At Haverford College
Curt Cacioppo (on leave, 2004-05)
Ingrid Arauco, Chair
Heidi Jacob, Director of the Haverford-Bryn Mawr Orchestral Program
Thomas Lloyd, Director of the Haverford-Bryn Mawr Choral Program
Visiting Assistant Professor:
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 217) in voice or their chosen instrument.
- Theory-Composition: 203a, 204b, 303a
- Musicology: three courses chosen from 221a, 222b, 223a, 224b or 325b.
- Two electives in music chosen from 207a or b, 221a, 222b, 223a, 224b, 227a, 228a, 250a or b, 265b, 266b, 304b, or 325a or b.
- Performance: participation in a department-sponsored performance group is required for at least one year. Music 217f, 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.
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.
- Theory-Composition: 203a and 204b.
- Musicology: two courses chosen from 221a, 222b, 223a or 224b.
- One elective chosen from 207a or b, courses not already taken to fulfill the Musicology requirement, 228a or b, 250a or b, 251a or b, 265b, 266b, 303a, 304b, or 403a or b.
- Music 217f, i, instrumental or vocal private study or department ensemble participation for one year. 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.
Special Programs and Funds
The Music Department Guest Artists Series presents distinguished and emerging performers in public concerts, master classes, lecture-demonstrations, reading sessions and informal encounters. Artists recently featured have included Native American flutist Mary Youngblood, the Cuarteto Latino-Americano, 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. The fund recognizes 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 sponsors 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.
Theory and Composition
110a. Musicianship and Literature
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. (Cabrini, Division III)
203a. Principles of Tonal Harmony I
The harmonic vocabulary and compositional techniques of Bach, Beethoven, Haydn, Mozart, Schubert and others. Emphasis is on composing melodies, constructing phrases and harmonizing in four parts. Composition of Minuet and Trio or other homophonic pieces is the final project. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 110. (Cabrini, Division III)
204b. Principles of Tonal Harmony II
An extension of Music 203 concentrating on chorale harmonization and construction of more complex phrases; a composition such as original theme and variations as final project. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 203. (Cabrini, Division III)
265a. 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. Short exercises in scoring for orchestra; final project is a presentation on a major orchestral work of your choice. Prerequisite: Music 203. (Arauco, Division III)
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, and experimentation with harmony, form, notation and text setting. Weekly performance of student pieces; end-of-semester recital. Prerequisite: Music 203 or permission of instructor. (Arauco, Division III)
303a. Advanced Tonal Harmony
An introduction to chromatic harmonization; composition in forms such as waltz, nocturne and intermezzo, and exploration of accompaniment textures. Analysis of works by Brahms, Chopin, Dvorak, Elgar, Liszt, Mahler, Mendelssohn, Schumann, Strauss, Wagner and others. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204. (Arauco, Division III)
Eighteenth-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 and analysis. Three class hours plus laboratory period covering related aural and keyboard harmony skills. Prerequisite: Music 204. (Arauco, Division III)
325b. Seminar in 20th-Century Theory and Practice
Classic and contemporary 20th-century composers, works and trends with reference to theoretical and aesthetic writings and the broader cultural context. Prerequisite: Music 224 or 303. (staff, Division III) Not offered in 2004-05.
102c, f, i. Chorale
Chorale is a large mixed chorus that performs major works from the oratorio repertoire with orchestra. Attendance at weekly two-hour rehearsals and dress re-hearsals during performance week is required. Prerequisites: audition and permission of instructor. (Lloyd, Division III)
107f, i. Introductory Piano
An introduction to music and the art of playing the piano intended for students with little or no previous training. The course consists of a weekly hour-long class session on Tuesday evenings plus a weekly individual 20-minute lesson. Lessons will include beginning technique, scales, primary chords, learning to count and sightread music, musical symbols and terminology, and the study of elementary pieces. One hour of daily practice is expected. Enrollment limited to 16 students, with five spaces reserved for majors or minors. (Christine Cacioppo, Division III)
207b. Topics in Piano
Combines private lessons and studio/ master classes, musical analysis and re- search questions into performance practice and historical context, and critical examination of sound-recorded sources. Preparation of works of selected composer or style period for end-of-semester class recital is required. Prerequisites: audition and permission of instructor. (Cacioppo, Division III) Not offered in 2004-05.
214c, f, i. Chamber Singers
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. Prerequisites: audition and permission of instructor. (Lloyd, Division III)
215c, f, i. Chamber Music
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. Prerequisites: audition and permission of instructor. (Jacob, Division III)
216c, f, i. Orchestra
For students participating in the Haverford-Bryn Mawr Orchestra, this course addresses the special musical problems of literature rehearsed and performed during the semester. Prerequisites: audition and permission of instructor. (Hong, Division III)
217f, i. Vocal or Instrumental Private Study
Students should be participating in a departmentally-directed ensemble or activity (e.g., Chorale or Orchestra) 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. Prerequisites: departmental audition and permission of supervisor. (Lloyd, vocal; Jacob, instrumental; Arauco, keyboard)
219i. Art Song
Intensive rehearsal of art songs representative of various style periods and languages, 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. Prerequisites: audition and permission of instructor. (Lloyd, Division III)
111b. Introduction to Western Music
A survey of the European musical tradition from the Middle Ages to modern times. Students will hear music by Bach, Beethoven, Glass, Monteverdi, Mozart, Stravinsky and Wagner, and among 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. (Kasunic, Division III)
This course will consider Ludwig van Beethoven in his primary role as composer by examining works in different genres from his early, middle and late periods. These will include piano sonatas, piano chamber music, string quartets, concerti, symphonies and his opera Fidelio. In addition, Beethoven’s debt to earlier composers, his relationship to musical and intellectual contemporaries, and his struggle against deafness will be explored, as well as his pedagogical, political and spiritual dimensions. His impact upon later composers and upon the definition and expectation of the creative artist will be weighed. Along with aural investigations, critical and historical readings will be assigned, as well as Beethoven’s own letters, journals, conversation books and the Heiligenstadt Testament. (Cacioppo, Division III) Not offered in 2004-05.
221a. Medieval and Renaissance Music
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 others. Classroom assignments will consider basic problems raised by the study of early music: questions of style of structure, debates about performance practice, and issues of cultural history. Extensive reading and listening culminating in individual research or performance projects. Prerequisite: Music 110, 111 or permission of instructor. (Freedman, Division III)
222b. Baroque Music
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 Bach, Corelli, Handel, Lully, Monteverdi and Rameau, 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 permission of instructor. (Freedman, Division III) Not offered in 2004-05.
223a. Classical Music
The music of Beethoven Haydn, Mozart, and Schubert, among 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 permission of instructor. (Freedman, Division III) Not offered in 2004-05.
224b. Nineteenth-Century Music
Music by Brahms, Chopin, Mahler, Schumann, Verdi and Wagner, 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, 111 or permission of instructor. (Freedman, Division III)
250a, b. Words and Music
Under this title, four separate courses are available: The Operas of Verdi and Wagner; Wagner’s Ring and the Modern World; The Renaissance Text and Its Musical Readers; and Tones, Words and Images. Prerequisite: Any full-credit course in music or permission of instructor. (Cacioppo, Freedman, Division III) Not offered in 2004-05.
251b. Music, Film and Narrative
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. 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. Extensive reading, listening and viewing assignments. Weekly writing assignments culminating in a major project. Prerequisite: Music 203 or equivalent knowledge of music theory. (Freedman, Division III) Not offered in 2004-05.
480a, f, b, i. Independent Study
Prerequisites: approval of department and permission of instructor. (staff)
149b. Native American Music and Belief
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. (Cacioppo, Division III) Not offered in 2004-05.
227a. Jazz and the Politics of Culture
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. (Freedman, Division III) Not offered in 2004-05.
228a. Musical Voices of Asia
The musical traditions of South, East and Central Asia and 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. (Freedman, Division III) Not offered in 2004-05.