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Drama Graduate Studies: Acting |
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DRAMA 647 — Speech I: Practice 1 credit
Spring
Dwight Bacquie
This course continues the physical, auditory, and linguistic work of the first semester with greater concentration on practice and mastery.
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DRAMA 649 — Voice I: Practice and Poetry 1 credit
Spring
Kate Wilson
The course continues work on the principles and practice of respiration, phonation, resonance, and articulation. Through poetry and prose, actors use sound to reveal imagery, dynamics, and rhetoric.
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DRAMA 714-724 — Scene Study II 4 credits
Fall and Spring
Rebecca Guy
This course focuses on the discovery and development of imaginative and technical skills which, together with the skills acquired in the first year, will enable the student to discern the inner world of a play and to learn to transform into a living character within it. Students will prepare and rehearse scenes to be presented and explored in class.
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DRAMA 715-725 — Masks II 2 credits
Fall and Spring
Kathleen McNenny
Larval, animal, and character masks are used to expand students’ capacities to free their instincts, impulses, and imagination. The work demands that the actor fill the mask physically, vocally, emotionally, and psychologically in order to embody the life of the character. Mask work serves not only to release the student’s imaginative capacity for transformation, but to prepare the way for equally courageous characterization without a mask.
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DRAMA 728 — Physical Comedy 1 credit
Fall
Chris Bayes
The course is designed to help students develop a comedic point of view and overcome the anxiety that comes from a sense of obligation to be funny. Improvisation in a variety of styles is developed with the class as an audience. Emphasis is on the need to approach comedic material with the same process and commitment appropriate to any other acting challenge. The work asks the actor to explore with a curious mind while testing emotional, physical, and imaginative limits.
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DRAMA 731-741 — Alexander Technique II 2 credits
Fall and Spring
Carolyn Serota
This course is a continuation of the first year’s exploration of the Alexander Technique with increasing emphasis on the application of its self-awareness tools to the actor’s creative process, transformation into character, and performance skills.
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DRAMA 736-746 — Singing 2 credits
Fall and Spring
Deborah Lapidus, David Gaines
This course is designed to help actors release their voices and find deeper expressivity and truth through singing. The work focuses on building physical and vocal awareness and on elements such as vocal placement, resonance, breath, relaxation, and posture. An emphasis is placed on group singing, madrigals, chorales, and duets as well as individual songs.
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DRAMA 737-747 — Speech II: Application and Expansion 2 credits
Fall and Spring
Deborah Hecht
Speech II: Application and Expansion aims to deepen and expand students’ speech technique, including further development of strength, precision, and consistency, particularly as it is called upon when acting poetic English text such as Shakespeare. There is a strong focus on nurturing students’ organic connection to language as well as on developing their instrument for maximum expressiveness.
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DRAMA 739-749 — Voice II: Application and Expansion 2 credits
Fall and Spring
Deborah Hecht, Andrew Wade
This course focuses on increased physical awareness and expansion. Students will engage in exercises for breath capacity, initiation of sound, resonance, and size. Exercises to expand the range of expression are also explored. Support, flexibility, vocal dynamic, and character are challenged through a wide variety of texts.
Please note: Deborah Hecht will teach in the fall semester, and Andrew Wade will teach the course in the spring semester.
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DRAMA 814-824 — Scene Study III 4 credits
Fall and Spring
Evan Yionoulis
The purpose of third year scene study is to continue to develop the actor’s ability to identify, personalize, and embody a character’s given circumstances and need, while activating the language of the text in pursuit of the character’s objective. Students will work on challenging texts which require a facility with language and a depth of characterization and transformation. Particular attention will be given to specificity of listening, with the goal of further honing the actor’s ability to work off of partner with nimbleness and ease.
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DRAMA 831-841 — Alexander Technique III 2 credits
Fall and Spring
Carolyn Serota
Third-year Alexander Technique combines individual sessions and group classes to allow each actor to deepen their understanding of the principles and processes of the technique and to address personal habitual patterns of mind and body.
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DRAMA 833 — Makeup Techniques 1 credit
Fall
Sarah Cimino
This hands-on workshop provides actors with practical techniques for the application of stage makeup and includes the assembly of personal makeup kits suited to individual requirements. The class also explores the application of makeup as an act of theatre itself; it creates space for actors to engage with makeup as a tool for the exploration of persona and identity. Makeup for on-camera work and self-taping will also be addressed.
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DRAMA 836 — Singing for Performance 1 credit
Fall
Deborah Lapidus, David Gaines
This course is a continuation of the work done in the second year of training. A focus is placed on integrating vocal, textual, and musical elements. More complex vocalizing is introduced as well as scene and duet work with an emphasis on focus, imagery, and relationship with audience. Different genres of music and different parts of the vocal range will be explored.
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DRAMA 838 — Suzuki 1 credit
Fall
Ellen Lauren
Developed by internationally-acclaimed director Tadashi Suzuki, the Suzuki Training Method is a rigorous physical discipline drawn from such diverse influences as ballet, traditional Greek and Japanese theater, and martial arts. This course seeks to heighten the actor’s emotional and physical power and commitment to each moment on stage. Emphasis is placed on the lower body and a vocabulary of footwork, sharpening an actor’s breath control and concentration.
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DRAMA 839-849 — Voice III: Synthesis and Transformation 2 credits
Fall and Spring
Andrew Wade, Kate Wilson
In the fall, this course focuses on vocal transformation through a seamless synthesis of skills including rhetoric, stamina, and vocal characterization. Students will work individually and in small groups on material including political speeches as well as classical and contemporary texts. In the spring, focus shifts to Shakespearean text in preparation for work in the Drama Theater productions.
Please note: Kate Wilson will teach the course in the fall semester, and Andrew Wade will teach the course in the spring semester.
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DRAMA 842 — Character in Motion 1 credit
Spring
Mark Olsen
In this course, students will explore the gradations of physical expression demanded of an actor in stage or film roles. The class aims to root the actor in experiences and situations that activate the process of making physical choices. Students apply the vocabulary developed to increase freedom, simplicity, and ownership.
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DRAMA 845-846 — Acting on Camera I 4 credits
Fall and Spring
Bob Krakower
The purpose of studying on-camera acting is to take the skills the actors have learned in their training thus far and apply them to the art of visual storytelling for film and television. In addition to learning how to bring to life the given circumstance in a script in an active and discernable way on camera, this course prepares actors to work on set of professional films and television shows. Based on availability, teachers in other disciplines (voice, movement, etc.) will share how their area of expertise applies to on-camera work.
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DRAMA 847 — Speech III: Accents and Dialects 1 credit
Spring
Elizabeth McGuire
The course includes continued work on clarity of diction and on dialects, with an emphasis on their relationship to character, imagination, and embodiment.
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DRAMA 911 — Actor Presentations 1 credit
Fall
Crystal Dickinson, Claire Karpen
In preparation for an evening of scenes to be presented to industry members in both Los Angeles and New York in the spring, students meet regularly in the fall to select pieces which will best serve to introduce the actors to the profession. Scenes are chosen to showcase each individual student’s artistic strengths, interests, and unique talents. In the second semester, the scenes are rehearsed and prepared for presentation.
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DRAMA 914 — Scene Study IV 2 credits
Fall
Evan Yionoulis
In fourth-year scene study, actors will be asked to integrate all aspects of their training as their work moves towards more specificity, depth, and ease. Starting with work on scenes from Bertolt Brecht, Suzan-Lori Parks, and Luis Valdez, students will add analysis of the “story of the scene” to their practice, as well as develop their awareness of the political dimension in these writer’s works. Running through the semester will be work on individual Interview Projects in which students will embody and give voice to the verbatim text of a person or persons they have interviewed in preparation for sharing the work with the Drama Division community.
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DRAMA 931-941 — Alexander Technique IV 2 credits
Fall and Spring
Carolyn Serota
Alexander Technique in the fourth year focuses on the continuing development of each student as they deepen their self-awareness, self-knowledge, and poise using the Alexander principles and process. Students are encouraged to bring a spirit of spirit of investigation as they further master techniques for achieving readiness in the moment, for clearing out, for dealing with stress and anxiety, for taking a centered presence into the world. Character transformation work continues in relation to the fourth-year performance season.
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DRAMA 934 — Movement IV 1 credit
Fall
Darryl Quinton
This course, in addition to continuing to build physical agility and mental discipline, fosters enhanced enjoyment of—and freedom with—the body in motion through the introduction of jazz and other dance sequences.
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DRAMA 936 — Individual Singing Instruction 0.5 credits
Fall
David Gaines
Individual coaching is tailored to specific production needs and the development of audition material.
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Drama Graduate Studies |
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DRAMA 617S — Film History and Grammar: A Global Perspective 2 credits
Fall
Tarek Bouraque
Through a study of significant films from around the world, this course covers the essential principles of film grammar and the vocabulary used to make meaning in narrative cinema. Following a historical journey from the foundation of cinema with the Lumière Brothers to the adaptation of this form in Africa, Asia, Europe, Latin America, and North America, the films studied will represent each decade since the birth of cinema. Students will reflect on the political and artistic movements that informed each film’s style and message and examine the legacy of the work today.
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DRAMA 620H — Poetry 1 credit
Spring
Elana Bell
The focus of this course is to experience the craft of poetry as a reader, writer, and presenter. Students will be reading the work of others, writing works of their own, receiving feedback, revising, and sharing these works with their peers and community.
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DRAMA 625S — Story 2 credits
Fall
Jessica Blank
This seminar covers basic principles of dramatic structure for theater, film, solo work, and episodic storytelling. Students will gain an understanding of the core texts of Western dramatic structure, including Aristotle, Egri, Freytag, and Campbell, as well as criticisms of these texts, with an eye toward application in their own projects. A focus is placed on elucidating students’ intuitive understandings of story as actors and articulating how these principles can be applied to the creation of original material through character-based story structure.
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DRAMA 626S — Methodologies of Directing 2 credits
Spring
Jenny Lord
This seminar will explore the role of the director in the theater, covering processes from conception through rehearsal. Students will engage in script analysis and interpretation, establishing given circumstances and identifying objectives and actions. Areas discussed will include historical perspective on the role of the director as well as explorations of design, production, collaboration, and casting. Topics will be investigated through readings, discussion, audiovisual resources, student presentations, and guest lectures.
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DRAMA 637S — Elements of Producing 2 credits
Fall
Elizabeth Whitaker, Stephanie Ybarra
This course serves to acquaint the actor with the work and responsibilities of the many people involved in theater-making beyond the rehearsal hall and to prepare them for what it might take to produce their own work. Students will examine the function, vision, and day-to-day operations of the various artistic, administrative, and production personnel within a variety of theater models from larger commercial ventures and non-profit institutions to smaller off and off-off-Broadway organizations. Students will develop mission statements and seasons for their own prospective theaters and present their visions to the class. Wherever possible, guest artists in the field will be brought in to talk about their process and work.
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DRAMA 638S — Pedagogy 2 credits
Spring
Katherine Koerner
This class provides students with the tools to structure theater-learning experiences in a variety of educational and community settings. Through a combination of hands-on experience and direct instruction, students will learn basic teaching strategies and develop a sense of their personal teaching style. Classwork will include reading assignments, in-class discussion, developing and writing lesson and unit plans, and opportunities to teach in class and in the field.
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DRAMA 649H — American Theater Landscape 2 credits
Fall
Elizabeth Whitaker
American Theater Landscape explores the body of work in American theater today as well as trends and practices across the country. Students will discuss key issues in the field and meet inspiring artists and leaders who are influential in the landscape.
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DRAMA 651H-612H — Dramaturgy and Context 4 credits
Fall and Spring
Shana Komitee, Guests
Dramaturgy and Context examines many of the world’s most influential plays, playwrights, actors, directors, critics, and theatrical experiments. Beginning with the plays and theater of William Shakespeare to support exploration in the first-year Discovery Project, this course will explore topics such as Western drama’s origins in 5th-century Athens, performance modes in ancient Japan and India, 17th-century European theaters of absolutism, the contemporary landscape in the United States and South Africa, and more.
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DRAMA 947-948 — Bridge to the Profession 6 credits
Fall and Spring
Visiting Faculty
This series of professional master classes helps fourth-year students gain a deeper understanding of how they might, with the training they have received, seek out and gain opportunities to practice their craft once they graduate. Among the many topics covered are audition techniques for all mediums, the creation of reels and websites, self-taping practices, and contract and union information.
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Drama Performance Projects and the Profession (Combined) |
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DRAMA 115-116 — Rehearsal Projects I 4 credits
Fall and Spring
Faculty and Visiting Directors
In the fall, actors collaborate on the Discovery Project, working on a play by Shakespeare. Through close reading of the text and physical improvisation, they discover and embody the story of the play as an ensemble. Next comes Approaching the Play, a six-week course in script and character analysis in which students apply themselves to identifying a play’s theme, structure, and character relationships. By examining the work as a whole, students will be better prepared to approach a specific role and do useful research and homework for rehearsal.
In the spring, students are cast in two plays and rehearse them under the guidance of faculty and professional directors. These rehearsal projects are laboratory exercises for exploring an actor’s process and are not aimed toward performance results. Although the work is shared with an audience of fellow students and faculty, they are not “produced,” but rather presented in a room with only basic rehearsal clothes, props, and furniture.
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DRAMA 215-216 — Rehearsal Projects II 4 credits
Fall and Spring
Faculty and Visiting Directors
In the fall and spring, rehearsal projects continue as laboratory exercises for developing the actor’s process and as a measure of students’ ability to apply and integrate what they’ve learned in class. Among these projects is the opportunity for students to apply their expanding physical and language skills to a play of Shakespeare and to further their attention to physical circumstances and character development through working on a play of Chekhov.
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DRAMA 315 — Fall Performance Project 2 credits
Fall
Faculty and Visiting Directors
After having worked for the first two years on plays in rehearsal studios with the emphasis on exploration and integrating skills, students in their third year of training move into a black box theater, begin to work with limited elements of production, and learn how process culminates in performance. The latter half of the semester is devoted to student-initiated projects in which students propose and bring to life projects for which they have a particular passion and engage in producing, directing, acting, designing, writing, devising, and technical work.
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DRAMA 316-316B — Spring Performance Project 3 credits
Spring
Deborah Lapidus, Visiting Directors
The first project of the spring semester is the Cabaret, an evening of songs and musical staging. This project is an opportunity to take what the actor learns in the classroom and to integrate, through the demands of singing, techniques of voice, speech, movement, Alexander Technique, and acting. Later in the spring, as a culmination of their third year of training, students move from the black box studio to the Drama Theater, performing two heightened-language plays (most often Shakespeare).
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DRAMA 415 — Fall Project 3 credits
Fall
Faculty and Visiting Directors
In the fall semester, the Drama Theater Season presents three plays chosen from a diverse canon of classical and contemporary works in full-scale production. Each play is mounted for six performances before an invited audience of the general public and members of the theatrical profession, giving actors a chance to share their work on a wider scale.
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DRAMA 416-416B — Spring Project I: Fourth Year Rep 3 credits
Spring
Faculty and Visiting Directors
In the Spring Repertory, three productions are performed in rotation. Students utilize all the skills and knowledge acquired during their education in the Drama Division. As they prepare to graduate from the program, actors present an evening of scenes for members of the industry in New York and Los Angeles.
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DRAMA 416B — Spring Project II: Actor Presentations 1 credit
Spring
Evan Yionoulis
In the Spring Repertory, three productions are performed in rotation. Students utilize all the skills and knowledge obtained during their education in the Drama Division. As they prepare to graduate from the program, actors present an evening of scenes for members of the industry in New York and Los Angeles.
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DRAMA 500 — Community Meetings/Play Labs 0 credits
Fall and Spring
Faculty and Guests
Community Meetings offer an opportunity to explore the context of our work as artists and citizens and broaden our understanding of the world. Through Play Labs, students experience new works written by our playwriting fellows and read by our acting students. These gatherings offer students the ability to engage with guest speakers and their peers in enriching discussions of the field, the political and artistic landscape, and/or specific works-in-progress.
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DRAMA 510 — Drama Performances 0 credits
Fall and Spring
Faculty and Visiting Directors
Through participating in projects as actors and as engaged audience members, all students gain a deeper fluency in the breadth of dramatic literature, the application of classroom technique to rehearsal and performance, and the possibilities of the theatrical experience. The Drama Division presents more than two dozen rehearsal and performance projects a year.
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DRAMA 547 — Playwrights Projects 1 credit
Fall
Visiting Directors
The Juilliard Playwrights Festival of workshop productions gives fourth-year actors a further opportunity to develop new work written by Juilliard playwrights and alumni. The Festival, directed by professional directors, advances collaborations and connections that will extend beyond students’ time here in school.
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DRAMA 550 — Practicalities for the Artist 1 credit
Fall
Kathleen McNenny
In this course, students learn practical skills for life as a professional actor, including writing resumes and cover letters, understanding the actor/agent relationship and contracts, getting settled financially, developing a website, and accessing different types of support available to them as artists. Its aim is to give the actor strategies for navigating the business of acting as well as teaching them how to build a sustainable life in the theatre.
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DRAMA 588 — Individual Coachings 2 credits
Spring
Faculty
Actors work in individual sessions with teachers to target challenges that might include dialect, transformation, production demands, and audition material.
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DRAMA 598 — Independent Projects 2 credits
Spring
Faculty
Independent Projects in the fourth year comprise a variety of student-initiated and Division-proposed opportunities for students to prepare and perform material for audiences in the school or community or to engage in various outreach projects.
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Studio Lessons |
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BNHMU 000 — Baroque Bassoon 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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BNWMU 000 — Bassoon
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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BSJMU 000 — Jazz Bass
All Music students receive 15 one-hour private lessons each semester.
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BTBMU 000 — Bass Trombone
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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CLWMU 000 — Clarinet
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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CPCMU 000 — Composition
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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DBHMU 000 — Baroque Double Bass 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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DBSMU 000 — Double Bass
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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DMJMU 000 — Jazz Drums
All Music students receive 15 one-hour private lessons each semester.
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FHBMU 000 — Horn
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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FLHMU 000 — Baroque Flute 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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FLJMU 000 — Jazz Flute
All Music students receive 15 one-hour private lessons each semester.
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FLWMU 000 — Flute
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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GUJMU 000 — Jazz Guitar
All Music students receive 15 one-hour private lessons each semester.
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GUSMU 000 — Guitar
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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HNHMU 000 — Baroque Horn 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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HPSMU 000 — Harp
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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HSHMU 000 — Harpsichord 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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OBHMU 000 — Baroque Oboe 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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OBWMU 000 — Oboe
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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OCNMU 000 — Orchestral Conducting
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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ORKMU 000 — Organ
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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PCKMU 000 — Collaborative Piano
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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PEPMU 000 — Percussion
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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PIHMU 000 — Plucked Instruments 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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PNJMU 000 — Jazz Piano
All Music students receive 15 one-hour private lessons each semester.
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PNKMU 000 — Piano
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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RCHMU 100 — Recorder 6 credits per semester
Fall and Spring
Nina Stern
All Music students receive 15 one-hour private lessons each semester.
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SXJMU 000 — Jazz Saxophone
All Music students receive 15 one-hour private lessons each semester.
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TBBMU 000 — Trombone
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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TBJMU 000 — Jazz Trombone
All Music students receive 15 one-hour private lessons each semester.
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TPBMU 000 — Trumpet
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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TPHMU 000 — Baroque Trumpet 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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TPJMU 000 — Jazz Trumpet
All Music students receive 15 one-hour private lessons each semester.
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TUBMU 000 — Tuba
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VAHMU 000 — Baroque Viola 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VASMU 000 — Viola
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VBJMU 000 — Jazz Vibraphone
All Music students receive 15 one-hour private lessons each semester.
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VCHMU 000 — Baroque Cello 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VCSMU 000 — Cello
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VGHMU 000 — Viola da Gamba 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VNHMU 000 — Baroque Violin 6 credits per semester
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VNSMU 000 — Violin
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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VOJMU 100 — Jazz Voice
All Music students receive 15 one-hour private lessons each semester.
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VOVMU 000 — Voice
Fall and Spring
Faculty
All Music students receive 15 one-hour private lessons each semester.
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Ear Training |
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ETMUS 111-112 — Ear Training I 2 credits per semester
Fall and Spring
Faculty
Practice of harmonic and melodic intervals to the octave. Rhythm performance and dictation in simple and compound meters, with divisions of two through eight to the beat. Reading of treble and bass clefs using fixed Do solfège. One-part melodic dictation and qualities of triads.
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ETMUS 211-212 — Ear Training II 4 credits
Full Year
Faculty
Prerequisite: ETMUS 111-112 . Reading in treble, bass, soprano, alto, and tenor clefs. Playing and singing simultaneously using two or three of the five clefs. Singing triads and dominant sevenths in all inversions up and down. Identification of isolated triads and dominant sevenths in four parts and identification of triads in root position and inversions in traditional harmonic progressions. Two-part melodic dictation in various clefs with implied harmony. Further rhythmic study, including basic polyrhythms.
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ETMUS 301-301G — Advanced Ear Training for Singers 2 credits
Fall
Faculty
Prerequisite: ETMUS 211-2. Mezzo and baritone clefs. Continued playing and singing simultaneously from several clefs. Further rhythmic practice. Tonal and atonal reading, one-part melodic dictation, chord progressions including common chord modulation.
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ETMUS 311-312 — Ear Training III 4 credits
Full Year
Faculty
Prerequisite: ETMUS 211-212 . Mezzo and baritone clefs. Continued playing and singing simultaneously from several clefs. Further rhythmic practice. Singing of seventh chords up and down in all inversions and identification of seventh chords. Three-part dictations in various clefs with harmonic analysis.
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ETMUS 411-412 — Ear Training IV 4 credits
Full Year
Faculty
Prerequisite: ETMUS 311-312 . Transposition and continuation of previous material to a more advanced level.
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Keyboard Studies |
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KSMUS 100SR-200SR — Keyboard Sight-Reading 0 credits
Fall and Spring
Faculty
This practicum trains the student in the art of sight-reading piano scores. Emphasis is placed on approaching scores with an eye toward musicality, including articulation, phrasing, and dynamics. Rapid identification of rhythmic, melodic, and harmonic patterns is stressed. Students will sight-read diverse musical styles, including contrapuntal works, sonatas from the late 18th century, harmonically complex works from the 19th century, and non-tonal works. May be required as a result of a placement exam.
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KSMUS 111-112 — Keyboard Skills I 2 credits per semestert
Fall and Spring
Faculty
This course develops facility and musicianship skills at the keyboard. Areas under study include realization of figured bass lines with a given soprano; harmonization of simple chorale melodies; composition of simple harmonic progressions; introductions to alto, tenor, and soprano clefs using two-, three-, and four-part exercises and repertoire; and transposition of 19th-century lieder up and down half-steps and whole-steps. Required of all keyboard majors.
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KSMUS 141 — Piano Class I 1 credit
Fall or Spring
Jennifer Chu and Fellows
Designed for students who have had very little or no prior experience in piano, the course will allow students to develop familiarity with the five-finger position and basic keyboard harmony, as well as simple repertoire. Required of all non-keyboard majors.
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KSMUS 142 — Piano Class II 1 credit
Fall or Spring
Jennifer Chu and Teaching Fellows
Prerequisite: KSMUS 141 . A continuation of Piano Class I, this course will allow students to broaden their pianistic skills while developing finger and hand independence. Among the skills to be mastered are full-octave scales, harmonization of melodies, chord progressions in keyboard style, and repertoire that involves shifting positions and various left hand accompaniment patterns. Required of all non-keyboard majors.
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KSMUS 211 — Keyboard Skills II 2 credits
Fall
Faculty
Prerequisite: KSMUS 111-112 . With the focus now on chromatic harmonies and complex modulations, this course continues the study of all topics introduced in Keyboard Skills I. Areas under study include the realization of figured bass lines without a given soprano; composition of progressions with chromatic harmonies and distant modulations; reduction of three- and four-part scores utilizing varying clefs; an introduction to orchestral transpositions and prepared reduction of symphonies and concertos by Haydn, Mozart, and Beethoven; and transposition of 19th-century lieder up and down varying intervals. Required of all keyboard majors.
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