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 Orchestra Now. 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.
College &
Community Ensembles
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.
17278 |
MUS 104
Bard College Orchestra |
Erica
Kiesewetter Zac Schwartzman |
M 7:30pm-10:00pm |
OLIN AUDT |
PA |
PART |
2 credits Auditions for new members will be on
February 6, 2017. Please contact Greg Armbruster at [email protected]
regarding auditions. The first rehearsal will be February 6, 2017 following the
auditions. Class size: 30
17272 |
MUS 105
Bard College Symphonic Chorus |
James
Bagwell |
T 7:30pm-10:00pm |
OLIN AUDT |
PA |
PART |
First rehearsal
will be Tuesday, January 31st at 7:30pm. Class size: 35
17286 |
MUS 106
Bard Community Chamber Music |
Luis
Garcia-Renart |
TBD |
|
PA |
PART |
Class
size: 16
17311 |
MUS 108
AB Baroque Ensemble |
Alexander
Bonus |
M 7:00pm-9:00pm |
BLM 117 |
PA |
PART |
Performance ensemble
focusing on music from 1550-1750. Instrumentalists and vocalists are welcome
to audition. Class size: 15
17282 |
MUS 108
CV Samba Ensemble |
Carlos
Valdez |
F
12:00pm – 2:00pm - |
BLM
N211 |
PA |
PART |
Samba Ensemble
provides the opportunity to learn exotic Brazilian rhythms (samba, maracatu, batucada, samba reggai). Class size:
20
17289 |
MUS 108
MF Eastern European Ensemble |
Matthew Fass |
T 5:00pm-7:00pm |
BLM HALL |
PA |
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: 12
17318 |
MUS 108
MS Electroacoustic Ensemble |
Matthew
Sargent |
M 6:41
pm-7:50pm |
BLM HALL |
PA |
PART |
Class
size: 10
17265 |
MUS 108
PS Mixed Trios, Quartets, and Quintets |
Patricia
Spencer |
TBD - |
|
PA |
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 an
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, Joan Tower, Shulamit
Ran, and many, many more. (Class meetings are arranged according to the
schedules of those who sign up.) Class size: 6
17266 |
MUS 108
PS2 Ensemble for any Instrument |
Patricia
Spencer Peter Laki |
T 7:30pm-9:00pm |
BDH |
PA |
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: 6
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”
17273 |
MUS 108D
Ensemble: Chamber Singers |
James
Bagwell |
T Th 4:40pm-6:40pm |
BITO CPS |
PA |
PART |
Class
size: 25
17292 |
MUS 108F
TB Ensemble:Community Jazz Orchestra |
Thurman
Barker |
M 7:00pm-9:00pm |
BLM N211 |
PA |
PART |
Class
size: 12
17283 |
MUS 108H
Ensemble: Balinese Gamelan |
Ketut
Suadin |
M 6:30pm-8:30pm |
OLIN 305 |
PA |
PART |
Class
size: 20
17296 |
MUS 108J
Ensemble: Percussion |
Thurman
Barker |
T 1:30pm-3:50pm |
BLM N211 |
PA |
PART |
Class
size: 12
17301 |
MUS 108N
Contemporary Jazz Composers |
Erica
Lindsay |
M 4:40pm-6:40pm |
BLM HALL |
PA |
PART |
2 credits 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
17275 |
MUS 108R
Bard Georgian Choir |
Carl
Linich |
W 7:30pm-9:30pm |
BDH |
PA |
PART |
The Bard Georgian
Choir is an all-vocal group that studies and performs traditional polyphonic
songs from the Republic of Georgia (former USSR). Most songs are taught orally,
and no previous singing experience or music reading skills are required. Special
vocal techniques are also explored, including ornamented singing and yodeling.
The group performs concerts at the end of each semester. Carl Linich, the choir’s director, has been a scholar, teacher
and acclaimed performer of Georgian polyphonic singing since 1990, and is a
founding member of Trio Kavkasia. A basic ability to
match pitch is required. Please contact the instructor directly:
[email protected] to arrange auditions. Class size: 30
MUSIC COURSES:
17280 |
MUS 122
Introduction to Music Theory |
Blair
McMillen |
Th 11:50am-1:10pm F 10:10am-11:30am |
BLM N211 BLM N217 |
PA |
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
17284 |
MUS 126
Beethoven & His World |
Christopher
Gibbs |
M W 11:50am-1:10pm |
BLM N217 |
AA |
AART |
Ludwig van Beethoven has long been viewed as
the quintessential Romantic artist: an eccentric suffering genius whose music
in many ways mirrored his life. This course will investigate these assumptions
through a survey of his life and works in the context of the culture and
politics of Vienna in the early 19th century. We will sample a
variety of Beethoven’s compositions in most of the major genres in which he
wrote: keyboard, chamber, and vocal music, as well as orchestral (symphonies,
overtures, and concertos), dramatic (especially the opera Fidelio), and religious music. Beethoven’s accomplishment will be
compared with that of his immediate musical predecessors (notably his teacher
Franz Joseph Haydn and Wolfgang Amadeus Mozart) and celebrated contemporaries,
figures such as Gioachino Rossini and Franz Schubert.
We will explore the relevant aesthetic, literary, philosophical, and political
context of Beethoven’s world. Class size: 18
17339 |
MUS 145
big brother is listening: Music & Politics through the Ages |
Peter
Laki |
T Th 10:10am-11:30am |
BLM N217 |
AA |
AART |
Cross-listed: Human Rights This
course will explore two basic kinds of political music: music written in support of a state or
regime, and music written in protest against a state or regime. Both types have a long history in the Western
world, on which we will focus predominantly if not exclusively. After surveying a few examples from the Middle Ages through the classical era, we will move to more
recent points in time to investigate political music under modern democratic
and totalitarian governments. Both classical and popular genres will be
considered.
17269 |
MUS 172
Jazz Harmony II |
John
Esposito |
M W 9:40am-11:30am |
BLM N211 |
PA |
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: 22
17310 |
MUS 202
Music Theory II / Ear Training |
Erika
Allen Alexander
Bonus |
M W 1:30pm-2:50pm T
Th 1:30pm-2:50pm |
BLM N217 |
PA |
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
17293 |
MUS 212
Jazz Literature II |
Thurman
Barker |
M W 10:10am-11:30am |
BLM N210 |
AA |
AART DIFF |
Cross-listed: Africana Studies,
American Studies We will study Gary Giddens’ book Visions in Jazz and Robert Gottlieb’s Reading Jazz in order to bring attention
to some important literature on Jazz. Some of the writers look beyond Jazz as
an art form, but also bring attention to its historical influence on culture,
race, tradition, and our social experience, as well as connecting with writers
like Albert Murry, Ralph Ellison, Eudora Welty. There is an attempt in their
works to illuminate the significance of the musical potential the musicians
inherit and the creative options they exercise. This course includes the words
of many who have been hailed as Jazz’s greatest musicians. This fulfills a music history requirement
for music majors. Class
size: 20
17291 |
MUS 223
Topics in Music History: American Opera Narratives |
Kyle
Gann |
T Th 3:10pm-4:30pm |
BLM N217 |
AA |
AART |
Cross-listed: Theater
Since the 1934 premiere of Virgil
Thomson’s and Gertrude Stein’s Four
Saints in Three Acts, the most interesting America opera has veered away
from European conventions. From the other Stein-Thomson The Mother of Us All through Harry Partch’s
vernacular dance-plays to Robert Ashley’s road operas for television to
Meredith Monk’s nonverbal Atlas to
the information overload of Glass’s Einstein
on the Beach to Mikel Rouse’s complexly pop theater works, American composers
have often constructed stage works from nonlinear narratives that completely
sidestep assumptions of theatrical realism. At the same time, there is another
American tradition of operas that distance themselves from Europe in subject
matter, though not in format: Gershwin’s Porgy
and Bess, Copland’s The Tender Land,
John Adams’s Nixon in China. The
course will weave between these traditions, contrasting their effectiveness and
looking for links that might define an American approach to opera. Coursework will
include two research papers, listening to and watching videos, weekly reading
of librettos, and plenty of class and Moodle discussion. This fulfills a
history requirement for music majors, but has no prerequisites, and non-majors
are welcome. Class
size: 15
17290 |
MUS 228
Renaissance Counterpoint |
Kyle
Gann |
M W 3:10pm-4:30pm |
BLM N217 |
AA |
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 a theory
requirement for music majors. Class
size: 20
17312 |
MUS 240
Introduction: Electronic Music |
Matthew
Sargent |
M W 11:50am-1:10pm |
BLM N119 |
PA |
PART |
This hands-on
course 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, and instruction in digital audio workstation
software (Logic Pro, Pro Tools, and others). Examples from the history of
electronic music will assist students in exploring contemporary approaches to
electronic music software and technology. Enrollment in the 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: 20
17305 |
MUS 244
Intro to Analog Synthesis |
Richard
Teitelbaum |
W 1:30pm-3:50pm |
BLM N119 |
PA |
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
17304 |
MUS 252
Electronic Composition |
Richard
Teitelbaum |
T 1:30pm-3:50pm |
BLM N110 |
PA |
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 a music theory
requirement. Class
size: 15
17297 |
MUS 257
Production & Reproduction |
Thomas
Mark |
Th 1:30pm-3:50pm |
BLM 117 |
P |
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
17338 |
MUS 265
Literature and Language of Music after 1900 |
Peter
Laki |
M W 10:10am-11:30am |
BLM N217 |
AA |
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 other semesters of Language and Literature
before this one. Class
size: 20
17268 |
MUS 266C
Jazz Rep: BEBOP Masters II |
John
Esposito |
M W 11:50am-1:10pm |
BLM N211 |
PA |
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/performance requirement for the music
program.
Class
size: 22
17314 |
MUS 309
Vocal Pedagogy |
Ilka
LoMonaco |
W 10:10am-12:30pm |
BDH |
PA |
PART |
This class is designed for students who wish
to work in vocal teaching or coaching. The course can also be taken by advanced
vocal students for a deeper exploration of their own voice. Even though the emphasis of the class will be
on practical application, during the first weeks we will cover basic anatomy
and physiology. The student will learn to listen differently to the voice, will
be able to identify physiological influences while producing sound, and will
learn how to remedy imbalances through posture and positions of head and
tongue. The main physiological aspects to be covered are breathing, vocal
registers, Valsalva manoeuver and vocal approximation. For students with a
background of at least 2 years of vocal training.
Class size: 6
17558 |
ART / MUS 321 Sculpture III: SOUND AS A SCULPTURAL MEDIUM |
Julianne
Swartz Robert
Bielecki |
W 1:30pm-
4:30pm |
UBS |
PA |
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
17295 |
MUS 332
Jazz: The Freedom Principle II |
Thurman
Barker |
M 1:30pm-3:50pm |
BLM N210 |
AA |
AART DIFF |
Cross-listed: Africana Studies This is a survey course in Jazz history, part II of a
four-part sequence, which concentrates on Jazz from 1927 to 1942, the big band
or swing era. Emphasis will be on band leaders such as Jimmie Lunceford, Benny
Goodman, Tommy Dorsey, Teddy Wilson, Count Basie and Duke Ellington. This
course employs a cultural approach designed to look at the social climate
surrounding the music from 1927 to 1942 and examine its effect on the music.
This will be illustrated with recordings, films and videos. This class requires
an oral presentation and critical listening. Class
size: 15
17274 |
MUS 338
the Interaction between Music and Film:
A Historic Overview |
James
Bagwell |
W 1:30pm-3:50pm |
BLM N211 |
AA |
AART |
Cross-listed: Film and Electronic Arts This course will trace the
use of music in film beginning with silent films in the early twentieth century
through the present. We will examine how
music was incorporated into such films as Citizen
Kane (Welles), Rapsodia Satanica (Oxilia), King Kong
(Cooper), Black Orpheus (Camus) Singing in the Rain (Donen), On the Waterfront (Kazan), Forbidden Planet (Wilcox), A Woman is a Woman (Godard), 2001: A Space Odyssey (Kubrick), Easy Rider (Hopper), and Pulp Fiction (Tarantino), among
others. While the main focus of the
course will be historical, we will analyze specific techniques that composers
and directors use to heighten storytelling through music. Course projects will include three short
scene analysis papers and one research paper due at the end of the term. This course is open to both upper level music
majors and non-majors and will satisfy a music history requirement for music
majors. Class size: 15
17316 |
MUS 344
Music in Shakespeare Shakespeare
in Music |
Peter
Laki |
T 4:40pm-7:00pm |
BLM N217 |
AA |
AART |
Cross-listed: Theater The course will begin by
exploring the role music played in the performance of Shakespeare’s plays in
Shakespeare’s time. With the help of
Ross W. Duffin’s Shakespeare’s Songbook, we
will study the surviving original songs in the context of the dramas in which
they appear. Then we will move on to
selected later compositions—operas, symphonic poems, chamber and vocal
music—inspired by Shakespeare’s works.
The composers studied will include Schubert, Rossini, Berlioz, Verdi,
Liszt, Tchaikovsky, Prokofiev, Stravinsky, and Thomas Adès.
The course is intended for students seriously interested in music and/or
literature, preferably from the upper college.
Students will have to give an oral presentation on a topic of their
choice, which will also form the basis of the paper they will submit at the end
of the semester. There will also be a
final exam which will survey all the works studied in class. This course will satisfy a music history
requirement for music majors. Class
size: 15
17306 |
MUS 345
Introductory Psychoacoustics |
Robert
Bielecki |
M 1:30pm-3:50pm |
BLM N110
/ 117 |
AA |
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
17313 |
MUS 346
Interactive Performance and Composition |
Matthew
Sargent |
T 1:30pm-3:50pm |
BLM N119 |
PA |
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
pre-requisite. This course fulfills a music theory requirement for music
majors.
Class
size: 15
17270 |
MUS 366B
Adv Contemp Jazz Techniques II |
John
Esposito |
T 9:10am-11:30am |
BLM N211 |
PA |
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
17398 |
MUS 370
chamber - Jazz Composition WKSP. |
Erica
Lindsay |
W 6:00pm-9:00pm |
BLM N211 |
PA |
PART |
This class is for
students who have completed Jazz Composition I & II, as well as Jazz
Arranging, or with the permission of the instructor. We will combine genres and
instrumentations found in both jazz and classical orchestration, exploring the
possibilities for melding traditional chamber instrumentation with that of the
jazz ensemble. The focus will be on exploring ways to combine improvisation
with thru composed material. There will be weekly writing assignments with a
final project that will be performed and recorded at the end of the semester. Class
size: 8
MUSIC
WORKSHOPS:
Workshops carry 2 credits, unless otherwise noted.
17271 |
MUS WKSH
Transcription and Analysis Workshop |
Franz
Nicolay |
F 10:10am-12:30pm |
BLM N210 |
PA |
PART |
This workshop offers a practical and
theoretical orientation to transcription and analysis in music studies. Musical
examples will include a range of field recordings and commercial releases
spanning jazz, classical, indigenous, and popular musics.
We will explore the utility and limitations of notation as a descriptive,
prescriptive, and pedagogical tool. We will generate transcriptions on the staff, learn to make charts for jazz and rock bands, and
experiment with generating and analyzing spectrograms. Students should have
some background in music theory and facility with reading and writing standard
notation.
Class
size: 10
17288 |
MUS WKSH
EK Advanced Orchestral Audition Preparation |
Erica
Kiesewetter |
TBD - |
|
PA |
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: 12
17279 |
MUS WKSH
MG sonata & chamber Workshop |
Marka
Gustavsson Blair
McMillen |
TBD - |
|
PA |
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: 15
17300 |
MUS WKSHA
Workshop: Composition |
George
Tsontakis |
M 1:30pm-3:50pm |
BLM HALL |
PA |
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 College 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. Tsontakis prior to registration to
determine eligibility. Class
size: 6
17285 |
MUS WKSHB
Workshop: Performance Class |
Luis
Garcia-Renart |
W 4:00pm-7:00pm |
BLM HALL |
PA |
PART |
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. Students choose a section from
the three options. Class size: 25
17303 |
MUS WKSHB
ES Workshop: Performance Class Canadian art song/la melodie canadienne |
Erika
Switzer |
F 11:00am-1:00pm |
BITO CPS |
PA |
PART |
This workshop for singers and pianists will
explore the art song repertoire of Canada through in-class coaching and a final
performance. Since 1959, works of Canadian composers have been collected and
published by the Canadian Music Centre. Within the collection of symphonic,
stage, and chamber works are a wealth of songs, including traditional art songs
and mélodies, spirituals, cabaret songs, and
experimental vocal forms. Our work will be to bring these diverse songs to life
(poetically, dramatically, pianistically) and to
familiarize ourselves with the musical landscape of Canada.
Class
size: 12
17308 |
MUS WKSHD
Sight Reading Workshop |
Michael
DeMicco |
T 12:00pm-1:10pm |
BLM N211 |
PA |
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
17299 |
MUS WKSHL
B/L Workshop: Opera Workshop |
Teresa
Buchholz Ilka
LoMonaco |
W 4:40pm-7:00pm |
BDH |
PA |
PART |
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
17302 |
MUS WKSP3
Workshop: Jazz Improvisation |
Erica
Lindsay |
Th 4:40pm-7:40pm |
BLM N211 |
PA |
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. Class size: 12
17276 |
MUS WKSP7
Jazz Vocal Workshop |
Pamela
Pentony |
T 4:00pm-6:30pm |
BLM N211 |
PA |
PART |
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.
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 (February 8th).
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
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
Dani Dobkin-
Serge modular synthesizer
Ø
Greg Glassman - jazz trumpet
Ø
Marka
Gustavsson – violin, viola
Ø
Larry Ham – jazz piano
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, hand
percussion and drums
Ø
Bruce Williams - jazz and classical
saxophone
Cross-listed course:
17061 |
RUS 327
Russian Opera:History/Myths |
Marina
Kostalevsky |
M 3:30pm-5:50pm |
OLINLC 120 |
FL |
FLLC |
Cross-listed: Music
Class size: 15