflect these
characteristics in both categories. Each
class meeting will focus on works composed in a separate decade in the both the
20th and 21st centuries.
Works to be studied will include music by Igor Stravinsky, Charles Ives,
Miles Davis, Philip Glass, among others.
Evaluation will be based on several response papers and a major research
project. Class size: 15
|
16140 |
MUS / ARTH 343
Geographies of Sound |
Maria Sonevytsky Olga Touloumi |
T 10:10 am-12:30 pm |
BLM N217 |
AART |
Cross-listed:
Art
History; Environmental & Urban Studies;
Experimental Humanities In
the first iteration of this class, students will be exchanging their geographies
of sounds with students from Smolny (St. Petersburg)
and Al-Quds (Palestine). This experimental interdisciplinary course will explore
soundscapes as cultural, historical, and social constructs through which one
can investigate the relationship between humans and the spaces they design and
inhabit. Soundscape, a central, contested concept in sound studies, will
constitute the primary field of interrogation. Our
class will bring forth these debates in order to reveal the nuances involved in
a sonic ethnography of urban spaces. This course
will engage remote campuses through Bard’s Network. Each participating campus
will appoint one resident faculty member to collaborate in the preparation of
the syllabus and the weekly exercises. Following the syllabus and the assigned
weekly readings, students will work asynchronously to develop projects that
will be shared online, such as sound walks, mixtapes, sound collages, etc. In
the first iteration of this class, students will be exchanging their geographies
of sounds with students from Al-Quds (
|
16286 |
MUS 345
Introductory Psychoacoustics |
Robert Bielecki |
M
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 a music theory requirement for music majors. Class
size: 15
|
16450 |
MUS 346
Interactive Performance and Composition |
Matthew Sargent |
T 1:30 pm-3:50 pm |
BLM N119 |
PART |
This
course will focus on MAX/MSP, an object-oriented programming environment for
real-time audio processing, computer-assisted composition, live laptop
performance, musical interactivity, video generation, and more. Students will learn fundamental concepts of
digital audio and computer programming while engaging in creative projects. We
will explore examples of MAX programming utilized in contemporary music and
sound art repertoire. The course will conclude with a final project.
Introduction to Electronic Music is recommended as prerequisite. This course
fulfills a music theory requirement for music majors.
Class size: 15
|
16328 |
MUS 353
Advanced Score Study
Workshop |
George Tsontakis |
Th 10:10 am-12:30 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: 8
|
16307 |
MUS 367B
Jazz Composition II |
Erica Lindsay |
W 6:00 pm-9:00 pm |
BLM N211 |
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: 12
MUSIC
WORKSHOPS: Workshops
carry 2 credits unless otherwise noted.
|
16303 |
MUS WKSH
GKM Sonata & Duo Workshop |
Marka Gustavsson Erica Kiesewetter Blair McMillen |
W 4:30 pm-6:30 pm |
OLIN 104 |
PART |
This
workshop will explore the wide repertoire of sonatas with instrument and piano,
as coached by the professors. Students may sign up as a pre-formed group or be
placed. Open to college and conservatory students by recommendation or
audition. Class size: 12
|
16327 |
MUS WKSHA
Workshop: Composition |
|
M
1:30 pm-3:50 pm |
BLM HALL |
PART |
This workshop
is for both composers and performers- primarily music majors who can read
music. The process is one of learning how to put one's musical soul onto the page, pass that
page first to players in the class and then to Conservatory players as
well as the Da Capo Chamber Players who record and play these pieces. 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: 8
|
16299 |
MUS WKSHB
Workshop: Performance Class |
Luis Garcia-Renart |
W 4:00 pm-7:00 pm |
BLM HALL |
PART |
This
class is conceived as a unifying workshop for performing musicians within the department.
Students must contact Prof. Garcia-Renart by phone
(x6147) or in person (Blum 201) prior to on-line registration.
Class size: 20
|
16313 |
MUS WKSHB
RM Workshop: Performance Class |
Rufus Muller |
M
4:40 pm-7:00 pm |
BITO CPS |
PART |
Song
recitals can often be boring, or even alienating. In this class we
explore ways to make the performance of art song moving and satisfying for
performer and public alike. For
collaborative pianists as well as singers. Class
size: 15
|
16292 |
MUS WKSHD
Sight Reading Workshop |
Michael DeMicco |
T 12:00 pm-1:00 pm |
BLM N211 |
PART |
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
|
16290 |
MUS WKSHL
Workshop: Opera Workshop |
Teresa Buchholz Ilka LoMonaco Rufus Muller |
W 4:40 pm-7:00 pm |
BDH |
PART |
2
credits Part II of Opera Workshop which began In the
Fall Semester. We prepare a themed program of operatic excerpts (choruses, ensembles,
solos), which is performed in the
|
16309 |
MUS WKSP3
Workshop: Jazz ImprovISAtion I |
Erica Lindsay |
Th 4:40 pm-7:40 pm |
BLM N211 |
PART |
This
class is an ensemble performance workshop focused on developing improvisational
skills within the harmonic context of both jazz harmony and free improvisation.
The goal is to develop facility in being able to improvise over harmonic
structures from the blues to more free form styles of improvisation. Students
are assigned to an ensemble that is appropriate to the level of their
experience, with a beginning ensemble always being held in the fall
semester. Class size: 12
|
16314 |
MUS WKSP7
Jazz Vocal Workshop |
Pamela Pentony |
Th 2:00 pm-4:30 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.
|
16304 |
MUS WKSPP
EK AdvANCED Orchestral Audition PrepARATION WORKSHOP |
Erica Kiesewetter |
W 1:30 pm-3:30 pm |
BITO 202 |
PART |
This
class is for advanced violinists (and any orchestral instrumentalist) who would
like to learn orchestral excerpts for festival and orchestra auditions. The student
is expected to prepare 3-5 excerpts in the semester, play in class most weeks,
and participate in feedback. The class will involve detailed coaching on the
excerpts including a focus on understanding the work in context and the
composer's style, advice on preparation and performance anxiety and mock
audition practice. Final is a mock audition with 3-5 excerpts. Class
size: 6
SPECIAL
PROJECTS:
Designed
for music majors to pursue individual or group projects with a particular
professor. Students should contact the
professor directly.
PRIVATE LESSONS
– (register for lessons with a drop/add form.)
All
students are eligible for private music instruction. Lessons can be taken
for either one or two credits or audited (no credit). In order to receive
credit, the student must be registered with the Registrar’s office. Registration
for private lessons must be completed by the end of the add/drop period.
When
lessons are taken for credit, the student must also be enrolled in a music
ensemble or the equivalent, to
be determined by the instructor. The ensemble can be taken for credit or
audited. Students taking lessons for credit are assessed a nominal lab fee of
$200 per semester by the college (approximately $16.66 per lesson X 12 lessons)
whether it is 1 or 2 credits. Students receive 12 lessons per semester
If
private lessons are audited (no credit), a fee is mutually agreed upon by the
student and the instructor. If students are taking more than one lesson, the
same rules apply as above – the student must be enrolled in another ensemble to
receive the lesson rate of $200 per semester.
Ø Kathryn Aldous - violin
Ø Erika Allen – classical piano
Ø David Arner
- piano (jazz, classical and improvisation)
Ø Teresa Buchholz – classical voice
Ø Ira Coleman - jazz bass
Ø David Degge
- percussion
Ø Mike DiMicco
- jazz guitar
Ø Daniel Fishkin-
Serge modular synthesizer
Ø Laura Flax – clarinet
Ø Greg Glassman - jazz trumpet
Ø Marka Gustavsson
– violin, viola
Ø Larry Ham – jazz piano
Ø Stephen Hammer - oboe and recorder
Ø Ryan Kamm -
classical bass
Ø Erica Kiesewetter
– violin
Ø Ilka LoMonaco-
classical voice
Ø Blair McMillen - piano
Ø Rufus Müller – classical voice
Ø Peter O'Brien - jazz drums
Ø Isabelle O’Connell - piano
Ø Pamela Pentony
- voice (jazz)
Ø Steve Raleigh – jazz guitar
Ø Raman Ramakrishnan - cello
Ø Patricia Spencer – flute
Ø Erika Switzer – classical piano
Ø
John
Charles Thomas - trumpet (classical and jazz), French horn and didjeridu
Ø Carlos Valdez – Latin jazz, percussion
and drums
Ø Bruce Williams - jazz and classical
saxophone