Interim 2008 Music School Information/Procedures/Schedule
Download: Info/Procedures as a PDF
Download: The Schedule as a PDF
General Information
• During the first two weeks of the spring semester (Monday, 14 January—Friday, 25 January), the School of Music
will participate in an Interim session, along with the School of Theater. Interim courses will allow students to immerse
themselves in activities for which they normally would not have time during the semester; will allow for the exploration
of new and unfamiliar subjects and topics; will accommodate intensive self-directed study; and will allow for more
cross-over among schools.
• All students must participate in Interim activities. Interim is considered part of the normal spring semester and
students will receive one unit of credit for their participation. Observation, in addition to active participation, is
encouraged.
• Over the course of the two week Interim session, students will be expected to engage in a minimum of 45 hours of
activities in order to receive credit. Part-time students may elect to enroll in a number of hours commensurate with their
status; by so doing they will receive less than one unit of credit.
• Critical Studies classes will meet according to their normal schedule. Students registered in Critical Studies courses
must attend them during this time. Courses in some other schools, as well as certain interdisciplinary classes also may
be meeting. Please check with individual instructors or Schools for more information.
Class Sign-up Information
• Music students should obtain an Interim Course Registration form from the School of Music Office, as well as an
Interim School of Music Schedule (also available at www.music.calarts.edu). Forms will be available starting Thursday,
29 November. The music office will also have copies of the Interim School of Theater schedule.
• In conjunction with their mentors, students should select a variety of activities from the Interim schedule. Each
course/activity has been assigned an hour value, based on whether the student is planning on being a participant or an
observer. Participant hours are often higher on account of required preparation. Students and Mentors should add up
the credit hours assigned to each course and design a schedule that involves at least 45 hours of activity. Students must
attend all sessions of any course in order to receive credit.
• Students should obtain necessary signatures for lessons, coaching and/or independent studies.
• Students interested in enrolling in courses offered by the Theater and/or Art Schools should contact these School
offices for approval during the scheduled Registration times. The music office will have limited copies of the Theater
School registration form. The Theater School will hold the same registration hours as the School of Music. Please see
the board outside the Music School Office for information regarding Art Practicum enrollment.
• For courses with limited enrollment, students will be admitted to the course on a first come/first served basis. Students
should register and turn in their completed registration forms, with any necessary signatures to the Music School Office
between the hours of 10:00–4:00 on Thursday and Friday, December 6-7.
• Registration forms will be evaluated and approved by Music School staff to make sure students are enrolled in enough
activities to warrant credit.
Verification of Attendance and Awarding of Credit
• Students will receive Interim Attendance forms during Spring semester class sign-up. These forms will highlight all
courses/activities for which you have registered.
• In order to verify attendance, students will be responsible for having faculty members initial their attendance form(s)
for each class/activity they attend.
• At the conclusion of the Interim session, students must turn in their completed Interim Attendance form(s) to the
School of Music office.
• Students also must submit an Experience Report to the Music School office within two weeks of the end of the Interim
session. This is a brief, written summary of the activities in which they participated as well as a general evaluation of
the Interim session.
• School of Music faculty will then assign credit and a grade.
2008 INTERIM SCHOOL OF MUSIC SCHEDULE
*Credit hours for Interim activities are assigned based on class contact hours and, in some cases, preparation time.
Students are expected to enroll in a minimum of 45 hours of activities.
*Interim Courses are open to ALL students, regardless of School or Program. Observers are welcome at any time
(pending space), but in order to receive credit for a course/workshop, students must register for and attend all sessions. In
courses requiring much outside preparation or special skills on the part of participants, observers will receive fewer credit
hours.
[Mu] Alexander Technique—Babette Markus and Associates
Workshops led by visiting instructors in this powerful educational method focusing on changing harmful, habitual
physical behaviors that can lead to performance injuries. Participants will learn increased sensory awareness and
kinesthetic sensitivity. The Alexander Technique focuses on the relationship of the head, neck and back, and teaches
participants to incorporate improved coordination into their daily activities, including musical activities.
• enrollment limited to 70 participants from the Music School
• priority enrollment will be given to students who were not able to enroll in this course during the Interim 2006 or 2007
session.
Week 1: M/T/TH/F 9:00–11:00 Main Gallery, A300, B311, B312, B318, B319, B324
Week 2: T/TH/F 9:00–11:00 Main Gallery, A300, B311, B312, B318, B319, B324
Credit Hours: Participant (15)
[Mu] Art Lande: Open Improvisation—Art Lande, guest artist; facilitated by David Roitstein, Larry Koonse,
Darek Oles
—How to realize musical form and content without preparing.
Week 1: M/T/TH/F 2:00–4:00 B320 (required sessions); M/T/W/TH 7:00–9:00 p.m. (optional sessions)
• TH 2:00–4:00 especially recommended for actors/dancers
Credit Hours: Participant (15); Observer (10)
[Mu] Audio Compressors: How, Where, When, and Why To Use Them—John Baffa and Owen Vallis
—A presentation discussing the problems that compressors were originally designed to solve; a brief history of their
development; basic controls and how those controls interact with the audio; application; misuses; and special effects.
Additional reading materials will be distributed.
Week 1: W 12:00–1:00 B305
Credit Hours: 5
[Mu] Bassoon Quartet—Julie Feves
Rehearsals for upcoming concert on 28 January; composers may submit new pieces to Julie Feves for this event.
Week 1: TBA
Week 2: TBA
Credit Hours: Participant (10); Observer (5)
[Mu] Berio in L.A.—Ed Carroll with Gabriele Cassone, guest artist
—A close look at Luciano Berio's Sequenza X, commissioned for trumpeter Thomas Stevens by the LA Philharmonic. Mr.
Cassone will be performing Sequenza X at the Walt Disney Hall on January 10th and 11th
Week 1: SAT, 12 January, 1:00–4:00 ROD
Credit Hours: 5
[Mu] Chinese Music: The Classical and Modern Erhu—Yu Hongmei
Residency by visiting artist, Yu Hongmei, Chinese Erhu master performer from the Central Conservatory of Music in
Beijing. Yu Hongmei will give workshops on traditional Chinese music, playing the Erhu— a bowed string instrument,
and also more recent, modern composition for the Erhu. See: http://www.yuhongmei.com. Yu Hongmei will be
performing a concert at REDCAT on Thursday, 24 January at 8:30 p.m.—this is recommended for all participants.
Week 2: T/W/F 1:00–4:00 ROD
Credit Hours: Participant (10) Observer (5)
[Mu] Collaborative Intersection Across the Arts —Roger Reynolds, guest artist
Guest artist Roger Reynolds discusses his work fusing theater and music genres. "Collaborative Intersection Across the
Arts: No 'accidents', please" Reynolds presents and discusses a series of collaborations undertaken with theater directors
Tina Packer (Shakespeare and Company), Tadashi Suzuki (SCOT, Japan), choreographers Lucinda Childs (Cité de la
musique, Paris) and Bill T. Jones (ASU's Arts. Media, and Engineering program), and film-maker/video artist Ed
Emshwiller (former Cal Arts Dean). Thoughts on collaborative ideals, the use of non-traditional spaces, and technology
will be interspersed throughout this illustrated workshop.
• especially recommended for Theater School students
Week 1: TH 4:00–6:00 B318
Credit Hours: 5
[Mu] Composition Master class with guest artist Roger Reynolds: facilitated by Rob Wannamaker
Graduate composition students will present and discuss their music with the Pulitzer Prize-winning composer. Enrollment
of presenters is limited, but observers are welcome and can receive interim course credit.
Week 1: W 4:00–6:00 ROD
Credit Hours: 5
[Mu] Conducted Ensemble Project: Nick Didkovsky: Slim in Beaten Dreamers—Ed Carroll
—An intensive rehearsal schedule for this piece, to be performed at the Walt Disney Concert Hall in March.
Week 1: M 2:00–4:00 A300; T/W/TH 2:00–4:00 ROD
Credit Hours: Participant (10); Observer (5)
[Mu] Conducted Ensemble Project: Olivier Messiaen: Couleurs de la cité céleste—Mark Menzies, Mark Robson
An intensive rehearsal schedule with additional materials for observers. This exciting CalArts project features faculty
Mark Robson, piano, Mark Menzies, conductor with wind and percussion players in preparation for a performance at Walt
Disney Concert Hall in March
Week 2: T/W/TH 4:00–6:00 A300
Credit Hours: Participant: (10); Observer (5)
[Mu] Conducted Ensemble Project: Roger Reynolds Aspiration—Mark Menzies
An intensive rehearsal schedule with additional materials for observers. The Reynolds is a trial for a commercial
recording next year, with the composer in attendance at rehearsals.
Week 1: M/T/W 7:00–9:00 p.m. A300 (Reynolds)
Credit Hours: Participant (10); Observer (5)
[Mu] Conducted Ensemble Project: John Luther Adams Clouds of Forgetting, Clouds of Unknowing—Mark
Menzies
An intensive rehearsal schedule with additional materials for observers. Clouds of Forgetting, Clouds of Unknowing
celebrates John Luther Adams's substantial contribution to the large new music ensemble repertoire.
Week 1: TH 7:00–9:00 p.m. A300 (Luther Adams)
Week 2: T/W 7:00–9:00 p.m. A300 (Luther Adams)
Credit Hours: Participant (10); Observer (5)
[Mu] Creating with New Media—Morton Subotnick
This course will look at the history of new media, practice (e.g. what, who, why and how works are made) and
compositional strategies. Student works will be looked at and critique offered.
• enrollment limited to 25 participants
Week 1: T/TH 1:00–4:00 B305
Week 2: T/TH 1:00–4:00 B305
Credit Hours: Participant (15); Observer, pending space availability (10)
[Mu] Festival au Désert—Susan Allen, with School of Music students Paul Fuller and Toofun Golchin
This course will report on our experience at the Festival au Désert (Sahara) in Essakane, Mali (6–14 January). We will
share film, photos and sound media, as well as information about the Tuareg music and culture we encountered.
Week 2: F 1:00–4:00 B318
Credit Hours: 5
[Mu] Field Recording Workshop—Clay Chaplin and Michael Pisaro
Given the increase of field recording as compositional material, this workshop will discuss the aesthetics of field
recording, and compare the results of practical work (in the field). The initial meeting will be about the various
possibilities (and something of a history of the genre) and the second will be a listening and discussion session, based on
the work done by the students. Students will need to have some method of making recordings.
• enrollment limited to 12
Week 1: M/TH 10:00–12:00 B304
Credit Hours: Participant (10); Observer, pending space availability (5)
[Mu] Filmmakers and Composers Meeting Space—Steve Anker and David Rosenboom
In collaboration with the School of Film, time and space will be set aside for filmmakers and composers to meet, show
each other their work, have open discussions about film scoring and experimental techniques, and perhaps establish
collaborative relationships.
• enrollment limited to: 25 students
Week 2: W 4:00–6:00 B318
Credit Hours: 5
[Mu] Friends of Elliott Carter—Mark Menzies and Rachel Rudich
Rachel Rudich, Mark Menzies and others speak about Elliott Carter's music. Examples from works being performed at the
February 16 REDCAT all Carter concert may be used as musical examples.
Week 1: M 2:00–4:00 ROD
Credit Hours: 5
[Mu] Great Singers and Great Singing—Maria Fortuna-Dean
A survey of great singers of the twentieth century through their recorded legacy. Lectures given on the lives of the
singers, their careers and unique contributions using audio and video excerpts.
Week 1: T/TH 11:00–1:00 B324
Week 2: T/TH 11:00–1:00 B324
Credit Hours: 10
[Mu] Helmut Lachenmann's Concept of Concrete Instrumental Music— Erika Duke-Kirkpatrick, Mark Menzies,
Wolfgang von Schweinitz
This course will present some of the many new playing techniques, namely for string instruments, which the leading
German composer Helmut Lachenmann developed during the early 80ties, and discuss his concept of an instrumental
musique concrète and his idea of composing concrete instrumental playing actions (rather than mere notes). Thus the
course may be of specific interest for all string players and composers, but anyone will be welcome.
Week 2: T 7:00–10:00 B318; TH 7:00–10:00 A300; F 7:00–10:00 B318
Credit Hours: 10
[Mu] Iannis Xenakis: His Life, Music and Thought—Rob Wannamaker
Resistance fighter, fugitive, architect, and one of the most influential and radical composers of the last century . . . . This
examination of Xenakis' remarkable life and work will combine biography, theory, analysis, score study and guided
listening. His very diverse output—which includes concert music, electroacoustic works, music for the theater,
multimedia installations, architecture, and landmark theoretical writings—will be broadly surveyed. A detailed discussion
of Xenakis' mathematical methods will be included, but the presentation will aim to make these accessible to an audience
with no advanced mathematical training.
Week 2: T/W 4:00–7:00 B305; F 4:00–6:00 ROD
Credit Hours: 10
[Mu] J.S. Bach - Various Topics—Allan Vogel and Tisha Mabee
Week 1: T/F 2:00–4:00 B324
Week 2: T/F 2:00–4:00 B324
Credit Hours: Participant (10); Observer (5)
[Mu] Jazz Improvisation For Classical Musicians—David Johnson and Vinny Golia
A crash course for classical instrumentalists on how to play "outside" and "inside.” Both modal harmony and chromatic
extended harmony will be studied so that participants will be more comfortable improvising in the various harmonic
contexts that arise both in the creative and experimental music environments and the more modal approach that arises in
projects generated by world music and folk/jazz projects. Emphasis will be on practical solutions for real situations that
classical musicians are encountering at CalArts and beyond.
• bring an instrument
Week 1: F 11:00–1:00 A300
Week 2: T/TH 11:00–1:00 A300; F 11:00–1:00 A300
Credit Hours: Participant (10); Observer (5)
[Mu] Learning Music by Listening—Alfred Ladzekpo
Three areas will be emphasized in this class: learning music by listening, the advantages of ear training, and the
disadvantages of learning music by muscle memory. Learning music by listening will enhance students' listening skills.
They will be able to hear the sound accompanying every note that they read or play. If they get the sound in their ears or
body, they will have internalized the rhythm, and they will reduce their practice time.
Week 1: TH/F 9:00–10:00 B200
Week 2: TH/F 9:00–10:00 B200
Credit Hours: 5
[Mu] Mark Feldman Workshop—Mark Feldman
Residency by performer/composer and Alpert Award winner, Mark Feldman. Mark will lead workshops in his multi-
stylistic approach to composition and improvisation and violin playing in multiple styles. Appropriate for all School of
Music students, particularly those from the Jazz Program, violin students, Performer/Composer Program, and many
others. See his website at: www.Myspace.com/markfeldmanviolin Feldman also will give a performance on the Creative
Music Festival at REDCAT on Friday, 18 January.
Week 1: M/T/TH 11:00–1:00 ROD; 4:00–6:00 ROD
Credit Hours: Participant (15); Observer (10)
[Mu] Music of Barry Schrader—Barry Schrader
A presentation and concert of the music of Barry Schrader, including a world premiere. The Program will include: music
from the film Death of the Red Planet (1973) (the first quadraphonic electronic film score, not heard for 35 years); Wu
Xing - Cycle of Destruction (2005) - electronic music with improvisation by Susan Allen, harp and William Powell,
clarinet; Monkey King (2005-2007) (World Premiere) electronic suite based on the Chinese classic Journey to the West
Week 1: Presentation: F 6:00–7:00 B318; Concert: Sat 8:00 p.m. ROD
Credit Hours: 5 (must attend both presentation and concert)
[Mu] The Music of Bill Evans—Joe LaBarbera
A study of the music of Bill Evans from both historical and musical perspectives.
Week 2: T/W 1:00–4:00 B319
Credit Hours: 10
[Mu] Music of Elliott Carter—Rachel Rudich, Mark Menzies, Erika Duke-Kirkpatrick, David Johnson,
Bill Powell
Rehearsals of the music of Elliott Carter, in preparation for the upcoming REDCAT concert.
Week 1: TBA
Week 2: TBA
Credit Hours: Participant(10); Observer (5)
[Mu] Music and Dance of the Dagomba People—Andrew Grueschow, Beatrice Lawluvi
This class will focus on the music and dance of the Dagomba people of northern Ghana. The Dagombas are the largest
ethnic group in Ghana, and their drumming and dance styles are significantly different from the Ewe styles we usually
teach at CalArts. Their primary instruments include the Lunga (talking drum), Gun Gon (bass drum), and the Gonje.
These sessions will focus on Dikala, a piece that is played at funerals for prominent members of the community. Although
it will primarily be a performance-oriented class, we will watch video of the piece being performed in Ghana, and discuss
its cultural relevance.
Week 1: M/T/W 4-7 B200
Week 2: T/W 4-7 B200
Credit Hours: Participant (15); Observer (5)
[Mu] Music Resources and Research Methods—Kathy Carbone
The focus of this class is threefold: Participants will acquire familiarity with the library and its music resources; acquire
familiarity with methods for doing music research; practice organizing and presenting information in an annotated
bibliography. The classes will take place in the CalArts library and its computer lab.
Week Two: Participants will work on the annotated bibliography (we will start on this during the last class) on their own
time, to be turned in at the end of Interim. During this week I will be available to meet individually with anyone needing
assistance with the assignment.
•limited to 18 participants
Week 1: M/T/TH/F 9:00–11:00 Library
Week 2: TBA
Credit Hours: 15
[Mu] North Indian Music Workshop—Aashish Khan
A workshop on North Indian music, open to Eastern and Western instrumentalists and vocalists.
Week 1: T/TH 2:00–4:00 B243
Week 2: TH 2:00–4:00 B243
Credit Hours: Participant (10); Observer (5)
[Mu] Non-Idiomatic Improvisation—Ulrich Krieger and Michael Fink w/guest artists Marcelo Aguirre &
Chas Smith
A two-day lecture/demonstration/performance workshop exploring diverse approaches and strategies for non-idiomatic
improvisation. Topics will include: amplified instruments and voices, the use of electronics, micro-sounds, distortion and
feedback bridging silence and noise dynamics of group improvisation
Week 1: M/W 7:00–10:00 ROD
Credit Hours: Participant (10); Observer (5)
[Mu] Non-Violent Communication Workshop—Julie Feves and Linda Hoag w/guest speaker NVC Trainer,
Rodger Sorrow
Compassionate Communication is another name for Nonviolent Communication (NVC) or the Language of the Heart.
This process allows us to connect with the human spirit in each of us. It provides a way for connecting to others where
everyone's needs are valued. Our classes and trainings are based on the work of Marshall Rosenberg as contained in his
book Nonviolent Communication, A Language of Life.
Nonviolent Communication helps us: speak in ways that are more likely to be heard by others (nonjudgmental);
negotiate difficult situations with more ease and confidence; learn how to hear and say no without criticism or blame;
understand where anger comes from; learn how to ask for what we want using clear positive action language
Rodger Sorrow is a certified trainer for The Center for Nonviolent Communication and he brings an abundance of
knowledge and skills from education, training and experience combined with enthusiasm and compassion. His style
combines humor, laughter and play with learning.
Week 1: F 1:00–5:00 ROD
Credit Hours: 5
[Mu] The Operas of Alban Berg: Wozzeck and Lulu—Marc Lowenstein
An overview of an analysis of Berg's two operas will be presented. The cultural contexts of German Expressionism and
Modernism will be explored. The development of Berg's musical language will be tasted. The relationship between
analysis, history and the musical/theatrical experience will be discussed. The passive voice will not be overused.
• some musical background will be helpful
Week 1: W 9:00–2:00 B324
Week 2: W 9:00–2:00 B324
Credit Hours: 10
[Mu] Perpetual Band—Miroslav Tadic
Inspired by the energy of a legendary visit to CalArts by Hermeto Pascoal, the instructor will choose a general music
direction, (for example, East European Folk Music, Frank Zappa rock, Chicago-style electric blues, etc, etc), and start a
continuous core group rehearsal. As the rehearsal goes on, other players observing the rehearsal will be gradually added.
First one, then another and another, will eventually replace members of the core group, rotating so that everyone involved
spends time both observing and rehearsing with the band. A range of tunes and ideas will be tried over a continuous 6-8
hour period. Participation in this class will minimally require a reasonable sight-reading level and willingness to
improvise. Students and faculty are invited to participate for as much time as they are available.
Week 1: F 1:00–8:00 A300
Week 2: F 1:00–8:00 A300
Credit Hours: Participant (10); Observer (5)
[Mu] Persian Rhythm Fundamentals—Houman Pourmehdi
Course will cover the following subjects: social status of the Tonbak players of the past; Tonbak notation in the past 70
years; the differences between Tonbak and Daf
Week 1: T/W/TH 4–7:00 B311
Week 1: T/W/TH 4–7:00 B311
Credit Hours: Participant (20); Observer (10)
[Mu] Plan B Analog System Synthesis—Peter Grenader
Classes covering the operation of a new Plan B Analog system that is being purchased by the Music School.
Week 1: M/W/F 4:00–6:00 B305
Week 2: TH/F 4:00–6:00 B305
Credit Hours: 15
[Mu] Platée Laboratory—Mark Robson, Rafael-Lopez-Barrantes
This course will lay the necessary preparatory foundation for the upcoming production of Jean-Phillipe Rameau’s Platée.
Study will include group readings, libretto translation, and movement workshops. Private coaching will be assigned as
necessary.
• strongly recommended for all those cast in the opera
Week 1: T/TH 7:00–10:00 C105
Week 2: T 7:00–10:00 C105
Credit Hours: Participant (10); Observer (5)
[Mu] Rebetika—Wanda Bryant
This lecture course will cover Rebetika—a folk song style which has been described as "music from a Greek sub-culture,
songs of love, sorrow and hashish" (Holst 1977). The songs, once considered the 'urban' folk songs of Greece, were
closely associated with hashish houses, underworld figures, and prison. Rebetika developed from a Turkish vocal
tradition, was adopted by Turks who were relocated to Greece in the early 1920s, and eventually evolved into the
stereotypical sound of contemporary Greek pop music.
Week 2: W 12:00–2:00 B318
Credit Hours: 5
[Mu] The Role of the Blues in Rhythm and Blues—Wanda Bryant
This lecture course will cover the development of the blues post-Emancipation, social implications, geographical variants 
elta, SE, and Territories), stylistic distinctions (country, classic, Chicago), and external influences (spirituals, black
swing/jump blues).
Week 1: W 12:00–2:00 B318
Credit Hours: 5
[Mu] Salsa Band—David Roitstein
Week 1: W 10:00–12:00 B320
Week 2: W 10:00–12:00 B320
• participation limited to Salsa Band members only
Credit Hours: Participant (5); Observer (5)
[Mu] Sonatas and Interludes of John Cage, for prepared piano—Liam Viney, Michael Pisaro, Alan Eder
The piano department will present a complete performance of John Cage's Sonatas and Interludes for prepared piano, on
24 January, with all piano majors performing at least two movements each. The project will include intensive preparation
including attendance of a lecture about safe piano preparation presented by Alan Eder, involvement with the actual
preparations, as well as attendance of a seminar on Cage's music led by Liam Viney and Michael Pisaro.
Week 1: M 12:30–3:00; T 2:00–6:00 B321
Credit Hours: Participant (15); Observer (5)
[Mu] Songwriting with Abby Posner
Singer-songwriter, bandleader of FEAR MIA and CalArts Alumnus Abby Posner will hold sessions about songwriting.
She will share her work and offer critique of current student work. FearMia, an acoustic rock band of five fiery young
musicians (who met at CalArts), possess a magical combination of talent, spunk, and determination that wins the hearts of
audiences of all kinds. Accessible upbeat tunes--relating love, heartbreak, politics, and relationships--are arranged for
voice, guitar, violin and cello. Coming together in December 2004, FearMia has taken LA by storm, selling over 2000
copies of their five-song debut album, "The Stamp Album," in 6 months. The band is thrilled to be releasing their first full
length album, "Breaking Through," recorded live in Van Nuys, CA. With their joyful enthusiasm for good music of all
genres, and their playful, refreshing attitude audiences can't get enough of, there is only one thing to do: FearMia.
http://www.myspace.com/fearmia
http://vcreporter.com/article.php?id=4964&IssueNum=134
Week 1: M 7:00–10:00 B318; T 7:00–10:00 ROD
Credit Hours: Participant (10); Observer (5)
[Mu] Surf’s Up!—Art Jarvinen
Please don't mistake the Beach Boys for surf music. They just sing pop songs about surfing. Authentic surf music began
ca. 1959 as guitar-driven instrumental music, often used to accompany silent, amateur surfing films. It was eclipsed by the
onslaught of British vocal groups in the early '60s and all but disappeared, but the genre made a comeback in the 1980s
and '90s, and its evolution continues to this day. This class will be a survey of the entire history of the surf music genre,
covering its musical roots, the geographical and cultural context in which it developed, the classic tunes, the bands who
revived it, and the most current practitioners. The lecture presentation will include listening and video.
Week 1: F 1:00–4:00 B318
Credit Hours: 5
[Mu] Supercollider—Mark Trayle
Supercollider (http://www.audiosynth.com) is an object-oriented language for audio.
It's open-source and runs on Mac, Linux, and Windows. This course will introduce the basic concepts of the language, its
facilities for sound synthesis and sample playback, and explore more arcane topics such as live-coding and network
music.
• some background in electronic music helpful. Enrollment limited to 12.
Week 1: T/F 9:00–12:00 B304
Week 2: T/F 9:00–12:00 B304
Credit Hours: Participant (15); Observer, pending space availability (10)
[Mu] Symbolism, Ausdrück, Form and Performance Practices in the B-Minor Mass of J. S. Bach—Paul Vorwerk
This will be a listening and discussion project of the monument known as "Messe in h-molle" by the late Baroque master
in which each of the 27 movements are examined with regard to their historical precedents as well as the musical means
the composer employed in heightening the expression of the text. Where certain movements are known to be contrafacta,
based upon earlier models, those models will be examined. Comparison of several recordings will be made leading to
discussions of performance practices.
Week 1: T/TH 4:00–6:00 B324
Week 2: T/TH 4:00–6:00 B324
Credit Hours: 10
[Mu] What Music Really Is—A New Look—Morton Subotnick
Part history, part ethnology, part performance, this course will survey what music really is—including study of such
aspects as the evolution of music, perception, culture, etc. Music of various cultures and times will be studied and
discussions/performances will evolve around what we do with music today and how this matches theoretical constructs
and perception. The course will include a survey of current research in this area, along with suggested readings.
• performers, as well as composers, are particularly encouraged to attend
Week 1: M/W/F 2:00–4:00 B305
Week 2: W/F 2:00–4:00 B305
Credit Hours: Participant (15); Observer (10)
[Mu] Wild Listening—Ulrich Krieger
Functioning as an “appendix” to my 'Survey of 20th Century Music' course this semester, we will listen to a wide and wild
range of music and styles from New Music to Techno and everything in between, and talk about them and the connection
they have with one another beside being from the 20th century.
Week 1: T 1:00–4:00 B318
Credit Hours: 5
[Mu] The Wonderful World of the Accordion—Paul Berkolds
Proceeded by a brief listening session, including accordion music from many cultures, students will engage in group
and/or individual Accordion lessons—beginner to intermediate. Having access to you own accordion will facilitate
learning. Approximately seven accordions are available.
• limited enrollment (see Paul Berkolds if you have an accordion)
Week 2: T/TH 4:00–6:00 B312
Credit Hours: 5
[Mu] Writing for Voice—Paul Berkolds, Jacqui Bobak
Designed for the composer who wishes to have a better understanding of the idiomatic function of the voice, this course
will undertake a thorough study of vocal systems. Session one will look at voice production as used in western classical
technique. This will include breathing, phonation, registration, resonance, acoustics, and sound articulation. Session two
will discuss practices and materials from what is commonly referred to as extended vocal techniques. Course participants
will then be given one week to create brief compositions that will be performed and discussed in session three.
Week 1: T/TH 2:00–4:00 B312
Week 2: TH 2:00–4:00 B312
Credit Hours: Participant (10); Observer (5)
[Mu] Lessons/Coachings/Independent Study available with:
Must have faculty approval
Credit Hours: 5 per session (maximum of three sessions allowed)
Susan Allen (improvisation studies)
Jacqui Bobak (lessons and coaching)
Edward Carroll (lessons and coaching) January 14–18
Michael Fink
Amy Knoles (lessons, coaching, independent study)
Larry Koonse (harmonic and melodic improvisation; 14-18 Jan.; 11-4:00)
Ulrich Krieger (4 hours, composition lessons/consultations)
Marc Nimoy (individual lessons in electronics and sound. Thursdays both weeks, contact him at
marcnimoy@hotmail.com
David Roitstein (arranging for Salsa band)
Liam Viney (lessons)
Posted by: CalArts Music School
| @ November 28, 2007 10:18:10 PM PST ( ) |
"I am interested in how this wild beast lives in the jungle--not in the zoo."
-- Morton Feldman
Valencia, CA, September 10, 2007--California Institute of the Arts (CalArts) will celebrate the construction of its new music pavilion, The Wild Beast, on October 1. Designed by the Los Angeles-based architectural firm Hodgetts + Fung, the structure is named for contemporary American composer Morton Feldman’s reference to the illusive space in a work of art between subject and surface where meaning resides. The innovative building is designed to adapt to classes, small recitals or large public performances.
"The Wild Beast is a critical development for CalArts," said CalArts President Steven Lavine. "It will expand the range of performance opportunities for our students, help us better accommodate the unceasing flow of guest artists (which is particularly appropriate in that Morton Feldman was one such visiting artist), and enhance our ability to present concerts for audiences in the Santa Clarita Valley and from around the Los Angeles basin. This new classroom and concert venue, like the addition of REDCAT (the Roy and Edna Disney CalArts Theater) in 2003, will give further impetus to the School of Music's continuing ascent in quality and influence. We're thrilled."
Nestled in the grassy courtyard near the front entrance of the Institute, the 3,200 square-foot free-standing building will accommodate the musical styles and cultures represented in the CalArts School of Music. This vibrant mix ranges from chamber and large ensemble repertoire, jazz idioms, and theatrical vocal works to experimental media, improvisation, and the musical traditions of Africa, India, Indonesia and other parts of the world.
The School of Music has nearly doubled in size from 136 students in 1990 to 259 in 2007, requiring increased classroom and performance space. Working closely with the School of Music Dean David Rosenboom, architect Craig Hodgetts and his partner Hsin-Ming Fung designed a structure to meet these multiple requirements.
"Thinking together outside categories, the architects and I blended their imaginations with CalArts' vision and hit on a plan offering wonderful ways to address our artistic needs," said Rosenboom. "We're building a new little jewel for the campus that will offer more public access to the enriching experiences emerging from our potent, inventive community."
The front wall of the building will slide open, transforming the interior space into a stage reminiscent of open air performance facilities at Tanglewood, Aspen and Ravinia. When enclosed, the facility will seat audiences up to 140 persons and when the front wall is open the audience capacity can expand to more than 1,000.
When The Wild Beast is open, a folding glass awning will help project sound to the audience and add to the sense of light and movement. The roof and one wall will be a continuous curving form sheathed in copper shingles. "The initial image came from a fabric building," said Hodgetts. "We wanted to make it light, feminine and curvaceous--a counterpoint to the geometric forms of CalArts' massive three-story building."
Bruce Gibbons of the Valencia-based structural engineering firm of Thornton Tomasetti has designed the shell of the thin, lightweight structure."The engineering is very exotic and elegant." said Hodgetts.
Scheduled to open in fall 2008, The Wild Beast is the most recent project in which Hodgetts + Fung have combined acoustic requirements with aesthetic concerns. The firm recently redesigned and updated the Hollywood Bowl and designed the 110-acre performing arts center and amphitheater for the Minnesota Orchestral Association.
The $3 million construction costs of The Wild Beast is funded through The Campaign for CalArts which is focused on raising support for three critical priorities at CalArts: growing the endowment, sustaining current programs and supporting capital projects. Expanding facilities for music students and building The Wild Beast is an important component of the campaign, which, as of August 15, 2007, has raised $114 million towards its $125 million goal.
As the lead donor, CalArts supporter Abby Sher named the building The Wild Beast in tribute to Morton Feldman and collaborated with Hodgetts + Fung to bring the project into focus. Other significant support came from former trustee Richard Seaver, who passed away in June and included The Wild Beast in his extensive philanthropic legacy at CalArts; and Meshulam Riklis whose daughter, Kady Riklis, is an alumna of the School of Music. These donors have contributed a total of $950,000 toward the $3 million project.
California Institute of the Arts:
CalArts, the first U.S. higher educational institution to integrate the visual and performing arts under one roof, is recognized as the nation's leading laboratory for the arts. Housing six schools--Art, Critical Studies, Dance, Film/Video, Music and Theater--CalArts embraces creative cross-pollination among diverse art forms and traditions and strongly encourages each artist to pursue his or her vision within a broad context of social and cultural understanding.
CalArts School of Music:
The School offers a unique learning environment founded on principles of artistic excellence, experimentation, critical reflection and independent inquiry. Its offered programs include Composition, Performer/Composer, Jazz Studies, Multi-Focus Performance, Multi-Focus Music Technologies, Musical Arts, and World Music Performance. Undergraduate programs lead to a Bachelor of Fine Arts (BFA) degree and graduate programs to a Master of Fine Arts (MFA) degree. The School engages students in high-level collaborative work cutting across stylistic and cultural boundaries, allowing students to graduate with creative and technical flexibility. Firmly grounded in traditional and contemporary music forms, the School's programs prepare graduates to develop new expressions and contribute to the ongoing evolution of music practice.
Hodgetts + Fung
Craig Hodgetts and Hsin-Ming Fung founded the office of Hodgetts + Fung in 1984. The husband-and-wife architecture team have individually pursued distinguished careers as educators. They have been highly visible advocates of design excellence through their roles as designer/curators for significant exhibitions at major museums throughout the world, and have been recognized internationally for their ability to create imaginative and highly functional buildings. Hodgetts was a Founding Dean at the California Institute of the Arts and is presently a full professor at UCLA's School of Architecture and Urban Planning.
Posted by: CalArts Music School
| @ November 25, 2007 6:35:10 PM PST ( ) |
FOR ALL STUDENTS NEW TO CALARTS
Placement Exams for Incoming Students
All entering students, both undergraduate and graduate, are required to take Music Theory and Musicianship Skills Placement Exams during Orientation Week, just prior to class signup and the beginning of class meetings. Based on the results, each undergraduate will be placed at an appropriate level in the core
curriculum. If an undergraduate student lacks sufficient background to begin the core curriculum sequence, s/he may be required to take the class, Fundamental Musicianship, as a prerequisite. For graduate students, results may indicate
either that a student’s prior training and current skill levels are already appropriate for graduate study or that a graduate theory review class and/or graduate skills review class will be required in addition to the normal graduate curriculum. In some cases, graduate students may be asked to enroll in supplemental undergraduate theory and/or skills classes in order to acquire
necessary prerequisite knowledge and skills. Please note that while not all programs require the full sequence of courses, incoming students should proceed as far as possible during the placement exams.
In order to assist students in preparing for these placement tests, an outline of their content is posted here. Testing is given in modules. Upon passing one module, students proceed as far as they can through subsequent levels. Advance practice and preparation is strongly encouraged.
Pre-requisite:
Fundamental Musicianship: music (i.e. note) reading in treble and bass clefs; time and key signatures; interval identification (timed); chord and inversion identification (timed).
Following the Fundamental Musicianship level, separate modules continue with theory and musicianship skills.
Music Theory Placement Tests:
Theory A: tonal harmonic analysis and basic phrase structure; 4-part harmonization (from figured bass) using diatonic chords and V of V.
Theory B: contrapuntal analysis (section of a piece of counterpoint by Bach); harmonic analysis through modulation to closely related keys; 4-part writing (harmonization of melody).
Theory C: analysis of Sonata Form (a section of a piece by Haydn or Mozart); analysis of chromatic harmony (through late 19th century); 4-part chromatic voice leading.
Theory D: 20th Century repertoire analysis and techniques; 20th Century tonality (e.g. Debussy, Bartok, Stravinsky), atonality and 12-tone techniques; familiarity with electronic and experimental music repertoire and other more recent styles
and techniques.
Musicianship Skills Placement Tests:
Skills A: basic modal and tonal sight-singing and dictation.
Skills B: modulating and easy chromatic tonal sight-singing and dictation; seventh chords.
Skills C: modal and tonal improvisation; advanced chromatic tonal sight singing and dictation; simple added chords [n.b. At this point students should be able to fluently read and take dictation of anything in Modus Vetus, Edlund/Beekman
Books].
Skills D: non-tonally functional sight reading and dictation; complex chord and cellular recognition and reproduction [n.b. At this point students should be able to fluently read and take dictation of anything in Modus Novus, Edlund/Beekman Books].
Posted by: CalArts Music School
| @ June 13, 2007 9:15:03 AM PDT ( ) |
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