College Catalog

Music Courses

Undergraduate Courses

Composition Performance, Ensemble Music History, Theory, and Musicianship Additional Studies

Composition

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 1010 covers music grammar, fundamental harmony, and multiple musical traditions.

Credits: 3

The core music theory curriculum for jazz studies students provides a basic foundation leading to proficiency within jazz harmony. Students gain complete facility in major, minor, and dominant seventh scales in every interval, in all 12 keys. Application includes comprehensive abilities within basic foundational harmony, often referred to as II–7, V7, I. This understanding of harmony is immediately put to practical use in standard song forms, some of which are also learned in all 12 keys. Limited to jazz studies majors.

Credits: 3

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 1020 covers harmony, species counterpoint, and phrase structures.

Credits: 3

PREREQ: MCO1010 Or

Credits: 3

PREREQ: MCO1015

The fundamental information needed to function as an engineer/producer in today’s digitally driven recording environment. Includes an overview of the recording studio and in-depth technical information on the properties of sound, microphone design, cabling, digital audio converters, the Nyquist theorem, consoles, and signal processors. Students gain the working knowledge needed to be comfortable in the studio, together with skills in troubleshooting, maintenance, and engineering.

Credits: 2

In this technical exploration of the computer, how it is constructed, and its purpose in a modern recording studio, students gain a transparent view and working knowledge of technology, allowing for greater creative potential. Music-production software programs are explored, e.g., Digital Performer, Logic, Ableton Live, Reason, and Native Instruments. Students learn to troubleshoot and be comfortable in front of any modern computer system with multiple production software programs installed.

Credits: 2

PREREQ: MCO1310

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 2010 covers acoustics, proportion, harmonic series, monophony, and species counterpoint.

Credits: 3

PREREQ: MCO1020 Or

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 2020 covers tonal counterpoint, chromatic harmony, larger forms, jazz harmony and analysis.

Credits: 3

PREREQ: MCO2010 Or

Examines the various aspects of jazz harmony and improvisation. Topics include the cycle of fifths; secondary and substitute dominants; key of the moment; cadences, modal interchange, and melodic embellishment; and an in-depth study of improvisational devices, linking scales, advanced reharmonization, and tertian relationships. Limited to jazz studies majors.

Credits: 2

PREREQ: MCO2015

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 3020 covers pop music, harmonic and rhythmic analysis.

Credits: 3

PREREQ: MCO2020 Or

Models is the core music theory curriculum for studio composition and studio production students, consisting of six sequential courses (I–IV only for studio production). Studies in musical structure and syntax. An integrated presentation of melody, rhythm, harmony, counterpoint, and timbre. This course begins to explain the universal principles of proportion and beauty in all music. MCO 3030 covers impressionism, expressionism, Fauvism, minimalism, and post-tonality.

Credits: 3

PREREQ: MCO3020 Or

Advanced recording and production technology, with an emphasis on digital multitracking. Large-format “out of the box” consoles and advanced signal path and gain structures are discussed. Includes acoustics and studio design seminars, with soundproofing and construction considerations; and advanced microphone and electronics selection, technique, theory, and practice. Students  track a variety of instruments together. Culminates in a complex overdubbed class project.

Credits: 2

PREREQ: MCO1320 And MCO4360

Advanced mixing and mastering, including plug-in automation, audio restoration, and mixing in 5.1 surround sound, with an emphasis on troubleshooting, professionalism, and meticulous attention to production values. Discussions include analog processing and its relevance to digital workstations; the role of the engineer and producer in a modern studio environment; and ethics, technique, and real-time production constraints.

Credits: 2

PREREQ: MCO3330

A practical study of the craft of writing contemporary melody. Analytical and creative focus on effective melodic practice, plus musical rhyme, dramatic pitch curve, repetition and excursion, bridge, prechorus and chorus writing, melodic psychology and hooks. Studies may include Franz Schubert, Richard Rodgers, Cole Porter, Billie Holiday, Carole King, Bob Dylan, Joni Mitchell, Stevie Wonder, Randy Newman, and others. Prior musical accomplishment as a melodist and ability to read notation are required.

Credits: 2

A practical study of the craft of writing contemporary lyrics. Analytical and creative focus on effective musical structures, plus rhyme forms and schemes, line and unit densities, text and subtexts. Studies may include Langston Hughes, Chuck Berry, Bob Dylan, Otis Redding, Joni Mitchell, Patti Smith, Chuck D, Tupac Shakur, and others. Prior musical accomplishment as a lyricist and a desire to collaborate are required.

Credits: 2

Practical exercises in the technical and creative aspects of production and engineering, with an emphasis on sound for motion pictures. Topics include production sound, automated dialogue replacement (ADR), SFX, Foley, file formats and Sync, stem mixes, spotting and scoring, mixing to picture, and delivery formats. The course includes demonstrations and a group recording project. Collaborative work with Purchase College film students is encouraged.

Credits: 2

PREREQ: MCO3500

A course in the business of music that focuses on essential legal terms, language, and concepts underlying standard recording artist agreements, U.S. copyright law, and standard music publishing contracts. Sampling legislation, synchronization, and mechanical licenses are also examined in detail. Pending schedule availability, noted music industry professionals present guest lectures on relevant topics.

Credits: 2

Offers performance students the opportunity to create their own works after significant models in solo, chamber, and orchestral repertoire. By composing and then performing their own works and those of their colleagues, participants will gain appreciation for composition and the art of interpretation. This course requires a strong understanding of Western music theory/history through the 20th century.

Credits: 2

A “Pro Tools 101” course covering digital audio workstation (DAW) essentials, in which intensive digital editing and DAW skills are developed. Includes specific instruction in Pro Tools shortcuts, file types and digital audio formats, edit modes, groups, playlists, session management, and safe data-file management skills, along with background history on tape vs. digital recording techniques.

Credits: 2

How to equip and set up a modern digital recording studio. Topics include equipment, project, and professional studio design and logistics for stereo and multitrack recording; setting up and running a tracking session; microphone techniques and cue mix strategies; an overview of mixing and mastering, including automation, region manipulation, time-division multiplexing (TDM), and AudioSuite and Real-Time AudioSuite (RTAS) plug-in basics; and advanced signal processing.

Credits: 2

PREREQ: MCO4350

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Performance, Ensemble

Designed to promote facility at the keyboard, this is the first course in four-semester sequence of lessons for non-keyboard students, which culminates in a proficiency examination normally taken at the end of the sophomore year. Different sections of this course sequence are designed specifically for classical performance (excluding piano), jazz studies, and studio composition majors.

Credits: 1

Introduces jazz majors to all the basic piano skills they will need to develop as a player, arranger and composer. Material will focus on: basic piano technique (hand position, proper sound production), scale fingerings (one octave), triads, 7ths chords, two-handed chord voicings and ii-V-I progressions. Repertoire will include simple classical pieces as well as arrangements of jazz standards.

Credits: 1

Designed to promote facility at the keyboard, this is the second course in a four-semester sequence of lessons for non-keyboard students, which culminates in a proficiency examination normally taken at the end of the sophomore year. Different sections of this course sequence are designed specifically for classical performance (excluding piano), jazz studies, and studio composition majors.

Credits: 1

PREREQ: MPE1010 Or

Builds on the basic piano skills developed in Jazz Keyboard Studies I. Material will include: Major and minor fingerings (two octaves), 9th 11th and 13th chords and two-handed chord voicings, basic 'comping rhythms, transcriptions of classic jazz piano solos, and playing duos/switching parts. Repertoire will include arrangements of jazz standards and selections from Bach’s “Anna Magdalena Notebook."

Credits: 1

PREREQ: MPE1015 Or MPE1010 Or

Focuses on the art of reading and performing music notation written for and by studio musicians. Topics include techniques in reading and performing numeric charts, reading and writing music shorthand, and sight-reading charts. This course recreates real-life studio conditions for ensembles and prepares players to participate in the professional opportunities of the recording studio.

Credits: 2

Provides students from other disciplines an opportunity to participate in a small jazz combo. Emphasis is on standard jazz repertoire, understanding of the jazz vernacular, and jazz improvisation. A background in performing in similar ensembles in high school is beneficial. Students must bring their own instruments in good working order. This class is not open to vocalists. Taught by a faculty member of the jazz studies program.

Credits: 2

Interpretation of music of the 17th and 18th centuries from the perspective of historically informed performance. Instructors teach basic principles of interpretation that are evident from early performance manuals, then encourage students to actively engage these principles by forming personal interpretations around them. Students are encouraged to form creative, original approaches to the repertoire, particularly when the historical record may be incomplete, inchoate, or simplistic.

Credits: 2

The main instrumental ensemble (20–30 players) in the brass program. Conducted by members of the brass faculty, this ensemble performs repertoire from the 16th century to the present. It also performs music from the British “brass band” repertoire, in which students are required to play traditional brass band instruments. Rehearses weekly for one and a half hours.

Credits: 1

An exploration of the ancient musical tradition of hand drumming found in many cultures. Hand drumming techniques from Africa, the Caribbean, the Americas, and Asia are learned and practiced in an ensemble setting to energize, build unity, and heighten creativity. Students gain experience with djembe, guiro, conga, shakers, and clavés, as well as other percussive and rhythmic instruments. No prior musical experience is required.

Credits: 1

The first half of a two-semester survey of Italian art songs from the 16th century to modern times; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Integrated with MPE 1380.

Credits: 1.5

The second half of a two-semester survey of Italian art songs from the 16th century to modern times; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Integrated with MPE 1390.

Credits: 1.5

PREREQ: MPE1370

Designed for classical guitarists who are interested in gaining ensemble, sight-reading, and arranging skills for guitar ensemble. Students are expected to perform repertoire from the 20th and 21st centuries and create their own arrangements for performance by various combinations, such as a guitar orchestra, duos, trios, and quartets. Strong musicianship skills are required.

Credits: 2

Focuses on the music of the Machito Orchestra, Tito Puente, Chico O’Farrill, and Dizzy Gillespie, among others. The conversion of standard jazz repertoire to what is currently known as Latin jazz is emphasized through an in-depth study of clavé (the rhythmic pulse found in Afro-Caribbean music) and the variety of rhythms incorporated in this genre. Orchestra members are encouraged to contribute original arrangements.

Credits: 2

Students develop performance skills in a cross-genre ensemble of popular music styles. While most of the group work takes place in a studio setting, live performance and recording sessions are also included. Students learn the skills of projection, amplification, and audience engagement and have the opportunity to develop their unique performance style and musical voice. Limited to studio composition and studio production majors.

Credits: 2

These combos are thematically based and speak directly to the firsthand performing experiences of faculty mentors. Focusing on repertoire derived from the master composer/bandleaders from all eras of jazz, elements of group interaction, group dynamic, improvisation, arranging, and stylistic interpretation are integrated into a professional ensemble experience. Limited to jazz studies majors.

Credits: 2

Designed to promote facility at the keyboard, this is the third course in a four-semester sequence of lessons for non-keyboard students, which culminates in a proficiency examination normally taken at the end of the sophomore year. Different sections of this course sequence are designed specifically for classical performance (excluding piano), jazz studies, and studio composition majors.

Credits: 1

PREREQ: MPE1020 Or

Builds on concepts learned in Jazz Keyboard I and II. Topics will include: two-octave major and minor scales, two-handed ii-V-I voicings with 9ths, 13ths, tritone substitutions, etc; major 6 and minor 6 diminished chord scales, and their application to harmonizing melodies in block chords; solo arrangements of jazz standards and reharmonizations, and classical repertoire by Bach and Chopin.

Credits: 1

PREREQ: MPE1025 Or MPE1020 Or

Designed to promote facility at the keyboard, this is the fourth course in a four-semester sequence of lessons for non-keyboard students, which culminates in a proficiency examination normally taken at the end of the sophomore year. Different sections of this course sequence are designed specifically for classical performance (excluding piano), jazz studies, and studio composition majors.

Credits: 1

PREREQ: MPE2010 Or

Builds on concepts learned in Jazz Keyboard I-III with a focus on the role of the piano in an ensemble. Topics include: scales/arpeggios in 12 keys, rootless ‘comping voicings, upper extensions and upper structure chord voicings, "drop 2" voicings, transcriptions of classic solos, block chords, bebop diminished scales. Repertoire will include more advanced classical repertoire and classic jazz tunes.

Credits: 1

PREREQ: MPE2015 Or MPE2010 Or

The first half of a two-semester survey of German art songs; part of the core curriculum for voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 2380.

Credits: 1.5

The second half of a two-semester survey of German art songs; part of the core curriculum for voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 2390.

Credits: 1.5

PREREQ: MPE2370

This class is for students interested in performing their own compositions that involve singing as an aspect of their performance. Students will be expected to perform original material for many of the classes, receiving performance-focused feedback, and practice specific singing techniques in real time, simulating a live performance setting. The class will culminate in a final live performance.

Credits: 2

This class is for students interested in performing their original compositions, instrumental or including vocals. Students will perform original material for many of the classes, practicing essential live performance techniques in real time, and simulating the collaboration between performers and live sound engineers in a live performance setting. The class will culminate in a final live performance.

Credits: 2

Private weekly music coaching (for undergraduates, in the junior and senior years) that support the student’s development (technical and artistic) and presentation (linguistic, stylistic, musical, and dramatic). Prepares the student for performance situations throughout the department. The goal is to enable the student to function as an independent professional upon completion of the program.

Credits: .5

In a performance lab setting, students prepare and perform in a concert of staged scenes with piano or instrumental ensemble; and/or participate in at least one fully staged opera, given in its original language, with orchestra, sets, and costumes. This course further develops and refines the musical and dramatic skills acquired in previous courses.

Credits: 2

COREQ: MPE3355

The first half of a two-semester survey of French art songs; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 3380.

Credits: 1.5

The second half of a two-semester survey of French art songs; part of the core curriculum for classical voice majors. Presented chronologically, the songs explore the repertoire that forms the core of each linguistic style and historical period. Students learn and perform one song every week in a master-class setting. Emphasis is on the development of musical skills necessary for the appropriate interpretation of each style. Integrated with MPE 3390.

Credits: 1.5

PREREQ: MPE3370

A seminar that explores how conductors approach musical challenges. Studies and assignments incorporate score analysis, orchestral arranging, and conducting techniques. Students conduct short works that they have arranged or composed for small ensembles formed in the class. Limited to instrumental performance, vocal performance, and composition majors.

Credits: 2

PREREQ: MPE3500

A 30-minute recital of repertoire or original compositions (minimum 30 minutes for strings). While faculty and private teachers work closely with students in its preparation, the recital largely represents an independent effort demonstrating the student’s mastery of a range of literature, a variety of styles and techniques, and the ability to design and execute a substantial program. String players must include a substantial work (from the mid-20th century through the contemporary era) on either their junior or senior recital.

Credits: 1

PREREQ: MPE0300 Or MPE0301 Or MPE0302

A 45-minute recital of repertoire or original compositions. While faculty and private teachers work closely with students in its preparation, the recital largely represents an independent effort demonstrating the student’s mastery of a range of literature, a variety of styles and techniques, and the ability to design and execute a substantial program.

Credits: 1

PREREQ: MPE0300 Or MPE0301 Or MPE0302

A 30-minute recital of original compositions. While faculty and private teachers work closely with students in its preparation, the recital largely represents an independent effort demonstrating the student’s mastery of a range of literature, a variety of styles and techniques, and the ability to design and execute a substantial program.

Credits: 1

PREREQ: MPE0300 Or MPE0301 Or MPE0302

This course is designed for non-music majors. One hour per week, students will meet with a private study instructor in their specific instrument of choice. (brass, piano, woodwinds, guitar, voice and opera performance, strings, percussion, harp, jazz studies). The goal is for the student to learn the basics of instrumental performance technique and to ensure that the student gains a general understanding of how to execute the technique while learning different musical styles within their chosen area of concentration. For additional information, please contact the Director of Music

Credits: 3

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Music History, Theory, and Musicianship

The first course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.

Credits: 2

The second course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.

Credits: 2

PREREQ: MTH1010 Or

Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings. Limited to jazz studies majors.

Credits: 1.5

PREREQ: MTH1430

An introductory course designed for non-music majors that provides an overview of music theory and forms in global perspective. Students build music appreciation and explore basic vocabulary, including pitch, melody, tempo, rhythm, instrument families, styles, and social uses. Coursework examines the evolution of music composition, recording, and production, including the impact of new tools, technologies, and approaches.

Credits: 3

The third course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.

Credits: 2

PREREQ: MTH1020 Or

Credits: 1.5

PREREQ: MTH1440

Credits: 1.5

PREREQ: MTH2430

Traces the history of Western concert music, providing an overview and foundation. The course begins with a focus on world music, placing Western concert music in the greater context of its relationship to other cultures. The musical cultures of India and the Arabic countries of North Africa are examined for their impact on Western concepts. MTH 2510 and 2520 may be taken in either order.

Credits: 3

The fourth course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.

Credits: 2

PREREQ: MTH2050 Or

Demonstrates how analysis of a given work can influence artistic interpretation. Students present their own works alongside research on historical context, the composer’s biography, contemporary style, analysis (formal, harmonic, melodic, contrapuntal), and content. The goal is to understand that complete analysis does not offer a single “correct” interpretation, but rather focuses the creative mind by offering multiple paths towards artistic understanding.

Credits: 2

Fosters deep understanding of music theory by returning to 18th-century training methods that employ analysis and synthesis together, in place of the current reliance on analysis alone. On the basis of analysis of theoretical principles of 18th-century models of ornamentation, free fantasias, basso continuo, and cadenzas, students learn to do original work in these genres.

Credits: 2

Surveys the history and evolution of jazz from its West African origins and migration to the present. While emphasis is on listening to and analyzing recorded examples, sociopolitical and economic issues are also examined. Students learn to identify stylistic and contextual aspects of jazz based solely on listening and develop a familiarity with the major stylistic innovators from all eras. Readings from scholarly works help provide a comprehensive overview of America’s indigenous music. Limited to jazz studies majors.

Credits: 3

A study of repertoire, social history, performance practice, and changing aesthetics of music in the period c. 1750–1880, concentrating on works by C.P.E. Bach, Haydn, Mozart, Beethoven, Schubert, Berlioz, von Weber, Liszt, Chopin, Brahms, Wagner, and Tchaikovsky. Students are encouraged to investigate and understand stylistic foundations, analytical workings, reception history, and philosophical implications of important musical works of the period.

Credits: 2

PREREQ: MTH2510 And MTH2520

An in-depth look at the period of musical evolution that occurred between the collapse of a “common practice” in music (the closing decades of the 19th century) and World War II. Styles investigated include primitivism, futurism, extreme chromaticism extending into atonality, bitonality, impressionism, expressionism, decadent symbolism, and neoclassicism.

Credits: 2

PREREQ: MTH2510 And MTH2520

Presents an in-depth look at expansions of serial technique by the Darmstadt group; the rise of the American avant-garde; the emergence of a newly contextualized tonality; minimalism, mostly in the works of such Americans as Reich, Glass, and Adams, with some works by Pärt and Górecki; and expressions of postmodernism by artists as diverse as Brian Eno, Meredith Monk, Laurie Anderson, and Björk.

Credits: 2

Bach and his music are engaged from historical, social, generic, analytic, and performance-based perspectives. Students examine Bach’s inventiveness in cross-pollinating genres as well as his contrapuntal genius, fascination with musical instrument building, and expansion of the professional life of musicians. In addition to written assignments, each student gives a lecture-demonstration on a work (or segment of a work) by Bach.

Credits: 2

PREREQ: MTH2510 And MTH2520 And WRI1110

A study of the stylistic influences surrounding Beethoven’s music; the history of its reception; its formal, thematic, and harmonic construction; and how it interrogates other works. The tripartite division of Beethoven’s life is scrutinized and evaluated for its applicability (or lack thereof) to various parts of his repertoire. Students give a lecture-demonstration of one work (or one part of a work).

Credits: 2

PREREQ: MTH2510 And MTH2520 And WRI1110

A study of the lives, output, and philosophies of the three composers of largely programmatic music who comprised the New German School and were opposed strongly by Brahms and Eduard Hanslick. The rich corpus of prose works (primarily those printed in Die neue Zeitschrift für Musik) left by these composers is used to interrogate their musical scores.

Credits: 2

PREREQ: MTH2510 Or MTH2520 Or WRI1110

The lives, output, and collaborations of Gustav Mahler and Richard Strauss are explored in the context of the heady atmosphere of the Viennese fin de siècle. Discussions of political and social upheavals (Dr. Karl Luger, the Ringstrasse project, and Klimt and the Secessionist movement) are mixed with examination and analysis of representative works, predominantly orchestral songs and symphonies/tone poems.

Credits: 2

PREREQ: MTH2510 And MTH2520

Examines the works of Dmitri Shostakovich, the greatest of the Soviet-era Russian composers and one of the top symphonists of the 20th century. Soviet history and politics are examined in relation to the arts, as well as the larger theme of creativity under an authoritarian government. Further topics include Shostakovich's official condemnations and rehabilitations, and his major works in a variety of genres.

Credits: 2

PREREQ: MTH4050 And MCO2020 And MTH2440

The first half of a two-semester comprehensive study of modern recording and mixing. Topics include digital audio workstations (DAWs), fundamental microphone techniques, electronics, MIDI, and running a tracking session in the home or hybrid studio and on location. Students complete this series with a basic knowledge of the theory and skill set required for recording, editing, mixing, and mastering music. Score reading skills and access to Pro Tools are preferred.

Credits: 2

PREREQ: MTH4010

A comprehensive study of modern recording and mixing. Topics include; Digital Audio Workstations, fundamental microphone techniques, electronics, MIDI, running a tracking session in the home / hybrid studio and on-location. Students complete this series with a basic knowledge of the theory and skillset required for recording, editing, mixing, and mastering music. Score reading skills, and access to ProTools are preferred.

Credits: 2

PREREQ: MTH4035

The fifth, culminating course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.

Credits: 2

PREREQ: MTH3050 Or

Students examine and contextualize many of the important works from the Second Viennese School and beyond. Special emphasis is given to the impact of such early 20th-century figures as Schoenberg and Stravinsky, opera, innovations in the work of Oliver Messiaen, and music by living composers. Major political and social changes during the century are factored into the musical discussions.

Credits: 2

Jazz greats from Mingus to Mehldau have found inspiration in the music of Bach. What did they find so appealing, and how did they integrate it into their personal styles? This course addresses those questions by, each week, isolating a particular trait of Bach’s compositional technique and coaching students to use it in composition exercises and real-time improvisation.

Credits: 2

The past two decades of American classical music have witnessed a quiet revolution in opera, with queer stories finally taking place front and center. This in spite of the historical importance of gay artists in the making of opera, as well as the importance of a loyal gay fanbase. With a special focus on recent/current operas by Purchase faculty members Laura Kaminsky and Gregory Spears.

Credits: 2

An intensive course in the vocal and instrumental music of Berg, examining both his orchestral and previously unpublished early vocal works and his operas Wozzeck and Lulu. Topics include the influence of Freud, Berg’s satire of capitalism, the conventions of expressionist cinema, and source study of Wedekind, Brecht, and Pabst.

Credits: 2

PREREQ: MTH4010 Or MCO2020 Or MCO2025

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Additional Studies

Presents many of the essential American standards (e.g., Gershwin, Porter, Kern, Rodgers and Hart, Hammerstein) regularly performed by working jazz musicians. Each week, a tune is studied aurally, learned by ear, analyzed, and memorized. Small combo techniques, transposition, and interaction are included. Sample recordings of all the selections for these courses are made available. Limited to jazz studies majors.

Credits: 2

Orchestras are a vital part of America’s musical landscape and civic life. Learn about the orchestra’s social and cultural history; the evolution of symphonic music, and the methods with which musicians approach the work of preparing and performing orchestral scores. Develop methods to critically evaluate the programming, performances, and personalities of the modern symphony orchestra.

Credits: 3

Credits: 2

Many conservatory students form ensembles, which range across all three areas: classical, jazz, and music and technology. Frequently upon graduation, these ensembles attempt to stay together and “make it” in the professional world. Essential skills and knowledge are needed to stand a chance at success. Seasoned professionals who have made this work (and some who have not) teach this course.

Credits: 1

PREREQ: MUS4521 And MUS4600

Most graduates of music conservatories earn a substantial portion of their income from teaching, yet know very little about associated business practices. This course teaches students how to establish a private teaching studio (financials, insurance, taxes, scheduling, common practices). It also reviews teaching opportunities and risks in community music schools and for-profit teaching businesses.

Credits: 1

PREREQ: MUS4520

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Graduate Courses

Composition Performance, Ensemble Music History, Theory, and Musicianship Additional Studies

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Composition

Students write and perform their own compositions in the jazz vernacular and critically discuss each other’s work. In addition, various compositional models are analyzed, including compositions of Wayne Shorter, Kenny Wheeler, Andy Laverne, Bill Evans, John Abercrombie, and others. Compositions from the Great American Songbook are also analyzed with regard to thematic development and harmonic motion.

Credits: 2

Students write and perform for specific instrumental groupings and form ensembles designed to interpret their original work. Composers and performers are encouraged to give input and jointly engage in the creative process by sharing different viewpoints. These collaborations provide insight into the complete process of writing, arranging, and performing an original work from start to end.

Credits: 2

An in-depth study of specific compositional devices that enhance the quality of a writer’s output, regardless of style. The course focuses on scale selection, melodic development, nontraditional harmony, dynamic markings, and contrapuntal devices to facilitate well-crafted composition. Projects include integrating classroom assignments into original works. The course objective is to synthesize cognitive and “ear” writing methods into one fluid process.

Credits: 2

An advanced study of digital signal processors in the modern digital studio environment, focusing on their specific uses during the mix-down process. Engineers are immersed in real-world situations to foster technical and creative solutions within a typical engineer/client relationship. Emphasis is on the perception of the mind and the ear, mix techniques, and standard business practices.

Credits: 2

A practical exploration of design options for the modern recording studio, including its growing role in video and film postproduction. Construction techniques, space design, acoustic treatments, and facility ergonomics are examined, and changes in studio facilities in the digital age are discussed. Students learn how to spec and budget their own midsize recording facility, accounting for all aspects of equipment, construction, HVAC, electrical, and overhead.

Credits: 2

Advanced arranging skills for transforming music from its simplest rendering into complex orchestral and experimental arrangements. Class time includes projects using Pro Tools and MOTU Digital Performer as compositional/arranging platforms. Students alternately assume the roles of composer, musician, and engineer to develop collaborative communication skills from each of these points of view.

Credits: 2

An overview of global musical styles with a special focus on African and Latin cultures. Emphasis is placed on understanding the present and historical practices of music making and why this music is relevant in the world-music scene today. Invited guests, together with video and audio recordings, provide additional insight into the sociological and practical relevance of these styles.

Credits: 2

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Performance, Ensemble

Credits: 2

The first in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

Credits: 2

The second in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

Credits: 2

The third in a three-semester sequence, which is the principal focus of the graduate program in opera studies. Students prepare operatic scenes and arias for presentation in a master-class setting every week. Emphasis is on correct stylistic interpretation and performance practice in each stylistic period of opera history, from Monteverdi to recent works. Repertoire is assigned according to each participant’s needs and abilities.

Credits: 2

Credits: 1.5

Credits: 2

Credits: 1

Examines music for organ, harpsichord, clavichord, and early piano from 1550 to 1770 by Byrd, Sweelinck, L. Couperin, Buxtehude, F. Couperin, J.S. Bach, and the Bach sons W.F. and C.P.E. Primary source materials include ornamentation and early fingering charts, as well as studies of contemporary music instruction. Outside readings of secondary source materials include Apel and Ferguson. Discussion of in-class performance is integral to the course.

Credits: 2

A survey of piano literature from Beethoven’s late works through the end of the 19th century. Primary focus on the works of Schubert, Mendelssohn, Chopin, Schumann, Liszt, and Brahms, with emphasis on the character piece, new trends in the use of older forms, and developments in timbre and range. Late Romantic composers are examined, focusing on their impact on early 20th-century styles.

Credits: 2

A seminar that explores how conductors approach musical challenges. Studies and assignments incorporate score analysis, orchestral arranging, and conducting techniques. Students conduct short works that they have arranged or composed for small ensembles formed in the class. Limited to graduate students concentrating in instrumental or vocal performance.

Credits: 2

PREREQ: MPE5500

Credits: 2

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Music History, Theory, and Musicianship

To function creatively in the contemporary music industry, modern musicians need the skills to perform, compose, arrange, record, research, write, and talk about their music. This course helps develop the research, writing, and presenting skills by exploring relevant print and online resources, researching and discussing topics of individual interest, and writing engaging program notes and research papers.

Credits: 2

An exploration of American contributions to the world of art song. Touching on repertoire from before the Civil War through today, students will gain an understanding of the historical, social, and artistic contexts of American classical composers. The class will also touch on contributions to American song from classical-adjacent contexts, including jazz, music theater, and popular idioms.

Credits: 2

PREREQ: MTH5035

Credits: 2

Three of the greatest operas in the history of Western music—Le nozze di Figaro, Don Giovanni, and Così fan tutte—are the product of the collaboration between Wolfgang Amadeus Mozart and Lorenzo Da Ponte. Students analyze these works and gain an understanding of their historical context and why these works, from this unlikely duo, became watershed contributions to the genre of opera.

Credits: 2

Focuses on the War Requiem and operas by Benjamin Britten. Students engage in a close reading of the texts, participate during class in musical renderings of selected sections, and become familiar with Anglican worship and musical traditions. Central themes, including class conflict, desire, and repression, are discussed when relevant. Substantial outside reading required.

Credits: 2

Examines secular and sacred cantatas of J.S. Bach, including the four that make up the Christmas Oratorio and the double cantata that was the basis for the now-lost Markuspassion. Topics include symbolism, text painting, neo-Platonism, instrumental concerti and sinfonias in the cantatas, the history of Bach editions, and the light shed on Bach’s attitude towards Judaism in BWV 42.

Credits: 2

Students are set on a path of lifelong learning with the goal of being able to improvise in all the genres they perform. Instructors provide a graded series of tasks that begins with rudimentary ornamentation of existing lines and concludes with the improvisation of convincing fantasias, cadenzas, and dance-based pieces. Open to graduate students in the classical instrumental performance, voice/opera studies, and composition concentrations.

Credits: 2

An intensive graduate course in the vocal and instrumental music of Berg, examining both his orchestral and previously unpublished early vocal works and his operas Wozzeck and Lulu. Topics include the influence of Freud, Weill’s opera Mahagonny, Berg’s satire of capitalism, the conventions of expressionist cinema, and source study of Wedekind, Brecht, and Pabst. Knowledge of German is helpful.

Credits: 2

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Additional Studies

Credits: 1

PREREQ: MUS5521 And MUS5600

Credits: 1

PREREQ: MUS5520

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Official Catalog: Published September 27, 2024

Course Frequencies

Since actual course offerings vary from semester to semester, students should consult the myHeliotrope course schedule to determine whether a particular course is offered in a given semester.

Information Changes

In preparing the College Catalog, every effort is made to provide pertinent and accurate information. However, information contained in the catalog is subject to change, and Purchase College assumes no liability for catalog errors or omissions. Updates and new academic policies or programs will appear in the college’s information notices and will be noted in the online catalog.

It is the responsibility of each student to ascertain current information (particularly degree and major requirements) through frequent reference to current materials and consultation with the student’s faculty advisor, chair or director, and related offices (e.g., enrollment services, advising center).

Notwithstanding anything contained in the catalog, Purchase College expressly reserves the right, whenever it deems advisable, to change or modify its schedule of tuition and fees; withdraw, cancel, reschedule, or modify any course, program of study, degree, or any requirement or policy in connection with the foregoing; and to change or modify any academic or other policy.

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Academic programs:

Archived Catalogs:

College Catalog 2023–24 (PDF)
Published September 22, 2023
College Catalog 2022–23 (PDF)
Published October 12, 2022
College Catalog 2021–22 (PDF)
Published October 13, 2021
College Catalog 2020–21 (PDF)
Published October 15, 2020
College Catalog 2019–20 (PDF)
Published November 25, 2019
College Catalog 2016–18 (PDF)
Published July 5, 2016
College Catalog 2013–15 (PDF)
Published July 2, 2013
College Catalog 2011–13 (PDF)
Published July 6, 2011
College Catalog 2008–10 (PDF)
Published July 2, 2008
College Catalog 2005–07 (PDF)
Published August 25, 2005

Note: These PDFs may contain links to an older version of the college website (before March 2017); therefore, links may not be functional.

College Catalog

Official Catalog: Published September 27, 2024

Course Frequencies

Information Changes

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College Catalog

Undergraduate Courses

Composition

MCO 1010: Models I

MCO 1015: Jazz Theory I

MCO 1020: Models II

MCO 1025: Jazz Theory II

MCO 1130: Introduction to Studio Recording

MCO 1310: Studio Composition I

MCO 1320: Studio Composition II

MCO 1410: Studio Composition Seminar

MCO 2010: Models III

MCO 2015: Jazz Harmony I

MCO 2020: Models IV

MCO 2025: Jazz Harmony II

MCO 2310: MIDI Composition I

MCO 2320: MIDI Composition II

MCO 3010: Composition Seminar

MCO 3020: Models V

MCO 3030: Models VI

MCO 3330: Studio Production I

MCO 3340: Studio Production II

MCO 3415: Melody Writing

MCO 3420: Lyric Writing

MCO 3500: Film Scoring I

MCO 3510: Film Scoring II

MCO 3550: Studio Arranging I

MCO 3555: Studio Arranging II

MCO 3712: Contracts, Copyrights, and Publishing

MCO 3722: Touring, Promotion, and Distribution

MCO 4120: Studio Composition Master Class

MCO 4125: Studio Production Master Class

MCO 4210: Composition for Performers

MCO 4350: Digital Audio I

MCO 4360: Digital Audio II

MCO 4711: Creative Production Techniques I

MCO 4721: Creative Production Techniques II

Performance, Ensemble

MPE 0200: Freshman Classical Jury

MPE 0201: Freshman Jazz Jury

MPE 0202: Freshman Studio Composition Jury

MPE 0203: Freshman Studio Production Jury

MPE 0300: Sophomore Classical Jury

MPE 0301: Sophomore Jazz Jury

MPE 0302: Sophomore Studio Composition Jury

MPE 0303: Sophomore Studio Production Jury

MPE 1010: Keyboard Studies I

MPE 1015: Jazz Keyboard Studies I

MPE 1020: Keyboard Studies II

MPE 1025: Jazz Keyboard Studies II

MPE 1030: Studio Skills Ensemble

MPE 1050: Jazz Ensemble

MPE 1110: Chamber Music

MPE 1112: Brass Chamber Music

MPE 1160: Contemporary Ensemble

MPE 1165: Purchase New Music

MPE 1170: Camerata

MPE 1201: Symphony Orchestra

MPE 1210: Woodwind Performance Class

MPE 1211: Woodwind Instrumental Lab

MPE 1215: Piano Colloquium

MPE 1220: Brass Performance and Ensemble

MPE 1221: Brass Instrumental Lab

MPE 1230: Percussion Performance Class

MPE 1231: Percussion Ensemble

MPE 1232: Hand Drumming

MPE 1235: Upper String Technique

MPE 1240: String Performance Class

MPE 1245: Soul Voices Ensemble

MPE 1295: Jazz Saxophone Doubling

MPE 1330: Alexander Technique for Musicians

MPE 1370: Italian Art Song Literature I

MPE 1375: Italian Art Song Literature II

MPE 1380: Italian Diction I

MPE 1390: Italian Diction II

MPE 1400: Guitar Performance Class

MPE 1420: Harp Performance Class

MPE 1450: Guitar Ensemble

MPE 1480: Piano Performance Class

MPE 1550: Jazz Orchestra