Music

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.

Faculty

Ingrid Arauco, Department Chair, Professor of Music

Curtis Cacioppo, Ruth Marshall Magill Professor of Music

Richard Freedman, John C. Whitehead Professor of Music

Heidi Jacob, Associate Professor of Music and Director of Orchestral and Instrumental Studies

Thomas Lloyd, Professor of Music and Director of Choral and Vocal Studies

Leonardo Dugan, Visiting Assistant Professor of Music

Christine Cacioppo, Visiting Instructor in 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.

Composition/Theory

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.

Musicology

The musicology program, which emphasizes European, North American, and Asian traditions, considers music in the rich context of its social, religious, and aesthetic surroundings.

Performance

Haverford’s music performance 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, and 216), 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.

Private Lessons

Students can arrange private music lessons through the Department or independently. We have a referral list of many fine teachers in the Philadelphia area with whom we are in contact. The Department helps to subsidize the cost of lessons for students with financial need who are studying for academic credit.

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, or 225.

3. Two electives in Music, from: MUSC 149, 207, 220, 221, 222, 223, 224, 225, 227, 250, 254, 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 one of the following:

  • an independent study project (usually a composition, performance, or research paper pursued in the context of MUSC 480)
  • 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: MUSC 229; plus any one of 220, 221, 222, 223, 224, or 225.

3. One elective from the following: MUSC 149, 207, 220, 221, 222, 223, 224, 225, 227, 250, 254, 265, 266, 303, 304, and 325.

4. MUSC 208, 209, 210 instrumental/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.

The Senior Project

Music students should demonstrate focused achievement in one or more of the three principal areas of the music curriculum:

  • composition/theory
  • musicology
  • performance

Majors fulfill this requirement in one of two ways:

  • taking a regular full-credit music course, additional work for which will challenge the student’s knowledge and skills acquired in previous studies; or
  • pursuing an independent project, usually a solo recital, a research project, or an original composition in the context of Music 480 (Independent Study), culminating in a public presentation in the spring semester of senior year.

Requirement for Honors

Departmental Honors:

  • minimum GPA in music courses of 3.7, AND grade on senior project of 4.0

Departmental High Honors:

  • Outstanding, standard-setting contribution to the Department in the context of courses and/or ensembles
  • Exceptional level of originality, depth, and synthesis in the senior project as compared to undergraduate work generally, outside Haverford (i.e., a level of work that should be sufficient to gain admission to top graduate programs in the field)

Facilities

The Department carries out its activities at two locations on campus. Our principal space, Union Music Building, houses offices for faculty and staff, two main classrooms, the intimate MacCrate Recital Hall, the Music Library and listening room, a choral and orchestral library, and areas for storage of instruments and equipment. The classrooms are outfitted with high-end playback equipment, overhead and video capability, and are digitally equipped for laptop projection and online access. The Department also manages and utilizes Marshall Auditorium of Roberts Hall, which stands adjacent. Marshall is a location for rehearsals and concerts, especially those involving larger ensembles and audiences. There are additional practice rooms and teaching spaces in the basement of Marshall. The stage is outfitted with both flexible and fixed lighting arrays, adaptable to a variety of performance activities large and small.

For details on instruments, student funding opportunities, and other programs, please visit the Department website (haverford.edu/music).

COURSES

MUSC H102F 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.
Lloyd,Thomas

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, understanding rhythm and meter, basic progressions and cadence patterns, tempo and dynamic indications, articulation and expression markings. Practical skills of singing at sight, notating accurately what is heard, and gaining basic keyboard familiarity will be emphasized.
Dugan,Leonardo

MUSC H107F 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. 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.
Cacioppo,Christine

MUSC H110A Introduction to Music Theory

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.
Dugan,Leonardo

MUSC H111A 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, 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.
Gray,Myron

MUSC H149B Native American Music and Belief

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.
Cacioppo,Curtis

MUSC H203A Principles of Tonal Harmony I

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.
Dugan,Leonardo

MUSC H204B Principles of Tonal Harmony II

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.
Cacioppo,Curtis

MUSC H207A Topics in Piano: Music for Two Pianos, and Piano 4 - Hands

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. Course fulfills a requirement in Italian Major at BMC.
Cacioppo,Curtis

MUSC H208F 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.
Jacob,Heidi

MUSC H209F 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.Lloyd,Thomas

MUSC H210F 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.
Cacioppo,Christine

MUSC H214F 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.
Lloyd,Thomas

MUSC H215F 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.
Jacob,Heidi

MUSC H216F 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.
Jacob,Heidi

MUSC H219I 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 coachings with the instructor, culminating in a public recital at the end of the semester.
Lloyd,Thomas

MUSC H221A 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.
Freedman,Richard

MUSC H222B Composers, Players, and Listeners in the 17th and 18th centuries

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.
Freedman,Richard

MUSC H223A Classical Styles

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.
Freedman,Richard

MUSC H224B Music, Myth, and Meaning in the 19th Century

This 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 changing social world of musicians and the musical institutions.
Freedman,Richard

MUSC H227B Jazz in Context

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.
Freedman,Richard

MUSC H229A Thinking about Music: Ideas, History, and Musicology

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.
Freedman,Richard

MUSC H265A 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.
Arauco,Ingrid

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.
Arauco,Ingrid

MUSC H303A Advanced Tonal Harmony

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.
Arauco,Ingrid

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.
Arauco,Ingrid

MUSC H325B Seminar in 20th/21st Century Music

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.
Freedman,Richard