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School of Music

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Baccalaureate Degrees

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Music Course Descriptions

Music Theory, Sight-Singing, and Composition Courses

Music History and Literature Courses

Music Education Courses

Jazz Studies Courses

Additional Music Courses

Courses for the Non-Music Major

Performance Courses

Voice

Keyboard

Strings

Woodwinds

Brasses

Percussion

Performance -- Secondary Instrument Classes

Ensembles

Curriculum Outlines

Bachelor of Music in Music Education

Bachelor of Music in Performance and Music Education

Bachelor of Music in Performance

Bachelor of Music in Performance-Collaborative Emphasis

Bachelor of Music in Sound Recording Technology

Bachelor of Music in Combination with an Outside Field

Bachelor of Music in Jazz Studies

Bachelor of Music in Music Theory

Bachelor of Music in Composition

Bachelor of Arts in Music

Combined Bachelor's and Master's Degree Programs

Secondary Instrument Study Plans

Division of Interdisciplinary and International Studies

Division of Continuing Education and Summer Sessions

Student Information

Student Aid

Academic Information

Faculty and Administration

Index

Ithaca College Undergraduate Catalog 2005-2006

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Keyboard

556-10300 through 556-45300 Piano I-V -- Major Instrument, Music Majors

556-10301 through 556-20301 Piano I-II -- Major Instrument, Music Minors

556-10302 through 556-30302 Piano I-III -- Secondary Instrument, Music Majors

    Repertoire is chosen by the instructor as appropriate for the technical abilities, stylistic awareness, and musical growth of the individual student.

556-44700-556-44800 Private Accompanying   NLA

    Private instruction in accompanying. Representative repertoire includes duo sonata literature, French and English art song, German lieder, operatic arias and short scenes, instrumental concerto accompaniment, and 20th-century French literature for brass and woodwinds. Student collaborates with instrumentalists and vocalists from other studios as assigned. This course fulfills the major ensemble requirement for piano performance-collaborative emphasis majors. Course meets one hour per week. Prerequisites: 558-11700, 558-11800, 558-21700, 558-21800, 558-41700, and 558-41800; piano performance-collaborative emphasis major. 1 credit. (F-S,Y)

556-10500 through 556-45500 Organ I-V -- Major Instrument, Music Majors

556-10501 through 556-20501 Organ I-II -- Major Instrument, Music Minors

556-10502 through 556-30502 Organ I-III -- Secondary Instrument, Music Majors

    The organ program outlined below will be adapted to the needs of each student.

    Technical studies and selected pieces from Gleason, Method of Playing Organ; easier Bach works; works of appropriate difficulty from all periods. Hymn playing.

    Continuation of technical studies. Bach, Trio Sonatas and intermediate preludes and fugues such as BWV 537. Works of Buxtehude and early French composers, with attention to historical performance practice. Easier 19th-century works, such as Franck, Cantabile. Basic church music skills; accompanying and conducting from the keyboard.

    Bach, Trio Sonatas, Schübler and Leipzig chorales, and the Weimar preludes and fugues; Franck, Prelude, Fugue, and Variation; Mendelssohn sonatas; Hindemith sonatas; works by Messiaen and other contemporary composers. Advanced church music skills: improvisation, modulation, hymn reharmonization.

    Bach, larger preludes and fugues, such as BWV 548 and 582; Franck, Chorales; 19th- and 20th-century virtuoso works by Vierne, Widor, Reger, Dupré, Reubke, Messiaen, etc.

    Weekly repertoire class is devoted to student performances, church music skills, and organ history and design.

556-10700 through 556-45700 Harpsichord I-V -- Major Instrument, Music Majors

556-10701 through 556-20701 Harpsichord I-II -- Major Instrument, Music Minors

556-10702 through 556-30702 Harpsichord I-III -- Secondary Instrument, Music Majors

    Technical studies may include trill exercises, finger independence exercises, scales, and excerpts from various method books. Repertoire initially emphasizes 18th-century literature (e.g., simpler works of Bach, D. Scarlatti, and Rameau). Further study includes earlier keyboard literature and the concomitant techniques (fingering, ornamentation, etc.).

    Repertoire classes often include discussions of the various schools of harpsichord construction and the corresponding literature, as well as different aspects of performance practice.

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