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  • MUSI V2170: Music and Dance from Romanticism to Mark Morris

    3.00 Credits
    Barnard College

    An exploration of the music-dance relationship from Romanticism to Mark Morris. Specific topics to include Romanticism, Tchaikovsky, the Ballets Russes, Copland-Graham, Stravinsky-Balanchine, Jazz/African-American traditions, Cage-Cunningham, and Mark Morris. Special attention will be paid to composer-choreographer collaboration; the interdependence of the musical and choreographic arts; and the role each art has played in the formal and aesthetic/historical development of the other. General Education Requirement: The Visual and Performing Arts (ART). Not offered in 2009-2010. 3 points
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  • MUSI V2205x: Midi Music Production Techniques

    3.00 Credits
    Barnard College

    An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines. - B. Garton Prerequisites: HUMA W1123 or the equivalent. Permission of the instructor required. General Education Requirement: The Visual and Performing Arts (ART). 3 points
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  • MUSI V2314x: or y Ear Training,I

    1.00 Credits
    Barnard College

    Designed to improve the student's basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation. 1 point
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  • MUSI V2315x: or y Ear Training,II

    1.00 Credits
    Barnard College

    Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation. 1 point
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  • MUSI V2318x: V2319y Diatonic Harmony and Counterpoint,I and II

    3.00 Credits
    Barnard College

    Prerequisite: MUSI V1002 or the equivalent. Corequisite: an ear-training class ( MUSI V1312, V2314-V2315, V3316-V3317, or W4318-W4319). " Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is Music V3321-3322y; see below). N.B. -All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. (For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction.) Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart. - Feld, Marlon Voss, Carlton Lab Required. General Education Requirement: The Visual and Performing Arts (ART). 3 points
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  • MUSI V2500x: Women and Music

    3.00 Credits
    Barnard College

    Explores the complex relationships of women and Western art music from the Middle Ages to the 20th century. Women are studied not only as creators and performers but also as patrons and muses, and through their musical representations in the repertoire. - R. Rosenberg Prerequisites: HUMA W1123 or the equivalent. Not offered in 2009-2010. 3 points
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  • MUSI V2582x: Jazz improvisation:theory,history and practice

    3.00 Credits
    Barnard College

    This course offers an introduction to jazz improvisation for instrumentalists. Through recordings, transcriptions, daily performance and selected readings, students will actively engage the history of jazz through their instruments and intellect. The idea of improvisation will be explored in an historical context, both as a musical phenomenon with its attendant theory and mechanics, and as a trope of American history and aesthetics. The course will explore improvisation in jazz as 'statements within frameworks,' and investigate the crucial historical junctures when these musical frameworks broadened to accommodate new approaches and options. Further, these moments will be explored in their social and historical contexts in order to understand how societal and cultural factors affect the way musicians play. The class will seek to answer the following questions: How does one construct meaning in improvisation How does one build a musical narrative What tensions exist between innovation and tradition in jazz improvisation How does one draw on one's own musical history and tastes in order to develop an individual voice How does one perform purely in the moment Can a musician's playing be dishonest The goal is to provide the student not only with the instrumental skills required to become a proficient jazz improviser (thus serving the performance ensembles in which some of these students will go on to participate) but to do so in a way that is informed by the history of the music and the social contexts in which it evolved. While this course will be performance based, it will include strong music theory and music history components. The course will examine the development of jazz improvisation chronologically, yet will also pause to examine certain aesthetic concepts central to building compelling jazz improvisations. This class is for instrumentalists who wish to deepen their understanding of the theory, history and practice of jazz improvisation. The history of jazz will be used as a prism through which to view approaches to improvisation, from the cadences of the early Blues through the abstractions of Free Jazz and beyond. The student will be exposed to the theory and vocabularies of various jazz idioms, which they will also learn to place in their social and historical contexts. Finally the student will be challenged and encouraged to develop an individual voice, at once informed by the theory and history of jazz improvisation and expressive of the student's musical identity. General Education Requirement: The Visual and Performing Arts (ART). 3 points
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  • MUSI V3115x: Monteverdi

    3.00 Credits
    Barnard College

    A study of the major works of Claudio Monte Verdi. Focuses on the social and cultural forces that led to the dissolution of Renaissance polyphony and the emergence of opera. Not offered in 2009-2010. 3 points
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  • MUSI V3120: From Source To Sound:the Interpretation of Medieval Music

    3.00 Credits
    Barnard College

    Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. Prerequisites: HUMA W1123 or the equivalent. Methods, problems, and possibilities for recreating the oldest extant body of music in Western Europe, that of the Middle Ages from ca. 1000 to ca. 1300. By directly confronting musical manuscripts, theoretical treatises, and performance contexts from the period, students develop their ability to think critically and historically about the music of the past and modern attempts to describe it. General Education Requirement: The Visual and Performing Arts (ART). Not offered in 2009-2010. 3 points
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  • MUSI V3127x: Bach Vocal Music

    3.00 Credits
    Barnard College

    Analysis of the vocal music of Johann Sebastian Bach in its historical and cultural context with particular focus on the sacred cantatas, the St. Matthew Passion and the B minor Mass. - G. Gerbino 3 points
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