Music Department

Advisers: The department.

Programs

Major

Correlate Sequences in Music

The music department offers four correlate sequences, each requiring 6 units of credit of which no fewer than 5 should be taken at Vassar. No more than one course counted toward the Music & Culture correlate may be taken NRO. Specific courses to be taken within each sequence are outlined below. Students interested in pursuing a correlate sequence in music should discuss it with the music department chair as well as their major advisors during their sophomore or junior year, and they will be assigned a correlate advisor from the music faculty. Correlate sequences in music must be declared by the end of the junior year.

Courses

Music: 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, Mr. Mann.

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. Ms. Libin, Mr. Mann, Mr. Wilson.

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

Open to all classes.

Yearlong course 105/MUSI 106.

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. Ms. Libin, Mr. Wilson.

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

Open to all classes.

Yearlong course MUSI 105/106.

135b. 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.Not offered in 2014/15.

136a. Introduction to World Music (1)

This course examines the development and practices of musical styles in diverse locales around the world from an ethnomusicological perspective. We study the intersection of musical communities and social identity/values, political movements (especially nationalism), spirituality, economy, and globalization. We explore these general issues through case studies from Latin America, Africa, and Asia. Mr. Patch.

This course is open to students with or without musical training.

Two 75-minute periods.

140a. Introduction to Western Art Music (1)

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

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

Not offered in 2014/15.

Two 75-minute periods.

141b. Introduction to Western Art Music (1)

Topic for 2014/15b: Classical Music at the Crossroads (and Why It Matters Today). This course examines two pivotal moments in the history of European music: the rise of the Classic style, as epitomized in the works of Mozart, Haydn, and Beethoven; and the crisis of early modernism in the years preceding the First World War. Mr. Mann.

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

Two 75-minute periods.

180a. The Sound of Faith: Music and Spiritual Practice (1)

In nearly every era and culture music has been an essential element in spiritual practice, offering a mode of expression that is deeply human, yet transcends words; a special voice with which mortals may explore, worship, entreat, and, perhaps, touch the divine. This course will engage participants in close listening, discussion, and written response to musical works from various periods and cultures that we will examine both as works of art, and as artifacts or vehicles of spiritual and religious practice. Ms. Libin.

Open only to freshmen; satisfies college requirement for a Freshman Writing Seminar. May not be counted in the requirements for concentration.

Two 75-minute periods.

Music: II. Intermediate

201b. Opera (1)

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

Topic for 2014/15b: How Is Opera Made? Is opera's survival really in peril? Despite the cries that "Opera is a dead dinosaur!" at the recent closing of New York City Opera, the near failure of San Diego Opera, and the Metropolitan Opera's recent labor dispute, there has never been a more thriving start-up culture of opera in the United States than today. What makes our need for opera so strong, and why is it so difficult to create? At its inception in Italy, opera sprang from the efforts of literary minded societies, but over time it has increasingly become perceived as a musical form. As opera enters its fifth century, directors increasingly hold center stage in the opera world. At the heart of opera's existence has been the modern history of singing itself. Will opera make it through another century, and if it does, what will become of it? This course will look at how an opera is made; not only through a general survey of opera's history in its first four centuries, but through close examination in films and performance history of seminal operas by Monteverdi, Handel, Mozart, Verdi and Wagner -- their literary origins, the social milieu in which they were created, the visual and musical artists that created them. Mr. Minter.

Prerequisite: one unit in one of the following: art; drama; Italian, French, German, or English literatures; music; or permission of the instructor.

Alternate years.

202a. Black Music (1)

(Same as AFRS 202) 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. Patch.

205b. Advanced Harmony (1)

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

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

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: MUSI 105 or permission of the instructor.

207a. Musicianship Skills II (1/2)

A continuation of MUSI 206 adding chromatic melody and harmony with intermediate keyboard skills such as figured bass realization, improvised accompaniment, and score reading. Mr. Bemrich.

Prerequisite: MUSI 206.

208b. Musicianship Skills III (1/2)

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

Prerequisite: MUSI 207.

210b. Modal Counterpoint (1)

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

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

Alternate years. Not offered in 2014/15.

211a. Tonal Counterpoint (1)

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

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

Alternate years.

213a. American Music (1)

(Same as AMST 213) 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: one unit in one of the following: music; studies in American history, art, or literature; or permission of the instructor.

Alternate years.Not offered in 2014/15.

214b. History of American Jazz (1)

(Same as AMST 214) 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: one unit in one of the following: music, studies in American history, art, or literature; or permission of the instructor.

Alternate years.

215a. Composition I (1)

Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources. Ms. Vazquez.

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

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

Yearlong course 215/MUSI 216.

216b. Composition II (1)

Creative work in various contemporary idioms. Analysis of selected works; study of instrumental resources. Ms. Vazquez.

Prerequisite: Permission of the instructor.

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

Yearlong course MUSI 215/216.

217b. Studies in Popular Music (1)

(Same as AMST 217 and MEDS 217) Topic for 2014/15b: History of Rock . This class examines the social history of rock from Elvis Presley to the present through examination of musical trends, socio-economic and demographic changes, social and political movements and issues in fandom, production and reception. Seminal artists and events are examined along with the development of genres, subcultures and accompanying trends like fashion, slang, literature, identity politics, as well as the influence of TV, film, radio, video, art, the internet and the music industry. Issues of race, class, gender, age, politics, censorship and hybridity will form the backbone of the course, as well as rock beyond the Anglophone world as a global art form. Mr. Patch.

Recommended: one unit in either Music, Sociology, or Anthropology.

Two 75-minute periods.

218b. Advanced Topics in World Music (1)

(Same as ASIA 218 and DRAM 218) Topic for 2014/15b: Art Music of Asia. A cultural and technical study of high art music from India, Japan and China. The course will cover the historical development, aesthetics and social relationships of the art music that is unique to each region as well as the music composed in the Western Art tradition by composers in each region. It will also look at music from these regions as it is globalized through media, emigration and Asian diasporas in the 20th and 21st centuries. Mr. Patch.

Prerequisite: MUSI 136, or permission of the instructor.

Two 75-minute periods.

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.

Prerequisite: permission of the instructor.

Yearlong course 219/MUSI 220.

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.

Prerequisite: permission of the instructor.

Yearlong course MUSI 219/220.

231b. Women Making Music (1)

(Same as WMST 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 permission of the instructor.

Not offered in 2014/15.

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.

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

Two 75-minute periods plus outside screenings.

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

(Same as MRST 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.

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

Includes an additional listening/discussion section.

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.

Prerequisite: MUSI 105/MUSI 106 or permission of the instructor.

Includes an additional listening/discussion section.

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: MUSI 105/MUSI 106 or permission of the instructor.

255b. The Vocal Art Song (1/2)

A practical introduction and exploration of the world of the vocal art song, with emphasis on the collaborative nature of the singer/pianist duo. A survey of the repertoire will focus on performance, style, ensemble, diction and communication, covering some of the great songs of the various German, French, British, and American traditions. This course is intended to enhance performance skills and to provide a cultural and historical context for the music, while helping students develop skills in analysis and interpretation. Student presentations, classroom discussions, and exercises in critical listening will address issues of text setting, lyric diction, performance practice, and musical and dramatic interpretation. Ms. Charney.

Prerequisite: for both singers and pianists, two years of college-level study or permission of the instructor.

One 2-hour period.

259b. Soundscapes: Anthropology of Music (1)

(Same as ANTH 259) 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. Mr. Patch.

Prerequisites: previous coursework in Anthropology or Music, or permission of the instructor.

Not offered in 2014/15.

290a or b. Field Work (1/2to1)

298a or b. Independent Work (1/2to1)

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.

Music: 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 III (1)

Further work in original composition; analysis of examples illustrating current practice. Mr. Wilson. Music 315 may be taken twice for credit.

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

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

Yearlong course 315/MUSI 316.

316b. Composition IV (1)

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

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

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

Yearlong course MUSI 315/316.

Not offered in 2013/14.

320b. Advanced Studies in Musical Genres (1)

Prerequisites: MUSI 105/MUSI 106 and either MUSI 201 or MUSI 248; or permission of the instructor.

Not offered in 2014/15.

One 3-hour period.

321b. Composer in Focus (1)

Topic for 2014/15b: Ludwig van Beethoven. In this course we will examine the life and works of Beethoven within the framework of his particular place and time, focusing on Vienna's vibrant musical culture during the turbulent period of the Napoleonic wars. We will study a variety of his works from many genres, including string quartets, sonatas, concertos, symphonies, and his influential opera Fidelio. Ms. Libin.

Prerequisites: MUSI 105-MUSI 106 and MUSI 246-MUSI 247, or permission of the instructor.

Two 75-minute periods.

322a. Advanced Studies in Theory (1)

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

Prerequisites: MUSI 205 and MUSI 248 or permission of the instructor.

323a. Intersections in Music and Literature (1)

Prerequisites: MUSI 105/MUSI 106; MUSI 205; MUSI 246/MUSI 247, or permission of the instructor.

Not offered in 2013/14.

399a or b. Senior Independent Work (1/2to1)

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 junior year.

Music: 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, 138/039, 139a or b. Jazz Combo (0or1/2)

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

Two sections.

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.

044, 144, 045, 145a or b. Chamber Music (0or1/2)

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.

Unscheduled.

One 50-minute period.

048, 049, 149a or b. Wind Ensemble (0or1/2)

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 period per week plus sectional rehearsals.

050, 051, 151a or b. Jazz Ensemble (0or1/2)

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 period per week.

052, 053, 153a or b. Orchestra (0or1/2)

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

Open to all students by audition.

Two periods per week.

054, 055, 155a or b. Women's Chorus (0or1/2)

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 periods per week.

056, 057, 157a or b. Choir (0or1/2)

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 periods per week.

058, 059, 159a or b. Madrigal Singers (0or1/2)

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 periods per week.

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

The study and performance of selected operatic repertoire. Open to qualified students by audition. Mr. Minter, Ms. Charney.

No student may exceed 2 units of this credit in his or her four years at Vassar.

Not offered in 2014/15.

Music: Individual Instruction

The music department offers private lessons in most instruments and voice. Enrollment is limited in certain areas of instruction, especially voice. Music majors and students taking lessons for credit will be given preference. Beginners are accepted as instructors’ teaching hours allow.

Some lessons - such as piano, violin, viola, and voice - require auditions at the beginning of the year. Audition sign-up sheets are posted on the bulletin board outside Skinner Room 105 the week before classes begin.

Accepted students arrange for private lessons with the instructor and include one 50-minute period per week for a total of thirteen lessons per semester. Lessons require an additional fee per semester (see Fees) although students on need-based Vassar scholarship qualify for a fee waiver.

Lessons are taught at various levels and the lesson numbers - for example, 137, 237, 337 - reflect the level of study. Lessons may also be taken for non-credit, and these registration numbers begin with zero, as in 037. All students taking lessons, whether or not for credit, must register for them. (See the individual course numbers for your instrument below.)

Course Requirements for Lessons: All students who take lessons for credit (see Individual Instruction below) are required to take two music courses, preferably before their senior year. The department strongly believes that music performance in a liberal arts environment should be studied in the context of some knowledge of music history or theory. Therefore, co-requisite courses in music should begin as early as possible, but no later than the third semester of credited study. Freshman and first-semester sophomores are especially encouraged to take MUSI 101, 105, 140, or 141. Among the other courses that may count toward the co-requisite are: MUSI 106, 136, 201, 202, 213, 214, 215, 217, 218, 231, 238, and 259.

Voice (MUSI 063, 163, 263, 363, 380): Ms. Howlett, Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.
Piano (MUSI 060, 160, 260, 360, 380): Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.
Classical Guitar (MUSI 068, 168, 268, 368, 380): Mr. Champlin.
Flute (MUSI 070, 170, 270, 370, 380): Mr. Solum.
Oboe (MUSI 071, 171, 271, 371, 380): Ms. Bishkoff.
Clarinet (MUSI 072, 172, 272, 372, 380): Mr. Guy.
Bassoon (MUSI 073, 173, 273, 373, 380): Ms. Romano.
Saxophone (MUSI 043, 143, 243, 343, 380): Mr. Xiques.
French Horn (MUSI 074, 174, 274, 374, 380): Mr. Reit.
Trumpet (MUSI 075, 175, 275, 375, 380): Mr. Osborn.
Trombone (MUSI 076, 176, 276, 376, 380): Mr. Bellino.
Tuba (MUSI 077, 177, 277, 377, 380): Mr. Bellino.
Harp (MUSI 069, 169, 269, 369, 380): Ms. Jackson.
Organ (MUSI 061, 161, 261, 361, 380): Ms. Archer.
Harpsichord (MUSI 062, 162, 262, 362, 380): Ms. Archer.
Jazz Guitar (MUSI 034, 134, 234, 334, 380 ): Mr. DeMicco.
Jazz Piano (MUSI 042, 142, 242, 342, 380): Mr. Tomlinson.
Percussion (MUSI 078, 178, 278, 378, 380): Mr. Cassara, Mr. Files.
Violin (MUSI 064, 164, 264, 364, 380): Ms. Lee, Ms. Quan.
Viola (MUSI 065, 165, 265, 365, 380): Ms. Farina.
Violoncello (MUSI 066, 166, 266, 366, 380): Ms. Shao.
Double Bass (MUSI 067, 167, 267, 367, 380): Mr. Pappas.
Other Instruments (MUSI 037, 137, 237, 337, 380)

380a and b. 4th Year Instruction (1/2)

After six full semesters of study in any instrument, all students, no matter which instrument, register for Music 380. Two semesters of study at the 380 level counts as one full credit of senior-level work.

Unscheduled.

One 50-minute period.

Music: Itemized List

034a and b. Jazz Guitar (0)

Uncredited lessons. Mr. DeMicco.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

037a and b. Other Instruments (0)

Uncredited lessons.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

042a and b. Jazz Piano (0)

Uncredited lessons. Mr. Tomlinson.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

043a and b. Saxophone (0)

Uncredited lessons. Mr. Xiques.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

060a and b. Piano (0)

Uncredited lessons. Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

061a and b. Organ (0)

Uncredited lessons. Ms. Archer.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

062a and b. Harpsichord (0)

Uncredited lessons. Ms. Archer.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

063a and b. Voice (0)

Uncredited lessons. Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

064a and b. Violin (0)

Uncredited lessons. Ms. Lee, Ms. Quan.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

065a and b. Viola (0)

Uncredited lessons. Ms. Farina.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

066a and b. Violoncello (0)

Uncredited lessons. Ms. Shao.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

067a and b. Double Bass (0)

Uncredited lessons. Mr. Pappas.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

068a and b. Classical Guitar (0)

Uncredited lessons. Mr. Champlin.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

069a and b. Harp (0)

Uncredited lessons. Ms. Jackson.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

070a and b. Flute (0)

Uncredited lessons. Mr. Solum.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

071a and b. Oboe (0)

Uncredited lessons. Ms. Bishkoff.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

072a and b. Clarinet (0)

Uncredited lessons. Mr. Guy.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

073a and b. Bassoon (0)

Uncredited lessons. Ms. Romano.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

074a and b. French Horn (0)

Uncredited lessons. Mr. Reit.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

075a and b. Trumpet (0)

Uncredited lessons. Mr. Osborn.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

076a and b. Trombone (0)

Uncredited lessons. Mr. Bellino.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

077a and b. Tuba (0)

Uncredited lessons. Mr. Bellino.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

078a and b. Percussion (0)

Uncredited lessons. Mr. Cassara, Mr. Files.

Open to all classes by audition.

Unscheduled.

One 50-minute period.

134a and b. Jazz Guitar (1/2)

Mr. DeMicco.

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

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

Unscheduled.

One 50-minute period.

137a and b. Other Instruments (1/2to1)

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

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

Unscheduled.

One 50-minute period.

142a and b. Jazz Piano (1/2)

Mr. Tomlinson.

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

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

Unscheduled.

One 50-minute period.

143a and b. Saxophone (1/2)

Mr. Xiques.

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

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

Unscheduled.

One 50-minute period.

160a and b. Piano (1/2)

Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.

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

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

Unscheduled.

One 50-minute period.

161a and b. Organ (1/2)

Ms. Archer.

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

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

Unscheduled.

One 50-minute period.

162a and b. Harpsichord (1/2)

Ms. Archer.

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

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

Unscheduled.

One 50-minute period.

163a and b. Voice (1/2)

Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.

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

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

Unscheduled.

One 50-minute period.

164a and b. Violin (1/2)

Ms. Lee, Ms. Quan.

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

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

Unscheduled.

One 50-minute period.

165a and b. Viola (1/2)

Ms. Farina.

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

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

Unscheduled.

One 50-minute period.

166a and b. Violoncello (1/2)

Ms. Shao.

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

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

Unscheduled.

One 50-minute period.

167a and b. Double Bass (1/2)

Mr. Pappas.

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

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

Unscheduled.

One 50-minute period.

168a and b. Classical Guitar (1/2)

Mr. Champlin.

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

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

Unscheduled.

One 50-minute period.

169a and b. Harp (1/2)

Ms. Jackson.

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

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

Unscheduled.

One 50-minute period.

170a and b. Flute (1/2)

Mr. Solum.

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

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

Unscheduled.

One 50-minute period.

171a and b. Oboe (1/2)

Ms. Bishkoff.

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

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

Unscheduled.

One 50-minute period.

172a and b. Clarinet (1/2)

Mr. Guy.

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

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

Unscheduled.

One 50-minute period.

173a and b. Bassoon (1/2)

Ms. Romano.

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

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

Unscheduled.

One 50-minute period.

174a and b. French Horn (1/2)

Mr. Reit.

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

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

Unscheduled.

One 50-minute period.

175a and b. Trumpet (1/2)

Mr. Osborn.

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

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

Unscheduled.

One 50-minute period.

176a and b. Trombone (1/2)

Mr. Bellino.

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

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

Unscheduled.

One 50-minute period.

177a and b. Tuba (1/2)

Mr. Bellino.

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

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

Unscheduled.

One 50-minute period.

178a and b. Percussion (1/2)

Mr. Cassara, Mr. Files.

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

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

Unscheduled.

One 50-minute period.

234a and b. Jazz Guitar (1/2)

Mr. DeMicco.

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.

Unscheduled.

One 50-minute period.

237a and b. Other Instruments (1/2to1)

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

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

Unscheduled.

One 50-minute period.

242a and b. Jazz Piano (1/2)

Mr. Tomlinson.

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.

Unscheduled.

One 50-minute period.

243a and b. Saxophone (1/2to1)

Mr. Xiques.

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.

Unscheduled.

One 50-minute period.

260a and b. Piano (1/2or1)

Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.

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.

Unscheduled.

One 50-minute period.

261a and b. Organ (1/2)

Ms. Archer.

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.

Unscheduled.

One 50-minute period.

262a and b. Harpsichord (1/2)

Ms. Archer.

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.

Unscheduled.

One 50-minute period.

263a and b. Voice (1/2)

Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.

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.

Unscheduled.

One 50-minute period.

264a and b. Violin (1/2)

Ms. Lee, Ms. Quan.

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.

Unscheduled.

One 50-minute period.

265a and b. Viola (1/2)

Ms. Farina.

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.

Unscheduled.

One 50-minute period.

266a and b. Violoncello (1/2)

Ms. Shao.

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.

Unscheduled.

One 50-minute period.

267a and b. Double Bass (1/2)

Mr. Pappas.

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.

Unscheduled.

One 50-minute period.

268a and b. Classical Guitar (1/2)

Mr. Champlin.

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.

Unscheduled.

One 50-minute period.

269a and b. Harp (1/2)

Ms. Jackson.

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.

Unscheduled.

One 50-minute period.

270a and b. Flute (1/2)

Mr. Solum.

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.

Unscheduled.

One 50-minute period.

271a and b. Oboe (1/2)

Ms. Bishkoff.

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.

Unscheduled.

One 50-minute period.

272a and b. Clarinet (1/2)

Mr. Guy.

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.

Unscheduled.

One 50-minute period.

273a and b. Bassoon (1/2)

Ms. Romano.

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.

Unscheduled.

One 50-minute period.

274a and b. French Horn (1/2)

Mr. Reit.

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.

Unscheduled.

One 50-minute period.

275a and b. Trumpet (1/2)

Mr. Osborn.

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.

Unscheduled.

One 50-minute period.

276a and b. Trombone (1/2)

Mr. Bellino.

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.

Unscheduled.

One 50-minute period.

277a and b. Tuba (1/2)

Mr. Bellino.

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.

Unscheduled.

One 50-minute period.

278a and b. Percussion (1/2)

Mr. Cassara, Mr. Files.

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.

Unscheduled.

One 50-minute period.

334a and b. Jazz Guitar (1/2)

Mr. DeMicco.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

337a and b. Other Instruments (1/2to1)

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

342a and b. Jazz Piano (1/2)

Mr. Tomlinson.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

343a and b. Saxophone (1/2to1)

Mr. Xiques.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

360a and b. Piano (1/2or1)

Mr. Crow, Ms. Polonsky, Mr. Sauer, Ms. Charney.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

361a and b. Organ (1/2)

Ms. Archer.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

362a and b. Harpsichord (1/2)

Ms. Archer.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

363a and b. Voice (1/2or1)

Mr. Minter, Ms. Nessinger, Mr. Osborne, Ms. Rosales, Mr. Ruff.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

364a and b. Violin (1/2)

Ms. Lee, Ms. Quan.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

365a and b. Viola (1/2)

Ms. Farina.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

366a and b. Violoncello (1/2)

Ms. Shao.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

367a and b. Double Bass (1/2)

Mr. Pappas.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

368a and b. Classical Guitar (1/2to1)

Mr. Champlin.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

369a and b. Harp (1/2)

Ms. Jackson.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

370a and b. Flute (1/2or1)

Mr. Solum.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

371a and b. Oboe (1/2)

Ms. Bishkoff.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

372a and b. Clarinet (1/2)

Mr. Guy.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

373a and b. Bassoon (1/2)

Ms. Romano.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

374a and b. French Horn (1/2)

Mr. Reit.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

375a and b. Trumpet (1/2)

Mr. Osborn.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

376a and b. Trombone (1/2)

Mr. Bellino.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

377a and b. Tuba (1/2)

Mr. Bellino.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.

378a and b. Percussion (1/2)

Mr. Cassara, Mr. Files.

Prerequisite: four semesters of credited study in this instrument.

Unscheduled.

One 50-minute period.