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.

How does influence travel from one thing to another? In Newton’s mechanics of particles and forces, influences travel instantaneously across arbitrarily far distances. Newton himself felt this to be incorrect, but he did not suggest a solution to this problem of “action at a distance.” To solve this problem, we need a richer ontology: The world is made not only of particles, but also of fields. As examples of the field concept, we study the theory and applications of the electric field and the magnetic field.

This course is a seminar focusing on films that were made by filmmakers and collectives which saw themselves as inaugurating a new kind of filmmaking modeled neither on the commercial American filmmaking, nor on the European “Auteur” Cinema, instead crafting a third position, a cinema that was implicated in anti-capitalist and anti-imperialist struggles of the time. These works challenged ideas of authorship, questioned the role of the filmmaker in political transformation, and proposed alternatives to the forms of production that filmmaking made use of.

This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring dimensions of cinematography, mise-en-scène, editing and sound design before producing a final self-determined project. Concepts crucial to time-based media such as apparatus, montage and identification will be introduced through screenings, discussions and texts by a diverse range of artists, filmmakers, and theorists.

Self-reflexive narratives, improvisation, non-linearity, slow cinema, alternative representations of time and space, experimental film grammars, poetic scripts, collective direction, Brechtian techniques.  All of these processes and more will be explored in this hands-on production based course. Working collaboratively and on your peers’ work in various roles is required for this course. This course is appropriate to students doing advanced work in film and video as we will be taking a project from research, writing and structuring to post-production in the span of a term.

All but a handful of the objects you see in the night sky are stars in our Galaxy, the Milky Way. Although we know about these stars only from studying their light, we know today that they are not just points of light, but large, gravitationally‐bound balls of plasma governed by the laws of physics. Stars, together with dust, gas, and dark matter, are found in larger structures – galaxies. In turn, galaxies, are located in even larger structures called galaxy groups and galaxy clusters.

The physics of light and color initially appears simple: light is a wave and the wavelength of light determines color. While this basic physical description of light is easy to state, going deeper quickly opens up large range of questions. How do different wavelengths of light combine to make colors? How does light from different sources interfere? How does light change path when it travels through different materials? How do humans sense light both in and outside of the visible spectrum? How does our perception of color affect how we interpret our world?

Physically, sound is simply the compression of air around us. However, this relatively simple description obscures a much richer understanding of sound. From how different sounds are generated and perceived to how different sounds can combine to make something new to how to design acoustically pleasant spaces, the physics of sound plays a key role. This course is about the fundamentals that underlie sound and is designed to serve as an introduction to those who are interested in going further.

In this course, students will gain experience with using simple programmable robots and how they can be utilized in STEM education. The focus of this class will be on learning and designing lessons for K-12 students utilizing these robots. This class is accessible for students at all levels of computer programming experience (including none). 

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.

Students will work towards completing one moving image piece or body or work of their own devising during the course of the semester. This course is primarily intended for seventh- and eighth-term students with a Plan concentration in Film/Video who have already taken Advanced Projects I in the prior fall, but exceptions may be made by permission of the instructor.

Students will observe using the telescopes at Stickney Observatory for a series of astronomical observing projects. After a range of initial assigned projects designed to acquaint students with the capabilities of the observing equipment and astrophysically interesting observations, students will propose and carry out their own observing projects looking at astrophysical phenomena of interest to them. As this is a projects class, it is expected that students will be able to devote significant time (mostly at night) observing on their own or in small teams.