Course Descriptions

Theory and Composition

110a. Musicianship and Literature
Ingrid Arauco

Fundamental skills and concepts of music theory. 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. No prerequisite.

203a. Tonal Harmony I
Curt Cacioppo

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 orconsent of instructor.Music 203 is the first course in the required theory sequence for music majors and minors.

204b. Tonal Harmony II
Ingrid Arauco

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.Music 204 is the second course in the required theory sequence for music majors and minors.

265a. Symphonic Technique and Tradition
Ingrid Arauco

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 or consent of the instructor.

266b. Composition
Ingrid Arauco

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. A highlight of the semester will be the reading and taping of student works by the nationally acclaimed ensemble Network for New Music. Prerequisite: Music 203 or consent of instructor.

303a. Advanced Tonal Harmony
Curt Cacioppo

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. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204. Music 303 is the third course in the required theory sequence for music majors.

304b. Counterpoint
Ingrid Arauco

Eighteenth-century contrapuntal techniques and forms with emphasis on the works of J.S. Bach. Exercises in imitative writing such as canon; composition of a two-part invention, three-part chorale prelude, and three-part fugue. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204.

325b. Seminar in 20th Century Theory and Practice
Ingrid Arauco
Classic and contemporary 20th-century composers, works, and trends, with reference to theoretical and aesthetic writings and the broader cultural context. Prerequisite: Music 303 or 224.


111a. Introduction to Western Music
David Kasunic
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, 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 will attend concerts and prepare written assignments. No prerequisite.

112a. Opera
David Kasunic

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 prerequisite.

132b. Writing Beethoven (Cross-listed in Writing Program)
Richard Freedman

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.

221a. Medieval and Renaissance Music
Richard Freedman

Examines the music of the 11th through 16th centuries, including music by composers such as Machaut, Dufay, Josquin, Lassus and Monteverdi, among many others. We will explore important compositional techniques, consider problems of performance practice, and explore connections between music and cultural settings in courts, cathedrals and towns of medieval and Early Modern Europe. Prerequisite: Music 110 or 111, or consent of the instructor.

222b. Baroque Music
David Kasunic

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, Charily, 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, 111, or consent of the instructor.

223a. Classical Music
David Kasunic

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, 111, or consent of the instructor.

224b. Romantic Music
Richard Freedman

Music by Schubert, Chopin, Schumann, Verdi, Wagner, Dvorak, Brahms, and Mahler, among others, with special focus on changing approaches to style of expression, and to the aesthetic principles such works articulate. This term our themes will be Ballads and Myths; Nationalisms; and Nostalgia and History. 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.

250a or b. Words and Music (also listed as Comparative Literature 250a or b)
Richard Freedman, Curt Cacioppo, David Kasunic

Under this title, five separate courses are available: The Operas of Verdi and Wagner, Wagner's Ring and the Modern World (also a German Studies elective), The Renaissance Text and its Musical Readers, Tones, Words, and Images, and Music in the Literary Imagination . Prerequisite: Any full-credit course in music, or consent of instructor.

250b. Words and Music: The Renaissance Text and its Musical Readers
Richard Freedman
The rich musical legacy of Renaissance vocal music, considered in light of concurrent developments in literary and cultural life. No prerequisite. Cross-listed with Comparative Literature.

250b. Words and Music: Wagner's Ring and the Modern World
Richard Freedman
The genesis, story, style, and influence of Wagner's monumental music drama in the context of musical, aesthetic, and political ideas of the last 150 years. No prerequisite. Cross-listed with Comparative Literature.

250b. Music in the Literary Imagination, 1800-1949
David Kasunic
An inquiry into the role of music in European and American literature during the 19th and early 20th centuries, the era in which music assumes its new status as the highest of the arts-- "the" art to which all other arts aspire. At issue, then, is how literary works of this period invoke music to articulate and bring into focus a host of philosophical, aesthetic, cultural, and psychological concerns. We will study and listen to the music cited by the novels and short stories that we will read. By making this otherwise silent music audible and in turn restoring sonic force to these literary moments, we will attempt to answer the compelling questions the presence of this music raises. Authors and composers studied will include Goethe, Beethoven, Balzac, Chopin, Wagner, Forster, Proust, and Mann. All readings in English or English translation. Prerequisite: Any full-credit course in music, or consent of instructor.

251b. Music, Film, and Narrative
Richard Freedman
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. Extensive reading, listening, and viewing assignments. Weekly writing assignments culminating in a major project. Prerequisite: Music 203 or equivalent knowledge of music theory.

276b. The Piano in the Age of Chopin
David Kasunic

Piano manufacture, composition, and pedagogy during the first half of the nineteenth century, a time when the piano assumed its status as the foremost solo musical instrument. Examination of the pianos and piano music of Beethoven's Vienna and Clementi's London, culminating in the unrivalled piano culture of Paris in the 1830's and 1840's, at whose center were the figures of Liszt, and especially, Chopin. Piano performance in class encouraged, though not required. Prerequisite: Music 110, 111, or consent of the instructor.

325b. Seminar in Twentieth-Century Theory and Practice: American Modernism
David Kasunic
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 303 or 224, or consent of the instructor.

480a, f, b, i Independent Study
Arauco/Cacioppo, Freedman/Jacob/Kasunic/Lloyd
Prerequisite: Approval of department and consent of instructor.

Diverse Traditions

149b. Native American Music and Belief
Curt Cacioppo

Through singing, listening and analysis, cultural and political readings, film discussion and guest visits, this course attempts to reveal the diversity, complexity, and beauty of representative Native American traditions. It further aims to illuminate the history, past and ongoing, of hostile action taken by mainstream interests against indigenous peoples of North America. Satisfies the social justice requirement.

227a. Jazz and the Politics of Culture
Richard Freedman
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. Prerequisite: Sophomore standing or higher. Enrollment limited to 35 students. Satisfies the social justice requirement.

228a. Musical Voices of Asia (also called East Asian Studies 228a or b)
Richard Freedman
The musical traditions of South, East, and Central Asia, as well as Indonesia. Extensive discussion of vocal and instrumental genres, approaches to texts and stories, and systems of learning. We will also pay special attention to the place of music in broader cultural and social contexts: as a definer of gender or religious identities, as an object of national or political ownership, and in its interaction with Western classical and popular forms. Prerequisite: Sophomore standing or higher.


102c,f,i Chorale
Thomas Lloyd
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 instructor.

107f, i. Introductory Piano
Christine Cacioppo

Music 107 is an introduction to music and the art of playing the piano. It is intended for students with little (1-2 years as a child) or no previous training in piano. The course consists of a weekly hour-long class session (lecture, directed listening, or playing workshop) plus individual lesson. Instruction in the basics of music notation, theory and historical periods. Lessons will include beginning technique, scales, primary chords, learning to count and sight-read music, musical symbols and terminology, and the study of elementary pieces. One hour of daily practice is excepted to insure proper advancement in playing. A short paper based 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).

207a, b. Topics in Piano
Curt Cacioppo

Combines private lessons and studio/master classes, musical analysis, research questions into performance practice and historical context, critical examination of sound recorded sources. Preparation of works of selected composer or style period for end of semester class recital is required. Topic for Fall 2005: American Roots. Topic for Spring 2006: Transatlantic Connections. Prerequisite: Audition and consent of instructor.

208 f,iPrivate Study: Instrumental (Heidi Jacob, supervisor)

209 f,i Private Study: Vocal (Thomas Lloyd, supervisor)

210 f,i Private Study: Keyboard (Curt Cacioppo, supervisor)
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. Private teachers are assigned by the respective 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 consent of supervisor.

214c, f, i. Chamber Singers
Thomas Lloyd

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.

215c, f, i. Chamber Music
Heidi Jacob

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.

216c, f, i. Orchestra
Heidi Jacob

Students participating in the Haverford-Bryn Mawr Orchestra address the special musical problems of literature rehearsed and performed during the semester. Prerequisite: Audition and consent of instructor.

219i. Art Song
Thomas Lloyd

A performance course devoted to the French, German, English, and American art song literature from Schubert to the present. Students will learn the International Phonetic Alphabet as applied to the standard diction rules for hoch Deutsch in German and style soutenu in French in the preparation of at least one song each in French, German, and English. Weekly performance classes will be accompanied by weekly individual coachings with the instructor, culminating in a public recital at the end of the semester.

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