By the time
of graduation, all music majors will be expected to have taken three semesters
of Music Theory and three semesters of Music History, including at least one
course above the 200 level in each case.
In addition, all music majors are expected to take one class in
composition, or 4 credits in some other equivalent course involving personal
musical creativity (such as small jazz ensemble); and performance class,
accompanied by two semesters’ worth of private performance lessons (performance
class may be replaced by some other class involving regular public
performance). It will be expected that
half of these requirements be completed by time of moderation.
For a
Moderation Project, students usually give a concert of about 25-40 minutes of
their own music and/or other composers’ music.
Occasionally, a substantial music history or theory paper can be
accepted as a moderation project.
The Senior
Project consists of two concerts from 30 to 60 minutes each. In the case of composers, one concert can be
replaced by an orchestra work written for performance by the American Symphony
Orchestra. In certain cases involving
expertise in music technology, and at the discretion of the appropriate
faculty, it is possible to submit finished, sophisticatedly produced recordings
of music rather than live performances.
An advanced research project in music history or theory can also be
considered as a senior project.
15279 |
MUS
104 Bard College Orchestra |
Gregory Armbruster / Geoffrey McDonald |
M . . . . |
7:30pm- 10:30pm |
FISH |
PART |
2 credits
Auditions for new
members: please contact Greg Armbruster at [email protected];
the first rehearsal will be Monday, Jan. 26, 2015. Class size: 30
15257 |
MUS
105 Bard College Symphonic Chorus |
James Bagwell |
. T . . . |
7:30pm- 10:00pm |
OLIN AUDT |
PART |
1 credit First rehearsal will be Tuesday, February
3, 2015. Class size: 35
15270 |
MUS
106 Bard Community Chamber Music |
Luis Garcia-Renart |
. . . . . |
|
. |
PART |
1 credit Class
size: 16
15281 |
MUS
108 GM Ensemble: Cello |
Erica Kiesewetter |
. . . . F |
5:00pm-7:00pm |
BARD HALL |
PART |
1 credit Class
size: 12
15256 |
MUS
108D Ensemble: Chamber Singers |
James Bagwell |
. T . Th . |
4:40pm-6:40pm |
BITO HALL |
PART |
2 credits Class
size: 25
15250 |
MUS
108E Eastern European Ensemble |
Maria Sonevytsky |
. . W . . |
1:30pm-3:30pm |
BDH |
PART |
1 credit 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: 20
15258 |
MUS
108F Ensemble: Jazz |
Thurman Barker |
M . . . . |
7:00pm-9:00pm |
BLM N211 |
PART |
Class size: 14
15283 |
MUS
108G A Chamber for Any Instruments |
Patricia Spencer |
. T . . . |
7:30pm-9:00pm |
BDH |
PART |
1 credit 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: 12
15284 |
MUS
108G B Mixed Ensemble (wind & strings) |
Patricia Spencer |
. T . . . |
|
BLM N004 |
PART |
1 credit 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, Joan Tower, Shulamit Ran, and many more. Class
size: 12
15252 |
MUS
108H Ensemble: Balinese Gamelan |
Nyoman Suadin |
M . . . . |
6:30pm-8:30pm |
OLIN 305 |
PART |
1 credit Class
size: 20
15259 |
MUS
108J Ensemble: Percussion |
Thurman Barker |
. T . . . |
1:30pm-3:50pm |
BLM N211 |
PART |
1 credit Class
size: 15
15277 |
MUS
108N Contemporary Jazz Composers |
Erica Lindsay |
. T . . . |
4:40pm-6:40pm |
BLM N211 |
PART |
2 credit s This class
will involve the interpretation of contemporary composer’s 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
15243 |
MUS
108P AB Ensemble: Baroque |
Alexander Bonus |
. . W . . |
4:40pm-6:40pm |
BLM 117 |
PART |
2 credits Performance ensemble focusing on music from
1600-1750. Requires an
audition for acceptance. Class
size: 14
15251 |
MUS
108R Bard Georgian Choir |
Maria Sonevytsky |
Su . . . . |
6:30pm-8:30pm |
BDH |
PART |
1 credit 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.
Class
size: 15
15531 |
MUS 108 CV BEGINNER
SAMBA Ensemble |
Maria Sonevytsky |
. . . . F |
2:00pm -4:00pm |
BLM N211 |
PART |
1 credit Samba Ensemble provides the opportunity to
learn exotic Brazilian rhythms (samba, maracatu, batucada,
samba reggai).
15532 |
MUS
108 CV ADVANCED
SAMBA Ensemble |
Maria Sonevytsky |
. . . . F |
12:00pm -2:00pm |
BLM N211 |
PART |
1 credit See above.
15280 |
MUS
122 Introduction to Music Theory and BAsic musicianship |
Blair McMillen |
. T . . . . . . Th . |
3:10pm-4:30pm 11:50am-1:10pm |
BITO 210 BITO 210 |
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
15274 |
MUS
142 Introduction to Western Music |
Peter Laki |
. T . Th . |
10:10am- 11:30am |
BLM N217 |
AART |
By presenting
selected masterpieces in the Western tradition, this course will seek to
demonstrate some of the ways in which music communicates with the listener. In
the process, a number of basic concepts underlying musical form and structure
will be clarified. Students will be
encouraged to bring their own favorite works to class for general discussion.
This non-technical course requires no previous training in music. Class
size: 20
15264 |
MUS
172 Jazz Harmony II |
John Esposito |
M . W . . |
9:40am- 11:30am |
BLM N211 |
PART |
Cross-listed: Africana Studies
Part II - 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
15255 |
MUS
190 Death Set to Music |
James Bagwell |
. T . Th . |
11:50am-1:10pm |
BLM N217 |
AART |
This course
will discuss and analyze a number of key musical works that use death and
mourning as subject matter. Works to be analyzed will include the Requiems of
Wolfgang Amadeus Mozart, Giuseppe Verdi, Johannes Brahms, Benjamin Britten and
Paul Hindemith. Other works will include
Johann Sebastian Bach’s Johannes-Passion,
and Ich
habe
genug (Cantata 82). Evaluation will be
based on two exams and a research paper. This course fulfills a music history
requirement for music majors. Class size: 10
15268 |
MUS
202 Music Theory II / Ear Training |
Kyle Gann / Erika Allen |
M . W . . . T . Th . |
1:30pm-2:50pm 1:30pm-2:50pm |
BLM N217 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
15266 |
MUS
211 Jazz in Literature I |
Thurman Barker |
M . W . . |
10:10am- 11:30am |
BLM N210 |
AART |
Cross-listed: Africana Studies,
American Studies This course presents some of the short stories and poems
by Rudolph Fisher, Langston Hughes, Ann Petry, and Julio Cortazar. The text used in this section is ‘Hot and Cool’ by Marcela
Briton and the ‘Harlem Renaissance Reader’, edited by David Lewis. This course counts towards the music history
requirement for the music program. Class size: 16
15247 |
MUS
220 Repertoire for Classical Voice II |
Erika Switzer |
M . W . . |
10:10am- 11:30am |
BDH |
AART |
This class
surveys the vast and diverse 20th- and 21st-century repertoire for classical
solo vocalist, beginning with works of the late-Romantic era and 2nd
Viennese school through to the latest works of contemporary American composers.
Students will develop their knowledge and understanding of trends in
composition and structure, the intersection of poetry and music, and the art of
concert programing and repertoire selection. Highly recommended for voice
majors and for pianists interested in vocal collaboration, as well as for those
who appreciate the work of the classically trained voice. Students will be evaluated on the
basis of their written work in the form of short essays, programming
assignments, and a final paper, as well as in-class presentations. Class size: 10
15474 |
ANTH
220 doing ethnography: music and sound |
Maria Sonevytsky |
. T . Th . |
3:10 pm – 4:30pm |
BLUM N217 |
SSCI |
Cross-listed: Music What are the ethical stakes, practical
questions, and methodological tools that we use when we do ethnography? This
course is a survey of and practicum in ethnographic field methods with a
particular focus on ethnographic studies of sound and music. We will survey and
critique traditional methods of ethnographic engagement such as
participant-observation, interviews, archival research, visual, sonic and
textual analysis, and address the challenges of doing fieldwork in a variety of
contexts, including the virtual domain. Intensive writing exercises will raise
important questions about how qualitative research can be ethically and
effectively “translated” into written text. Students will develop an
ethnographic research project of their own design throughout the course of the
semester that may be connected to an ethnographically-grounded senior project.
This course satisfies the field methods requirement needed for moderation into
anthropology and ethnomusicology. Class
size: 22
15245 |
MUS
227 Explorations in World Music |
Maria Sonevytsky |
. T . Th . |
10:10am- 11:30am |
BDH |
AART |
This course
takes an ethnomusicological approach to the study of musical
traditions from throughout the globe, asking questions about how music makes
meaning and is made meaningful in diverse social locations and cultural
contexts. Topics will include: music as ritual, performance practices and
systems of traditional musics, the commodification of “world
music,” and cross-cultural notions of musical talent. Students will develop
skills to write, think and listen musically. The course will include a variety
of informal and formal written assignments, including a final research paper
and presentation on a topic of the student’s choosing. Pre-requisite: one
semester of music theory or familiarity with basic Western musical terms and
systems. Class size: 22
15285 |
MUS
252 ElectrONIc, Electroacoustic & CompUTER MUSIC
COMPOSITION |
Richard Teitelbaum |
. T . . . |
1:30pm-3:50pm |
BLM N119 |
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
15278 |
MUS
257 Production & Reproduction |
Bob Bielecki |
. . W . . |
1:30pm-3:50pm |
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
15265 |
MUS
266C Jazz RepERTORY: BEBOP Masters |
John Esposito |
M . W . . |
11:50am-1:10pm |
BLM N211 |
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: 12
15273 |
MUS
268 LitERATURE & Language of Music III |
Peter Laki |
M . W . . |
3:10pm-4:30pm |
BLM N217 |
AART |
This
course will explore selected musical masterpieces of the late Romantic and
early Modernist periods (roughly 1870's to 1920). The composers to be treated in depth are
Wagner, Bruckner, Strauss, Debussy, Stravinsky, Mahler, Schoenberg, Webern, and
Berg. Particular emphasis will be given
to Wagner and his legacy and to the musical activities in fin-de-siecle Vienna around the circles of Mahler
and Schoenberg. Operas by Wagner,
Debussy, Strauss, and Berg will be examined.
Classroom discussions will focus on the style and organization of
individual pieces, as well as on issues of biographical, cultural, and
historical context. There will be an
attempt for
comprehensive
chronological coverage, but rather we will consider a representative variety of
genres and of compositional, aesthetic, and biographical concerns. Students
will be evaluated on the basis of a series of short essays and listening
exams. As we will be using scores in our
discussions, basic skills in music reading are helpful, but not essential. This course is primarily designed for first
and second year students and counts toward the music history requirement of the
music program. It is not necessary to
have taken earlier components of the Language and Literature of Music. Class size: 20
15286 |
MUS
270 THE
MUSIC AND WRITINGS OF Stockhausen, Nono & Cage |
Richard Teitelbaum |
. . W . . |
1:30pm-3:50pm |
BLM N119 |
AART |
Karlheinz
Stockhausen and Luigi Nono were two major leaders of the post-war
European avant-garde. Great composers both, they came from very different
backgrounds--Stockhausen, a German Catholic, Nono
an Italian Communist, but both espoused serialism early on, before turning away
from it's strict application to expand their
horizons in far freer directions. In this respect, the work of John Cage was a
major influence. Coming from California and strongly influenced by Asian
thought and his own anarchic American ideas of chance and indeterminacy, Cage offered a radically opposing view to
the strictures of totally organized serialism. By the end of their lives,
Stockhausen had devoted himself to his massive mystical opera" Licht " and Nono to very soft and delicate works like
his opera Prometeo. All three composers utilized both
acoustic and electronic media in their works as well as theatrical and
multimedia techniques, breaking new ground in their efforts. Their writings
explore new means as well. The works of all three will be analyzed and studied
in detail. There will be a midterm and final paper. Class
size: 15
15242 |
MUS
328 A History of Rhythm: FINDING THE BEAT IN
EUROPEAN MUSIC, FROM 1000 TO 2000 CE |
Alexander Bonus |
. . W . . |
1:30pm-3:50pm |
BLM N210 |
AART |
“In the Beginning,
there was Rhythm,” states the opening of an influential nineteenth-century
study on time, motion, and labor. Although catchy, the adage is utterly
fallacious. As this course attempts to show, there was never agreement about
the phenomenon of “Rhythm” in the whole of human history. Musical rhythm, like
time, is more accurately considered a
relativity -- notions of
musical motion, pulse, and meter vary across locations, communities, and
individuals. Indeed, musical time changes over the course of time itself. In a
History of Rhythm, students will discover various definitions for “The
Beat,” multiple meanings and practices that dictated “good rhythm” within
various musical cultures. Weekly lectures focus on historical musical notation,
pedagogical techniques, compositional trends, and performance practices. The
class will also analyze musical manuscripts and first editions by Machaut, Monteverdi, Vivaldi, Beethoven,
Stravinsky, and others. An ability to read music is required. Through the
student's successful completion of a final project, this course can fulfill
either the music history or theory requirement.
Class size: 14
15267 |
MUS
335 Jazz: The Freedom Principle III |
Thurman Barker |
M . . . . |
1:30pm-3:50pm |
BLM N210 |
AART |
Cross-listed: Africana Studies, American Studies
The third part of
a four-part course in Jazz History. This section is a study of modern jazz from
1937 to 1950. Emphasis will focus on modern musicians such as Charlie Parker, Thelonious Monk, Dizzy Gillispie and Max Roach. We will examine the
solo and combo style of these musicians. Also we will examine how the music
developed from Swing to Bebop. This will be illustrated with recordings and
films. This course employs a cultural approach designed to look at the social
climate surrounding the music through the 40’s, such as World War II, Jim Crow
laws in the south and the recording industry strike. Classroom discussions will
focus on the different styles of each musician. Students will be evaluated by
written assignments and oral presentations. This course reaches out to anyone
with an interest in Jazz and would like to get a better understanding of the
music and its effect on our culture in the last 100 years. Enrollment limited. This course counts towards the music history
requirement for music majors. Class size: 15
15244 |
MUS
342 “VIVA LA LIBERTÀ!”: Mozart's Opera & THE Enlightenment |
Christopher Gibbs |
. T . . . |
1:30pm-3:50pm |
BLM N210 |
AART |
Mozart is often
viewed as embodying central ideals of the Enlightenment and nowhere is this
more apparent than in his mature operas. The seminar will focus on six of them,
beginning with the relatively early Idomeneo and The Abduction from the Seraglio, centering on his trilogy from the
mid-1780s composed to librettos by Lorenzo Da Ponte (The Marriage of Figaro, Don
Giovanni, and Così
fan Tutte),
and concluding with The Magic Flute.
These works take us from a teenager breaking with operatic conventions to his
dying months, at age 35. He engaged with both Italian and German operas, comedy
and tragedy, exoticism, gender issues, and radical politics of the day—the time
of the American and French revolutions. We will consider the literary sources
(most importantly Beaumarchais’s Le mariage
de Figaro). Class
sessions will be supplemented with screenings of film and video performances
directed by Ingmar Bergman, Joseph Losey, Peter Sellars,
and others. This course counts toward music history credit for College and
Conservatory students. Class size: 12
15261 |
MUS
345 Introductory Psychoacoustics |
Robert Bielecki |
. T . . . |
1:30pm-3:50pm |
BLM N110 |
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 music theory requirements.
Class size: 15
15260 |
MUS
346 Interactive Performance & ComposITION |
Robert Bielecki |
. . . Th . |
1:30pm-3:50pm |
BLM N119 |
PART |
MAX/MSP is an
object oriented graphical programming environment for algorithmic music
composition, interactivity, live processing, multimedia and more. This course covers beginning, intermediate,
and advanced methods of using MAX/MSP.
This will be a hands-on course with examples from artist’s work, several
programming assignments and a final project.
Knowledge of computer programming and MIDI is not necessary, but would
be helpful. This fulfills music theory requirements. Class size: 15
15275 |
MUS
356 Jazz Arranging
Techniques II |
Erica Lindsay |
. . W . . |
6:00pm-9:00pm |
BLM N211 |
PART |
This
composition class will focus on the various techniques used in jazz ensemble
writing from trio to quintet ensembles with heavy emphasis on rhythm section
arranging. Final projects will be recorded or performed live at the end of the
semester. This is an advanced seminar class for moderated music majors.
Prerequisite are Jazz Composition I and II or the permission of the
instructor. Class size: 15
15289 |
MUS
360 20th CENTURY Compositional TechniquES |
George Tsontakis |
M . . . . |
10:10am- 12:30pm |
BLM N217 |
AART |
A course in
composing based on historical models. The first decade of the 20th century
saw an explosion of innovative compositional theories and directions. Led by
Debussy and pre-serial Schoenberg, composers began to reshape the future of
music. Harmonic symmetries commingled with traditional diatonic and chromatic
practices brought new colors, textures, form and freedom, leading to the wide
array of musical styles and aesthetics heard today. A course in listening and
analysis of selected seminal works, from Debussy to Messiaen and Ligeti, in
their historical context.
This course counts toward music theory credit. Written analysis of works
covered; students will present to the class on selected pieces; some imitative
theoretical composition similar to what is expected in traditional harmony
classes. Class size: 8
15613 |
MUS
366A ADVANCED CONTEMPORARY JAZZ TechniquES |
John Esposito |
. . Th . |
10:10am- 12:30pm |
BLM N211 |
PART |
Cross-listed: Africana Studies This course introduces 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 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 This course counts towards the music theory/performance requirement for
the music program. Class size: 15
MUSIC WORKSHOPS:
Workshops
carry 2 credits, unless otherwise
noted.
15272 |
MUS
WKSH GKM Sonata & Chamber Workshop |
Erica Kiesewetter / Marka Gustavsson / Blair McMillen |
. T . . . |
4:00pm-6:00pm |
BLM HALL |
PART |
2 credits 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
15287 |
MUS
WKSHA Workshop: Composition |
Joan Tower |
M . . . . |
1:30pm-3:50pm |
BLM HALL |
PART |
2 credits 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
15269 |
MUS
WKSHB Workshop: Performance Class |
Luis Garcia-Renart |
. . W . . |
4:00pm-7:00pm |
BLM HALL |
PART |
2 credits 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: 18
15263 |
MUS
WKSHD Sight Reading Workshop |
John Esposito |
. T . . . |
12:00pm-1:00pm |
BLM N211 |
PART |
2 credits
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
15254 |
MUS
WKSHL Workshop: Opera Workshop |
Teresa Buchholz / Rufus Muller / Ilka LoMonaco |
. . W . . |
4:40pm-7:00pm |
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 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 Professors Müller ([email protected]) and LoMonaco ([email protected])
for details. Class size: 30
15253 |
MUS
WKSHM Hands Across the Sea: Art Song on both sides of the
atlantic |
Rufus Muller |
M . . . . |
4:40pm-7:00pm |
BITO HALL |
PART |
2 credits Song recitals are often stale or
overwrought. In this performance-oriented course for singers and
pianists, we shall study English-language art songs by American and British
composers from all eras, with a particular emphasis on how to engage vividly
and naturally with an audience. As well, the course will provide
guidance on British and American diction and style. Class size: 12
15276 |
MUS
WKSP4 Workshop: Jazz Improvisation II |
Erica Lindsay |
. . . Th . |
4:40pm-7:40pm |
BLM N211 |
PART |
2 credits
This class is
structured as a continuation of Jazz Improvisation I. The goal will be to gain
mastery over all of the basic scales used in traditional jazz improvisation,
and to attain the ability to improvise over basic two-five patterns and simple
modal progressions. Prerequisite: Jazz
Improvisation Workshop I, or consent of the instructor. Class
size: 14
15282 |
MUS
WKSP7 Jazz Vocal Workshop |
John Esposito |
. . . Th . |
2:00pm-4:30pm |
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. Class size: 16
15326 |
MUS
WKSPO Intro to Electronic Music |
Marina Rosenfeld |
. . . . F |
1:30pm-3:50pm |
BLM N119 |
PART |
4 credits This hands-on workshop 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,
as well as receive instruction in ProTools for multi-track recording, editing,
and mixing. Examples from the history of electronic music will assist students
in exploring contemporary approaches to electronic music software and
technology. Enrollment in this 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
15248 |
MUS
WKSPR Vocal Collaboration for Pianists |
Erika Switzer |
M . . . . |
1:30pm-4:30pm |
BDH |
PART |
2 credits Open to pianists of the College and
Conservatory programs, this course introduces students to vocal
collaboration. With the assistance of
guest singers and conductors, students will have the opportunity to study and
play music from the operatic, oratorio and song repertoires. Skills in listening, poetic interpretation,
and coaching will be developed. This
course prepares students to join Bard’s Opera Workshop as rehearsal pianists and
to partner undergraduate vocal majors in moderation and senior project recitals. It also counts for chamber music credit for
Conservatory pianists. Class size: 8
SPECIAL PROJECTS:
Special
Projects are designed for music majors to pursue individual or group projects
with a particular professor. Contact the
professor with whom you would like to work for details.
PRIVATE LESSONS – (register for
lessons with a drop/add form.)
Please Note: In order to receive credit for lessons a
student must be enrolled in an ensemble or performance class. There is a
$150.00 Private Lesson Fee each semester for any student taking private
lessons. If a student decides to drop private lessons they must fill out
a Drop/Add form, have it signed by the appropriate department faculty and
deliver it to the Office of the Registrar on or before Wednesday, February 11,
2015 PM or they will be charged and responsible for the $150.00 Department Fee.
Students who opt to take lessons not-for-credit will be responsible for the
full cost of the lessons themselves. Not available for on-line
registration. Please note: you can audit an ensemble, but you cannot audit
lessons. Private Lessons are offered as follows:
Ø Erika Allen – classical piano
Ø David Arner - piano (jazz, classical
and improvisation)
Ø Teresa Buchholz – classical voice
Ø Ira Coleman - jazz bass
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 Stephen Hammer - oboe and recorder
Ø Ryan Kamm - classical bass
Ø Erica Kiesewetter – violin
Ø Ilka LoMonaco- classical voice
Ø Blair McMillen - piano
Ø Garfield Moore – cello
Ø Rufus Müller – classical voice
Ø Peter O'Brien - jazz drums
Ø Isabelle O’Connell - piano
Ø Pamela Pentony - voice (jazz)
Ø Patricia Spencer – flute
Ø Erika Switzer – classical piano
Ø John Thomas - trumpet (classical and
jazz)
Ø Francesca Tanksley – jazz piano
Ø Carlos Valdez – Latin jazz percussion
and drums
Ø Bruce Williams - jazz and classical
saxophone