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Music at Haverford

Students may complete a major or minor in music at Haverford College.

Faculty

Ingrid Arauco, Associate Professor and Chairperson
Christine Cacioppo, Visiting Instructor
Curt Cacioppo, Ruth Marshall Magill Professor
Richard Freedman, Professor
Thomas Hong, Visiting Assistant Professor
Heidi Jacob, Associate Professor and Director of the Haverford-Bryn Mawr Orchestral Program
David Kasunic, Visiting Assistant Professor
Thomas Lloyd, Associate Professor and Director of the Haverford-Bryn Mawr Choral Program
Marianne Tettlebaum, Visiting Assistant Professor of Music and Comparative Literature

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.

Special Programs And Funds

The Department of Music 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.

Major Requirements

  1. Theory-composition: 203a, 204b, 303a.
  2. Musicology: three courses chosen from 221a, 222b, 223a, 224b, 325b.
  3. Two electives in music, chosen from: 207 a or b, 221a, 222b, 223a, 224b, 227a, 228a, 250a or b, 251a or b, 265b, 266b, 304b, and 325 a or b.
  4. Performance: participation in a department-sponsored performance group is required for at least a year. Music 217f,i instrumental or vocal private study for one year. Continuing ensemble participation and instrumental or vocal private study are strongly urged.
  5. 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.
  6. Majors are expected to attend the majority of department-sponsored concerts, lectures, and colloquia.

Minor Requirements

  1. Theory-Composition: 203a, 204b
  2. Musicology: two courses chosen from 221a, 222b, 223a, 224b.
  3. One elective chosen from: 207a or b, courses not already taken in fulfillment of requirement 2), 228a or b, 250a or b, 251a or b, 265b, 266b, 303a, 304b, 403a or b
  4. 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.

Requirements For Honors

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 And Composition

MUSC H110a 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. (Arauco, Division III)

MUSC H203a Tonal Harmony I

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. (Cacioppo, Division III)

MUSC H204b Tonal Harmony II

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 (Arauco, Division III)

MUSC H265a,b 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, Cacioppi, Division III) Not offered in 2005-06.

MUSC H266b Composition

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. (Arauco, Division III) Not offered in 2005-06.

MUSC H303a Advanced Tonal Harmony

Study of late 19th-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 (Arauco, Division III)

MUSC H304b Counterpoint

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 (Cacioppo, Division III)

MUSC H325b 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 303a or 224. (Arauco, Division III)

Performance

MUSC H102f,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 rehearsals during performance week is required. Prerequisite: Audition and consent of instructor. (Lloyd, Division III)

MUSC H107f,i Introductory Piano

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). (Cacioppo, Division III)

MUSC H207a,b Topics in Piano

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. (Cacioppo, Division III)

MUSC H214f,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. Prerequisite: Audition and consent of instructor. (Lloyd, Division III)

MUSC H215f,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. Prerequisite: Audition and consent of instructor. (Jacob, Division III)

MUSC H216f,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. Prerequisite: Audition and consent of instructor. (Hong, Division III)

MUSC H217f,i Vocal or Instrumental Private Study

Students 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 and consent of supervisor. (Lloyd, Jacob, Cacioppo)

MUSC H219i 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. Prerequisite: Audition and consent of instructor. (Lloyd, Division III)

Musicology

MUSC H111b 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. (Freedman, Division III)

MUSC H112 Opera

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. (Kasunic, Division III)

MUSC H221a,b 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 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, 111, or consent of instructor. (Freedman, Division III) Not offered in 2005-06.

MUSC H222a 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 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, 111, or consent of instructor. (Freedman, Division III)

MUSC H223b Classical Music

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 instructor. (Freedman, Division III)

MUSC H224a,b Romantic Music

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, 111, or consent of instructor. (Freedman, Division III) Not offered in 2005-06.

MUSC H250 Music in the Literary Imagination, 1800-1949

An inquiry into the role of music in European and American literature during the 19th and early 20th centuries. Authors and composers studied will include Goethe, Beethoven, Balzac, Chopin, Wagner, Forster, Proust, and Mann. Prerequisite: Any full credit course in music, or consent of instructor. Students with reading knowledge of French and German will be encouraged to work in original languages. (Kasunic, Division III)

MUSC H251a,b Music, Film, and Narrative

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. (Freedman, Division III) Not offered in 2005-06.

MUSC H252 Music and the “Origin of Language” in the 18th Century

Examines the preoccupation of 18th-century thinkers with the origin of language and its relationship to music. Considers why thinkers so often turn to music to discuss language and what assumptions about the nature of music and language underlie their accounts. Readings by Rousseau, Herder, Goethe, Hoffmann; works of music by Mozart, Reichardt, Schubert. The ability to read music is not necessary. (Tettlebaum, Division III) Not offered in 2005-06.

MUSC H258 Vienna at the Turns of Centuries: Art, Politics and Culture

An exploration of the musical, literary, cultural, and political climate of Vienna, at the end of the 18th century and the beginning of the twentieth century. We will study representative artworks from the two periods, as well as their relationships. Prerequisite: Sophomore standing. (Tettlebaum, Division III)

MUSC H276 Piano in the Age of Chopin

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. (Kasunic, Division III) Not offered in 2005-06.

MUSC H358 Art and Aesthetic Theory

An examination of the relationship between art and asethetic theory that will take as its model the rich and complex essays of Theodor Adorno. We will study the works of music and literature Adorno discusses and will examine models of aesthetic theory proposed by previous philosophers. Prerequisite: One 200-level course in comparative literature, German and German studies, music or philosophy, or consent of instructor. (Tettlebaum, Division III) Not offered in 2005-06.

MUSC H359 Disciplining Art: The Rise of Aesthetic Theory

An examination of the rise of aesthetics as a branch of philosophical inquiry. The aim is to determine what defines aesthetics as a discipline and evaluate its contribution to the study of art. Readings by Kant, Schiller, Hegel, Nietzsche, Freud, and Adorno. Prerequisite: a 200 level course in any of the cross-listing disciplines or permission of the instructor. (Tettlebaum, Division III)

MUSC H480a,b,f,i Independent Study

Prerequisite: Approval of department and consent of instructor. (Arauco, Cacioppo, Freedman, Lloyd)

Diverse Traditions

MUSC H227a 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. Enrollment limited to 35 students. Prerequisite: Sophomore standing or higher. (Freedman, Division III) Not offered in 2005-06.

MUSC H228a,b Musical Voices of Asia

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. (Freedman, Division III) Not offered in 2005-06.

 
     
 
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