Music
Office: 105 Skinner Hall, Website: music.vassar.edu,
Phone: (845) 437–7319, e–mail: music@vassar.edu
Professors: Todd Crow (Chair), Annea Lockwoodab,
Blanca Uribe, Richard Wilsonb; Associate Professor:
Brian Manna; Assistant Professor: Michael Pisania;
Visiting Assistant Professor: Charles Kamm; Adjunct Instructor:
Judith Casselberry*; Lecturers: Charles Barbour*, Cheryl
Bishkoff*, Ronald Carbone*, Arthur D. Champlin III*, Merellyn Gallagher*,
Luis Garcia–Renart*, Larry Guy*, Betty–Jean Hagen*, Karen
Holvik*, Kathryn Libin*, Dana McCurdy*, Drew Minter*, Eduardo Navega*,
James R. Osborn*, Robert Osborne*, Linda Quan*, Maria Rivera–White*,
Rebecca Rosenbaum*, Thomas Sauer, John Solum*, Viviane Thomas*, Huguette
van Ackere*.
Requirements for Concentration: 13 units of graded work, including
Music 105/106, 146/147, 205, 206, 207, 208; one of the following: Music
210, 211; two of the following: Music 232, 234, 236; 2 additional units
from history and theory courses which may include not more than one
of the following: Music 202, 212, 213, 214, 231, 238; and 11/2
units of performance in the same instrument.
Senior–Year Requirements: 2 units at the 300–level,
at least one of them in history or theory.
Requirements for Alternative Concentration in Performance: 13
units of graded work, including Music 105/106, 146/147, 205, 206, 207,
208; one of the following: 210, 211; two of the following: Music 232,
234, 236; 1/2 unit of ensemble; 3 units of performance
in the same instrument.
Senior–Year Requirements for Alternative Concentration in Performance:
A recital (302a or b) and 11/2 units of performance
at the 300–level. During the semester of the recital, the private
lessons must be for 1/2 rather than for 1 unit.
After declaration of major, no work taken NRO may be used to fulfill
requirements for either concentration.
Recommendations: A reading knowledge of at least one of the
following foreign languages: German, French, Italian. German is strongly
recommended. Students planning to concentrate in music will normally
elect Music 105/106 in the freshman year and 146/147 in the sophomore
year. Majors are encouraged to audition for membership in one of the
choral or instrumental organizations sponsored by the department.
Correlate Sequence in Music History: 7 units including Music
105/106 (Harmony), 146/147 (Music History); 2 units of the following:
Music 232, 234, 236 (Period Courses); and 1 unit of the following: Music
320, 340 (Seminars).
Correlate Sequence in Music Theory: 7 units including Music
105/106 (Harmony, Music 205 (Advanced Harmony), Music 215 (Composition),
Music 210, 211 (Counterpoints), and Music 399 (Independent Work for
1 unit).
Correlate Sequence in Music Composition: 7 units including Music
105/106 (Harmony), Music 215/216 (Composition I), Music 219/220 (Electronic
Music), Music 315 (Composition II).
Correlate Sequence in Music and Culture: 7 units including Music
140/141 and 4 units of the following: Music 201 (Opera), Music 202 (Black
Music), Music 212 (World Musics), Music 213 (American Music), Music
214 (History of Jazz), Music 231 (Women Making Music), Music 238 (Music
in Film), and Music 399 (Independent Work for 1 unit).
Advisers: The department.
History and Theory
I. Introductory
101a and b. Fundamentals of Music (1)
A beginning study of the elements of music including notation, rhythm
and meter, scales and modes, intervals, melody, chord progression, musical
terms, and instruments. To facilitate reading skills, class exercises
in ear training and sight singing are included. May not be counted in
the requirements for concentration.
Open to all classes. Previous musical training unnecessary.
105a/106b. Harmony (1)
A study of tonal harmony as found in the music of the eighteenth and
nineteenth centuries. Primary emphasis is on writing, including harmonization
of bass lines and melodies; analysis of representative examples and
ear training.
Open to all classes.
Prerequisite: each student must demonstrate to the instructor a familiarity
with treble and bass clef notation, scales, and basic rhythmic notation.
140a, 141b. Music as a Literature (1)
A study of selected topics in the history of Western music. Topics
dealt with in recent years include: nineteenth–century Italian
and German opera, the development of the symphony, musical responses
to World War II, influences of the Middle East in Western music, and
the depiction of creative musicians in well–known film biographies.
Open to all classes. Previous musical training not required. May not
be counted in the requirements for concentration.
Two 75–minute periods with an additional section hour.
146a/147b. The History of Western Music (1)
An introduction to the history of Western music from the Middle Ages
to the present for those who can read music and are familiar with musical
terminology.
Open to all classes.
Three 50–minute periods with an additional section hour.
II. Intermediate
[201a. Opera] (1)
Changing approaches to the drama in music from 1600 to the present.
Prerequisite: 1 unit in one of the following: art; drama; Italian,
French, German, or English literatures; music; or by permission. May
not be counted in the requirements for concentration.
Alternate years: not offered in 2001/02.
202a and b. Black Music (1)
(Same as Africana Studies 202) An analytical exploration of the music
of certain African and European cultures and their adaptive influences
in North America. The course examines the traditional African and European
views of music performance practices while exploring their influences
in shaping the music of African Americans from the spiritual to modern.
205b. Advanced Harmony (1)
A continuation of Music 105/106, using more complex harmonic resources
and analyzing more extended works.
Prerequisite: Music 105/106 or by permission.
206a. Basic Musicianship I (1/2)
Class exercises in ear training, sight singing, dictation, rhythm,
clef reading, and elementary conducting.
Prerequisite: Music 105/106 or by permission.
207b. Basic Musicianship II (1/2)
A continuation of Music 206 with the addition of such keyboard skills
as figured bass realization, improvised accompaniment, and score reading.
Prerequisite: Music 206.
208a. Basic Musicianship III (1/2)
A continuation of Music 207, developing aural and keyboard skills to
a high degree of proficiency.
Prerequisite: Music 207.
210a. Modal Counterpoint (1)
A study, through analysis and written exercises, of contrapuntal techniques
of the sixteenth century.
Prerequisite: Music 105/106 or by permission of instructor.
Alternate years: offered in 2001/02.
[211a. Tonal Counterpoint] (1)
A study, through analysis and written exercises, of contrapuntal techniques
of the eighteenth century.
Prerequisite: Music 105/106 or by permission of instructor.
Alternate years: not offered in 2001/02.
212. World Musics (1)
(Same as Anthropology 212) Studies in non–European musical cultures.
Prerequisite: 1 unit in one of the following: anthropology, Asian Studies,
music, religion, or by permission of instructor.
Alternate years: offered in 2001/02.
[213b. American Music] (1)
The study of folk, popular, and art music in American life from 1700
to the present and their relationship to other facets of America's historical
development and cultural growth.
Prerequisite: 1 unit in one of the following: music; studies in American
history, art, or literature; or by permission of instructor.
Alternate years: not offered in 2001/02.
214. History of American Jazz (1)
An investigation of the whole range of jazz history, from its beginning
around the turn of the century to the present day. Among the figures
to be examined are: Scott Joplin, "Jelly Roll" Morton, Louis
Armstrong, Bessie Smith, Duke Ellington, Fletcher Henderson, Count Basie,
Thomas "Fats" Waller, Charlie Parker, Dizzy Gillespie, Thelonious
Monk, Charles Mingus, and Miles Davis.
Prerequisite: 1 unit in one of the following: music, studies in American
history, art, or literature; or by permission of instructor.
Alternate years: offered in 2001/02.
215a/216b. Composition I (1)
Creative work in twentieth–century idioMs. Analysis of selected
works; study of instrumental resources.
Prerequisite: Music 105/106 or by permission of instructor.
If a senior project in composition is planned, the student should elect
Music 215/216 in the sophomore year and Music 315/316 in the junior
year.
219a/220b. Electronic Music (1)
A practical exploration of electronic music, composition, and production
techniques, inluding tape recording and manipulation, analog synthesis,
MIDI sequencing, digital synthesis, sampling, digital recording and
editing, signal processing and mixing. Compositional and creative aspects
will be emphasized with extensive lab time provided for student projects.
Prerequisite: by permission of instructor.
[231b. Women Making Music] (1)
(Same as Women's Studies 231b) A study of women's involvement in Western
and non–Western musical cultures. Drawing on recent work in feminist
musicology and ethnomusicology, the course studies a wide range of musics
created by women, both past and present. It explores such issues as
opportunity for public performance, and access to training, production
and distribution channels.
Prerequisite: one unit in music, or women's studies, or by permission
of instructor.
Alternate years: not offered in 2001/02.
[232a. Studies in Music of the Medieval/Renaissance Periods] (1)
There are two options for this course: topics in the musical style
of the Middle Ages (monophonic and polyphonic genres to 1450) or in
the styles of the fifteenth and sixteenth centuries (Latin and vernacular
forms). May be repeated for credit if the topic has changed.
Prerequisites: Music 146/147 or by permission of instructor.
Not offered in 2001/02.
234a. Studies in Music of the Baroque/Classical Periods (1)
There are two options for this course: topics in music from 1600 to
1750 (the Italian stile moderno and its dissemination) or in
the music of the early eighteenth century through the early nineteenth
century (Haydn, Mozart, and Beethoven). May be repeated for credit if
the topic has changed.
Topic for 2001/02: Baroque.
Prerequisites: Music 146/147 or by permission of instructor.
236b. Studies in Music of the Nineteenth/Twentieth Centuries (1)
There are two options for this course: topics in the musical style
of the nineteenth century or from the late nineteenth century to the
present. May be repeated for credit if the topic has changed.
Topic in 2001/02: Twentieth Century.
Prerequisites: Music 146/147 or by permission of instructor.
238b. Music in Film (1)
(Same as Film 238b) A study of music in the cinema from 1895 to the
present. The course focuses on the expressive, formal, and semiotic
functions that film music serves, either as sound experienced by the
protagonists, or as another layer of commentary to be heard only by
the viewer, or some mixture of the two. Composers studied range from
Prokofiev, Copland and Waltonknown best for their non–film scoresto
Tiomkin, Rozsa, Steiner and Herrmannspecialists in the field. Contemporary
figures like John Williams and Danny Elfman are considered.
Two 75–minute periods, plus additional film screenings
Prerequisites: one course in music (not performance) or film.
Alternate years: offered in 2001/02.
290a or b. Field Work (1/2 or 1)
298a or b. Independent Work (1/2 or 1)
Special projects in theory, history, or performance which supplement
the curriculum.
Open to qualified students with permission of department.
III. Advanced
302a or b. Senior Project (1/2)
A paper, composition, or recital. Proposals for the project must be
submitted for departmental approval by the end of the junior year.
315a. [316b.] Composition II (1)
Further work in original composition; analysis of examples illustrating
current practice.
Permission of the instructor required; qualification to be determined
by submission in advance of original work.
Prerequisites: Music 105/106 and 215/216 or equivalent.
320b. Seminar (1)
Seminar concentrating on the work of one composer.
Prerequisites: Music 105/106; 146/147; any two of the following: Music
232, 234, 236; or by permission of instructor
[340a. Advanced Studies in the History of Music] (1)
An analysis of selected compositions from various periods of music
history.
Prerequisites: Music 105/106; 146/147; any two of the following: Music
232, 234, 236; or by permission of instructor.
Not offered in 2001/02.
381b. The Decadent Imagination at the Fin de Siècle (1)
(Same as College Course 381b.)
399a or b. Senior Independent Work (1/2 or
1)
Special projects in theory, history, or performance which supplement
the curriculum.
Open to qualified students with permission of department.
Performance
Auditions are required for both credited and uncredited study and are
arranged at the beginning of each semester for students who register
for the desired course. Each course in performance includes a program
of literature suited to the individual student, and requires a reasonable
improvement in technical proficiency and interpretative understanding
for continuation.
Correlative courses in theory or history (see Individual Instruction
below) should be begun as early as possible, but no later than the third
semester of credited study.
Enrollment is limited in each area of instruction. Music majors and
students studying for credit are given preference. Beginners are accepted
as schedules permit.
Fees: See section on fees. Scholarships to cover charges are
made available through the Office of Financial Aid and are granted only
for credited study. Individual instruction is given as follows:
Piano (060, 160, 260, 360): Mr. Crow, Ms. Rivera–White,
Mr. Sauer, Miss Uribe.
Organ (061,161, 261, 361): Mrs. Gallagher.
Harpsichord (062, 162, 262, 362): Mrs. Gallagher.
Voice (063, 163, 263, 363): Ms. Holvik, Mr. Minter, Mr. Osborne,
Ms. Rosales, Ms. Thomas.
Violin (064, 164, 264, 364): Ms. Hagen, Ms. Quan.
Viola (065, 165, 265, 365): Mr. Carbone.
Violoncello (066, 166, 266, 366): Mr. Garcia–Renart, Ms. Seligman.
Double Bass (067, 167, 267, 367): Mr. Pappas.
Classical Guitar (068, 168, 268, 368): Mr. Champlin.
Harp (069, 169, 269, 369): Mr. Owens.
Flute (070, 170, 270, 370): Mr. Solum.
Oboe (071, 171, 271, 371): Ms. Bishkoff.
Clarinet (072, 172, 272, 372): Mr. Guy.
Bassoon (073, 173, 273, 373): Ms. Romano.
French Horn (074, 174, 274, 374): Mr. Karr.
Trumpet (075, 175, 275, 375): Mr. Osborn.
Trombone (076, 176, 276, 376): Mr. Bellino.
Tuba (077, 177, 277, 377): Instructor to be announced.
Percussion (078, 178, 278, 378): Mr. Barbour.
Other Instruments (079, 179, 279, 379): Instructor to be announced.
Note: Performance levels are described under numbers 000, 100,
200, 300. Credited instruction in piano, for example, should be elected
as 160; whereas uncredited study should be elected as 060.
The department will attempt to arrange instruction in certain instruments
not listed above. Students wishing such instruction should consult with
the chair of the department.
Individual Instruction
000a, b. Performance (0)
Uncredited lessons.
Open to all classes by audition.
One 50–minute period. Unscheduled.
100a, b. Performance (1/2)
Open to all students who have passed the audition or upon recommendation
of the instructor.
A corequisite course in theory or history is strongly recommended.
One 50–minute period. Unscheduled.
200a, b. Performance (1/2)
Prerequisite: two semesters of credited study in this instrument. Corequisite:
one course per semester in theory or history is required unless two
such courses have previously been completed.
One 50–minute period. Unscheduled.
300a, b. Performance (1/2 or 1)
Prerequisite: four semesters of credited study in this instrument.
One 50–minute period. Unscheduled.
Full unit available only for the alternate concentration in performance.
380a, b. Performance (1/2 or 1)
Prerequisite: six semesters of credited study in this instrument.
One 50–minute period. Unscheduled.
Ensembles
In the following five ensembles (jazz ensemble, orchestra, choir, and
Madrigal Singers) the first semester is an uncredited prerequisite for
the second: credited study is offered only in the second semester. Students
wishing to enroll for credit in the second semester (the 150 series)
must register for the uncredited prerequisite (the 050 series) in the
first semester. No student may exceed 2 units of credit in his or her
four years at Vassar. Membership is open to all classes and assumes
a full year commitment. Admission is by audition. May be counted in
performance requirements for concentration in music only as specified
under Alternative Concentration in Performance.
050a, 051b, 151b. Jazz Ensemble (0 or 1/2)
The jazz ensemble performs literature ranging from the Big Band Era
to jazz–rock fusion. Improvisation and ensemble playing in a jazz
style are featured. Mr. Osborn.
One meeting per week.
052a, 053, 153. Orchestra (0 or 1/2)
The 50–member orchestra performs masterworks of the symphonic
literature. Mr. Navega.
Open to all students by audition.
Two meetings per week.
054a, 055b, 155b. Women's Chorus (0 or 1/2)
The Women's Chorus is an ensemble of 30–50 women that studies
and performs repertoire from the medieval period to the present. The
ensemble presents concerts on campus, and occasionally travels to perform
with other choirs.
Open to all students by audition. Ms. Rosenbaum.
Two 2–hour meetings per weeki.
056a, 057b, 157b. Choir (0 or 1/2)
The choir is a mixed ensemble of between 40 and 60 voices that studies
and performs choral/orchestral and a cappella literature for
a larger chorus from the Renaissance through the present. The choir
performs on campus and occasionally makes concert tours. Mr. Kamm.
Open to all students by audition.
Two 2–hour meetings per week.
058a, 059b, 159b. Madrigal Singers (0 or 1/2)
The Madrigal Singers is a select mixed ensemble of between 10 and 20
voices which studies and performs literature for solo and chamber vocal
ensemble. Mr. Kamm.
Two 2–hour meetings per week.
251a, b. Chamber Music (1/2)
The study and performance of selected works from the ensemble repertoire
of instrumental or vocal mediums or their combinations. Mr. Garcia–Renart.
Open to qualified students with the permission of the instructor. No
student may exceed 2 units of this credit in his or her four years at
Vassar. May be counted in performance requirements for concentration
in music only as specified under the alternative concentration in performance.
No fee.
One 50–minute period. Unscheduled.
254a or b. Opera Workshop (1/2)
The study and performance of selected operatic repertoire. Open to
qualified students by audition.
No student may exceed 2 units of this credit in his or her four years
at Vassar. May be counted in performance requirements for concentration
in music only as ensemble credit specified under alternative concentration
in performance.