Longy Spring 2021 Courses to Know

Spring 2021

Courses to Know

CONTENTS CATALYST COURSES.. ................ 3 N EW COURSES ......................... 11 PROJECT-BASED ...................... 21

We are pleased to share new courses and project-based classes for the upcoming spring semester. This brochure also lists the Catalyst Curriculum classes that will run in the spring.

>What is the Catalyst Curriculum? Learn more in the video above.

Spring 2021

Core Catalyst Classes

Music as a Healing Art INSTRUCTOR:

Rebecca Strauss or Adriana Ausch

For many of us, music is a calling, something we are drawn to in spite of career or economic prospects. For some of us, musicmaking takes on an almost spiritual quality, and we are compelled to offer our music as a way to relieve suffering, to bring comfort, to give respite and joy. This calling does not preclude traditional concert performance but is another aspect of the role of citizen artist, a person using their talents to make a difference in the world. Partnering with health care facilities in the community, this performance and project-based course gives students the opportunity to create and develop therapeutic music programs appropriate to different populations, using their own repertoire.

This program expands employment opportunities and serves as an introduction to other, more advanced certification programs, such as The Music for Healing and Transition Program and Music Therapy degrees. >Rebecca Strauss

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>Adriana Ausch

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Entrepreneurship INSTRUCTOR:

Nick Photinos

The term “entrepreneurship” is ubiquitous in music these days, but what does it really mean, and why should you care? This course is designed to challenge the way you think about what you can and already offer, how you can best offer it, and how to refine and develop ideas and projects for the best chance of artistic and financial success. Through mindset challenges, design thinking, case studies, guest speakers, investigative projects, and special assignments tailored to your individual professional goals, you’ll leave with tools and resources that you can implement immediately to develop success in your career. >Nick Photinos

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Teaching Artistry and Audience Engagement INSTRUCTOR:

Sarah Darling/Faculty

Required of all students, this course includes active learning experiences, discussions, foundational readings, and interactive presentations. Students explore and strengthen the skills required to engage and communicate with audiences of all ages and backgrounds and are challenged to think more deeply and broadly about music, its role in society, their career options, and how artists can create social change. >Sarah Darling

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Advanced Teaching Artistry INSTRUCTOR:

Faculty

Advanced teaching artistry is a continued deepening of the work in teaching artistry that is part of the catalyst curriculum at the Longy School of Music of Bard College. It is designed as a vehicle for putting the project development skills of the Teaching Artistry course to practical use through events offered at the institution.

In addition to field work, we will explore the nuanced differences between curriculums offered at other schools, study multiple theories on learning styles, learn how to engage with repertoire in more meaningful ways, and implement a plan to create a sustainable teaching artist career. Enrollment in this course is based on performance in the Teaching Artistry course and requires preapproval by the instructor.

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Side-by-Side Lab: Empowering Youth and Building Community INSTRUCTOR:

Gabrielle Molina

Experience the power of El Sistema in Longy’s music for social change program, as you mentor and perform alongside young musicians in an ensemble-based setting. Students will be involved in team teaching, short individual practice sessions with young students, rehearsing and supporting students in ensemble, and performing alongside the young musicians in their concerts. The curricular elements will consist of three experiential workshops with short readings that will prepare Longy students for their roles in their placements. Longy students will be placed in the Side-by-Side orchestra or choir. Students will write short journals, reflecting on their experiences and will participate in a final debrief at the end of the semester. Through the mentorship process, students will learn group and individual teaching skills, musical problem solving, caring communication, student engagement, and scaffolding student learning for success. The course will meet on selected Saturdays. >Gabrielle Molina

>Learn more about Longy’s Side-by-Side program

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Music and Civic Engagement INSTRUCTORS:

Jamie Hillman

Students will use human-centered design to conceive and execute music-based projects that seek to address needs of our local Boston community. In this interactive and collaborative course, students will become practitioners of human-centered design while deepening their knowledge of topics including civic engagement, cultural/ implicit bias, asset-based community development, and creative problem-solving. Integrating classroom theory with practical application, students will ultimately design and produce a music project that synthesizes their learning, uses audience feedback as assessment, and is documented (e.g., video, recording, journalism). >Jamie Hillman

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Musician’s Portfolio INSTRUCTOR:

Geoffrey Landman

The shifting relationship between society and culture demands a new type of artist-as-entrepreneur to navigate the landscape of technology and media in a socially responsible fashion. The artist’s ability to project a unique statement and build a community around his or her craft is the central mission of the artist-entrepreneur.

This course seeks to develop concrete skills to that end by focusing on the following three areas: development of the artist as teacher (students will create a curriculum vitae, cover letter, articulate a teaching philosophy, and practice interview techniques); development of a digital media portfolio (by analyzing trends in the music industry, students will craft a personal biography and collect media content to design and publish a website); finally, development of the socially responsible artist through projects aimed at connecting music to audiences (such as designing a concert series, a recording project, or a tour). Special attention will be paid to ways in which these projects can connect to new and/or under-served audiences. Frequent guest speakers will give students many opportunities to discuss and brainstorm with professionals in various stages of their careers. >Geoffrey Landman

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Spring 2021

New for Spring

NEW!

Voices of Zion INSTRUCTORS:

Libor Dudas/Ashleigh Gordon

In this course, students of all disciplines, both vocal and instrumental, are invited to form an ensemble that studies and performs African American spirituals, music that is deeply rooted in the African American experience of oppression and healing in our country. The ensemble will foster a healing environment for the African American community and also those who are or have been oppressed including all people of color, women, people with disabilities, and the LBGTQ community. The course will work on programs and initiatives that build a bridge between the study of spirituals and what is going on in the world today. Focus will be on the history and experience of fellowship and community through singing together and learning music through the oral tradition, and how forming an ensemble can help further social justice missions through conversation with audiences, outreach, partnerships, and creative concert structures. >Libor Dudas

>Ashleigh Gordon >Learn more about Voices of Zion

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The New York School INSTRUCTORS:

Rieko Aizawa/Jesse Mills

Members of the Horszowski Trio will talk about the world of John Cage and the New York School. An exploration of this important group of artists and thinkers who revolutionized music and art forever; an insight into the essence of John Cage’s message and the influence on his peers and on subsequent generations, including our own. Students’ final project will be a performance of a piece written by a composer from the New York School, or creation of your own composition taking inspiration from sounds from everyday life. This class will lead up to the experience of listening to the Horszowski Trio’s residency performance in Pickman Hall of Morton Feldman’s epic and infrequently performed Piano Trio (1980).” >Rieko Aizawa

>Jesse Mills

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Sound and Style 2: Provocateurs INSTRUCTOR:

Eric Hofbauer, Chair of Jazz and Contemporary Music

Course examines four stereotype defying provocateurs (Bessie Smith, Joni Mitchell, Bjork and Erykah Badu) who challenged gender tropes while pushing the boundaries of songwriting and lyric narrative. In-depth analysis of seminal works by each artist uncover innovative aspects of songwriting systems, performance practice or lyric construction. Highlights include a detailed study of Bessie Smith’s articulation and phrasing, Joni Mitchell’s complex harmonic and melodic relationships, Bjork’s experimental timbral and textural settings, and Erykah Badu’s social justice narratives fused with post-genre arranging. Exercises and assignments will provide ample opportunity for students to comprehend, incorporate and ultimately synthesize these innovations into their own musical practice.

Songwriting and arranging exercises lead to students collaborating on post-genre interpretations of repertoire to be workshopped in class. >Eric Hofbauer

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The Versatile Vocalist INSTRUCTOR:

Kudisan Kai

This course is a comprehensive study of the vocal performance of all genres of commercial music. Through the execution of basic improvisation, exploring the use of emotional connective exercises, and knowledge of the key factors that influenced the history and culture of the three foundational styles of this music (Blues, Jazz and Gospel), singers will gain vocal proficiency and fine tune the authentic performances of these styles. Coursework includes some minimal in-class writing, commitment to preparation and performance of songs each week, and commitment to practicing their vocal exercises. >Kudisan Kai

>Watch Kudisan Kai’s faculty debut performance as part of Longy’s Oktoberfest 2020.

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The History of Black America and Its Music INSTRUCTOR:

Kudisan Kai

This course is a comprehensive study of the history of African Americans who were brought to the United States via the slave trade, coinciding with the history of contemporary music in this country. This background will provide students with a deeper understanding of how to articulate, create, and perform this music with authenticity, elevating their levels of artistry and musicianship in all styles influenced by the three foundational genres of contemporary music (Blues, Jazz, and Gospel). Students will also study the events that shaped and molded the generational personae of these people which significantly impacted their music.

Coursework will include listening and discussion of audio and video materials, research paper writing, and student performances. A commitment to class participation, preparation, and performance is expected. >Kudisan Kai

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Musical Crossroads: An Intercultural Journey INSTRUCTORS:

Sean Wang/Nick Photinos

This course is an exploration of recent and new compositions that combine Western and non-Western elements from musical cultures around the world, including those of East Asia, West Africa, India, and others. Students will learn about unconventional combinations of instruments, levels of artistic integration, musical idiosyncrasies, and have the opportunity to create performance, composition, and research projects on intercultural music. Open to students from all departments. >Sean Wang

>Nick Photinos

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NEW!

Orchestra FLEX INSTRUCTORS:

Andy Kozar/Ian Saunders

Orchestra FLEX is an ensemble defined by the group’s collective voice, where students take part in the full process of preparing and producing concerts in addition to the artistic performance.

Orchestra FLEX is open to any student from any department.

Throughout the semester, students will collaborate with faculty and guest artists to navigate the real-world challenges and discoveries of concert production, while exploring the intersections of musical tradition, arrangement/composition, improvisation, technology, and innovation.

Orchestra FLEX will prepare and present 3 unique performances; students may also participate in school performances for Operatica, Concerto Competition—or other “house “ ensemble needs. >Andy Kozar

>Ian Saunders

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Disrupting White Supremacy in the Arts through Transformative Leadership Using a Racial Equity Framework to Become a Disruptive Leader in an Arts Organization INSTRUCTORS:

Lecolion Washington/Nicole DuFauchard

Through case studies, guest speakers, and group work, students will examine the historic practices and pedagogy of classical music rooted in the White and Eurocentric frameworks and learn to dismantle and reframe the tools used in Arts leadership. Designed to develop leadership skills that foster a recognition that leadership and racial competency are not mutually exclusive. Students will build a new framework for shifting culture on the institutional, interpersonal and individual levels and practice action planning on how to be a disruptive leader regardless of your role within the organization. >Lecolion Washington

>Nicole DuFauchard

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American Traditions: A Journey through Multiple American Genres INSTRUCTORS: Jane Struss A modern classical singer needs to have fluency across multiple genres. Students will research and listen to American music in many genres, including cabaret, musical theatre, popular music, opera, art song, African-American song, and sacred music, chose and group the songs they want to sing into cohesive sets and perform one of the sets virtually or in-person. At the end of the course students will have the beginnings of preparation to enter a national competition like American Traditions or a program for cabaret performances or when other styles are required for professional auditions. >Jane Struss

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Spring 2021

Project-Based Classes

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Josquin des Prez: A 500-Year-old Superstar INSTRUCTORS:

Pamela Dellal/Jane Hershey

Josquin was one of the most important and influential composers of his era. Carrying forward the already highly developed Burgundian musical tradition, Josquin’s reputation as both a singer and composer of sacred and secular music was documented during his lifetime. His influence was felt throughout the 16th century throughout Europe through extensive publication of his work and intabulation for a variety of instruments. While not always firmly established chronologically from a musicological perspective, his work overall mirrors the progression of musical style from the mid-15th to the mid-16th centuries. It embraces a variety of styles, from cantus firmus based works based on a range of pre-existing material, to indigenous Italian influences, to a richly balanced, homogeneous polyphonic texture in which the voices are equally expressive. This class will explore the variety and high-quality of Josquin’s works by studying works musically appropriate to our mixed ensemble, and by researching for musical examples which illustrate connections to his life and contemporaries. >Pamela Dellal

>Jane Hershey

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A True Story: Guillaume de Machaut INSTRUCTOR:

Anne Azéma

Guillaume de Machaut, famous and revered for his music and poetry, but by now elderly, receives an adulatory letter from Péronne, a much younger admirer, skilled in song, dance, and composition.

Their ensuing friendship, recorded and recounted in Machaut’s novel Le livre du voir dit, and conducted during the plague years, leads to some beautiful musical and literary works. This projectbased course will provide students with an overview of Guillaume de Machaut’s music, a discovery of his compositional practices, and a comprehensive view of his place as the last French trouvère. The final project will be a performance with The Boston Camerata. >Anne Azéma

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Prehistoric Jazz: Reimagining 20th-Century Classical Music INSTRUCTOR:

Eric Hofbauer

Imagine a chamber ensemble without boundaries or limits, untethered to definitions of style or a specific interpretation of repertoire. Such is the case with this advanced chamber music course, which takes its name from Leonard Bernstein’s instructions to the percussion section in a rehearsal of Stravinsky’s The Rite of Spring: play it like prehistoric jazz. These words inspired a chamber music project that reimagined 20th-century modernist repertoire as vehicles for mixing improvisation and new arranging ideas. This resulted in four arrangements (and albums), among them The Rite of Spring and Ives’ Three Places in New England. In this course, we will revisit, deconstruct, and perform these two arrangements, delving into the methods and concepts utilized to mix improvisation with rearranged written material. The class will also choose a 20thcentury piece and, as an ensemble, will rearrange and premiere the work in an end-of-semester concert. This course is intended for classical as well as jazz graduate students who are interested in exploring both improvisation and challenging written material as a means of blurring lines and erasing boundaries between styles and techniques. >Eric Hofbauer

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Degenerate Music INSTRUCTOR:

Libor Dudas

In 1937, Nazi government organized an exhibit in Munich entitled “Entartete Kunst” exhibiting 650 art works undesirable to the Nazis.

Few years later, in 1938, similar exhibit opened in Düsseldorf under the name “Entartete Musik” or “Degenerate Music.” The examples of the unwanted music included some of the most popular pieces of the time, Kurt Weill, Irving Berlin, all the atonal music, music by the Jewish composers as well as jazz. The course will examine the official writings of the time, art works and music. The final project will be a public performance created and organized by the students.

Open to singers, instrumentalists, and composers. >Libor Dudas

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Music Along the Red Line: Building Community and Inspiring Your Programming INSTRUCTOR:

Ashleigh Gordon

This project-based learning course explores the ideas of a citizen artistry, community, and inspired programming. Students will take an in-depth look at the people, histories and cultural influences of three different neighborhoods along the MBTA Red Line through the eyes of three equally different community partners. Working closely with the Conservatory Lab Charter School in Dorchester (Ashmont T station in Dorchester), the Museum of African American History (Charles MGH T station in Beacon Hill), and a community center in Cambridge (near the Harvard Square/Porter Square T stations), students will design a site-specific project in conjunction with and inspired by one of these three community partners. As a projectbased learning course, students will be directly involved in the creation, collaboration and execution of each project, which will take place on campus at one of these community partners. >Ashleigh Gordon

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The Power of Art by and for You and Your Community INSTRUCTOR:

Sarah Bob

How do you make your art your own and use your voice honestly?

How can our work as artists best serve ourselves and our community? Can this be symbiotic? In this elective, performers and composers will have the opportunity to collaborate and be paired with a living visual artist, effectively incorporate their art with a cause they feel passionate about, and/or use a medium not normally associated with the traditional concert setting. We explore the true meaning of art as power, taking what we believe in and reinforcing our vision through our music, and why programming matters. The course relies heavily on class dialogue and presentations along with one on one instruction. Final project is the public performance of collaboration. >Sarah Bob

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Cabaret Collage INSTRUCTOR:

Adriana Ausch

The artistic cabaret is a rich, titillating and poignant repertoire and offers the classical musician the opportunity to artistic experimentation, expression and improvisation. This project-based course explores the historical evolution, impact and repertoire of European and American cabaret. Pianists and singers will perform a wide range of repertoire, from the French, German, English and American tradition with emphasis on stylistic and performance practice matters. Each session will consist of two parts: 1) student research presentations on topics pertaining to cabaret personalities or the genre’s artistic-historical impact, and 2) master-class style performance coachings. A student-designed cabaret concert in Pickman Hall will conclude the course. >Adriana Ausch

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Create Your Own Gigs INSTRUCTOR:

Andy Kozar

Go get your gig. Seriously, go get one. In this course, students will be led systematically through the process of creating a concert from beginning to end. How do you write a bio? What’s a press release?

Who do you send it to? We will begin with the basics of creating a professional presence (bio, professional etiquette, etc.) and then quickly move ahead to the planning and development of an actual project. This year, the final project will be focused on grant writing and will culminate in a full application and request for funding from the ‘Kozar Foundation’ (100% made up). The materials covered will be separated into five distinct stages: preparation, planning, fundraising, hypothetical production, hypothetical performance, and reflection. >Andy Kozar

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New Release! Record, Design, Produce, and Release a Recording INSTRUCTOR:

Jonathan Cohler

Produce and release your first commercial recording! In this course, each student will be allotted a one-hour audio/video recording session in Pickman Hall to record a track (less than ten minutes) to be released as a digital single. Students will also work as producers for each other in the recording booth. During bi-weekly reflection sessions, students will discuss and solve specific challenges and obstacles encountered in the process of completing their projects. At the end of the course, participants will have a deep understanding of the entire process of planning, creating, and marketing recordings of their own performances for release to the world through such digital media as iTunes, CD Baby, Facebook, YouTube, Instagram, and the web. >Jonathan Cohler

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Opera Creation Lab: Gathering Diverse Voices to Tell Contemporary Stories INSTRUCTOR:

Tony Solitro

Opera audiences are quickly changing - they’re hungry for relevant stories that address contemporary concerns. Opera Creation Lab is for composers, singers, collaborative pianists, and theatrical instrumentalists who are passionate about musical storytelling, eager for collaboration, and full of ideas. Before bringing concepts to the stage, participants first master the fundamental techniques of operatic narrative through a series of short vignettes focused on dynamic characterization, dramatic tension, action-compelling language, and musical subtext. Some projects will be realized within one session, others will develop over the course of 23 weeks.

Through exploratory projects, the cohort forges relationships and establishes an atmosphere of trust. Each participant brings their expertise to the table, but Opera Creation Lab also requires willingness to seek beyond practical technique and imagine a more integrated collaborative model. All artists engage to some degree in every aspect of the creative process. Everyone will write treatments and outlines, provide dramaturgical support, construct libretti, lead rehearsals, design productions, and organize performance logistics.

Students divide into “opera companies” by the end of Fall semester.

Each team crafts a proposal treatment for a 10-minute chamber opera for critique by guest respondents. After making necessary adjustments, each company writes, workshops, rewrites, stages, and produces their opera in the Spring. Groups are encouraged to reach out to local presenters to secure an external preview venue and incorporate audience feedback into their development process.

The full-year course will culminate in a public showcase for the community and invited opera professionals. >Tony Solitro

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In the Manner Of INSTRUCTOR:

John Morrison

One of the time-honored ways of learning to compose has been the imitation of existing styles. This course offers an opportunity to follow that path in the supportive environment of a class. Class members will determine what composer they wish to emulate, immerse themselves in the study of music by that composer, and try their hand at composing something in the manner of the composer in question to be performed by a class member or two. The process will be completed several times in the course of the semester, and each class member will choose one or two of the outcomes for performance, either by class members or by a person or ensemble from outside class. A person may focus on one composer to emulate repeatedly, or on a different composer each time. >John Morrison

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Private Audience INSTRUCTOR:

Pamela Dellal

Singers dream of reaching the widest audience possible – but what about an audience of one? This course, inspired by the art installation “Sonic Blossom” created by the artist Lee Mingwei, proposes to develop a performance for a ‘private audience’ – an intimate presentation of a song as a shared moment. We will consider ways to present our pieces, which songs are most appropriate, where and when to offer these performances, and how to elicit positive responses from our chosen listeners. A project-based course; the students will contribute their ideas for personalizing their presentations and for approaching and selecting their audience. >Pamela Dellal

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Resonance and Resistance INSTRUCTORS:

Corrine Byrne/Andy Kozar

There is, and has always been, a deep and fundamental relationship between the musical arts and political resistance. From the troubadour songs of the middle ages to the works of many modern composers including Frederic Rzewski and Julia Wolfe, composers and performers have resisted the powers of organized religion, governments, and unjust power systems around the world. In Resonance and Resistance, students from all departments and disciplines will survey hundreds of years of politically influenced music and examine the tools and methods in which these works have found success as well as exploring and discussing current issues surrounding the performance of this type of work. The class will culminate in a hybrid online/in-person concert titled ‘Resonance and Resistance’ which the students will produce in its entirety.

This will entail curation and programming, marketing, audience development, and performing. >Corrine Byrne

>Andy Kozar

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How to Create and Perform a Solo Play— Level II INSTRUCTOR:

Ana Guigui

This course is a journey for the student in self-discovery, selfrevelation, and self-expression combining musical elements to write and perform an autobiographical, biographical, or fantasy one-person show, including writing and performing original music.

Course components include daily journal writing, script writing based on traditional dramatic play structure, plot and character development, and storytelling. The final project will be a fifteenminute, self-produced one-person performance on stage for an audience. >Ana Guigui

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