|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
1.00 Credits
Credits:2 credits Prerequisites:Guitar private instruction level 2 Course Chair:L. Baione Required of:None Electable by:Guitar principals Offered:Spring, Fall Description Instrumental class for the guitar principals emphasizing chord solo guitar styles, traditional guitar literature employing right-hand pick techniques, and rhythm guitar styles applicable to small group and orchestral performance.
-
3.00 Credits
Credits:2 credits Prerequisites:PSGT-212 or by audition Course Chair:L. Baione Required of:None Electable by:Guitar principals Offered:Spring, Fall Description Continuation of PSGT-212. Symmetric scales and additional altered modes; chord scale possibilities explored through harmonic analysis. Chord voicings and comping techniques in jazz, Latin, funk, and ballad styles. Midterm and final projects: student performance of solo and comping part with prerecorded tape.
-
1.00 Credits
Credits:1 credit Prerequisites:None Course Chair:M. Marvuglio/J. Odgren Required of:None Electable by:All Offered:Spring, Summer, Fall Description This lab will explore posture, movement, and breathing as they relate to the act of musical production. Students will explore how they experience themselves making music and learn how to modify their own actions to play more efficiently with less effort. Self-awareness exercises will be used to improve the kinesthetic sense--one's sense of oneself in movement--enabling the instrumentalist to avoid injuries due to overuse and/or misuse, as well as helping to develop sensitivity, clarity, and power in musical production. Through increased awareness, students will acquire the ability to regulate or modify their actions to meet varying demands of practice and performance.
-
1.00 Credits
Credits:1 credit Prerequisites:None Course Chair:M. Marvuglio Required of:None Electable by:All Offered:Spring, Fall Description The musician's environment, with its continual pressures and workload demands, is frequently intense. Through a regular practice of yoga, you will be better able to deal with pressures and stress. Yoga means union. It is the union of mind, body, and spirit. This course will lead you through a series of breathing exercises, meditations, warm-ups, and postures that will help integrate the mind, body, and spirit of your being. Practicing yoga will enable you to be more aware and focused in all aspects of your life.
-
2.00 Credits
Credits:1 credit Prerequisites:PSH-250 Course Chair:M. Marvuglio Required of:None Electable by:All Offered:Spring, Fall Description With a firm foundation of the principles of yoga learned and practiced in Yoga for Musicians 1, this course goes deeper into the practice and its benefits. Students more fully explore many techniques including meditation, breathing, and advanced postures. Students will learn about the different energy channels in the body and how to regulate them to improve a sense of well-being.
-
2.00 Credits
Credits:2 Prerequisites:None Course Chair:M. Marvuglio Required of:None Electable by:All Offered:Spring, Summer, Fall Description This course will explore the fundamentals of chi gung and how students can employ these practices in both their musical and daily lives. Students will learn a variety of exercises as well as breathing and awareness techniques to increase the flow of chi throughout one's system. These exercises promote emotional balance, mental clarity and an optimum physical state. Students will learn about the unique physiological benefits as well as how to apply these exercises to their instrument, daily activities and creative endeavors. In addition, students will learn how chi gung can act as a catalyst for healing or preventing an overuse injury and other health maladies. By the end of the course, students will be more able to conduct the inner orchestra of their mind, body, heart and spirit through a state of relaxed awareness.
-
1.00 Credits
Credits:1 credit Prerequisites:Written approval of instructor Course Chair:J. Shapiro Required of:None Electable by:All Offered:Spring, Fall Description Open to all vocalists and instrumentalists, this course offers a unique concept of musicianship beyond basic practice of scales and song-learning.Students will learn skill and techniques including relaxation exercises, chant, working with overtones and timbre, and movement to help in overall performance.
-
2.00 Credits
Credits:1 Prerequisites:PSH-238 Course Chair:M. Marvuglio Required of:None Electable by:All Offered:Fall Description Continuing with the themes introduced in PSH-238, this class further explores posture, movement, and breathing as it relates to music production. With a more developed sense of self in movement, students can focus their skill toward individual needs. Half of the class will be devoted to more challenging Awareness Through Movement lessons, with each student meeting privately with the instructor over the course of the semester. Students will design a personal program for self-improvement and maintenance of comfortable and easy movement while practicing and performing. In addition to injury prevention, the course will aid students in developing their sensitivity, clarity, and power in music production.
-
1.00 Credits
Credits:2 credits Prerequisites:HR-212 Course Chair:M. Marvuglio/J. Odgren Required of:PERF bass, brass, guitar, piano, string, vibraphone, woodwind Electable by:All Offered:Spring, Summer, Fall Description Exploration of the relationship between improvisation and harmonic context. Analysis of harmonically sophisticated music using analytical techniques from HR-212. The use of chord scales in improvisation and analysis of recorded jazz solos. Discussion of specific harmonic idioms and their related improvising styles. Solos of John Coltrane, Herbie Hancock, Woody Shaw, and other influential soloists.
-
2.00 Credits
Credits:2 credits Prerequisites:PSHR-321 Course Chair:M. Marvuglio/J. Odgren Required of:None Electable by:All Offered:Spring, Fall Description Continued exploration of the relationship between improvisation and harmonic context. Analysis of contemporary compositions and their harmonic implications applied to the craft of improvisation. Symmetrical scales, two- and three-tonic systems, and rhythm devices. Repertoire studied will include solos by John Coltrane, Dave Liebman, Ornette Coleman, Steve Grossman, and Herbie Hancock.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2024 AcademyOne, Inc.
|
|
|