The music curriculum is designed to deepen understanding of musical form and expression through development of skills in composition and performance joined with analysis of musical works and their place in various cultures. A major in music provides a foundation for further study leading to a career in music.
The composition/theory program stresses proficiency in aural, keyboard and vocal skills, and written harmony and counterpoint. Composition following important historical models and experimentation with contemporary styles are emphasized.
The musicology program, which emphasizes European, North American, and Asian traditions, considers music in the rich context of its social, religious, and aesthetic surroundings.
The performance program offers opportunities to participate in the Haverford-Bryn Mawr Chamber Singers, Chorale, Orchestra, and ensembles formed within the context of Haverford’s chamber music program. Students can receive academic credit for participating in these ensembles (Music 102, 214, 215, 216, and 219), and can receive credit for Private Study (Music 208, 209, 210) in voice or their chosen instrument.
The Music Department Guest Artists Series presents distinguished and emerging performers in public concerts, master classes, lecture-demonstrations, reading sessions, and informal encounters. Among artists recently featured have been Native American flutist Mary Youngblood, the Cuarteto Latinoamericano, pianist Charles Abramovic, violinist Arnold Steinhardt, the Network for New Music, and the American String Quartet. The William Heartt Reese Music Fund was established in 1977 to honor William Heartt Reese, professor of music and conductor of the glee club and orchestra at Haverford from 1947 to 1975. The fund supports applied music lessons for students enrolled in the department’s private study program. The John H. Davison ’51 Fund for Student Composers supports new works by student composers. This fund recognizes John’s 40 years of teaching and musical creativity at Haverford. The Orpheus Prize is awarded for exceptional achievement in the practice of tonal harmony. The Kessinger Family Fund for Asian Performing Arts sponsors musical performances and lecture-demonstrations that enrich Haverford’s cross-cultural programs. Since its inception in 1997, the fund has sponsored visits by artists representing traditions of South, Central, and East Asia, and Indonesia.
Ruth Marshall Magill Professor Curt Cacioppo (on leave Spring 2008)
Professor Richard Freedman (on leave 2007-08)
Associate Professor Ingrid Arauco, Chair (on leave Fall 2007)
Associate Professor and Director of the Haverford-Bryn Mawr Orchestral Program Heidi Jacob
Associate Professor and Director of the Haverford-Bryn Mawr Choral Program Thomas Lloyd
Visiting Assistant Professor David Kasunic
Visiting Instructor Christine Cacioppo
- Theory-composition: 203a, 204b, 303a.
- Musicology: three courses chosen from 221a, 222b, 223a, 224b, 325a or b.
- Two electives in music, chosen from: 207a or b, 221a, 222b, 223a, 224b, 227a, 228a, 250a or b, 251a or b, 265a or b, 266b, 304b, and 325a or b.
- Performance: participation in a department-sponsored performance group is required for at least a year. Music 208, 209, or 210f,i instrumental or vocal private study for one year. Continuing ensemble participation and instrumental or vocal private study are strongly urged.
- An additional full credit course equivalent is required of music majors in their senior year. The senior experience in music may be fulfilled through an independent study project (usually a composition, performance, or research paper pursued in the context of Music 480) or through enhancement of a regular advanced course offering to include an independent study component. The format of the senior experience will be determined prior to the beginning of the student’s senior year, after consultation with the department.
- Majors are expected to attend the majority of department-sponsored concerts, lectures, and colloquia.
- Theory-Composition: 203a, 204b
- Musicology: two courses chosen from 221a, 222b, 223a, 224b.
- One elective chosen from: 207a or b, courses not already taken in fulfillment of requirement two, 228a or b, 250a or b, 251a or b, 265a or b, 266b, 303a, 304b, 325a or b
- Music 208, 209, 210f,i instrumental or vocal private study or department ensemble participation for oneyear. Continuing ensemble participation and instrumental or vocal private study are strongly urged.
Substitutions for Haverford College courses in fulfillment of the major or minor in music must be approved in advance by the music department.
Departmental Honors or High Honors will be awarded on the basis of superior work in music courses combined with exceptional accomplishment in the senior experience.
- 110 Musicianship and Literature HU
Intensive introduction to the notational and theoretical materials of music, complemented by work in sight-singing and keyboard harmony. Discussion of musical forms and techniques of melody writing and harmonization; short projects in composition.
- 203 Tonal Harmony I HU
The harmonic vocabulary and compositional techniques of Bach, Haydn, Mozart, Beethoven, Schubert, and others. Emphasis is on composing melodies, constructing phrases, and harmonizing in four parts. Composition of minuet and trio, set of variations, or other homophonic piece is the final project. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 110 or consent of instructor.
- 204 Tonal Harmony II HU
Continuation of Music 203, introducing chromatic harmony and focusing on the development of sonata forms from the Classical through the Romantic period. Composition of a sonata exposition is the final project. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 203.
- 265 Symphonic Technique and Tradition HU
In this course, we will be familiarizing ourselves with significant orchestral repertory of the past three centuries, learning to read the orchestral score, studying the capabilities of various orchestral instruments and how they are used together, and tracing the evolution of orchestral writing and orchestral forms from the Classical period to the present. Short exercises in scoring for orchestra; final project is a presentation on a major orchestral work of your choice. Prerequisite: Music 203.
- 266 Composition HU
An introduction to the art of composition through weekly assignments designed to invite creative, individual responses to a variety of musical ideas. Scoring for various instruments and ensembles; experimentation with harmony, form, notation and text setting. Weekly performance of student pieces; end-of-semester recital. Prerequisite: Music 204 or consent of instructor.
- 303 Advanced Tonal Harmony HU
Study of late nineteenth-century harmonic practice in selected works of Liszt, Wagner, Brahms, Faure, Wolf, Debussy, and Mahler. Exploration of chromatic harmony through analysis and short exercises; final composition project consisting of either art song or piano piece such as nocturne or intermezzo. Musicianship lab covers related aural and keyboard harmony skills. Prerequisite: Music 204.
- 304 Counterpoint HU
18th century contrapuntal techniques and forms with emphasis on the works of J. S. Bach. Canon; composition of two-part invention; fugal writing in three parts; chorale prelude; analysis. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204.
- 102 Chorale HU
Chorale is a large mixed chorus that performs major works from the oratorio repertoire with orchestra. Attendance at weekly two-hour rehearsals and dress rehearsals during performance week is required. Prerequisite: Audition and consent of the instructor.
- 107 Introductory Piano HU
Music 107 is an introduction to music and the art of playing the piano. The course consists of a weekly hour long session on Tuesday evenings (lecture, directed listening, or playing workshop) plus an individual lesson of 20 minutes at an arranged time. A short paper on the listening assignments is required, as is playing on the class recital at the end of the term (these together will comprise the final exam). Enrollment limited to 16 students (5 spaces for majors/minors).
- 207 Topics in Piano HU
Prerequisite: Audition and consent of instructor.
- 208 Private Study: Instrumental HU
All students enrolled in the private study program should be participating in a departmentally directed ensemble or activity (Chorale, Orchestra, etc.) as advised by their program supervisor. All students in the private study program perform for a faculty jury at the end of the semester. Students assume the cost of their private lessons, but may apply for private study subsidies at the beginning of each semester's study through the department. Prerequisite: Departmental audition & consent of supervisor.
- 209 Private Study: Voice HU
Prerequisite: Departmental audition & consent of supervisor.
- 210 Private Study: Piano and Organ HU
Prerequisite: Departmental audition and consent of supervisor.
- 214 Chamber Singers HU
Chamber Singers is a 30-voice mixed choir that performs a wide range of mostly a cappella repertoire from the Renaissance to the present day in original languages. Attendance required at three 80-minute rehearsals weekly. Prerequisite: Audition and consent of instructor.
- 215 Chamber Music HU
Intensive rehearsal of works for small instrumental groups, with supplemental research and listening assigned. Performance is required. The course is available to those who are concurrently studying privately, or who have studied privately immediately prior to the start of the semester. Prerequisite: Audition and consent of instructor.
- 216 Orchestra HU
For students participating in the Haverford-Bryn Mawr Orchestra, this course addresses the special musical problems of literature rehearsed and performed during the semester. Prerequisite: Audition and consent of instructor.
- 219 Art Song HU
A performance course devoted to the French, German, English, and American art song literature from Schubert to the present. Weekly performance classes will be accompanied by weekly individual coachings with the instructor, culminating in a public recital at the end of the semester. Prerequisite: Audition and consent of instructor.
- 111 Introduction to Western Music HU
A survey of the European musical tradition from the middle ages to modern times. Students will hear music by Monteverdi, Bach, Mozart, Beethoven, Wagner, Stravinsky, Glass, among many others, developing both listening skills and an awareness of how music relates to the culture that fosters it. In addition to listening and reading, students will attend concerts and prepare written assignments.
- 112 Opera HU
A survey of the history of opera, focusing on the most influential operas, their forms and the cultural, aesthetic, and political desires that shaped them. The goal of the course is to teach students the art of close listening, that is, to privilege their hearing over their seeing. Audio and visual recordings will be supplemented by a course packet of primary and secondary source readings. No previous musical training or coursework required.
- 132 Writing Beethoven HU (Cross-listed in Writing Program)
An exploration of Beethoven's life and works, considered in the context of changing aesthetic and cultural values of the last two centuries. Students will listen to Beethoven's music, study some of his letters and conversation books, and read some of the many responses his art has engendered. In their written responses to all of this material, students will think about Beethoven's music and artistic personality as well as about the ideas and assumptions that have guided the critical reception of art and life. They will learn to cultivate their skills as readers and listeners while improving their craft as writers. (Satisfies the freshman writing requirement.)
- 221 Medieval and Renaissance Music HU
Music of the 12th through 16th centuries, emphasizing changing approaches to composition, notation, and expression in works by composers such as Hildegard von Bingen, Guillaume de Machaut, Josquin Desprez, and Orlando di Lasso, among many others. Classroom assignments will consider basic problems raised by the study of early music: questions of style and structure, debates about performance practice, and issues of cultural history. Extensive reading and listening culminating in individual research or performance projects. Prerequisite: Music 110 or 111 or consent of instructor.
- 222 Baroque Music HU
Music of the 17th and 18th centuries, with focus on central developments of opera, sacred music, and instrumental genres. Through careful study of works by Monteverdi, Lully, Corelli, Handel, Rameau, and Bach, students will explore changing approaches to musical style and design, basic problems of performance practice, and how musicologists have sought to understand the place of music in cultural history. Prerequisite: Music 110 or 111 or consent of instructor.
- 223 Classical Music HU
The music of Haydn, Mozart, Beethoven, and Schubert, among many others. Classroom assignments will lead students to explore the origins and development of vocal and instrumental music of the years around 1800, and to consider the ways in which musicologists have approached the study of this repertory. Prerequisite: Music 110 or 111 or consent of instructor.
- 224 Romantic Music HU
Music by Chopin, Schumann, Verdi, Wagner, Brahms, and Mahler, among others, with special focus on changing approaches to style of expression, and to the aesthetic principles such works articulate. Assignments will allow students to explore individual vocal and instrumental works, and will give students a sense of some of the perspectives to be found in the musicological literature on 19th century music. Prerequisite: Music 110 or 111, or consent of instructor.
- 251 Music, Film, and Narrative HU (Cross-listed in Comparative Literature)
An introduction to music and film, with special attention to works from the 1930's through the 1950's by composers such as Auric, Copland, Eisler, Herrmann, Korngold, Prokofiev, Shostakovich, Steiner, Tiomkin and Waxman. Close study of orchestration, harmony and thematic process as they contribute to cinematic narrative and form. Source readings to include artistic positions staked out by film composers themselves, as well as critical and scholarly essays by leading writers on the narrative possibilities of film music. Prerequisite: Music 203 or equivalent knowledge of music theory.
- 276 Piano in the Age of Chopin HU
An inquiry into piano manufacture, composition and pedagogy during the first half of the 19th century, the era of the pianist-composer, when the piano came into its own and assumed its status as the foremost solo musical instrument. Piano performance in class to demonstrate points, though not required, will be encouraged. Prerequisite: Music 110 or 111 or consent of instructor.
- 325 Seminar in 20th Century Theory and Practice: American Modernism HU
An inquiry into the music of American composers written between 1890 and 1945 that stretched or broke with the musical language of the immediate past, in an attempt to reflect what was perceived as an age of radical change. A wide range of listening and reading assignments will encourage students to consider a musical modernism distinct from its European counterpart. Prerequisite: Music 303a or 224, or consent of instructor
- 480 Independent Study HU
- 149 Native American Music and Belief HU
Surveys the principal styles of Native North American singing in ceremonial and secular contexts; discusses contemporary Indian musical cross-overs and the aesthetic of multi-culturalism; emphasizes class participation in singing traditional Indian songs. (Satisfies the social justice requirement.)
- 227 Jazz and the Politics of Culture HU (Cross-listed in African and Africana Studies)
A study of jazz and its social meanings. Starting with an overview of jazz styles and European idioms closely bound to jazz history, the course gives students a basic aural education in musical forms, the process of improvisation, and the fabric of musical performance in the context of how assumptions about order and disorder in music reflect deeply-felt views about society and culture. Enrollment limited to 35 students. Prerequisite: Sophomore standing or higher. (Satisfies the social justice requirement.)
THEORY AND COMPOSITION