Humanities: Music, 2012-2013
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). They can also receive credit for Private Study (Music 208, 209, 210) in voice or their chosen instrument.
Ruth Marshall Magill Professor Curt Cacioppo, Chair
John C. Whitehead 1943 Professor Richard Freedman
Associate Professor Ingrid Arauco
Associate Professor Heidi Jacob, director of the Haverford-Bryn Mawr Orchestral Program
Associate Professor Thomas Lloyd, director of the Haverford-Bryn Mawr Choral Program
Visiting Assistant Professor Leonardo Dugan
Visiting Instructor Christine Cacioppo
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 Daedalus Quartet, pianist Charles Abramovic, violinist Arnold Steinhardt and the Network for New Music. 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 Davison'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 (administered jointly with the John Hurford ’60 Center for the Arts and Humanities) 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, as well as Indonesia.
- Theory-composition: MUSC 203, 204, 303.
- Musicology: three courses, as follows: MUSC 229, plus any two of the following: MUSC 220, 221, 222, 223, 224, and 225 or 325.
- Two electives in music, chosen from: MUSC 207, 220, 221, 222, 223, 224, 225, 246, 250, 251, 265, 266, 304, and 325.
- Performance: participation in a department-sponsored performance group is required for at least a year. MUSC 208, 209 or 210 instrumental or vocal private study for one year. We strongly urge continuing ensemble participation and instrumental or vocal private study.
- required of music majors in their senior year. Students may fulfill the senior experience in music through an independent study project (usually a composition, performance, or research paper pursued in the context of MUSC 480) or through a regular advanced course enhanced to include an independent study component. The format of the senior experience is 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: MUSC 203 and 204
- Musicology: 229, plus any one of 220, 221, 222, 223, 224, and 225 or 325.
- One elective chosen from the following: MUSC 207, 220, 221, 222, 223, 224, 225, 246, 250, 251, 265, 266, 303, 304 and 325.
- MUSC 208, 209, 210 instrumental or vocal private study or department ensemble participation for one year. We urge continuing ensemble participation and instrumental or vocal private study..
- Minors are expected to attend the majority of department-sponsored concerts, lectures, and colloquia.
Students seeking substitutions for Haverford courses in fulfillment of the major or minor in music must have them approved in advance by the music department.
Criteria for Departmental Honors:
- minimum GPA in music courses of 3.7, AND
- grade on senior project of 4.0
Criteria for Departmental High Honors:
- outstanding, standard-setting contribution to the department in the context of courses and/or ensembles, AND
- exceptional level of originality, depth and synthesis in the senior project as compared to undergraduate work generally, outside Haverford (i.e., a level of work that should be sufficient to gain admission to top graduate programs in the field).
319 Intermedial Transformations: Musico-Acoustic Imaginations in Literature and Film HU (Cross-listed in Comparative Literature and German and Gender and Sexuality Studies)
Prerequisite: One 200-level course in the humanities.
THEORY AND COMPOSITION COURSES
110 Musicianship and Literature HU
This is an intensive introduction to the notational and theoretical materials of music, complemented by work in sight-singing and keyboard harmony. It includes discussion of musical forms and techniques of melody writing and harmonization as well as short projects in composition.
203 Tonal Harmony I HU
This course covers 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. It includes three class hours plus a laboratory period covering related aural and keyboard harmony skills. Prerequisite: MUSC 110 or the instructor’s consent.
204 Tonal Harmony II HU
This continuation of MUSC 203 introduces chromatic harmony and focuses on the development of sonata forms from the Classical through the Romantic period. Composition of a sonata exposition is the final project. It includes three class hours plus a laboratory period covering related aural and keyboard harmony skills. Prerequisite: MUSC 203.
265 Symphonic Technique and Tradition HU
In this course, we familiarize 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. This class includes short exercises in scoring for orchestra; the final project is a presentation on a major orchestral work of your choice. Prerequisite: MUSC 203.
266 Composition HU
This is an introduction to the art of composition through weekly assignments designed to invite creative, individual responses to a variety of musical ideas. This includes scoring for various instruments and ensembles as well as experimentation with harmony, form, notation and text setting. There are weekly performance of student pieces and as end-of-semester recital. Prerequisite: MUSC 204 or the instructor’s consent.
303 Advanced Tonal Harmony HU
This course includes the study of late 19th century harmonic practice in selected works of Liszt, Wagner, Brahms, Faure, Wolf, Debussy, and Mahler. THere is an exploration of chromatic harmony through analysis and short exercises; a final composition project consists of either art song or piano piece such as nocturne or intermezzo. A musicianship lab covers related aural and keyboard harmony skills. Prerequisite: MUSC 204.
304 Counterpoint HU
This course explores 18th century contrapuntal techniques and forms with emphasis on the works of J. S. Bach. Topics include the canon, composition of two-part invention, fugal writing in three parts, chorale prelude and analysis. It requires three class hours plus a laboratory period covering related aural and keyboard harmony skills. Prerequisite: MUSC 204.
325 Seminar in 20th Century Theory and Practice HU
This course surveys classic and contemporary 20th-century composers, works and trends, with reference to theoretical and aesthetic writings and the broader cultural context. Prerequisite: MUSC 303a or 224.
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. Entrance is by audition. Students can start Chorale at the beginning of any semester. Prerequisite: Departmental audition and the instructor’s consent.
107 Introductory Piano HU
This 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. Students are expected to practice an hour each day, six days a week, and to keep a listening journal, which consists of personal responses to the music, as well as a page of research on a topic related to each listening assignment. The final exam is a performance of two or more short works on the class recital at the end of the term. Enrollment limited to 16 students, with five spaces reserved for majors/minors.
207 Topics in Piano: American Roots HU
Prerequisite: Departmental audition and instructor’s consent.
208 Private Study: Instrumental HU
All students enrolled in the private study program should participate 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 and the supervisor's consent.
209 Private Study: Voice HU
This includes 10 hour-long voice lessons with approved teachers for half credit, graded. There is a jury exam at the end of the semester. Students must participate in Chorale or Chamber Singers during the same semester to be eligible for credit or partial subsidy for cost of lessons, which is not covered by tuition. Prerequisite: Departmental audition and the supervisor's consent.
210 Private Study: Keyboard HU
Prerequisite: Departmental audition and the supervisor's consent.
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 is required at three 80-minute rehearsals weekly. Prerequisite: Departmental audition and the instructor’s consent.
215 Chamber Music HU
This is an 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: Departmental audition and the instructor’s consent.
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: Departmental audition and the instructor’s consent.
219 Art Song HU
This is a performance course devoted to the French, German, English and American art song literature from Schubert to the present. Weekly performance classes are accompanied by weekly individual coachings with the instructor, culminating in a public recital at the end of the semester. Prerequisite: Departmental audition and the instructor’s consent.
111 Introduction to Western Music HU
This is a survey of the European musical tradition from the middle ages to modern times. Students hear music by Monteverdi, Bach, Mozart, Beethoven, Wagner, Stravinsky and 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 attend concerts and prepare written assignments.
220 Saints and Sinners. Musical Europe before 1400 HU
The course explores music and its cultural uses in Medieval Europe. We study the main genres and forms of in secular and sacred contexts, from monasteries, convents and cathedrals, to courts and cities. We trace the changing character of music itself, from plainsong to polyphonic and from troubadour tunes to art song of the 14th century, in works by figures like Hildegard, Leonin, Machaut, Landini, and Vitry. We study transformations in musical notation, theoretical underpinnings of musical time and counterpoint, and the status of music itself in the divine cosmos. We also pause to put all of this in the context of current scholarship and historical performance practice. Prerequisite: Any full-credit course in Music (such as MUSC 110, 111, 229 or 203), or equivalent prior experience in musical study.
221 Music, Ritual, and Representation. 1400-1600 HU
This course covers music of the 12th through the 16th century, 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 consider basic problems raised by the study of early music: questions of style and structure, debates about performance practice and issues of cultural history. The course involves extensive reading and listening culminating in individual research or performance projects. Prerequisite: MUSC 110 or 111, or the instructor’s consent.
222 Composers, Players, and Listeners in the 17th and 18th centuries HU
This course traces sharp changes in musical style and the equally striking changes in roles for soloists, composers and audiences in an international context of patronage and publishing. Composers range from Monteverdi, Schultz and Lully to Rameau, Bach and Handel. Prerequisite: MUSC 110 or 111 or the instructor’s consent.
223 Between Galant and Learned: Musical Life and the Enlightenment HU
This course ranges from the conservatories of Naples to opera houses of Vienna and Paris. We examine music by Pergolesi, Gluck, Haydn, Mozart, the young Beethoven and many others; debates on music and language; the craft of composition; private patrons and public music; and music and social change. Prerequisite: MUSC 110 or 111, or the instructor’s consent.
224 Music, Myth, and Meaning in the 19th Century HU
An exploration of songs, operas, piano music and symphonic works of Berlioz, Liszt, Schubert, the Schumanns, Loewe, Wagner, Verdi, Dvorak, Mahler and Brahms in the rich landscape of literary Romanticism and nationalism; we also review philosophies of music and music history. Prerequisite: MUSC 110 or 111, or the instructor’s consent.
225 Novelty and Renewal in 20th-Century Music HU
This is an exploration of how composers, musicians, and listeners have behaved (and have misbehaved) during the last 100 years. We consider works by Debussy, Schoenberg, Berg, Stravinsky, Bartok, Hindemith, Weill, Prokofiev, Shostakovich, Rochberg, Glass, and many others, through priorities of modernist aesthetics and the changing place of music in society. Central themes include the search for order and control; music and the state; music, film and electronic technologies; and new roles for composers, performers, and listeners. Prerequisite: Any full-credit course in Music (such as MUSC 110, 111, 229 or 203), or the equivalent prior experience in musical study.
229 Thinking about Music: Ideas, History, and Musicology HU
This class presents core concepts and perspectives for the serious study of music. Students explore music, meaning and musicological method in a variety of contexts through a set of six foundational themes and questions: “Music and the Idea of Genius,” “Who Owns Music?”, “Music and Technology,” “The Global Soundscape,” “Music and the State,” and “Tonality, Sense, and Reason.” Each unit uses a small number of musical works, performances or documents as focal points. In each unit we also read current musicological work in an attempt to understand the methods, arguments, and perspectives through which scholars interpret music and its many meanings. Prerequisite: MUSC 110, 203, or the equivalent prior knowledge of music.
246 Words and Music: Wagner's Ring and the Modern World HU
250 Words and Music HU (Cross-listed in Comparative Literature)
R. Freedman/C. Cacioppo
Prerequisite: One 100-level course in music or the instructor’s consent.
251 Music, Film, and Narrative HU (Cross-listed in Comparative Literature)
This is an introduction to music and film, with special attention to works from the 1930s through the 1950s by composers such as Auric, Copland, Eisler, Herrmann, Korngold, Prokofiev, Shostakovich, Steiner, Tiomkin and Waxman. We make a close study of orchestration, harmony and thematic process as they contribute to cinematic narrative and form. Source readings 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: MUSC 203 or the equivalent knowledge of music theory.
257 Sociology of the Arts SO (Cross-listed in Sociology)
Typically offered in alternate years.
480 Independent Study HU
I. Arauco/C. Cacioppo/R. Freedman/H. Jacob/T. Lloyd
Prerequisite: Departmental approval and the instructor’s consent.
DIVERSE TRADITIONS COURSES
149 Native American Music and Belief HU
This course surveys the principal styles of Native North American singing in ceremonial and secular contexts, discusses contemporary Indian musical cross-overs and the aesthetic of multiculturalism, and emphasizes class participation in singing traditional Indian songs. It satisfies the Social Justice requirement.
227 Jazz and the Politics of Culture HU (Cross-listed in African and Africana Studies)
This is 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 is limited to 35 students. Open to students with sophomore standing or higher above.