Students may complete a major or minor in Music at Haverford College.
Ingrid Arauco, Associate Professor
Christine Cacioppo, Visiting Instructor
Curt Cacioppo, Professor, Chairperson
Richard Freedman, Professor
Heidi Jacob, Associate Professor, Director of the Haverford-Bryn Mawr Orchestral Program
Thomas Lloyd, Associate Professor, Director of the Haverford-Bryn Mawr Choral Program
Andrew Oster, 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). They can also receive credit for Private Study (Music 208, 209, 210) in voice or their chosen instrument.
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. 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’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 Humanities Center) 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.
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
Criteria for Departmental Honors:
a) minimum GPA in music courses of 3.7, AND
b) grade on senior project of 4.0
Criteria for Departmental High Honors:
a) outstanding, standard-setting contribution to the department in the context of courses and/or ensembles, AND
b) exceptional level of originality, depth, and synthesis in the senior project as compared to undergraduate work generally, outside Haverford (ie, a level of work that should be sufficient to gain admission to top graduate programs in the field.
Prerequisite: One 200-level course in the Humanities
Theory and Composition Courses
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.
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.
MUSC H204 Tonal Harmony II HU
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
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.
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.
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. Musicianship lab covers related aural and keyboard harmony skills. Prerequisite: Music 204
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
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
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 by audition. Students can start Chorale at the beginning of any semester. Prerequisite: Audition and consent of the instructor.
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. It is expected that the student will practice an hour each day, 6 days a week. Students are expected 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 2 or more short works on the class recital at the end of the term. Enrollment limited to 16 students, with 5 spaces reserved for majors/minors.
Prerequisite: Audition and consent of instructor
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. 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 & consent of supervisor
10 hour-long voice lessons with approved teachers for 1/2 credit, graded. Jury exam at end of semester. Must participate in Chorale or Chamber Singers the same semester to be eligible for credit or partial subsidy for cost of lessons, which is not covered by tuition Prerequisite: Departmental audition & consent of supervisor
Prerequisite: Departmental audition and consent of supervisor.
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
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
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
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 coachings with the instructor, culminating in a public recital at the end of the semester. Prerequisite: Audition and consent of instructor
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, 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.
The course will explore music and its cultural uses in Medieval Europe. We will study the main genres and forms of 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. Prerequisite: Any full-credit course in Music (such as Music 110, 111, 229, 203), or equivalent prior experience in musical study.
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 or 111 or consent of instructor.
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. From Monteverdi, Schltz and Lully to Rameau, Bach, and Handel. Prerequisite: Music 110 or 111 or consent of instructor
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. Prerequisite: Music 110 or 111 or consent of instructor
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; philosophies of music and music history. Prerequisite: Music 110 or 111, or consent of instructor
An exploration of how composers, musicians, and listeners have behaved (and have misbehaved) during the last 100 years. Works by Debussy, Schoenberg, Berg, Stravinsky, Bartok, Hindemith, Weill, Prokofiev, Shostakovich, Rochberg, Glass, and many others, considered in through priorities of modernist aesthetics and the changing place of music in society. Central themes will include the search for order and control; music and the state; music, film, and electronic technologies; new roles for composers, performers, and listeners. Prerequisite: Any full-credit course in Music (such as Music 110, 111, 229, 203), or equivalent prior experience in musical study.
Core concepts and perspectives for the serious study of music. Students will 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, Tonality, Sense, and Reason. Each unit will use a small number of musical works, performances, or documents as focal points. In each unit we will also read current musicological work in attempt to understand the methods, arguments, and perspectives through which scholars interpret music and its many meanings. Prerequisite: Musc 110, 203, or equiv prior knowledge of music.
Prerequisite: One 100-level course in Music or consent of instructor.
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.
Typically offered in alternate years.
Prerequisite: Approval of department and consent of instructor.
Diverse Traditions Courses
Surveys the principal styles of Native North American singing in ceremonial and secular contexts; discusses contemporary Indian musical cross-overs and the aesthetic of multi-culturalism; emphasizes class participation in singing traditional Indian songs. Satisfies the Social Justice requirement.
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