Music

Professor Girton, Chair
Professor Gross; Assistant Professors Kasunic, Myers
On Special Appointment: Adjunct Assistant Professor Logan; Adjunct Instructors Bing, Emmons, Ormenyi, Pillich
Applied Music Teachers: Barskaya, Berman, Blasco, Blois, Del Russo, Divers, Englander, Garrett, Hughes, Karush, Lum, Marsden, O’Keefe, Ponce, Roberts, Savedoff, Sawyer, Scivally, Shulman, Sonderling, Thomas, Tischer, Tornquist, Ward, Woodward

The Occidental Music department is a community that values and cultivates the creation, performance, and critical study of the world’s musics. Students majoring in music develop an integrated understanding of music as creative work, as cultural and historical expression, and as performance. Through its curriculum, recitals, lectures, master classes, residencies, and other public events, the Music department leads the musical discourse that enriches College and community life.

Music majors and minors develop their craft in a rigorous analytical study of music from the world’s musical traditions, which they apply to their own artistic expression as they engage in specific studies in composition, performance, conducting, music theory, and music history. In addition to upper-division courses requiring a reading knowledge of standard music notation, the Music department also offers a wide array of special topics courses in subjects ranging from popular music and jazz to opera, choral music and art song, instrumental music, music for film, and music in world cultures. Classroom and private studies are coordinated with opportunities to attend live concerts by the world-class musical artists who perform on campus and elsewhere in the Los Angeles area. Students study, practice, and perform in the excellent facilities of Booth Music Hall and Thorne Hall, with ready access to practice rooms, large and small performance halls, an electronic music studio, and an outstanding music library of scores, recordings, and computers with musicianship and notation programs.

The music major is designed to enable students to enter into music-related professions. Alumni have become successful in opera, musical theater, professional choruses and orchestras, in careers as concert artists, and as composers and arrangers for films, television, and theater. Many have become music teachers in private studios or at the elementary, middle and high school, or college and university level. Still others have become involved in related professions such as arts management, sound engineering, music editing, and publishing. Because of the quality, breadth and depth of Occidental College’s liberal arts curriculum, alumni who majored in music are prepared to enter graduate school with a wide variety of professional goals.

The music curriculum is structured so that students who are undecided about majoring in music may begin their music studies in their second year at Occidental and complete the major by the end of their fourth year. However, the development of musical craft and artistry requires time as well as effort, and students considering a major or minor in music are urged to begin taking music theory courses and applied music studies in their first year at the college. Students who plan to study abroad in their third year at the college must begin their music theory studies in their first year.

MAJOR: Course requirements:

Music Theory: 3 courses, 12 units (Music 151/151A, 153/153A, 251/251A).
Music in Western Culture: 2 courses, 8 units (Music 260, 270).
World Music: 1 course, 4 units (Music 280).
Junior and Senior Seminars: 2 courses, 8 units (Music 390, 490).
Electives: 2 courses, 8 units chosen in consultation with the faculty. At least one of these must be at or above the 200-level.
Applied Study: 2 units (Music 130-134 and Music 139, Music 140-147).
Ensemble: 2 units (Music 120-129).
Piano Proficiency: must be satisfied by examination or by passing Music 232.

Additional courses are chosen according to the student’s emphasis in consultation with the advisor. These courses may be drawn from the series of “Topics” courses (Music 111-117), from Theory, Composition, Arranging, and Jazz (Music 255, 257, and 357), from Conducting (Music 272, 471), and from the World Music Series (Music 102-105). It is expected that students electing to concentrate on performance for their senior project will enroll in applied study and/or ensemble for each term of residency.

COMPREHENSIVE REQUIREMENT: Senior music majors complete a senior project related to the student’s area of interest. All senior projects involve both a written and an oral component. Each component is graded High Pass (HP), Pass (P), or Fail (F). A final grade of Pass with Distinction (PD) on the senior comprehensive will be awarded if all components (written, aural, and performance, if applicable) are graded High Pass.

In the Fall semester of their junior year, students submit a proposal for their senior project to the Music Department faculty for approval. Students with a particular interest in music history, theory and analysis, or critical studies in music and culture will propose a senior thesis of 25 or more pages in length. Students with a particular interest in composition will prepare a portfolio of original compositions, including both acoustic and electro-acoustic music, some of which will be presented in a composition recital during the senior year. Composers will write an accompanying paper of 10 pages or more in length, describing their compositional processes and influences. Students with a demonstrated ability in performance or conducting will propose a senior recital, and will write an accompanying paper of 10 pages or more in length which addresses analytical and historical issues related to music on their recital. Students with other specific musical interests will complete a project designed with their advisor.

All seniors will present their work in a public forum during the spring semester.

MINOR: Students minoring in music have a minimum requirement of 20 units, and may choose to elect additional courses in areas of musical study in which they have a particular interest.

Minimum requirement for the Music Minor: Music Theory (8 units: Music 151/151A, 153/153A); Music History (8 units: two courses from Music 102-105, 111-117, 260-280); Performance (4 units: 2 semesters applied music, 2 semesters ensemble).

WRITING REQUIREMENT: Students majoring in Music will satisfy the final component of Occidental College’s college-wide writing requirement by successfully completing MUSC 390 in the junior year with a grade of B- or better and receiving a notation of “Satisfactory” for its writing component. Students not achieving a “satisfactory” notation by either of these means will be required to undertake additional coursework in academic writing during the final two semesters of study. While the content of MUSC 390 will change from year to year, it will always include a significant writing component. Students should familiarize themselves with the departmental requirement at the time of declaring the major. See the Writing Program for additional information.

HONORS: Students who have achieved at least a 3.25 average in their music courses and have demonstrated exceptional potential in performance, composition, music history or theory may apply for the Honors Program at the beginning of their junior year. For information about the Honors Program, students should consult with their Music Department faculty advisor. See the Honors Program for additional information.

AWARDS: The Elinor Remick Warren Award is presented for the most outstanding student composition. The Peters Prize is awarded to the student who has done the most to promote music on the Occidental campus. The James F. English and Marie E. English Award is given to the most promising vocal student, and is used for one year of private vocal study at Occidental College. The Marcia Hannah Farmer Award is given to the most promising organ student (or a vocal student if there are no students studying organ that year), and is applied toward private organ or vocal study at Occidental College.

MUSIC THEORY PLACEMENT: Placement in Music Theory I (Music 151/151A) is determined in one of two ways: satisfactory performance on the Occidental Music Theory Placement Test, given during Orientation week each Fall, or by receiving a 4 or higher on the College Board Advanced Placement Examination in Music Theory. Students who have earned a 5 on the Music Theory Advanced Placement Test may be placed in Music 153/153A following satisfactory completion of Music 151/151A, or by passing a Music department-administered placement exam for Music 153/153A.

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.

Logan, Myers
CORE REQUIREMENT MET: FINE ARTS

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.

Pillich
CORE REQUIREMENT MET: LATIN AMERICA • FINE ARTS

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.

Pillich
CORE REQUIREMENT MET: CENTRAL, SOUTH, AND EAST ASIA • FINE ARTS

104. MUSIC OF AFRICA AND THE MIDDLE EAST.

This course surveys the musical styles and genres of the African continent and the Middle Eastern world. 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. 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.

Not given in 2008-2009
CORE REQUIREMENT MET: AFRICA AND THE MIDDLE EAST • FINE ARTS

105. MUSIC OF EUROPE AND NORTH AMERICA.

This course will address the development of music in Europe and North America. Among the topics covered in the area of Europe will be: the music of the Balkans, the Baltic States, the Celtic region, the Iberian Peninsula, France, and England. The North American area will focus on the music of the Native Americans (including Inuit), French-Canadian and French-American styles, Anglo-American and African-American secular and sacred music, and music for theatre. 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.

Not given in 2008-2009
CORE REQUIREMENT MET: INTERCULTURAL • FINE ARTS

111. TOPICS IN JAZZ HISTORY.

A nontechnical survey of jazz from its origins to the present, with special emphasis on informed listening. Extensive listening assignments will supplement readings.

Not given in 2008-2009
CORE REQUIREMENT MET: UNITED STATES • FINE ARTS

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.

Pillich
CORE REQUIREMENT MET: UNITED STATES • FINE ARTS

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.

Gross
CORE REQUIREMENT MET: INTERCULTURAL • FINE ARTS

115. TOPICS IN OPERA.

An examination of the cultural significance and historical context of opera from the 17th 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.

Kasunic
CORE REQUIREMENT MET: EUROPE • FINE ARTS

117. TOPICS IN MUSIC FOR FILM AND OTHER MEDIA.

This course will survey film music from its silent film era origins to the present, focusing on its many functions through in-class viewing, analysis, and critique of film clips. The works of many prominent film composers as well as some lesser-known figures will be examined in terms of style and approach, as well as their own views on the film-scoring process. Fundamental information on music, film, and psychology of music will be introduced, and the role of music in other media (such as TV and experimental video) will be explored.

Not given in 2008-2009
CORE REQUIREMENT MET: INTERCULTURAL • FINE ARTS

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.

Myers
CORE REQUIREMENT MET: FINE ARTS

151A. MUSICIANSHIP I.

Training in tonal sightsinging and listening; major and minor keys, triads, chord progressions and rhythmic studies.

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.

Girton
CORE REQUIREMENT MET: FINE ARTS

153A. MUSICIANSHIP II.

Continued training in tonal sightsinging and listening: introduction to chromaticism, related key modulations, modes, seventh chords; continued study of chord progressions and rhythmic studies.

1 unit
Logan

197. INDEPENDENT STUDY.

Prerequisite: Permission of department.

2 units
Staff

230. ADVANCED ELECTRONIC MUSIC.

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. Prerequisite: Music 130.

2 units
Logan
CORE REQUIREMENT PARTIAL: FINE ARTS

232. PIANO PROFICIENCY.

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. Satisfactory performance on the final exam is required to satisfy the Music major piano proficiency requirement. Graded on a Credit/No Credit basis only. Prerequisite: Music 132 or permission of instructor.

1 unit
Ormenyi
CORE REQUIREMENT PARTIAL: FINE ARTS

251. THEORY AND PRACTICE OF MUSIC III.

Further studies in chromatic harmony. Development of 18th–century musical forms and their extension and elaboration in the 19th century; analysis of contrapuntal idioms: canon, invention, and fugue. Prerequisite: Music 153 or permission of instructor. Requires concurrent enrollment in Music 251A. Students will be assigned to the appropriate laboratory session during the first week of the semester.

Logan
CORE REQUIREMENT MET: FINE ARTS

251A. MUSICIANSHIP III.

Advanced training in tonal sightsinging and listening; modulation to distant keys, introduction to 20th century idioms, extended chordal dissonance and rhythm. Prerequisite: requires concurrent enrollment in Music 251.

1 unit
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.

Emmons

257. COMPOSITION AND ORCHESTRATION I.

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.

Logan

258. CHORAL ARRANGING.

A seminar focused on developing technical proficiency in scoring for concerted voices. The course will examine different kinds of choral ensembles and the idiomatic writing appropriate to them. At least one composition or arrangement will be required each week; assignments will include arranging existing music such as folksongs, instrumental pieces and popular songs in a variety of styles and genres. Prerequisite: Music 153 or permission of the instructor.

Not given in 2008-2009

260. MUSIC IN WESTERN CULTURE 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.

Kasunic
CORE REQUIREMENT MET: EUROPE • FINE ARTS • PRE-1800

270. MUSIC IN WESTERN CULTURE II: THE LATE EIGHTEENTH CENTURY TO THE PRESENT.

Offers an intensive survey of the Western art music tradition from ca. 1750 to the present. Prerequisites: Music 151 and Music 260 (or equivalent), or permission of instructor.

Kasunic
CORE REQUIREMENT MET: EUROPE • FINE ARTS

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.

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. Prerequisites: Music 101 or permission of instructor.

Pillich
CORE REQUIREMENT MET: INTERCULTURAL • FINE ARTS

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.

Myers

374. JUNIOR RECITAL PREPARATION.

Preparation for junior recital. Requirements include more extensive practice expectations as well as research and preparation of program notes. Prerequisite: approval of the department. May be repeated once for credit.

2 units
Staff

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.

Gustav Mahler(1860-1911). This seminar will dig deeply into the symphonies and songs of Gustav Mahler, exploring the rich and complicated responses to his 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 Adleer, 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 participant’s 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.

Kasunic

397. INDEPENDENT STUDY.

2 or 4 units
Staff

457. COMPOSITION SYMPOSIUM.

The objective of this course is two-fold: first, to aid students strongly inclined towards composition in the preparation of their senior recital, and second, to ready students for continued professional growth in composition. Emphasis on individual compositional projects, performance workshops, analytical listening, and score reading. Prerequisite: Music 357. Graded on a Credit/No Credit basis only.

2 units
Not given in 2008-2009

471. ADVANCED CONDUCTING SEMINAR.

Advanced studies in score analysis, gesture vocabulary, and ensemble rehearsal techniques. Assignments will emphasize instrumental or choral literature according to the interests of the class. Prerequisite: Music 272.

Not given in 2008-2009

473-474. SENIOR RECITAL PREPARATION I AND II.

Preparation for senior recital. Requirements include more extensive practice expectations as well as research and preparation of program notes. Prerequisite: approval of the department.

2 units
Staff

490. SENIOR SEMINAR. TOPICS IN MUSIC HISTORY, MUSIC THEORY, MUSIC LITERATURE, OR PERFORMANCE.

The Senior Seminar is a small, discussion-oriented seminar required of all music majors, emphasizing a syncretic approach to an advanced musical topic and culminating in the production of a substantial final paper or project. Prerequisite: Music 251.

Virgil Thompson 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 Thompson (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.

Myers

ENSEMBLES: Ensemble membership is open to all students of the college by audition. All ensembles are graded Credit/No Credit, and may be repeated for credit.

120. OCCIDENTAL CHORALE.

The Occidental Chorale is the official chorus of the Pasadena Symphony Orchestra. A large oratorio chorus, the Occidental Chorale is open to students, faculty, alumni, staff and members of the surrounding communities. One regular weekly rehearsal and other additional rehearsals as needed. Enrollment is for the full year and by audition during the first week of the Fall Semester. Prerequisite: A grade of C or better in Music 153, or permission of instructor.

1 unit
Staff
CORE REQUIREMENT PARTIAL: FINE ARTS

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. Three weekly rehearsals and numerous additional rehearsals and concerts both on- and off-campus. Enrollment is for the full year and by audition during the first week of the fall semester; participation in the Women’s Glee Club is contingent upon continued musical progress and excellent attendance. Sight reading ability or previous musical experience recommended.

1 unit
Staff
CORE REQUIREMENT PARTIAL: FINE ARTS

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. Three weekly rehearsals and numerous additional rehearsals and concerts both on- and off-campus. Enrollment is for the full year and by audition during the first week of the fall semester; participation in the Men’s Glee Club is contingent upon continued musical progress and excellent attendance. Sight reading ability or previous musical experience recommended.

1 unit
Staff
CORE REQUIREMENT PARTIAL: FINE ARTS

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.

1 unit
Gross
CORE REQUIREMENT PARTIAL: FINE ARTS

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 instructor.

1 unit
Bing
CORE REQUIREMENT PARTIAL: FINE ARTS

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.

1 unit
Emmons
CORE REQUIREMENT PARTIAL: FINE ARTS

128. NEW MUSIC ENSEMBLE.

The New Music Ensemble performs a broad spectrum of contemporary and experimental music, including works by student and faculty composers. Prerequisite: audition with instructor.

1 unit
Logan
CORE REQUIREMENT PARTIAL: FINE ARTS

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.

1 unit
Gross
CORE REQUIREMENT PARTIAL: FINE ARTS

APPLIED MUSIC

Instruction in applied music is available to all students of the College. Registration for applied music is completed both at the Music Department office in Booth Hall and at the Registrar’s office. 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 private lessons$375.00
One-hour private lessons:$750.00
Class lessons in electronic music, voice, piano, guitar, jazz improvisation, Alexander Technique:$195.00
Fees apply to all students regardless of full or part-time status.

Policies for Class and Applied Music Lessons: Students must register for applied study both at the Registrar and in person at the Music department office. Refunds for class and private applied music lessons will not be given after the third week of each semester. Applied Music lessons and classes must be added by the end of the first full week of classes each semester. Students who elect to drop must inform the Music department office no later than the end of the second full week of classes each semester. Any student who drops class or private applied lessons after these dates will be billed for the FULL lesson fee(s) for that semester. If a student drops class or private applied music lessons on or before each semester’s deadline, s/he will be billed for the number of lessons taken up to that time. Applied music lessons may be repeated for credit.

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 private lessons or dropping the course.

Grading: All class applied music lessons are graded Credit/No Credit. All music majors and applied music scholarship recipients receive a letter grade for private applied music lessons.

Private applied music lessons may be graded Credit/No Credit for students who are not receiving an applied music scholarship, and/or are not music majors, with the completion of the CR/NC approval form (available at the Registrar’s office).

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.

1 unit
Logan
CORE REQUIREMENT PARTIAL: FINE ARTS

131. VOICE CLASS.

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

1 unit
Staff
CORE REQUIREMENT PARTIAL: FINE ARTS

132. PIANO CLASS.

Basic keyboard technique at the beginning through lower intermediate level. Fee: $195. Graded on a Credit/No Credit basis only.

1 unit
Ormenyi
CORE REQUIREMENT PARTIAL: FINE ARTS

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.

1 unit
Berman
CORE REQUIREMENT PARTIAL: FINE ARTS

134. CLASSICAL GUITAR CLASS (INTERMEDIATE).

A further exploration of classical guitar with emphasis on a thorough treatment of musicianship, technique, and expansion of the repertoire for the guitar soloist. Prerequisite: Music 133 or permission of instructor. Fee: $195.

1 unit
Berman
CORE REQUIREMENT PARTIAL: FINE ARTS

138. ALEXANDER TECHNIQUE CLASS.

The Alexander Technique helps students move naturally. They learn to prevent excess tension and replace it with a more effectively balanced movement pattern throughout the body. Does not satisfy Music Major applied music requirement. Fee: $195.

1 unit
Marsden
CORE REQUIREMENT PARTIAL: FINE ARTS

139. PERFORMANCE IMPROVISATION.

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

1 unit
Karush
CORE REQUIREMENT PARTIAL: FINE ARTS

PRIVATE APPLIED MUSIC LESSONS: All private applied music lessons are one unit each, whether the duration of the lessons is one-half hour or one hour per week. Private applied study carries a fee of $375 (1/2-hour lessons) or $750 (one-hour lessons).

140.1. PIANO (1/2-hour lessons) / 140.2. PIANO (1-hour lessons).

1 unit
Ward
CORE REQUIREMENT PARTIAL: FINE ARTS

140.3. PIANO (1/2-hour lessons) / 140.4. PIANO (1-hour lessons).

1 unit
Barskaya
CORE REQUIREMENT PARTIAL: FINE ARTS

140.5. PIANO (1/2-hour lessons) / 140.6. PIANO (1-hour lessons).

1 unit
Garrett
CORE REQUIREMENT PARTIAL: FINE ARTS

140.9. HARPSICHORD (1/2-hour lessons) / 140.10. HARPSICHORD (1-hour lessons).

1 unit
Roberts
CORE REQUIREMENT PARTIAL: FINE ARTS

140.11. HARP (1/2-hour lessons) / 140.12. HARP (1-hour lessons).

1 unit
Shulman
CORE REQUIREMENT PARTIAL: FINE ARTS

140.13. JAZZ PIANO (1/2-hour lessons) / 140.14. JAZZ PIANO (1-hour lessons).

1 unit
Karush
CORE REQUIREMENT PARTIAL: FINE ARTS

140.16. COLLABORATIVE PIANO (1-hour lessons).

Prerequisite: two semesters of applied piano study at Occidental, or permission of instructor.

1 unit
Barskaya
CORE REQUIREMENT PARTIAL: FINE ARTS

141.1. VOICE (1/2-hour lessons) / 141.2. VOICE (1-hour lessons).

1 unit
Thomas
CORE REQUIREMENT PARTIAL: FINE ARTS

141.3. VOICE (1/2-hour lessons) / 141.4. VOICE (1-hour lessons).

1 unit
Blois
CORE REQUIREMENT PARTIAL: FINE ARTS

141.5. VOICE (1/2-hour lessons) / 141.6. VOICE (1-hour lessons).

1 unit
Ponce
CORE REQUIREMENT PARTIAL: FINE ARTS

142.1. FLUTE (1/2-hour lessons) / 142.2. FLUTE (1-hour lessons).

1 unit
Woodward
CORE REQUIREMENT PARTIAL: FINE ARTS

142.3. OBOE (1/2-hour lessons) / 142.4. OBOE (1-hour lessons).

1 unit
Del Russo
CORE REQUIREMENT PARTIAL: FINE ARTS

142.5. CLARINET (1/2-hour lessons) / 142.6. CLARINET (1-hour lessons).

1 unit
Hughes
CORE REQUIREMENT PARTIAL: FINE ARTS

142.7. BASSOON (1/2-hour lessons) / 142.8. BASSOON (1-hour lessons).

1 unit
Savedoff
CORE REQUIREMENT PARTIAL: FINE ARTS

142.9. SAXOPHONE (1/2-hour lessons) / 142.10. SAXOPHONE (1-hour lessons).

1 unit
Hughes
CORE REQUIREMENT PARTIAL: FINE ARTS

143.1. FRENCH HORN (1/2-hour lessons) / 143.2. FRENCH HORN (1-hour lessons).

1 unit
O’Keefe
CORE REQUIREMENT PARTIAL: FINE ARTS

143.3. TRUMPET (1/2-hour lessons) / 143.4. TRUMPET (1-hour lessons).

1 unit
Divers
CORE REQUIREMENT PARTIAL: FINE ARTS

143.5. TROMBONE (1/2-hour lessons) / 143.6. TROMBONE (1-hour lessons).

1 unit
Sawyer
CORE REQUIREMENT PARTIAL: FINE ARTS

143.7. TUBA (1/2-hour lessons) / 143.8. TUBA (1-hour lessons).

1 unit
Tornquist
CORE REQUIREMENT PARTIAL: FINE ARTS

144.1. PERCUSSION (1/2-hour lessons) / 144.2. PERCUSSION (1-hour lessons).

1 unit
Englander
CORE REQUIREMENT PARTIAL: FINE ARTS

145.1. VIOLIN (1/2-hour lessons) / 145.2. VIOLIN (1-hour lessons).

Prerequisite: prior experience playing the violin.

1 unit
Sonderling
CORE REQUIREMENT PARTIAL: FINE ARTS

145.3. VIOLA (1/2-hour lessons) / 145.4. VIOLA (1-hour lessons).

1 unit
Tischer
CORE REQUIREMENT PARTIAL: FINE ARTS

145.5. CELLO (1/2-hour lessons) / 145.6. CELLO (1-hour lessons).

Prerequisite: prior experience playing the cello.

1 unit
Lum
CORE REQUIREMENT PARTIAL: FINE ARTS

145.7. STRING BASS (1/2-hour lessons) / 145.8. STRING BASS (1-hour lessons).

1 unit
Emmons
CORE REQUIREMENT PARTIAL: FINE ARTS

145.9. ELECTRIC BASS (1/2-hour lessons) / 145.10. ELECTRIC BASS (1-hour lessons).

1 unit
Emmons
CORE REQUIREMENT PARTIAL: FINE ARTS

146.1. CLASSICAL GUITAR (1/2-hour lessons) / 146.2. CLASSICAL GUITAR (1-hour lessons).

1 unit
Scivally
CORE REQUIREMENT PARTIAL: FINE ARTS

146.3. CLASSICAL GUITAR (1/2-hour lessons) / 146.4. CLASSICAL GUITAR (1-hour lessons).

1 unit
Berman
CORE REQUIREMENT PARTIAL: FINE ARTS

146.5. JAZZ GUITAR (1/2-hour lessons) / 146.6. JAZZ GUITAR (1-hour lessons).

1 unit
Blasco
CORE REQUIREMENT PARTIAL: FINE ARTS

146.7. JAZZ GUITAR (1/2-hour lessons) / 146.8. JAZZ GUITAR (1-hour lessons).

1 unit
Scivally
CORE REQUIREMENT PARTIAL: FINE ARTS

146.9. JAZZ GUITAR (1/2-hour lessons) / 146.10. JAZZ GUITAR (1-hour lessons).

1 unit
Berman
CORE REQUIREMENT PARTIAL: FINE ARTS

146.11. JAZZ GUITAR (1/2-hour lessons) / 146.12. JAZZ GUITAR (1-hour lessons).

1 unit
Blasco
CORE REQUIREMENT PARTIAL: FINE ARTS

147.1. IMPROVISATION (1/2-hour lessons) / 147.2. IMPROVISATION (1-hour lessons).

1 unit
Karush
CORE REQUIREMENT PARTIAL: FINE ARTS

148.1. ALEXANDER TECHNIQUE.

Does not satisfy Music Major applied music requirement.

1 unit
Marsden
CORE REQUIREMENT PARTIAL: FINE ARTS