Generally, students are awarded one credit for each hour of class time.
Exceptions are made for studio, ensemble, and a small number of classes.
For complete information as to courses offered in the current year, students
should consult the schedule of course offerings available each semester in the
Registrar’s Office. Courses numbered 100 through 499 are undergraduate
level; courses numbered 500 through 999 are graduate level. Course numbers
preceded by a “»” are typically offered each academic year. Course numbers
followed by a “T” are taught to mixed classes of undergraduates and graduates.
Undergraduate students may register for graduate-level courses with the
instructor’s permission. Courses followed by a “*” are repeatable for credit.
Courses followed by a “**” are repeatable for credit if the topic has changed
(permission from Academic Advisor required).

HISTORICAL PERFORMANCE

HP 509T – Renaissance Performance Practice
Renaissance music is a vast repertoire of varied styles and is the largest source of Western chamber music. True to it’s humanist roots, Renaissance music is simultaneously high art and popular expression. Polyphonically and polyrhythmically complex it requires pristine technique along with interpretive skills often associated with popular music. Freed from the tyranny of the barline, the horizontal construct of polyphony allows boundless expressive freedom and requires each performer to function as both soloist and chamber musician. Through working with new repertoires and discovering new ways of hearing, understanding and interpreting, this course will foster growth expressively, technically, rhythmically and philosophically. Primarily a performance ensemble, we will also research such topics as modal theory, rhetoric and ornamentation. Performance repertoire will concentrate on works of the great Josquin des Prez as well as Claudin de Sermisy, Cipriano da Rore, the Gabrieli’s and others. (1 credit) Tyson

 

HP 511T – Renaissance Improvisation
Renaissance musicians improvised with a brilliance unsurpassed in any repertoire. Blending characteristics of both classical and popular music, Renaissance music allows great expressive freedom in a wide variety of forms and styles. We will work extensively with the improvisations manuals of virtuosi such as Ganassi, Ortiz and Bassano which give a multitude of improvisation exercises and written out solos and will learn to internalize their brilliant vocabularies into a personal style. We will also study Renaissance polyphony in madrigals, motets, songs and dances, learn to improvise within these compositions as well as how to improvise over grounds, create free fantasias, etc. Through study and performance of Renaissance masterpieces, extensive listening and polyrhythmic practice and student compositions, we will learn to improvise fluently in the melodic style of the 16th century and enjoy enriched interpretative skills which will enhance any repertoire. (1 credit) Tyson

»HP 547T – Issues in Historical Performance
Designed to help students understand different and often conflicting approaches to music of the past. Through the study of recordings made by Stravinsky, Bartók, Rachmaninoff, and others, the course surveys the role of composer as performer and progresses to the role of performer as composer in the modern Baroque style. Selected readings from influential works on performance practice. Parallels are drawn between fashions in musical performance and those in contemporary composition and other arts. (2 credits) Gibbons

 

»HP 548T – Issues in Historical Performance
Continuation of HP 547T. Prerequisite: HP 547T or instructor’s permission. (2 credits) Gibbons

 

HP 551T – Baroque Music Performance
The main purpose of this course is to foster greater understanding of the literature and to explore ways of using historical knowledge to help find practical solutions for present-day performance. Selected vocal and instrumental works from 1600 to 1750 will be studied and performed in class. The course will proceed chronologically, beginning with Caccini and Monteverdi and ending with Bach and Handel. Scores of all works studied will be distributed to the students as we go along, together with relevant primary source materials dealing with issues of style, content, ornamentation, etc. Students will be tested on their familiarity with all the works and historical information studied in class. (2 credits) Gibbons

 

HP 563T – Classical Era Chamber Music Performance
Representative chamber works of the late 18th century are studied and performed on modern instruments. Performance practices of the period are explored; characteristics of, and techniques for, original instruments are examined; acoustical, social, and philosophical aspects are discussed. 19th and 20th century attitudes and approaches to the Classical style are surveyed in writings and recordings. (2 credits) Gibbons

 

HP 564T – Classical Era Chamber Music Performance
Continuation of HP 563T. Prerequisite: HP 563T. (2 credits) Gibbons

 

HP 701T – Interpreting J.S. Bach on the Keyboard
The objective of this course is to enable the student to develop a personal and well-informed understanding of Bach’s keyboard music consistent with his or her own unique musical sensibilities. It will consist of a series of conversations, starting with a performance of a Bach piece by one or more students on the piano, and/or by the instructor on the harpsichord. Issues will include the interpretive decisions made by the player, the reasons or feelings behind those decisions, and the impressions received by the listeners, as well as sources and editions of the music, the meaning of ornament and articulation signs, etc. There will also be discussions and demonstrations on the differences between harpsichords, clavichords, organs, 18th century and modern pianos. For additional interpretive perspectives, there will be listening assignments of performances by great artists. (2 credits) (Gibbons)

 

2016-08-16


I REMAIN TRUE TO MY STARTING PRINCIPLE. TO WRITE SOLELY AS I MYSELF THINK BEST. FELIX MENDELSSOHN