CLASSES OFFERED IN 2008-2009

101. MATERIALS OF MUSIC

An introductory course in the techniques of music for the student who has little or no previous musical training. Topics will include notation, modes, intervals, melody, harmony, rhythm, and structural elements of music. Core requirement met: Fine Arts

Profs. Jennifer Logan, Andre Myers

102. MUSIC OF LATIN AMERICA

This course surveys the various musical styles of Latin America, covering the areas of Mexico, Central America, the Caribbean and South America. Within an ethno-historical framework established at the beginning of class, emphasis is placed on 1) the important musical genres, their social function and musical characteristics, and 2) the musical instruments used in performing these musical genres. While knowledge of music theory and performance skills are not necessary, it is essential that students be prepared for intensive music listening in and out of class. Core requirement met: Group 4, Fine Arts

Prof. Simeon Pillich

103. MUSIC OF ASIA AND THE PACIFIC ISLANDS

This course surveys the musical styles and genres of Asia from India through the southeastern part of the continent and includes the countries and islands of the Pacific. Within an ethno-historical framework established at the beginning of the course, emphasis is placed on 1) the region’s important musical genres, their social function and musical characteristics, and 2) the instruments used in performing these musical genres. Where appropriate, distinctions will be made between classical and folk genres. While knowledge of music theory and performance skills are not necessary, it is essential that students be prepared for intensive music listening in and out of class. Core requirement met: Group 2, Fine Arts

Prof. Simeon Pillich

112. TOPICS IN POPULAR MUSIC

Historical survey of the important traditions of twentieth-century popular music. Consideration will be given to musical style as well as to issues of sociopolitical meaning and economic production. The course offers the opportunity to students to explore the current popular music scene in the Los Angeles area. Core requirement met: Group 5, Fine Arts

Prof. Simeon Pillich

114. TOPICS IN INSTRUMENTAL MUSIC

An examination of the cultural significance and historical context of major genres of instrumental music of the Western art music tradition. Topics have included a non-technical exploration of influences in instrumental music that cross national and cultural boundaries. Extensive music listening assignments will supplement readings. Core requirement met: Group 6, Fine Arts

Prof. Allen Gross

115. TOPICS IN OPERA

An examination of the cultural significance and historical context of opera from the 17th century to the present day. Issues that will be considered include nationalism, social class, and the portrayal of women. The course will study the following operas: Orfeo (Monteverdi), Armide (Lully), The Marriage of Figaro (Mozart), Tristan and Isolde (Wagner), La Traviata (Verdi), and Wozzek (Berg). Prior knowledge of music is not required, but there will be extensive listening. Core requirement met: Fine Arts

Prof. David Kasunic

151. THEORY AND PRACTICE OF MUSIC I

Studies in the integration of the basic materials of music: scales, intervals, chords; exercises in four-part harmony; simple compositional exercises; species counterpoint; listening assignments. Prerequisite: placement exam and ability to read traditional music notation, or Music 101. Requires concurrent enrollment in Music 151A. Core requirement met: Fine Arts

Prof. Andre Myers

151A. MUSICIANSHIP I

Training in tonal sight singing and listening; major and minor keys, triads, chord progressions and rhythmic studies. Prerequisite: requires concurrent enrollment in Music 151 or permission of instructor, as well as an ability to read music. Includes two 1-hour musicianship laboratories per week.

Prof. Jennifer Logan

153. THEORY AND PRACTICE OF MUSIC II

Further studies in harmony and composition; introduction to counterpoint; principles of form. Prerequisite: Music 151 or permission of instructor. Requires concurrent enrollment in Music 153A. Students will be assigned to the appropriate laboratory session during the first week of the semester. 

Prof. Irene Girton

153A. MUSICIANSHIP II

Continued training in tonal sight singing and listening: introduction to chromaticism, related key modulations, modes, seventh chords; continued study of chord progressions and rhythmic studies. Prerequisite: requires concurrent enrollment in Music 153 or permission of instructor. Includes two 1-hour musicianship laboratories per week.

Prof. Jennifer Logan

230. ADVANCED STUDIES IN ELECTRONIC MUSIC (2 units)

Continued study of theoretical, historical and aesthetic principles underlying computer/electronic music. Study of software applications (Logic, MaxMSP, Digital Performer, ProTools, Cloud Generator, MetaSynth) towards the creation of electronic, electro-acoustic, and/or interactive, multi-media composition. 2 units. Prerequisite: Music 130.

Prof. Jennifer Logan

232. PIANO PROFICIENCY (1 unit)
Prepares music majors to demonstrate competence in a broad range of keyboard skills: basic keyboard technique, sight reading, elementary repertoire, harmonization of melodies, transposition, and accompaniment. A grade of C or better is required to satisfy the Music major piano proficiency requirement. 1 unit. Prerequisite: Music 132, or permission of the instructor. Core requirement partial: Fine Arts

Ms. Dina Ormenyi

251. THEORY AND PRACTICE OF MUSIC III

Further studies in chromatic harmony. Development of 18th-century forms and their extension and elaboration in the 19th century; analysis of contrapuntal idioms: canon, invention, and fugue. Prerequisite: requires concurrent enrollment in Music 251A. Includes two 1-hour musicianship laboratories per week.

Prof. Jennnifer Logan

251A. MUSICIANSHIP III

Advanced training in tonal sight singing and listening; modulation to distant keys, introduction to 20th century idioms, extended chordal dissonance and rhythm. Prerequisite: requires concurrent enrollment in Music 251. Includes two 1-hour musicianship laboratories per week.

Prof. Jennifer Logan

255. JAZZ THEORY

Introduction to jazz harmony and notational practice: compositional exercises; small group and vocal arranging; analysis of popular music; transcription and study of improvised performances. Prerequisite: Music 153 or permission of the instructor.

Mr. Tim Emmons

257. COMPOSITION AND ORCHESTRATION

Writing exercises to develop technical facility; study of characteristics of instruments; exercises in scoring for various vocal and instrumental combinations. Prerequisite: Music 151 or permission of the instructor.

Prof. Jennifer Logan

260. HISTORY OF WESTERN MUSIC I: The Middle Ages to the Baroque

Offers an intensive survey of the Western art music tradition during the period ca. 800-1750. Prerequisite: Music 151 or permission of instructor. Core requirement met: Group 3, pre-1800, Fine Arts

Prof. David Kasunic

270.  HISTORY OF WESTERN MUSIC II: The late 18th century to the present

Offers an intensive survey of the Western art music tradition from ca. 1750 to the present. Prerequisite: Music 151 and Music 260 (or equivalent), or permission of instructor. Core requirement met: Group 3, Fine Arts, Pre-1800

Prof. David Kasunic

272. CONDUCTING AND SCORE–READING.

Studies in score-reading and analysis, and conducting gestures used for instrumental and choral conducting. Prerequisite: Music 153 or permission of instructor and ability to read a single line at the piano.

Prof. Allen Gross

280. INTRODUCTION TO ETHNOMUSICOLOGY

Offers an introduction to the principal concepts and methodologies of the field of ethnomusicology as well as the style and practices of selected world musical traditions. Prerequisite: Music 101, or permission of the instructor. Core requirement met: Group 6, Fine Arts

Prof. Simeon Pillich

357. COMPOSITION II

Study of the compositional techniques and resources of the 20th and 21st centuries. Refinement of the composer’s stylistic originality, through repertoire study and short compositional exercises. Composition of a substantial original piece for chamber ensemble, working with performers towards a final recital performance. Prerequisite: Music 255, 257, 258,  or permission of the instructor.

Prof. Andre Myers

390.  JUNIOR SEMINAR
The Junior Seminar is a small, discussion-oriented seminar required of all music majors, emphasizing advanced analytic and critical approaches to a musical topic. For 2008-09: Gustav Mahler (1860-1911). This seminar will dig deeply into the symphonies and songs of Gustav Mahler, exploring the rich and complicated responses to this music, from those of Mahler’s contemporaries to present-day critics, analysts, musicologists, and conductors. We will also examine Mahler’s professional life as a conductor, its relationship to his composing life and its effect on the performance legacy of his work. We will study the main song cycles and collections as well as the Symphonies 1, 2, 4, 5, 8, and 9. Readings will include writings by Eduard Hanslick, Guido Adler, Theodor Adorno, Leonard Bernstein, Henry-Louis de La Grange, Donald Mitchell, Stephen Hefling, Peter Franklin, Kofi Agawu, Carolyn Abbate, Leon Botstein, Susan Youens, and Vera Micznik. Topics for papers and presentations will be developed with attention to seminar participants’ particular interests. A course grade of B- or better, and satisfactory completion of a minimum of 15 pages of written work will satisfy the College’s third-year writing requirement. Prerequisite: Music 251.

Prof. David Kasunic

490. SENIOR SEMINAR. Topics in music history, music theory, music literature, or performance. For 2008-09: Virgil Thomson and the classical sound of modern California. Is there a "sound" to the classical and vernacular music of 20th and 21st century California? This course endeavors to find out. The first third of the course will be spent examining the life, music and writings of composer and essayist Virgil Thomson (1896-1989). Our focus then moves to composers whose music defined, in large measure, the sound, style, and musical gestalt of California since 1945. Examples of composers we will study include John Adams, Dave Brubeck, Anthony Davis, John Cage, Lou Harrison, Bernard Herrmann, Alan Menken, and David O. Analytic papers may address the question of whether there are connections to be drawn between Thompson and the other composers listed above, or may also examine the hybrid influences of a composition by a modern California composer. Prerequisite: Music 251.

Prof. Andre Myers

ENSEMBLES: Ensemble membership is open to all students of the college, and earn 1 unit of credit. Registration for all auditioned ensembles is completed during rehearsal each semester. All ensembles are graded Credit/No Credit. 

121. WOMEN’S GLEE CLUB.
One of Occidental’s two premiere choral ensembles, the Women’s Glee Club emphasizes a unified choral tone in the medium of music for treble voices. Two weekly rehearsals and a full season of concertizing both on- and off-campus. Enrollment is for the full year and by audition during the first week of the fall semester. Previous singing experience may be helpful.

LaVertu

122. MEN'S GLEE CLUB.
One of Occidental’s two premiere choral ensembles, the Men’s Glee Club emphasizes a unified choral tone in the medium of music for men’s voices. Two weekly rehearsals and a full season of concertizing both on- and off-campus. Enrollment is for the full year and by audition during the first week of the fall semester. Previous singing experience may be helpful.

LaVertu

125. ORCHESTRA.
A symphonic ensemble for qualified instrumentalists from the college communities of Occidental and the California Institute of Technology (students, faculty, staff, and their families). The orchestra presents several concerts on both campuses each year. Prerequisite: audition during the first week of the semester.

Gross

126. CONCERT BAND.
A symphonic wind ensemble for qualified instrumentalists from the college communities of Occidental and the California Institute of Technology (students, faculty, staff and their families). The Band presents concerts on both campuses during the year. Prerequisite: audition with Professor Bing, coordinated by Professor Gross.

Bing (of the California Institute of Technology)  

127. JAZZ ENSEMBLE.
The Occidental Jazz Ensemble consists of instrumentalists from Occidental who are interested in performing jazz of various styles. Charts and styles are determined according to the instrumentalists in the ensemble and their particular jazz interests. The Jazz Ensemble presents several concerts during the academic year. Enrollment is by audition with the instructor.

Emmons  

129. CHAMBER MUSIC.
Study and performance of chamber music for diverse combinations of instruments and voices. Prerequisite: audition during the first week of the semester.

Gross

APPLIED MUSIC: Instruction in applied music is available to all students of the College, and each semester is worth 1 unit of credit. Registration for applied music is completed at the Music Department office in Booth Hall and at the Registrar (with an ADD slip or through REGGIE). All students participating in applied music study must enroll at the Music Department office during registration or during the first week of each semester. Information regarding scholarships for applied music study is available at the Music Department office.

Applied Music Fees per Semester:  

Half-hour weekly private lessons $375.00
One-hour weekly private lessons: $750.00
Weekly class lessons in electronic music, voice, piano, guitar:  $195.00
Fees apply to all students regardless of full or part-time status.  

Statement of Policy for Class and Applied Music Lessons: 
Students must register for applied music both at the Music Department office and at the Registrar's office (with an ADD form or through REGGIE). Refunds for class and private applied music lessons will not be given after the third week of each semester. Students who elect to drop must inform the Music Department office prior to the end of the third week of the semester. Any student who drops class or private applied lessons after the third week of the semester will be billed for the FULL lesson fee(s) for that semester. If a student drops class or private applied music lessons before the end of the third week of the semester, he/she will be billed for the number of lessons taken up to that time.

Music majors, and all students receiving an applied music scholarship, are required to perform a jury for their instructor and one additional faculty member at the end of each semester.

CLASS APPLIED MUSIC LESSONS:  
Classes require a minimum of four students. If fewer than four students sign up for the class, the registered students will be contacted and given the option of enrolling in the private lessons or dropping the course.  

130. ELECTRONIC MUSIC CLASS
An introduction to the use of the Occidental electronic music studio and the creation of electronic music with synthesizers, computer and tape recorders.  Fee: $195.

Logan

131. VOICE CLASS.
Fundamentals of singing: voice production, diction, repertoire, musicianship. Recommended as preparation for private lessons. Fee: $195.

Blois

132. PIANO CLASS
Basic keyboard technique at the beginning through lower intermediate level. Fee: $195.

Ormenyi

133. CLASSICAL GUITAR CLASS (BEGINNING).
An introduction to classical guitar including basic technique and musicianship. The traditional repertoire as well as 20th century and flamenco will be explored. Fee: $195.

Berman

139. JAZZ IMPROVISATION.
Techniques and styles of jazz improvisation, solo and small combo. Open to all instrumentalists. Fee: $195.

Emmons

PRIVATE APPLIED MUSIC LESSONS: All private applied music lessons earn one unit of credit, whether the duration of the lessons is one-half hour or one hour per week. Music majors, and all students receiving an applied music scholarship, are required to perform a jury for their instructor and one additional faculty member at the end of each semester.

140.1 and 2. PIANO
Ward

140.3 and 4. PIANO
Barskaya

140.5 and 6. PIANO
Garrett

140.7 and 8. ORGAN: Not offered in 2007-2008

140.9 and 10. HARPSICHORD
Roberts

140.11 and 12. HARP
Shulman

140.13 and 14. JAZZ PIANO
Karush

140.16. COLLABORATIVE PIANO (1-hour lessons ONLY)
Barskaya
Prerequisite: Two semesters of applied piano study at Occidental College, or permission of instructor.

141.1 and 2. VOICE
Thomas

141.3 and 4. VOICE
Blois

141.5 and 6. VOICE
Ponce

142.1 and 2. FLUTE
Woodward

142.3 and 4. OBOE
Del Russo

142.5 and 6. CLARINET
Hughes

142.7 and 8. BASSOON
Savedoff

142.9 and 10. SAXOPHONE
Hughes

143.1 and 2. FRENCH HORN
O'Keefe

143.3 and 4. TRUMPET
Divers

143.5 and 6. TROMBONE
Marsteller

143.7 and 8. TUBA
Tornquist

144.1 and 2. PERCUSSION
Englander

145.1 and 2. VIOLIN
Sonderling
Prerequisite: Ability to read music.

145.3 and 4. VIOLA
Tischer

145.5 and 6. CELLO
Lum
Prerequisite: Prior experience playing the cello.

145.7 and 8. STRING BASS
Emmons

145.9 and 10. ELECTRIC BASS
Emmons

146.1 and 2. CLASSICAL GUITAR
Scivally

146.3 and 4. CLASSICAL GUITAR
Berman

146.5 and 6. CLASSICAL GUITAR
Blasco

146.7 and 8. JAZZ GUITAR
Scivally

146.9 and 10. JAZZ GUITAR
Berman

146.11 and 12. JAZZ GUITAR
Blasco

147.1 and 2. IMPROVISATION
Karush

148.1. ALEXANDER TECHNIQUE
Marsden

This page last edited 08/08/2008