Academics

Music

 

Luis Batlle
Stan Charkey

Music courses at Marlboro are designed for liberal arts students, and there is something for everyone. We offer courses for experienced musicians and for those who are absolute newcomers. We offer courses that are practical and performance-based, and those that are historical and theoretical. Music courses often complement Plan work in fields other than music. The Music Department gives students both a comprehensive background in traditional western theory and history and an opportunity to explore less traditional fields after one has completed the regular course of study.

We offer three categories of courses:

  1. Skills: These courses include Chorus, which is designed for anyone who enjoys singing, even if he or she has never participated in a chorus; Madrigal Choir and Chamber Music, which require some ability to play an instrument and read music. Solfege teaches sight singing, reading, transcription, and rhythmic development. Applied music is offered on a number of instruments through the Brattleboro Music Center (BMC) and Vermont Jazz Center (VJC). Students interested in arranging for music lessons through the BMC or VJC should see Luis Batlle or Stan Charkey. Instrument instruction may not be taken for more than 1 credit in the freshman or sophomore years.
  2. History: These courses are for both musicians and non-musicians who have an interest in music. There are no prerequisites, and the courses are designed to help students better appreciate and understand music of a particular period. These are particularly useful to students working in History, Philosophy, or Cultural History and are as much about history and cultural theory as music, although music is the lens through which we conduct our examination.
  3. Theory and Composition: Theoretical courses are designed for students who want to learn the nuts and bolts of music, its grammar and structure. Students should begin with Theory Fundamentals, which is an introduction to basic principles and notation. It is a prerequisite for all other theory courses, which include Harmony, 16th-Century Counterpoint and 18th-Century Counterpoint. These are challenging courses for those interested in serious musical study. Composition Workshop is open to students who wish to explore writing music and the expressive possibilities of sound. An ability to read music, play an instrument or sing, and an understanding of basic theory are prerequisites.

Electronic music is also offered. Students who want to explore electronic music can do so as part of a complete music program. Any student who wishes to do a Plan in Electronic music will be held to the same requirements as students doing Plans in other areas of music. Minimum Requirements:

Courses Offered On A Rotating Or Periodic Basis

Music Theory Fundamentals (ART14)
A study of musical signatures, meter, rhythm, and basic chordal structure.

Medieval and Renaissance Music (ART82)
A study of the development of both sacred and secular forms and styles in music and its relation to social and cultural conditions of the time.

Music in the Baroque Era (ART352)
A study of the development of musical forms during the period 1600-1750 and its importance in the society of this period. Ability to read music recommended.

Impressionism to Contemporary Music (ART17)
A study of works of Debussy, Ravel, Stravinsky, Schoenberg, Hindemith, Bartok and others. The works will be put into a socio-historical perspective. Students present a talk on a 20th century composition of their choice.

Worlds of Music (ART611)
A study of music from non-western cultures and "folk" traditions of Europe and the United States using contemporary ethnomusicological concepts and procedures. Goal: To give the student an understanding of approaches to the study of music of western and non-western and/or traditional cultures through a series of case studies from a variety of regions and cultures. Ongoing journal of listening and observations (twice weekly), a final Project, and class presentation. This course entails a great deal of listening.

Music in the Classical Era (ART78)
End of the Baroque Era, 18th century Italian opera, opera comique and Singspiel, Gluck’s reform, Haydn, Mozart, Beethoven.

Music in the Romantic Era (ART45)
A study of the relationship between music and ideas in the 19th century. Emphasis on instrumental music. Also, study of opera and nationalistic schools.

Solfege (ART12)
Work towards proficiency in reading treble clefs; sight singing, dictation, simple and compound rhythms.

Sixteenth Century Counterpoint (ART13)
Study of counterpoint in the style of Palestrina. Two-part and three-part writing. Imitation, canon and free counterpoint will be covered.

Eighteenth Century Counterpoint (ART330)
Study of contrapuntal techniques of the 18th century. Two-part invention, chorale elaborations and fugue in the style of Bach will be covered.

Vocal Music Composition Workshop (ART824) (every spring and repeatable for credit)
The workshop will emphasize compositions for small choir or vocal ensemble. Students will write compositions weekly which will be performed by fellow workshop students.

Chamber Music (ART496)
An opportunity for students to meet on a weekly basis to read and rehearse music from the standard chamber music repertoire. Woodwind, string, brass instruments welcome.

Madrigal Singers (ART825)
The madrigal choir will explore the literature for small chamber choir 15th through 20th century. Ability to sight sing needed. (Audition or previous consent of instructor.) May be repeated for credit.

Chorus (ART11)
Study and performance of some of the great choral literature from all periods, ranging from medieval to contemporary. Performance given during week prior to exams. Opportunities for solo work. Rehearsals will emphasize interpretation, as well as good vocal production. Grade based on attendance. Although an audition is required for those without choir experience, everyone is admitted. (May be repeated for credit.) (Every semester.)

Electronic Music (ART658)
This course offers students with or without music recording experience a chance to explore the historical context of electronic music production and technology while expanding their own basic recording and editing techniques. The course combines lectures, listening examples, demonstrations, projects, assignments and critique sessions, with hands-on experience in computer-based audio recording, editing, mixing and mastering. Topics we will cover include historical artistic movements, composers and techniques that inform electronic music, basic sound elements of electronic music, basic recording techniques, basic audio production, various sound synthesis techniques, simple microphone set-ups, use of digital audio editing software, multi-track mixing, and mastering techniques.

Good Foundation For Plan

Students who wish to pursue a Plan in music should think ahead through their four years and take the sequence of music history classes, as well as basic music theory classes: Theory Fundamentals, Preliminary Harmony, Harmony and either 16th or 18th century counterpoint. Solfege (ear training) is strongly recommended. If historical musicology is of interest, at least 11/2 years of language study is recommended, since it is required for graduate work. Students are required to be in a performance group while on Plan in music. This requirement can be met by Chorus, Chamber Music or Madrigal singers.

By graduation, students with a Plan in Music should have completed 20 credits of Music History courses (non- tutorial), 20 credits in Theory (non–tutorial), and 6 credits in performance groups (chorus, chamber, etc.). (Note: Students may place out of theory courses through examination given on request at the beginning of each semester. Students who place out may take Harmony and/ or Counterpoint their first year, or may elect to begin a music history sequence.)

Sample Tutorial Topics

Luis Batlle

Stan Charkey