Music Department

Professors: Todd Crowb, Blanca Uribe*, Richard Wilson; Associate Professors: Brian Mannb, Michael Pisani (Chair); Assistant Professor: Kathryn LibinaVisiting Assistant Professors: Drew Minter, Thomas Sauer*, Suzanne Sorkin; Lecturers: Arthur D. Champlin III*, Merellyn Gallagher*, Luis Garcia-Renart*, Larry Guy*, Betty-Jean Hagen*, Karen Holvik*, Dana McCurdy*, James R. Osborn*, Robert Osborne*, Linda Quan*, John Solum*; Adjunct Lecturer: Viviane Thomas*; Visiting Instructors: Christine Howlett, Eduardo Navega*; Adjunct Instructors: Cheryl Bishkoff*, Ronald Carbone*, Frank Cassara*, Rachel Rosales*, Maria Rivera White*; Adjunct Accompanist: Huguette van Ackere*.

a Absent on leave, first semester.

b Absent on leave, second semester.

* Part time.

Requirements for Concentration: 13 units of graded work, including Music 105/106, 205, 206, 207, 208, 246/247/248; one of the following: Music 210, 211; one of the following: Music 320, 321, 322,323; 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. After declaration of major, no work taken NRO may be used to fulfill requirements for 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 246/247/248 in the sophomore year, continuing into the first semester of the junior 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), 246/247/248 (Music History); 2 units of the following: Music 320, 321, 322, 323 (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 either Music 140 or 141 and either Music 101 or 105; 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), Anthropology/Music 259 (Soundscapes: Anthropology of Music), 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.

Topic for 140a: Masterworks in Music from the Baroque to the Present. We listen to and discuss in detail several important musical compositions by major composers, including those of Bach, Handel, Mozart, Beethoven, Wagner, Debussy, Stravinsky, Copland, and others.

Topic for 141b: The Creative Artist in Society. We study several composers and musicians, among them, Mozart, Robert and Clara Schumann, Tchaikovsky, Cole Porter, and Loretta Lynn, from the perspective of well-known films about these figures, and then compare details of their music and biographies with the manner 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.

II. Intermediate

201b. 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: offered in 2004/05.

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. Musicianship Skills I ( 1/2)

An aural-skills class based on diatonic melody and harmony. Class exercises

include sight singing, ear training, clef reading, keyboard skills and

basic conducting patterns.

Prerequisite: Music 105/106 or by permission.

207b. Musicianship Skills II ( 1/2)

A continuation of Music 206 adding chromatic melody and harmony with

intermediate keyboard skills such as figured bass realization, improvised

accompaniment, and score reading.

Prerequisite: Music 206.

208a. Musicianship Skills III ( 1/2)

A continuation of Music 207, developing aural, keyboard, and clef-reading

skills to a higher 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: not offered in 2004/05.

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: offered in 2004/05.

[212b. 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: not offered in 2004/05.

213a. 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: offered in 2004/05.

[214a. 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: not offered in 2004/05.

215a/216b. Composition I (1)

Creative work in modernist 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 231) 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 topics as musical instruments and gender, voice and embodiment, access to training and performance opportunities, and representations of women musicians in art and literature.

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

Alternate years: offered in 2004/05.

[238a. 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 Walton (known best for their non-film scores) to Tiomkin, Rozsa, Steiner and Herrmann (specialists in the field). Contemporary figures such as John Williams and Danny Elfman are considered.

Two 75-minute periods, plus additional film screenings.

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

Alternate years: not offered in 2004/05.

246a/247b/248a. Music and Ideas (1)

246a: Music and Ideas I - Medieval and Early Modern Europe: The Power of Church and Court

This course introduces major historical and intellectual ideas of music from the Ancient world through 1660. The focus is on essential repertoire as well as the cultures that fostered principal genres of sacred and secular music during the Middle Ages, Renaissance, and early Baroque.

247b: Music and Ideas II - Enlightenment and the Influence of Rationalism

A study of musical genres and trends over the course of the “long eighteenth century” from 1660 to 1830. The course explores significant shifts in musical language from the high Baroque through the age of revolution and early Romanticism, as revealed in great works from Purcell through Beethoven.

248a: Music and Ideas III - Modernism and its Challenges

This course begins with progressive composers Berlioz, Liszt, and Wagner and traces the development of their schools of thought through the late nineteenth century. The rising importance of popular song and jazz in twentieth century along with major composers who have found new expression within classical traditions and “postmoderns” who have worked to bridge genres.

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

Three 50-minute periods and a discussion section.

[259. Soundscapes: Anthropology of Music] (1)

(Same as Anthropology 259)

Not offered in 2004/05.

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 a project must first have the approval of an appropriate faculty adviser and then 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.

Seminars

320b. The Concerto (1)

An examination of one of the most important and versatile of instrumental genres, traced from its Baroque origins to the twentieth century. Issues of style, idiom, context, performance practice, and virtuosity are explored within the repertory that ranges from Corelli and Vivaldi, Bach and his sons, dramatic concertos of Mozart and Beethoven, the symphonic concertos of Brahms and other Romantics, and modern approaches to the genre by Bartók, Berg, and others.

Prerequisites: Music 105/106; 246/247/248; or by permission of instructor.

[321b. Composer in Focus] (1)

A study of one composer and his/her life and works. Recent subjects have included Wagner, Beethoven, Berlioz, Monteverdi, and Bartók.

Prerequisites: Music 105/106; 246/247/248; or by permission of instructor.

Not offered in 2004/05.

322a. Post-Tonal Analysis (1)

Topics to be covered include late nineteenth-century chromatic voice leading, set theory, serialism, and combinatoriality. Works to be studied include those by Schoenberg, Berg, Webern, Bartók, Messiaen, and Stockhausen.

Prerequisites: Music 105/106; 205; 246/247/248; or by permission of instructor.

323a. Intersections in Music and Literature (1)

Musical creativity has often been fueled by encounters with great literature, just as music itself has inspired literary works. This course studies intersections between music and literature, and in a typical semester, one of the following topics is examined in depth: the Italian madrigal and the poetry of Petrarch, Tasso, and Guarini; Shakespeare and music; musical responses to Goethe’s Faust; Berlioz’s literary imagination; and music and Decadence.

Topic for 2004: Music and Poetry in the Renaissance: The Italian Madrigal. This course examines the history of the sixteenth- and early seventeenth-century Italian madrigal and related secular forms, with close attention to the varieties of Italian poetry that composers set to music throughout the madrigal’s lengthy history. In particular, we consider the madrigalists’ responses to Petrarch’s Canzoniere, Tasso’s Gerusalemme liberata, and Guarini’s Il Pastor Fido. The course also examines the role of less exalted poetry (“poesia per musica”) in the genre’s history.

Prerequisites: Music 105/106; 205; 246/247/248; or by permission of instructor.

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, especially voice. 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 (Music 060, 160, 260, 360): Mr. Crow, Ms. Rivera-White, Mr. Sauer, Miss Uribe.

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

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

Voice (Music 063, 163, 263, 363): Ms. Holvik, Mr. Minter, Mr. Osborne, Ms. Rosales, Ms. Thomas.

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

Viola (Music 065, 165, 265, 365): Mr. Carbone.

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

Double Bass (Music 067, 167, 267, 367): Mr. Pappas.

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

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

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

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

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

Bassoon (Music 073, 173, 273, 373): Ms. Romano.

French Horn (Music 074, 174, 274, 374): Ms. Paulson.

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

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

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

Percussion (Music 078, 178, 278, 378): Mr. Cassara.

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

Note: Performance levels are described under numbers Music 000, 100, 200, 300. Credited instruction in piano, for example, should be elected as Music 160; whereas uncredited study should be elected as Music 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 six ensembles (Wind Ensemble, Jazz Ensemble, Orchestra, Choir, Women’s Chorus, 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 must register for the uncredited prerequisite 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.

048a, 049b, 149b. Wind Ensemble (0 or 1/2)

The fifty-member ensemble performs the works of the wind and band repertoire. The group is open to all woodwind, brass, and percussion players. Mr. Osborn.

Open to all students by audition.

One meeting per week plus sectional rehearsals.

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.

Open to all students by audition.

One meeting per week.

052a, 053, 153. Orchestra (0 or 1/2)

The 60-member orchestra performs masterworks of the symphonic literature. Mr. Navega.

Open to all students by audition.

Two meetings per week.

054a, 055b, 155b. Women’s Chorus (0 or 1/2)

The Women’s Chorus is an ensemble of 30-50 women that studies and performs repertoire from the medieval period to the present. The ensemble presents concerts on campus, and occasionally travels to perform with other choirs.

Open to all students by audition. Ms. Howlett.

Two meetings per week.

056a, 057b, 157b. Choir (0 or 1/2)

The choir is a mixed ensemble of between 40 and 60 voices that studies and performs choral/orchestral and a cappella literature for a larger chorus from the Renaissance through the present. The choir performs on campus and occasionally makes concert tours. Ms. Howlett.

Open to all students by audition.

Two 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. Minter.

One meeting 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. Mr. Minter.

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.