17232

CNSV 100

Studio Instruction

John Halle

PART

4 credits This course is for Conservatory performance majors studying their primary instrument and consists of 13 one-hour private lessons with members of the Bard College Conservatory faculty. This course is required for all performance majors in every semester. Class size: 35

17233

CNSV 102

Composition Tutorial

George Tsontakis

PART

This course is for Conservatory composition majors and consists of 13 one-hour private lessons with members of the Bard College Conservatory composition faculty. This course is required for all performance majors in every semester. Class size: 8

17234

CNSV 104

Secondary Piano

Frank Corliss

PART

Students in this course develop technical and musical skills through weekly private lessons in piano. Students are graded based on the quality of prepartion for lessons, attendance at lessons. and a final end of the semester jury.This course is open to students at all levels of pianistic skill and experience. This course is open to Conservatory students only. College students wishing to take secondary piano do so through the undergraduate music program. Class size: 20

17236

CNSV 110

Chamber Music

Marka Gustavsson

W 7:30pm-9:30pm

BITO CPS

2 credits. Enrollment in this course is required of all Bard Conservatory performance undergraduates for 7 semesters.** In registering for the class, students are assigned or may form their own groups of 2-9 performers, with whom they commit to the preparation and performance of formative repertoire. Preparation requirements are at least two weekly 90 minute rehearsals, and regular coaching. Performances include the Chamber Music Marathon, noon concerts, and student recitals; the groups participate in the Chamber Music Forum on 7 Wednesday evenings (dates tbd). **Note: For those undergraduate students who enrolled before the fall of 2016, chamber music is required every semester. Students may now take the class for 2 credits, wherein it was previously for 0 credits. Students who have an exceptional need to reduce their work load may apply for a waiver for chamber music; they may be granted a waiver for up to three semesters. You’ll find the waiver form here: https://docs.google.com/forms/d/e/1FAIpQLSdPwC9tG8aTdGCVAyRCmMu9yZrpPlXh5sMfrIM83XvZnwDl7A/viewform?c=0&w=1

For consideration, the waiver form must be submitted on registration day. Class size: 20

17237

CNSV 112

Orchestral Training & Rep.

Erica Kiesewetter

T Th 7:00pm-9:30pm

FISH

0 credits 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. Four 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

17238

CNSV 130

Orchestral Repertoire

Edward Carroll

W 4:45 pm-6:45 pm

2 credits Works drawn from the core of the symphonic repertoire are studied and rehearsed in 2- hour sessions throughout the semester. This course addresses issues of ensemble playing, intonation and musical expression for wind, brass, percussion, and harp players in orchestra. This course also broadens the knowledge of the symphonic repertoire through actual playing experience. Woodwind/Brass class will follow from 7:30pm – 9:30pm

Class size: 20

17239

CNSV 211

Alexander Technique for Musicians

Alexander Farkas

F 9:00am-4:30pm

BITO

PART

1 credit The Alexander Technique provides a way of teaching us how to re-connect with our own innate energies. For musicians this means discovering a way of performing with greater muscular ease, less accumulated fatigue and a less restrictive approach to technique. This course introduces both F. M. Alexander's principles and a new set of physical experiences suited to the musician's specific needs. The aim of the class will be learning how to apply the Technique to practice and performance situations. Students will have the opportunity to work with their instruments in class. Class size: 25

17241

CNSV 220

Music, Language, & Mind

John Halle

M W 3:10pm-4:30pm

BITO 210

AART

A survey of recent work in musical cognition focusing on the connections between language and music with Aniruddh Patel's "Language, Music and the Brain” serving as the primary text. This year’s class will then turn to an examination of the overlaps and discontinuities in accounts of the evolution of language and music through a comparison of Steven Mithen’s The Singing Neanderthals with Robert Berwick and Noam Chomsky’s recently published Why Only Us. Open to college and conservatory students. Class size: 20

17242

CNSV 309

Aural Skills IV

John Halle

T Th 1:30pm-2:50pm

BITO 210

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

17288

MUS WKSH EK

Adv Orchestral Audition Prep

Erica Kiesewetter

TBD -

PART

2 credits. 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: 12

17240

CNSV 332

Conservatory Seminar

Christopher Gibbs

John Halle

T Th 11:50am-1:10pm

BLM N217

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, and how these meanings have evolved through time.

Open to conservatory students and college students with permission of instructor. Class size: 20