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 garmbrus@bard.edu 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: clinch@bard.edu 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. Readings will be placed on reserve or handed out in class.  There will be three take-home exams.  Each student wiII have to do two brief presentations in class (l0 minutes each) about a piece of music with a political message, describing the historical context and analyzing the chosen work.  The presentations will also have to be submitted in written form. Class size: 20

 

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 Fisher Center, fully staged and with orchestra, in the early part of the Spring Semester. Typically this involves intensive rehearsals during the week before Spring Semester, and evening rehearsals in the first week of semester. Students enrolling in the Fall Semester for two credits thus commit themselves to the final rehearsals and performances in the Spring Semester, which earn them an additional two credits.  Enrollment is by audition. Please contact Professor LoMonaco (ilka98@aol.com) for details.  Class size: 30

 

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