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Course Criteria
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4.00 Credits
Asurvey of 19th-centuryGerman chambermusic, beginning with Franz Schubert, continuing with Felix Mendelssohn and Robert Schumann, and culminating with the enormous contributions to the genre by Johannes Brahms. The Colorado Quartet is joined by other Bard faculty for in-class performances. Also explored are concurrent trends in art, philosophy, and literature, aided by guest lecturers in order to shed light on the musical world of German Romanticism. Readings include Schubert's Vienna (Erickson, ed.), The Life of Schubert by Christopher Gibbs, the Dover edition of Schumann's critical writings, Nancy Reich'sbiography of Clara Schumann, Grillparzer's "DerArme Spielmann," and writings of Kleist and Leon Botstein. Ability to read music is not required.
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2.00 Credits
This two-semester course offers an introduction to the International Phonetic Alphabet (IPA) as well as to the practical aspects of performing or preparing Italian, French, German, and English vocal literature. The fall semester is devoted to the Italian and French languages, the spring to German, English, and Latin. Through songs, arias, and choral literature, students gain a basic understanding of the pronunciation rules and rhythms of each language. While it is geared toward singers and collaborative pianists, the course is also useful for other instrumentalists and students seeking to refine pronunciation and accent. The ability to read music is not required.
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4.00 Credits
This course analyzes several works that changed the way composing is considered: the cinematographic intercutting of Stravinsky's Le Sacre du Printemps and the ironic Bach appropriations of his Symphony of Psalms; the textural overlayering of Ives's Three Places in New England; the elegant mathematical proportioning of Bartók'sMusic for Strings, Percussion, and Celesta; the delicate symmetries of Webern's Symphonie, Op. 21; the tonal organization of Stockhausen's Gruppen; and the compelling, multitempo climaxes of Nancarrow's Study No. 36.
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4.00 Credits
Integrated Arts This course focuses on the theory and practice of sound recording. Students learn the use of recording equipment, including digital tape recorders, mixing consoles, signal processing devices, and microphones. A/B listening tests are used to compare types of microphones, microphone placement, and recording techniques. Assigned projects include multitrack and direct-to-stereo recordings of studio and concert performances. ProTools software is available for digital editing and mastering to CD.
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4.00 Credits
This course concentrates on the theory, design, and creative use of the basic components of analog electronic music systems. Students examine some of the original circuits used by Bode, Moog, Serge, Theremin, and others. Discussions cover voltage control techniques, synthesis, and processing. Class projects re-create some of the classic circuits and patches. Enrollment limited.
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4.00 Credits
A survey of selected musical works, ranging (in the first semester) from Gregorian chants in the Middle Ages to the early works of Beethoven (around 1800). The second semester surveys music from Beethoven to the present day. All works are placed in a broad historical context, with specific focus on stylistic and compositional traits. In addition, musical terminology, composers, and historical and theoretical methodology are described in relationship to the repertoire. As students use scores in class discussions, basic skills in music reading are expected.
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4.00 Credits
Africana Studies, American Studies This performance-based course surveys the major American popular song composers of the Tin Pan Alley era, whose work forms the core of the jazz repertoire. Berlin, Ellington, Gershwin, Porter, Rodgers, Warren, and others are studied via readings, recorded music, and film. Students also perform the music in a workshop setting. Prerequisite: Music 171-172 or permission of the instructor. Additional Jazz Repertory subjects have included Bebop Masters, John Coltrane, and Thelonious Monk.
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4.00 Credits
Building on ProTools fundamentals, the class explores techniques for creating quality record- ings of a wide variety of instruments and voices. Students develop an understanding of the sonic and musical properties that make each instrument unique; skills for working with live instrumentalists/ vocalists in the studio; and advanced ProTools techniques. Students are required to spend time each week recording and mixing their own multitrack sessions and are encouraged to work collaboratively. The class also listens to a variety of recorded music, and students apply their observations of these recordings to their own projects.
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4.00 Credits
Integrated Arts An examination of the works of contemporary composers working in a variety of styles and sound media. Discussion topics include new conceptual models for form and content and ways to work with sounds, the environment, and our own perceptions to create music. Students present work in class and keep a journal of their impressions and critiques. Recommended for students from any discipline.
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4.00 Credits
A survey of opera from Monteverdi to the present day. The focus is on a limited number of operas, including treatments of the Orpheus myth by Peri, Monteverdi, Gluck, and Glass; Handel's Giulio Cesare; Purcell' s Dido and Aeneas; Mozart's Don Giovanni; Beethoven' s Fidelio; Wagner's Die Walkure; Verdi' s La Traviata ; Berg' Wozzeck; Stravinsky's The Rake's Progress ; andGlass's Einstein on the Beach. Students pay particular attention to the ways in which works of the written and spoken word are transformed into compelling musical theater. Classes also include video screenings and comparisons of different productions.
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