150 courses with the subject MPE, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
An evaluation of each music major’s progress in the classical programs after one year of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the freshman jury is required to continue in the program. Credits: 0
An evaluation of each jazz studies major’s progress after one year of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the freshman jury is required to continue in the program. Credits: 0
An evaluation of each studio composition major’s progress after one year of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the freshman jury is required to continue in the program. Credits: 0
An evaluation of each studio production major’s progress after one year of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the freshman jury is required to continue in the program. Credits: 0
An evaluation of each music major’s progress in the classical programs after two years of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the sophomore jury is required to continue in the program. Credits: 0
An evaluation of each jazz studies major’s progress after two years of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the sophomore jury is required to continue in the program. Credits: 0 PREREQ: MPE0201
An evaluation of each studio composition major’s progress after two years of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the sophomore jury is required to continue in the program. Credits: 0
An evaluation of each studio production major’s progress after two years of study in the conservatory. Students perform for a faculty jury, and their abilities in their area of concentration are critically evaluated. Successful completion of the sophomore jury is required to continue in the program. Credits: 0
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.
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.
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. 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." 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.
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
The study and performance of works from the chamber music repertoire and/or the sonata literature for piano and instruments. Coaching sessions (up to one and a half hours per week) culminate in performances.
Coached by members of the brass faculty, this ensemble class focuses on group intonation, phrasing, articulation, and blend. Literature is selected from all styles and eras of music, and composition for the ensemble is also encouraged. Rehearses weekly for one and a half hours.
Presents the opportunity to study and perform contemporary works by established composers for diverse instruments, in all styles. Open to all undergraduate music majors.
Presents the opportunity to study and perform contemporary works by student composers for diverse instruments, in all styles. Open to all undergraduate music majors.
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.
Intense preparation of works, mostly from the standard repertoire, for performance. Study of characteristic styles, performance practice, and acquisition of large ensemble skills and professional etiquette.
This course is devoted to the study of orchestral excerpts and large-scale chamber music. Instrumental techniques, tuning, and ensemble balance are given careful attention.
Elective performance lab for participants in MPE 1210. Credits: .5
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.
A forum for percussionists to discuss and examine the many facets of percussion performance. The study of the orchestral repertoire for timpani and percussion is the primary focus.
Study and performance of the percussion ensemble repertoire. Students have the opportunity to perform a range of parts, from basic to virtuosic, in all areas of percussion: timpani, mallets, and multiple percussion.
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.
A weekly gathering of all violinists, violists, violoncellists, and bass students, providing a forum for string players to perform for each other and to discuss and examine the many facets of string playing. Repertoire may include solo, chamber, and orchestral. Audition techniques, performance traditions, and instrument maintenance may also be covered.
A mixed vocal ensemble that explores the music of the African American experience, including spirituals, gospel, soul, rhythm and blues, funk, and jazz. The semester culminates with a public concert on campus. Open to students in all disciplines, including music majors.
A comprehensive overview of playing techniques for the common saxophone doubles, especially clarinet and flute. Specifics on embouchures, fingerings, tone production, and performance practice are facilitated by weekly in-class readings of repertoire, études, and technical exercises.
Designed to improve posture, develop physical awareness, and find physical ease in the process of rehearsal to performance. Students learn how to use their bodies efficiently through the lens of the Alexander Technique.
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.
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. PREREQ: MPE1370
An exploration of the principles of Italian diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 1370.
An exploration of the principles of Italian diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 1375. PREREQ: MPE1380
Covers a full range of solo repertoire and performance. Students actively participate in the analytic and critical process for pedagogical purposes.
A weekly gathering of harpists, providing a forum for performance, discussion, and examination of the many facets of harp technique and interpretation. Repertoire may include solo, chamber, and orchestral works. Audition techniques, performance traditions, and instrument maintenance are also covered.
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.
Covers the full range of solo repertoire for piano. Students perform and actively participate in the analytical and critical process for pedagogical purposes.
The Jazz Orchestra is a 17-piece big band that performs jazz from every era. From staples like Ellington and Basie to more modern works by today’s leading composers and arrangers, this orchestra swings and is always a pleasure to listen to. Limited to jazz studies majors.
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.
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.
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.
An exploration of the literature for piano-four hands (duets and two pianos) with the objective of developing skill in sight reading, leading to a performance of material read at sight.
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. 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. 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. 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. PREREQ: MPE2015 Or MPE2010 Or
A course for the singing performer on how to move within the context of different historical periods. It explores the reason for each movement style by offering training in balance, coordination, flexibility, and strength.
A performance class designed to develop the language of the stage and its various applications, using pantomime, dance, music, text, character analysis, dramatic readings, meditations, etc. as tools to become comfortable on the stage.
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.
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. PREREQ: MPE2370
An exploration of the principles of German diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 2370.
An exploration of the principles of German diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 2375. PREREQ: MPE2380
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.
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.
This class is for students interested in live sound engineering. Students will focus on stage setup and practicing essential live sound techniques in real time, simulating the collaboration and communication necessary from both performers and sound engineers in a live performance setting. The class will culminate in a final live performance.
A historical and practical survey of keyboard music from the pre-Renaissance through the Classical Era. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period. PREREQ: MTH2510 And MTH2520
A historical and practical survey of keyboard music from the pre-Renaissance through the Classical Era. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period. PREREQ: MTH2510 And MTH2520
A historical and practical survey of keyboard music from the 19th century to the present. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period.
A historical and practical survey of keyboard music from the 19th century to the present. Assignments involve the preparation and in-class performance of works from these periods and exploration of lesser-known literature. Discussions and projects relate to the history and performance practice of the period.
Study of the art of accompanying singers and instrumentalists. Members of the class perform regularly.
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. COREQ: MPE3355
A practical application of opera rehearsal techniques as studied in MPE 3350. COREQ: MPE3350
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.
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. PREREQ: MPE3370
An exploration of the principles of French diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 3370.
An exploration of the principles of French diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 3375. PREREQ: MPE3380
A practical introduction: simple beat patterns with both hands, cues with the left hand, as well as indications for sforzati, cut offs, and lyric gestures. Works from early Haydn to Brahms.
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. 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 ei 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
Senior Year: 23 credits Fall: 11 credits
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 cho
Basics of Russian stage diction, through the basic study of the alphabet, diction use, and study of repertoire
Purchase Brass Collective (PBC) is an ensemble comprising 3-5 trumpets, 3 trombones, 5 saxophones (2 alto/2 tenor/ 1 baritone) and percussion (plus occasional piano/double bass) from the Classical Music, Jazz, and Music and Technology programs. Students learn interdisciplinary ensemble skills from cross-genre rehearsals and performances, with musicians from all genres in the Conservatory of Music. ^ top Music History, Theory, and Musicianship
*Music History Electives (Effective Fall 2020):
Note: Students who are wishing to obtain a dual degree (BFA/MUSB degree combined with a BA or BS degree or a BS degree combined with a BA degree) must satisfy the academic requirements for each degree and major. See complete dual degree policy. Additional credits must be completed in order to obtain a second degree, and that in many cases this will require a student to extend their studies by one or more semesters. Please see your advisor for more information and guidance. *Music History Electives (Effective Fall 2020):
* Jazz Keyboard Studies (MPE1015, MPE1025, MPE2015, MPE2025) is not required for students who have a Jazz Piano Concentration. Note: Students who are wishing to obtain a dual degree (BFA/MUSB degree combined with a BA or BS degree or a BS degree combined with a BA degree) must satisfy the academic requirements for each degree and major. See complete dual degree policy. Note that additional credits must be completed in order to obtain a second degree, and that in many cases this will require a student to extend their studies by one or more semesters. Please see your advisor for more information and guidance. Master of Music requirements: Graduate music majors who concentrate in jazz studies must meet the following conservatory requirements (42 credits) and earn a minimum 3.0 cumulative GPA at SUNY Purchase. First Year: 21 credits Fall: 10 credits MPE 5 —/Private Study: Instrument or MPE 5880/Private Study: Jazz Voice/ 3 credits
*Music History Electives (Effective Fall 2020):
MCO, MTH, or MUS 5 —/Graduate seminar electives (two)/ 4 credits
The study and performance of works from the chamber music repertoire and/or the sonata literature for piano and instruments. Coaching sessions (up to one and a half hours per week) culminate in performance.
Coached by members of the brass faculty, this ensemble class focuses on group intonation, phrasing, articulation, and blend. Literature is selected from all styles and eras of music, and composition for the ensemble is also encouraged. Rehearses weekly for one and a half hours.
Intense preparation of works, mostly from the standard repertoire, for performance. Study of characteristic styles, performance practice, and acquisition of large ensemble skills and professional etiquette.
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.
Companion performance lab for participants in MPE 5450. Credits: .5
Companion performance lab for participants in MPE 5142. Credits: .5
Study and performance of the percussion ensemble repertoire. Students have the opportunity to perform a range of parts, from basic to virtuosic, in all areas of percussion: timpani, mallets, and multiple percussion.
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.
A practical application of opera rehearsal techniques as studied in MPE 5250. COREQ: MPE5250
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.
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.
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.
Private weekly music coachings 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: 1
A seminar class in the fundamentals of teaching vocal technique. Students learn the physiological and pedagogical fundamentals of the workings of the voice, followed by practical application (working in a classroom setting to recognize and solve various vocal problems).
A seminar class in the fundamentals of stage directing with a practical application of directing opera scenes in MPE 3350/Opera Workshop.
A comprehensive overview of playing techniques for the common saxophone doubles, especially clarinet and flute. Specifics on embouchures, fingerings, tone production, and performance practice are facilitated by weekly in-class readings of repertoire, études, and technical exercises.
Designed to improve posture, develop physical awareness, and find physical ease in the process of rehearsal to performance. Students learn how to use their bodies efficiently through the lens of the Alexander Technique.
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 5385.
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 5386.
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 5390.
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 5382.
Basics of Russian stage diction, through the basic study of the alphabet, diction use, and study of repertoire
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
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.
An exploration of the principles of Italian diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 5372.
An exploration of the principles of French diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 3370.
An exploration of the principles of German diction. The international phonetic alphabet is employed to indicate correct pronunciation. Vigorous application of these principles to the repertoire studied in MPE 5366.
An exploration of the principles of French diction. The international phonetic alphabet is employed to indicate correct pronunciation.
An exploration of the principles of German diction. The international phonetic alphabet is employed to indicate correct pronunciation.
Covers a full range of solo repertoire and performance. Students actively participate in the analytic and critical process for pedagogical purposes.
A weekly gathering of harpists, providing a forum for performance, discussion, and examination of the many facets of harp technique and interpretation. Repertoire may include solo, chamber, and orchestral works. Audition techniques, performance traditions, and instrument maintenance are also covered.
A weekly gathering of all violinists, violists, violoncellists, and bass students, providing a forum for string players to perform for each other and to discuss and examine the many facets of string playing. Repertoire may include solo, chamber, and orchestral. Audition techniques, performance traditions, and instrument maintenance may also be covered.
Provides an opportunity for students to perform solo and chamber repertoire for their peers in a master-class environment. Supervised by members of the wind faculty, the class is designed to help students develop quality performances and overcome any issues related to performance anxiety. Meets weekly for one and a half hours.
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.
A forum for percussionists to discuss and examine the many facets of percussion performance. The study of the orchestral repertoire for timpani and percussion is the primary focus.
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.
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.
A survey of the piano music of Haydn, Mozart, and Beethoven, including sonatas, variations, and other shorter works. The Classical style is examined in relation to its emergence from the late Baroque era, with special attention given to keyboard technique, instruments of the period, range, and the continued evolution of musical forms.
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.
A survey of piano literature from 1900 to the present. The works of Debussy, Ravel, Scriabin, Prokofiev, Ives, Janacek, Bartok, and Cage are the primary focus, with emphasis on extended techniques, new trends in the use of older forms, and developments in timbre and range.
Covers the full range of solo repertoire for piano. Students perform and actively participate in the analytical and critical process for pedagogical purposes.
A practical introduction: simple beat patterns with both hands, cues with the left hand, as well as indications for sforzati, cut offs, and lyric gestures. Works from early Haydn to Brahms.
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. PREREQ: MPE5500
Purchase Brass Collective (PBC) is an ensemble comprising 3-5 trumpets, 3 trombones, 5 saxophones (2 alto/2 tenor/ 1 baritone) and percussion (plus occasional piano/double bass) from the Classical Music, Jazz, and Music and Technology programs. Students learn interdisciplinary ensemble skills from cross-genre rehearsals and performances, with musicians from all genres in the Conservatory of Music.
The Jazz Orchestra is a 17-piece big band that performs jazz from every era. From staples like Ellington and Basie to more modern works by today’s leading composers and arrangers, this orchestra swings and is always a pleasure to listen to. Limited to graduate jazz studies students.
Presents the opportunity to study and perform contemporary works by established composers for diverse instruments, in all styles.
Presents the opportunity to study and perform contemporary works by student composers for diverse instruments, in all styles.
Study of the art of accompanying singers and instrumentalists. Members of the class perform regularly.
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.
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 graduate jazz studies students.
A 60-minute recital of repertoire or original compositions, demonstrating the ability to design and execute a substantial program at a professional level. String players must include a substantial work (from the mid-20th century through the contemporary era) in one of their recitals.
A 60-minute recital of repertoire or original compositions, demonstrating the ability to design and execute a substantial program at a professional level.
A 60-minute recital and/or recording of original compositions, demonstrating the ability to design and execute a substantial program at a professional level.
A 60-minute recital of repertoire demonstrating the ability to design and execute a substantial program at a professional level. ^ top Music History, Theory, and Musicianship
Second Year: 18 credits Fall: 9 credits MPE 5—/Private Study: Instrument/ 3 credits
Source: SUNY at Purchase College's catalog, linked per course · table learning_unit · CourseShelf publish 61
