Spring 2026 Course Search

We will study and perform from the string band traditions of rural America. Nova Scotia, Quebecois, Irish, New England, Scandinavian, African-American dance and ballad traditions. In addition, these will be experienced with listening, practice (weekly group rehearsals outside of class), and performing components. Emphasis on ensemble intuition, playing by ear, and lifetime personal music making skills (transposition, harmonizing, etc.).

Beginning, intermediate and advanced group lessons on the mandolin will be offered. Students will learn classical technique on the mandolin and start to develop a repertoire of classical and traditional folk pieces. Simple song sheets with chords, tablature, and standard notation, chord theory, and scale work will all be used to further skills. History of the Italian origins of mandolin and its introduction to the western world will be discussed as well as past and present practices.

For the experienced (3+years of playing) violinist/violist. Lessons in traditional styles of fiddling – Quebecois, New England, Southern Appalachian, Scandinavian, Cajun, Irish, and Scottish. This course is designed to heighten awareness of the variety of ways the violin is played regionally and socially in North America (and indeed around the world) and to give practical music skills for furthering personal music making. Students will be expected to perform at Music Workshop, or as part of a concert, in ensemble and/or solo.

A comprehensive course in learning musical skills on the ukulele. We will learn the history of the uke, from its Portuguese and Indigenous Hawaiian origins, and both traditional and contemporary styles. Music theory and playing techniques will be learned and practiced. Awareness of traditional styles of playing the instrument will be furthered through a listening component and ensemble playing with other instrumentalists. Repertoire will be drawn from traditional and original Hawaiian songs, as well as contemporary music from the past 60 years.

Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain, through the Scottish Gaelic speaking Highland and Islands to the dance tunes of Brittany. An end-of-term presentation will be prepared drawing on inspiration from traditional forms.

In this class, students will start working on their artists' book documenting their ongoing MFA thesis research, process and practice, and we will discuss how this relates to potential ideas for Research As Action presentations. To make this possible, we will use software such as Adobe CC Indesign and Photoshop. Slide presentations, software demos, group and individual critiques will help students develop and shape their ongoing thesis research and actions. 

The seventeenth-century Flemish painter-diplomat Peter Paul Rubens is at the heart of a course that proposes the intrinsic baroqueness of diverse strains of high modernism. Our transdisciplinary project crosses entrenched nationalistic and chronological borders between modern and early modern art and artists including Bacon, Guston, Manet, Newman, Picasso, Bearden, and Titian in addition to Robert Rauschenberg (1925-2008), himself a more conceptually various and possibly more prolific artist even than Rubens (1577-1640) to whom some 3,000 paintings and drawings have been attributed.

The term will be spent focusing on a teaching statement, evidence of teaching history, with a focus on intersectional Life writing. The continuation of the collection of documentation of professional activity, a full CV, an artist statement, and any other applicable statements will be added to the materials to create the fullness of the Portfolio book. An artist’s talk will conclude the portfolio process during the summer term.

The term will be spent focusing on a teaching statement, evidence of teaching history, with a focus on intersectional Life writing. The continuation of the collection of documentation of professional activity, a full CV, an artist statement, and any other applicable statements will be added to the materials to create the fullness of the Portfolio book. An artist’s talk will conclude the portfolio process during the summer term.

This course allows students more time to complete thesis project work.

This course allows students to self-design course work by combining topics and approaches from the Practice LABs and the Study LABs to meet required hours. The Individualized LABS take the form of a series of self directed intensive workshops and study immersions.

Variable Credit, 1-2 Credits

Through mentor approved independently paced work, students develop and schedule their own weekly, planned creative practices using student-initiated resources and/or classes. Mentors guide students through the designed plan that can include a combination of practices, techniques, technologies and methodologies. The study format should provide opportunity for varied approaches and choices.

This topic driven seminar focuses on current developments within the field of dance and performance. Students will learn to think of dance and performance through their own embodied experiences and by placing dance, movement, and performance in wider disciplinary, cultural and global contexts.

Where and how does study happen? What is the value of study and how do we recognize that value? What does it mean to think of our study of dance and performance as an encounter and how might that thinking offer up a chance for one to pay attention differently? Is it different from research?  Or, as Kevin Quashie suggests, does it perhaps re-situate the activities of research, scholarship, teaching and practice in an important way? These Labs take the form of intensive workshops and/or lectures.

Variable Credit, 1-2 Credits

What does studying together offer us critically that studying alone might not? Ariella Azoulay refers to studying with companions as a method of unlearning. What are the shifts experienced when you are studying with and alongside others? What conditions might group study provide that allow different questions and understandings to emerge? If, as Irit Rogoff states, “All research is collaborative,” how might these study groups expand our thinking through collaborative practices? What methodologies emerge?

The record of the processes and research practices take shape in the writing and designing of the artist’s book. The Research as Actions are discussed and planned. These actions are shared informally and at the conclusion of the term. 

Students propose, plan, discuss and develop a (research) thesis project. They choose a thinking partner to work alongside and begin the processes.

In this course, we will explore various projects that aim to connect people with their surroundings and communities.
We will also explore the strategies that various artists have implemented to increase their audiences and interest in the arts.
We will analyze and design projects that seek sustainability, diversification, and access to the experience of art and culture.

By evaluating environments we could design artistic projects that promote art, artistic education, and the promotion of cultural products as actions to build community, identity, and a creative economy.

Balkan music is fierce brass, complex harmonies, and mind-bending asymmetrical dances. It is spirited Macedonian wedding music, dissonant village songs, devastating Bosnian love ballads, Greek polyphonic songs, and heart-pounding Turkish rhythms. In the Bennington Balkan Ensemble, we will learn to perform a variety of traditional, urban, village, and popular music from Southeast Europe. Singing and playing indigenous, orchestral, and electronic instruments, we’ll explore repertoire from Albania, Greece, Bosnia, Hungary, Bulgaria, Croatia, Kosova, Turkey, Macedonia, Romania, and Serbia.

This seminar course investigates the cultural, philosophical, and aesthetic dimensions of sound through critical readings, listening exercises, and discussions. Drawing from fields such as sound studies, media theory, musicology, literature, and art, Readings in Sound challenges students to consider how sound shapes experience, knowledge, identity, and space.