2014-15 catalog


The Department of Music is located at Haverford and offers well-qualified students a major and minor in music. For a list of requirements and courses offered, see Music at Haverford.


Curtis Cacioppo, Department Chair, Ruth Marshall Magill Professor of Music
Ingrid Arauco, Professor of Music
Richard Freedman, John C. Whitehead Professor of Music
Heidi Jacob, Associate Professor of Music and Director of the Bi-College Orchestra
Thomas Lloyd, Professor of Music and Director of Choral and Vocal Studies
Christine Cacioppo, Visiting Instructor of Music
Leonardo Dugan, Visiting Assistant Professor of Music

The music curriculum is designed to deepen students’ understanding of musical form and expression through the development of skill 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.

As a result of having majored in our department (haverford.edu/music), students exhibit proficiency in various skills appropriate to a specific area of the curriculum as listed below. But beyond such competence, we seek to develop their awareness of aesthetics and of their place in the history of musical performance, craft, and scholarship. It is not enough to be original—to succeed the student must understand how their originality fits into a large chain of ideas, whether in the recital hall, composition studio, or research library.

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.

Haverford’s Music Program offers opportunities to participate in the Haverford-Bryn Mawr Chamber Singers, Chorale, Orchestra, and Chamber ensembles.

Students can receive academic credit for their participation. (MUSC 102, 214, 215, 216, and 219), and can receive credit for Private Study (Music 208 for Instrumental Study, Music 209 for Voice Study, and Music 210 for Piano and Organ Study).

Student Chamber ensembles, solo instrumentalists, and vocalists also give informal recitals during the year. Courses such as Art Song and Topics in Piano have a built in performance component.

Major Requirements

  1. Composition/Theory: MUSC 203, 204, 303
  2. Musicology: Three courses, MUSC 229, plus any two of MUSC 220, 221, 222, 223, 224, 225, or 325
  3. Two electives in music, from: MUSC 207, 220, 221, 222, 223, 224, 225, 246, 250, 251, 265, 266, 304, and 325.
  4. Performance:
    Participation in a department-sponsored performance group for at least a year.
    MUSC 208, 209, or 210 instrumental or vocal private study for one year.
    We strongly urge continuing ensemble participation and instrumental or vocal private study.
  5. A Senior Project.
    The format of the senior experience is determined prior to the beginning of the student’s senior year, after consultation with the department. Students may fulfill the senior experience in music through:
    an independent study project (usually a composition, performance, or research paper pursued in the context of MUSC 480) or
    a regular advanced course enhanced to include an independent study component.
  6. We expect majors to attend the majority of department-sponsored concerts, lectures, and colloquia.

Minor Requirements

  1. Composition/Theory: MUSC 203 and 204
  2. Musicology: 229; plus any one of 220, 221, 222, 223, 224, 225, or 325
  3. One elective from the following: MUSC 207, 220, 221, 222, 223, 224, 225, 246, 250, 251, 265, 266, 303, 304, and 325
  4. MUSC 208, 209, 210 instrumental or vocal private study or department ensemble participation for one year
  5. We expect minors to attend the majority of department-sponsored concerts, lectures, and colloquia.


MUSC H102 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. Entrance by audition. Students can start Chorale at the beginning of any semester.
T. Lloyd

MUSC H103F Rudiments of Music
A half-credit course designed to develop proficiency in reading treble and bass clefs; recognizing intervals, scales, modes, and chords; and understanding rhythm and meter, basic progressions and cadence patterns, tempo and dynamic indications, and articulation and expression markings. The class emphasizwa practical skills of singing at sight, notating accurately what is heard, and gaining basic keyboard familiarity.
L. Dugan

MUSC H107 Introductory Piano
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 practices an hour each day, 6 days a week, and keeps 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 two 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.
C. Cacioppo

MUSC H149B Native American Music and Belief
Class 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; and emphasizes class participation in singing traditional Indian songs. Satisfies the Social Justice requirement.
C. Cacioppo

MUSC H203A Principles of Tonal Harmony
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. Requires three class hours plus laboratory period covering related aural and keyboard harmony skills.
L. Dugan

MUSC H204B Principles of 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. Requires three class hours plus laboratory period covering related aural and keyboard harmony skills.
C. Cacioppo

MUSC H207A 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 class recital.
C. Cacioppo

MUSC H208 Private Study: Instrumental
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.
H.C. Jacob

MUSC H209 Private Study: Voice
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.
T. Lloyd

MUSC H210 Private Study: Keyboard
C. Cacioppo

MUSC H214 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. Requires sttendance at three 80-minute rehearsals weekly.
T. Lloyd

MUSC H215 Chamber Music
Intensive rehearsal of works for small instrumental groups, with supplemental assigned research and listening. 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.
H.C. Jacob

MUSC H216 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.
H.C. Jacob

MUSC H223A Classical Styles
The music of Beethoven Haydn, Mozart, and Schubert, among others. Classroom assignments 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)
R. Freedman

MUSC H224B Romantic Music
R. Freedman

MUSC H227B Jazz and the Politics of Culture
R. Freedman

MUSC H229A 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 attempt to understand the methods, arguments, and perspectives through which scholars interpret music and its many meanings.
R. Freedman

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, 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)
I. Arauco

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.
C. Cacioppo

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; and analysis. Three class hours plus laboratory period covering related aural and keyboard harmony skills.
I. Arauco

MUSC H480 Independent Study
I. Arauco/C. Cacioppo/ R. Freedman/H.C. Jacob/Y. Jae Lee/T. Lloyd