Regular Course Offerings
This list includes all courses offered regularly by the Department of Music; see Current Courses for information on courses being offered in a particular semester.
Chorale is a large mixed chorus that performs major works from the oratorio repertoire with orchestra and student soloists. Attendance at weekly two-hour rehearsals and dress rehearsals during performance week is required. Entrance by audition. Students can start Chorale at the beginning of any semester.
107 Introductory Piano
An introduction to the art of playing the piano and the music written for it. No prior musical experience is required. This course consists of weekly hour-long sessions in the form of either a class lecture/workshop given on Tuesday evenings, or self-directed listening sessions posted on Moodle, as well as weekly 20-minute private lessons at an arranged time. It is expected that the student will practice an hour each day, six days a week, and keep a listening journal, giving personal responses to the required listening as well as to three professional concerts. The final exam is a performance of two or more short works on the class recital at the end of the term. This is a lottery course, limited to 16 students, with 5 spaces reserved for majors/minors.
110 Introduction to Music Theory
Ingrid Arauco, Leonardo Dugan
An intensive introduction to the notational and theoretical materials of music, complemented by work in sight-singing, keyboard harmony, and dictation. This course is appropriate for students who sing or play an instrument, but who have had little or no systematic instruction in music theory. Topics include time and pitch and their notation, scales, intervals, triads, basic harmonic progressions, melodic construction, harmonization of melody, non-harmonic tones, transposition, and key change (modulation). Students who wish to explore the art of musical composition will find this course especially useful, as two creative projects are assigned: the composition of a pair of melodies in the major and minor modes, and a 32-bar piece which changes key. Preparation for these projects is provided through listening and analysis of works in a variety of musical styles. Students having completed this course will be prepared to enter Music 203, the first semester of the theory sequence for music majors.
111 Introduction to Western Music
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.
149 Native American Music and Belief
Surveys the principal styles of Native North American singing in ceremonial and secular contexts; discusses contemporary American Indian musical crossovers and the aesthetic of multiculturalism; explores music as a means of protest, projection of group identity, and social solidarity. Emphasizes class participation in singing traditional and modern Native American songs. Strong historical and social justice component. May be counted as music major/minor elective with instructor’s approval.
203 Principles of Tonal Harmony I
Ingrid Arauco, Curt Cacioppo, Leonardo Dugan
The harmonic vocabulary and compositional techniques of Bach, Haydn, Mozart, Beethoven, Schubert, and others. Analysis of musical literature in a variety of genres and harmonization in four parts. Composition of minuet and trio, set of variations, or other homophonic piece is the final project. Requires three class hours plus laboratory period covering related aural and keyboard harmony skills. Required for the Music major and minor; should be taken no later than fall of sophomore year. Prerequisite: Music 110 or consent of instructor.
204 Principles of Tonal Harmony II
Ingrid Arauco, Curt Cacioppo
Continuation of Music 203, covering 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. Required for the Music major or minor; should be taken the semester after Music 203. Prerequisite: Music 203.
207 Topics in Piano
Combines private lessons and studio/master classes, musical analysis, research questions into performance practice and historical context, and critical examination of sound recorded sources. Requires preparation of works of selected composer or style period for end-of-semester recital. Recent topics have included The Italian Keyboard Tradition, J.S. Bach and his Trans-Generational Impact, and American Roots.
208 Private Study: Instrumental
209 Private Study: Voice
210 Private Study: Keyboard
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. Students receive ten hour-long lessons with approved teachers for one-half credit, graded. All students in the private study program perform for a faculty jury at the end of the semester. Students assume the cost of their lessons, but may apply for private study subsidies at the beginning of each semester’s study through the department.
214 Chamber Singers
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. The choir performs on and off campus, both public concerts and outreach concerts to underserved audiences. International tours revolving around shared concerts with choirs in the cities visited happen every 3-4 years. Requires attendance at three 80-minute rehearsals weekly. Entrance by audition at the beginning of the Fall semester each year.
215 Chamber Music
Intensive rehearsal of works for small instrumental groups, with supplemental assigned research and listening. Performance is required. Students enrolled in Chamber Music have the opportunity to receive coaching from visiting artists on the Concert Artist Series and from resident ensembles. Performances take place at Haverford and Bryn Mawr Colleges, and other community venues. This course is available to those students who are concurrently studying privately, or who have studied privately immediately prior to the start of the semester. In addition, all students playing orchestral instruments must participate concurrently in the Orchestra, unless granted permission by the music director. Entrance by audition only.
The Haverford-Bryn Mawr Orchestra has over seventy members and performs a wide range of symphonic repertory. Orchestra members are expected to attend one two-and-a-half hour rehearsal per week, and are guided in sectional rehearsals by professional musicians. There are three/four performances a year, including Parents/Family Weekend concerts. The spring Orchestra concert features the winner of the annual student concerto competition. Entrance by audition only.
219 Art Song
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 coaching with the instructor, culminating in a public recital at the end of the semester. Prerequisite: audition and consent of instructor.
220 Saints and Sinners: Musical Europe before 1400
Course explores music and its cultural uses in Medieval Europe. We will study the main genres and forms of music in secular and sacred contexts, from monasteries, convents, and cathedrals, to courts and cities. We will 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 will study transformations in musical notation, theoretical underpinnings of musical time and counterpoint, and the status of music itself in the divine cosmos. We will also pause to put all of this in the context of current scholarship and historical performance practice. Three class hours plus listening and notation laboratory period. Prerequisites: Any full-credit course in Music (such as Music 110, 111, 229, 203), or equivalent prior experience in musical study.
221 Music, Ritual, and Representation, 1400-1600
This course explores the remarkable emergence of new ways of representing poetic and dramatic texts in musical form, charting the cultural forces of Renaissance, Reformation, and printing in the 15th and 16th centuries. We will explore changes in musical style, and the changing role that music played in European culture. We’ll hear music by composers like Dufay, Josquin, Palestrina, Lasso, and Marenzio, among many others. Three class hours plus listening laboratory period. Prerequisites: Any full-credit course in Music, or equivalent prior experience in musical study.
222 Composers, Players, and Listeners in the 17th and 18thCenturies
Study of music and musical life in Europe between about 1600 and 1750. The 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 studied range from Monteverdi to Bach and Handel. Three class hours plus listening laboratory period. Prerequisites: Music 110, 111, or a working knowledge of musical notation and related concepts.
223 Between Galant and Learned: Musical Life and the Enlightenment
This course ranges from the conservatories of Naples to opera houses of Vienna and Paris. 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; music and social change. Three class hours plus listening laboratory period. Prerequisites: Music 110, 111, or consent of the instructor.
224 Music, Myth, and Meaning in the 19th Century
Course examines the songs, operas, piano music and symphonic works of Berlioz, Liszt, Schubert, the Schumanns, Loewe, Wagner, Verdi, Dvorak, Mahler, and Brahms. We will learn about changing styles and forms, and we will put music in the contexts of literary Romanticism, nationalism, and the changing social world of musicians and musical institutions. Three class heours plus listening laboratory period. Prerequisite: Any full-credit course in Music, or consent of the instructor.
225 Novelty and Renewal in 20th-Century Music
Course assembles music by Debussy, Schoenberg, Berg, Stravinsky, Bartok, Hindemith, Weill, Prokofiev, Shostakovich, and many others, considered through reactionary priorities of modernist aesthetics. Topics include the search for order and control; music and the state; music, film, and electronic technologies; and new roles for composers, performers, and listeners. The class is organized around some two dozen important works, pieces chosen for their historical influence and for their acute formulation of musical and aesthetic problems. Three class hours plus listening laboratory period. Prerequisite: Music 110, 111, or equivalent previous musical study.
227 Jazz in Context
A study of jazz and its cultural 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. Critical methodologies are also explored, especially recent writings on art and society, identity and difference, and acculturation and change. Prerequisites: sophomore standing or higher.
229 Thinking About Music
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 a focal point. 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. This course is required of all music majors and minors in their sophomore or junior year. Prerequisites: Music 110, 111, or 203.
250 Music and Text
Past topics have included The Operas of Verdi and Wagner, Wagner’s Ring and the Modern World, and The Renaissance Text and its Musical Readers. Prerequisite: Any full-credit course in Music or consent of the instructor.
254 Tones, Words, and Images
This course is designed around a core group of works that demonstrate musical interaction with a variety of media such as literary and dramatic text, visual art and architecture, and the physical movement of dance. Drawing from the rich resource of Western tradition, examples for study range from the German Lied of the Classical and Romantic periods to the contemporary collaborations of Philip Glass and filmmaker Godfrey Reggio. Along the way we encounter many of the principal currents in the development of the arts – impressionism, symbolism, expressionism, pointillism, verismo, abstraction – and the genres of song cycle, opera, melodrama, tone poem, ballet, theater and film. Among the composers represented are Mozart, Beethoven, Schubert, Schumann, Liszt, Wagner, Tschaikovsky, Thomas, Wolf, Fauré, Debussy, Dukas, Sibelius, Schoenberg, Stravinsky, Bartók, Puccini, Cage, and Glass; among authors Goethe, Eichendorff, Heine, Rückert, Bouilly, Poe, Baudelaire, Louÿs, Mallarmé, Maeterlinck, Balázs, Guiraud, George, Sardou, Auden, Updike, Joyce; in the visual realm Palladio, Friedrich, Rossetti, Monet, Benois, Roerich, Chagall, Kandinsky, Chihuly; choreographers Fokine, Nijinsky, Balanchine, Abrahams, Cunningham, Morris, Tharp. Prerequisite: any 100-level music course or its equivalent, or permission of the instructor.
265 Symphonic Technique and Tradition
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. Weekly exercises in scoring for orchestra. Attendance at rehearsals and/or performances of the Philadelphia Orchestra. Prerequisite: Music 204.
Preparation of a portfolio of compositions for various instruments and ensembles. Weekly assignments designed to invite creative, individual responses to a variety of musical ideas; experimentation with harmony, form, notation, and text-setting. Performance of student works-in-progress and final reading/recording session with professional musicians. Recent classes have had their compositions read by Network for New Music, percussionist Phillip O’Banion, and the Amernet String Quartet. Prerequisite: Music 204 and consent of the instructor.
270 Popular Music in America
This course traces the evolution of American musical commerce from the theaters and print shops of early Philadelphia to the rise of blues and rock. Minstrelsy, melodrama, marching bands, film music, and minimalism illustrate themes of cultural hierarchy, technology, race, and transnationalism. Prerequisite: first-year writing seminar or consent of the instructor.
303 Advanced Tonal Harmony
Ingrid Arauco, Curt Cacioppo
Study of late 19th-century harmonic practice in selected works of Liszt, Wagner, Brahms, Fauré, Wolf, Debussy, and Mahler. Exploration of chromatic harmony through analysis and short compositions; 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.
Ingrid Arauco, Curt Cacioppo
18th-century contrapuntal techniques and forms with emphasis on the works of J.S. Bach. Composition of two-part contrapuntal dances and inventions, canon, chorale prelude, fugue in three voices. Attention is also paid to counterpoint in later style periods, especially the twentieth century. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204.
325 Seminar in 20th/21st Century Music
Ingrid Arauco, Curt Cacioppo
Study of composers, works, and trends since 1900, with reference to theoretical and aesthetic writings and their relation to world events. Recent topics have included European émigré influence on American music, and Make It New: Music by Philadelphia Composers. Prerequisite: Music 204.
480 Independent Study
Ingrid Arauco/Curt Cacioppo/Richard Freedman/Heidi Jacob/Thomas Lloyd
Prerequisite: Approval of department and consent of instructor.