Advanced Improvisation for Dancers and Musicians

This course is for advanced dancers and musicians who are serious about the performance of improvisation. We will engage in an ensemble practice, exploring specific forms generated by Professors Graves and Sgorbati as well as students. Investigations of rhythmic structures and pattern recognition will be a weekly practice. Dancers and musicians will learn how to build collaborative material together. The history of improvisation work both within the United States and globally will be discussed. Prerequisites: Previous work in dance and/or music improvisation. Corequisites: DAN4795 Advanced Projects in Dance for the dancers.

• Milford Graves | FA2010 | W, 10:10AM-12:00PM | DAN4358.01
• Susan Sgorbati | FA2010 | W, 10:10AM-12:00PM | DAN4358.01

Artist's Portfolio

Explaining art work often goes against the grain, yet artists are regularly called upon to articulate their processes, tools, and dynamics of collaboration. To help secure any of the myriad forms of institutional support including funding, venues, and engagements, artists must develop, creatively and flexibly, essential skills. Finding a public language for what is the private process of creation is an art in itself. Furthermore, understanding and discovering ways to adapt to changing economic realities is a critical component of making work; bringing the work into the world is a natural part of the artist's process. This course addresses basic issues involved in generating, developing, producing, and presenting art work. Students will write artist statements, press releases, biographical statements, resumes, c.v.'s, grants and cover letters; will prepare budgets, will organize promotional portfolios/videotapes; will interview each other; and will give short lecture demonstrations. Prerequisites: Advanced level work in one of the art forms. Permission of the instructor.

• Dana Reitz | FA2012 | T, 4:10PM- 6:00PM | DAN4366.01
• Dana Reitz | FA2013 | T, 4:10PM- 6:00PM | DAN4366.01
• Dana Reitz | FA2010 | T, 4:10PM- 6:00PM | MUS4366.01
• Dana Reitz | FA2011 | T, 4:10PM- 6:00PM | VA4366.01

Energy

Energy has been called the "universal currency" (Vaclav Smil) but also "a very subtle concept... very, very difficult to get right" (Richard Feynman). Building on skills started in physical computing, we will, through generating and measuring electricity, gain a more nuanced and quantitative understanding of energy in various forms. We will turn kinetic and solar energy into electrical energy, store that energy in batteries and capacitors, and use it to power small devices. We will develop skills useful in a variety of undertakings, from citizen science (distributed remote sensor networks) to large-scale art installations. Students will build a final project using skills learned in the class. Prerequisites: None.

• Jeff Feddersen | SP2012 | Th, 8:10AM-12:00PM | SCMA2110.01

Instrument Building

A course on instrument building in the 20th century, focusing on experimental instruments and unheard-of sounds. A survey will introduce students to the innovations of Harry Partch, new gamelans, circuit bending, and intonation theory. Students are required to design, construct, and perform on at least two different instruments during the term. Students will be asked to be critical about the visual and sonic aesthetic of their new instruments, and to explore how instrument design can reinvent musical tradition and performance practice. Class will also regularly use, restore, and adapt the Schonbeck instrumentarium at Bennington College. Prerequisites: Prior work in music. Permission of the instructor.

• Nicholas Brooke | SP2011 | T, 8:30PM-10:20PM | MUS4224.01

Media Projection and Performance

This workshop will be an experiment for all concerned. The goal of the workshop is to discover ways to use projections and light to form 3-dimensional space in ways that knit the properties and composition together in an environment that humans can inhabit. This course is open to anyone on campus, particularly those from the dance, theater, and visual arts programs. Some exposure to lighting design and familiarity with Photoshop would be helpful. Each student or group of students will be responsible for developing material to project via software such as Photoshop, and then developing the strategy for extending this 2D image into three dimensions. Workshop will meet every two weeks to view images and space, and to critique the results and plan further work. Class time will be relatively minimal compared to the out-of-class preperatory and design work. Prerequisites: None

• Dana Reitz | SP2010 | W, 8:00AM-10:00AM | DRA2236.01
• Michael Chybowski | SP2010 | W, 8:00AM-10:00AM | DRA2236.01

Myths and Hymns: Music Theater Performance

Ambition. Pride. Love. Loss. Forgiveness. In his bold 1998 song cycle, Myths and Hymns, Adam Guettel re-imagines Greek myth with millennial intensity. He stumbled upon a 19th century Presbyterian hymnal, and then interwove the lyrics into his song cycle. Musical styles range from lush Art Song to Rock to Latin to R & B to Gospel and Jazz. This performance project invites students to explore in depth how mythology, musical phrasing, and rhapsodic lyricism speak to how we live, what we have done, and how we reassess what we can become. The course work entails the hours of study both in and out of rehearsal. Performers will be asked to make physical work, both individually and collaboratively. This course is open to singers, actors, dancers, designers, assistant directors, musicians, and dramaturges. Rehearsals, techs, and performances constitute the student's commitment. Prerequisites: Auditions and Callbacks are open to all and will be held on Saturday December 1 and Sunday December 2 from 2 pm to 6 pm in Jennings. Please prepare a 2-minute musical selection and bring sheet music for the accompanist.

• Jean Randich | SP2013 | , - | MUS4015.01
• Thomas Bogdan | SP2013 | , - | MUS4015.01

Pronounced: the International Phonetic Alphabet

The International Phonetic Alphabet is an important and very useful tool for language and voice students. It allows one to pronounce an alphabet of symbols that represent sounds used in all languages. Singers of classical music perform music in a minimum of five languages. They are not expected to be fluent in all of these languages, but they are expected to pronounce them convincingly, as if each were their mother tongue. Similarly, many language students have difficulty with sounds that are not part of their native language. For these students too the IPA (International Phonetic Alphabet) is an invaluable tool: learning the IPA and the rules of pronunciation can help classical singers and language students master the pronunciation of many different languages. The course will focus first on learning the IPA for the English language. We will then go on to use poetry as a tool for learning the basic rules of additional symbols and pronunciation in other languages - Italian, French, German and Spanish. Depending on the individual needs of the students, the rules for pronunciation of other languages can also be included in this course. Prerequisites: None.

• Martha Herr | SP2012 | W, 4:10PM- 6:00PM | FLE2110.01

Sound Studies

How do we hear? Why do we listen? From religious chant to village bells to elevator muzak to noise pollution, sound has played a major role in human cultures and human experience since time immemorial. In this course, students will approach and engage critically with sound, listening, hearing, and aurality as categories for the analysis of societies from prehistory to the present day. Readings will be drawn from history, anthropology, philosophy, literature, art, music, environmental studies, and science studies. In addition to weekly readings, students will be asked to write papers, partake in listening/sound exercises, and confect creative projects that engage with the themes of the class. Prerequisites: One course in social science or music.

• Stephen Higa | FA2012 | TF, 2:10PM- 4:00PM | HIS4108.01

Writing About Music

For students who want to show advanced work in music in written form. How do you write about music? With ingenuity, evoking the music in the ear of your reader. With heart, deciphering the music's purpose within personal and social contexts. With credibility, bringing analytical discussion from theoretical symbology into verbal expression without losing investigative drive. With skill, transcribing scored examples of brief moments that demonstrate your thesis. Prerequisites: Permission of the instructor and/or faculty recommendation.

• Kitty Brazelton | SP2012 | W, 2:10PM- 4:00PM | MUS4124.01

Advanced Projects in E-Music

This course will focus on composition in the electro-acoustic medium. Students may choose to develop their technical skills in any of the following areas: sound synthesis, digital signal processing, digital audio recording and surround sound 5.1 spatialization. Students are expected to complete an electro-acoustic composition in surround sound to be presented in concert at term's end. Students are also expected to complete short readings, participate in class discussions and to present their creative work on a regular basis in class sessions. An intermediate to advanced level tutorial. Prerequisites: Permission of instructor.

• Randall Neal | SP2013 | M, 4:10PM- 6:00PM | MCO4139.01
• Randall Neal | FA2013 | M, 10:10AM-12:00PM | MCO4139.01

Beginning Composing

This class explores and reviews notation and the rudiments of music through the act of composing small pieces for a variety of instruments. It is intended for students who have taken instrumental lessons for a few years or more and who can read music in at least one clef. It is meant for those who have never imagined composing music as well as for those who have already begun writing music. We will take a hands-on approach to learning about such matters as intervals, modes, key signatures, and the fundamentals of tonal harmony through using these musical elements creatively. The students are also encouraged to produce original creative work that is not tied to learning any particular materials, but simply reflect the student's imagination and instincts. Students are requested to show work during the term at Music Workshop. Prerequisites: Permission of the instructor.

• Allen Shawn | FA2010 | MTh, 2:10PM- 4:00PM | MCO4120.01
• Allen Shawn | FA2011 | MTh, 2:10PM- 4:00PM | MCO4120.01
• Allen Shawn | FA2013 | MTh, 2:10PM- 4:00PM | MCO4120.01
• Allen Shawn | SP2013 | MTh, 2:10PM- 4:00PM | MCO4120.01
• Kenji Bunch | FA2012 | W, 2:10PM- 4:00PM | MCO4120.01

Beginning Composing for Bands

One person writes a musical idea down. Another person reads the idea and plays it out loud. Upon hearing, the first imagines further ideas which complement and enhance and sketches those out on a chart. A "band" of musicians realizes the chart. How does it sound? Well...different. This class is for those who have never composed as well as for those who have already begun writing music. "Bands" may be chamber groups, traditional rock bands or completely new combinations. The class will learn about intervals, modes, key signatures and the fundamentals of tonal harmony, transcribe rhythmic "grooves" and analyze beloved musical models to emulate. Students must be able to sing or play an instrument, and read music in at least one clef. Prerequisites: None. Corequisites: Must participate in Music Workshop (Tuesday, 6:30 - 8pm).

• Kitty Brazelton | SP2010 | TTh, 4:10PM- 6:00PM | MCO2119.01

Composing - Performers' Ensemble

This ensemble will be comprised of performing musicians who also compose and/or improvise. The focus will be on the reading of new works, composed specifically for the instrumental possibilities within the group. By reading and rehearsing material generated by the ensemble members (and perhaps other student composers) on a weekly basis, students will get a chance to improve both their writing skills and reading skills in the areas of: 1) through-composed notated music, 2) music with improvised sections, and 3) improvised music using written directions and/or graphic scores. Ensemble blend and overall musicianship will also be addressed. Prerequisites: Ability to read music and some experience with improvisation.

• Bruce Williamson | SP2012 | W, 2:10PM- 6:00PM | MPF4239.01

Composing for Strings

The instruments of the string family have been essential components of written music for centuries, and continue to serve as the backbone for contemporary orchestral and chamber works, as well as in the production of jazz, pop, rock, and hip-hop arranging. In this course, we will examine important milestones in string writing, including virtuoso solo works from J.S. Bach to Eugene Ysaÿe, the genesis of the string quartet from Haydn to Bartók, orchestral writing from the Mannheim School to Mahler and Debussy, experimental works from the 17th century (Biber, Vivaldi) to Penderecki and Crumb, and pop arranging from Nelson Riddle to The Beatles' Eleanor Rigby, Motown, and beyond (Coldplay, Verve, Kanye West). To supplement the in-depth study of this existing canon, we will draw upon the vocabularies of these composers to create our own original works that we will workshop in class as a practicum. As a final end-of-term project, we will organize an open reading of original student compositions and arrangements by professional string players from the NYC area. Prerequisites: Fluency in musical notation, one prior course in music composition.

• Kenji Bunch | FA2012 | T, 2:10PM- 6:00PM | MCO4110.01

Composing for the Choir

Composers who sing (or would like to), singers who compose (or would like to), songwriters who would like to stop singing alone, writers who would like to hear their writings sung (and maybe sing some too) and anyone who's always wanted to learn how to shape music for a vocal group---this class is for you. We will compose, rehearse and then perform our own repertoire in several live concert effusions through the term. Fun, hard work, and more fun. Prerequisites: Previous voice, composition, or writing classes. A performative understanding of music theory. Permission of the instructor. Corequisites: Must participate in Music Workshop (Tuesday, 6:30 - 8pm).

• Kitty Brazelton | SP2012 | W, 8:20AM-12:00PM | MCO4130.01

Composition Project: Acoustic/Electronic

In this course students will compose a substantial work for one solo instrument with fixed-medium (CD) electro-acoustic accompaniment. Class will meet twice a week; on Monday, Randall Neal will review the history of compositions involving acoustic instuments with electronics and provide technical instuction in the electronic music studio (using ProTools 9, for the recording, editing and arranging of sounds, and GRM Tools for the digital transformation and re-synthesis of sounds). On Thursdays, Allen Shawn will provide further listening and discussion of the compositions, focusing on the live instrumental component. Compositions will be performed at a culminating concert. Prerequisites: Good notational skills, previous classes, and permission of the instructor.

• Allen Shawn | SP2010 | MTh, 4:10PM- 6:00PM | MCO4501.01
• Allen Shawn | SP2012 | MTh, 4:10PM- 6:00PM | MCO4501.01
• Randall Neal | SP2010 | MTh, 4:10PM- 6:00PM | MCO4501.01
• Randall Neal | SP2012 | MTh, 4:10PM- 6:00PM | MCO4501.01

Composition Projects: TimeTable

A composition intensive in writing for percussion trio. Students will imagine, compose, and notate a piece for the professional trio TimeTable. Well look at music for percussion in the 20th century (Cage, Xenakis, and Varese, as well as music from around the world), and how it has been a groundbreaking venue for exploring timbre, polyrhythm, and texture. Students will learn how to compose idiomatically for marimba, vibraphone, and other instruments, while adapting their musical imagination to the physicality of TimeTable's performers. All pieces will be performed in an end-of-term workshop concert. Prerequisites: Previous composition course; permission of the instructor.

• Nicholas Brooke | FA2010 | MTh, 2:10PM- 4:00PM | MCO4103.01

Composition Studio: Form

In focusing on harmony and rhythm, composers often lose the forest for the trees, sacrificing form for detail. This compositional intensive will focus on different approaches to creating large-scale form in music, based on students' own advanced projects. Part of the class will be dedicated to aural analyses of music from across a broad spectrum of genres, and students will be expected to engage critically with the question of how to effectively structure their own work. Students will be expected to create a new composition of at least ten minutes in length, as well as several miniatures. Composers across genres (instrumental, electronic, multidisciplinary) are welcome. Prerequisites: Permission of the instructor.

• Nicholas Brooke | FA2011 | W, 2:10PM- 6:00PM | MCO4803.01

Computer Programming for Musical Applications

This course serves as an introduction to creating computer music environments within the Max/MSP programming language. Relevant aspects of music and digital audio technologies will be addressed as they relate to the class assignments. Students are expected to complete short exercises and show work regularly in class, culminating in a self-designed final project. Skills learned in this course are applicable towards future work in algorithmic composition, interactive environments, and digital signal processing. Prerequisites: None.

• Daniel Roninson | FA2012 | , - | MCO2108.01
• Jeremy Stewart | FA2012 | , - | MCO2108.01

Creating Music for Dance

In this course, we will collaborate with Susan Sgorbati's Intermediate Dance Intensive, creating new hybrid works of music and dance. We will talk about the art of collaboration, working both together with the dancers, and separately in workshop as musicians. We will explore improvisational and compositional structures that engender deep listening and looking. Students will be expected to create at least two different pieces in conversation with dancers. Students must be willing to collaborate and adapt their work to the embodied, unpredictable environment of multidisciplinary work. Prerequisites: A previous composition course or permission of the instructor.

• Nicholas Brooke | SP2010 | T, 10:10AM-12:00PM | MCO4102.01

E-music Projects: Graphic Synthesis & Sonification

Graphic sound synthesis was pioneered by Iannis Xenakis with his UPIC computer music system. In this environment, the composer can draw, paint, or use imported digital imagery either to generate sound directly, or to signal process sounds. MetaSynth has often been refered to as "the American UPIC". It is not a synthesizer, but a digital sound engine that provides the composer with a wide assortment of digital sound synthesis techniques. In addition to abstract sound generation, MetaSynth also makes it easy for composers to explore unusual scales and scale tuning systems. Sonification is the use of non-vocal audio to perceptualize data. Information drawn from any source in the real world may be translated directly into sound using graphic synthesis. Graphic synthesis and sonification provide composers with an engaging poetic as well as wide open horizons for sonic exploration. Students are expected to complete short readings, participate in discussions, present their creative work on a regular basis in class sessions, and to complete a substantial project by term's end. An intermediate to advanced level tutorial. Prerequisites: Permission of the instructor.

• Randall Neal | FA2012 | M, 4:10PM- 6:00PM | MCO4375.01
• Randall Neal | SP2011 | M, 4:10PM- 6:00PM | MCO4375.01

Electronic Music: Creativity and Sound

How do you compose when any sound can be used in music? This course provides a wide-ranging exploration into strategies for sound-based composition and the digital transformation of sound. Students will create original sounds and compositions in the electronic music studio. Students are expected to complete short readings, participate in discussions, present their creative work on a regular basis in class sessions and complete two studio projects. The afternoon lab session will cover digital audio recording, digital signal processing, and compositional practice in the electronic music studio. Prerequisites: None.

• Randall Neal | FA2010 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | FA2011 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | FA2012 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | SP2010 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | SP2011 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | SP2012 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | SP2013 | M, 2:10PM- 4:00PM | MCO2109.01
• Randall Neal | FA2013 | M, 2:10PM- 6:00PM | MCO2109.01

Film Music

The practice of underscoring movies is as old as film itself, from early improvised accompaniments to silent films, to the orchestrations of Bernard Herrmann and Ennio Morricone. In this course, we will look and listen to a variety of films and sound scores throughout the ages, analyzing the way in which they act as counterpoint to plot and the visual score. Musical analysis of these films, and writing about/discussion of film scores will serve as background to the students' own projects. Students will be expected to provide musical accompaniment to a variety of films by the end of the term (which may include collaborations with other students' projects in video and animation) as well as orchestration of previously existing films, such as early silent film. Students will be expected to record and synch their music within a digital environment. Prerequisites: A previous composition or theory course, or permission of the instructor.

• Nicholas Brooke | FA2012 | MTh, 2:10PM- 4:00PM | MCO4101.01

Music Composition Intensive

Students who wish to study composing intensively may be eligible for a small group tutorial or where appropriate, individual lessons. In general, students taking this course are expected to compose in longer forms and with more varied instrumentation than previously attempted. This course may be taken at the intermediate or advanced level. Prerequisites: Previous composition and theory courses. Permission of the instructor.

• Allen Shawn | FA2010 | , - | MCO4801.01
• Allen Shawn | FA2011 | , - | MCO4801.01
• Allen Shawn | FA2013 | , - | MCO4801.01
• Allen Shawn | FA2010 | , - | MCO4801.02
• Kitty Brazelton | FA2010 | , - | MCO4801.03
• Kitty Brazelton | FA2011 | , - | MCO4801.03

Music Composition Project

This class offers experienced composers a chance to focus on a composition for one medium for the entire term. Class time is divided between listening and discussion sessions, in which works for the chosen medium are examined, and weekly evaluations of how the students own work is progressing. The students meet regularly one-on-one with the instructor, and also meet as group to hear each others developing pieces. There are periodic readings of the works-in-progress, allowing for learning what is and is not working, refining of musical ideas and of the instrumental writing. The course culminates with a concert of the works produced. This is followed by the writing of a short piece for piano or other easily available instrument, as a final assignment. Prerequisites: A previous composition course; permission of the instructor.

• Allen Shawn | SP2011 | MTh, 2:10PM- 4:00PM | MCO4802.01
• Allen Shawn | SP2013 | W, 2:10PM- 4:00PM | MCO4802.01

Projects in E-Music: The Acousmatic Experience

The term acousmatic describes a musical performance in which both performer and instrument are absent. The audience has no visual cues, all mental imagery results from the sounds alone, and access to the composers work is mediated solely through loudspeakers controlled by a sound projectionist. Close examination of this listening environment reveals that it provides a composer with unique opportunities for exploring the listeners musical perception. Students will create original compositions in the electronic music studio using a surround-sound spatialization system. Students are expected to complete short readings, participate in discussions, and present their creative work on a regular basis in class sessions. An intermediate to advanced level tutorial. Prerequisites: Permission of the instructor.

• Randall Neal | FA2010 | M, 4:10PM- 6:00PM | MCO4377.01
• Randall Neal | FA2011 | M, 4:10PM- 6:00PM | MCO4377.01

Songwriting: The Partnership of Lyrics and Music

For students who are writing songs but feel uncertain when it comes to adding lyrics or for those who want to explore the process more deeply, this course will look at how language, rhythm, rhyme scheme, melody and form work together to express a strong vision. We will be listening to artists who have made lyric writing an art. We will open doors to new ideas through group exercises and we will workshop students' songs in progress. Prerequisites: None. Corequisites: Must participate in Music Workshop (Tuesday, 6:30-8pm).

• Julie Last | SP2013 | F, 8:20AM-12:00PM | MCO2207.01

Sound Installation

In this course we'll examine and create sound pieces that differ from traditional musical performances in that they are longer, larger, and/or (more directly) interactive. Topics will include: process music and algorithmic composition; mechanized and computerized sound making; strategies for remote power, processing and amplification; sensors. Students will critique representative works and create their own, culminating in an end-of-term exhibition. Prerequisites: Permission of the instructor.

• Jeff Feddersen | SP2012 | W, 2:10PM- 6:00PM | VA4151.01

Whose Opera?

Looking for six able composers, six able writers and six able singer/actors. Or those who combine these abilities. Example of bi-weekly assignment: short operatic sketch by six teams of writer-composers for singer-actors. Writer starts - delivering libretto to composer who sets words to music, and team delivers sketch to class one week later. After sketch is critiqued in class, singer-actor(s) prepare sketch for following week with composers musical assistance. Writers must contribute to performance in some way as well. Finished sketches presented at Music Workshop during term. Course will culminate in evening-length public showing of successful sketches. No musical style requirements. For writers: a clear understanding of spoken word and the sonic effects of language. For actor/singers: self-directed quick-study acting ability. For everyone: enough music literacy to speed communication but sight-reading not required - willingness to learn, imagination, memory, acting ability, and good intonation crucial. Prerequisites: Writers must submit a sample to kbrazelton@bennington.edu one week prior to registration. Composer/singers/actors must submit references from Music Composition/Voice/Drama faculty one week prior to registration. Corequisites: Must participate in Music Workshop (Tuesday, 6:30 - 8pm).

• Kitty Brazelton | SP2011 | W, 8:20AM-12:00PM | MCO4361.01
• Kitty Brazelton | SP2013 | W, 8:20AM-12:00PM | MCO4361.01

Aural Skills

Rhythmic exercises, sight singing, and dictation are used to enhance listening and performance. Classes will be divided into sections - from intermediate to advanced - according to the level of the student. The beginning level will emphasize notation and learning to read music. This course is highly recommended to all involved in music and to anyone wishing to improve their ears. Prerequisites: Placement test required. Contact Suzanne Jones, x4510 for details.

• John Eagle | SP2010 | F, 2:10PM- 4:00PM | MFN2129.01
• John Eagle | SP2010 | Th, 4:10PM- 6:00PM | MFN2129.02
• John Eagle | SP2010 | , - | MFN2129.03

Groundwork Lab

This is the required two-hour lab that accompanies MFN2110 Groundwork: What You Need to Know to Make Music. Prerequisites: None. Corequisites: MFN2110 Groundwork: What You Need to Know to Make Music.

• Kitty Brazelton | FA2012 | , - | MFN2111.01

Groundwork: What You Need to Know Music Lab

• Kitty Brazelton | FA2013 | , - | MFN2110L.01
• Kitty Brazelton | SP2012 | , - | MFN2110L.01
• Kitty Brazelton | FA2011 | W, 4:10PM- 6:00PM | MFN2110L.01

Groundwork: What You Need to Know to Make Music

You may or may not play an instrument. It doesn't matter. What matters is how you think, how you hear, how you communicate, and your willingness to adapt that knowledge to the musical field. We will learn to listen to music, talk about music, improvise music, write music, write about music, read music, and read about music, but most of all we will learn to collaborate to make music unique to the class and the individuals in it. No matter what your background, come prepared to play. Prerequisites: None. Corequisites: Must participate in Music Workshop (Tuesday, 6:30 - 8pm). Students must also register for the lab, MFN2111. Two-hour small-group music labs will be scheduled after the first week.