Music

Professors: Todd Crow, Annea Lockwood, Blanca Uribe, Richard Wilson; Associate Professor: Brian Mann (Chair); Assistant Professor: Michael Pisani; Visiting Assistant Professor: Charles Kamm; Lecturers: Charles Barbour*, Cheryl Bishkoff*, Arthur D. Champlin III*, Stephanie Fricker*, Merellyn Gallagher*, Luis Garcia-Renart*, Larry Guy*, Betty-Jean Hagen*, Mary Ann Hart*, Karen Holvik*, Kathryn Libin*, Dana McCurdy*, James R. Osborn*, Robert Osborne*, Linda Quan*, Thomas Sauer, Marc Schachman*, John Solum*, Viviane Thomas*.

* Part time.

Requirements for Concentration: 13 units of graded work, including Music 105/106, 146/147, 205, 206, 207, 208; one of the following: Music 210, 211; two of the following: Music 232, 234, 236; 2 additional units from history and theory courses which may include not more than one of the following: Music 202, 212, 213, 214, 231, 238; and 11/2 units of performance in the same instrument.

Senior-Year Requirements: 2 units at the 300-level, at least one of them in history or theory.

Requirements for Alternative Concentration in Performance: 13 units of graded work, including Music 105/106, 146/147, 205, 206, 207, 208; one of the following: 210, 211; two of the following: Music 232, 234, 236; 1/2 unit of ensemble; 3 units of performance in the same instrument.

Senior-Year Requirements for Alternative Concentration in Performance: A recital (302a or b) and 11/2 units of performance at the 300-level. During the semester of the recital, the private lessons must be for 1/2 rather than for 1 unit.

After declaration of major, no work taken NRO may be used to fulfill requirements for either concentration.

Recommendations: A reading knowledge of at least one of the following foreign languages: German, French, Italian. German is strongly recommended. Students planning to concentrate in music will normally elect Music 105/106 in the freshman year and 146/147 in the sophomore year. Majors are encouraged to audition for membership in one of the choral or instrumental organizations sponsored by the department.

Correlate Sequence in Music History: 7 units including Music 105/106 (Harmony), 146/147 (Music History); 2 units of the following: Music 232, 234, 236 (Period Courses); and 1 unit of the following: Music 320, 340 (Seminars).

Correlate Sequence in Music Theory: 7 units including Music 105/106 (Harmony, Music 205 (Advanced Harmony), Music 215 (Composition), Music 210, 211 (Counterpoints), and Music 399 (Independent Work for 1 unit).

Correlate Sequence in Music Composition: 7 units including Music 105/106 (Harmony), Music 215/216 (Composition I), Music 219/220 (Electronic Music), Music 315 (Composition II).

Correlate Sequence in Music and Culture: 7 units including Music 140/141 and 4 units of the following: Music 201 (Opera), Music 202 (Black Music), Music 212 (World Musics), Music 213 (American Music), Music 214 (History of Jazz), Music 231 (Women Making Music), Music 238 (Music in Film), and Music 399 (Independent Work for 1 unit).

Advisers: The department.


History and Theory


I. Introductory

101a and b. Fundamentals of Music (1)

A beginning study of the elements of music including notation, rhythm and meter, scales and modes, intervals, melody, chord progression, musical terms, and instruments. To facilitate reading skills, class exercises in ear training and sight singing are included. May not be counted in the requirements for concentration.

Open to all classes. Previous musical training unnecessary.

105a/106b. Harmony (1)

A study of tonal harmony as found in the music of the eighteenth and nineteenth centuries. Primary emphasis is on writing, including harmonization of bass lines and melodies; analysis of representative examples and ear training.

Open to all classes.

Prerequisite: each student must demonstrate to the instructor a familiarity with treble and bass clef notation, scales, and basic rhythmic notation.

140a, 141b. Music as a Literature (1)

A study of selected topics in the history of Western music. Topics dealt with in recent years include: nineteenth century Italian and German opera, the development of the symphony, trends in twentieth-century music, and the history of jazz.

Topics for 140: Baroque music, Beethoven, and influences of the Middle East in Western music.

Topic for 141: the role of the creative artist in society. We study several composers and musiciansMozart, Robert and Clara Schumann, Mahler, Shostakovich, Gershwin, Louis Armstrongfrom the perspective of well-known films about these figures, and then compare aspects of their music and biographies with the ways in which musical genius is popularly presented.

Open to all classes. Previous musical training not required. May not be counted in the requirements for concentration.

Two 75-minute periods with an additional section hour.

146a/147b. The History of Western Music (1)

An introduction to the history of Western music from the Middle Ages to the present for those who can read music and are familiar with musical terminology.

Open to all classes.

Three 50-minute periods with an additional section hour.


II. Intermediate

[201a. Opera] (1)

Changing approaches to the drama in music from 1600 to the present.

Prerequisite: 1 unit in one of the following: art; drama; Italian, French, German, or English literatures; music; or by permission. May not be counted in the requirements for concentration.

Alternate years: not offered in 1999/00.

202a and b. Black Music (1)

(Same as Africana Studies 202) An analytical exploration of the music of certain African and European cultures and their adaptive influences in North America. The course examines the traditional African and European views of music performance practices while exploring their influences in shaping the music of African Americans from the spiritual to modern.

205b. Advanced Harmony (1)

A continuation of Music 105/106, using more complex harmonic resources and analyzing more extended works.

Prerequisite: Music 105/106 or by permission.

206a. Basic Musicianship I (1/2)

Class exercises in ear training, sight singing, dictation, rhythm, clef reading, and elementary conducting.

Prerequisite: Music 105/106 or by permission.

207b. Basic Musicianship II (1/2)

A continuation of Music 206 with the addition of such keyboard skills as figured bass realization, improvised accompaniment, and score reading.

Prerequisite: Music 206.

208a. Basic Musicianship III (1/2)

A continuation of Music 207, developing aural and keyboard skills to a high degree of proficiency.

Prerequisite: Music 207.

210a. Modal Counterpoint (1)

A study, through analysis and written exercises, of contrapuntal techniques of the sixteenth century.

Prerequisite: Music 105/106 or by permission of instructor.

Alternate years: offered in 1999/00.

[211a. Tonal Counterpoint] (1)

A study, through analysis and written exercises, of contrapuntal techniques of the eighteenth century.

Prerequisite: Music 105/106 or by permission of instructor.

Alternate years: not offered in 1999/00.

212. World Musics (1)

(Same as Anthropology 212) Studies in non-European musical cultures.

Prerequisite: 1 unit in one of the following: anthropology, Asian Studies, music, religion, or by permission of instructor.

Alternate years: offered in 1999/00.

[213b. American Music] (1)

The study of folk, popular, and art music in American life from 1700 to the present and their relationship to other facets of America's historical development and cultural growth.

Prerequisite: 1 unit in one of the following: music; studies in American history, art, or literature; or by permission of instructor.

Alternate years: not offered in 1999/00.

214. History of American Jazz (1)

An investigation of the whole range of jazz history, from its beginning around the turn of the century to the present day. Among the figures to be examined are: Scott Joplin, "Jelly Roll" Morton, Louis Armstrong, Bessie Smith, Duke Ellington, Fletcher Henderson, Count Basie, Thomas "Fats" Waller, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Charles Mingus, and Miles Davis.

Prerequisite: 1 unit in one of the following: music, studies in American history, art, or literature; or by permission of instructor.

Alternate years: offered in 1999/00.

215a/216b. Composition I (1)

Creative work in twentieth-century idioms. Analysis of selected works; study of instrumental resources.

Prerequisite: Music 105/106 or by permission of instructor.

If a senior project in composition is planned, the student should elect Music 215/216 in the sophomore year and Music 315/316 in the junior year.

219a/220b. Electronic Music (1)

A practical exploration of electronic music, composition, and production techniques, inluding tape recording and manipulation, analog synthesis, MIDI sequencing, digital synthesis, sampling, digital recording and editing, signal processing and mixing. Compositional and creative aspects will be emphasized with extensive lab time provided for student projects.

Prerequisite: by permission of instructor.

[231b. Women Making Music] (1)

(Same as Women's Studies 231b) A study of women's involvement in Western and non-Western musical cultures. Drawing on recent work in feminist musicology and ethnomusicology, the course studies a wide range of musics created by women, both past and present. It explores such issues as opportunity for public performance, and access to training, production and distribution channels.

Prerequisite: one unit in music, or women's studies, or by permission of instructor.

Alternate years: not offered in 1999/00.

232a. Studies in Music of the Medieval/Renaissance Periods (1)

There are two options for this course: topics in the musical style of the Middle Ages (monophonic and polyphonic genres to 1450) or in the styles of the fifteenth and sixteenth centuries (Latin and vernacular forms).

Topic in 1999/00: Medieval period. May be repeated for credit if the topic has changed.

Prerequisites: Music 146/147 or by permission of instructor.

234a. Studies in Music of the Baroque/Classical Periods (1)

There are two options for this course: topics in music from 1600 to 1750 (the Italian stile moderno and its dissemination) or in the music of the early eighteenth century through the early nineteenth century (Haydn, Mozart, and Beethoven).

Topic in 1999/00: Classical Period. May be repeated for credit if the topic has changed.

Prerequisites: Music 146/147 or by permission of instructor.

[236b. Studies in Music of the Nineteenth/Twentieth Centuries] (1)

There are two options for this course: topics in the musical style of the nineteenth century or from the late nineteenth century to the present. Topic in 2000/01: Twentieth Century.May be repeated for credit if the topic has changed.

Prerequisites: Music 146/147 or by permission of instructor.

Not offered in 1999/00.

238b. Music in Film (1)

(Same as Film 238b) A study of music in the cinema from 1895 to the present. The course focuses on the expressive, formal, and semiotic functions that film music serves, either as sound experienced by the protagonists, or as another layer of commentary to be heard only by the viewer, or some mixture of the two. Composers studied range from Prokofiev, Copland and Waltonknown best for their non-film scoresto Tiomkin, Rozsa, Steiner and Herrmannspecialists in the field. Contemporary figures like John Williams and Danny Elfman are considered.

Prerequisites: one course in music (not performance) or film.

290a or b. Field Work (1/2 or 1)

298a or b. Independent Work (1/2 or 1)

Special projects in theory, history, or performance which supplement the curriculum.

Open to qualified students with permission of department.


III. Advanced

302a or b. Senior Project (1/2)

A paper, composition, or recital. Proposals for the project must be submitted for departmental approval by the end of the junior year.

315a. [316b.] Composition II (1)

Further work in original composition; analysis of examples illustrating current practice.

Permission of the instructor required; qualification to be determined by submission in advance of original work.

Prerequisites: Music 105/106 and 215/216 or equivalent.

320b. Seminar (1)

Seminar concentrating on the work of one composer.

Prerequisites: Music 105/106; 146/147; any two of the following: Music 232, 234, 236; or by permission of instructor

[340a. Advanced Studies in the History of Music] (1)

An analysis of selected compositions from various periods of music history.

Prerequisites: Music 105/106; 146/147; any two of the following: Music 232, 234, 236; or by permission of instructor.

Not offered in 1999/00.

381b. The Decadent Imagination at the Fin de Siècle (1)

(Same as College Course 381b.)

399a or b. Senior Independent Work (1/2 or 1)

Special projects in theory, history, or performance which supplement the curriculum.

Open to qualified students with permission of department.


Performance

Auditions are required for both credited and uncredited study and are arranged at the beginning of each semester for students who register for the desired course. Each course in performance includes a program of literature suited to the individual student, and requires a reasonable improvement in technical proficiency and interpretative understanding for continuation.

Correlative courses in theory or history (see Individual Instruction below) should be begun as early as possible, but no later than the third semester of credited study.

Enrollment is limited in each area of instruction. Music majors and students studying for credit are given preference. Beginners are accepted as schedules permit.

Fees: See section on fees. Scholarships to cover charges are made available through the Office of Financial Aid and are granted only for credited study. Individual instruction is given as follows:

Piano (060, 160, 260, 360): Mr. Crow, Miss Uribe.

Organ (061,161, 261, 361): Mrs. Gallagher.

Harpsichord (062, 162, 262, 362): Mrs. Gallagher.

Voice (063, 163, 263, 363): Ms. Hart, Ms. Holvik, Mr. Osborne, Ms. Thomas.

Violin (064, 164, 264, 364): Ms. Hagen, Ms. Quan.

Viola (065, 165, 265, 365): Ms. Fricker.

Violoncello (066, 166, 266, 366): Mr. Garcia-Renart, Ms. Seligman.

Double Bass (067, 167, 267, 367): Ms. Hall Powell.

Classical Guitar (068, 168, 268, 368): Mr. Champlin.

Harp (069, 169, 269, 369): Mr. Owens.

Flute (070, 170, 270, 370): Mr. Solum.

Oboe (071, 171, 271, 371): Ms. Bishkoff.

Clarinet (072, 172, 272, 372): Mr. Guy.

Bassoon (073, 173, 273, 373): Mr. Dejean.

French Horn (074, 174, 274, 374): Instructor to be announced.

Trumpet (075, 175, 275, 375): Mr. Osborn.

Trombone (076, 176, 276, 376): Mr. Bellino.

Tuba (077, 177, 277, 377): Instructor to be announced.

Percussion (078, 178, 278, 378): Mr. Barbour.

Other Instruments (079, 179, 279, 379): Instructor to be announced.

Note: Performance levels are described under numbers 000, 100, 200, 300. Credited instruction in piano, for example, should be elected as 160; whereas uncredited study should be elected as 060.

The department will attempt to arrange instruction in certain instruments not listed above. Students wishing such instruction should consult with the chair of the department.


Individual Instruction

000a, b. Performance (0)

Uncredited lessons.

Open to all classes by audition.

One 50-minute period. Unscheduled.

100a, b. Performance (1/2)

Open to all students who have passed the audition or upon recommendation of the instructor.

A corequisite course in theory or history is strongly recommended.

One 50-minute period. Unscheduled.

200a, b. Performance (1/2)

Prerequisite: two semesters of credited study in this instrument. Corequisite: one course per semester in theory or history is required unless two such courses have previously been completed.

One 50-minute period. Unscheduled.

300a, b. Performance (1/2 or 1)

Prerequisite: four semesters of credited study in this instrument.

One 50-minute period. Unscheduled.

Full unit available only for the alternate concentration in performance.

380a, b. Performance (1/2 or 1)

Prerequisite: six semesters of credited study in this instrument.

One 50-minute period. Unscheduled.


Ensembles

In the following five ensembles (jazz ensemble, wind ensemble, orchestra, choir, and Madrigal Singers) the first semester is an uncredited prerequisite for the second: credited study is offered only in the second semester. Students wishing to enroll for credit in the second semester (the 150 series) must register for the uncredited prerequisite (the 050 series) in the first semester. No student may exceed 2 units of credit in his or her four years at Vassar. Membership is open to all classes and assumes a full year commitment. Admission is by audition. May be counted in performance requirements for concentration in music only as specified under Alternative Concentration in Performance.

050a, 051b, 151b. Jazz Ensemble (0 or 1/2)

The jazz ensemble performs literature ranging from the Big Band Era to jazz-rock fusion. Improvisation and ensemble playing in a jazz style are featured. Mr. Osborn.

One meeting per week.

052a, 053b, 153b. Wind Ensemble (0 or 1/2)

The wind ensemble performs a varied repertory of compositions for large ensemble and for various combinations of woodwind, brass, and percussion instruments. The repertory extends from music of the Renaissance to Jazz. Instructor to be announced.

Two meetings per week.

054a, 055b, 155b. Orchestra (0 or 1/2)

The 50-member orchestra performs masterworks of the symphonic literature. Instructor to be announced.

Two meetings per week.

056a, 057b, 157b. Choir (0 or 1/2)

The choir is a mixed ensemble of between 40 and 60 voices which studies and performs choral/orchestral and a cappella literature for a larger chorus. Mr. Kamm.

Two 2-hour meetings per week.

058a, 059b, 159b. Madrigal Singers (0 or 1/2)

The Madrigal Singers is a select mixed ensemble of between 10 and 20 voices which studies and performs literature for solo and chamber vocal ensemble. Mr. Kamm.

Two 2-hour meetings per week.

251a, b. Chamber Music (1/2)

The study and performance of selected works from the ensemble repertoire of instrumental or vocal mediums or their combinations. Mr. Garcia-Renart.

Open to qualified students with the permission of the instructor. No student may exceed 2 units of this credit in his or her four years at Vassar. May be counted in performance requirements for concentration in music only as specified under the alternative concentration in performance. No fee.

One 50-minute period. Unscheduled.

254a or b. Opera Workshop (1/2)

The study and performance of selected operatic repertoire. Open to qualified students by audition.

No student may exceed 2 units of this credit in his or her four years at Vassar. May be counted in performance requirements for concentration in music only as ensemble credit specified under alternative concentration in performance.