2011-2012 Music Courses

This yearlong seminar may also be taken as a yearlong component in a Music Third. (Please see course description under the listing of full courses—seminars with conferences—that constitute one-third of a student’s total program.) This is one of the music history component courses required for all Advanced Theory students and is also open to students who have completed the theory sequence.

This course provides students with an introduction to ethnomusicology—the study of the interactive relationship between musical and cultural practices—through an examination of the diverse musical worlds of North America, Central America, South America, and the Caribbean. We will gain a highly specific knowledge of many musical traditions from Cuba, Puerto Rico, Trinidad, Brazil, Peru, Argentina, Mexico, Texas, the American Southwest and Northwest, Appalachia, and New York City. As we become familiar with these diverse musical practices, we will begin to use tools from linguistic and cultural anthropology to examine how music is a communicative process very much like language in some ways and quite different in others. As the year progresses, we will see how musical communication and expression—what some have called “musicking”—is used dynamically to generate and maintain social identities in complex and ever-changing contexts. While these musical styles are sophisticated and challenging, prior experience with “music theory” is absolutely not required for this course. No musical experience is necessary. Participation in Gamelan Angklung Chandra Buana (fall) is required for all students taking this course, though occasional exceptions may be granted by the instructor. Participation in African Percussion Ensemble Faso Foli (spring) is optional but encouraged.  This course may also be taken as a yearlong component in a Music Third.

When we think of Western music, we often think of the masterpieces of Beethoven, Verdi, or Debussy—or of the overwhelming commercial power of pop, rock, or hip hop. Alongside and among performances of these well-known traditions is a wealth of lesser-known musical traditions across Europe and Western Asia. These traditions draw upon centuries of local traditions and focus the actions of contemporary musicians. In this course, we’ll examine representations of the “other” in Western classical and popular traditions; we’ll consider what else might be considered “Western” in such a context; and we’ll see and hear how these musics, across Europe and Asia, represent sophisticated forms of art, as well as complex modes of social behavior. Although it may be taken on its own, this course is intended to prepare students for the more advanced seminar, Music, Circulation, and Appropriation. Participation in Gamelan Angklung Chandra Buana (fall) is encouraged for all students taking this course.   No musical experience is necessary.

In this introductory course, we will study elements of music such as pitch, rhythm, intensity, and timbre to see how they combine in various musical structures and how these structures communicate. Studies will include notation and ear training, as well as theoretical exercises, rudimentary analyses, and the study of repertoire from various eras of Western music. Hearing and Singing is taken concurrently with this course. This course is a prerequisite to the Theory II: Basic Tonal Theory and Composition and Advanced Theory sequence. This course will meet twice each week (two 1.5-hour sessions).

As a skill-building course in the language of tonal music, this course covers diatonic harmony and voice leading, elementary counterpoint, and simple forms. Students will develop an understanding through part writing, analysis, and composition. Survey of Western Music is required for all students taking Theory II who have not had a similar history course. It is highly recommended, although not required, that students in this course also take Basic Aural Skills. The materials of this course are prerequisite to any Advanced Theory course; at least one Advanced Theory course is required after Theory II.

This course will discuss the fundamentals of chromatic harmony and will build on diatonic skills established in Theory II. Students will learn tools in order to enhance their knowledge of chord progressions and musical form. They will also acquire knowledge of essential techniques, such as counterpoint, modulation, mixture, and basic 20th-century practices. This class will emphasize keyboard, writing, and listening skills, as well as score analysis.

Very few composers had a more profound influence on the course of Western history than Beethoven. After 200 years, many of his extraordinary works remain at the very core of the concert repertoire; and the way in which they blend formal design, compositional techniques, and emotional force continue to serve as a great source of inspiration for many musicians today. Already during his lifetime, Beethoven became a new model of what it actually meant to be a composer. This course will examine a broad range of his music, including selections from his piano sonatas and trios, string quartets, symphonies, opera, mass settings, and songs. Our main focus will be on detailed analysis. We will also consider Beethoven’s own sources of inspiration—not only the musical ones (such as Haydn, Mozart, J.S. and C.P.E. Bach, Handel, and French revolutionary music) but also some of the political, philosophical, and literary currents of his time. In addition to more general biographic literature, we will draw upon some recent writings on Beethoven’s economic, medical, and psychological circumstances. Successful completion of the first two years of theory (or equivalent background) is a requirement. This course may be taken as either an advanced theory or a music history component. Permission of the instructor is required.

This course will study the building blocks and concepts of jazz theory, harmony, and rhythm. This will include the study of the standard modes and scales, as well as the use of melodic and harmonic minor scales and their respective modals systems. It will include the study and application of diminished and augmented scales and their role in harmonic progression, particularly the diminished chord as a parental structure. An in-depth study will be given to harmony and harmonic progression through analysis and memorization of triads, extensions, and alterations, as well as substitute chords, re-harmonization, and back cycling. We will look at polytonality and the superposition of various hybrid chords over different bass tones and other harmonic structures. We will study and apply all of the above to their characteristic and stylistic genres, including bebop, modal, and free and progressive jazz. The study of rhythm, which is possibly the single most-important aspect of jazz, will be a primary focus, as well. We will also use composition as a way to absorb and truly understand the concepts discussed.  Theory II: Basic Tonal Theory and Composition is a prerequisite.

Jazz Theory and Harmony II will be a continuation of Level I, with more in-depth study and application of the same concepts and an emphasis placed on the actual performance of the material. This class will also introduce new concepts in slash-chord harmony, superposition of pentatonics as both harmonic structures and scales for improvisation, back cycling on blues, rhythm changes and standards, extensive chord substitution, reharmonization, exploring Coltrane changes, etc.

This course will be an examination of various theoretical approaches to music of the 20th century, including post-tonal, serial, textural, minimalist, and pop/rock music. Our primary text will be Joseph Strauss’ Introduction to Post-Tonal Theory; but we will also explore other relevant texts, including scores and recordings of the works themselves. This course will include study of the music of Schoenberg, Webern, Pink Floyd, Ligeti, Bartók, Reich, Radiohead, Nine Inch Nails, Corigliano, and Del Tredici, among others.  Open to students who have successfully completed Theory II: Basic Tonal Theory and Composition.

This course is a direct follow-up to 20th-Century Theoretical Approaches I: Post-Tonal and Rock Music. In addition to a more thorough grounding in set theory and basic serialism, the first semester will also introduce advanced serial techniques, neo-Riemannian analysis, and basic transformation theory. The syllabus will include some of the same composers studied before, but there will be a particular emphasis on Elliott Carter, Milton Babbitt, and Ruth Crawford Seeger. Discussion will also cover more recent musical trends such as spectralism, eclecticism, and The New Complexity. The second semester will involve a more detailed look at rock, electronic, and hip-hop music and will cover artists such as Saul Williams, Animal Collective, and King Crimson.

This class focuses on developing fluency with the rudiments of music. It is the required aural corollary to Theory I: Materials of Music. As students begin to explore the fundamental concepts of written theory—reading notes on the staff, interpreting rhythm—Hearing and Singing works to translate these sights into sounds. The use of solfège helps in this process, as ear, mind, and voice begin to understand the relationship between the pitches of the scale. Rhythm drills help solidify a sense of rhythm and a familiarity with rhythm patterns. In-class chorale singing supports this process. All incoming students will take a diagnostic test to determine placement. This class fulfills the performance component of the Music program for those beginning students who are not ready to participate in other ensembles. Students who demonstrate proficiency for this subject may advance directly into Basic Aural Skills.

Basic Aural Skills tackles written theory concepts from an aural perspective. We will develop the ability to sing and identify intervals and sonorities, perform and transcribe rhythm in simple and compound meters, sing melodies at sight, and dictate melodies and harmonic progressions—all of which add dimension and scope to written theory. Students who have completed Hearing and Singing or demonstrate the equivalent may take this course. During the course of their studies, all Music Thirds are required to take Basic Aural Skills. It is recommended, but not required, that this course be taken in conjunction with Theory II: Basic Tonal Theory and Composition.

This class continues to develop the cooperation of ear, eye, and voice initiated in Hearing and Singing and Basic Aural Skills, with an emphasis placed on harmony. The harmonic language in this level of aural skills broadens to incorporate an increased variety of 7th chords, as well as chromatically altered harmonies (including Neapolitan, augmented 6th, secondary dominant, and other borrowed chords). Singing, dictations, and listening exercises of multipart and modulating music samples help realize this. Additionally, the study of rhythm will take on more challenging aspects, expanding to multiple parts. It is recommended, but not required, that this course be taken in conjunction with Advanced Theory: Advanced Tonal Theory and Composition and may be taken by any student who has completed the required theory sequence.

This course is open to all instrumentalists who are interested in developing techniques to improve their sight-reading skills. Groups from duets to quintets will be formed according to level. A sight-reading “performance” will be held at the end of each semester. This course meets once a week.

This is a workshop in the art of composition with a focus on 20th-century techniques. We will discuss recent compositional techniques and philosophies, as well as issues in orchestration and notation. We will explore significant works by a wide variety of major 20th-century composers, such as Bartók, Berio, Cage, Carter, Debussy, Ligeti, and Stravinsky, as well as recent compositions by established and emerging composers across the world. These works will serve as models for original student compositions. It is expected that the students will develop a fluency in using either Finale or Sibelius. Students should have completed Theory I: Materials of Music or its equivalent.

This module is for beginners and is a prerequisite to the other modules. Areas covered in this course will include an introduction to the studio’s equipment, basic musical acoustics, principles of studio recording, signal processing, and an historical overview of the medium. Permission of the instructor is required.

This module will focus on creating electronic music primarily using software-based digital audio workstations. Materials covered will include MIDI, ProTools, Digital Performer, Logic, Reason, Ableton Live, MaxMsp, and others. Class assignments will focus on composing individual works and/or creating music and designing sound for various media such as film, dance, and interactive performance art. Projects will be presented in class for discussion and critique. This course is open to students who have successfully completed the beginning module or its equivalent. Permission of the instructor is required.

This module deals exclusively with the Moog, Buchla, and Arp analog synthesizers, as well as a variety of MIDI instruments. Students will work on creative projects centered on the use of these instruments. Projects will be presented in class for discussion and critique. This course is open to students who have successfully completed the beginning module or its equivalent. Permission of the instructor is required.

This is the final module in the sequence and focuses on the production of electronic music from creation to the final mix. Students will have access to the full range of hardware and software and use these materials to evolve works of considerable complexity and range. This course is open to students who have successfully completed Introduction to Electronic Music and Music Technology and either Digital Audio Workstations and MIDI or Analog and Digital Synthesis. Permission of the instructor is required.

Students work on individual projects involving aspects of music technology including, but not limited, to works for electro-acoustic instruments—live and/or prerecorded works involving interactive performance media, laptop ensembles, Disklavier, and improvised or through-composed works. This component is open to advanced students who have successfully completed Studio for Electronic Music and Experimental Sound and are at or beyond the Advanced Theory level.  Open to a limited number of students; permission of the instructor is required.

This course is a chronological survey of Western music from the Middle Ages to the present. It is designed to acquaint the student with significant compositions of the Western musical tradition, as well as to explore the cyclical nature of music that mirrors philosophical and theoretical ideas in Ancient Greece and how that cycle appears every 300 years: the ars nova of the 14th century, le nuove musiche of the 17th century, and the new music of the 20th century and beyond. The course involves participation in listening, reading, and discussion, including occasional quizzes about and/or written summaries of historical periods. This component is required for all students taking Theory II: Basic Tonal Theory and Composition and is also open to students who have completed the theory sequence.

This is one of the music history component courses required for all Advanced Theory students. Please see course description under Advanced Theory.

The classical style especially manifested in the music of the “divine” Mozart is both complemented and sharply opposed by his younger contemporary, Beethoven—and their lives were scarcely more distant from each other than was the Enlightenment from the events of 1789 and the world of Napoleon. We will touch on the source of the classical manner in the reactions of minor figures such as Sammartini, Quantz, and the Bach sons to the learned style of J. S. Bach and then explore the operatic style that made Mozart possible. His mature works will then be set alongside both the more genteel early period and the combative and partly romantic middle style of Beethoven. Readings in cultural history will be joined by biographical and music-score study. Some experience in music theory is necessary and general historical interest is desirable for enrollment in this course. This is one of the music history component courses required for all Advanced Theory students.

Debussy’s influence on today’s music is incalculable. He has been called the only “universal” French composer and is very likely also the greatest. This course will deal with the ambience of the Second Empire, from which he emerged, and with Debussy’s relationships to the impressionist, symbolist, and decadent aesthetics. Allowing for earlier influences, including the contradictory effects of Wagner, we will explore Debussy’s revolutionary musical language in detail, with many references to older and younger contemporaries such as Massenet, Saint-Saëns, Franck, Satie, Ravel, and the group known as Les Six. For approach and qualifications, see Mozart and Beethoven: Music from 1720 to 1810. This is one of the component courses required for all Advanced Theory students.

Jazz music of all styles and periods will be listened to, analyzed, and discussed. Emphasis will be placed on instrumental styles and performance techniques that have evolved in the performance of jazz. Skills in listening to and enjoying some of the finer points of the music will be enhanced by the study of elements such as form, phrasing, instrumentation, instrumental technique, and style. Special emphasis will be placed on the development of modern jazz and its relationship to older styles. Some topics: Jelly Roll Morton, King Oliver, Louis Armstrong, roots and development of the Big Band sound, Fletcher Henderson, Count Basie, Duke Ellington, lineage of pianists, horn players, evolution of the rhythm section, Art Tatum, Bud Powell, Bill Evans, Thelonius Monk, Miles Davis, John Coltrane, Charlie Parker, bebop, cool jazz, jazz of the 1960s and ’70s, fusion and jazz rock, jazz of the 1980s, and modern trends. The crossover of jazz into other styles of modern music, such as rock and R&B, will be discussed, as will the influence that modern concert music and world music has had on jazz styles. This is a two-semester class; however, it will be possible to enter in the second semester. This is one of the music history component courses required for all Advanced Theory students.

This yearlong seminar may also be taken as a yearlong component in a Music Third. (Please see the course description under the listing of full courses—seminars with conferences—that constitute one-third of a student’s total program.) This is one of the music history component courses required for all Advanced Theory students and is also open to students who have completed the theory sequence. No musical experience is necessary. Participation in Gamelan Angklung Chandra Buana (fall) is required for all students taking this course, though occasional exceptions may be granted by the instructor. Participation in African Percussion Ensemble Faso Foli (spring) is optional but encouraged.

What happens when one culture sings in the musical voice of another? Through close examination of musical performances, we’ll see how the effects of both (or more) cultures are present in the music itself. And in so doing, we’ll further critique what it means to be “Western,” “global,” and “modern.” We’ll examine theories of cultural creolization and media circulation and apply them to specific case studies of musical traditions in transformation. We’ll begin in the 19th century, when Hungarian musical traditions were being heard and imitated by the Romantics and early Moderns, and continue by examining how black and white folk traditions from the United States were assimilated and transformed in the early 20th century. We’ll see that musical cultural “flows” don’t always move in the same direction, as with traditions moving both toward and from guitar traditions of central Africa in the 1950s and ’60s. Later in the semester, we’ll closely examine how musical traditions can be manifested in certain physical objects, which can gain a life of their own; for example, what happens when one musical culture uses the instruments of another for its own purposes? We’ll ask how the socioeconomic implications of the circulation of other musical objects—records, CDs, and mp3s—are affecting the very meaning of those musics in the 21st century. This course continues to develop ideas explored in “Non-Western” Western Musics in Europe and Asia, although that class is not an official prerequisite.  This course may also be taken as a component in a Music Third.

Repertoire may include both accompanied and a cappella works from the Renaissance to the present that were specifically composed for women’s chorus. The ensemble will perform winter and spring concerts. Students are required to attend either the Monday or the Wednesday rehearsal; they are welcome but not required to attend both. All students are welcome to become a member of this ensemble; auditions are not necessary. This class meets twice a week.

Early madrigals and motets and contemporary works especially suited to a small number of voices will form the body of this group’s repertoire. The ensemble will perform winter and spring concerts.  This class meets once a week. Audition required.

This performance ensemble is geared toward learning and performing various traditional, as well as hybrid, styles of blues music. The blues, like jazz, is purely an American art form. Students will learn and investigate Delta Blues—performing songs by Robert Johnson, Charlie Patton, Skip James, and others—as well as Texas Country Blues by originators such as Blind Lemon Jefferson and Chicago Blues, beginning with Big Bill Broonzy and moving up through Howlin’ Wolf and Buddy Guy. Students will also learn songs and stylings by Muddy Waters, Albert King, and B.B. King and how they influenced modern blues men such as Johnny Winter, Stevie Ray Vaughn, and pioneer rockers such as Jeff Beck, Eric Clapton, Jimmy Page, and Jimi Hendrix. Audition required.

This ensemble will meet weekly to rehearse and perform a wide variety of modern jazz music and other related styles. Repertoire in the past has included works by composers Thelonius Monk, Duke Ellington, Miles Davis, and Herbie Hancock, as well as some rock, Motown, and blues. All instruments are welcome. Audition required. This class meets once a week.

This class is intended for all instrumentalists and will provide a “hands-on” study of topics relating to the performance of jazz music. The class will meet as an ensemble, but the focus will not be on rehearsing repertoire and giving concerts. Instead, students will focus on improving jazz playing by applying the topic at hand directly to instruments; immediate feedback on the performance will be given. The workshop environment will allow students to experiment with new techniques as they develop their sound. Topics include jazz chord/scale theory; extensions of traditional tonal harmony; altered chords; modes; scales; improvising on chord changes; analyzing a chord progression or tune; analysis of form; performance and style study, including swing, Latin, jazz-rock, and ballade styles; and ensemble technique. The format can be adapted to varying instrumentation and levels of proficiency. Placement audition required.

No longer do vocalists need to share valuable time with those wanting to focus primarily on instrumental jazz and vice versa. This ensemble will be dedicated to providing a performance-oriented environment for the aspiring jazz vocalist. We will mostly concentrate on picking material from the standard jazz repertoire. Vocalists will have an opportunity to work on arrangements, interpretation, delivery, phrasing, and intonation in a realistic situation with a live rhythm section and soloists. They will learn how to work with, give direction to, and get what they need from the rhythm section. It will provide an environment to learn to hear forms and changes and also to work on vocal improvisation, if they so choose. This will not only give students an opportunity to work on singing solo or lead vocals but to work with other vocalists in singing backup or harmony vocals for and with each other. This will also serve as a great opportunity for instrumentalists to learn the true art of accompanying the jazz vocalist, which will prove to be a valuable experience in preparing for a career as a professional musician. Audition required.

This course will ask the following questions: What does a singer need? How does a singer process information? How does a singer communicate the information that he or she has processed? How does a singer prepare? How does a singer select material? We will try to find the answers to these questions together, with the understanding that different solutions must necessarily be tailored to the individual performer. Enrollment is limited.

The course intends to discuss the basic rules of pronunciation and articulation for German, French, and Italian, as used in lyric diction. Language-specific aspects such as purity of open vs. closed vowels, formation of mixed vowels and diphthongs, treatment of single consonants (especially plosives), and consonant clusters will be studied through both spoken and written exercises using the International Phonetic Alphabet (IPA). Students will get a chance to experience the languages through analytical listening, as well as by being coached in song repertoire and recitatives. The course further intends to deepen the student’s understanding of the three languages by introducing basic aspects of grammar. This course is required for all Music Thirds in voice during their first year in the vocal program.

This course will be an exploration of the relationship between and among melody, harmony, rhythm, text, style and of how these elements can be combined and manipulated to create meaning and beauty. A significant level of vocal development will be expected and required. Audition required.

This course will develop the student’s knowledge and awareness of her or his vocal potential through experience in singing. Basic vocal technique will be explored, and individual vocal needs will be addressed. Repertoire will be chosen to enhance the strengths of each student, as well as to present vocal challenges.

Voice students will gain performance experience by singing repertoire selected in cooperation with the studio instructor. Students will become acquainted with a broader vocal literature perspective through singing in several languages and exploring several historical music periods. Interpretation, diction, and stage deportment will be stressed. During the course of their studies and with permission of their instructor, all Music Thirds in voice are required to take Seminar in Vocal Performance for two semesters.

This is an introductory course in opera production. It is open to students enrolled in any performing art (Music, Dance, and Theatre Thirds), as well as to the college community at large. Repertoire will be selected from the standard traditional and contemporary operatic expression in English and Italian languages. There will be one production per year. Attendance is required for every session. Audition required.

This is a beginning course in basic vocal technique. The voice faculty strongly feels that classes in voice for the beginner are supportive and educationally sound ways of approaching individual vocal needs. Placement audition required.

From highlife and jújù in Nigeria to soukous and makossa in Congo and Cameroon to the sounds of Manding music in Guinea and “Swinging Addis” in Ethiopia, the decades following World War II saw an explosion of musical creativity that blossomed across sub-Saharan Africa. Syncretic styles merging African aesthetics with European, Caribbean, and American influences and instruments resulted in vibrant new musical genres that harken back to traditional African sources, while exploring bold and original musical forms. As European powers formally withdrew from their former colonies, newly inspired African musicians took advantage of broadened artistic resources and created vital, contemporary musical expressions. This performance course will explore a wide range of African musical styles that emerged in the second half of the 20th century. We will undertake a broad musical history, considering prominent groups and individual musicians during this time period, and will perform tightly structured arrangements of some of their most effective and influential pieces. There will be some opportunities for genre-appropriate improvisation and soloing. A wide range of instruments will be welcome, including strings, horns, guitars, keyboards, drums, and various other percussion instruments. Basic facility on one’s musical instrument is expected, but prior experience with African musical aesthetics is not assumed nor required.

Bluegrass music is a 20th-century amalgam of popular and traditional music styles, emphasizing vocal performance and instrumental improvisation, that coalesced in the 1940s in the American Southeast. This ensemble will highlight through performance many of the influences and traditions that bluegrass comprises, including ballads, breakdowns, “brother duets,” gospel quartets, Irish-style medleys, “modal” instrumentals, “old-time” country, popular song, and rhythm and blues, among many possible others. Though experienced players will have plenty of opportunities to improvise, participants need not have played bluegrass before. The ensemble should include fiddle, five-string banjo, steel string acoustic guitar, mandolin, resophonic guitar (Dobro^®), and upright (double) bass.

A gamelan angklung is a bronze orchestra that includes four-toned metallophones, gongs, drums, and flutes. Simple patterns played upon the instruments interlock and combine to form large structures of great complexity and beauty. The gamelan angklung that we will play was specially handcrafted in Bali for the College and was named Chandra Buana, or “Moon Earth,” at its dedication on April 16, 2000, in Reisinger Concert Hall. Any interested student may join; no previous experience with music is necessary. Participation in Gamelan Angklung Chandra Buana (fall) is required for all students taking Structures of Music and Structures of Power: Ethnomusicology of Africa, Asia, and the Middle East; occasional exceptions may be granted by the instructor.

The African Percussion Ensemble Faso Foli performs music of West Africa on balafons (a type of xylophone) and djembe drums. “Faso Foli” is a Mande phrase that translates loosely as “playing to my father's home.” It refers to the West African origin of our djembes and balafons, which were built for the college in Guinea in 2006. Any interested student may join; no previous experience with music is necessary.

This course will offer a selection from the thousands of Awareness-Through-Movement™ lessons developed by Moshe Feldenkrais. The lessons consist of verbal instructions for carefully designed movement sequences. These allow the students to better sense and feel themselves and thereby develop new and improved organizational patterns. These gentle movements are done in comfortable positions (lying, sitting, and standing), and many instrumentalists and singers have found them to be hugely helpful in developing greater ease, reducing unwanted tension and performance anxiety, and preventing injuries. Another benefit is the often increased capacity for learning and, perhaps most importantly, an increased enjoyment of music making and the creative process. Open to everyone.

This performance ensemble focuses on music from roughly 1600 to 1750 and is open to both instrumentalists and singers by audition. Using modern instruments, we will explore the rich and diverse musical world of the Baroque. Our work will culminate in a joint concert with the Chamber Choir. Regular coachings will be supported by sessions exploring a variety of performance practice issues, such as ornamentation, notational conventions, continuo playing, and editions.

Various chamber groups—from quartets or quintets to violin and piano duos—are formed each year, depending on the number and variety of qualified instrumentalists who apply. There are weekly coaching sessions. Groups will have an opportunity to perform at the end of each semester in a chamber music concert. 

This is an experimental performing ensemble that explores a variety of musical styles and techniques, including free improvisation, improvisational conducting, and various other chance-based methods. The ensemble is open to all instruments (acoustic and electric), voice, electronic synthesizers, and laptop computers. Students must be able to demonstrate a level of proficiency on their chosen instrument. Composer-performers, dancers, and actors are also welcome. Performance opportunities will include concerts, collaboration with other programs such as dance, theater, film, and performance art, as well as community outreach. Open to a limited number of students by audition.

A course in the basics of conducting is available to qualified students and is taught on an individual conference basis. Completion of Advanced Theory is required.  Permission of the instructor is required.

This advanced seminar presents a unique resource designed to help students develop well-informed and inspired performances. The content of this course will be carefully tailored to participants’ interests, needs, abilities, and chosen repertoire. It will include a combination of the following: textual criticism and possible creation of a performance edition; consideration of performance practices, drawing on historical documents and recent scholarship; study of historical instruments (with possible field trips to the Yale Collection of Musical Instruments); review of pertinent analytical techniques and writings; analytical, compositional, and ear-training assignments; readings that explore the cultural, artistic, and emotional worlds of the composers studied; in-class performances and coaching; and discussion of broader philosophical issues relating to authenticity in performance. This course is for accomplished and highly motivated performers who have a theory background commensurate with completion of at least the first semester of Advanced Theory: Advanced Tonal Theory and Composition. It is especially suitable for instrumentalists and singers who are preparing for a recital or performances of major chamber works. Permission of the instructor is required.

This course is for beginning guitar students by recommendation of the faculty.

This class offers informal performance opportunities on a weekly basis as a way of exploring guitar solo, duo, and ensemble repertoire. The course will seek to improve sight-reading abilities and foster a thorough knowledge of the guitar literature. Recommended for students interested in classical guitar.   Permission of the instructor is required.

This course is designed to accommodate beginning piano students who take the Keyboard Lab as the core of their Music Third or as part of a music “split” (e.g., a full lesson in voice with a half-lesson in piano). This instruction takes place in a group setting, with eight keyboard stations and one master station. Students will be introduced to elementary keyboard technique and simple piano pieces.   Placement will be arranged by the piano faculty.

The Sarah Lawrence Orchestra is open to all students, as well as to members of the College and Westchester communities. The Orchestra performs at least once each semester. Recent performances have included Stravinsky’s L’histoire du Soldat, with dancing and narration; Satie’s film score Entr’acte, performed live with a screening of the film; a concert version of Bernstein’s Candide; Mahler’s Symphony No. 1; and a concert performance of Humperdinck’s Hansel and Gretel. Audition required. Participation is required for all instrumentalists taking a Music Third.

The Sarah Lawrence String Orchestra will meet one and a half hours once a week and will be open to Music Third students, as well as to other students who are interested in playing in a string orchestra. There will be one performance each semester; each performance will highlight a soloist from the orchestra. Auditions will be held at the beginning of each semester. Audition required.

This component offers students the opportunity to share with the larger SLC community the results of their sustained work in performance study. During the semester of their recital, students will receive additional coachings by their principal teachers. Audition required.

Violin Master Class involves both playing and discussion. Each student is required to prepare a solo piece. An accompanist will be present before and during each class to rehearse and perform with students. Each master class is organized as a series of individual lessons that address recurrent performance problems, including discussions concerning technical and musical issues (basic and advanced), as well as performance practices. All students will receive copies of the works being performed. This class meets once a week.

The Music faculty wants students to have access to a variety of musical experiences. Therefore, all Music Thirds are required to attend all Music Tuesday events and three Music program-sponsored concerts on campus per semester, including concerts (the required number varies from semester to semester) presented by music faculty and outside professionals that are part of the Concert Series.

Music Tuesdays consists of various programs, including student/faculty town meetings, concert presentations, guest artist lectures and performances, master classes, and collaborations with other departments and performing arts programs. Meetings, which take place in Reisinger Concert Hall on selected Tuesdays from 1:30-3:00 p.m., are open to the community. The schedule will be announced each semester.

The Cygnus Ensemble is a contemporary music ensemble in residence at the College. Along with presenting concerts of new music in the Concert Series, the members of the ensemble work individually with instrumental students and participate in readings of new works by student composers.

Master Class includes a series of concerts and instrumental and vocal seminars, as well as lecture/demonstration presentations of music history, world music, improvisation, jazz, composition, and music technology. Master Class takes place on Wednesdays from 12:30-1:30 p.m. in either Reisinger Concert Hall or Marshall Field House, Room 1. The classes are open to the College community.

Approximately twice monthly, music workshops are held in which a student or student ensemble, with consent of the individual teacher, may participate as performer(s). The College community is welcome to attend. Since the only limitation is that the composition(s) should be well-prepared, these workshops serve as important opportunities for students at all levels to share their playing, singing, or composing work with others and to have a significant way to trace their own development.