Music Theory, Composition, Aural Skills – Bard Conservatory of Music Internal Documents

The conservatory music theory requirements are fulfilled by the 4 courses in the Conservatory Core Sequence CCS and completion of the Aural Skills requirement (CNSV 308-309):

The first two semesters of the Bard Conservatory theory sequence (CNSV 140 and CNSV 240) are required for all conservatory students and must be completed during the first two years of the degree program. These courses serve as preparation for Composition for Performers (CNSV 330) and the Conservatory Seminar (CNSV 332) and are also prerequisites for enrollment in any upper-level conservatory course. This two-semester theory sequence is specifically intended for those students with a working knowledge and deep interest in classical music.

Conservatory Core Sequence I: Diatonic Harmony and Single Species Counterpoint (CNSV 140)
This course is the first of a two-semester sequence on harmony and counterpoint, the two dimensions of tonal music. Beginning with single species counterpoint in 2, 3, and 4 parts, using alto and tenor clefs, students will initially develop fluency in part-writing. The study of diatonic harmony begins with the many possibilities of expanding the tonic key by the dominant. After surveying all the functions of diatonic chords in major and minor keys, the course ends with simple modulations from I to V in major and I to III in minor. There will be weekly writing assignments in harmony and counterpoint, and all musical examples will be drawn from the classical repertoire.

Prerequisite: placement test on musical fundamentals
Exemption policy: Exemption is to be determined by a placement exam. Those who have taken theory and counterpoint at other schools are generally well prepared to place out by exam.

Conservatory Core Sequence II: Chromatic Harmony and Combined Species Counterpoint (CNSV 240)
This course is a continuation of the material studied in CNSV 140. It covers the many possibilities of using non-diatonic tones in a key (i.e., chromaticism), spanning a variety of topics such as modal mixture, applied (i.e., secondary) dominants, the Phrygian 2 and the different forms of the augmented-sixth chords. This course also focuses upon the study of combined species counterpoint. In addition to understanding how combined-species patterns form the basis of diatonic sequences, the interaction between contrapuntal voice-leading techniques and genuine harmonic progressions will be clarified.

Prerequisite: CNSV 140
Exemption policy: Students who have composed works in the tonal style can place out of CNSV 240 by submitting a portfolio of these pieces.

Conservatory Core Sequence III: Composition for Performers (CNSV 330)
Taught by conservatory composition faculty members, Joan Tower and George Tsontakis. Students will produce several original compositions to be performed by themselves and others at a final concert.

Exemption policy: Students can petition for exemption based on their having produced substantial original works.

Conservatory Core Sequence IV: Conservatory Seminar (CNSV 332)

The signature class of the seminar sequence, the Conservatory Seminar examines pieces from the conservatory orchestra repertoire, either current or recently performed, addressing broad questions such as how these works were received by audiences, the political and social context in which they were composed and understood, the relationship between the formal structure of the work and others of a similar general type, how the form of the work conveys meaning for particular sets of listeners, how these meaning have evolved through time, etc.

As an indication of some of these topics, in previous years, we have examined Tschaikovsky’s Manfred Symphony investigating the influence of Lord Byron’s Manfred both on formal aspects of the symphony, as well as how the character of Manfred was (and was not) relevant to Tschaikovsky’s experience in Tsarist Russia negotiating his non-standard sexual preference-(a biographical fact now being denied by the Russian political establishment). We also examined Mahler’s Fifth Symphony in comparison to Ives’s Decoration Day and Three Places in New England addressing the role of quotation in each, and how the source materializes are defamiliarized, along lines suggested in an essay by Robert Morgan. This year we have been discussing how the Copland Third and Shostakovich’s Fifteenth Symphonies in the context of the cold war politics and broad modernist and postmodernist currents in the music and the arts.

It is strongly recommended that students delay taking as they will find that the knowledge which they have acquired in other classes at Bard having to do with historical events, literary styles and techniques and trends within the arts, politics and culture will serve as crucial background to in-class discussions and allow them to develop their own perspective on the repertoire.

There are assigned readings, frequent short written assignments, and two midterm exams where students will demonstrate familiarity both with the pieces and the literature surrounding them as well as helping them refine and sharpen personal reactions to the works under consideration.

Exemption policy: Due to the specialized nature of this class, in general, placing out of CCS II is, as a general matter, only allowed in highly unusual circumstances.

Aural Skills

Aural skills will be treated as a separate four-semester sequence of 2 credit workshops. Typically, a Conservatory student will pass out of Aural Skills I and II, start in Aural Skills III (CNSV 308). Students who need Aural Skills I or II may need to make arrangements with the instructor to register for a Music Program course.

Aural Skills III (CNSV 308)
An intermediate course focused on developing traditional skills. These include sight-singing of tonal melodies, rhythmic and melodic transcription, the detection of modulation, harmonic functions, clef and score reading, and intervallic recognition.

Aural Skills IV (CNSV 309)
This is the fourth of four levels of Aural Skills courses offered at Bard. The course aims to continue developing skills that were acquired from Aural Skills I-III. Advanced topics including aural identification of medieval modes, sight-singing of atonal melodies in various clefs, complex rhythm control, modulation, and extended harmonic progressions will be covered, in addition to general reinforcement of previously learned skills.