Longy School of Music of Bard College COURSE DESCRIPTIONS

The following is a list of courses currently offered in the Conservatory at Longy School of Music of Bard College. Courses run annually, for either one or two semesters per year, unless otherwise stated. Prior to registration, the Academic Affairs Office publishes a list of the next semester’s course offerings with updated information on meeting times and instructors. The instructors listed below are projected to be teaching in 2016-2017 and are subject to change. The school reserves the right to cancel classes for enrollment or other reasons.

Most classes are offered for one or two credits. Typically, one-credit classes meet for 75–90 minutes per week, and two- credit classes meet for 120–180 minutes per week, with some exceptions. All credit amounts listed below are given per semester. Courses at the 100–400 levels are generally taken by undergraduates, while courses at the 500–700 levels are generally taken by graduates.

In addition to registering for classes each semester, students must register for Promotional Juries or Required Recitals in the appropriate semester.

PRIVATE STUDIO INSTRUCTION each other. In addition to intensive concert. In addition, each group will be coaching, the class will offer expected to give an in-class Full-time degree and diploma students opportunities for the participants to presentation on compositional, (with the exception of those in the develop skills in analytical and creative interpretive, and expressive aspects of Opera department and those in the criticism. Each group will be expected the work they are studying. Permission third year of Dalcroze study) register to present a paper on stylistic, of the instructor and Chamber Music for fifteen hours of private lessons per compositional, and interpretive Chair required. Fall semester only. May semester (graduate: 2.5 credits; aspects of the work they are studying. be repeated for credit. undergraduate: 3.5 credits). Opera Permission of the instructor and students divide their lesson credits (3 Chamber Music Chair required. Fall COLLABORATIVE PIANO per semester) between a vocal semester only. May be repeated for instructor (Dramatic Coaching for 2 credit. Techniques of Vocal Coaching credits) and a coach (Musical Course: CP501 (1 credit) Coaching for 1 credit). World Music Chamber Ensemble Instructor: Moll Course: ES615 (1 credit) This class covers various aspects of CHAMBER MUSIC Instructor: Blanco vocal coaching and familiarizes This class will contribute to the students with the skills essential for Chamber Music Ensembles disappearance of a line of division that rehearsing and performing pianists. Course: ES402/ES602 has existed for centuries between the Fall semester only. Offered in alternate (undergraduate/graduate) (1 credit) so called “Classical” & “Popular” music; years (Fall 2016, Fall 2018, etc.). Instructors: Moll/Faculty the manifestations of musical aesthetic Ensembles are formed each semester tendencies of our times, increasingly Techniques of Chamber Music and receive 10 hours of faculty reflects into a more holistic music Coaching coaching. An end-of-semester society. Therefore, the musician of the Course: CP502 (1 credit) performance is required. Offered Fall 21st century should not be categorized Instructor: Chin and Spring semesters. May be any more by either one. These This course seeks to develop repeated for credit. ensembles will focus on repertoire that necessary skills and knowledge for will help improve the awareness of collaborative pianists, and other Begin Anywhere: Creative Chamber rhythm, harmony, stylistic diversity, instrumentalists by permission of the Music (Full year ensemble) musical textures and above all, the instructor, to become effective Course: ES610 (1 credit) development of individual and chamber music coaches. Permission of A course focused on customized and collective alertness and response to instructor required. Offered Fall and unique collaborative creation. different musical instances during a Spring semesters. Developing student creativity using performance. Spring semester only. Universal Musical Elements including May be repeated for credit. Chamber Music Literature composition/arranging, improvisation, Course: CP505 (1 credit) performance, product/program design Longitude Ensemble: Advanced Instructor: Moll for performances in outside venues, Seminar in Contemporary Chamber An analysis and performance seminar professional recording and video, Music examining the major chamber audience development, personal bios, Course: ES630 (1 credit) repertory for piano and strings. media/web presence, and marketing Instructor: Brust Offered Fall and Spring semesters. momentum. Students are the The seminar will create a space for Satisfies one credit of chamber music directors. Open to a maximum of ten focused study and performance of requirement. May be repeated for students by permission of the modern and contemporary chamber credit. instructor and chamber music chair. music repertoire and techniques, Full-year ensemble. Offered in both focusing each semester on works Assigned Accompanying Fall and Spring semesters. specific to a compositional style or Course: CP410/CP610 composer of the past century. The (undergraduate/graduate) (1 credit) Advanced Chamber Music Seminar specific repertoire for study will be Instructor: Moll Course: ES612 (1 credit) determined by the instructors and will Pianists are given appropriate Instructor: Merfeld vary each semester. In addition to assignments collaborating with This course will offer in-depth study of intensive coaching, the class will offer vocalists or instrumentalists. Full year chamber music repertoire, focusing on opportunities for the participants to course. Must be taken both Fall and the work of one composer or works develop skills in compositional analysis Spring semesters consecutively. May from a specific period. The specific from the performer’s perspective, be repeated for credit. repertoire for study will be determined active listening, criticism, and modern by the instructor and will reflect works interpretation. Each semester the that are particularly “conversant” with ensemble will perform in a dedicated

Longy School of Music of Bard College- 1 Collaborative Piano Department semesters. Prerequisite: TH098 or alternate years (Spring 2017, Spring Seminar placement. 2019, etc.) Course: CP612 (0.5 credit) Instructors: Moll/Faculty Harmony 2 Longy faculty and guest teachers Course: TH112 (2 credits) Counterpoint: 18th-century present seminars, lectures, and master Instructor: Bennett Course: TH422 (2 credits) classes on interpretation, repertory, A continuation of Harmony 1. Offered Instructor: Evans and analysis. Full-year course with Fall and Spring semesters. A one-semester study of counterpoint approximately eight meetings per Prerequisite: TH111 or placement. focusing on basic voice-leading semester. Offered Fall and Spring techniques and the treatment of semesters. May be repeated for credit. Harmony 3 dissonance and imitation. Fall Course: TH113 (2 credits) semester only. Prerequisite: TH113. COMPOSITION AND THEORY Instructor: Aldins A continuation of Harmony 2. Offered Topics in Counterpoint: American Style Rudiments of Music: Aural Skills Fall and Spring semesters. Dissonant Counterpoint Course: TH096 (Fall, 2 credits) / Prerequisite: TH112 or placement. Course: TH423 (2 credits) TH097 (Spring, 2 credits) Instructor: Evans Instructor: Van Buskirk Harmony 4 This course will work with methods set The Music Theory faculty may place Course: TH211 (2 credits) forth by Henry Cowell and Charles students not ready for Fundamentals I, Instructor: Aldins or Brust Seeger in the 1920’s and 30’s, with based on diagnostic testing at New A continuation of Harmony 3, with focus on the latter’s “Manual of Student Orientation, into Rudiments of greater emphasis on chromatic Dissonant Counterpoint” in order help Music: Aural Skills, allowing a full- harmony, analysis, and keyboard work. students to compose, appreciate and year’s introduction to the materials Offered Fall and Spring semesters. perform works with maximal covered in the Fundamentals Prerequisite: TH113 or placement. heterophony (independence or non- sequence. Full-year course. coincidence of line) in rhythm, interval Harmony 5 and texture. Coursework will include Rudiments of Music: Written Theory Course: TH212 (2 credits) composition, performance and Course: TH098 (2 credits) Instructor: Aldins or Brust appreciation of relevant works by Instructor: Van Buskirk A continuation of Harmony 4. Offered Cowell, Charles Ives, Ruth Crawford, The Music Theory faculty may place Fall and Spring semesters. Carl Ruggles, Henry Brant, John Cage, students not ready for Harmony 1, Prerequisite: TH211. Elliott Carter, etc. Spring semester based on diagnostic testing at New only. Prerequisite: TH212. Student Orientation, into Rudiments of Form and Analysis Music: Written Theory, allowing an Course: TH321 (Fall, 2 credits) / TH322 Orchestration introduction to the materials covered (Spring, 2 credits) Course: TH431 (Fall, 2 credits) / TH432 in the Harmony sequence. Fall Instructor: Morrison (Spring, 2 credits) semester only. A thorough study of musical forms Instructor: Aldins with a special emphasis on the major A comprehensive introduction to the Beginning Solfège and Musicianship forms of the Classical period: sonata, principles of instrumentation and (Fundamentals I) minuet, rondo, etc. Full-year course. orchestral scoring centered on in- Course: TH101 (Fall, 2 credits) / TH102 Prerequisite: TH212. depth study of the possibilities of (Spring, 2 credits) individual instruments. Full-year Instructor: Aldins or Bennett Analysis of 20th and 21st Century course. Prerequisite: TH113. Offered in Aural skills are developed through the Music alternate years (2016-2017, 2018-2019, techniques of solfège, rhythmic Course: TH341 (1 credit) reading, and the study of basic Instructor: Van Buskirk etc.). theoretical concepts. Students sight- In this course, students will study the sing in five clefs and practice melodic, major styles and techniques prevalent Graduate Aural Theory Review rhythmic, and harmonic dictation. Full- in music since 1900. Score analysis and Instructor: Morrison year course. readings will provide students with the A non-credit ear training laboratory basic skills required to engage and review for students who do not pass Intermediate Solfège and Musicianship understand contemporary music. the Master of Music Aural Theory (Fundamentals II) Assignments will include listening, Proficiency examination during Course: TH201 (Fall, 2 credits) / TH202 analysis exercises, and short orientation. Passing the review course (Spring, 2 credits) composition exercises. A wide range satisfies the aural theory requirement. Instructor: Bennett of composers and topics will be Course: TH501-A A continuation of Fundamentals I: discussed including Debussy, Bartók, A faster-paced 1-semester version of sight-singing in seven clefs, one- and Stravinsky, Messiaen, Copland, the review course for students who two-voice melodic dictation, chromatic atonality, and electronic music. receive a relatively high, but not material, intermediate rhythmic and Undergraduate only. Spring semester passing, score on the proficiency harmonic dictation. Full-year course. only. Prerequisite: TH212 or permission examination. Spring semester only. Prerequisite: TH102. of the instructor. Course: TH502-A A slower-paced 2-semester version of Advanced Solfège and Musicianship Composition Department Seminar the review course for students who (Fundamentals III) Course: TH412/TH612 (undergraduate/ receive a low score on the Course: TH301 (Fall, 2 credits) / TH302 graduate) (0.5 credit) examination. This sequence must be (Spring, 2 credits) Instructors: Van Buskirk/Faculty started in the fall. Both semesters must Instructor: Aldins or Evans This weekly class for undergraduate be passed to satisfy the proficiency A continuation of Fundamentals II: and graduate level composers requirement. advanced sight-singing and dictation combines faculty and student work, chromatic and atonal material, presentations, guest master classes, Graduate Written Theory Review advanced rhythmic and harmonic analytical and performance projects, Instructor: Bennett, Evans, or Van dictation, preparation for score group composition instruction on Buskirk reading. Full-year course. Prerequisite: appropriate topics, and consideration A non-credit review of harmony, TH202. of career issues. Full-year course. May figured bass and part-writing for be repeated for credit. students who do not pass the Master Harmony 1 of Music Written Theory Proficiency Course: TH111 (2 credits) Counterpoint: 16th-century examination during orientation. Instructor: Van Buskirk or Bennett Course: TH421 (2 credits) Passing the review course satisfies the An introduction to harmony and Instructor: Evans written theory proficiency harmonic analysis through written and A one-semester study of counterpoint requirement. keyboard exercises, dictation, focusing on basic voice-leading Course: TH501-W harmonization of melodies and bass techniques and the treatment of A faster-paced 1-semester version of lines, and the study of harmonic dissonance and imitation. Prerequisite: the review course for students who idioms. Offered Fall and Spring receive a relatively high but not- TH113. Spring semester only. Offered in

Longy School of Music of Bard College- 2 passing score on the examination. the necessary analytic tools to access investigate different aspects of a work, Spring semester only. and understand the complete musical such as expressive content and Course: TH502-W infrastructure of a given composition, dynamic shape, orchestral textures, A slower-paced 2-semester version of leading to intelligent and hopefully etc. Students will gain a multifaceted the review course for students who more profound performances. Fall understanding of the music that can receive a low score on the semester only. Satisfies the MM Theory enhance their performance. Fall examination. This sequence must be distribution requirement. semester only. Prerequisite: Theory started in the fall. Both semesters must proficiency exam or review class be passed to satisfy the proficiency Proseminar: 20th- and 21st-Century passed. Satisfies the MM Theory requirement. Repertory and Techniques distribution requirement. Course: TH531 (2 credits) Composition for Performers Instructor: Brust The Pedagogy of Theory Course: TH505 (1 credit) Graduate-level survey of modern Course: TH540 (1 credit) Instructor: Morrison compositional methods and repertory. Instructor: Evans This course actively engages pianists, Open to M.M. composition students This course will explore techniques instrumentalists, and singers in and others by permission of the and means of teaching written and building an understanding of musical instructor. Fall semester only. Satisfies aural theory concepts. Topics to be coherence by composing. Offered Fall the MM Theory distribution examined will be rhythmic solmization, and Spring semesters. requirement. dictation techniques, incorporation of keyboard into a harmony class, and Drama in Song: Anatomy of a Theater Topics in Analysis: Tonal strategies of solfège curriculum. The Song Course: TH532 (2 credits) course will include the study of Course: TH512 (1 credit) Instructor: Aldins pedagogical ideas and techniques as Instructor: Brust Graduate-level study of compositional well as experience utilizing those ideas Through detailed analysis of the music and performance issues in a focused and techniques in practicum-style and lyrics of a variety of American body of works. Fall semester only. teaching. Spring semester only. Counts musical theater songs, this class will Satisfies the MM Theory distribution toward the MM Theory distribution explore what makes a theatrical song requirement. requirement. effective, and how dramatic characters are created musically and lyrically. The Music of Stravinsky Topics in 20th/21st Century Analysis: Formal organization, melodic Course: TH535 (2 credits) Debussy’s Piano Preludes construction, accompaniments and Instructor: Van Buskirk Course: TH542 harmony will be analyzed in terms of This course will look at a selection of Instructor: Morrison creating a succinct, dramatic structure. pieces that represent Stravinsky’s This course will provide a vehicle for Along with ‘classic’ songs from the entire output. We will start with early the close study of all of Debussy's American musical canon, the course works like Fireworks, move on to the préludes for piano. We will apply an will delve especially into the work of big three ballets, and then to pieces in analytical technique known as the Stephen Sondheim. The course is the neoclassical and serialist periods. Sound Energy Aggregate (SEA) geared specifically toward singers and Class repertoire will include The Rite of throughout the semester, employing accompanists, although open to all MM Spring, Pulcinella, Concerto in D, Agon, varied configurations of our students. Fall semester only. and The Flood, as well as smaller constituency to approach the music. Prerequisite: MM students must chamber works. Students will gain The technique is one which attempts already have passed the Written experience analyzing and comparing to account for the role of all musical Theory Proficiency. Other students repertoire in various compositional parameters in building up the must receive prior permission of the styles and languages. A final analysis composite impact -- the emotional instructor. project will be required at the end of profile or sound energy aggregate -- the semester. Fall semester only. of a piece. While never negating the Introduction to Computer Music Satisfies the MM Theory distribution importance of pitch in creating that Course: TH521 (2 credits) requirement impact, the technique rather elevates Instructor: Van Buskirk other parameters to their rightful place The course includes technical sessions Contemplating Music alongside pitch as powerful covering basic concepts in computer Course: TH536 (1 credit) messengers of musical energy. music and electroacoustic Instructor: Morrison Debussy might be seen as the central composition, such as the MIDI Contemplating music combines figure in developing a musical style protocol, audio recording techniques, contemplative practice and a simple which grows from such an approach to digital synthesis, and signal but profound analytical technique to composing, and the course might be processing. Fall semester only. get at the very essence of what makes considered fundamental to Satisfies the MM Theory distribution a piece of music what it is. Readings understanding modern music as a requirement. on the nature of analysis accompany whole.. Spring semester only. Satisfies the in-class experience of the MM Theory distribution Computer Music II collaboratively penetrating the requirement. Course: TH522 (2 credits) phenomenon of music as it unfolds in Instructor: Van Buskirk time. The result is a new level of Charles Ives, Elliott Carter, and the A continuation of the material covered insight into music and musical analysis. American Tradition in TH521. Computer Music II focuses on Fall semester only. Counts toward the Course: TH545 (1 credit) live electroacoustic music. The MM Theory distribution requirement. Instructor: Van Buskirk software packages Max/Msp and This course will look at the music of SuperCollider will be used to create Knowing the Full Score Charles Ives and Elliott Carter and applications for live performance. Course: TH537 (1 credit) place each in the context of American Spring semester only. Offered in Instructor: Brust classical music during the 20th and alternate years (Spring 2017, Spring That an orchestral instrumentalist 21st centuries. We will also explore the 2019, etc.). Prerequisite: TH521 or possesses intimate knowledge of his or music of other 20th-century permission of instructor. her part is a given, yet comprehension composers (including Debussy, of the complete composition is often Schoenberg, Varèse, Copland, and Analysis Toward Performance: Music lacking. This course will broaden an Boulez) to give the music of Ives and from the Inside Out orchestral performer’s overall Carter context with the music being Course: TH527 (2 credits) understanding of the music through written by their contemporaries. Instructor: Evans examination of current Longy Students will gain experience Through study of music from students’ Conservatory Orchestra repertoire, analyzing and comparing repertoire in current repertoire, this course explores thus directly relating study to various compositional styles and various analytical techniques geared to performance. Students will learn languages. Spring semester only. gaining insight into musical language various methods of approaching a Counts toward the MM Theory and structure. In-depth exploration of score from a number of viewpoints, distribution requirement. form, harmony, melody, and rhythm including musical analysis of all kinds, will be oriented toward informing historical background, stylistic Songwriting performance. By means of intense considerations, and so on. Course: TH546 (1 credit) focus on a few works, students acquire Assignments will allow students to Instructor: Brust

Longy School of Music of Bard College- 3 The act of songwriting is a relatively mixing techniques. Students will have improvisation. DA401 is required for easy and accessible approach to the opportunity to work in the students in the undergraduate diploma learning how music works. Through computer music studio on creative program. Fall Semester only. the experience of creating a song, one projects for each topic. Spring learns the basic building blocks of semester only. Offered in alternate Introduction to Eurhythmics: Second music, along with the tools of and years (Spring 2018, Spring 2020, etc.). Semester thought behind musical composition. Course: DA402 (1 credit) Songwriting allows for insights into the The Music of Brahms Instructor: Ausch essence of music itself and can Course: TH552 (2 credits) This course builds and expands on the illuminate the communicative power of Instructor: Brust Dalcroze skills acquired in DA401. words and music combined. Class Johannes Brahms eschewed the ultra- DA402 is required for students in the meetings for this course will feature a romantic bombastic and seemingly undergraduate diploma program. variety of creative activities related to amorphous programmatic music being Spring semester only. Prerequisite: songwriting, with homework composed during the mid-nineteenth DA401. consisting of several short century. Rather, he remained an compositional, analytical, and writing adherent of Beethoven’s absolute Eurhythmics Lab assignments. In addition, students will music, and is known for his thematic Course: DA501 (1 credit) compose two art songs, which will be continuity, economy, formal coherence Instructor: Ausch work-shopped in class, and keep a and lyrical beauty. This in-depth Students will learn basic Dalcroze diary describing their compositional analysis course will explore symphonic movement exercises of coordination, process and progress. Prerequisite: and chamber works, primarily focusing rhythmic layering, expression, Theory proficiency exam or review on Brahms’s use of the principle of phrasing, anacrusis-crusis-metacrusis class passed. Spring semester only. ‘developing variation,’ especially within principle of musical flow, as well as Satisfies the MM Theory distribution sonata forms. Through the explore different Dalcroze inspired requirement. investigation of motivic development, rehearsal techniques (movement, tonal relationships, innovative use of gesture, ensemble skills, improvisation, Beethoven Symphonies rhythm and form, students will acquire silent rehearsal, use of props). The Course: TH547 (2 credits) an understanding of his compositional experience of physical and emotional Instructor: Brust modus operandi and of his true dimensions of a particular piece of This seminar will examine Beethoven’s progressiveness. Issues of music enhances the rise of new third, sixth, and ninth symphonies, performance practice will also be performance dimensions, questions each of which represented a addressed. This course requires and answers about the musical significant step in Beethoven’s knowledge of chromatic harmony and message and solving technical and compositional development and possession of strong form and analysis artistic challenges. Interpretation is proved seminal to the evolution of skills. Spring semester only. directly affected and influence by the “German Romantic Music.” The course Prerequisites: Knowledge of chromatic kinesthetic images and the connection will focus on the first movement of the harmony and strong form and analysis between the music and performer third symphony to best investigate the skills. Offered in alternate years deepens at every level: emotional, vast expansion of sonata procedures (Spring 2017, Spring 2019, etc.). physical and intellectual. Offered Fall and the last movement of the ninth as and Spring semesters. Graduate only. a representative of genre and formal mixture and the usage of sung text. CONDUCTING Musicianship for Singers Students will be assigned specific Course: DA502 (1 credit) analytic topics concerning such areas Orchestral Conducting and Score Instructor: Ishizuka as formal and tonal structure and Reading This course will help singers improve thematic development and will share Course: CN510 (2 credits) their overall musicianship skills, their findings with the class each week. Instructor: Wang especially in connection with sight- Reading of scholarly articles will also Provides instruction in conducting singing and rhythm. Students will learn be required. Prerequisites: Theory technique, score reading, analysis, and to connect the eyes with the ears to proficiency exam or review class interpretation as illustrated through improve sight-singing skills and the passed, strong analysis skills, solid the standard orchestral repertory. flow of rhythm. Intervals and triads command of the English language. Repertory is assigned based on the found in major and minor scales will be Spring semester only. Satisfies the MM student’s conducting back-ground, so extensively learned and practiced, Theory distribution requirement. the course is open to beginning, along with rhythmic exercises to hone Offered in alternate years (Spring intermediate or advanced students. this aspect of musicianship. Offered 2018, Spring 2020, etc.). Fall semester only. Pre-requisite: TH113 Fall and Spring semesters. or equivalent. Fall semester only. May Schenkerian Analysis and Performance be repeated for credit. Letting the Ear Lead: Ensemble Course: TH550 (2 credits) Improvisation (Non-Jazz Classical and Instructor: Evans Advanced Orchestral Conducting and Contemporary) This course will introduce and work Score Reading Course: DA506 (1 credit) with Schenkerian modes of tonal Course: CN511 (2 credits) Instructor: Tucker analysis, starting with simple Instructor: Wang Improvisation implies spontaneity, risk, counterpoint and diminutions, then Advanced seminar in conducting attention, communication, and working with complete scores via a technique, score reading, analysis, and expression. Classical musicians are layered approach that starts with a interpretation as illustrated through often bound to the score and fearful of score and reveals a simple surface, the standard orchestral repertory. making music without it. Students foreground and middleground. Course Course will expand on principles learn to free themselves from the activities will also include composition, covered in Introductory Conducting written page and gain confidence in improvisation and performance course, and will address rehearsal creating and developing their own coaching in a style reflective of this technique using LCO repertoire as an musical ideas in ensemble with other methodology, which Schenker himself area of focus. Pre-requisite: CN510 or players, through active listening to used in his own instrumental teaching. equivalent. Class will involve extensive harmonic, rhythmic, and melodic Spring semester only. Satisfies the MM work at the keyboard. Spring semester events. Improvisational techniques are Theory distribution requirement. only. May be repeated for credit. applied to the study of repertoire, so that an improvised “reduction” can Multimedia Composition and Sound DALCROZE EURHYTHMICS inform understanding of structure and Design Introduction to Eurhythmics lead to greater freedom in Course: TH551 (2 credits) Course: DA401 (1 credit) performance. Spring semester only. Instructor: Van Buskirk Instructor: Ausch Satisfies the Improvisation This course covers the technical and Movement transforms sound into requirement. creative concepts behind composing concrete relationships of time, space, for film, games, and other cross media and energy. Topics such as tempo, Plastique Animé applications. Topics include inner pulse, canon, Course: DA507 (1 credit) multimedia uses of notation software, diminution/augmentation, and meter Instructors: Ausch/Ishizuka sequencing, sampling, film scoring, are studied through movement, Plastique Animé is a course in musical sound design and surround sound analysis, performance, and analysis through action and

Longy School of Music of Bard College- 4 movement. It applies the Dalcroze Certification will be reviewed, studied performance course credit. May be principles and methods of connecting and refined in this course. DA621 will repeated for credit. sound and movement for the purpose meet twice a week for 1.5 hours each of studying the form, character, and session. One session will be taught by Figured Bass Practicum compositional elements of a musical Parker and the other by Ishizuka. All Course: EM561 (1 or 1.5 credits) work, giving it expression through Dalcroze techniques of ear-training Instructor: Montgomery movement and spatial design. This and solfège will be reviewed: use of A survey of figured bass realization as embodiment of a musical composition movement, quick reaction games, Do- practiced in the 17th and 18th adds a powerful sensory experience to Do scales major, minor and chromatic, centuries. The fall semester focuses on its understanding and interpretation. improvisation. Weekly sight-singing the beginnings of continuo playing, Students develop a musical assignments will be given and special accompaniment skills, facility in understanding that is both emotional projects in composition, two part reading figures, and improvising on and physical. Weekly assignments writing, sing/play will be required. bass lines. The spring semester include readings, writing, and analysis, Prerequisites: DA561 and one three- addresses 18th-century developments as well as movement exercises. Final week Summer Institute. Full-year in continuo playing and issues of class performance. Spring semester course. national style. Harpsichordists and only. Prerequisite: Permission of organists should register for 1.5 credits; instructors. Improvisation non-keyboardists and Collaborative Course: DA631 (2 credits) Piano majors should register for 1 Improvisation for Pianists Instructor: Tucker/Parker/Ishizuka credit. Non-keyboardists will attend Course: DA510 (1 credit) Advanced level improvisation. All the first hour only. Full-year course. Instructors: Tucker Improvisation skills required for This course for pianists develops the Dalcroze Certification will be reviewed, Early Music Department Seminar ability to speak the musical language studied and refined in this course. Course: EM612 (0.5 credit) spontaneously in solos and duets DA631 will meet for two 1.5 hour long Instructors: Faculty through a study of modes and scales, sessions taught by Parker and Tucker, Longy faculty and other distinguished motives and phrases, and harmony plus one hour long session in keyboard master teachers present seminars, and rhythm. Fall semester only. harmony, taught by Ishizuka. Playing lectures and master classes on Prerequisite: Piano majors or for movement, leading eurhythmics interpretation, repertory, and analysis. permission of instructor. Satisfies the exercises, harmonization of songs, Full-year course. May be repeated for Master of Music Improvisation exploration of keyboard textures, credit. requirement. improvising on the primary instrument as well as the piano will be studied. Keyboard Repertoire (Full-Year Principles and Language of Movement Prepared and unprepared Course) Course: DA521 (1 credit) improvisation, solo and ensemble Course: EM571 (Fall, 1 credit; Spring, 1 Instructor: Lurie playing, tonal and non-tonal pitch credit) Students will explore time, space, systems will be studied. Prerequisites: Instructor: Montgomery force, dynamics, phrasing and breath, DA561and one three-week Summer A survey of keyboard music from the and the elements of dance. Full-year Institute. Full-year course. late Middle Ages through the late 18th course. century, this seminar explores such Methods II issues as the intabulation of vocal Course: DA651 (2 credits) models, the function of the organ in Methods I Instructor: Latts liturgical settings, and the Course: DA551 (1 credit) This pedagogy seminar is designed for development of the dance suite. Full Instructor: Ausch Dalcroze teachers to develop and year course. Offered alternate years as The teacher-training seminar provides refine teaching skills based on an in- needed. an in-depth philosophical and depth study of the Dalcroze principles analytical introduction to the Dalcroze and philosophy. The work is applicable PERFORMANCE AND TOPIC teaching and learning process, as well to teaching musical concepts to a COURSES as to the context of Dalcroze range of levels and ages, in settings The Early Music Department offers a pedagogy in the field of music from the classroom to the private rotation of new and recurring education. Full-year course. studio, in both private or public performance and topic courses schools. Through discussion, covering repertories from the Middle Dalcroze Global Studies demonstration, feedback, analysis and Ages to the eighteenth century and Course: DA561 (2 credits) assignments, students will develop a beyond. As appropriate, classes Instructor: Parker/Ishizuka deeper knowledge of the Dalcroze include research and study of original This course provides skills in the use of principles and philosophy and their sources and theoretical materials, as movement, in solving rhythmic application. They will develop and well as rehearsal and performance. difficulties, in ear-training and listening create their own solfege, listening, New areas of focus are developed development, in group teaching, and in rhythmic movement and improvisation each year. The following performance playing for Eurhythmics exercises. Full- exercises. Participants will learn classes are offered in the current year course with observed teaching in principles of effective teaching and academic year. the second semester. Corequisite: lesson design and have practice- DA551. teaching opportunities in a variety of Secular Works of Josquin de Prez settings. Prerequisite: DA551. Full-year Course: EM503 (1 credit) Eurhythmics course. Instructors: Hershey/Dellal Course: DA611 (2 credits) Josquin was one of the most Instructor: Parker/Ishizuka EARLY MUSIC important and influential composers of Advanced level Eurhythmics. All his era, the period from the middle of Eurhythmics skills required for Historical Dance for Musicians the 15th century through the first Dalcroze Certification will be reviewed, Course: EM521 (1 credit) quarter of the 16th. His use of melody studied and refined in this course. Instructors: Pierce in all genres in which he composed DA611 will meet twice a week for 1.5 This course explores the basic dances was compelling, satisfying to the hours each session. One session will be of the Renaissance and Baroque performer and listener alike. This one- taught by Parker and the other by periods. Students will learn dances and semester class will concentrate on Ishizuka. In addition to in-class work, play for dancing with attention to works best suited to a mixed ensemble special projects in plastique, rhythmic tempo, articulation, character, and of voices and instruments, the secular score writing and musical analysis will form. Fall semester only. song. Josquin's settings of poetry in a be required. Prerequisites: DA561 and variety of languages broaden the focus one three-week Summer Institute. Full- Early Music Chamber Ensembles of the class and serve to illustrate his year course. Course: EM530 (1 credit) well-documented biography and his Instructors: Faculty place among his contemporaries. His Solfège Ensembles must be approved by the works effectively combine his heritage Course: DA621 (2 credits) department chair and the Dean of the as a Franco-Flemish composer and the Instructor: Parker/Ishizuka Conservatory and will receive 10 hours influences of Renaissance Italy, where Advanced level Dalcroze Solfège. All of coaching per semester. Offered Fall he worked. While the course will Solfège skills required for Dalcroze and Spring semesters. Satisfies one center on chansons, frottole, and other

Longy School of Music of Bard College- 5 secular works, we will also touch on a Assyrians. Students will join forces Baroque Orchestra Studies small sample of the masses and motets with Eudaimonia, a Purposeful Period Course: EM601 (1 Credit) that were such an important part of Band (directed by harpsichordist Instructors: Faculty Josquin's contribution to the musical Vivian Montgomery and violinist Julie Offered in connection with the life of the high Renaissance. Open by McKenzie). This project will be Historical Performance Emphasis audition to 5 instrumentalists and 5 prepared in a semester-long programs in the String and singers. Fall semester only. performance seminar, with two 2-hour Woodwinds and Brass departments, meetings each week. All singers are this course traces the emergence and Le Concert Spirituel invited and will play either a solo or development of the orchestra, its Course: EM505 (1 credit) chorus role in the final production. functions, and literature from circa Instructors: Lion/Maiben Instrumentalists (strings, winds, 1600–1750. Both analytical and This class will explore the repertory of harpsichord/organ, lute/theorbo, practical in focus, the course will Le Concert Spirituel, one of the most timpani) will play on period provide an introduction to the major important concert series in music instruments or with strings tuned Baroque orchestral genres (overture, history, which ran from 1725-1790 in down to A=415. There will be three suite, sinfonia, concerto) as well as the Paris and incorporated a range of performances in early December. Fall use of the orchestra as a collaborative performers, ensembles, and repertoire. semester only. Auditions held in element in church, court, and theater. It was designed to provide September. Class discussion will include issues of entertainment on holidays when the historical context and performance opera and other music institutions Medieval TBA practice using primary and secondary were closed. The composers featured Course: EM522 (1 credit) sources and will complement include Delalande, Leclair, Blavet, Instructor: Azema rehearsals and a performance project Guignon, Balbastre, Mondonville, The course description was not on period instruments with a Baroque Vivaldi, Stamitz, Haydn, Mozart, and available at the time of printing. Spring orchestra. Each student will undertake many more, ranging from Baroque to semester only. a more detailed study of a chosen galant and classical composers. work. Required for Historical Selected pieces from the vast Secular Works of Isaac and Senfl Performance Emphasis students; can repertory of the series and other music Course: EM524 (1 credit) fill one Topics or Performance written by composers featured in the Instructor: Hershey/Dellal requirement for Early Music students. Concert Spirituel will be performed. This class will draw a historical line, by Fall semester only. Offered in alternate Fall semester only. way of the works of these two years as needed. important Renaissance composers, Power and Prophecy: Songs of Rule through important centers of musical FOREIGN LANGUAGES and Misrule in the Medieval Ages culture in the 15th and early 16th Course: EM510 (2 credits) centuries: the Low Countries - the Elementary French I Instructor: Azema cradle of Franco-Flemish polyphony, Course: FR301 (1 or 1.5 credits) A. CITY OF FOOLS: MEDIEVAL SONGS the Medici court in Florence, the court Instructor: Kenney OF RULE AND MISRULE of Maximilian I, the D’Estes in Ferrara, Offered in 2017-2018, 2018-2019. “Man is a political animal” -Pope and the court of Duke Wilhelm IV in Francis 1. In preparation for the Munich. Through the engaging secular Elementary German I American watershed of November 8, songs of these two composers, the Course: GE301 (1 or 1.5 credits) here is our extensive op-ed, in class will draw on French, Dutch, Instructor: Moll medieval song, on the spirit of the Italian and German language songs, Offered in 2016–2017, 2018-2019. times. It contains commentary, well-suited in their varied texture to a (occasional) praise and (frequent) mixed ensemble. The historical Elementary Italian I derision of fallible mortals who seek, context for the songs will provide a Course: IT301 (1 or 1.5 credits) and exercise power: kings and greater understanding of the Instructor: Natoli potentates, poobahs and popes. You performance of the songs, and rich Offered in 2016-2017, 2017-2018. will hear pungent selections from source for student research for in-class major sources of the period: the Play presentations. Senfl’s connection with Three areas of foreign-language study of Daniel (13th century), Carmina Isaac, as his pupil at the court of are offered on a rotating basis. Burana (ca. 1230), the Roman de Maximilian I, will provide a clear Undergraduate Voice majors must Fauvel (ca 1310), and the Chanson de connection between them, reinforced take two years of languages, la Croisade Albigeoise (1228), as well in the class by a comparison of their registering for 1.5 credits per semester. as compelling works by gifted styles, and a focus on their German- Master of Music candidates in Voice, musican-poets: Peire Cardenal (c. 1215- language songs. Isaac’s rich and Opera, and Early Music voice must c. 1240), Philippe le Chancelier (1165- profound output of sacred motets will fulfill two credits of foreign language 1236), Bertran de Born (b. ca. 1140), also be explored, deepening the instruction. Other students may enroll Thibault de Champagne (1201-1253). perspective on the expressive capacity in these classes as electives, 1 credit Performance: October 22, 2016. Venue: of his work. Students will have per semester. Classes meet weekly, First Church, Marlborough Street, opportunities to study the polyphonic with one year of study equaling a first- Boston. vocal and instrumental techniques; just semester, college-level language B. DANIEL (a reprise): intonation; and questions of historical course. Designed for students with The magnificent musical play of Daniel, pronunciation of texts. Open to little or no previous language study, composed eight centuries ago in instrumentalists and singers by these courses focus on vocabulary, Beauvais, France, is the subject of an audition.. Spring semester only. grammar, and conversational and extraordinary new production by The listening comprehension skills, through Boston Camerata. Freshly transcribed 17th Century Concerted Music: Monody in-class drills, dialogues, and from the original manuscript source, and Sonata multimedia activities. Full-year and powerfully staged for modem Course: EM525 (1 credit) courses. audiences by Anne Azema, it was Instructor: Maiben/Freundlich premiered in Boston in November The course description was not MIND/BODY STUDIES 2014, to critical and public's acclaim. available at the time of printing. Spring Now on tour in early 2017, it makes a semester only. Alexander Technique Boston stop. Course: MB401 (1 credit) Topics in Performance Practice: Instructor: Oosterbaan Vivaldi: Juditha Triumphans Hexachordal Theory Weekly classes provide brief turns of Course: EM511 (2 credits) Course: EM541 (1 credit) hands-on work from the instructor. Instructor: Montgomery Instructor: Evans The aim is to improve overall 2016 marks the 300th anniversary of The course description was not functioning by developing kinesthetic the original performance of this available at the time of printing. Fall awareness of the head, neck, and back inspiring work in Venice. The piece semester only. relationship. Open to performers and encompasses an extraordinary array of non-performers with or without instruments alongside beautiful choral previous Alexander experience. Spring and solo music, telling the story of a semester only. biblical heroine’s victory over the tyranny of Holofernes and the

Longy School of Music of Bard College- 6 Introduction to the Feldenkrais teach performers how to incorporate expression. The tools gained in this Method® these mind-body skills into their workshop will empower the musician Course: MB411 (1 credit) preparation. Through lectures, to face career and musical challenges, Instructor: Schreiber Shalem experiential exercises, and journal including those related to anxiety and This class focuses on developing writing, participants explore ways to wellness. Spring Semester only. kinesthetic awareness in singing, gain confidence, improve Undergraduate only. playing, performing, and everyday concentration, reduce stress, and activities through Awareness Through develop self-esteem. Basic stress- MODERN AMERICAN MUSIC (MAM) Movement® group lessons and brief management techniques are covered, turns of individualized, hands-on including breath work, mindfulness Jazz Improvisation for the Classical Functional Integration® lessons from meditation, progressive relaxation, Musician the instructor. Open to performers and visualization, time management, and Course: MA421 (1 credit) non-performers with or without dealing with negative self-talk. We will Instructor: Cassino previous Feldenkrais experience. examine the impact of diet, exercise, Improvisation requires a thorough Assigned readings, exercises, and oral and sleep on the psyche. In addition, understanding of rigorous and written assignments assist we will look at depression and some of performance practices that differ students in their self-reflection and the unhealthy coping strategies such substantially from types of notated learning. Fall semester only. as substance abuse and eating music. This course provides a disorders. Fall semester only. theoretical framework for the Intermediate Feldenkrais® imaginative and creative elements of Course: MB412 (1 credit) Yoga for Musicians improvisation. Offered Fall and Spring Instructor: Cheever Course: MB436 (1 credit) semesters. This class deepens the understanding Instructor: Faculty and application of Feldenkrais Yoga is an ancient discipline meant to Jazz Theory Review principles in relation to singing, quiet the mind through the body. Course: MA501 (0 credits) playing, and performing. Through Using breathing techniques, Instructor: Faculty learning increasingly complex meditation, and asanas, or yoga poses, This accelerated course covers Feldenkrais Awareness Through participants will develop body traditional jazz harmony and Movement® (ATM) sequences, awareness, improve posture, develop incorporates ear training, theory, form students are able to design their own strength in the core and limbs, and and analysis, and composition. Major ATM-like “tune-ups” to address develop a more flexible, healthy and and minor scale harmony and modal problems encountered in singing, efficient body. Good yoga practice has harmony are covered along with the playing, and performing. The instructor been shown to improve all aspects of various applications of pentatonic, also provides brief hands-on turns of musical performance. In this course, symmetrical and synthetic scales and Functional Integration® lessons. participants will be introduced to basic rhythm. Analysis and chord theory are Assigned readings, exercises, and oral principles and practice of yoga as they studied extensively. Fall semester only. and written assignments assist relate to musicians’ health. The course students in their self-reflection and will provide didactic information, and Creative Development for Composers: learning. Spring semester only. participants will learn through Universal Musical Elements Prerequisite: MB411 or permission of journaling and experiential exercises. Course: MA504 (2 credits) the instructor. Offered Fall and Spring semesters. Instructor: Schwendener Understanding the broad array of Feldenkrais® for Strings What Every Musician Needs to Know objective elements involved in a Course: MB413 (1 credit) about the Body: A Course in Body successful composition is key to Instructor: Cheever/Maiben Mapping developing a complete yet open- Make the most of your practicing, help Course: MB437 (1 credit) ended creative approach. In this class, prevent injury, cultivate a pleasurable Instructor: Mulvey students address all formal elements physical relationship with your Music-making is the coordination of related to the compositional process, instrument, become a more confident small and large movements involving and create original works and performer, and enjoy musicmaking the whole body. The movements are arrangements for traditional Big Band more by applying the Feldenkrais guided by body maps in the brain. and large ensemble. These Method® to your musical practice. What Every Musician Needs to Know compositional elements utilize the Focus will be on developing greater about the Body provides the logical and objective organization of ease, reducing effort, cultivating anatomical information needed to all Tonal Resources of equal economical and meaningful update and refine body maps in order temperament provided by the Lydian movement, and becoming aware of to improve movement and Chromatic Concept and Organic Music the habits which help and hinder our coordination while avoiding pain and Theory. Full-year course. Prerequisite: learning processes. In the process we injury. Refining movement to agree MA552. Open to students of all will also explore how the Feldenkrais with the body’s design enhances ease, departments, required for MAM principles can be applied to precision, and enhances coordination. Composition majors. developing new ways of practicing This course will guide the musician to and learning music. This course is open understand the importance of training The Properties of Free Music to string players from all departments, movement, the senses and awareness Course: MA505 (1 credit) with no prerequisites, and can serve for the best music-making and health. Instructor: Morris either as an introduction to the Offered Fall semester only. This course examines the non- Feldenkrais Method® or as a harmony based materials that are continuation of previous Feldenkrais® The Poised Performer consistently used and redefined by work. Spring semester only. Course: MB438 (1 credit) improvising musicians. Includes the Instructor: Mulvey study of several seminal A Mind/Body Approach to This performance-focused workshop methodologies, (Unit Structures, Performance Preparation will guide the student in exploring Harmolodics, Tri-Axiom Theory and Course: MB434 (1 credit) three elements of music-making that European Free Improvisation), with the Instructor: Benoit combine for poised performance. The focus on how they inform individual The mind-body connection is first area is that of the senses relevant and group improvisation. Students will fundamental for musicians. Like to music-making. Accessing the perform in class, compose short athletes, our performances are greatly auditory, visual, tactile, and kinesthetic pieces—some with text descriptions, impacted by the health of our bodies senses allows the musician to actively and create graphic scores. The course and the focus of our minds. Musicians adjust effort and movement quality. is open to anyone. No jazz experience tend to concentrate primarily on The second is the impact of attention is required. This is not a jazz course. musical preparation—neglecting the in performance. Students will Classical instrumentalists are powerful mental and physical aspects experience how different styles of encouraged to participate as are all of performance. Beyond practicing attention affect expression and MAM students. Composition students and traditional musical preparation, comfort. The third area is movement. are as well. This course satisfies the there are many ideas, skills, and Accessing the subtle sensations of the MM Improvisation requirement. Fall techniques that can enhance choreography of movement in semester only. performance and promote general performance frees the musician to wellness. This course is designed to respond to the music, unleashing

Longy School of Music of Bard College- 7 Contemporary Improvisation: Its Advanced Rhythmic Techniques for No Boundaries: Longy Big Band Nature and Practice Performers Course: MA550 (1 credit) Course: MA509 (1 credit) Course: MA520 Instructor: Zaleski Rehearsals emphasize small-group Instructor: Blanco (2 credits) This ensemble will bring together all playing and listening, constant This class is specially designed to Longy students (including, but not instrumental experimentation improve the performer’s exclusive to the MAM department) (combinations as well as new understanding and mastery of interested in working within the techniques), and the creation of forms different rhythmic concepts and their instrumentation of the standard jazz and patterns to be followed in application on the musician’s big band (5 saxophones, 4 performances. Classes will stress instrument in various musical contexts. trombones,4 trumpets, rhythm listening, analyzing, and responding to The students will learn basic section). The title of the ensemble notated and improvised works by percussion techniques and speaking does not feature the word “jazz” as contemporary composers and rhythms, which they will later apply on many forms of the modern day big performers from 1950 to the present. their instruments. The course material band cross genres, where the Introductions to graphic scores, will be based on different rhythmic musicians in the band do not play the conceptual frameworks, and treatises approaches of a variety of world music same roles as they would in a by composers out of the fluxus, styles such as Mediterranean and “standard” big band. While “No minimalist, post-minimalist, and free Eastern European music, including jazz Boundaries” will certainly perform and improvisation fields will be made. Self- and classical genres. Students will study the styles of different “jazz” big composed performance games and learn different rhythmic approaches bands like the Duke Ellington band, structures will be designed by the and techniques by analysis and Thad Jones/Mel Lewis orchestra, the class. Evaluation of student progress transcription of music by Jelly Roll Buddy Rich band, and Count Basie considers participation, the ability to Morton, Thelonious Monk, McCoy orchestra, the course will also feature exhibit listening skills (to music and to Tyner, and others as well as by unique work with big band other ensemble members), and working with compositions by 20th- instrumentation by Longy faculty and initiative in preparing repertory and and 21st-century composers including selected guest artists. By working with designing improvisations. Notated Oliver Messiaen, Gyorgy Ligeti, Alberto guest artists, students will learn new chamber works may be assigned and Ginastera, Steve Reich, and Leo compositional thought processes as rehearsed alongside regular Blanco, the instructor. Offered Fall and well as different leadership skills in improvisation exercises. Spring Spring semesters. directing a band. Fall semester only. semester only. Basic Jazz Piano for MAM Lydian Chromatic Concept Instrumentalists Jazz Composition and Arranging Course: MA511 (2 credits) Course: MA521 Sequence Instructor: Schwendener Instructor: Cassino This two-semester sequence, required The first modal theory of vernacular This course will allow students to for MAM Composition majors, focuses Western music, the Lydian Chromatic acquire basic jazz piano skills, such as on a variety of elements of musical Concept emerged in 1945 from the the ability to play all chord types in all composition, including motivic- jazz tradition. The class presents and keys, and will explore chord voicing melodic, rhythmic, harmonic, explains the behavior of all tonal and substitution, different types of contrapuntal, and orchestration elements in an objective organization accompanying styles, and commonly techniques. It is likewise a survey of that ultimately embraces all of used modes (Dorian, Phrygian, etc.). historic jazz styles and the Western music. The textbook The Students will be required to compositional techniques derived from Lydian Chromatic Concept of Tonal accompany other these stylistic periods. Organization must be purchased by all instrumentalists/singers using their members of the class. Fall semester newly developed skills. Repertoire will Techniques of Jazz Composition only. include jazz standards such as those and Arranging found in the Real Book. Not open to Course: MA502 (2 credits) MAM Literature and Materials MAM pianists. Fall semester only. Instructor: Hopkins Sequence Prerequisite: Permission of instructor. This class teaches compositional and arranging techniques. Historical Survey of Contemporary Jazz Analysis: The Intersection of the Students are required to compose Music Composed and the Spontaneous and arrange music that Course: MA512 (1 credit) Course: MA523 (1 credit) demonstrates their understanding Instructor: Evans Instructor: Kohlhase of the various techniques being Offered: Fall semester only, Through analyzing ninety years of jazz taught in class. The specific areas alternate years (Fall 2016, Fall performances, students investigate the of composition will include various 2018, etc.) intersections of composition and concepts of form, traditional and extemporization that contribute to non-traditional notation, and the Analysis of Contemporary Music jazz. This class seeks to demystify jazz use of linear and vertical Course: MA513 (1 credit) composition and provide basic skills structures in tonal and non-tonal Instructor: Evans for both experienced jazz musicians music. The arranging component Offered: Spring semester only, and classical players who are will teach and develop skills for alternate years (Spring 2017, newcomers to jazz. Spring semester arranging music of diverse Spring 2019 etc.) only. instrumentation. The work of this class will be integrated with Historical Survey and Aesthetic MAM Performance Survey: Coltrane various MAM ensembles. Fall Foundations of Jazz Course: MA540 (2 credits) semester only. Course: MA514 (1 credit) Instructor: Zaleski Instructors: Evans/Lowe The Performance Survey class is an Jazz Composition in Focus Offered: Fall semester only, intensive study on one influential Course: MA552 (2 credits) alternate years (Fall 2017, Fall MAM-related artist. The class will be Instructor: Hopkins 2019, etc.) half lecture-oriented, and half- Students in this course will learn performance-based. Lectures will to compose music in a variety of Jazz Analysis include a historical survey, jazz styles, encompassing a wide Course: MA515 transcription and analysis of the swath of historical idioms, Instructor: Evans (1 credit) artist’s improvisations and compositional structures, and This four-semester sequence compositions, a look into other instrumentations. Spring semester examines American art music successful artists who have been only. from both an aesthetic and influenced by the artist featured in the historical perspective. Individual class, and projects that have students MAM Repertory Ensemble composers, musicians, and compose music in the style of the Course: MA601 (1 credit) improvisers and their works are featured artist. Spring semester only. Instructor: Kohlhase discussed in detail. Offered spring The MAM Repertory Ensemble reflects semester only, alternate years the diverse nature of the MAM (Spring 2018, Spring 2020, etc.) Department, pursuing a broad repertory. The size and

Longy School of Music of Bard College- 8 instrumentation of the ensemble will Students will be required to re-take movements from different sonatas. vary from semester to semester. any semester they do not pass. Class discussion will center on matters Offered Fall and Spring semesters. of style and harmonic language. May be repeated for credit. History of String Playing in Film and Through listening assignments and a Recording final written assignment, students will MAM Small Ensembles Course: HI505 (1 credit) also become more conversant in the Course: MA602 (1 credit) Instructor: King musical language of the composer and Instructors: Cassino/Faculty This course examines the earliest will be able to refer to specific works The MAM Department offers several recorded materials available by the composer not covered in the types of small jazz ensembles, demonstrating the major forces in class. Duos will be expected to including traditional, avant-garde, and string performance up through World rehearse outside of class. An in-class Latin ensembles. Offered Fall and War II. Spring semester only. Offered performance, coupled with a short oral Spring semesters. May be repeated for in alternate years (Spring 2017, Spring presentation on one movement will credit. 2019 etc.). Satisfies the Music History conclude the course. Open to graduate distribution requirement. students and to undergraduates with MAM Department Seminar permission of the instructor. Spring Course: MA612 (0.5 credit) Music and Politics semester only. Instructors: Cassino/Faculty Course: HI510 (1 credit) Longy faculty and other distinguished Instructor: Berman Survey of Symphonic Literature master teachers present lectures and This class will explore the rich history Course: HI530 (1 credit) master classes on performance and current manifestations of art being Instructor: Cohler practice and teaching methods of both used to deliver political messages— This course surveys the most improvised and notated music. Full- those both explicit and implicit. From important representative symphonic year course. May be repeated for Le nozze di Figaro to the symphonies repertory from each of the following credit. of Shostakovich, students will examine periods/schools: Classical, early music as a device of rhetoric, Romantic, late Romantic, Serialism, propaganda, and enacting political French Impressionism, Neo-classicism, MUSIC HISTORY & change. Coming full-circle to present and modern works of the last few INTERDISCIPLINARY STUDIES day, the class will include a project decades. Fall semester only. where students will re-score a current The four-semester music history political ad. Fall semester only. Winterreise in a New Light survey is required of all Longy Satisfies the Music History distribution Course: ID536 (1 credit) undergraduates. The final semester requirement. Instructor: Struss combines historical and analytical This course is designed to enable 21st- approaches to the repertory. History of Art Song century singers and pianists to Course: HI535 (1 credit) explore, in depth, the dramatic and Music History I: Medieval and Instructor: Moll musical possibilities of this work, to Renaissance A survey of western and eastern make the imaginative leap back into Course: HI201 (2 credits) European and North American Art the life, history, and sensibilities of Instructor: Montgomery Song from the mid-18th century to the Schubert’s 19th-century mind, and to Fall semester only. present. This course provides an in- interpret the songs in a new way for depth examination of composers and modern performers and audiences. Music History II: Baroque poets and the historical context in With support from the instructor, Course: HI202 (2 credits) which the art song genre has students in the class will take the lead Instructor: Montgomery flourished. Fall semester only. Offered in designing and implementing Spring semester only. in alternate years (Fall 2017, Fall 2019, concepts for the presentation of the Prerequisite: HI201 or permission etc.). cycle. Open to 12 singers and 6 pianists of instructor. by permission of the instructor. Open Music and Architecture to singers and pianists. Fall semester Music History III: Classical and Course: ID401 (1 credit) only. Romantic Instructor: Ausch Course: HI203 (2 credits) Music and architecture share common Improvisation as a Learning Tool for Instructor: Dudas concepts: structure, mass, rhythm, Singers Fall semester only. Prerequisite: time, gravity, proportion, and Course: ID537 (1 credit) HI202 or permission of the emotional impact. Many have studied Instructor: Ausch instructor. this parallel; the famous quote In this class, singers will explore the attributed to the German philosopher range of improvisation from the so- History of Musical Modernity Friedrich Schelling “architecture is called “free improvisation” (which Course: HI204 (2 credits) frozen music” is the starting point of defies any conventional structure or Instructor: Evans the course, which explores the style) to highly structured Spring semester only. aesthetic, philosophical and historical improvisation events around rhythmic Prerequisite: HI203 or permission connections between the two arts. motifs, melodic motifs, chord of instructor. Undergraduate only. Fall semester progressions, and modes. We will also only. explore repertoire in which Graduate History Review improvisation is assumed and required: Course: HI501 (0 credit) Research and Materials: The Musician jazz, cabaret, American Songbook, and Instructor: TBD in the Library musical theatre. Students will also be Master of Music students who do not Course: ID512 (2 credits) introduced to the improvisational pass the Music History Proficiency Instructor: Evans or Morrison vocal repertoire of John Cage, Exam will be enrolled in the Graduate This course prepares performers to Meredith Monk, Bobby McFerrin, History Review course beginning their write cogently and speak articulately Morton Feldman, Björk, and Pauline first semester. Successful completion about music, work with the tools of a Oliveros. Fall semester only. of this intensive full-year course will music research library, and acquire the satisfy the requirements for skills needed to become more European and American Cabaret proficiency in music history. The knowledgeable performers. Offered Course: ID540 (1 credit) course will be segmented into four Fall and Spring semesters. Instructor: Ausch modules, two each semester: (1) This course explores the historical Medieval and Renaissance through String and Piano Sonatas: evolution and repertoire of European about 1600; (2) Baroque music Course: ID525 (1 credit) and American cabaret and is intended through about 1750; (3) Instructor: Merfeld for singers and pianists who want to Classical/Romantic music through A one semester performance course widen their repertoire beyond about 1900; (4) Music in the 20th and surveying the string sonatas of a given traditional classical music into other 21st centuries. Assessment will be composer. While all movements of forms, such as cabaret. Repertoire will based on four non-cumulative exams selected sonatas will be performed include works by Guilbert, Piaff, Satie, at the end of each module, attendance, and coached in class, students will not Poulenc, Eisler, Weill, Schoenberg, participation, and regular quizzes on necessarily play one entire sonata, but Wedekind, Gershwin, Porter, Berlin, reading and listening assignments. will be assigned contrasting Sondheim, Blitzstein, Bolcom, Britten

Longy School of Music of Bard College- 9 and others. Each of the sessions will entrepreneurship, and execute a series the larger group for reflection and consist of two parts: the first half hour of projects that demonstrates who sharing of experiences. will contain a short historical lecture or they are as musician-entrepreneurs. discussion followed by one hour of Through case studies, guest speakers, OPERA performance similar to a master class. and group work, students will examine Opera Studio Spring semester only. Offered and practice core tenets of Course: OP501 (2 credits) alternate years. entrepreneurship and leave with a Instructor: Roll body of work they can add to their The Longy Opera Studio provides the American Songbook portfolio. Spring semester only. singing actor with training in acting Course: ID545 (1 credit) techniques and performance practices Instructor: Roll Portfolio Project for the lyric stage, character This class studies the great American Course: ID560 (1 credit) development, and audition techniques, musical repertoire beginning with early Instructor: Granados as well as musical coaching leading American song and vaudeville, At the heart of being an artist in toward a major performance of scenes continuing on to the great Broadway society is self-awareness and identity and operas. Offered Fall and Spring musicals of past and present, including and determining what you have and semesters. May be repeated for credit. Carousel, Oklahoma, Fiddler on the wish to say to the world. While Roof, West Side Story, The King and I, technology has made human Aria/Monologue Show Boat, South Pacific, and many interaction instant and quick, it also Course: OP521 (1 credit) more. We will also look at musicals presents the potential for social and Instructor: Roll with great vocal demands, musicals professional connections to be easily A class dedicated to the singing actor. that feature choreography, and rock dismissed. The power of the Using American theater monologue, and folk-rock musicals. A great part of individual, and his or her voice, singers study basic acting techniques the course will be devoted to the remains irreplaceable and strong. This through the exploration of the spoken songs of Cole Porter, Irving Berlin, class will enable students to develop word. This study is then applied to Rodgers and Hammerstein, Rodgers and sound their individual voice; they operatic literature. Offered Fall and and Hart, etc. Each week students will will create a resume, biography, Spring semesters. May be repeated for be assigned repertoire and will sing website, and artist statement, along credit. and be coached in class. All apprentice with other important supportive and young artist programs now ask for collateral (head shot, video and audio Opera History a Broadway selection, so this course samples). In addition, they will be Course: OP531 (1 credit) will be extremely helpful in preparing trained in public presentation, stage Instructor: Enman an audition package. Spring semester presence, and interview techniques. A survey of music-drama through the only. Offered alternate years. Open to MM students only. Offered modern era, this course is open to all Fall and Spring semesters. who appreciate the operatic 20th- and 21st-Century American Art experience and wish to trace its Songs Independent Study Project historical perspective. Full-year course; Course: ID546 (1 credit) Course: IS600 (1 credit) mid-year entrance by permission of Instructor: Struss Instructors: Faculty instructor. Offered in alternate years An in-depth exploration of the song Students may elect to engage in (2016–2017, 2018-2019, etc.). literature of 20th and 21st-century independent research for credit. Please America for singers and accompanists. see the student handbook for Breath and Movement for All All aspects of American art song complete description and guidelines. Disciplines literature will be explored, including Course: OP541 (1 credit) composers of the early 20th century, English as a Second Language Instructor: Roll prominent living composers, and Course: EL501 (3 credits) This class explores the study and use younger composers, particularly ones Instructor: Blackburn of breath in singing, speaking, and active in the Boston area. Spring The purpose of this course is to help playing an instrument. Students will semester only. non-native English speakers gain the learn to understand the physicality of ability and confidence necessary to breath in the body at rest and when Internship Program engage and succeed in academic engaged in movement. We will study Course: ID450/550 classes at Longy. The focus will be on the use of breath in phrasing, making The Longy Internship Program is an developing speaking, writing, reading, the student more secure interpretively exciting opportunity for students to listening, and comprehension skills. and emotionally. We will explore the gain real-world experience working Fall semester only. use of chi kung for control, relaxation closely with accomplished and strength. Students will learn to be professionals in the music world. In Curricular Practical Training (CPT) comfortable moving on stage for any 2016-17, two internships are available Course: PT411/PT611 (undergraduate/ type of performance. Fall semester at Boston Opera Collaborative, serving graduate)(0.5 credits) only. Offered in alternate years (Fall as primary assistants to the Executive Instructor: Chin 2017, Fall 2019, etc.). Director and Artistic Directors. F-1 international students must enroll Students will learn from this work in CPT in connection with off-campus Acting on the Operatic Stage experience and also by reflecting on employment. Course: OP542 (1 credit) how that experience relates to their Instructor: Roll other academic work and professional MUSIC PEDAGOGY A practical application of acting goals. Participation in this class is by techniques directed at the operatic application only and is limited to School wide Seminar: New singer, though open to other students graduate students (or undergraduate Approaches to Teaching as well. Spring semester only. Offered students with written permission from Course: MP510 (2 credits) in alternate years (Spring 2018, Spring their department chair). Interested Instructors: Ryczek/Faculty 2020, etc.). students should contact Ann Welch for This year-long, school-wide pedagogy application instructions. initiative combines three prongs of Ornamentation and Recitative inquiry. First, the course will explore Course: OP551 (1 credit) Tomorrow’s Musician: An Exploration the universal theories, components, Instructors: Yasuda of Entrepreneurship values, and facets of great teaching in This class is designed for singers who Course: ID535 seminar-style large-group sessions, wish to have knowledge of the Instructor: TBD with students from various fundamental skills of recitative singing. This course, taught by an expert in departments learning together. The class will cover recitatives of entrepreneurship, prepares musicians Second, the course will provide different periods and styles and will to think entrepreneurially about their focused investigation of the include improvisation, expression, and profession – to see themselves as pedagogical techniques unique to the phrasing in all relevant languages. The entrepreneurs, ready to enter a student’s instrument. Third, students course will also include ornamentation rapidly-changing musical landscape. will, under the guidance of a mentor of the Baroque period, focusing on Over multiple weekend-long teacher, teach in a practicum setting. Handel, Vivaldi, Rameau and others. intensives, students will explore what it The three prongs will be structured to Students will be given different means to be an entrepreneur, provide opportunity for initial inquiry, assignments at regular intervals investigate examples of practical teaching work, and rejoining throughout the semester. This course

Longy School of Music of Bard College- 10 satisfies the MM Improvisation Piano Literature interpretation, repertory, performance requirement. Spring semester only. Course: PI520 (2 credits) practice and analysis for advanced Instructor: Dudas string players. Full-year course. May be ORCHESTRA A survey of piano literature from the repeated for credit. keyboard music of J. S. Bach through Longy Conservatory Orchestra contemporary works. Full-year course; Solo Bach for Strings Course: ES401/ES601 mid-year entrance by permission of Course: ST506 (1 credit) (undergraduate/graduate) (1 credit) instructor. Instructors: Maiben/Faculty Instructor: Wang In a masterclass format, we will study The Longy Conservatory Orchestra is Art of Accompanying and perform the suites for required of all string, woodwind, and Course: PI530 (2 credits) unaccompanied cello and the sonatas brass students. Offered Fall and Spring Instructor: Amper and partitas for unaccompanied violin, semesters. May be repeated for credit. This course helps pianists hone their which Bach described as “senza basso skills in all areas of accompanying and accompagnato” - - “without ORGAN collaboration, based on the standard accompanying bass.” Using historical repertory of instrumental and vocal reproductions of baroque bows and Organ Department Seminar literature. Students prepare oral facsimiles of J.S.Bach’s autograph Course: OR412/OR612 presentations, accompaniments, and a scores and of Anna Magdalena’s fair (undergraduate/ graduate) (0.5 performance for the end for the copies, we will explore 18th-century credit) semester. Spring semester only. string style and performance practices Instructors: Faculty through dance forms, steps, and tempi; Longy faculty and other distinguished Harpsichord for Pianists articulation, ornamentation, phrasing master teachers present seminars, Course: PI535 and bowings suggested by the MS lectures, and master classes on Instructor: Montgomery sources; the role of the bass-line; and interpretation, repertory, and analysis. This is a course for experienced contemporaneous writings and solo Full-year course. May be repeated for keyboardists with little or no and ensemble works. A variety of credit. background in playing the harpsichord. pedagogical approaches supplement Because pianists often have the need analytical and creative projects, PIANO to play the harpsichord as well as to selected readings, and in-class demonstrate understanding of its coaching to illuminate our practice and Piano Skills repertoire and basso continuo performance of these remarkable and Course: PI301 (1 credit) practice, they will benefit from a essential works. Open to string players Instructor: Amper course that provides them with a from all departments. Fall semester An intensive study of score- and sight- broad foundation without the only. reading techniques, this course necessity of taking individual lessons. develops practical skills used by The class will address basic Orchestral Studies for Upper Strings pianists as collaborators, teachers, harpsichord technique and style using Course: ST521 (1 credit) accompanists, and general musicians. solo repertoire, as well as issues of Instructor: Bossert Full-year course. Offered in alternate ornamentation, accompanying, tuning, Students explore standard orchestral years (2016–2017, 2018–2019, etc.). and essential elements of baroque repertoire, focusing on problems of performance practice. While this will execution and style. Bowing technique, Piano Department Seminar not be a figured bass or continuo class, intonation, rhythm, tempo, and Course: PI412/PI612 it will include a general introduction to dynamics will be emphasized. Fall (undergraduate/ graduate) (0.5 those components and devote semester only. credit) substantial study to working from and Instructors: Faculty adapting editorial realizations of Orchestral Studies for Cello This class is coached jointly by continuo accompaniments in order to Course: ST522 (1 credit) members of the piano faculty and make them more stylish and informed. Instructor: King guests and focuses on the many Assignments will include short Students explore standard orchestral aspects of artistic performance. Full- readings and one position-paper essay repertoire, focusing on problems of year course. May be repeated for on an early keyboard performance execution and style. Bowing technique, credit. practice but will largely revolve around intonation, rhythm, tempo, and playing and listening. Fall semester dynamics will be emphasized. Fall Graduate Piano Review only. semester only. Course: PI501 (0 credit) Instructor: Hinton STRINGS Orchestral Studies for Double Bass Review of basic piano skills in Course: ST523 (1 credit) preparation for the Undergraduate Cello Ensemble Instructor: Delache-Feldman Diploma and Master of Music Course: ST401/ST601 Students explore standard orchestral proficiency examinations. Offered Fall (undergraduate/graduate) (1 credit) repertoire, focusing on problems of and Spring semesters. Instructor: King execution and style. Bowing technique, The unique quality of the cello’s range intonation, rhythm, tempo, and 20th-Century Piano Performance makes it the only string instrument dynamics will be emphasized. Fall Techniques capable of an orchestral palate, semester only. Course: PI505 (1 credit) inspiring many composers to write for Instructor: Amper cello ensemble: Villa-Lobos, Morton Classical Guitar Seminar This class will introduce pianists to the Gould, Lalo Schifrin, Wallingford Course: GU412/612 (undergraduate/ new techniques they may encounter in Riegger, Ezra Alderman and Alexandre graduate) (0.5 credit) 20th- and 21st-century piano music. Tansman easily come to mind. This Instructors: Faculty This will be a hands-on performance course is an intensive all-about-the- This course serves as a critical studio class, where all the class participants cello exploration of repertoire never and repertoire class, where students in will learn and practice extended encountered in the mainstream classical guitar studies will have the performance techniques that are often performance venues, leading to an opportunity to develop skills in called for in contemporary pieces but end-of-semester performance. The presentation, performance, and which are unfamiliar to most piano cello-only make-up of the group will communication. Students will work in students. The course will begin with intensify the learning on very specific three areas over the semester: “inside-the-piano” techniques such as levels of technique, musicianship skills, practicing performance skills in a stopped notes, pizzicato notes, and performance. Spring semester controlled environment, assessing and harmonics, bowing on piano strings only. May be repeated for credit. critiquing the work of others to with violin bow-hair. It will proceed to develop better communication a study of prepared piano techniques String Department Seminar abilities, and preparing and presenting and will conclude with a look at non- Course: ST412/ST612 (undergraduate/ projects related to performance, traditional contemporary piano graduate) (0.5 credit) pedagogy, and/or history of classical notation. Fall semester only. Instructors: Faculty guitar literature. An additional Longy faculty and other distinguished component of the course is the master teachers present seminars, establishment of regular and healthy lectures, and master classes on

Longy School of Music of Bard College- 11 instrumental practice habits. Full-year Through workshops, master classes, Spanish Song Repertoire course. May be repeated for credit. discussions, and presentations, this Course: VO533 (1 credit) course offers singers experience with a Instructor: Mastrodomenico wide range of topics relevant to vocal This course presents a survey of song TEACHING ARTIST PROGRAM performance including coaching, literature from Spain and South and stylistic interpretation, movement, Central America from approximately Teaching Artist Program dramatic presentation, auditioning, 1890 to 1950. Included will be Course: and career issues. Full-year course. composers such as Granados, de Falla, EE401/601(undergraduate/graduate) May be repeated for credit. Turina, Guridi, Mompou, Toldrà, (1 credit) Obradors, and Rodrigo. An Instructors: Hyman, Moore, or Spraker Introductory Diction for Singers, introductory review of Spanish lyric Required of all students, this course Accompanists, and Conductors diction will take place at the beginning includes active learning experiences, Course: V0521 (1 credit) of the course. The course will focus on discussions, foundational readings, and Instructor: Dellal Spanish style as well as performance interactive presentations. Students A course in the basics of phonetics idioms as they relate to folk music and explore and strengthen the skills and diction, using the International dance rhythms. Students will also have required to engage and communicate Phonetic Alphabet (IPA) to examine the possibility to learn one zarzuela with audiences of all ages and the sounds of Italian, French, German, aria and explore this genre’s origins. backgrounds and are challenged to and English and apply them to the Counts towards performance think more deeply and broadly about texts of songs and arias. Full-year requirement for MM voice majors. Fall music, its role in society, their career course. Fall: Italian and French; Spring: semester only. Offered in alternate options, and how artists can create English and German. years (Fall 2017, Fall 2019, etc.). social change. Offered Fall and Spring semesters. Intermediate Diction for Singers, Opera Workshop for Singers and Accompanists, and Conductors Pianists VOICE Course: V0522 (1 credit) Course: VO535 (Fall, 1credit) and Instructor: Moll VO545 (Spring, 1 credit) Vocal Coaching A course for those who have a Instructors: Dudas/Mastrodomenico Course: VC400/VC500 background in diction and IPA. The This course is designed to assist the (undergraduate/graduate) (1 credit) elements of IPA are reviewed as well graduate singer and pianist with Instructors: Dudas, Enman, Moll, as sounds of Italian, French, German, developing the necessary skills for Yasuda and English along with applying them score reduction reading, marking and Singers work on interpretation, diction to the texts of songs and arias. Full- preparing the singer’s opera score, and and overall musicianship in individual year course. Fall: English and German. ultimately singing or playing the sessions with a faculty pianist/coach. Spring: Italian and French. Prerequisite: audition. Singers and pianists will be May be repeated for credit. VO521 or permission of the instructor. introduced to standard operatic repertoire. Pianists will be coached on Vocal Arts Performance Class Advanced Diction for Singers, playing orchestral reductions Course: VO205 (1 credit) Accompanists, and Conductors effectively and will work on strategies Instructor: Moll Course: V0621 (1 credit) for ensemble rehearsal as well as This undergraduate class provides Instructors: Moll/Dellal soloist coaching for audition or public singers and pianists experience in An advanced course in the elements of performance. Singers will be coached performing songs and arias and in phonetics and diction, using the in stage movement, preparation of using basic tools for learning about International Phonetic Alphabet (IPA) operatic arias, and ensembles, as well major areas of vocal repertory. Full- to examine the sounds of Italian, as audition techniques. Discussion of year course; mid-year entrance by French, German, and English and apply operatic style, traditions, and plot permission of instructor. May be them to the texts of songs and arias. study will accompany the covered repeated for credit. Fall: English and German. Spring: repertoire. A public performance of Italian and French. Full-year course. staged scenes and arias will conclude Chorus Prerequisite: permission of the the class. Offered Fall and Spring Course: VO401/VO601 instructor. semesters. May be repeated for credit. (undergraduate/graduate) (1 credit) Instructors: Dudas Art Song Repertory for Singers and Seminar in Oratorio Literature The repertoire for four-part chorus will Pianists Course: VO543 (1 credit) be rehearsed and performed. Special Course: VO531 (1 credit) Instructor: Turner focus will be given to the part songs of Instructors: Moll This course examines standard Haydn, Mendelssohn, and Brahms. A graduate-level overview of North representative sacred and secular Auditions will be held in the fall of American and European song for oratorio repertoire, focusing on style, 2016. Spring only. singers and pianists, this course performance practice, and placing surveys the major areas of song works in a historical and textual Vocal Ensembles literature over a two-year cycle. Full- context. Periods of study will include Course: VO402/VO602 year course. May be repeated for the Baroque through contemporary (undergraduate/graduate) (1 credit) credit. arias for solo voice, as well as some Instructors: Faculty small ensemble work. Representative Vocal Ensembles, Longy’s vocal 19th- and 20th-century French Mélodie composers include but are not limited chamber music program, develops Course: VO532 (1 credit) to Bach, Handel, Mendelssohn, Purcell, strong ensemble singing skills for Instructor: Ryczek Mozart, Harbison, and MacMillan. undergraduate and graduate voice 19th and 20th century French Mélodie Counts towards performance majors. Students are assigned will combine the social, political, along requirement for MM voice majors. appropriate repertoire, ranging from with the visual and aural arts in an Prerequisite: diction/knowledge of vocal chamber music with piano overview from the start of the 2nd IPA. Spring semester only. and/or other instruments to partsongs Empire, 1852, culminating with the with four to eight singers. Students are music of Les Six and Messiaen. The WOODWINDS AND BRASS coached by a faculty member, class will share in viewing how the expected to rehearse as a group composer, poet and artist functioned Woodwinds and Brass Department outside of class, and participate in an in their particular time period and Seminar end-of-the-semester concert. All social sphere. Artwork is viewed in Course: WB412/WB612 members of the class meet as a group class and paired with the music and (undergraduate/ graduate) (0.5 approximately three times per poetry of the time. Recordings will be credit) semester. Fall semester only. May be used to cover literature not capable of Instructors: Montilla/Faculty repeated for credit. being presented by the class members This course examines issues of in class time performance. Open to repertory, performance practice, and Voice Department Seminar both singers and collaborative pianists. auditions central to the education of Course: VO412/VO612 Fall semester only. Offered in alternate wind players. Full-year course. May be (undergraduate/graduate) (0.5 credit) years (Fall 2016, Fall 2018, etc.). repeated for credit. Instructors: Faculty

Longy School of Music of Bard College- 12 Orchestral Repertoire for Woodwinds and Brass Course: WB522 (1 credit) Instructor: Granados This performance class focuses on major orchestral repertory and playing techniques for the woodwind and brass sections of the orchestra and addresses orchestral auditions for wind players. Fall semester only. May be repeated for credit. -

Longy School of Music of Bard College- 13