Music Department

Chair: Kathryn Libin; Professors: Jonathan Chenette, Todd Crowb, Michael Pisanib, Richard Wilson; Associate Professors: Kathryn Libina, Brian R. Mann; Assistant Professor: Christine Howlett; Lecturers: Drew Minter, Eduardo Navega; Adjunct Assistant Professors: Harold Meltzer, Peter Reit;Adjunct Instructor: Peter McCulloch; Librarian: Sarah Ransom Canino; Adjunct Artists: Gail Archer, Paul Bellino, Cheryl Bishkoff, Eileen Buck, Frank Cassara, Terry Champlin, Miriam Charney, Larry Guy, Betty Jean Hagen, Bridget Kibbey, Daniel Mortensen, Mary Nessinger, James Osborn, Robert Osborne, Louis Pappas, Anna Polonsky, Linda Quan, Ann Roggen, Elisabeth Romano, Rachel Rosales, James Ruff, Thomas Sauer, Sophie Shao, John Solum, Peter Tomlinson, Ed Xiques; Post Doctoral Fellow: Rachel Chacko; Concert Admin./Bldg. Curator: Karen A. Murley.

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 1.5 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 and 206 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 ensembles 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), or 399 (Independent Work for 1 unit).

Correlate Sequence in Music Theory: 7 units including Music 105/106 (Harmony), Music 205 (Advanced Harmony), Music 215 (Composition), Music 210, 211 (Modal and Tonal Counterpoint), and Music 322 (Seminar) or 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 136, 140 or 141, and either Music 101 or 105; 4 units of the following: Music 201 (Opera), Music 202 (Black Music), Music 212 (Advanced Topics in World Music), Music 213 (American Music), Music 214 (History of Jazz), Music 217 (Studies in Popular Music), 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.

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. Mr. Pisani.

Open to all classes. Previous musical training unnecessary.

105a. 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. Mr. Wilson, Ms. Libin, Mr. Meltzer.

Year-long course, 105/106.

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.

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. Mr. Wilson, Ms. Libin, Mr. Meltzer.

Year-long course, 105/106.

Open to all classes.

Prerequisite: Musi 105, or successful completion of departmental advanced placement exam at beginning of fall semester.

136a. Introduction to World Music (1)

This course examines musical styles in diverse locales around the world from an ethnomusicological perspective. The major themes covered are: music and social identity/values, music and political movements (especially nationalism), and music and spirituality. We explore these general issues through case studies from Latin America, Africa, and Asia. This course is open to students with or without musical training. Ms. Chacko.

140a or b. Introduction to Western Art Music (1)

A study of selected topics in the history of Western music.

Topic for 140b: The Creative Artist in Society. This course investigates the music and lives of several famous musicians and composers. We examine the musical careers of Carlo and Riccardo Broschi, George Frederick Handel, and Wolfgang Amadeus Mozart (eighteenth century), Frédéric Chopin, Robert and Clara Schumann, and Peter Tchaikovsky (nineteenth century), and some song-writer/performers, particularly Stephen Foster and Duke Ellington. A central goal is to deepen listening skills, while focusing on what it means to listen. We study music of the above artists partly from the perspective of well-known films and documentaries. Through listening and analysis, we explore the musical language of Baroque, Romantic, and popular American styles. Mr. Mann.

Open to all classes. Previous musical training not required. May not be counted in the requirements for concentration. Music 140 is not required for Music 141, therefore these two courses may be taken in any order.

Two 75-minute periods, and in Music 140a an additional film screening once every other week.

141b. Introduction to Western Art Music (1)

A study of selected topics in the history of Western music.

Topic for 141b: Masterworks of Western Music from the Baroque to the Present. This course explores basic styles of Western music from the eighteenth through late twentieth centuries. We focus on principal composers, genres, and stylistic features of each period and examine a few complete works in depth. Music to be studied in detail: a cantata of J.S. Bach, a string quartet by Franz Joseph Haydn, a symphony of Beethoven, an opera by Verdi, ballets by Stravinsky and Copland, and twentieth-century compositions by Edgard Varèse, John Cage, Benjamin Britten, Krzysztof Penderecki, and Steve Reich. The composers and music explored in this spring course are intended to complement music studied in the fall semester. Mr. Pisani.

Open to all classes. Previous musical training not required. May not be counted in the requirements for concentration. Music 140 is not required for Music 141, therefore these two courses may be taken in any order.

Two 75-minute periods, and in Music 140a an additional film screening once every other week.

II. Intermediate

201a. Opera (1)

A study of the history, style, drama, and music in selected operatic masterworks from 1600 to the present. Mr. Pisani.

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 2010/11.

202b. Black Music (1)

(Same as Africana Studies 202b.) An analytical exploration of the music of certain African and European cultures and their adaptive influences in North America. The course examines 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. Mr. Reid.

205b. Advanced Harmony (1)

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

Prerequisite: Music 105/106 or by permission.

206b. 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. Ms. Howlett.

Prerequisite: Music 105 or by permission.

207a. 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. Ms. Chacko.

Prerequisite: Music 206.

208b. Musicianship Skills III (1/2)

A continuation of Music 207, developing aural, keyboard, and clef-reading skills to a higher degree of proficiency. Mr. Navega.

Prerequisite: Music 207.

210a. Modal Counterpoint (1)

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

Alternate Years: not offered in 2010-11.

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

211a. Tonal Counterpoint (1)

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

Alternate Years: offered in 2010/11.

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

212b. Advanced Topics in World Music (1)

(Same as Anthropology 212) Topic for 2010/11: Cross-Cultural Studies in World Music. A study of transcultural musical styles and musical practices. This course examines the ways in which various music traditions have transformed over time and place as a result of the intensification of cross-cultural contact among the world's peoples. In considering the nature and consequences of musical and cultural interactions, we will explore the larger concepts of authenticity, identity, and music as property. Ms. Chacko.

Prerequisite: Music 136, or by permission of instructor.

213b. American Music (1)

The study of folk, popular, and art musics in American life from 1600 to the present and their relationship to other facets of America's historical development and cultural growth. Mr. Pisani.

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 2010-11

214b. 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. Mr. Mann.

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 2010-11

215a. Composition I (1)

Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources. Mr. Meltzer.

Year-long course, 215/216.

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 in the junior year.

216b. Composition I (1)

Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources. Mr. Meltzer.

Year-long course, 215/216.

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 in the junior year.

217b. Studies in Popular Music (1)

Prerequisite: recommended 1 unit in either music or sociology.

Alternate years: Not offered in 2010-11

219a. Electronic Music (1)

A practical exploration of electronic music, composition, and production techniques. Compositional and creative aspects are emphasized with extensive lab time provided for student projects. No prior knowledge of computer music or programming is required. Mr. McCulloch.

Year-long course, 219/220.

Prerequisite: by permission of instructor.

220b. Electronic Music (1)

A practical exploration of electronic music, composition, and production techniques. Compositional and creative aspects are emphasized with extensive lab time provided for student projects. No prior knowledge of computer music or programming is required. Mr. McCulloch.

Year-long course, 219/220.

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 music 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. Ms. Libin.

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

Offered in 2010/11

238a. Music in Film (1)

(Same as Film 238) A study of music in sound cinema from the 1920s to the present. The course focuses on the expressive, formal, and semiotic function 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 include Max Steiner, Bernard Herrmann, Jerry Goldsmith, Danny Elfman, and others, as well as film scores that rely upon a range of musical styles, including classical, popular, and non-Western. Specific topics to be considered this semester include music in film noir and the movie musical. Mr. Mann.

Alternate years: Not offered in 2010-11

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

Two 2-hour classes a week, plus outside screening.

246a. Music and Ideas I — Medieval and Early Modern Europe: The Power of Church and Court (1)

(Same as Medieval and Renaissance Studies 246) 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. Mr. Mann.

Includes an additional listening/discussion section.

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

247b. Music and Ideas II — Enlightenment and the Influence of Rationalism (1)

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. Ms. Libin.

Includes an additional listening/discussion section.

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

248a. Music and Ideas III — Modernism and its Challenges (1)

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 the twentieth century along with major composers who have found new expression within classical traditions, and "postmoderns" who have worked to bridge genres. Mr. Pisani.

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

259a. Soundscapes: Anthropology of Music (1)

(Same as Anthropology 259a) This course investigates a series of questions about the relationship between music and the individuals and societies that perform and listen to it. In other words, music is examined and appreciated as a form of human expression existing within and across specific cultural contexts. The course takes an interdisciplinary approach to the social life of music, addressing historical themes and debates within multiple academic fields via readings, recordings, and films.

Not offered in 2010/11

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 that supplement the curriculum.

Open to qualified students with permission of department. Proposals for a project must first have the approval of a faculty advisor and then be submitted for departmental approval by the end of the previous semester.

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. Composition II (1)

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

Year-long course, 315/316. Music 315 may be taken twice for credit.

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.

316b. Composition II (1)

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

Year-long course, 315/316.

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.

320a. Advanced Studies in Musical Genres (1)

Prerequisites:, Music 105/106, 210 or 211; 246/247; or by permission of instructor.

321b. Composer in Focus (1)

Topic for 2010/11:Igor Stravinsky. Igor Stravinsky(1882-1971), a seminal figure in twentieth-century music, wrote ballet scores, concertos, symphonies, operas, piano music, chamber works, a mass, an oratorio, a "pocket requiem," and much more. This courses examines representative works from every period of his lengthy career, beginning with his Russian music and ending with the twelve-tone compositions of his American years. Mr. Mann.

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

322b. Advanced Studies in Theory (1)

Study of analytical approaches helpful in understanding and performing music of the 20th and 21st centuries. Topics will include modal and post-tonal analysis, set theory and serialism, and innovative approaches to rhythm, meter, timbre, texture, and form. The course will culminate in individual projects devoted to detailed study of a work of each student's choosing. Students will enhance their abilities to express their understanding of music through essays and presentations commenting on analytical insights and their implications for performance. Mr. Chenette.

Topic for 2010/11:Analysis of Modern and Contemporary Classical Music.

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

323b. Intersections in Music and Literature (1)

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

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

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

Open to qualified students with permission of department. Proposals for a project must first have the approval of a faculty adviser and then be submitted for departmental approval by the end of the previous semester.

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.

Corequisite courses in music theory or history (see Individual Instruction below) should begin as early as possible, but no later than the third semester of credited study. All students who take lessons for credit are required to take two courses in theory or history, preferably before their senior year.

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:

Jazz Piano (042, 142, 242, 342): Mr. Tomlinson.

Saxophone (Music 043, 143, 243, 343): Mr. Xiques.

Piano (Music 060, 160, 260, 360): Mr. Crow, Ms. Polonsky, Mr. Sauer.

Organ (Music 061,161, 261, 361): Ms. Archer.

Harpsichord (Music 062, 162, 262, 362): Ms. Archer.

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

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

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

Violoncello (Music 066, 166, 266, 366): Ms. Shao.

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

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

Harp (Music 069, 169, 269, 369): Ms. Kibbey.

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): Mr. Reit.

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

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

Tuba (Music 077, 177, 277, 377)

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

Other instruments (Music 079, 179, 279, 379): The department.

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. Auditions are usually required.

135a. The International Phonetic Alphabet (1/2)

An introduction to the International Phonetic Alphabet (IPA). Geared toward students of voice, choir, and choral conducting. Ms. Howlett.

Alternate years: offered in 2010/11.

Individual Instruction

000a, b. Performance

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.

Corequisite: a course in music theory or history should be taken during the first year of credited lessons. Music 101, 105, 140, or 141 are strongly recommended.

One 50-minute period. Unscheduled.

200a, b. Performance (1/2)

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

One 50-minute period. Unscheduled.

300a, b. Performance (1/2)

Prerequisite: four semesters of credited study in this instrument.

One 50-minute period. Unscheduled.

380a, b. Performance (1/2)

Prerequisite: six semesters of credited study in this instrument.

One 50-minute period. Unscheduled.

Ensembles

In the following six large 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 should exceed 2 units of this 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.

038/039. Jazz Combo (0 or 1/2)

The study and performance of jazz improvisation. Mr. Osborn.

Two sections.

Open to qualified students with permission of the instructor.

044a, 045b, 244a, 245b. Chamber Music (0 or 1/2)

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

Open to qualified students with the permission of the instructor. Students may register for credit each semester, but no student may exceed 2 units of this credit in his or her four years at Vassar. One 50-minute period. Unscheduled.

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

The fifty-member ensemble of students and community players performs works of the wind and band repertoire. 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 choir performs on campus and occasionally makes concert tours. Ms. Howlett.

Open to all students by audition.

Three 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.

Three 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 that studies and performs literature for solo and chamber vocal ensemble. Mr. Minter.

Two meetings per week.

254b. 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.