Elective Courses
Composition Seminars
Rodney Lister, Instructor
These classes give students the opportunity to develop technique in original
composition. Compositions are performed and discussed in class. Performances
are arranged at workshops and student composition recitals.
Saturday, 9:00–10:00 a.m., 10:00–11:00 a.m.
Developing Perfect Pitch
Alla Elana Cohen, Instructor
This class will explore methods for developing perfect pitch. Exercises will
help your ear discover new values within each musical tone and perceive
deeply the individuality of every key, interval, and chord, depending on the
pitches it comprises.
Time TBA by coordination with instructor.
The Western Musical Experience
Andrea Olmstead, Instructor
A historical survey of Western Music illustrated through selected repertoire. Students are introduced to Medieval, Renaissance, and Baroque music in the fall semester and Classical, Romantic, and Modern in the spring. Emphasis is placed on listening, style analysis, and discussion. One paper is required each semester. A prerequisite for the class is the successful completion of Theory Level II or the permission of the instructor.
Saturdays: 2:00–3:00 p.m. or TBA
Text*: Barbara Russano Hanning, Concise Hstory of Western Music, 3rd ed. plus Burkholder/Palisca, Norton Anthology of Western Music, volumes 1 and 2, 5th ed.
Composition for Performers
Larry Bell, Instructor
A course designed to introduce the basic techniques of composition to performing musicians. Composition will be directed and motivated by a series of highly focused exercises. Each exercise grows out of the nature of the materials of music in relation to instrumental or vocal idioms. Students will perform their works in class four times each semester. A prerequisite for the class is the successful completion of Theory Level II or the permission of the instructor.
Saturdays: 9:00–10:00 or TBA
Text*: Bell, Larry A Workbook for Composition.
Fundamentals of Improvisation
Jeffrey Goldberg, Instructor
Designed for classical musicians as part of their overall musicianship education, this course combines group work on improvisation techniques with specific projects tailored to individual students, based on their repertoire, experience, musical strengths and challenges. Integrating the disciplines of music theory and performance, the course is designed to help students nourish their own creativity, and give them tools for their music practice in general. Though there will be highlighted focused performance opportunities (recitals, contemporary music weekend), an equal emphasis of the class will be on inclass exploration, as individuals and as a group, of the following:
• further development of the ear: memorization, pitch-matching, harmonicmelodic implications, ensemble improvisations
• ornamentation and embellishments (in Baroque, Classical, Romantic, contemporary styles)
• cadenzas
• harmonization of melodies (Schubert melodies, folksongs, selected passages from students’ repertoire)
• harmonic realization (figured bass to fakebooks)
• dramatic characterizations (in both tonal and atonal improvisations)
• patterned improvisations (rhythmic, modal, passacaglia, blues, etc.)
• mind/body techniques for improvisation, practice, rehearsal, performance Saturday, 9:00–10:00 a.m.
Spontaneous Craft: Improvisation and Composition for Instrumentalists and Singers across Musical Styles
Jeffrey Goldberg, Instructor
From cadenzas to characterpieces, figured bass to fakebooks, the goal of this class
is to develop self-expression, to expand and develop the vocabulary of the ear, to
deepen understanding of stylistic and dramatic musical possibilities and how many
different kinds of music breathe and move. Both vocally and with instruments,
participants will explore melodic, harmonic, rhythmic improvisations and
compositions in a variety of styles, genres, and cultural traditions. Through
games, exercises, short assignments, and references to pieces they are currently
working on as performers, students will consider the local and large-scale musical
choices faced by composers and improvisers, the subtleties, implications, and
limits of notation. Twice a semester, class works-in-progress will be featured in a
small concert. Prerequisites: Theory levels 1 and 2, or equivalent. 15 weeks.
Saturday, 10:00–11:00 a.m. (plus an additional section TBA)