2019-2020 Course Catalog

(last updated November 14, 2019)

130 CLAREMONT AVENUE, NEW YORK, NY 10027 | MSMNYC.EDU Although every effort has been made to assure the accuracy of the information in this Manhattan School of Music is fully accredited by the Middle States Association of Catalog, students and others who use the Catalog should note laws, rules, policies, Colleges and Schools, the New York State Board of Regents, and the Bureau for and procedures change from time to time and these changes may alter the information Veterans Education. contained in this publication. Furthermore, the School reserves its right, to revise, supplement, or rescind any policies, procedures or portion thereof as described in the All programs listed in Departments by Major are approved for the training of Catalog as it deems appropriate, at the School’s sole discretion and without notice. The veterans and other eligible persons by the Bureau for Veterans Education. The HEGIS Manhattan School of Music Catalog does not constitute a contract or the terms and Code number is 1004 with the exception of the BM, MM, and DMA in Composition, condition of a contract between the student and the School. which is 1004.10.

Manhattan School of Music does not discriminate on the basis of sex, race, religion, Manhattan School of Music is a member of the sexual orientation, color or national or ethical origin, parental or marital status, and age National Association of College Administration or disability in the recruitment or admission of its students, or in the administration of Counselors (NACAC) and complies with its educational programs, financial assistance programs, or student activities. It is an the NACAC Statement of Principles equal opportunity employer. of Good Practice.

The Advisory Committee on Campus Safety will provide upon request all campus crime statistics as reported to the United States Department of Education. To find the crime statistics go to https://nces.ed.gov/collegenavigator/?q=manhattan+school+of+music&s=all&id=192712#crime or contact Luis Plaza, Director of Facilities and Campus Safety, at 917-493-4448.

2 TABLE OF CONTENTS History of the School 4 Professional Studies Certificate Program 71

Academic Calendar 6 Dual Degree Program 75

Office of Student Accounts 8 Doctor of Musical Arts 77

Tuition and Fees Artist Diploma 82

Office of the Registrar 10 Course Descriptions Registration Procedures Collaborative Piano 83 Academic Regulations Brass 83 Composition 83 Degree Programs and Curriculum 21 Conducting 85 Departments by Major Contemporary Performance 86 Doctoral Program 88 Collaborative Piano 24 Guitar 89 Brass 26 Harp 90 Composition 29 Humanities 90 Conducting 32 English as a Second Language 95 Contemporary Performance 34 Entreprenuership 96 Guitar 36 Jazz 97 Harp 38 Music History 103 Jazz Arts 40 Musical Theatre Curriculum 108 Musical Theatre 45 Orchestral Performance 113 Orchestral Performance 47 Organ 113 Organ 50 Percussion 114 Percussion 52 Performance 114 Piano 54 Piano 117 Strings 57 Strings 120 Pinchas Zukerman Performance Program 61 Musical Theory/Aural Skills 120 Voice 64 Skill Studies 123 Woodwinds 67 Voice, Opera and Related Studies 125 Woodwinds 128

3 MISSION AND HISTORY OF THE SCHOOL

performers, composers and the immigrant communities of MISSION teachers, and imaginative, New York City. By re-establishing Manhattan School of Music is effective contributors to the the musical communities that deeply committed to excellence arts and society. had existed in these immigrants’ in education, performance, and home countries, Schenck hoped creative activity; to the humanity to further the nascent cause of of the School’s environment; HISTORY American music. To that end, the to preparing all our students From its beginnings as a small School developed its resources to to find their success; and to community music school to educate the complete musician. the cultural enrichment of the its current incarnation as a top larger community. A premier conservatory, Manhattan School By 1928, enrollment at the School international conservatory, of Music has upheld a tradition had reached 400 students. Under MSM inspires and empowers of excellence in music education. additional artistic guidance from highly talented individuals The School was founded in 1917 Pablo Casals, Harold Bauer, and to realize their potential. We by pianist and philanthropist Fritz Kreisler, the Neighborhood take full advantage of New Janet D. Schenck. Then called the Music School erected a new York’s abundant learning and Neighborhood Music School, it building and, in 1938, changed performance opportunities, was located on Manhattan’s Upper its name to Manhattan School preparing our students to be East Side and tasked with bringing of Music. In the space of twenty accomplished and passionate high-quality musical training to years, the school had built a

Return to Table of Contents 4 History of the School national reputation. By 1943, the was appointed president in instituting the critically acclaimed School offered the Bachelor’s 1976; Gideon W. Waldrop was Contemporary Performance degree; advanced degree appointed in 1986; and Peter Program and, in 2010, the programs soon followed. C. Simon in 1989. innovative Center for Music Entrepreneurship, as well as the In 1956, Dr. Schenck retired Marta Casals Istomin, former addition of the Solomon Gadles and John Brownlee, noted director of the Kennedy Center Mikowsky Recital Hall, a new Metropolitan Opera baritone, for the Performing Arts, served state-of-the-art recital space. was appointed director, a title as president of the School from later revised to president. 1992 until 2005. Her tenure saw Under the current leadership President Brownlee initiated the construction of the G. Chris of Dr. James Gandre, who the idea of relocating the School and SungEun Andersen Residence assumed the presidency in to the Morningside Heights Hall, which opened in 2001. In May 2013, Manhattan School neighborhood; his death occurred addition to student housing, of Music continues to uphold only months before his efforts Andersen is home to the William the mission that Janet Schenck were realized. In 1969, George R. and Irene D. Miller Recital began over 90 years ago. Now Schick, Metropolitan Opera Hall and the Alan M. and Joan home to 950 students from over conductor, accompanist, and Taub Ades Performance Space; 40 countries, the School is a distinguished opera coach, the Peter Jay Sharp Library; and thriving international community succeeded Brownlee as president 108 practice spaces. Dr. Robert of artists. As MSM continues to and led the School’s move to Sirota, appointed president in grow, its focus remains the same: its present location. John O. 2005, oversaw significant growth the education of tomorrow’s Crosby, founder and general at Manhattan School of Music leaders in the arts. director of the Santa Fe Opera, during his seven-year tenure,

Return to Table of Contents History of the School 5 ACADEMIC CALENDAR 2019–20 FALL July 1, 2019 October 25, 2019 Official first day of the Fall 2019 Semester Last day to withdraw from a Fall Semester class August 26, 2019 November 25 to December 1, 2019 Check-in for New Students AND students starting Thanksgiving Recess for Students and Faculty a new degree program; Residence Hall opens November 27 to November 29, 2019 August 28, 2019 Administrative Offices closed for Check-in for continuing students who are not Thanksgiving Holiday starting a new degree program December 1, 2019 September 2, 2019 Admissions Applications for Auditions Labor Day Holiday (Administrative Due (2019–2020) Offices Closed) December 13, 2019 September 3, 2019 Last day of Fall Semester Classes Ensembles and other Departmental Activities Begin December 16 to December 20, 2019 Final Exam Week September 9, 2019 First day of Academic Classes for the Fall Semester December 21, 2019 Anderson Hall closes at 10 am September 9 to September 18, 2019 Add/Drop Period December 23, 2019 to January 12, 2020 Winter Recess September 18, 2019 (Administrative offices closed through SEVIS check in deadline for international students January 6, 2020) for Fall Semester

Return to Table of Contents 6 SPRING January 6, 2020 March 13, 2020 Administrative offices reopen Administrative offices closed for Spring Holiday January 12, 2020 April 26, 2020 Anderson Hall opens at 10 am Last day of classes for the Spring Semester January 13, 2020 May 1, 2020 First day of Academic Classes for the Last day of Spring Semester Classes Spring Semester May 4 to May 8, 2020 January 13 to January 17, 2020 Jury Examination Week Add/Drop Period (No Classes or Rehearsals) January 17, 2020 May 11 to May 15, 2020 SEVIS check in deadline for international students Final Examination Week for Spring semester May 15, 2020 January 20, 2020 Commencement Martin Luther King Jr. Day (No classes) Last Day of Spring 2020 Semester February 28, 2020 May 16, 2020 Last day to withdraw from a spring semester class Move-out Day for Andersen Hall Residents by 12 pm February 28 to March 6, 2020 Admission audition period #1 for May 18 and May 19, 2020 Fall 2020 entrance Admission Audition Period #2 for Fall 2020 entrance March 2 to March 15, 2020 Spring Recess for Students and Faculty

Return to Table of Contents 7 OFFICE OF STUDENT ACCOUNTS The Office of Student Accounts Premium Single: $15,430 Course Audit (See Office of the provides information on Registrar): $500 important documents and Meal Plan Damage/Judicial Fines: TBA payment procedures, policies All students are required to and payment plans on its participate in a declining balance Graduation Fee: $125 website at msmnyc.edu/campus/ meal plan; the amount of the Instrument Maintenance Fee (per student-accounts/. plan is different for commuting semester): $100 students and students residing TUITION AND FEES in the residence hall. The charge Qualifying Examination Fee for the meal plan will be on the (per exam): $35 Confirmation Fee student’s invoice and the monies Newly admitted students are will be applied to their ID card. I.D. Replacement Fee: $45 required to submit a non- The annual cost of the meal plans Postage Fee (International refundable $500 fee upon are as follows: Students Only): TBA notice of their acceptance to Manhattan School of Commuting Students: $276 Transcript Fee ($10 per copy) Music. This fee represents Resident Students confirmation of enrollment. Returned Check Fee (insufficient Bronze: $2,705 Funds): $30 (After we receive Silver: $3,785 a returned check, personal Tuition Gold: $5,405 checks will not be accepted from Tuition for all Degree and the student or parent for one Student Health Insurance (annual Diploma Programs: $48,280 Academic Year) fee, administered by Student Annual Fees (required of all Engagement): $2,430 students unless otherwise noted) BARNARD Doctoral Program Fees (Doctoral General Student Fee: $850 Candidates only) SURCHARGE For those students wishing to Housing Costs Thesis Research Fee: $1,200 take elective courses at Barnard (per semester) College, a tuition surcharge will For those students residing in apply. A charge of approximately Andersen Hall, the following These Examination Fee: $120 $110 per credit for Barnard room rates apply: Other Fees (Non-refundable, Charged courses, in addition to the Standard Double: $10,790 Where Applicable) regular MSM tuition, will be added to the account. Currently Economical Double: $9,460 Application/Audition Fee: $125 only undergraduate students are eligible to take courses at Regular Single: $14,720 Credits Exceeding Degree Credit Limits (per credit): $750 Barnard College.

Return to Table of Contents 8 Office of Student Accounts STUDENT USE School of Music reserves the 20% within the right to enforce rules for facilities first two weeks OF MANHATTAN usage at all times. 40% within the third week SCHOOL OF MUSIC 60% within the fourth week FACILTIES 80% within the fifth week REFUNDS/LEAVES 100% after the fifth week Tuition payment provides acess to Manhattan School of Music OF ABSENCE AND Registration, general student facilities only when classes are WITHDRAWALS fees, health insurance, late fees, in session, and does not include Student who file a Leave of graudation fees and meal plan the intercessions or summer absence of Withdrawal notice payments are non-refundable. vacation. College students have after the first day of classes and Arrangements must be made limited access to Manhattan did not receive Federal grants with the Director of Student School of Music facilities on most or loans will be responsible for Life regarding refunds of Saturdays, when the Precollege tuition based upon the following housing charges. Division is in session. Manhattan schedule (any overpayment will be refunded):

Return to Table of Contents Office of Student Accounts 9 OFFICE OF THE REGISTRAR complete unfinished degree basis. Applications for part- REGISTRATION AND requirements and formally time status are available in the ACADEMIC STATUS readmitted by the institution. Registrar’s Office. The Office of the Registrar pre- Such students should contact registers students for courses the Office of the Registrar in Undergraduate Status according to their program writing or by email and set up an requirements. It is the individual appointment with a counselor. Undergraduate status is student’s responsibility, however, determined by the number of to ensure that he or she is Undergraduate students credits successfully completed meeting those requirements in transferring to MSM may have or transferred: a timely manner. credits transferred from a 1–30 credits=freshman previous school or schools to 31–60 credits=sophomore No student will be permitted to Manhattan School of Music. 61–90 credits=junior attend classes or lessons until MSM will consider the transfer 91+credits=senior payment of tuition and fees has of course credit with the grade of 120=minimum for graduation been made in accordance with C or above in Core Humanities the arrangements described in courses and Humanities electives. Major Teacher Change tuition and fees. Credit for core Aural Skills, Keyboard Skills, Required Teacher assignments are made with great care and consideration Registration for New Students Piano, Music Theory, and Music History is granted on the basis of for each student. Changes must Permission to register for classes placement exams administered be requested in writing and is granted to new students and at the beginning of the student’s submitted to the Office of the former MSM students beginning first semester. Provost, and must be end of the a new program only if they have Add/Drop period. Applications been formally admitted through MSM does not accept for transfer for and information on changing the Office of Admission and credit AP credits, college courses teachers may be obtained from Financial Aid. Instructions and taken in high school which count the Office of the Provost. After materials for registration are toward the high school diploma, a student changes teachers, available at the times designated nor courses which have been the former teacher is excluded for new student registration. used to fulfill requirements of a from grading the student at previous degree program. subsequent juries and auditions. Registration for In general, teacher assignments Continuing Students Credit Limit are subject to change based on teacher availability. In April and November, all Full-time students are defined current students who expect as those enrolled for 12 to 18 to continue their studies in the credits. Matriculated students Program Change following semester are required to are those working towards a Students who wish to change register for classes. degree or diploma. The School their course of study from one does not permit students to discipline to another must re- Registration for Returning Students register for part-time status (less audition. Audition dates and than 12 credits). Exceptions to information on requirements Returning students are defined as: this policy are made for students of a new program of study may 1) Students returning after an completing their last semester be obtained from the Office official Leave of Absence; or 2) of undergraduate study, and of Admission and Financial A former student seeking to otherwise on a case-by-case Aid. Information regarding

Return to Table of Contents 10 Office of the Registrar the transfer of credits from only), Music History, Required have been filed in the Office of one program to another may Piano (non-keyboard and non- the Registrar may the student be obtained from the Office guitar majors only), and fretboard officially enroll in the course. of the Registrar. harmony (Classical Guitar majors only). Applications for these Drop: Non-required courses examinations are available in the may be dropped by filing the Placement Exams and appropriate forms in the Office Deficiency Courses Office of the Registrar. A fee is charged for Theory, Aural Skills, of the Registrar during the Add/ All new classical, jazz and Required Piano and Keyboard Drop Period. Failure to file orchestral program students Skills examinations. the completed Drop Form will are required to take placement result in the student’s continued exams in Theory, Aural Skills, Students will be allowed to take enrollment in the course. Music History, sight-reading a Theory/Aural Skills placement Continued enrollment without (Piano majors only), keyboard and qualifying examination for attendance will result in an skills (non-Piano majors only), a particular course only once. automatic Failing grade. and fretboard harmony (Classical Additionally, students may only Course withdrawals: Students Guitar majors only). These exams qualify in Theory/Aural Skills may withdraw from a course take place in August before the fall courses one level at a time. after the Add/Drop period by semester begins. Notices of Qualification must be approved and submitted filing a petition in the Office Students are required to complete to the Registrar’s Office by of the Registrar. An approved all elementary courses successfully the appropriate department Withdrawal results in a grade of before registering for classes chair before the end of the W being applied to the course if prescribed in their course Add/Drop period. request is made after the deadline sequence plans. Elementary to withdrawal without a grade courses become part of a student’s of W. See Academic Calendar Schedule Changes/ADD/DROP degree or diploma program. for deadline. While the grade of They may not be used to fulfill Period/Course Withdrawals W does not affect the student’s requirements (with the exception Students may request changes grade point average, the course of TH2883). The length of a in their schedules only during remains on his or her record, with degree or diploma program may the Add/Drop and Withdrawal the student remaining responsible be extended for students who Periods listed in the Academic for the credit associated with the are required to take elementary Calendar. No schedule changes course. Failure to file a petition courses. Students required to are possible after the conclusion constitutes continued enrollment take English Language courses of the Add/Drop and Withdrawal in the course, and the student is should be aware that this may Periods, unless approved in subject to the requirements and extend their program for one writing by the Provost. No responsibilities of the course. additional year or more. schedule change is considered Failure to Withdraw or complete official until it is processed by the the requirements will result in Qualifying Examinations Office of the Registrar. a Failing grade.Deadlines and regulations concerning dropped If a student is already capable of Add: Courses may be added by and withdrawn courses will apply. meeting the requirements for filing the appropriate forms in a particular course, he or she the Office of the Registrar during Elective Credits may demonstrate proficiency the Add/Drop Period. In addition through a qualifying examination. to the approved Add form, a Elective credits are those Qualifying examinations are completed Permission to Enroll credits not distinctly specified offered in Theory, Aural Skills, form and/or Over Credit form in a particular major’s course Keyboard Skills (Piano, Organ, may be required in some cases. sequence. Electives are either and Collaborative Piano majors Only after the completed form(s) general or department-specific.

Return to Table of Contents Office of the Registrar 11 Students are allowed to take Non-Major Lessons auditors are not permitted. courses in other departments as Students are allowed to take 14 Approval of the instructor and General Electives, as long as there lessons per semester outside of department chair is required. No is space available in the course their major for a certain amount charge will be assessed for the first for non-majors and they meet the of elective credit if they receive course audited in an academic pre-requisites. all of the proper permissions year. A fee of $500 will be charged and pay a fee ($4000 p. semes- for each additional course audited Students are not permitted to take ter 2019-2020) in an academic year. major lessons in order to fulfill elective credit requirements. Schedule of Classes Courses taken as “Audit” are subject to the same Add/Drop/ Class times are published in the Lessons Withdrawal deadlines as regular schedule of course offerings courses. No grades are given for Full-time lessons are scheduled available at registration, with courses that are audited. for fourteen (14) one-hour periodic updates. Under-enrolled sessions per semester. courses are subject to cancellation Undergraduate students are at any time during the first two Independent Study required to take at least eight (8) weeks of classes. Independent Study provides the semesters of full-time lessons, student with an opportunity to graduate and doctoral students are Barnard College Cross- engage in exceptional research required to take at least four (4) Registration Program projects. Independent Study semesters and professional studies Forms are available in the Office and artist diploma students are A special program of cross- of the Registrar. Such requests required to take two (2) semesters. registration between Manhattan will be reviewed for approval by The number of semesters of full- School of Music and Barnard the Registrar and the Provost. time major lessons required of College allows qualified MSM A student may take no more transfer students is determined Juniors and Seniors to have than one Independent Study at the time of acceptance into the access to the greater variety during his or her residency in any school and is dependent upon the of academic courses taught program of study. performance level at the audition. at Barnard. Students must be in good academic standing Students who have completed with a cumulative MSM grade STUDENT their major lesson requirement point average of at least 3.0. EXCHANGE but have not performed Registration for appropriate their Graduation Project Barnard courses must be PROGRAMS (Accompanying majors only), approved by both the MSM and MSM students are eligible to Concerto requirement (Piano Barnard Offices of the Registrar. apply for exchange programs with majors only), Graduation Jury and/ A surcharge of $110 per credit for MSM partner schools. Applicants or Recital, are required to register a Barnard course will be assessed for exchange programs should for half-time lessons in order to by the MSM Bursar. A Barnard be current MSM sophomores prepare for the requirement. Half- course may not be taken as pass/ or first-year grads, and exchange time lessons are seven (7) sessions fail, and is subject to Manhattan programs may be one semester at three (3) credits for graduate School of Music’s add/drop/ or one year. Since requirements students and two (2) credits for withdrawal schedule. and length of study vary from one undergraduate students. school to the next, please request information for specific programs Auditing Students may not take lessons from the Office of the Provost. outside their area of major study. Students may petition to audit Applicants must be in good a course for no credit if space is standing at MSM. available in the class. Outside

Return to Table of Contents 12 Office of the Registrar MSM currently has international and candidates will then be Satisfactory Academic Progress exchange programs with the selected. The materials of the All students are expected to following schools: Royal College MSM students who are selected maintain good academic progress of Music (London); Paris will then be submitted to the throughout their degree studies. Consevatory, Royal Danish partner schools, which will make Good academic standing includes Academy of Music (Copenhagen); the final determination of the a grade of at least B- in their Norwegian Academy of Music candidate’s acceptance. major subject, performance (Oslo); Sibelius Academy of ensembles, and required ESL Music (Helsinki, Finland); courses and grades of C or better Musikhochschule (Stuttgart); ACADEMIC in all other subjects. If a student Amsterdam Conservatory; REGULATIONS fails to meet the requirements Shanghai Conservatory; Central Academic Honesty for good standing, his or her Conservatory (Beijing). All students have an obligation record will be brought under Students pay tuition, health to behave honorably and to review by the Committee on insurance (if not covered by the respect the highest ethical Academic Progress. partner school), and all required standards in carrying out their student fees at Manhattan School academic assignments. Academic Probation of Music. Students are responsible dishonesty is defined to include All students are expected to for all living, travel and personal any form of cheating and/or make good academic progress expenses. Manhattan School of plagiarism. Disciplinary sanctions, throughout their degree studies, Music students are eligible to including lowered or failing and to advance artistically in their continue to receive their financial grade, probation, or dismissal, professional musical training. The aid during their study abroad. may be administered in cases Committee on Academic Progress involving academic dishonesty To be considered for eligibility, reviews all student records at or falsification of academic the end of each semester, and a Manhattan School of Music information. All allegations of student must make a formal will identify students who fall academic dishonesty will be below MSM’s academic or artistic application. Applications and referred to the Provost. In clear- information about deadlines standards (defined below). The cut cases, such as documented Committee has latitude to and procedures is available plagiarism, the Provost may offer through the Office of the judge the efforts and progress of a summary judgment, which will each student, comparing grades Provost. To qualify for exchange include sanction or mediation programs, students must: earned from one semester to the designed to bring the matter to next, taking into account special • Have a minimum a conclusion. In a case that has circumstances, and investigating G.P.A. of 3.0 received summary judgment, the issues with particular instructors. • Have received a minimum student may appeal the decision The Committee can recommend grade of A- on the to the Dean’s Council. Also, probation, continuing or final most recent jury the Provost may elect to bring probation, or dismissal. The • Have an academic the case directly to the Dean’s Committee may also recommend advisement meeting with Council. The Council consists or require tutoring or counseling. the Registrar to plan and of three faculty members, who, confirm a course of study along with the Provost and the For courses that are part of an • Represent the School Dean of Students, will conduct MSM student’s professional in a positive and a hearing and render an opinion. training, including lessons, enthusiastic manner The decision of the Dean’s ensembles and performance Application materials will be Council will be final. courses, students must maintain reviewed by members of the a grade point average (GPA) of Exchange Program Committee at least 3.0. Any student who

Return to Table of Contents Office of the Registrar 13 receives a grade of C or lower is considered detrimental to Private lessons constitute the in any semester of lessons or the interest of his or her fellow core performance study for ensemble will automatically be students or of the School. every student. If a student needs placed on probation. to cancel a studio lesson for Attendance any reason, the student should For all non-performance academic immediately inform the studio courses, including humanities Regular and punctual attendance teacher. In cases of documented courses and classroom courses in is required at all lessons, classes, illness or other emergency, the music, students must maintain a and rehearsals. Faculty set the teacher will attempt to make GPA above 2.0. specific attendance policies for up missed lessons at a mutually their courses, and publish these convenient time. The studio In addition to overall GPA, policies in the course syllabus or repeated failure of required teacher is not obligated to adjust handbook. Any exceptions, such lesson times or make up lessons courses may be grounds as excused absences for reasons for probation. that were canceled for non-illness, of illness or other compelling non-emergency reasons. Any Students with grades or GPAs far emergencies, may be considered student who has two consecutive below MSM’s standards, as well and granted at the discretion of unexcused absences in his or her as students who have been on the individual faculty member. private lessons may be required to continuing or final probation, may Absences due to illness must be see the Dean of Students before be subject to dismissal. reported by the student to the lessons may resume. Office of Student Engagement, and should be accompanied by No student may be absent from Dismissal documentation from a physician the school for professional Grounds for dismissal include or the MSM Campus Health engagements unless permission unsatisfactory academic and/ Nurse. In cases of serious for such absence is granted by or musical progress; any form illness the Dean of Students will the Office of the Provost well in of cheating and/or plagiarism communicate with all the teachers advance of all such engagements. or falsification of academic of an individual student in order Students who wish to pursue a information; a failing grade in to make sure that faculty are professional opportunity over major lessons, jury examinations aware of the student’s situation. several days must apply for a and/or performance ensembles; professional leave, using the and violation of the Standards of Absence affects learning and form available in the Office Personal and Group Conduct and/ performance. Any student who of the Provost. Typically the or official School policies. misses lessons, classes, and professional leave may not extend rehearsals for reasons that the for more than two weeks. Students dismissed at the teacher considers insufficient conclusion of any semester may be referred to the Dean are ineligible to attend the of Students for permission to Religious and Other Holidays School for two consecutive continue in the class. Students Manhattan School of Music is semesters. Information with excessive or unexcused sensitive to the needs of students regarding reapplication to the absences from lessons, classes, or who wish to observe religious School and auditions is available rehearsals may receive a lowered or other holidays during the from the Office of Admission or failing grade. Even in cases academic year. To accommodate and Financial Aid. where absences are excused, it the planning needs of studio may be necessary for a student to teachers, classroom teachers, The School retains the right withdraw from a course because and ensemble directors, students to dismiss any student whose of excessive absence. who anticipate being absent continued attendance or behavior for religious or other holidays must inform their teachers and

Return to Table of Contents 14 Office of the Registrar ensemble directors in writing for it their first semester and approved concert is verified. At during the first week of classes at each subsequent semester until the end of the concert, house the beginning of each semester the requirement is fulfilled. ushers will electronically scan the listing the exact date/dates that The requirement for transfer barcode on the ID which will be the student will be absent. The students is pro-rated: students recorded in a central database. student should also give a copy admitted into the second year of the request to the Provost. If of an undergraduate program A student is registered for students follow the preceding must complete four semesters Concert Attendance by the Office policy and understand that they out of six; into the third year, two of the Registrar each semester are responsible for classroom semesters out of four. until the requirement has been work and ensemble obligations satisfactorily met. Failure to missed, absence for religious or For graduate students, concert attend the appropriate number other holidays will be excused. attendance is required for two of concerts by the end of the Students who do not inform semesters out of four (MM/ semester will result in a failing their teachers in writing with a PG) or one semester out of two grade. If a student does not intend copy sent to the Provost during (PS); students must register for to complete Concert Attendance the first week of classes will it their first semester and each in a particular semester, it is the not be excused. subsequent semester until the student’s responsibility to drop requirement is fulfilled. Concert Attendance from his or her official schedule. Failure to Concert Attendance (CA1000) Students registered for concert do so will result in a failing grade. Attending concerts is a vital attendance are required to attend Additionally, if it is discovered and important part of the seven major concerts and/or that a student has misrepresented total educational experience. master classes per semester. A list his or her attendance at a concert, MSM Concert attendance is of approved concerts is available the student will receive an F for a great opportunity to hear from the Office of the Registrar the semester. In all cases, the music brought to life by the at the beginning of each semester. grade remains on the student’s entire community as well as Performance in any portion of an official transcript. distinguished visiting artists. The approved concert does not count toward fulfilling the Concert administration chooses a wide Dean’s List array of performances to meet the Attendance requirement. concert attendance requirement. Qualified Bachelor and Master’s Verification of Attendance level students who meet certain For undergraduate students academic standards are named (BM/DP), concert attendance A student’s Manhattan School of to the Dean’s List each semester. is required for six semesters out Music ID card is the mechanism These standards include: a of eight; students must register by which attendance at an grade point average of 3.9 or

Residency Requirements Residency requirements for degree and diploma programs at Manhattan School of Music are as follows: PROGRAM NORMAL RESIDENCY MINIMUM RESIDENCY LIMITATION Diploma 4 years 2 years 7 years Bachelor of Music 4 years 2 years 7 years Postgraduate Diploma 2 years 2 years 5 years Master of Music 2 years 2 years 5 years Doctor of Musical Arts 2 years 2 years 7 years Professional Studies 1 year 1 year 2 years Artist Diploma 1 year 1 year 2 years

Return to Table of Contents Office of the Registrar 15 better, twelve or more credits of Students who are off-sequence requirement. Students who wish graded courses (other than P or as the result of being admitted to participate in Commencement Q grades), and no failing grades in January or having taken a must fulfill all performance and for the semester. semester Leave-of-Absence take academic requirements prior to juries in December. There is a the date of Commencement. Final Examinations Sophomore Continuation Jury to ensure that a student’s progress Advanced Standing Examinations Final examinations are held merits continuation in his or her during the 15th week of each program of study. Jury comments In rare cases, undergraduate semester. Students who fail to are available to be read two weeks students may accelerate their take a required class examination after the end of examination week program in performance by means may be given an Incomplete by in the Office of the Registrar. of an Advanced Standing jury. A the teacher if all other work for successful Advanced Standing jury the course has been satisfactory. A student who is absent from will allow a student to graduate All Incomplete grades must be the Jury Examination without early, provided all other academic pre-approved by the Provost. prior approval will receive a requirements are also met early. Incomplete grades will be failing grade and automatically be Advanced standing can only be converted to failing grades by placed on academic probation. granted for one semester. To the Registrar if the final grade A jury may be postponed only start the process, the student is not received by the end of the for documented medical reasons submits a petition for advanced following semester. Students approved by the individual standing to the Registrar’s office. who are taking large group department chair. This petition must indicate examinations in the Music the approval of both the major History and Theory Departments A Graduation Recital and/or teacher and the department chair, will be required to show their Jury, if required, must take place and must be turned in no later MSM ID cards before beginning within the final thirty credits than March 1 of the academic year the exam. Students who have final required to complete a degree in which the advanced standing exams that fall on the Friday of and once the student has less than jury is to take place. Please note exam week of the spring semester two semesters of major lessons that some departments may have will be given their final exam on remaining. Students must apply earlier deadlines for application. the final day of classes. to the Scheduling Office for a In order to apply for an Advanced recital date. The recital program Standing jury, a student must: must be approved by the major Juries and Recitals teacher and the department • be an undergraduate junior Every enrolled student is chair. A copy of the recital • have a cumulative GPA of required to take an annual Jury program must be submitted to 3.7 or higher Examination in May. Students the Office of the Registrar before • have received a grade of A- should be aware that the number graduation. All Graduation Juries or received a lesson grade of of juries listed in the Department are scheduled through the Office A over the last year and no Major grids is the minimum of the Registrar. lesson grade lower than A- in needed to graduate. Some all major lessons Doctoral candidates should students may be required to • have received a grade refer to the appropriate course take additional juries as a result of 8.5 or higher in all sequence plan, pages 81-84, for of teacher requests, scholarship previous juries performance requirements. continuation, or the extension of • be on track to complete all academic requirements the normal length of the degree Students must be registered by the time of the program as the result of illness, through the School for major proposed graduation leaves-of-absence, or other lessons until completion of extraordinary circumstances. the Graduation Performance

Return to Table of Contents 16 Office of the Registrar Advanced standing juries may be Leaves of Absence/Withdrawal Fulbright Program taken only once, and the results For more information regarding The Fulbright Scholars Program, of the jury are final. Graduate MSM’s Leave of Absence and administered by the Council students are not eligible for Withdrawal policies, please visit for International Exchange of advanced standing. msmnyc.edu/about/offices-staff/ Scholars (CIES), are awarded to registrar/leaves-withdrawals/ graduate students, graduating Petitions seniors, and other candidates of Please be advised that leaves and exceptional ability who wish to A student has the right to petition withdrawals may affect immigration pursue study abroad. Grants are the administration regarding status and/or financial aid. You should made to United States citizens any topic that is not covered in consult with those offices as part of and nationals of other countries the current school catalog, yet your decision-making process. pertains to study at the School. for a variety of educational Forms are available in the Office activities, primarily advanced Transfer Credit/Credit by research, graduate study, of the Registrar and the Office of Examination the Dean of Students. university teaching, and teaching Transfer credits from other in elementary and secondary nationally accredited institutions schools. Information regarding Transcripts may be accepted into a degree the Fulbright Program is available The Office of the Registrar retains or diploma program through from the Provost’s Office. the original copy of each student’s evaluation of official documents academic record. Transcripts for by the Office of the Registrar. currently enrolled students are Transcripts of such course must GRADING issued without charge in support show a grade of C or above. Grading System of applications to new programs Students who have attended CREDIT Numerical at Manhattan School of Music. universities overseas where GRADES Equivalent English is the language of Upon request, the School may A Excellent 4.00 instruction may petition to have disclose educational records humanities courses considered A- 3.67 without a student’s consent for transfer credit. This petition B+ 3.33 to officials of another school will be reviewed by the Chair of B Good 3.00 in which a student seeks or the Humanities Department. B- 2.67 intends to enroll. Transfer credit is not given for C+ 2.33 courses from institutions where Official transcripts, carrying C Fair 2.00 the language of instruction is the School’s seal and an official C- 1.67 signature, may be issued only other than English. D+ 1.33 upon the written request of the Academic credit may be earned student. Transcripts are not issued D Poor 1.00 by placement or qualifying while a student is in arrears or D- .67 examination. Performance in default on student loans or if credit may be earned by there are any outstanding fees or advanced standing jury. Major Lesson/Jury charges from any School office. Examination Grading The Office of the Registrar will A maximum of sixty transfer only issue transcripts from MSM or examination credits may be If a student receives a grade degree programs. applied towards an undergraduate between C+ and D- for major degree or diploma. No transfer lessons or a Jury Examination, credit will be granted for credits the Dean of Students, Provost, used towards another degree or Department Chairperson, and for major lessons and ensembles. major teacher will meet to discuss

Return to Table of Contents Office of the Registrar 17 the general quality of applied AU Audit Class will make arrangements for work. If it is agreed that the IP In Progress (for DMA access and notify the student grade is not representative of the students only, this of the time and place where the student’s work, Probation will not grade is not factored records may be inspected. If result, but the grade will remain into overall GPA) the records are not maintained on the student’s transcript. If by the School official to whom Probation results, it will be for Incomplete Grades the request was submitted, one semester. The student is Incomplete grades can be that official shall advise then re-evaluated through a Jury given only with the approval the student of the correct Examination at the conclusion of the Provost in consultation official to whom the request of the following semester. If the with faculty members. An should by addressed. student receives a B- or higher, Incomplete will appear on a 2. The right to request the he or she is taken off Probation; student’s permanent transcript amendment of the student’s if the grade remains between indicating late completion of the educational records that C+ and D-, Probation continues course. Once the work has been the student believes is until the Jury Examination at completed and a grade has been inaccurate or misleading. the conclusion of the following issued by the faculty member, the semester. If the quality of work Students may ask the School Incomplete will be changed to a to amend a record that does not improve by that time, permanent letter grade. Students the student will be dismissed. they believe is inaccurate receiving Incomplete grades are or misleading. They should Students who receive a failing required to complete all work by write to the School official grade for major lessons or Jury the end of the following semester; responsible for the record, Examination are immediately if the work is not completed, the clearly identify the part dismissed from the School. Incomplete will be changed to an of the record they want F automatically. changed, and specify why it is Classwork Grading inaccurate or misleading. Manhattan School of Music If the School decides not to If a student receives a D+ or lower Policy Regarding FERPA (The amend the record as requested in one class, the student will Family Educational Rights and by the student, the School receive a warning letter from the Privacy Act) will notify the student of Registrar. If a student receives the decision and advise the more than one of these grades, The Family Educational Rights student of his or her right to a the student will be subject to and Privacy Act (FERPA) affords hearing regarding the request Probation or Dismissal. students certain rights with for amendment. Additional respect to their educational information regarding the Non-Credit Grades records. They are: hearing procedures will be F Failure 1. The right to inspect and provided to the student I Work Incomplete review the student’s educational when notified of the (by petition only) records within 45 days of right to a hearing. W Withdrawn the day the School receives a 3. The right to consent to P Passing (used for request for access. disclosures of personally deficiency courses or Students should submit to the identifiable information when a letter grade is Registrar or other appropriate contained in the student’s not required to show official, written requests that education records, except to the successful completion identify the record(s) they wish extent that FERPA authorizes of work and is not to inspect. The School official disclosure without consent. included in GPA)

Return to Table of Contents 18 Office of the Registrar One exception that permits Family Policy Compliance Office of August 31, 2017) 69% of these disclosure without consent is U.S. Department of Education students had graduated from 600 Independence Avenue, SW disclosure to School officials Washington, D.C. 20202-4605 the institution or completed with legitimate educational their programs. interest. A School official is 5. Schools may disclose, without a person employed by the consent, directory information Questions related to this report institution in an administrative, including a student’s name, should be directed to: the supervisory, academic, telephone numbers (permanent, Registrar at (917) 493-4418. primary, and cellular), addresses or support staff position While reviewing this information, (including electronic mail), (including law enforcement please bear in mind: unit personnel and health date and place of birth, major, • The graduation/completion staff); a person or company honors, awards, photograph, rate is based on 6 years with whom the School classification, dates of enrollment, of attendance that has contracted (such as an degrees conferred, dates of equates to 150% of our attorney, auditor, collection conferral, graduation, distinctions longest program. agent, or security guard); a (including Dean’s List), and the • We have elected not to person serving on the Board institution attended immediately report our transfer-out rate of Trustees; or, when deemed prior to admission. Students who because the School’s mission appropriate a student serving wish to restrict the release of such does not include providing on an official committee, information are required to notify substantial preparation for such as a disciplinary or the Office of the Registrar in students to enroll in other grievance committee, assisting writing within 10 days of the first institutions. another School official in day of the semester of enrollment. • The graduation/completion performing his or her task, or rate does not include employed as a worker. Student Right to Know Act students who left the school Legitimate educational interest (Disclosure of Institutional to serve in the armed forces, is defined as the determination Graduation/Completion Rates) on official church missions, of the right of a School of the Manhattan School of Music or in the foreign service of official to review an educational provides the following the federal government. record in order to fulfill his or information regarding its Students who died or were her professional responsibility. graduation/completion rates. totally and permanently In addition, the official must The information is provided disabled are also excluded. be able to demonstrate that the in compliance with the Higher review is directly related to the Education Act of 1965, as VA Pending Payment Compliance student’s educational welfare amended. The rates reflect the or the safety of the student In accordance with Title 38 US graduation/completion status and/or other members of the Code 3679 subsection (e), this of students who enrolled during School community. school adopts the following the 2010-2011 school year and for 4. The right to file a complaint additional provisions for any whom 150% of the normal time- students using U.S. Department with the U.S. Department of to-completion has elapsed. Education concerning alleged of Veterans Affairs (VA) Post 9/11 failures by Manhattan School During the fall semester of 2010, G.I. Bill® (Ch. 33) or Vocational of Music to comply with the 98 first-time, full-time, certificate Rehabilitation and Employment requirements of FERPA. The or degree-seeking Undergraduate (Ch. 31) benefits, while payment name and address of the Office students entered Manhattan to the institution is pending from that administers FERPA is: School of Music. After 6 years (as the VA. This school will not:

Return to Table of Contents Office of the Registrar 19 • Prevent nor delay the have satisfied their • Produce the Certificate student's enrollment; tuition and fee bills to the of Eligibility by the first • Assess a late penalty fee to institution, including but day of class; the student; not limited to access to • Provide written request to • Require the student to classes, libraries, or other be certified; secure alternative or institutional facilities. • Provide additional additional funding; However, to qualify for this information needed • Deny the student access provision, such students may to properly certify the to any resources available be required to: enrollment as described in to other students who other institutional policies.

Return to Table of Contents 20 Office of the Registrar DEGREE PROGRAMS AND CURRICULUM Professional Studies Certificate requirements for their major DEGREE PROGRAMS Voice field of study, related coursework, Manhattan School of Music is Instrumental Performance ensemble participation, jury fully accredited by the Middle Orchestral Performance examinations, and recital in order States Commission on Higher Composition to qualify for graduation. Education, the New York State Conducting Board of Regents, and the Bureau In instances where applicants to Collaborative Piano for Veterans Education. All the undergraduate division already programs listed in departments Artist Diploma possess a Bachelor’s degree from by majors are approved for the another school, they may be Voice training of veterans and other awarded the MSM Bachelor of Instrumental Performance eligible persons by the Bureau Music degree upon fulfilling the Collaborative Piano of Veterans Education. The specific musical requirements set HEGIS Code number is 1004 Manhattan School of Music forth in the curriculum. While with the exception of the BM, seeks to provide the artistic and MSM generally requires a student MM, and DMA in Composition, technical training necessary to be full-time for the duration of which is 1004.10. for the aspiring professional their BM program, a student in musician. At the same time, the the final semester of the program School believes that it is of prime Bachelor of Music (BM) who has completed enough of importance for professional Voice the requirements may apply to be musicians to possess as broad a Instrumental Performance part-time in that semester. general knowledge as possible and Composition to extend the understanding of Jazz Performance Unified Core Curriculum their art beyond the area of their Musical Theatre specialization. During the freshman and sophomore years at MSM, Master of Music (MM) students in the classical division Voice UNDERGRADUATE take a sequence of courses Instrumental Performance The undergraduate programs especially designed to unify, Instrumental And Vocal of study at MSM consist of four coordinate, integrate, and Collaborative Piano areas of concentration: interrelate basic studies in Conducting 1. Major field of study music theory (counterpoint, Orchestral Performance harmony, form, and analysis), Composition 2. Coursework in musical subjects music history (an exposition of Contemporary Performance the evolutions and revolutions Jazz Performance 3. Ensemble performance 4. Humanities studies of musical style and traditions in Jazz Composition Western classical music from c. Bachelor of Music 1000 until the present), and the Doctor of Musical Arts (DMA) humanities (the discipline of the Voice The Bachelor of Music degree is a intellect—reading, writing, critical Instrumental Performance four-year curriculum. All students judgment, articulate speech—as Collaborative Piano are required to register for major well as a chronological survey of Composition lessons during each semester of Western civilization from the Jazz Arts Advancement their residence at MSM. They wellsprings of Classic Greece until Choral Conducting must also successfully meet the the present—history, politics,

Return to Table of Contents Degree Programs and Curriculum 21 philosophy, art, geography). music, but it does not carry with MM (Master of Music) from The core sequence includes it the rights and privileges of a Manhattan School of Music and seminars in which students college degree. an MA (Master of Arts) with New actively participate through York State K‑12 Music Teacher discussion and writing. The core For audition requirements Certification from Teachers sequence also includes lecture and course sequence plans College Columbia University. classes where general trends and for undergraduate programs Students accepted in the Master’s concepts of theory, music history, of study in all majors, see program at Manhattan School and the progression of Western Departments by Major. of Music first complete the two civilization are described. The years of MM requirements at unified core curriculum prepares GRADUATE MSM. Students should identify the undergraduate student their interest in the dual degree The graduate programs of study to take intense, specialized, during the first semester of study at MSM consist of three areas of elective courses in the junior at MSM so that the required concentration: and senior years. coursework and fieldwork can be 1. Major field of study. completed in preparation for the Humanities 2. Coursework in degree at Teachers College. To be musical subjects. considered for acceptance into The four-year undergraduate 3. Ensemble performance. the dual degree program, MSM program of study in Humanities students must have at least a 3.0 at MSM is designed to prepare Master of Music GPA and successfully complete professional musicians for a The Master of Music degree is a the Teachers College Columbia full life as cultured citizens. All two-year curriculum. All students University admission process: students in the undergraduate are required to register for major degree program are required to • Teachers College lessons during each semester of take 24 credits (voice students­, 18) application form and fee their residence at MSM. They distributed among Humanities • 2 letters of recommendation: must also successfully meet the Core and Elective classes. one from MSM requirements for their major Students are trained to think and Director of Community field of study, related coursework, write clearly, to analyze carefully, Partnerships and one from ensemble participation, jury and to read the basic texts of MSM Assistant Dean examinations, and recital in the cultural tradition. Advanced of Academics order to qualify for graduation. courses include multicultural • official transcripts for MSM requires full-time status interdisciplinary classes which all undergraduate and for all four semesters of the combine music, art, and literature. graduate work Master’s program. Transfer students may receive • personal statement about credit for equivalent courses at teaching experiences at other institutions. Dual Degree at the Master’s MSM and decision to pursue Level from Manhattan School an additional degree in music education Diploma of Music and Teachers College Columbia University Once accepted by Teachers The Diploma course is the College, students are expected Manhattan School of Music same as the Bachelor of Music to take at least 3–6 credits at and Teachers College Columbia degree minus the Humanities Teachers College the summer University offer a dual degree at Core and Humanities Elective following MSM graduation. In the the Master’s level. The program requirements. The Diploma following fall semester, students is an accelerated one, designed represents recognition of must enroll in 10–12 credits at to be completed in three years, accomplishment in the field of Teachers College. In the spring rather than four, at the end of semester, students enroll in two which the student will have an

Return to Table of Contents 22 Degree Programs and Curriculum sections of student teaching and ­graduate elective credits. The Professional Studies complete any remaining course Diploma represents recognition Certificate Program requirements at Teachers College. of accomplishment in the field of For information regarding this program music, but it does not carry with of study, see p. 71. For detailed information, it the rights and privileges of a please contact the Director of college degree. Doctor of Musical Arts Community Partnerships at For information regarding doctoral Manhattan School of Music. For audition requirements studies, see p. 77. and course sequence plans Postgraduate Diploma for graduate programs of Artist Diploma study in all majors, see For information regarding artist The Postgraduate Diploma course Departments by Major. is the same as the Master of Music diploma, see p. 82. degree minus up to six general

Return to Table of Contents Degree Programs and Curriculum 23 COLLABORATIVE PIANO The graduate programs of study in GRADUATION REQUIREMENT PROFESSIONAL Collaborative Piano are designed Accompanying for three to offer skilled performers graduation recitals. If STUDIES training and experience in solo vocal spe­cialization: two CERTIFICATE and ensemble accompanying. vocal, one instrumental; if PROGRAM instrumental specialization: two For information regarding this program GRADUATE instrumental, one vocal. of study, see p. 71. Master of Music degree program DOCTOR OF Audition Requirements MUSICAL ARTS For complete information For information regarding doctoral regarding audition requirements studies, see p. 77 and application information, please contact the Office of Admission and Financial Aid.

COLLABORATIVE PIANO FACULTY John Forconi, Department Chair Warren Jones Kenneth Merrill Thomas Muraco Heasook Rhee

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871-0872 Keyboard Techniques PN0851-0862

Return to Table of Contents 24 Collaborative Piano MASTER OF MUSIC COLLABORATIVE PIANO MAJOR VOCAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Collaborative Piano Seminar AC2091-2092, AC2111-2112 2 2 2 2 Collaborative Piano Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Ear-Training TH2001-2002 2 2 Advanced Instrumental Conducting CD2011-2012 2 2 Graduate Electives 2 Music History Electives MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 61 16 16 15 14 3 adjucated recitals are required: 2 vocal and 1 instrumental

MASTER OF MUSIC COLLABOARTIVE PIANO MAJOR INSTRUMENTAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Accompanying Seminar AC2091-2092, AC2111-2112 2 2 2 2 Accompanying Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Diction GR2101-2102 EN, FR, GR, or IT * 2 2 2 2 Advanced Ear-Training TH2001-2002 2 2 Chamber Music SP1500 1 1 Electives 2 2 Music History MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 53 16 13 12 12 * Instrumental Collaborative Pianists can take any two of four year-long graduate diction courses. English, French, German, or Italian. Typically one language is taken in each year of the MM degree. 3 adjucated recitals are required: 2 vocal and 1 instrumental

Return to Table of Contents Collaborative Piano 25 BRASS TRUMPET, HORN, TROMBONE, BASS TROMBONE, AND TUBA The programs of study for Repertoire for juries in non- GRADUATION REQUIREMENTS Brass majors are designed to graduating years will be A full-length Graduation develop skilled performers who determined by the teacher Recital in which at least one are familiar with the standard and the student. work must be in a 20th-century solo, ensemble, and orchestral style and approximately half of literature for their instruments. GRADUATION REQUIREMENTS the works must be composed Students must demonstrate A full-length Graduation for the particular instrument a high degree of professional (nontranscribed). competence and appropriate Recital in which at least one stylistic approaches to the work must be in a 20th-century A Graduation Jury featuring literature of various historical style and approximately half of selections from the recital with periods. All students are the works must be composed piano (where applicable) and required to fulfill their Ensemble for the particular instrument orchestral repertoire. Student will Requirement as outlined in their (nontranscribed). prepare a list of ten excerpts from course sequence plans and as A Graduation Jury featuring which the faculty panel will make assigned by the School. selections from the recital with selections, at their discretion. piano (where applicable) and UNDERGRADUATE orchestral repertoire at the PROFESSIONAL Bachelor of Music degree program discretion of the panel. STUDIES Diploma program All undergraduate Brass majors must perform their Graduation CERTIFICATE Audition Requirements Jury before the departmental PROGRAM For complete information faculty in May of their For information regarding this program regarding audition requirements final year of study. of study, see p. 71. and application information, please contact the Office of DOCTOR OF Admission and Financial Aid. GRADUATE Master of Music degree program MUSICAL ARTS There will be a “sophomore Postgraduate Diploma program For information regarding doctoral continuation jury” at the end of studies, see p. 77. the sophomore year to establish Audition Requirements that a student’s progress has been For complete information sufficient to ensure completion regarding audition requirements of the program of study. This and application information, evaluation will determine whether please contact the Office of or not the student may continue Admission and Financial Aid. in that program. Repertoire will be determined by the teacher.

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents 26 Brass BACHELOR OF MUSIC/BRASS MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH0500-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 General Electives 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Brass Lab BR0001-0002 1 1 1 1 Trumpet Lab TP0200-0201 (Trumpet Major Only*) 1 1 1 1 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 122-126 16-17 16-17 15-16 15-16 15 15 16 14 * All trumpet majors must participate in Trumpet Lab for 1 credit for 4 semesters; additional semesters are optional and uncredited. ** All brass players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

Return to Table of Contents Brass 27 MASTER OF MUSIC/BRASS MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 3 3 Brass Lab BR2001-2002 2 2 2 2 Trumpet Lab* TP0300 1 1 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 56-58 14-15 14-15 14 14 * All trumpet majors must participate in Trumpet Lab for 1 credit for 2 semesters; additional semesters are optional and uncredited. ** All brass players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

BRASS FACULTY Michelle Reed Baker, Department Chair Trombone Trumpet Haim Avitsur Per Brevig Ethan Bensdorf David Finlayson Billy Ray Hunter David Taylor David Krauss Colin Williams Thomas Smith Bass Trombone Horn George Curran Michelle Reed Baker Steven Norrell Richard Deane David Taylor Javier Gándara David Jolley Tuba R. Allen Spanjer Kyle Turner

Return to Table of Contents 28 Brass COMPOSITION UNDERGRADUATE by works from their portfolio. GRADUATE Bachelor of Music degree program Applicants should bring four Master of Music degree program Diploma program bound copies of their scores to the Postgraduate Diploma program interview, along with recording Doctor of Musical Arts Auditions Requirements of the works they wish to present in electronic format (via laptop, Audition Requirements Applicants should submit cell phone, notepad, or CD). It no more than three scores, is advised that composers bring Applicants should submit representative of their own their recordings in more than one no more than three scores, creative work. Arrangements, electronic format. representative of their own orchestrations of the works of creative work. At least one others or exercises in historical of these scores must be an styles should not be submitted. It Composer Concerts orchestral work. Arrangements, is suggested that the submissions It is a departmental requirement orchestrations of the works of demonstrate as much variety as that any student taking lessons others or exercises in historical possible in instrumentation and with a private teacher must styles should not be submitted. It form. Although MIDI recording have at least one performance is suggested that the submissions are accepted, it is preferred that every year in one of the demonstrate as much variety as scores be represented by acoustic eight departmental Student possible in instrumentation and recordings. All Composition Composer Concerts. form. Although MIDI recording applicants’ portfolios are pre- are accepted, it is preferred that screened by members of the Juries scores be represented by acoustic Composition Faculty. Invitation recordings. All Composition to the audition is dependent upon Each student compiles a applicants’ portfolios are pre- the Faculty’s acceptance of the portfolio of work and recorded screened by members of the work submitted by each applicant. performances for the year-end Composition Faculty. Invitation Jury, a meeting with the entire to the Audition is dependent upon The audition consists of three Faculty which reviews and the Faculty’s acceptance of the parts. First, a three-hour evaluates each portfolio. work submitted by each applicant. examination in dictation, counterpoint, harmony, serial For complete information The audition consists of three and set theory procedures, regarding audition requirements parts. First, a three-hour instrumentation, and two short and application information examination in dictation, composition exercises. Second, and deadlines, please contact counterpoint, harmony, serial there is Composition Project the Office of Admission and set theory procedures, assigned during the examination. and Financial Aid. instrumentation, and two short Applicants must complete composition exercises. Second, the project according to the GRADUATION REQUIREMENT: Thesis there is Composition Project instructions given and bring four During the final year, each student assigned during the examination. copies of the finished project must complete an orchestral Applicants must complete with them to their interview. piece in the first semester. It the project according to the Third, applicants meet with the is submitted to the Faculty for instructions given and bring four Composition Faculty in a private possible inclusion in a public copies of the finished project interview of approximately 15 concert at the School in the with them to their interview. minutes, during which they second semester. Graduation is Third, applicants meet with the will present their completed contingent upon the Faculty’s Composition Faculty in a private Composition Project followed acceptance of this work. interview of approximately 15

Return to Table of Contents Composition 29 minutes, during which they and deadlines, please contact PROFESSIONAL will present their completed the Office of Admission Composition Project followed and Financial Aid. STUDIES by works from their portfolio. CERTIFICATE Applicants should bring four GRADUATION REQUIREMENT: Thesis PROGRAM bound copies of their scores For information regarding this program During the final year, each student to the interview, along with of study, see p. 71. recording of the works they wish must complete an orchestral to present in electronic format piece in the first semester. It (via laptop, cell phone, notepad, or is submitted to the Faculty for DOCTOR OF CD). It is advised that composers possible inclusion in a public MUSICAL ARTS bring their recordings in more concert at the School in the For information regarding doctoral than one electronic format. second semester. Graduation is studies, see p. 77. contingent upon the Faculty’s For Complete information acceptance of this work. regarding audition requirements and application information

COMPOSITION FACULTY J. Mark Stambaugh, Chair Reiko Fueting Susan Botti Marjorie Merryman

RELATED COMPOSITION STUDIES FACULTY David Adamcyk, Electronic and Computer Music Walter Hilse, Homophonic and Polyphonic Forms Hayes Biggs, Senior Form and Analysis David Macdonald, Instrumentation/Orchestration Susan Botti, Composition for Non-Majors, J. Mark Stambaugh, Operatic Analysis and Composing for the Voice Composition, Graduate Form and Analysis Reiko Fueting, Composition Forum, Instrumentation/ Orchestration, Score Reading

PREREQUISITES Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents 30 Composition BACHELOR OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Instrumentation/Orchestration CP0131-0132, CP0231-0232, CP0331-0332 1 1 1 1 1 1 Form and Analysis* CP0421-0422 2 2 Homophonic/Polyphonic Forms* CP0341-0342 3 3 Electronic Music CP1720-1730 2 2 Piano Minor** RP0350 2 2 2 2 Choral and Orchestral Conducting CD0111-0112, CD0211-0212 2 2 2 2 Practical Foundations ME1500 2 Choir VX0050 .5 .5 .5 .5 Composition Forum CP1999 1 1 1 1 1 1 1 1 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 TOTAL: 140 17.5 17.5 16.5 16.5 18 18 19 17 *These courses are offered in alternate years; check with the Registrar’s Office for current course offerings. **Other minor instruments in lieu of piano must be approved by the Composition Department Chair and the Dean of Academic Operations.

MASTER OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Form and Analysis* CP2171-2172 3 3 Electronic Music CP2600-2601 2 2 Score Reading Seminar CP2181-2182 2 2 Advanced Instrumentation CP2201-2202 2 2 Music History Electives MH1000-2999 3 3 Graduate Electives 2 2 6 6 Composition Forum CP1999 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 TOTAL: 64 17 17 15 15 *This course is offered in alternate years; check with the Registrar’s Office for current course offerings.

Return to Table of Contents Composition 31 CONDUCTING The conducting program provides highly selective, allowing each Admission specialized programs for graduate student extensive experience For complete information students who intend to become with MSM ensembles. regarding admission requirements professional conductors, and and application information, courses for undergraduates who please contact the Office of wish to develop the skills and GRADUATE Master of Music degree program Admission and Financial Aid. sensitivities required for many musical disciplines. The Masters GRADUATION REQUIREMENTS programs in orchestral conducting DOCTOR OF Graduation Jury: A Graduation and in choral conducting are MUSICAL ARTS Recital/project as determined For information regarding doctoral by the individual faculty advisor studies, see p. 77. and the student

CONDUCTING FACULTY George Manahan, Director of Orchestral Activities Kent Tritle, Director of Choral Activities Maureen Hynes Ronald Oliver

PREREQUISITES Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents 32 Conducting MASTER OF MUSIC/CHORAL CONDUCTING MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Advanced Choral Conducting CD2911-2912 2 2 Advanced Orchestral Conducting CD2011-2012 2 2 German for Singers GR2101-2102 2 2 English for Singers EN2101-2102 2 2 Score Reading Seminar CP2181-2182 2 2 Graduate Form Analysis CP2171-2172 3 3 Chorale Repertoire CD2931-2932 2 2 Electives 2 2 Music History Electives MH1000-2999 3 3 Symphonic Chorus/Chamber Choir VX0060 1 1 1 1 Concert Attendance CA1000 0 0 Jury or Adjudicated Performance 0 0 TOTAL: 64 17 17 15 15

MASTER OF MUSIC/ORCHESTRAL CONDUCTING MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Conductor’s Orchestra CS2010 3 3 3 3 Orchestral Music: Baroque/Classical MH2610 3 Orchestral Music: Beethoven/Present MH2620 3 Score Reading Seminar CP2181-2182 2 2 Graduate Form Analysis CP2171-2172 3 3 Orchestration CP2201-2202 2 2 Graduate Electives 3 2 2 Orchestral Entrepreneuship ME1600 OP 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury or Adjudicated Performance 0 0 TOTAL: 61 16 17 14 14

Return to Table of Contents Conducting 33 CONTEMPORARY PERFORMANCE The Contemporary Performance Program; however, applicants • One recent work. This Program at MSM is a vibrant must submit a contemporary work should demonstrate community of graduate students repertoire sheet as part of their the applicant’s knowledge who are passionate about the initial application. of recent music. It may music of our time. Our students include electronics and/or receive detailed instruction in Applicants to the Contemporary improvisation, and should various aspects of contemporary Performance Program are show mastery of significant classical music performance, and welcome to audition with pieces technical and artistic enter the profession as experts in that utilize piano accompaniment, challenges. Suggested the field. The program features electronics, complex percussion timeframe: 2000-present private instruction, group classes, setups, and extended piano composer collaborations, and techniques. We will be happy Special Needs for Auditions groundbreaking performances to provide equipment and support for the unique demands For those whose audition with MSM’s premier repertoire requires piano contemporary ensemble, of this repertoire to the extent of our ability. Please contact accompaniment, it is highly Tactus. The curriculum includes recommended that you classes tailored to the specific the Office of Admissions for more information provide your own pianist for needs of the contemporary your audition. If this presents performing musician. logistical problems, pianists will Audition Requirements be available who are experienced • One work from the standard with contemporary music GRADUATE classical repertoire that Master of Music degree program collaborations. Please consult demonstrates the applicant’s with Margaret Kampmeier to technical and musical Audition Information arrange for this professional proficiency. Suggested service. If the audition includes Applicants are encouraged timeframe: Pre-1900 works involving electronics, to audition in person. If this • One work by an established please inform the Office of is not possible, the applicant composer from the standard Admission and Financial may submit a high quality contemporary classical Aid of setup and sound- video recording. All auditions repertoire. This work check requirements. include an oral interview. In should demonstrate the the case of a recorded audition, applicant’s familiarity with the interview takes place via contemporary techniques GRADUATION REQUIREMENTS telephone or Skype. There is no and understanding Recital pre-screen requirement for the of style. Suggested Graduation Jury Contemporary Performance timeframe: 1900-2000

Return to Table of Contents 34 Contemporary Performance CURRICULUM OVERVIEW SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Instrument Seminar CT6000 4 4 4 4 Composer Reading/Workshop CT1999 1 1 1 1 Contemporary Ensemble CT1071 2 2 2 2 Contemporary Musicianship CT2200 2 2 Performing with Electronics CT2700 2 Contemporary Music Survey: 1900-1960 CT1960 * 3 Contemporary Music Survey: 1960-present CT1961 * 3 Composer/Performer Project CT1700 1 1 Advanced Practicum Entreprenuership ME2001 2 Independent Study IS1999 2 Graduate Electives 4 2 Graduate Theory Electives TH2000-2999 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 Graduation Recital/Lecture Presentation 0 TOTAL: 54 14 12 14 14 * This course is offered in alternative years.

CONTEMPORARY PERFORMANCE FACULTY Margaret Kampmeier, Department Chair Curtis Macomber, Violin Robert Black, Bass Dave Cossin, Percussion David Adamcyk, Survey of Contemporary Music Tara Helen O’Connor, Flute Anthony de Mare, Piano Christopher Oldfather, Piano/Harpsichord Danielle Farina, Viola Todd Reynolds, Violin, Electronics John Ferrari, Percussion Lucy Shelton, Voice Jon Klibonoff, Coach Fred Sherry, Cello David Krakauer, Clarinet James Austin Smith, Oboe Michael Lowenstern, Bass Clarinet Return to Table of Contents Contemporary Performance 35 GUITAR The programs of study for Guitar of the program of study. This GRADUATION REQUIREMENTS majors are designed to develop evaluation will determine whether Graduation Jury skilled performers who are or not the student may continue Graduation Recital thoroughly acquainted with the in that program. Repertoire will All graduate Guitar majors must history, literature, and pedagogy be determined by the teacher. perform their Graduation Jury of the guitar. Guitar majors must before the departmental faculty in demonstrate their advancing Repertoire for juries in non- graduating years will be May of their final year study. The musical abilities and knowledge program for both the Graduation of solo and chamber music determined by the teacher and the student. Jury and the Graduation Recital repertoire through participation must include the same works. in performance classes and ensembles. All students are GRADUATION REQUIREMENTS required to fulfill their Ensemble Graduation Jury PROFESSIONAL Graduation Recital Requirement as outlined in their STUDIES course sequence plans and as All undergraduate Guitar majors assigned by the School. must perform their Graduation CERTIFICATE Jury before the departmental PROGRAM faculty in May of their final year For information regarding this program UNDERGRADUATE of study, see p. 71. Bachelor of Music degree program study. The program for both Diploma program the Graduation Jury and the Graduation Recital must include DOCTOR OF Audition Requirements the same works. MUSICAL ARTS For complete information For information regarding doctoral regarding audition requirements GRADUATE studies, see p. 77. and application information, Master of Music degree program please contact the Office of Postgraduate Diploma program Admission and Financial Aid. Audition Requirements There will be a “sophomore continuation jury” at the end of For complete information the sophomore year to establish regarding audition requirements that a student’s progress has been and application information, sufficient to ensure completion please contact the Office of Admission and Financial Aid.

GUITAR FACULTY David Leisner, Department Chair Mark Delpriora Oren Fader David Starobin

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871, 0872 Fretboard Harmony GT0511, 0512, 0611, 0612

Return to Table of Contents 36 Guitar BACHELOR OF MUSIC/GUITAR MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Fretboard Harmony GT0511-0512, GT0611-0612 1 1 1 1 Guitar Literature GT0111-0112, GT0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Guitar Pedagogy GT0411-0412 1 1 Guitar Performance Seminar GT0999 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 1 Choir VX0050 .5 .5 .5 .5 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 125 16.5 17.5 16.5 16.5 15 13 15 15 *The minimum Chamber Music requirement consists of 7 semesters of ensemble, 2 of which must be Guitar ensemble. Guitar ensemble requests beyond sophomore first semester require faculty approval.

MASTER OF MUSIC/GUITAR MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Guitar History and Literature GT2151-2152 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 3 3 Guitar Performance Seminar GT2999 3 3 3 3 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 56 14 14 14 14 *The minimum Chamber Music requirement consists of 4 semesters of ensemble. Guitar ensemble requests require faculty approval.

Return to Table of Contents Guitar 37 HARP The programs of study for or not the student may continue All graduate Harp majors must Harp majors are designed to in that program. Repertoire will perform their Graduation Jury develop skilled performers be determined by the teacher. before the departmental faculty who are familiar with the in May of their final year of standard solo, ensemble, and Repertoire for juries in non- study. The program for both orchestral literature for the graduating years will be the Graduation Jury and the instrument. Students must determined by the teacher Graduation Recital, performed demonstrate a high degree of and the student. from memory, must consist of professional competence and the same works, including one appropriate stylistic approaches GRADUATION REQUIREMENTS classical and one contemporary to the literature of various Graduation Jury work. Students must be prepared historical periods. All students Graduation Recital to perform orchestral excerpts at are required to fulfill their All undergraduate Harp majors the Graduation Jury. Ensemble Requirement as must perform their Graduation outlined in their course sequence Jury before the departmental plans and as assigned by the faculty ­in May of their final year PROFESSIONAL Performance Office. of study. The program for both STUDIES the Graduation Jury and the CERTIFICATE UNDERGRADUATE Graduation Recital, performed PROGRAM Bachelor of Music degree program from memory, must consist of For information regarding this program Diploma program the same works, including one of study, see p. 71. classical and one contemporary Audition Requirements work. Students must be prepared to perform orchestral excerpts at DOCTOR OF For complete information the Graduation Jury. MUSICAL ARTS regarding audition requirements For information regarding doctoral and application information, studies, see p. 77. please contact the Office of GRADUATE Admission and Financial Aid. Master of Music degree program Postgraduate Diploma program There will be a “sophomore continuation jury” at the end of Audition Requirements the sophomore year to establish that a student’s progress has been For complete information sufficient to ensure completion regarding audition requirements of the program of study. This and application information, evaluation will determine whether please contact the Office of Admission and Financial Aid.

HARP FACULTY Mariko Anraku Susan Jolles

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents 38 Harp BACHELOR OF MUSIC/CLASSICAL HARP MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Harp HR0151-0152 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Harp Lab HR0451-0452 1 1 1 1 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 1 1 1 1 Chamber Music SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 132 17 17 17 17 17 15 16 16

MASTER OF MUSIC/CLASSICAL HARP MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire for Harp HR2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Elective TH2000-2999 2 2 Graduate Electives 2 2 Harp Lab HR2451-2452 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 Chamber Music SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 13 13 14 14

Return to Table of Contents Harp 39 JAZZ ARTS The programs of study for There will be a “sophomore GRADUATE Jazz majors are designed to continuation jury” at the end of Master of Music degree program develop skilled performers, the sophomore year to establish Postgraduate Diploma program composers, and arrangers in that a student’s progress has been preparation for careers in jazz sufficient to ensure completion Audition Requirements music. Students who wish to of the program of study. This enter these degree programs evaluation will determine whether For complete information are expected to demonstrate or not the student may continue regarding audition requirements the same level of proficiency in in that program. Repertoire and application information, musical skills which Manhattan will be determined by the please contact the Office of School of Music requires of its Jazz Arts Program. Admission and Financial Aid. other degree candidates. All students are required to fulfill Repertoire for juries in GRADUATION REQUIREMENTS their Ensemble Requirement as non-graduating years will Graduation Recital outlined in their course sequence be determined by the Jazz Arts Program. All graduate Jazz majors plans and as assigned by the must perform an adjudicated Assistant Dean for Jazz. Graduation Recital before the GRADUATION REQUIREMENTS departmental faculty in their final Graduation Recital UNDERGRADUATE year of study. The program for Bachelor of Music degree program All undergraduate Jazz majors the Graduation Recital must be Diploma program must perform an adjudicated approved by the major teacher. Graduation Recital in their final Audition Requirements year of study. The program for the Graduation Recital must be For complete information approved by the major teacher. regarding audition requirements and application information, please contact the Office of Admission and Financial Aid.

PREREQUISITES Jazz Ear Training JC2201, 2202 Jazz History MH0101, 0102, 0103, 0104 Jazz Required Piano JC0171, 0172, 0181, 0182 (except for piano majors)

Return to Table of Contents 40 Jazz Arts BACHELOR OF MUSIC/JAZZ PERFORMANCE (EXCEPT PIANO) PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Jazz Ear Training JC0111-0114 2 2 2 2 Jazz Required Piano JC0171-0172, JC0181-0182 1 1 1 1 Jazz Music History MH0101-0106 2 2 2 2 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Jazz Improvisation JP2500 2 2 2 2 Arranging & Composition JC0511-0512 2 2 Rhythmic Analysis JC0301-0302 2 2 Studio Techniques JC1811 2 General Electives 4 6 Practical Foundations ME1500 2 Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Graduation Recital (2 adjudications) 0 TOTAL: 130 17 17 17 17 15 15 17 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Assistant Dean for Jazz

Return to Table of Contents Jazz Arts 41 BACHELOR OF MUSIC/JAZZ PIANO PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Jazz Ear Training JC0111-0114 2 2 2 2 Jazz Music History MH0101-0106 2 2 2 2 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Jazz Piano Perspectives JC2161-2162 2 2 Humanities Electives HU0500-1999 3 3 3 3 Jazz Improvisation JP2500 2 2 2 2 Arranging & Composition JC0511-0512 2 2 Rhythmic Analysis JC0301-0302 2 2 Studio Techniques JC1811 2 General Electives 2 2 2 4 Practical Foundations ME1500 2 Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Graduation Recital (2 adjudications) 0 TOTAL: 130 18 18 16 16 17 17 15 13 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Assistant Dean for Jazz

MASTER OF MUSIC/JAZZ PERFORMANCE (EXCEPT PIANO) PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Styles and Analysis JC2321-2322 2 2 Graduate Jazz Arranging and Composition JC2111-2112 2 2 Jazz Pedagogy JC2410 2 Jazz Musician as Educator JC2360 2 Advanced Jazz Improvisation JP2500 2 2 2 2 Masters of Jazz Seminar JC2501-2502 2 2 Jazz Performance Ensembles** JP1500 2 2 2 2 General Electives 4 4 Concert Attendance CA1000 0 0 Jury 0 Graduation Recital 0 TOTAL: 60 15 15 15 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Jazz Arts Department. In large ensembles, Saxophone majors may be assigned to play a saxophone other than their principal instrument.

Return to Table of Contents 42 Jazz Arts MASTER OF MUSIC/JAZZ PIANO PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Styles and Analysis JC2321-2322 2 2 Graduate Jazz Arranging and Composition JC2111-2112 2 2 Jazz Pedagogy JC2410 2 Jazz Musician as Educator JC2360 2 Advanced Jazz Improvisation JP2500 2 2 2 2 Masters of Jazz Seminar JC2501-2502 2 2 Jazz Performance Ensembles** JP1500 2 2 2 2 General Electives 4 4 Concert Attendance CA1000 0 0 Jury 0 Graduation Recital 0 TOTAL: 60 15 15 15 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Jazz Arts Department. In large ensembles, Saxophone majors may be assigned to play a saxophone other than their principal instrument.

MASTER OF MUSIC/JAZZ COMPOSITION PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Composition Styles & Analysis JC2321-2322 2 2 Graduate Jazz Conducting JC2400 2 Advanced Studio Composition JC1911-1912 3 3 Jazz Composing and Arranging for Studio Orchestra JC2241-2242 2 2 Masters of Jazz Seminar JC2501-2502 2 2 General Electives 4 2 4 4 Jazz Composition Forum JC1999 1 1 1 1 Concert Attendance 0 0 Jury 0 Graduation Recital 0 TOTAL: 58 14 14 15 15 Please note: Composition students may be assigned to ensembles as required by the Jazz Arts Department.

Return to Table of Contents Jazz Arts 43 JAZZ ARTS FACULTY Stefon Harris, Associate James Saltzman Elio Villaframca Dean and Director Elio Villafranca Scott Wendholt Michele Wright, Theo Bleckmann Associate Director Improvisation Jo Lawry Acoustic Bass Marc Cary Chris Rosenberg Jay Anderson Chris Rosenberg Damien Sneed Ron Carter Matthew Holman Miguel Zenon Harvie S Jeremy Manisia Kendrick Scott Buster Williams Mingus Ensemble Jaleel Shaw Afro-Cuban Music Frank Lacy Harvie S. Arturo O’Farrill Jon Faddis Piano Elio Villafranca Marc Cary Brazilian Music Jeremy Manasia Trombone Rogério Boccato Phil Markowitz Marshall Gilkes Ted Rosenthal David Taylor Composition Damien Sneed Steve Turre Miguel Zenon Joan Stiles Trumpet Edward Green Elio Villafranca Mike Holober (leave 2019-2020) Jon Faddis Arturo O’Farrill Saxophone Ingrid Jensen Richard Sussman David Liebman (leave Fall 2019) Anthony Kadleck Vincent Herring Scott Wendholt Drumset Donny McCaslin Violin John Riley Jaleel Shaw Regina Carter Kendrick Scott Gary Smulyan Sara Caswell Flute Dayna Stephens Voice Jamie Baum Small Ensemble Jean Baylor Guitar Buster Williams Theo Bleckmann Chris Rosenberg Rogerio Boccato Jo Lawry Jack Wilkins Richard Sussman Marc Cary Vibraphone History Jeremy Manasia Joe Locke Damien Sneed Phil Markowitz Bill Kirchner Ted Rosenthal

Return to Table of Contents 44 Jazz Arts MUSICAL THEATRE Manhattan School of Music, performing including directing, Audition Requirements Musical Theatre is passionate choreographing, writing, and For complete information about the next generation of composing. Devoted to musical regarding audition requirements musical theatre artists. We theatre past, present and future and application information, offer rigorous training in acting, we provide our students with please contact the Office of singing and dancing taught by a opportunities to investigate the Admission and Financial Aid. stellar faculty of artist-educators. classic and contemporary canon. Embracing individuality we honor At MSM students learn to manage each student’s artistic journey their careers and negotiate GRADUATION REQUIREMENTS by providing opportunities the challenges of a highly Successful completion to investigate areas beyond competitive field. of all courses.

MUSICAL THEATRE FACULTY Liza Gennaro, Associate Randy Graff Skills Faculty Dean and Director Yehuda Hyman Andrew Gerle David Loud Voice Faculty Judith Clurman Robin Morse Blake Segal Claudia Catania Erin Dilly Elmore Cisco James Jr. Judith Clurman Or Matias David Cady Andrea Green Laura Sametz Samuel McKelton Dance Faculty Bob Stillman Technical Theatre Faculty Enrique Brown Sue Makkoo Acting/ Acting the Song Faculty Marshall L. Davis Jr. Scott Stauffer Rachel Tucker Mana Allen Shawn Kauffman Andy Gale Nate Bertone Boyd Gaines

Return to Table of Contents Musical Theatre 45 BACHELOR OF MUSIC/MUSICAL THEATRE SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Studio Voice MT4000 1 1 1 1 2 2 2 3 Music Theory MT0550-0551 3 3 Humanities Core HU0001-0004 3 3 3 3 Humanities Elective HU 3 3 Required Piano RP0111-0112 1 1 Musical Theatre Performance Technique I MT0010 2 Musical Theatre Performance Technique II MT0011 2 Acting the Song I MT0012 3 Acting the Song II MT0013 3 Scene to Song MT0014 3 0 Acting 1 - Meisner MT0001 3 Acting 2 - Meisner MT0002 3 Acting 3 - Meisner MT0003 3 Acting 4 - Devised Acting MT0004 2 Acting 5 - Scene Study & Repertory MT0005 3 Acting 6 - Scene Study & Monologue MT0006 3 Acting 7 - Advanced Acting MT0007 3 Ballet / Tap MT0100-0101/MT0120-0121 2 2 2 2 Intro to Professional/Technical Theatre MT0200-0201 1 1 History of Musical Theatre MT0500-0501 3 3 Speech MT0300-0301 2 2 General Electives 2 2 4 4 Audition Techniques MT0015 3 Senior Showcase 2 2 Musical Theatre Lab MT0016 3 Musical Theatre Dance MT0110-0113 2 2 2 2 Ensemble Voice MT0350-0351 1 1 Career Development (CME) MT1600 2 Concert Attendance CA0100 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Rehearsal and Performance MT1500 0 0 0 0 0 0 0 0 TOTAL: 131.5 CREDITS 16 16 18 17 15 17 13 14 NOTE: Seniors priortized for directing elective only. All other electives, first come, first serve Juniors & Seniors Students wishing to take Meisner (Acting I,II, III) must receive Department Chairperson permission.

Return to Table of Contents 46 Musical Theatre ORCHESTRAL PERFORMANCE The graduate program in Metropolitan Opera Orchestra, GRADUATE Orchestral Performance New York City Opera and Ballet Master of Music degree is designed to offer skilled Orchestras, Orpheus Chamber Postgraduate Diploma Program performers definitive training Orchestra, and the Orchestra Professional Studies and preparation for careers as of St. Luke’s. Certificate Program symphonic players. The program includes extensive orchestral Audition Requirements performing experience and an orchestral curriculum taught For complete information by the concertmaster and regarding audition requirements principal players of the New York and application information, Philharmonic, members of the please contact the Office of Admission and Financial Aid.

ORCHESTRAL PERFORMANCE FACULTY Glenn Dicterow, Program Chair Oboe Trumpet Violin Robert Botti Ethan Bensdorf Stephen Taylor Billy Ray Hunter Glenn Dicterow David Krauss Lisa Kim Clarinet Thomas Smith Viola Pascual Martinez-Forteza Anthony McGill Trombone Karen Dreyfus Per Brevig Craig Mumm Bassoon David Finlayson Violoncello Kim Laskowski Stephen Norrell Judith LeClair Alan Stepansky Colin Williams Frank Morelli Qiang TuBass Roger Nye Tuba Timothy Cobb William Short Kyle Turner Orin O’Brien Horn Percussion Harp Michelle Read Baker Christopher Lamb Mariko Anraku Richard Deane Duncan Patton Susan Jolles Javier Gandara Flute David Jolley Robert Langevin R. Allen Spanjer

Return to Table of Contents Orchestral Performance 47 MASTER OF MUSIC/ORCHESTRAL PERFORMANCE MAJOR EXCEPT PERCUSSION, DOUBLE BASS, AND HARP SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire Coaching OP2351-2352, 2451-2452 1 1 1 1 Orchestral Music: Baroque to Classical MH2610 3 Orchestral Music: Beethoven to the Present MH2620 3 The Musician as Educator OP2251 1 Graduate Electives 2 3 3 Chamber Sinfonia Core OP1200 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 Chamber Music SP1500 1 1 1 1 Orchestral Entrepreneurship ME1600 2 Concert Attendance CA1000 0 0 Jury 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 53 13 14 14 12

MASTER OF MUSIC/ORCHESTRAL PERFORMANCE MAJOR PERCUSSION ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire Coaching OP2351-2352, 2451-2452 1 1 1 1 Orchestral Music: Baroque to Classical MH2610 3 Orchestral Music: Beethoven to the Present MH2620 3 The Musician as Educator OP2251 1 Graduate Electives 2 3 3 Chamber Sinfonia Core OP1200 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 Percussion Ensemble SP1500 1 1 1 1 Orchestral Entrepreneurship ME1600 2 Concert Attendance CA1000 0 0 Percussion Lab PK2451-2452 2 2 2 2 Jury 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 61 15 16 16 14

Return to Table of Contents 48 Orchestral Performance MASTER OF MUSIC/ORCHESTRAL PERFORMANCE MAJOR DOUBLE BASS AND HARP ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire Coaching OP2351-2352, 2451-2452 1 1 1 1 Orchestral Music: Baroque to Classical MH2610 3 Orchestral Music: Beethoven to the Present MH2620 3 The Musician as Educator OP2251 1 Graduate Electives 2 3 6 Chamber Sinfonia Core OP1200 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 Orchestral Entrepreneurship ME1600 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 Graduation Jury 0 TOTAL: 61 15 16 16 14

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871-0872

Return to Table of Contents Orchestral Performance 49 ORGAN The programs of study for GRADUATE All graduate Organ majors must Organ majors are designed Master of Music degree program perform their Graduation Jury to develop skilled prformers Postgraduate Diploma program before the departmental faculty­ with a knowledge of organ in May of their final year of design, history, literature, and Audition Requirements study. The program for both performance practices. All the Graduation Jury and the students are required to fulfill For complete information Graduation Recital must include their Ensemble Requirement regarding audition requirements the same works. as outlined in their course and application information, sequence plans and as please contact the Office of assigned by the School. Admission and Financial Aid. PROFESSIONAL STUDIES GRADUATION REQUIREMENTS First Year Recital CERTIFICATE Graduation Jury PROGRAM Graduation Recital For information regarding this program of study, see p. 71. In addition to the recitals, graduate Organ majors are expected to present a Special DOCTOR OF Project related directly to MUSICAL ARTS the instrument. For information regarding doctoral studies, see p. 77.

ORGAN FACULTY Andrew Henderson, Acting Chair Walter Hilse Raymond Nagem Kent Tritle

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0870, 0871-0872

Return to Table of Contents 50 Organ MASTER OF MUSIC/ORGAN MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 Organ Performance Class OR2001-2002 1 1 1 1 Organ Improvisation OR2311-2312 1 1 Organ Literature OR2211-2212 2 2 Service Playing OR2410-2411 2 2 Choral Conducting CD2911-2912 2 2 Choral Repertoire OR2931-2932 2 2 Concert Attendance CA1000 0 0 Jury 0 0 First Year Recital 0 Graduation Recital 0 TOTAL: 62 16 16 15 15

Return to Table of Contents Organ 51 PERCUSSION The programs of study for that a student’s progress has been GRADUATION REQUIREMENTS Percussion majors are designed sufficient to ensure completion Graduation Jury to develop performers with of the program of study. This Graduation Recital strong fundamental skills and evaluation will determine All graduate Percussion majors sophisticated musicianship, whether or not the student must perform their Graduation who can apply these skills to may continue in that program. Jury before the departmental any musical setting: orchestral, Repertoire will be determined faculty in May of their solo, chamber, commercial, or by the teacher. Repertoire for final year of study. nontraditional. Students must juries in non-graduating years demonstrate a high degree of will be determined by the teacher professional competence and and the student. PROFESSIONAL appropriate stylistic approaches STUDIES to the literature of various GRADUATION REQUIREMENTS historical periods. All students are Graduation Jury CERTIFICATE required to fulfill their Ensemble Graduation Recital PROGRAM Requirement as outlined in their For information regarding this program course sequence plans and as All undergraduate Percussion of study, see p. 71. assigned by the School. majors must perform their Graduation Jury before the departmental faculty in May of DOCTOR OF UNDERGRADUATE their final year of study. MUSICAL ARTS Bachelor of Music degree program For information regarding doctoral Diploma program studies, see p. 77. GRADUATE Audition Requirements Master of Music degree program and Postgraduate Diploma program For complete information regarding audition requirements Audition Requirements and application information, please contact the Office of For complete information Admission and Financial Aid. regarding audition requirements and application information, There will be a “sophomore please contact the Office of continuation jury” at the end of Admission and Financial Aid. the sophomore year to establish

PERCUSSION FACULTY Christopher Lamb, Department Chair Duncan Patton She-e Wu, Marimba Consultant Kyle Zerna Mike Perdue & Jude Traxler, Percussion Ensemble

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents 52 Percussion BACHELOR OF MUSIC/PERCUSSION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH0500-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Percussion Lab PK0451-0452 1 1 1 1 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 1 1 1 1 Percussion Ensemble SP1500 1 1 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Technical Examination 0 0 Graduation Recital 0 TOTAL: 126 18 18 17 17 15 13 14 14

MASTER OF MUSIC/PERCUSSION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 3 3 Percussion Lab PK2451-2452 2 2 2 2 Large Performing Ensemble LP1500 1 1 1 1 Percussion Ensemble SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 52 12 12 14 14

Return to Table of Contents Percussion 53 PIANO The programs of study for or not the student may continue GRADUATION REQUIREMENTS Piano majors are designed to in that program. Repertoire will Concerto Requirement develop skilled performers be determined by the teacher. Graduation Recital familiar with piano repertoire, All graduate Piano majors must performance practices, and Repertoire for juries in non-graduating years must perform from memory a standard interpretive traditions. Private concerto in its entirety before lessons, coursework, and master include works from at least three style periods­. a faculty jury in the second classes emphasize performance year of study. In addition, they in all styles. All students are must perform an adjudicated GRADUATION REQUIREMENTS required to fulfill their Ensemble Graduation Recital in their Junior Concerto Requirement Requirement as outlined in their final year of study. The program, Graduation Recital course sequence plans and as performed from memory, must assigned by the School. All undergraduate Piano majors include works from at least three must perform from memory a style periods and at least one work UNDERGRADUATE standard concerto in its entirety written during the last 75 years. Bachelor of Music degree program before a faculty jury. In addition, Students must be enrolled Diploma program they must perform an adjudicated Graduation Recital in their for major lessons during the semester they complete their Audition Requirements final year of study. The program, performed from memory, must performance requirements. For complete information include works from at least three regarding audition requirements style periods and at least one work and application information, written during the last 75 years. PROFESSIONAL please contact the Office of STUDIES Admission and Financial Aid.. CERTIFICATE GRADUATE There will be a “sophomore Master of Music degree program PROGRAM continuation jury” at the end of Postgraduate Diploma program For information regarding this program the sophomore year to establish of study, see p. 71. that a student’s progress has been Audition Requirements sufficient to ensure completion of the program of study. This For complete information DOCTOR OF evaluation will determine whether regarding audition requirements MUSICAL ARTS and application information, For information regarding doctoral please contact the Office of studies, see p. 77. Admission and Financial Aid.

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871, 0872 Keyboard Techniques PN0861, 0862

Return to Table of Contents 54 Piano BACHELOR OF MUSIC/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Piano Sight Reading PN0141-0142 1 1 Keyboard Skills PN0151-0152, PN0251-0252 2 2 1 1 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Electives 2 2 Practical Foundations ME1500 2 Conducting (Choral or Orchestral) CD0111-0112; CD0211-0212 2 2 Piano Literature PN0411-0412 2 2 Piano Pedagogy PN0421-0422 2 2 Choir VX0050 .5 .5 .5 .5 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Concerto Requirement (adjudicated) PN0500 0 Graduation Recital (adjudicated) 0 TOTAL: 124 15.5 15.5 15.5 15.5 18 16 14 14 *As assigned by the Ensembles Office

Return to Table of Contents Piano 55 MASTER OF MUSIC/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 4 4 Piano Literature PN2021-2022, 2031-2032 2 2 2 2 Chamber Music* SP1500 1 1 Concert Attendance CA1000 0 0 Jury 0 Concerto Requirement PN2200 0 Graduation Recital 0 TOTAL: 52 12 12 14 14 *As assigned by the Ensembles Office

PIANO FACULTY Marc Silverman, Department Chair Phillip Kawin Inesa Sinkevych Arkady Aronov Olga Kern Nina Svetlanova Yefim Bronfman Solomon Mikowsky William Wolfram, Piano Seminar Jeffrey Cohen Alexandre Moutouzkine Daniel Epstein Joanne Polk Horatio Gutiérrez André-Michel Schub

Return to Table of Contents 56 Piano STRINGS VIOLIN, VIOLA, VIOLONCELLO, AND DOUBLE BASS The programs of study for Repertoire requirements for GRADUATION REQUIREMENTS String majors are designed to each year in School and for each Graduation Jury develop skilled performers in instrument are published in the Graduation Recital all areas of string technique String Department Handbook, All graduate String majors must playing. All students are required available from the Department perform their Graduation Jury to fulfill their Ensemble Chair or on the MSM before the departmental faculty­ Requirement as outlined in their String web page. during scheduled Graduation course sequence plans and as Jury periods in the final year of assigned by the School. GRADUATION REQUIREMENTS study. The program for both Graduation Jury the Graduation Jury and the UNDERGRADUATE Graduation Recital Graduation Recital must include Bachelor of Music degree program All undergraduate String majors the same works. Diploma program must perform their Graduation Jury before the departmental Audition Requirements faculty during scheduled PROFESSIONAL For complete information Graduation Jury periods in the STUDIES regarding audition requirements final year of study. The program CERTIFICATE and application information, for both the Graduation Jury PROGRAM please contact the Office of and the Graduation Recital must For information regarding this program Admission and Financial Aid.. include the same works. of study, see p. 71. There will be a “sophomore continuation jury” at the end of GRADUATE DOCTOR OF Master of Music degree program the sophomore year to establish MUSICAL ARTS that a student’s progress has been Postgraduate Diploma program For information regarding doctoral sufficient to ensure completion studies, see p. 77. of the program of study. This Audition Requirements evaluation will determine whether For complete information or not the student may continue regarding audition requirements in that program. and application information, please contact the Office of Admission and Financial Aid.

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents Strings 57 BACHELOR OF MUSIC/STRING MAJOR VIOLIN, VIOLA, AND CELLO SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 124 16 16 16 16 16 14 15 15 *All string players must participate in orchestra every semester until completion of the graduation jury; in addition, a minimum of 6 semesters of chamber music must be completed as assigned by the Ensembles Office. **Students in the Zuckerman Program register for OP1500 in place of LP1500.

Return to Table of Contents 58 Strings BACHELOR OF MUSIC/STRING MAJOR DOUBLE BASS ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music*** SP1500 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Half or Full Graduation Recital 0 TOTAL: 120 16 16 15 15 15 13 15 15 *All string players must participate in orchestra every semester until completion of the graduation jury; **Students in the Zuckerman Program register for OP1500 in place of LP1500. ***double bass majors must also complete two semesters of chamber music.

Return to Table of Contents Strings 59 MASTER OF MUSIC/STRING MAJOR VIOLIN, VIOLA, AND CELLO ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire for Strings ST2051-2052, 2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital*** 0 TOTAL: 50 12 12 13 13 *All string players must participate in orchestra every semester until completion of the graduation jury; in addition, except for doublebass, a minimum of 4 semesters of chamber music must be completed as assigned by the Ensembles Office. **Students in the Zuckerman Program register for OP1500 in place of LP1500. *** Required of all graduate string majors.

MASTER OF MUSIC/STRING MAJOR DOUBLE BASS ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire for Strings ST2051-2052, 2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital*** 0 TOTAL: 50 13 13 12 12 *All string players must participate in orchestra every semester until completion of the graduation jury. **Students in the Zuckerman Program register for OP1500 in place of LP1500. *** Required of all graduate string majors.

Return to Table of Contents 60 Strings PINCHAS ZUKERMAN PERFORMANCE PROGRAM The internationally acclaimed Audition Requirements Violinists and violists accepted violinist and conductor Pinchas For complete information into the Pinchas Zukerman Zukerman accepts a limited regarding audition requirements Performance Program have number of exceptionally and application information, the following options as a gifted violinists and violists as please contact the Office of course of study: private students at Manhattan Admission and Financial Aid. 1. School of Music each year. Pre-college students must This program, under Mr. enroll in an accredited high Zukerman’s supervision, is GRADUATION REQUIREMENTS school approved by Manhattan devoted to the artistic and School of Music. Violin technical development of these 2. Students with an earned Graduation Jury talented students. high school diploma Graduation Recital Mr. Zukerman works intensively are eligible to enter the Violinists must prepare a full with each student approximately following MSM programs: recital program representing six times per semester for a a. Bachelor of Music three style periods, including total of twelve private lessons degree program a 20th-century work. An throughout the academic year. b. Diploma program unaccompanied work of Bach In addition, weekly lessons c. Special Student status with and a complete concerto with are taught to the Zukerman an emphasis on instrumental cadenzas (which may be part class by Patinka Kopec, who study (one-year program; of the recital program, if so has been personally selected student is non-matriculated desired) are optional. by Mr. Zukerman to be his and must petition for a sole teaching associate and the second year of study) Viola program coordinator. 3. Students with an earned Graduation Jury Bachelor of Music or Applicants from around the world Graduation Recital are auditioned either in person equivalent undergraduate Violists must prepare a full recital or by videotape by Mr. Zukerman degree are eligible to enter the program representing three style and Ms. Kopec. The class includes following MSM programs: periods, including a complete three to ten students, ranging in a. Master of Music unaccompanied work of Bach age from fourteen years old to degree program and a 20th-century work. A the young career instrumentalists b. Postgraduate complete standard concerto with as well as the traditional Diploma program cadenzas is required. conservatory student. c. Professional Studies Certificate Program

Return to Table of Contents Pinchas Zukerman Performance Program 61 d. Doctor of Musical Arts 12 credit hours (full-time) PROFESSIONAL degree program in order to be eligible e. Special Student status with for an I-20. STUDIES an emphasis on instrumental For Course Sequence Plans CERTIFICATE study (one-year program; for all undergraduate and PROGRAM student is non-matriculated graduate degree and diploma For information regarding this program and must petition for a programs, see Strings. of study, see p. 71. second year of study)All International Students must register for a minimum of DOCTOR OF MUSICAL ARTS For information regarding doctoral studies, see p. 77.

STRINGS FACULTY Nicholas Mann, Department Chair Peter Winograd Julia Lichten Kelly Hall-Tompkins Philippe Muller Violin Fred Sherry Laurie Carney Viola Glenn Dicterow Daniel Avshalomov Double Bass Koichiro Harada Karen Dreyfus Timothy Cobb Patinka Kopec Kazuhide Isomura David Grossman Curtis Macomber Shmuel Katz Jeremy McCoy Isaac Malkin Patinka Kopec Orin O’Brien Nicholas Mann Isaac Malkin Pinchas Zukerman Albert Markov Samuel Rhodes Todd Phillips Robert Rinehart Performance Program Maria Radicheva Karen Ritscher Pinchas Zukerman Lucie Robert Patinka Kopec Cello Sylvia Rosenberg Marion Feldman Laurie Smukler David Geber Sheryl Staples Wolfram Koessel Mark Steinberg

Return to Table of Contents 62 Strings/ Pinchas Zukerman Performance Program BACHELOR OF MUSIC/STRING MAJOR ZUKERMAN PROGRAM SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument DB46-, VA46-, VC46-, VN46- 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital*** 0 TOTAL: 124 16 16 16 16 16 14 15 15

Return to Table of Contents Strings/ Pinchas Zukerman Performance Program 63 VOICE The programs of study for GRADUATE year. Manhattan School of Voice majors are designed to Master of Music degree program Music opera productions have develop skilled performers Postgraduate Diploma program been praised as a significant in all areas of vocal technique contribution to operatic life in and to offer opportunities to Audition Requirements New York City, and numerous perform a wide variety of vocal performances have been released literature. Voice majors take For complete information as commercial recordings. private lessons and participate in regarding audition requirements master classes, workshops, and and application information, All voice students participate in literature classes. All students are please contact the Office of ensembles, and opera experience required to fulfill their Ensemble Admission and Financial Aid. is available to all through a variety Requirement as outlined in their of opera-related programs and course sequence plans and as GRADUATION REQUIREMENTS courses. Opera is not a major, but assigned by the School. Graduation Jury Recital rather a significant feature of the Graduation Recital vocal performance experience at MSM. Undergraduate students UNDERGRADUATE All graduate Voice majors must gain operatic experience through Bachelor of Music degree program perform a Jury Recital and opera scenes programs in the Diploma program Graduation Recital (program junior year and a senior opera approved by the Department production. Graduate students Audition Requirements Chair) in their final year of study. audition for Opera Studio in the The program for the Graduation For complete information fall semester and may be assigned Recital, performed from memory, to main stage productions, scenes, regarding audition requirements must consist of a group of songs and application information, or opera workshops on the basis in English, a group in German, of these auditions. In addition, please contact the Office of a group in French or Italian, Admission and Financial Aid. several ensemble courses offered and a contemporary selection through Chamber Music and (an aria from oratorio or opera through the Accompanying GRADUATION REQUIREMENTS may be included). program offer extensive Graduation Jury Recital opera experience. Graduation Recital All undergraduate Voice majors OPERA STUDIES must perform a Jury Recital and PROGRAM PROFESSIONAL Graduation Recital (program Students in the Opera Studies STUDIES approved by the Department program refine their technique Chair) in their final year of study. and develop their artistry under CERTIFICATE The program for the Graduation the guidance of a faculty of PROGRAM Recital, performed from memory, eminent artist-teachers while For information regarding this program must consist of a group of songs gaining exposure before New of study, see p. 71. in English, a group in German, York City audiences through a group in French or Italian, performances in opera scenes, DOCTOR OF and a contemporary selection community and educational MUSICAL ARTS (an aria from oratorio or opera outreach concerts, and two For information regarding doctoral may be included). full-length productions each studies, see p. 77.

Return to Table of Contents 64 Voice BACHELOR OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0101-0102, AS0201-0202 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Italian Diction IT0100-0200 2 2 English Diction EN0100-0200 2 2 German Diction GR0100-0200 2 2 French Diction FR0100-0200 2 2 German Vocal Literature VX0420 2 French Vocal Literature VX0550 2 English Vocal Literature VX0320 2 American Vocal Literature VX0330 2 Practical Foundations ME1500 2 General Electives 2 Introduction to Performance VX0900 1 Acting VX0901-0902 1 1 Movement VX1831-1832 1 1 Choir VX0050 .5 .5 .5 .5 1st Year Performance Class VX0100 .5 .5 2nd Year Performance Class VX0200 .5 .5 Junior Opera VX0800 1 1 Senior Opera Theatre VX0800 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Junior (Half) Recital 0 Graduation Recital 0 TOTAL: 130 18 18 18 18 16 15 13 16-17

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0890, 0891, 0892 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents Voice 65 MASTER OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Acting VX2901-2902 2 2 Movement VX1831-1832 1 1 Music History and Voice Electives VX/MH 1000-2999 3 3 Recitative* VX1875 1 Ensemble** LP/SP1500 1 1 1 1 Performance Technique Class 1 1 Concert Attendance 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 55 14 14 14 13 *Can be taken either semester of the 2nd year; cannot count toward elective or ensemble credit **Students can participate in up to two (2) ensembles per semester, as assigned by Opera Office

OPERA FACULTY Mark Oswald Glenn Morton, Italian Diction Dona D. Vaughn, Artistic James Morris Thomas Muraco, French Diction, Director, Opera Program Joan Patenaude-Yarnell Recitative, Coaching Gordon Ostrowski, Assistant Dean Ashley Putnam Nils Neubert, German Diction Opera Studies/Opera Production Neil Rosenshein Francis Patrelle, William Tracy, Head of Opera Movement for Singers Musical Studies Elsa Quérom, French Diction RELATED VOICE Craig Rutenberg STUDIES FACULTY Shane Schag, Music Director, VOICE FACULTY Miriam Charney, Maitland Peters, Musical Theater Lab Department Chair British Vocal Literature, Anne Shikany, Edith Bers Contemporary Opera Ensemble Sophomore Performance Joan Caplan Patrick Diamond, Acting Paul Sperry, American Shirley Close Stefano Baldasseroni, Mignon Dunn Vocal Literature Italian Diction Cristina Stanescu, French Diction, Ruth Golden Kathryn LaBouff, English Diction, Recital Coaching Cynthia Hoffmann Assistant Chair Marlena Kleinman Malas Rhoda Levine, Acting Spiro Malas Carolyn Marlow, Acting Catherine Malfitano Kenneth Merrill, German and Patricia Misslin Advanced Vocal Literature

Return to Table of Contents 66 Voice WOODWINDS FLUTE, OBOE, CLARINET, SAXOPHONE, AND BASSOON The programs of study for sufficient to ensure completion GRADUATION REQUIREMENTS Woodwind majors are designed of the program of study. This Graduation Jury to develop skilled performers evaluation will determine whether Graduation Recital who are familiar with the or not the student may continue All graduate Woodwind majors standard solo, ensemble, and in that program. Repertoire will must perform their Graduation orchestral literature for their be determined by the teacher. Jury before the departmental instruments. Students must faculty during their final year demonstrate a high degree of Repertoire for juries in non- graduating years will be of study as determined by the pro­fessional competence, and department chair. appropriate stylistic approaches determined by the teacher to the literature of various and the student. historical periods. All students are PROFESSIONAL required to fulfill their Ensemble GRADUATION REQUIREMENT Requirement as outlined in their Graduation Jury STUDIES course sequence plans and as Graduation Recital CERTIFICATE assigned by the School. All undergraduate Woodwind PROGRAM majors must perform their For information regarding this program of study, see p. 71. UNDERGRADUATE Graduation Jury before the Bachelor of Music degree program departmental faculty during their Diploma program final year of study. DOCTOR OF MUSICAL ARTS Audition Requirements GRADUATE For information regarding doctoral For complete information Master of Music degree program studies, see p. 77. regarding audition requirements Postgraduate Diploma program and application information, please contact the Office of Audition Requirements Admission and Financial Aid. For complete information There will be a “sophomore regarding audition requirements continuation jury” at the end of and application information, the sophomore year to establish please contact the Office of that a student’s progress has been Admission and Financial Aid.

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871, 0872 Required Piano RP0111, 0112, 0211, 0212

Return to Table of Contents Woodwinds 67 BACHELOR OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Reed/Flute Lab WW2151-2152* 2 2 2 2 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 122 16 16 15 15 16 14 15 15 **All woodwind players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

WOODWINDS FACULTY Linda Chesis, Department Chair James Austin Smith Saxophone Stephen Taylor Flute Paul Cohen Sherry Sylar Linda Chesis Bassoon Liang Wang (on leave) Robert Langevin Kim Laskowski Marya Martin Clarinet Frank Morelli Michael Parloff Alan R. Kay Roger Nye David Krakauer Oboe William Short Pascual Martinez-Forteza Robert Botti Charles Neidich

Return to Table of Contents 68 Woodwinds BACHELOR OF MUSIC/WOODWIND MAJOR CLASSICAL SAXOPHONE ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Freshman/Sophomore Sax Performance Class SX0100*** 1 1 1 1 Junior/Senior Sax Performance Class SX0200*** 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 126 17 17 16 16 16 14 15 15 **All woodwind players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

Return to Table of Contents Woodwinds 69 MASTER OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Reed/Flute Lab WW2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 14 12 14 14 **All woodwind players must participate in large ensembles for 4 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

MASTER OF MUSIC/WOODWIND MAJOR CLASSICAL SAXOPHONE ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Graduate Sax Repetoire Class SX2200*** 2 2 2 2 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 14 12 14 14 **All woodwind players must participate in large ensembles for 4 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

Return to Table of Contents 70 Woodwinds PROFESSIONAL STUDIES CERTIFICATE PROGRAM The Professional Studies at least 24 credit hours for the TOEFL which is administered Certificate program is designed academic year. All students who at the School during each for accomplished performers are accepted into the program audition period. possessing a Master of Music must pursue a full-time course of degree, a Postgraduate study of at least 12 credit hours Audition Requirements Diploma, or their equivalent. per semester whether they wish to This one-year program offers receive the certificate or not. Audition requirements for the study in Collaborative Piano Professional Studies Certificate (with a concentration in either The program is normally Program are the same as those instrumental or vocal music), completed in one academic year, for the Doctor of Musical Arts Brass, Composition, Guitar, but may occasionally be extended. Degree program. Orchestral Performance,­ Students must apply by petition Organ, Piano, Strings, Voice, or for such extensions. GRADUATION REQUIREMENTS Woodwinds. It is designed for 1. Graduation Recital and/or students who wish to pursue Admission Graduation Jury instrumental or vocal study on Admission to the Professional All students enrolled in the an advanced level and serves to Studies Certificate Program is Professional Studies Certificate assist them in preparing for major based on an audition before the Program are required to perform a competitions, auditions, or career faculty of the applicant’s major full recital and/or Graduation Jury entry positions. A certificate department and on the results of a in order to successfully complete will be awarded to students review of the applicant’s academic the requirements for the program. who successfully complete this history. International Students The repertoire for the recital program of private lessons, must score at least 550 on the is determined in consultation ensembles as assigned, electives, with the major teacher and and a graduation recital totalling Department Chair.

Return to Table of Contents Professional Studies Certificate Program 71 PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR BRASS, WOODWINDS, VIOLIN, VIOLA AND VIOLONCELLO ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives 2 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 25 13 12

PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR DOUBLE BASS AND HARP ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives 3 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 24 12 12

Return to Table of Contents 72 Professional Studies Certificate Program PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR PERCUSSION ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives (as needed) 2 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Percussion Lab 2 2 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 29 15 14

PROFESSIONAL STUDIES CERTIFICATE PROGRAM CLASSICAL CHORAL CONDUCTING ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Conductors' Choir VX0060.10 1 1 Choral Lab LP1880.10 0 0 Graduate Electives 6 6 Concert Attendance CA1000 0 Graduation Recital 0 TOTAL: 26 13 13

PROFESSIONAL STUDIES CERTIFICATE PROGRAM CLASSICAL ORCHESTRAL CONDUCTING ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons CSP6000 6 6 Conductors' Orchestra CS2010 3 3 Graduate Electives 3 3 Concert Attendance CA1000 0 Graduation Recital 0 TOTAL: 24 12 12

Return to Table of Contents Professional Studies Certificate Program 73 PROFESSIONAL STUDIES CERTIFICATE PROGRAM BRASS, COMPOSITION, GUITAR, ORGAN, WOODWINDS ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Graduate Electives 6 6 Concert Attendance CA1000 0 Graduation Jury or Recital 0 TOTAL: 24 12 12 Graduation Jury and/or Recital requirements are based upon those for each individual major.

PROFESSIONAL STUDIES CERTIFICATE PROGRAM CLASSICAL STRINGS ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra LP1500 1 1 Chamber Music SP1500 1 1 Graduate Electives 4 4 Concert Attendance CA1000 0 Graduation Recital 0 TOTAL: 24 12 12

PROFESSIONAL STUDIES CERTIFICATE PROGRAM CLASSICAL VOICE AND PIANO ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons CSP6000 6 6 Graduate Electives 6 6 Concert Attendance CA1000 0 Graduation Recital 0 TOTAL: 24 12 12

PROFESSIONAL STUDIES CERTIFICATE PROGRAM COLLABORATIVE PIANO ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Collaborative Piano Seminar AC2091-2092, AC2111-2112 2 2 Collaborative Piano Practicum AC2031-2032 1 1 Graduate Electives 6 6 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Recital 0 TOTAL: 30 15 15

Return to Table of Contents 74 Professional Studies Certificate Program DUAL DEGREE PROGRAM WITH TEACHERS COLLEGE COLUMBIA UNIVERSITY

MASTER OF MUSIC take at least 6 credits at Teachers For detailed information, please from Manhattan School of Music College, 15 additional credits in contact the Director of Community the Fall semester and 11 credits in Partnerships at Manhattan MASTER OF EDUCATION the final Spring semester School of Music. in music education with New York To be considered for acceptance State K–12 music teacher initial into the program, Manhattan Admission Requirements certification from Teachers College, School of Music students • Acceptance into M.M. Columbia University must have at least a 3.0 GPA program at Manhattan Manhattan School of Music and and successfully complete School of Music Teachers College, Columbia the Teachers College dual • Fulfillment of required University offer a dual degree degree admission process, Manhattan School of Music at the master’s level. This which involves: coursework and fieldwork accelerated program, designed to be completed in approximately • Applying to Teachers • A GPA of at least 3.0 three years, gives the student an College by submitting an • Completed Teachers M.M. (Master of Music) from application form and fee College application Manhattan School of Music and • Successful progress review • GRE an Ed.M. (Master of Education) meeting in third semester in Music Education with New with the Director of • Teachers College TOEFL York State K–12 Music Teacher Community Partnerships requirements Certification from Teachers • Supplying two letters of Application materials are due College Columbia University. recommendation from to Teachers College in early January of your final semester at Students spend the first two years Manhattan School of Manhattan School of Music. at Manhattan School of Music Music: one from the completing requirements for the Director of Community For more information, go to: Master of Music degree; they Partnerships and one from https://www.tc.columbia.edu/ must identify their interest in the Provost’s Office admission/how-to-apply/ the dual-degree program during • Providing official transcripts their first semester, in time to for all undergraduate and Financial Aid is available. complete course requirements graduate work at Manhattan School of Music. CONTACT INFORMATION • Submitting a personal Students must complete 11-13 statement about teaching Rebecca Charnow credits of required coursework experiences at Manhattan Director of at Manhattan School of Music, School of Music and Community Partnerships as well as a minimum of 35 hours the decision to pursue [email protected] of supervised arts-in-education an additional degree in (917) 493-4404 fieldwork. .The summer after music education graduation MSM students will

Return to Table of Contents Dual Degree Program with Teachers College Columbia University 75 MANHATTAN SCHOOL OF MUSIC (11–13 CREDITS) COURSES OFFERED (selected in consultation with advisor) Graduate Level Performance 4 Supervised arts-in-education fieldwork in schools (35 hours) 0 Graduate Electives 2

FIVE CREDITS MUST BE CHOSEN FROM AMONG THE FOLLOWING Advanced Orchestral Conducting CD2011-2012 2 Advanced Choral Conducting CD2911-2912 2 Guitar Pedagogy GT1411-1412 1 Jazz Musician as Educator JC2360 2 Graduate Jazz Conducting/Rehearsal Techniques JC2400 2 Jazz Music Pedagogy JC2410 2 Musician as Educator OP2251 1 Sight-Reading Pedagogy PN2051-2052 2 Arts & Education Training PT1050 2 Cello Pedagogy PT1430 2 Advanced Teaching Techniques PT2011-2012 2 Fundamentals of Music Education PT2101 2 Ear Training and Sight-Singing Pedagogy TH2011-2012 2

TEACHERS COLLEGE (32 POINTS) COURSES OFFERED (selected in consultation with advisor) Introduction to New Technologies in Music Education A&HM 4029 2 Foundations of Music Education A&HM 5020 3 Young Children’s Musical Development* A&HM 5022 3* Designing Musical Experiences for Young Children* A&HM 4021 3** Creativity and Problem Solving in Music Education* A&HM 5025 3* Composing Collaboratively Across Diverse Styles* A&HM 5026 3** Student Teaching—Elementary A&HM 4701 3 Student Teaching—Secondary A&HM 4711 3 Special Education course in consultation with advisor* 3 Child Abuse/Violence Prevention/DASA 0 Elective course in music pedagogy*** 2 Two additional courses in subjects other than music*** 4 (selected in consultation with advisor) Note: All students seeking New York State teacher certification will undergo a review for Core Liberal Arts Subject areas: Foreign Language, Mathematical Processes, Scientific Processes, Concepts in Historical and Social Sciences, and English/Literature. Students not meeting the requirements will be required to either take additional short 2-credit course work (outside of Teachers College or online) or test out of the requirements. Individual advisement and support from Teachers College will be given to students for this requirement. * Prerequisite for student teaching ** Prerequisite or co-requisite for student teaching *** Selected in consultation with advisor

Return to Table of Contents 76 Dual Degree Program with Teachers College Columbia University DOCTOR OF MUSICAL ARTS The program of study leading the Doctoral Committee, Committee for an examination to the Manhattan School of administers all matters of in another language if that Music Doctor of Musical Arts curriculum, document topics, language can be shown to be degree is offered with majors examinations, and applications relevant to the student’s specific in Collaborative Piano (with for graduation. All inquiries, research interests. a concentration in either forms, and petitions should be 2. instrumental or vocal music), forwarded to the Assistant Dean Prior to graduation, the student Brass, Composition, Conducting, for Doctoral Studies. must pass a comprehensive Guitar, Jazz, Organ, Piano, examination in both history and Strings, Voice, or Woodwinds. theory. This includes a six-hour Assistantships in the written exam and a one-hour A minimum of 60 credits in Classical Division approved graduate courses is oral exam before the Doctoral required. The curriculum is A limited number of Committee. The examination is designed to prepare the candidate assistantships and teaching offered twice a year and may be for a perfor­­ming career and for fellowships are available to taken as early as the second year teaching at the college level. doctoral students qualified to of study. Any student who fails Students will, therefore, be assist professors in history and the comprehensive examination expected to demonstrate strong theory courses, to teach Required or any portion thereof three academic capabilities in addition Piano, to work in the Outreach times will be dismissed to a high level of achievement in and Guitar departments, and from the program. to assist the Assistant Dean performance or composition. 3. Students must be in for Doctoral Studies with residence at the school for a administrative duties. Awards are Admission minimum of two years. made on a yearly basis. Recipients Requirements for admission may apply to the Director of 4. All coursework and to the Doctor of Musical Arts Doctoral Studies for a one-year performance requirements degree program include (1) a renewal of their assistantship. must be completed within Master’s degree or its equivalent Awards may not exceed two years. seven years of the date of in music, (2) an audition before matriculation. A one-year leave of the faculty of the applicant’s absence may be taken. major department, (3) a three- DEGREE hour writtten examination in REQUIREMENTS 5. After completion of the two years of required course work, music history and theory, (4) a Classical Division TOEFL score of at least 100 students register for Thesis (computer-based score). 1. Prior to graduation, all Research in every semester until students, except Jazz majors, must graduation. This registration demonstrate reading knowledge Advisement carries the equivalent of full- of a foreign language at a level time status and a fee of $800 per Students admitted to the program that will enable them, with the semester. In the fall semester, must consult withAssociate use of a dictionary, to translate students will submit a written Dean Langford, Assistant Dean 500 words of a musicological report on the progress of for Doctoral Studies, each text in two hours. The choice their thesis research; and in semester prior to registration. of language is usually French, the spring semester, they will The Assistant Dean for Doctoral German, or Italian, but the meet with the Assistant Dean Studies, in consultation with student may petition the Doctoral

Return to Table of Contents Doctor of Musical Arts 77 for Doctoral Studies for the one concerto and pass a jury Associate Dean of the Jazz purpose of making a formal examination on excerpts from the Arts Program. Duration presentation of their work. orchestral repertoire. should be 50 minutes. • One research document 6. 10. Students applying to the Composition majors present a on a jazz-related topic of Collaborative Piano department concert of original music written the student’s choice. This elect a concentration in primarily during the period of document must be approved either vocal or instrumental doctoral study. The student is by the Associate Dean of accompanying and are encouraged to participate as a the Jazz Arts Program and expected to audition with performer or conductor in at least should be from 60-80 pages repertoire selected accordingly. one work. Composers also take a in length. The research Students concentrating in jury examination in each of their document is a flexible vocal accompanying must pass first two years in order to assure requirement. Underlying proficiency exams in Italian, the Composition Department this project must be French and German diction or that works of sufficient quality evidence of basic research satisfy any deficiency by auditing and quantity are being produced. skills and good writing one or more of the following: 11. Prior to graduation, all technique. Beyond that, we Italian for Singers (IT2101-2102), suggest work on a subject French for Singers (FR2101- students submit a written thesis demonstrating an advanced that will be of sufficient 2102), German for Singers practical interest to the (GR2101-2102). level of research and writing skills. Further details concerning music world to offer the 7. Students may transfer a the thesis requirement may opportunity for publication. maximum of nine graduate credits be found in the Doctoral Common approaches to this earned at another institution Studies Handbook available project include a historical with a grade of A or B; no applied from the Assistant Dean for study of some subject credits (i.e., private lessons) may Doctoral Studies. related to the major field or be transferred. an analytical study of a work 12. Voice majors must pass or group of works from the 8. Performance majors are proficiency exams in French, repertoire of the student’s required to give three recitals, Italian, German and English instrument or a critical one of which is usually chamber diction or satisfy any deficiencies edition of some previously music. For Collaborative Piano by auditing or taking one or unavailable work(s). majors, all three recitals comprise more of the courses listed in 2. The culmination of the doctoral chamber music. In addition to paragraph 5 above. program is the comprehensive the three recitals, graduation exam. It is important to requirements for Organ majors Jazz Arts Division understand that these tests include mastery of all major and 1. are not a measure of what the minor scales in double thirds and Jazz Arts Advancement majors student learned in the two years arpeggios at the piano, three pedal are required to present: of course work at Manhattan virtuoso pieces, and four trio • One large ensemble recital School of Music, but are rather sonatas of Bach. (Jazz Chamber Music). an evaluation of his or her total Students must conduct and/ experience with the history, 9. Piano and Guitar majors or solo in the performance. literature, and theory of music have the additional require­ This performance should be gained over many years of ment of performing two solo 90-120 minutes in duration working as a musician. Prior to concertos, while other Classical, inclusive of intermission. graduation, the student must pass instrumental majors must play • One lecture recital on a comprehensive examinations topic of the student’s choice in jazz history/styles/analysis to be approved by the

Return to Table of Contents 78 Doctor of Musical Arts (HSA Exam), theory/analysis • Memorize and be fluent • Sight read and improvise on (TA Exam), and improvisation in all 60 compositions a composition that will be (Improv Exam). The HSA Exam from years 5 and 6 of the provided by the panel. and the TA Exam are written departmental handbook Upon completion of coursework, exams. The HSA exam involves (green book) and be recitals, research document, and listening as well as writing and prepared to play any of comprehensive exams (in this takes approximately three hours. these compositions for the order), the student must present The TA Exam involves analysis of panel. The panel will select his or her thesis. The thesis is a scores and transcriptions as well several of these pieces for 30-minute jazz orchestral work as short composition exercises performance. (for studio orchestra) to be and takes approximately four • With the exception of the performed in a Jazz Philharmonic hours. The Improv Exam is a following compositions— concert. The student must solo playing and written examination Nica’s Dream, Pensativa, in and/or conduct the work. The that will take approximately Upper Manhattan Medical work must also be accompanied one hour. In the Improv Exam, Group, Moments Notice, by extensive program notes. students are required to: Airegin, Chega de Saudade, Stablemates, and In Your • Provide their own Audition Requirements accompanying trio Own Sweet Way—know and perform at the all of the remaining For complete information highest doctoral and compositions from years 5 regarding audition requirements professional level. and 6 in 12 keys. and application information, • Write and play a line on a please contact the Office of given chord progression. Admission and Financial Aid.

DOCTOR OF MUSICAL ARTS/CONDUCTING MAJOR 1 2 Major Lessons* 6 6 6 6 Theory DM4101-4102 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 3 Graduate Electives 2 2 Doctoral Seminar DM3099 3 Performance Practice DM3130 3 Thesis Advisement DM4200 2 2 Comprehensive Exam DM4500 0 Performance Project/recitals** DM4490 2 2 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 60 15 17 13 15 *All Conducting majors concentrate in either choral or orchestral conducting;all will have at least one semester of lessons in the area that is not their concentration. For conductors,lessons include significant podium time with an MSM ensemble. ** Performance project credit in conducting may include complete programs orsignificant preparation and performance of works in larger programs. The final conducting recital will be a complete program.

Return to Table of Contents Doctor of Musical Arts 69 DOCTOR OF MUSICAL ARTS/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Piano Pedagogy DM3050-3051 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective 3 Doctoral Seminar DM3099 3 Performance Practices DM4200 3 Thesis Advisement DM4500 2 2 Comprehensive Exam DM4500 0 Solo Recital DM4450 2 2 Performance Project DM4490 2 Concerto DM4470 0 0 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 64 15 17 16 16

DOCTOR OF MUSICAL ARTS/JAZZ ARTS ADVANCEMENT (COMPOSITION, PERFORMANCE, PEDAGOGY) SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Improvisation JP2500 3 3 3 3 Research Methods DM4150 3 Jazz Seminar DMJ4700 3 The Artist Pedagogue DMJ4750 3 Graduate Elective 2/3 3 Jazz History Elective 2 Research Document DMJ4800 2 Lecture Recital DMJ4850 2 Jazz Chamber Ensemble Recital* DMJ4870 2 Thesis Advisement DM4200 2 Thesis Exam* DM4550 2 Comprehensive Exam DM4500 0 TOTAL: 62-63 14 16-17 16 16 * The thesis exam is the performance of the thesis composition. Students must conduct and/or solo in the performances.

Return to Table of Contents 80 Doctor of Musical Arts DOCTOR OF MUSICAL ARTS/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective 3 2 Doctoral Seminar DM3099 3 Performance Practices DM3130 3 Thesis Advisement DM4200 2 2 Comprehensive Examination DM4500 0 Performance of Original Comps. DM4560 2 Composition Jury 2 2 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 60 15 14 16 15

DOCTOR OF MUSICAL ARTS/ALL OTHER MAJORS SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective* 3 2 Doctoral Seminar DM3099 3 Performance Practices DM3130 3 Thesis Advisement DM4200 2 2 Comprehensive Examination DM4500 0 Solo Recital** DM4450 2 2 Performance Project*** DM4490 2 Concerto (Orchestra Instruments and guitar only) DM4470 0 Orchestral Excerpts Jury (Orchestra Instruments only) 0 Accompanying Seminar (Collaborative Piano majors only) 2 2 2 2 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 60 17 16 18 17 *Collaborative piano majors need only 2 credits of graduate electives **Collaborative piano majors present ensemble recitals. *** Organ majors usually present a third solo recital.

Return to Table of Contents Doctor of Musical Arts 81 ARTIST DIPLOMA The Artist Diploma is a one- Admission Advisement year course of study designed for Admission to the Artist Diploma Students admitted to the program students whose performance level degree program is based on are advised by the Deans of is of the highest international a three-tier process: 1) an Faculty and the appropriate standards, significantly above initial screening of applicants Departmental Chair. the level required of DMA or by videotape after which a Postgraduate Diploma students. student may be invited to 2) Audition Requirements Artist Diploma students must be audition in person before the full time (a minimum of 12 credits appropriate departmental For complete information per semester). The Artist Diploma faculty after which the student regarding audition requirements is available in the following may be asked to 3) audition in and application information, main areas of concentration: person before members of the please contact the office of Classical Piano, Voice, Organ, Artist Diploma Committee, admission and financial aid. Guitar, Collaborative Piano, and chaired by the appropriate Vice Orchestral Instruments. President of Faculty.

ARTIST DIPLOMA COLLABORATIVE PIANO SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 8 8 Graduate Electives 2 2 Chamber Music/Special Projects 2 2 Recital 0 0 TOTAL: 24 12 12

ARTIST DIPLOMA PIANO, GUITAR, AND ORCHESTRAL INSTRUMENTS SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 8 8 Graduate Electives 2 2 Chamber Music SP1500 2 2 Recital 0 0 TOTAL: 24 12 12

ARTIST DIPLOMA VOICE SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 8 8 Graduate Electives 2 2 Role Preparation 2 2 Recital 0 0 TOTAL: 24 12 12

Return to Table of Contents 82 Artist Diploma COURSE DESCRIPTIONS AC2031-2032, AC2041-2042 marks the inaugural season of Please note: Courses listed in Collaborative Piano Practicum the MSM Brass Orchestra which this catalogue are subject to 1 credit per semester will rehearse during Brass Lab for changes initiated by department Collaborative Piano Faculty performances at the school and chairpersons or department directors in the community. and approved by the Curriculum The opportunity for hands-on learning in vocal and instrumental Committee. Additions to all TP0200 (Freshman/Sophomore) curricula are published annually studios on a weekly basis, by the Office of the Registrar. investigating the relationship TP0201 (Junior/Senior) Courses and assigned faculty are of other performers’ techniques subject to change. to one’s own accompanying facility and repertory. Special TP0300 (Graduate) assignments to opera projects and master classes. Trumpet Lab COLLABORATIVE 1.5 hrs weekly/0-1 credits per semester (Open to collaborative Mr. Bensdorf PIANO piano majors only) Major Lesson: A performance class for 1 hr weekly/5 credits per semester Trumpet majors. Repertoire Students explore standard BRASS ncludes focus on preparation vocal and instrumental Major Lesson: of etudes, orchestral excerpts, repertoire in detail with the 1 hr weekly/3–6 credits per semester and solo works. instructor. Vocal or instrumental emphasis depends upon area of BR0001-0002 Brass Lab specialization. Technical problem- (Undergraduate) COMPOSITION solving is stressed. 2 hrs weekly/1 credit per semester Major Lesson: Mr. Jolley/Brass Faculty 1 hr weekly/3-6 credits per semester AC2091-2092, AC2111-2112 BR2001-2002 Brass Lab (Graduate) CP1999 Composition Forum Collaborative Piano Seminar 2 hrs weekly/2 credits per semester 1 hr weekly/1 credit per semester 2 credits per semester Mr. Jolley/Brass Faculty Dr. Fueting Collaborative Piano Faculty A performance seminar and This course is designed for all A weekly meeting of collaborative survey course for all Brass majors composition students at MSM piano majors which will explore devoted to the brass player’s and includes student analysis and accompanying and vocal development as a professional, discussion of their own works, and instrumental coaching both onstage and off. Discussions critical analysis of contemporary techniques, emphasizing the of pedagogy, practice techniques, works recently performed in interaction between partners and audition preparation, and related NYC, guest appearances by the musical style and performance subjects. Selected reading. visiting composers, master classes, problems in a wide range of Class members perform and discussions of notation, lectures instrumental and vocal repertory. discuss orchestral, chamber, and on advanced instrumental and (Open to collaborative piano majors solo performance. vocal techniques, notation, score or by invitation of instructor) and part preparation, and the life Performances and readings of of a composer after graduation. large and small brass ensemble literature are included. 2009-2010 Required of all Composition Students, Undergraduate and Graduate.

Return to Table of Contents Course Description 83 CP0131-0132 Freshman (Offered in alternate years) The second semester begins with Instrumentation Prerequisite: TH0001-0003 or Neo-Classicism and continues 1.5 hrs weekly/1 credit per semester the equivalent. with postwar developments A study of orchestral instruments. to the present. Readings from Arranging and writing for CP0421-0422 Senior Form theorists and composers as well as small ensembles. and Analysis composition exercises comprise 2 hrs weekly/2 credits per semester weekly assignments. CP0231-0232 Sophomore Analysis of 20th-century music. (Offered in alternate years) Orchestration The first semester focuses on 1.5 hrs weekly/1 credit per semester Debussy, Stravinsky, Bartok and CP2181-2182 Score Dr. MacDonald the Second Viennese School. Reading Seminar Arranging and writing for The second semester begins with 2 hrs weekly/2 credits per semester large ensembles. Neo-Classicism and continues Dr. Fueting with postwar developments An in-depth study of score- Prerequisite: CP0131-0132 or to the present. Readings from reading for composers, the equivalent. theorists and composers as well as from string quartets to composition exercises comprise symphonic literature. An CP0331-0332 Junior Orchestration weekly assignments. adjunct to conducting, it aids 1.5 hr weekly/1 credit per semester (Offered in alternate years) the understanding of clefs, Dr. Fueting transposed instruments and Arranging and writing CP1720-1730 Electronic Music for contemporary scores. for orchestra. Undergraduate Students Prerequisite: CP0231-0232 or 2 hrs weekly/2 credits/Spring semester CP2191-2192 Operatic Analysis the equivalent. Dr. Adamcyk and Composition An introduction to digital audio 2 hrs weekly/2 credits per semester CP0341 Homophonic Forms and digital signal processing, Dr. Stambaugh 3 hrs weekly/3 credit per semester including Kyma, Pro Tools, and The first semester concentrates Dr. Hilse other software, as techniques on operatic analysis and Analysis and writing of common- for composition. The goal of the dramaturgy. The second practice, homophonic forms course is to provide students semester focuses on writing an including variation, song, with the skills and a conceptual original opera scene. foundation for advanced work. sonata, and rondo. Prerequisite: Graduate standing. Students will have access to the (Offered in alternate years) electronic music studio to do Prerequisite: TH0001-0003 or creative work to be performed at CP2201-2202 Advanced the equivalent. an end-of-the-term concert. Instrumentation 2 hrs weekly/2 credits per semester Dr. Fueting CP0342 Polyphonic Forms CP2171-2172 Graduate Form 3 hrs weekly/3 credits/Spring semester and Analysis Intensive study of the specific Dr. Hilse 3 hrs weekly/3 credits per semester technical issues of all instruments. Analysis and writing of common- Weekly presentation by individual Analysis of 20th-century music. practice fugue and canon. instrumentalists. The first semester focuses on Special emphasis is placed on the Debussy, Stravinsky, Bartók and Prerequisite: Graduate standing or music of J.S. Bach. the Second Viennese School. permission of the instructor.

Return to Table of Contents 84 Course Description CP2600-2601 Electronic Music for CP2811 Composing for (and Basic baton technique is studied Graduate Students with) the Voice with particular emphasis on 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits/Spring semester its relationship to musical Dr. Adamcyk Ms. Botti interpretation. Elementary The goal of this course is to Vocal composition explored by problems in phrasing, balance, provide students with the skills combining practical techniques tone, color, etc. are introduced, and concepts necessary to use with historical perspectives, using the classical symphonic electronic instruments and including music from a variety literature. Students must software in composing and of cultures and genres. The have some acquaintance with performing music. The course relationship and interaction orchestration, elementary score includes intensive use of digital of composer to singer will be reading, and simple transposition. audio and signal processing examined citing specific examples Prerequisite: TH0004. software, including Kyma, Pro (from Handel to Berio) and Tools, and other programs. leading to the actualization of CD2011-2012 Advanced Students will have access to student works with student Orchestral Conducting the electronic music studio to singers. Composition of short 2 hrs weekly/2 credits per semester do creative work which will vocal studies will lead to a final Ms. Hynes be performed in an end-of- vocal composition presented in the-term concert. a class recital. A course designed for students wishing to investigate the problems of working with CP2711-2712 Composition for Non- orchestras at a more advanced Composition Majors CONDUCTING CD0111-0112 Introduction to level. Emphasis is on technique, 2 hrs weekly/2 credits per semester style and repertoire. Students Ms. Botti Choral Conducting 2 hrs weekly/2 credits per semester must have a thorough background The writing of simple original Dr. Oliver in basic musical skills and previous compositions with emphasis upon training in conducting. the individual’s creative style. A course designed to acquaint the student with the fundamentals Prerequisite: CD0211-0212 or (May be repeated for credit) of choral conducting through the equivalent. Prerequisite: TH0002. classroom performance. Basic baton technique is studied and CD2911-2912 Advanced CP2741-2742 Film Scoring elementary problems in phrasing, Choral Conducting 3 hrs weekly/3 credits per semester balance, and tone are introduced. 2 hrs weekly/2 credits per semester Dr. Green Dr. Oliver Prerequisite: TH0004. An intensive introduction A course designed to acquaint the to and workshop in film CD0211-0212 Introduction to student with the fundamentals scoring. Students study both Orchestral Conducting of choral conducting through the techniques and the film 2 hrs weekly/2 credits per semester classroom performance. Basic mechanics of film composing and Ms. Hynes baton technique is studied in do actual scoring of films. The terms of elementary problems in course includes a study of the A course designed to acquaint the interpretation. Phrasing, diction, compositional techniques of the student with the fundamentals balance and intonation are studied master film composers. of orchestral conducting using sacred choral literature through classroom performance of all periods. Cross-listed with JC2741-2742. employing an ensemble of orchestral instrument majors. Prerequisite: Graduate standing.

Return to Table of Contents Course Description 85 CD2931-2932 Choral Repertoire overall stylistic fluency. Tactus CT1961 Contemporary Music 2 hrs weekly/2 credits per semester presents 6 public performances Survey, 1961-the Present Dr. Oliver a year at the Manhattan 3 hrs weekly/3 credits per An in-depth study of sacred School of Music. semester/Spring choral literature; conductiong Dr. Adamcyk practicum including conducting CT1700 Composer/ This course is an overview of the from the console and Performer Project evolution of musical modernism accompanying at the organ. 1 hr weekly/1 credit per semester and postmodernism, with an Ms. Shelton emphasis on linking together composers, important works, CONTEMPORARY The Composer/Performer Project [CPP II] is an assigned concepts, and trends, to create PERFORMANCE collaboration between a 2nd- an overall map of the late 20th CT6000 Major Instrument Seminar year CPP student and an MSM century and early 21st century. 1 hr weekly/4 credits per semester composer. It results in the Course work centers on weekly CPP faculty creation of a short solo work to readings, writings assignments, and robust in-class discussions. This performance seminar fulfills be performed during the 2nd the private lesson requirement semester. In the 1st semester for students in the Contemporary the CPP students make a CT 1999 Composer Performance Program. Students presentation of the historically Workshop/Reading are assigned by instrument to groundbreaking works and 4 hrs total, meets twice a semester/1 the studio of the corresponding extended techniques for their credit per semester CPP faculty member(s). Weekly instruments.There are written CPP Faculty lessons provide a forum for assignments throughout the year The Composer Workshop/ in-depth study of classical to document the collaborative Reading happens twice each contemporary music. process with the composer. semester. For the workshops, MSM composition students CT1071 Contemporary Ensemble CT1960 Contemporary Music submit pieces and/or sketches Up to 9 hrs weekly/4 Survey, 1900-1960 that are played by CPP credits per semester 3 hrs weekly/3 credits per semester/Fall students. For the readings, CPP CPP Faculty Dr. Adamcyk students perform assignments submitted by members of MSM’s Students in the Contemporary This course is an overview of the orchestration classes. The Performance Program form the evolution of musical modernism, course provides a platform for core of Tactus, Manhattan School with an emphasis on linking live hearings of student works. of Music’s premier contemporary together composers, important CPP students are expected to ensemble. Participation in works, concepts, and trends, to perform at a reasonable level, and CT1071 is required during create an overall map of the early to contributive constructively to each semester of study in the 20th century. Course work centers class discussions. Contemporary Performance on weekly readings, writings Program. Class periods are assignments, and robust in- used for rehearsals, coachings, class discussions. CT 2200 Contemporary master classes, repertoire Musicianship classes, composer readings, 2 hrs weekly/2 credits workshops, and CPP special Dr. Ferrari events. Students focus on many CT 2200 is an advanced class aspects of contemporary music geared toward polishing the skills study, including performance with necessary for the performance electronics, improvisation, and of music of the 20th and 21st

Return to Table of Contents 86 Course Description centuries. The course focuses and video design in everything Juries on relative pitch, intervallic, and from academic music to popular CPP juries take place in early rhythmic skills, with an emphasis music (Aphex Twin). May. Each jury is 15 minutes long. on sight singing. Both 1st and 2nd year students CT2702 Performing with are required to participate. CT2700 Performing with Electronics 3 Repertoire requirements Electronics 1 2 hrs weekly/2 credits/Fall are as follows: 2 hrs weekly per semester/2 credits/Fall Mr. Reynolds 1st year students Mr. Reynolds Advanced Performing with • One piece of the The CT 2700 series provides Electronics (offered both player’s choosing students with hands-on semesters), is a project based • One contemporary etude, or experience performing and course, self-motivated and etude-like piece creating with technology, giving designed, that focuseson • One piece from the them access to an increasingly preparation for three concerts standard 20th or 21st important body of technical and each semester wherein the century repertoire musical skills in digital music classbands together to produce software and hardware, and a lunchtime event. Students 2nd year students equipping them with a knowledge have the opportunity to further • One piece of the of current practices in the field. design their own electronics “rig” player’s choosing CT 2700 is a prerequisite for CT and practice, and freely explore • One piece written in the 2701, as are both for CT 2702. particular musical paradigms last ten years Exceptions are considered based which might be “out of the • One solo piece (comparable upon experience, knowledge, box” for them. in difficulty to a and desire. Please approach the Berio Sequenza instructor directly. CT2703 Performing with Recitals The first semester (Fall) is an Electronics 4 entry level course focusing on self- 2 hrs weekly/2 credits/Spring A graduation recital is required sufficiency in performance with a Mr. Reynolds and must take place within the concentration on understanding Advanced Performing with last two semesters of study at amplification, negotiating Electronics (offered both MSM. The major teacher and recording and performance semesters), is a project based the department chair must with software, and building a course, self-motivated and approve the recital program in personal electronics toolkit for designed, that focuseson advance. A copy of this program current practice. preparation for three concerts must be submitted to the Office each semester wherein the of the Registrar as part of the CT2701 Performing with classbands together to produce student’s graduation requirement. Repertoire for CPP graduation Electronics 2 a lunchtime event. Students recitals should demonstrate the 2 hrs weekly/2 credits/Spring have the opportunity to further student’s global understanding Mr. Reynolds design their own electronics “rig” and practice, and freely explore of contemporary music styles. The second semester course particular musical paradigms Students are encouraged to show (Spring) expands on the which might be “out of the fluency with electronics and/ first course with more of a box” for them. or improvisation. They may concentration on synthesis and choose to offer composition(s) Max/MSP, an object-oriented by themselves or colleagues, software program used heavily in in addition to pieces from the composition, performance, sound, more standard contemporary

Return to Table of Contents Course Description 87 repertoire. Students must prepare expected of every class member, DM4150 Research Methods written or oral program notes along with a formal research 3 hrs weekly/3 credits/Fall semester for the graduation recital. CPP paper, and both written and Associate Dean Langford students are encouraged to give oral examinations. An introduction to the additional (non-required) recitals techniques of scholarly research: in their first year of study, and to DM3130 Historical bibliography, documentation and take advantage of other playing Performance Practice style specifically applicable to the opportunities at MSM. 3 hrs weekly/3 credits/Fall semester writing of a graduate thesis. Dr. Cooper DOCTORAL An intensive study of how DM4170 History Pedagogy PROGRAM Baroque music was meant to be 3 hrs weekly/3 credits/Spring semester performed. Students will study Associate Dean Langford DM3050-3051 Teaching Piano in old and new editions, debate Higher Education A seminar devoted to developing differing styles of performance skills in the organization and 3 hrs weekly/3 credits per semester and the nature and value of presentation of historical Dr. Olson authenticity, and will put these materials in a pedagogical This course provides ideas into practice by means of setting. Class members practice comprehensive exploration in all class and public performance. selecting topics, utilizing areas of collegiate piano teaching. research techniques, preparing Fall semester focuses on adult IS4000-4999 Independent Study and presenting lectures and group piano and job preparation. administering examinations. This includes a survey of current Conference with an advisor in college piano texts, observations connection with independent DM4200 Thesis Advisement and a teaching practicum. Spring projects. Proposals are 10 hrs as arranged/2 semester focuses on teaching submitted for approval to the credits per semester in the private studio and the Office of Doctoral Studies technique of giving a master class. prior to electing the course Conference in connection with Selected reading assignments for credit. It is recommended the preparation of a thesis. and careful examination of that students consult with the advisor of their choice before musical scores, recordings and DM4450 Doctoral Recital submitting a proposal. video resources will provide (Performance majors only) a foundation of knowledge 2 programs/2 credits per recital from which to demonstrate DM4101-4102 Theory critical thinking about the art of Analysis/Pedagogy One recital in each of the first two years. Students must register for teaching piano. Students will give 3 hrs weekly/3 credits per semester DM4450 for each program. presentations and participate in a Dr. Fueting teaching practicum. A survey of various analytical DM4460 Performance of Original techniques and systems as well Compositions (Composition DM3099 Doctoral History Seminar as study of the techniques and 3 hrs weekly/3 credits/Spring semester materials of teaching music theory majors only) Music History Faculty at the college undergraduate level. 1 program/2 credits An advanced seminar, the topic Practice teaching is emphasized. A program of original solo or of which changes every year. chamber music adjudicated by a Regular and active participation is specially appointed jury.

Return to Table of Contents 88 Course Description DM4470 Concerto Performance study supervised and monitored GT0211-0212 History and Literature No credit by the Associate Dean of Doctoral of the Classic Guitar A performance requirement Studies and the Doctoral 1 hr weekly/1 credit per semester for Piano and Guitar majors Committee. Students are required Guitar Faculty adjudicated by a specially to maintain active research on A continuation of GT0111-0112 appointed jury. a thesis topic and to document to survey the solo and chamber their work through periodic music literature composed for written reports to, and direct DM4490 Performance Project the guitar from the compositions consultations with, the Doctoral (Performance majors only) of late 18th- and 19th-century Committee. The Committee masters through composers of the A performance requirement that will evaluate the substance of the 20th century. The development varies according to the major work done and make suggestions of the classic guitar and and is adjudicated by a specially regarding the direction and performers on the instrument are appointed jury. progress of the research. also discussed. *Fee of $750 will be charged. DM4500 GT0411-0412, 1411-1412 Comprehensive Examination GUITAR Guitar Pedagogy 3 credits Major Lesson: 1 hr weekly/1 credit per semester An examination which focuses 1 hr weekly/3–6 credits per semester Guitar Faculty on the major field and musical A practical study of teaching knowledge in the fields of theory/ GT0111-0112 History and Literature techniques including a survey analysis and music history and of the Classic Guitar of methods and music available, literature. It may not be taken 1 hr weekly/1 credit per semester an examination of differences in prior to the completion of Guitar Faculty individual and group instruction, required courses. The study of the literature of and discussion of the varying guitar-related instruments of approaches for teaching students DM4550 Thesis Examination the Renaissance and Baroque of different ages. The course No credit. Special fee of $100.00 periods including the vihuela, also covers the effectiveness of Upon approval of the advisor, four-course guitar, Baroque various pedagogical approaches the document is submitted to guitar, and Baroque lute. Through to technique and interpretative the Office of Doctoral Studies. It transcriptions and analysis analysis, as well as the history of is then examined by one or two students gain the necessary guitar pedagogy. readers, depending on the scope insights to assess the merits of and complexity of the topic. The editions of music from these GT0511-0512, GT0611-0612 Associate Dean for Doctoral stylistic periods as well as become Fretboard Harmony Studies confers with the student acquainted with the performing 1 hr weekly/1 credit per semester to reconcile the views of the practices of the time. Students Mr. Delpriora readers with those of the student also acquire techniques for A course designed to develop a and his or her advisor. researching original sources, as full knowledge of the fretboard well as a working knowledge of through the study of fingerings, the basic playing techniques of DM5200 Thesis Research harmony, sight-reading, the original instruments. 12 credits*/Fall and Spring semesters score reading, transposition Associate Dean Langford and figured bass. This course facilitates the student’s completion of the thesis requirement through independent

Return to Table of Contents Course Description 89 GT2151-2152 Graduate Seminar HARP foster career advancement. in the History and Literature Students should emerge from Major Lesson: of the Guitar the core able to articulate their 1 hr weekly/3–6 credits per semester 2 hrs weekly/2 credits per semester ideas in conversation and in Guitar Faculty writing, with a sensitivity to HR0151-0152, HR2151-2152 language, an appreciation of An in-depth survey of the Orchestral Repertoire for Harp the literary imagination, and an instruments, styles, notation 2 hrs weekly/2 credits per semester understanding of the rich cultural systems, composers, and Ms. Jolles legacy of the past. repertoire which has led the guitar Intensive study of selected major from its origin through the most orchestral works. This class offers current developments. Through UNDERGRADUATE CORE a spectrum of orchestral works performance, transcription, which cannot be included on bibliographic techniques and HU0001-0004 Humanities Core: each year’s orchestral program. scholarly studies, the role of World Literature and Culture Additional supervised research plucked instruments assumes a 4 hrs weekly/3 credits per semester projects for graduate students. unique and influential position in Humanities Faculty the history of Western music. Study in the humanities core HR0451 Harp Lab Prerequisite: Graduate standing. includes a four-semester sequence 2 hrs weekly/1 credit per semester of core seminars—Foundational Ms. Anraku GT0999 Guitar Visions, The Questing Self, Performance Seminar Students will play for each other Rebels & Revolutions, and and give comments to each other. 3 hrs weekly/1 credit per semester The Artist & Society—as well We also discuss and share helpful Guitar Faculty as a complementary set of ideas, including physical exercises, lectures entitled The Advance A weekly required performance stretches and deep breathing, of Civilization: Primitive to class for all undergraduate Guitar practice and performance Postmodern. The lectures survey majors to perform solo and habits/strategies and meditate the development of civilization chamber music repertoire. together to enhance our focus from the ancient world to the and relaxation. new millennium, providing GT2999 Guitar students with a critical overview Performance Seminar of cultural accomplishment. The 3 hrs weekly/3 credits per semester HUMANITIES core seminars are the central Guitar Faculty The Core Curriculum: Developing component of the humanities Intellect and Imagination program, organized thematically, A weekly required performance surveying seminal works of world class for all graduate Guitar The Humanities Core is designed literature, and offering students majors to perform solo and to develop the intellectual the opportunity to discuss life chamber music repertoire. and imaginative abilities of students seeking to fully realize enhancing ideas as they formulate their potential as professional a viable personal philosophy. musicians, responsible citizens, The community formed by the and creative individuals. students’ collective endeavor Concentrated study of world constitutes the most valuable literature and cultural history resource of the core, a community provides a springboard for in which students develop a students to acquire the skills voice and an identity to ensure of careful reading, critical their meaningful participation thinking, persuasive speech in society. Working in concert and effective writing that to achieve these goals, the core

Return to Table of Contents 90 Course Description seminars and lectures direct to achieve course goals and Investigation of selected literary students to some of the most connect the literature to works will be supplemented by significant historical events, contemporary issues. an interdisciplinary approach celebrity figures, and literary that imports musical selections, works that have shaped cultural HU0002 The Questing Self: Crisis images of artworks, historical and history, in an effort to foster and Resolution biographical documentaries, and intellectual debate and stimulate 4 hrs weekly/3 credits/Spring semester film into the classroom to achieve evaluation of the rich cultural Humanities Faculty course goals and connect the legacy we have inherited. Open to literature to contemporary issues. undergraduates only in the fall and A continuation of HU0001 which Prerequisite: Completion of HU0001. spring semesters. surveys World Literature from the Middle Ages to the present, focusing on the paradigm of the HU0003 Rebels and Revolutions HU0001 Foundational Visions: Myth individual’s quest for happiness 4 hrs weekly/3 credits/Fall semester and Morality in the Ancient World and fulfillment in a perilous world. Humanities Faculty 4 hrs weekly/3 credits/Fall semester Representative works from a An interdisciplinary survey Humanities Faculty variety of cultures feature the featuring works of literature, A writing-intensive, cross-cultural transformative adventures of political philosophy, psychology exploration of the way in which questing individuals who advance and film that examines the ancient civilizations deploy the through spiritual and existential conflicting impulses of revolution mythological imagination to crises toward salvation and self- and reform, idealism and invest the world with meaning and realization by fully developing practicality, as driving forces value, envision the relationship their inherent potentialities. towards the reconfiguration between the human and the The heroes and heroines of these of society ranging from the divine, present human beings as narratives navigate challenges Renaissance to the contemporary ethical agents confronted with that include Evil, Death, ideology, world. Motivated by a utopian moral choices, and foster systems race, ethnicity, class, gender and vision of the future, the of philosophical and religious sexuality, hoping to emerge from rebellious individuals showcased belief. Works may be chosen their experience with a newfound in the course act as catalysts from the following traditions: identity and successful future for sociopolitical change and Greek, Roman, Confucian, orientation. Literary works will be challenge to the oppressive forces Taoist, Hebrew and Christian. chosen from a pool of resources that constrain human freedom. The lecture component of the that include Beowulf, medieval Readings to be selected from course provides an overview of romance, Dante’s Inferno, the following pool of resources: cultural history from Antiquity Chaucer’s Canterbury Tales, The More’s Utopia, Machiavelli’s through the Middle Ages to Koran, A Thousand and One Prince, Shakespeare’s Julius the Renaissance, tracing both Nights, Hamlet, Don Quixote, Caesar or The Tempest; continuity and divergence in Paradise Lost, Candide, Goethe’s Enlightenment works by Hobbes, the progression. Investigation Faust, Romantic poetry, Tolstoy, Locke, Jefferson, Wollstonecraft, of select foundational texts of Nietzsche & the Existentialists, Douglass; Romantic works world literature, religion, and Hurston’s Their Eyes Were by Blake, Shelley, Emerson, philosophy will be supplemented Watching God, Hong Kingston’s Thoreau, Whitman; Marx, Ibsen, by an interdisciplinary approach The Woman Warrior, and a variety Nietzsche, Conrad, Woolf, that imports representative of contemporary essays and Freud, Jung; Gandhi, the Beats musical selections, images fiction. The lecture component of & Hippies, Civil Rights activists; of artworks, historical and the course provides an overview Hong Kingston, Allende, Angelou, biographical documentaries, of cultural history from the Garcia Marquez; essays and short drama and film into the classroom Renaissance & Reformation to stories. Students are encouraged the Baroque and Enlightenment. to make connections between

Return to Table of Contents Course Description 91 the revolutionary programs artist, as well as the artist’s Humanities Core were born in advocated by these writers and contributions to communal 1995. The courses were designed contemporary political events. and cultural accomplishment. and have evolved to bridge the The lecture component of the Readings may be selected from ever changing linguistic needs of course will focus on the 19th a pool of resources including those international students from century as an age political and Platonic discussion of Beauty in their first languages to a more cultural revolution that led to The Symposium, Aristotelian advanced mastery of English- the modern world. notions of the value of theater, language skills. Nietzsche’s idea of the Dionysian Investigation of selected literary and the Apollonian, Shakespeare’s This bridge is built using works will be supplemented by A Midsummer Night’s Dream content-based, interactive an interdisciplinary approach or The Tempest, Romantic teaching techniques which that imports musical selections, poetry by Blake and Keats, allows for flexibility in teaching images of artworks, historical and Mary Shelley’s Frankenstein, to the writing needs, the reading biographical documentaries, and Kandinsky’s Concerning the comprehension needs and the film into the classroom to achieve Spiritual in Art, Joyce’s A Portrait oral/aural needs of students. Close course goals and connect the of the Artist as a Young Man, engagement and examination of literature to contemporary issues. Woolf’s A Room of One’s Own readings of shorter excerpts from Humanities Core texts through Prerequisite: Completion of HU0002. or To the Lighthouse, Modern poetry by Yeats and Stevens, journal writing, group discussions, whole-class discussions, individual HU0004 The Artist and Society and contemporary short stories that foreground the figure of the presentations engage students 4 hrs weekly/3 credits/Spring semester interactively with texts. Relevant Humanities Faculty artist. The lecture component of the course will focus on the 20th films, film clips, works from An exploration of aesthetics and century as an age of innovation, the fine arts of painting and artistic creativity focused on instability, and crisis. sculpture, from the performing the changing role of the artist arts of music, opera, musical in society from the Classical to Investigation of selected literary theater and dance add another the Postmodern world. Topics works will be supplemented by dimension and help form cultural for discussion will include the an interdisciplinary approach foundations from which to creative process, the psychology that imports musical selections, read, understand and address in of the creative act and the images of artworks, historical and writing, more easily, the literary phenomenon of inspiration, the biographical documentaries, and works of other cultures. All this nature of aesthetic experience, film into the classroom to achieve leads to open discussion and Beauty and Truth and their appeal course goals and connect the comparison of similar ideas to human consciousness, the literature to contemporary issues. from all of these sources and political & religious aspects of helps form a foundation for the Prerequisite: Completion of HU0003. art; race, ethnicity, class, gender work of the literature of these & sexuality as determinants of courses. Such rigorous work artistic identity and creative HU0001.NN-HU0004.NN Humanities assists students in developing a expression; the proximity of Core: Non-Native Speakers sense of linguistic confidence in genius & madness, the workings 4 hrs weekly/3 credits expressing themselves orally and of the imagination, and the Humanities Faculty in approaching complex readings destiny of the creative individual. MSM has a long tradition of and writing assignments in other The course offers an opportunity looking to support talented courses in the conservatory. The for young artists to more fully international students with their skills and confidence resulting understand the vocational Humanities studies. The four from the NN-Core course work impulses, challenges and rewards semesters of the Non-Native will help international students that constitute the life of the

Return to Table of Contents 92 Course Description integrate more fully into the reducing their stress levels, and film excerpts to heighten general community at the understanding their identities as a understanding of dramatic Manhattan School of Music. people and artists. representation. Trips to off- off Broadway productions of ELECTIVE COURSES HU1340 The Fantastic Imagination Shakespeare. Class discussion 3 hrs weekly/3 credits/Fall semester will focus on Shakespeare’s OPEN TO BOTH UNDERGRADUATES Dr. Pagano psychological, political, and AND GRADUATES social insights which still An exploration of fantastic charm, disturb, offend, and literature that celebrate enlighten his audience. HU0511-0512 Elementary Otherness, magicality, and Italian I-II imagination in a disenchanted Prerequisite: Completion of the 3 hrs weekly/3 credits per semester world, with the aim of revitalizing Humanities Core (or special Dr. Pedatella the creative resources of the permission of the epartment Chair). A study of the basic grammatical Self. Representative works will structures of the Italian language. include classic fairy tales and HU1360 The Romantic Spirit in Art The class is designed to provide their modern revisions, the and Literature the student with both a speaking Broadway musical Into the 3 hrs weekly/3 credits/Spring semester vocabulary and a fundamental Woods, revivals of Arthurian Dr. Pagano understanding of written Italian. legend in Romantic poetry and The writers and artists art, Lewis Carroll’s Alice books, who transformed culture, Tolkien’s Lord of the Rings HU0521-0522 consciousness, and creative trilogy and films, Magical Realist Elementary German I-II expression in the Romantic age, narratives by Borges, Allende, specifically in their celebration of 3 hrs weekly/3 credits per semester and Garcia Marquez. Freudian Mr. Lipkin Nature, Revolution, Individuality, and Jungian interpretations will and Imagination. European A study of the basic grammatical clarify the role that fantasy plays and American manifestations. structures of the German in the imaginative life of the Musical selections express the language. The class is designed individual. Attention will also spirit of the age. to provide the student with be given to the current trend both a speaking vocabulary and in popular culture to deploy Prerequisite: Completion of the a fundamental understanding of fantastic elements in literature Humanities Core (or special written German. and film to enchant audiences and permission of the Department Chair). activate imagination. HU1564 Shakespeare’s Comedies HU1200 Introduction to Psychology Completion of the Humanities 3 hrs weekly/3 credits/Spring semester Online Course/3 credits Core (or special permission of the Dr. Eisenbach Dr. Grayman department chair). This course teaches students the A continuation of HU1350: basics of how human beings think, HU1350 Shakespeare’s Tragedies Shakespeare’s Tragedies. learn, perceive, develop socially 3 hrs weekly/3 credits/Fall semester Examine the major themes in snd physically, how we develop Dr. Eisenbach several of Shakespeare’s greatest personalities, and how we behave Various interpretations of the comedies and histories. Discuss in groups. In this semester long, major tragedies, including various interpretations of the exclusively online course, students Hamlet, Titus Andronicus, texts offered by literary critics, apply psychological theories to Macbeth, King Lear. Select actors and movie directors. improving their performances,

Return to Table of Contents Course Description 93 HU1660 The Rise of the Prerequisite: Completion of the HU1910 Modern Heroes and American Republic Humanities Core (or special Villains: An Exploration of 3 hrs weekly/3 credits/Fall semester permission of the Department Chair). Storytelling using Film Part II (for Dr. Eisenbach Non-Native Speakers) This course examines the HU1900 Classic Heroes and Villains This course will focus on films founding of the United States 3 hrs weekly/3 credits and stories from the Classical to and its transformation from a Ms. Kelderman the Postmodern period, including rural collection of states into an From Hamlet to King Arthur such works as Elizabeth: the industrial nation. Students acquire to Mulan, this course will use Golden Age, Selma and 2001: A a deep understanding of the Bill movies to analyze the elements Space Odyssey. We will continue of Rights and the Constitution, of of storytelling by focusing on to engage the ideas of storytelling, slavery and the Civil War, and of how conflicts between heroes and exploring the themes 19th-century urban life. Walking and villains move stories forward. presented in the films, including tours of Greenwich Village, In addition, we will explore racism, sexism, and classism. George Washington’s New York, the way film generates cultural The course is open to non-native and the Lower East Side. connections and highlights speakers who wish to build on issues like racism and sexism. Prerequisite: Completion of the the skills and knowledge of the Engaging with these stories will Humanities Core (or special Humanities Core. Prerequisite: help students increase vocabulary, permission of the Department Chair). completion of the Humanities develop writing skills, sharpen core or special permission of the critical thinking, and succeed HU1661 America in the Department Chair). 20th Century with academic presentations. This course is offered to non-native 3 hrs weekly/3 credits/Spring semester speakers who wish to build on HU1930 Film and the Power Dr. Eisenbach the skills and knowledge of the of Performance A continuation of HU1660, Humanities Core. 3 hrs weekly/3 credits this course examines the rise of Mr. Keever contemporary America, explored Prerequisite: completion of This course will explore the through Turn of-the-Century Humanities Core (or special powers of “performance” as Imperialism, the New Deal, the permission of the Department Chair) demonstrated on film and video. Second World War, the Cold Students will view a series of War, the Civil Rights Movement HU1901 Creativity and Culture: the films and through class discussion and 1960’s counterculture. Visual Arts Throughout the Ages and writing assignments we will Documentary film, movies, 3 hrs weekly/3 credits/Spring semester explore how dramatic “imitation” and music provide insight into Dr. Rocco can shape our views of the trends in fashion and thought. This course is a journey which world which the film purports Students journey to a restored begins and ends with the question to “represent.” tenement house to see early 20th- “Why do humans make art ?” We century urban poverty, to the will travel from prehistoric caves HU1940 Film and the Power of top of the Empire State Building to soaring Gothic cathedrals, Narrative Part II for a lecture on “The History and plumb the depths of the of the Skyscraper,” and to the hearts and minds of some of the 4 hrs weekly/3 credits/Spring semester aircraft carrier Intrepid to learn greatest artists of all time, such as Mr. Keever about “Advances in American Michelangelo. Eventually we will Beginning with World War II Military Power.” seek to understand the changes and the film classic “Casablanca” in society that led to our modern we will explore how the movies concept of art as an expression of both presented the modern world the artist’s interior life. and created styles of narrative

Return to Table of Contents 94 Course Description that shaped how we viewed What conditions enable it to ENGLISH AS A ourselves and our institutions. flourish? What driving forces The class will view a modern film propel the genius forward on the SECOND LANGUAGE from Hollywood or other film path to creative accomplishment? HU1000 Summer English Study producing centers, including What is the ultimate fate of the Summer/0 credits France, Italy and Japan, each genius who stands apart from the Mr. Hagen Friday and meet to discuss the surrounding society? Graduate and films on Wednesday. We will focus Undergraduate students on the filmmaker as story teller This course sets out to consider and observe how film’s language these central questions and An intensive 8-week summer develops in the modern world in to challenge the stereotypical immersion program, specifically several national cultures. view of genius as identical with designed for music students. madness by examining the Program includes classes, tutorials life and work of artists who HU1975 New York Stories and conversation sections, all rebelled against conventional aimed at increasing students’ 3 hrs weekly/3 credits standards and sustained Dr. Pedatella readiness for regular course vocational commitment to a life work during the academic year. In this course we will examine of imagination. Representative Students will increase their the culture of New York City by artists include the Romantic proficiency in listening, speaking, following an interdisciplinary visionary poet and artist reading and writing. approach to the historical, literary, William Blake, the reclusive and sociological, cinematic, and even fiercely independent American HU1010 English Language televised landscape of the city. poet Emily Dickinson, the From Walt Whitman and Herman iconoclastic and oracular German Instruction Melville to William Burroughs philosopher Friedrich Nietzsche, Fall/1 credit and Jane Jacobs; From Woody the innovative modern novelist Mr. Hagen Allen’s “Manhattan” to Spike Lee’s and pioneer feminist Virginia Intensive daily instruction for “Do The Right Thing” to Martin Woolf, the revolutionary artist students who did not take the Scorsese’s “Goodfellas”; from Pablo Picasso, the provocative Summer program. Does not count “The Jeffersons” and “All in the depth psychologist Carl Gustav for Humanities elective credit. Family” to “Seinfeld” and “Law Jung, and the seductive 60s and Order”; from Greenwich American rock star and shaman HU1011 Fundamentals of Writing 1 Village in the early part of the Jim Morrison from the Doors. In Fall/3 credits 20th century to Andy Warhol’s addition to engaging the creative Mr. Hagen Factory and the emergence of work of these representative Punk and Hip Hop; we will be geniuses, students will consider A continuation of Summer pursuing this interdisciplinary the biographical and historical English Study for undergraduate approach to the reading (and context of their accomplishments students who need further viewing) of core NYC texts. through video documentaries language instruction before taking and other supporting materials the Humanities Core courses. in order to evaluate their May be counted for Humanities HU1856 Genius, Madness, Vocation: elective credit. The Artist as Eccentric achievements and their legacy. 3 hrs weekly/3 credits Completion of the Humanities HU1012 Graduate Continuing ESL Dr. Pagano Core (or special permission of the Fall/Spring/1 credit department chair). The phenomenon of creative Mr. Hagen genius has always been particularly A continuation of Summer fascinating to students of the English Study for graduate arts. How do we define genius? students who need further

Return to Table of Contents Course Description 95 language instruction before MM and PS students in the OP and Class work includes relevant taking music theory and/or Orchestral Conducting programs readings, research, and mentoring. history courses. have their own required section of Past projects have included the class (ME1500.OP offered Fall starting a new festival, creating HU1013 ESL Tutorial only). CPP students must take either a performance series, outreach Fall/Spring/0 credits ME1500 or ME2001. program, and launching an online Mr. Hagen booking service. Individual and small-group ME1600 Orchestral This course may substitute for meetings to support ESL students Entrepreneurship ME1500 with faculty approval. who are taking regular courses. 2 hrs weekly/2 credits/Fall semester The attendance policy for this The course is designed to equip ME2500 Internship course is the same as for major orchestral students with the 10+ hours per week working off- private lessons. knowledge and perspective campus/1 or 2 elective credits, for needed to succeed as professional undergrad and grad HU1015 Fundamentals of Writing 2 orchestral players in a changing Mr. Molino Dunn Spring/3 credits industry. The class covers Designed to offer students Mr. Hagen essential organizational, financial, practical “real world” experience, and programmatic issues Focused instruction on writing administrative internship affecting orchestras and their in English for undergraduate opportunities are available entrepreneurial possibilities students. Preparation for the with organizations specializing for the future. Includes guest demands of the Humanities Core in New Music, Jazz, Opera, speakers from the League of courses. This course is offered Orchestral, and Chamber Music, American Orchestras, American during the spring semester and as well as in music publishing, Federation of Musicians can be taken at the same time as recording, radio, arts education, Symphonic Services Division (the the Humanities Core. and more. Learn valuable skills Union), and others. relevant to an active career as (Open only to Undergraduates) Note: The course is designed for a professional musician and/or Prerequisite: HU1011 or permission of graduate students in the Orchestral arts administrator. Internships the instructor. Performance program and is also for current students typically available to others with permission are arranged for one semester from the instructor. at a time, for 1 or 2 credit hours ENTRE- depending on the scope and PRENEURSHIP ME2001 Advanced Practicum in schedule of the work. ME1500 Practical Foundations: Music Entrepreneurship Interested students must consult Entrepreneurial Leadership Skills 2 hours weekly/2 credits offered with instructor and apply through Focusing on creativity, innovation, spring semester only the CME office before registering. value creation, and impact, this Open to grad students and seniors Available fall, spring, and summer. core course explores the basics of by application. In this graduate- establishing a professional career. level course students plan and The class covers marketing, launch their own entrepreneurial communication, financing, ventures. Students apply in Nov. community engagement, and with a venture already in mind project management—for both and in class, in a supportive “think new and traditional career tank” environment, work to paths. This is a required class for advance these by creating business all undergrads. plans, budgets, and action steps to achieve their desired goals.

Return to Table of Contents 96 Course Description JAZZ of jazz. It explains the origins Prerequisite: Ability to sing at and development of fundamental Major Lesson: sight or recognize and notate harmonic and contrapuntal 1 hr weekly/3–6 credits per semester simple melodies determined by principles and shows the ways placement examination. in which these principles are REQUIRED UNDERGRADUATE in current usage in jazz. Topics THEORY COURSES JC0171-0172, JC0181-0182 Jazz include classical and jazz Required Piano viewpoints of counterpoint in two JC0001 Harmony for Jazz Majors 1 1 hr weekly/1 credit per semester voices, counterpoint in three or Jazz Faculty 2 hrs weekly/2 credits more voices, Neapolitan chords, Jazz Faculty augmented 6th chords, borrowed These courses are designed for This course covers the chords, composition projects, etc. the non-pianist to learn the basic fundamentals of harmony technique of the instrument for studies relating to jazz music. from the common practice JC0004 Harmony and Counterpoint They are aligned with the era as they relate to the music for Jazz Majors 4 of jazz. It explains the origins basic jazz theory, ear-training 2 hrs weekly/2 credits and improvisation courses so and development of harmonic Jazz Faculty principles and shows the ways that the keyboard becomes a in which these principles are This course is a continuation learning tool in the student’s in current usage in jazz. Topics of HCJM 3. Topics include musical education. Fluency in include notation, melodic altered dominants, chord all keys, keyboard harmony, organization, chord functions superimposition, chromatic lead sheet realization and in major and minor keys, mediants, Romantic period grand-staff reading are stressed. voice leading, figured bass, tools and jazz applications, Prerequisite: Jazz Required Piano chorale studies, etc. impressionistic period placement examination. tools and jazz applications, polytonality, form and JC0002 Harmony for Jazz Majors 2 JAZZ IMPROVISATION/ development in large ensemble UNDERGRADUATE 2 hrs weekly/2 credits jazz forms, serial techniques, Jazz Faculty composition projects, etc. JP2500 Jazz Improvisation This course is a continuation of 2 hrs weekly/2 credits HJM 1. Topics include resolutions JC0111-0114 Jazz Ear-Training Jazz Faculty of the dominant, secondary 2 hrs weekly/2 credits per semester Undergraduates will take dominants, leading tone Jazz Faculty diminished chords, modulation, improvisation for 4 semesters harmonization systems for tonal This course offers the (2 years) of their program. The melodies, binary and ternary undergraduate student basic following topics will be covered: forms, composition projects, etc. techniques needed to improve aural perceptions in both the First Year translation of hearing into writing JC0003 Harmony and Counterpoint and the performance of reading This course provides the for Jazz Majors 3 into singing and playing in the students with fundamental 2 hrs weekly/2 credits jazz idiom. Introduction and concepts needed to compose Jazz Faculty practice of singing and aural spontaneously. It consists of This course covers the recognition of short, simple improvisational exercises and advancement of harmony and melodies and intervals based upon the application of these exercises counterpoint from the common diatonic harmony. on assigned progressions. Scales: practice era into the early 20th Major and minor scales, major and century as they relate to the music dominant 8 note bop scales, major

Return to Table of Contents Course Description 97 diatonic modes. Progressions: MH0102 Jazz History Williams) and how they made Each week Major and dominant 2 hrs weekly/2 credits the music’s evolution possible; blues, ii-7 v7 1, ii-7b5 v7 b9b13 Mr. Saltzman a detour into the fine arts (film, 1-6/9, and Autumn Leaves will be An in-depth examination of what painting) and their common studied in a new key. Tensions 9 11 made New Orleans the birthplace denominators with jazz; a final and 13 will be studied on the above of jazz with an emphasis on its assignment where students must progressions. The melodic minor identity as a French colony. This prepare an in-depth presentation modes will also be studied along leads into the emergence of on a lesser known jazz musician. with the minor and dominant Buddy Bolden, Jelly Roll Morton, b9b13 bop scales. Students will and King Oliver, all placing the MH0105 Roots, Rhythms, and Music also be required to learn a new innovations of Louis Armstrong of the Americas I song each week in preparation in the proper context. The 2 hrs weekly/2 credits/Fall Semester for yearly juries. remainder of the semester deals Elio Villafranca with subsequent innovations This performance-based course Second Year by Duke Ellington, Coleman explores the diverse musical and Hawkins, Lester Young, Art This course includes further rhythmic genres of the African Tatum, Thelonious Monk, and studies of diatonic modes and Diaspora from Latin America and the music of Charlie Parker and parallel modes as well as modal the Caribbean. Using multiple Dizzy Gillespie. bop scales and diminished scales. resources, including guest artists, Approach notes and arpeggios to introduce aspects of the music will be studied on Autumn Leaves. MH0103 Jazz History and rhythms from these regions Students will be required to learn 2 hrs weekly/2 credits to provide a musical foundation to Minor Blues and I Got Rhythm Mr. Saltzman bridge knowledge and experience chord changes in 12 keys. Chord Beginning with Lennie Tristano for a more authentic performance substitutions on Blues, I Got and Charles Mingus, this semester experience. Classes are structured Rhythm, and Autumn Leaves deals with the varied reactions to to include new material, i.e. will also be explored. Students Parker and Gillespie. Miles Davis cultural music and rhythmic will continue to learn a new and the musicians he encouraged concepts, followed by in-class song each week. Review of the (Coltrane, Evans, Shorter, ensemble work and composition 60 songs learned in preparation Hancock) form the main core of to apply the new material. Topics for yearly juries. the narrative. Also, individuals will include historical elements such as Ornette Coleman, of the music, traditional forms UNDERGRADUATE Andrew Hill, and Jaco Pastorius of melody and rhythm, meaning REQUIRED COURSES are explored, with the focus on and understanding, stylistic tying their innovations into what approaches, rhythmic analysis, MH0101 Jazz History is contemporary in jazz. stylistic elements through dance 2 hrs weekly/2 credits and cultural perspectives within the genres. The course concludes Mr. Saltzman MH0104 Jazz History with an in-class performance 2 hrs weekly/2 credits The semester covers a broad of a selected work or student Mr. Saltzman view of the entire evolution of composition that demonstrates jazz, stressing its profile as an The semester is divided into three authentic interpretation. integral part of American history. segments: a detailed examination Connections with the social, of jazz’s greatest drummers (Baby musical, and racial realities of the Dodds, Sid Catlett, Chick Webb, 20th century are highlighted. Dave Tough, Jo Jones, Kenny Clarke, Max Roach, Roy Haynes, Art Blakey, Elvin Jones, Tony

Return to Table of Contents 98 Course Description MH0106 Roots, Rhythms, and Music JC1811 Studio Techniques JC2162 Jazz Piano Perspectives 2 of the Americas II 1: Introduction to MIDI 2 hrs weekly/2 credits/Spring semester 2 hrs weekly/2 credits/Spring Semester Sequencing Studio Required for first year Elio Villafranca 2 hrs weekly/2 credits/Fall semester undergraduate Piano majors Mr. Sussman Continuation of MH0105. Continuation of JC2161. Jazz Introduction to MIDI and MIDI Semester II focuses on the piano styles and techniques as sequencing using Macintosh- African Diaspora in Central influenced by World music and based systems. Creative America and South America. the European classical tradition. application of synthesizers and MIDI systems to contemporary Prerequisite: JC2161 or permission of JC0301-0302 Rhythmic Analysis jazz, commercial music and the instructor. Required for first year 2 hrs weekly/2 credits per semester classical music. Principles of undergraduate piano majors Mr. Riley audio engineering, multi-track ME1500 Practical Foundations: The course objectives will recording, mixing, and sampling be to develop fluency in the are discussed. Independent lab Entrepreneurial Leadership Skills performing/reading/feeling/ time is provided for hands-on Focusing on creativity, innovation, identifying/transcribing and practice in MIDI composition value creation, and impact, this notation of rhythms. Jazz and and recording techniques. core course explores the basics of classical methods of rhythmic Exposure to current popular establishing a professional career. interpretation will be discussed. synthesizers and software. The class covers marketing, As this is an undergraduate course communication, financing, the focus will be on the most JC2161 Jazz Piano Perspectives 1 community engagement, and common time signatures and 2 hrs weekly/2 credits/Fall semester project management—for both divisions of the beat. Mr. Rosenthal new and traditional career paths. This is a required class for (Required for all undergraduate jazz Required for first year all undergrads. performance and composition majors.) undergraduate Piano majors This course is designed to give See CME on pg. 88 JC0511-0512 Arranging jazz musicians the opportunity and Composition to acquire a listening background ELECTIVES (OPEN TO BOTH 2 hrs weekly/2 credits per semester essential to achieving artistic UNDERGRADUATES AND GRADUATES) Jazz Faculty depth and growth in their A development of writing performing. This course is a MH1040 Music of Duke Ellington skills for various media and survey of the development of 2 hrs weekly/2 credits/Spring semester combinations, including dance, jazz piano styles. Included will Mr. Kirchner show and jazz music. Students be an analysis of techniques as Duke Ellington (1899-1974) is explore the latest techniques demonstrated by the masters in generally considered the greatest in electronics, serial and recordings and transcriptions. and most prolific of all jazz experimental techniques. The course will also feature composers. Furthermore, he is hands-on exposure and widely regarded as one of the Prerequisite: JC0004 or instruction in the “comping” great composers in twentieth- the equivalent. techniques needed to effectively century music, regardless of genre. perform in all size configurations This course will survey his music, from duets to large orchestra. and that of his close associate Billy Strayhorn (1915-1967), from the 1920s to the 1970s.

Return to Table of Contents Course Description 99 MH2165 African-American the course is the incorporation for hands-on work in sound Music History of the Brazilian music universe of designing and patch editing. 2 hrs weekly/2 credits rhythms, phrasing, and repertoire Exposure to current popular Damien Sneed into their developing styles. The synthesizers and software. aim is to produce a performer We will examine a variety Prerequisite: JC1811 or who is well informed not only of musical genres beginning permission of instructor. with the music of West Africa about musical components and and moving to Plantations necessary skills for performance, but also about the history and JC1813 Studio Techniques 3: Analog songs (spirituals, work songs), and Digital Synthesis Ethiopian Minstrelsy, music of context in which Brazilian music developed. 2 hrs weekly/2 credits/Fall semester the Mississippi Delta, Blues, Mr. Sussman Ragtime, Jazz, Rhythm & Blues Cross-listed with MH1400. and Art Music. Such figures as Basics of analog and digital synthesis and sound designing, Master Juba, Francis Johnson, JC1402 Brazilian Music: History/ with emphasis on the Newport Gardner, Richard Allen, Repertoire/Performance 2 Bessie Smith, Duke Ellington, practical application of the 3 hrs weekly/3 credits/Spring semester synthesizer to contemporary Mary Lou Williams, Robert Mr. Boccato Johnson, Ma Rainey, Thomas jazz and commercial music. A. Dorsey, Marian Anderson, As a follow up to the almost Applications of basic principles William Grant Still, Stevie 500 years of Brazilian music and to abstract “Classical” sound Wonder, James Brow, Aretha culture that is surveyed in part design. Continuation of MIDI Franklin, Prince, Stevie Wonder one of this course, Brazilian sequencing and studio techniques. and Jay-Z will be discussed. All of Music History 2 will focus on Independent lab time is provided these individuals helped to shape the work and lives of 12 major for hands-on work in sound and define music of the African figures of Brazilian music in the designing and patch editing. American Diaspora. 20th century and today’s scene. Exposure to current popular Through detailed analysis of synthesizers and software. their pieces and contributions to Prerequisite: JC1811 or JC1400 Brazilian Music: History, the Brazilian music repertoire, permission of instructor. Styles, and Analysis this course will focus in on 3 hrs weekly/3 credits/Fall Semester the master works of some of Mr. Boccato the most brilliant Brazilian JC1814 Advanced Studio Recording: This course is designed to musicians to date. Scoring to Picture introduce and examine Brazilian 2 hrs weekly/2 credits per semester/ music from both academic Spring semester JC1812 Studio Techniques 2: Mr. Sussman and performance perspectives. Introduction to Digital Audio Through readings of articles and Recording Studio Advanced application of MIDI sequencing and digital textbooks, video excerpts and 2 hrs weekly/2 credits/Spring semester audio recording techniques. documentaries, field recordings Mr. Sussman and live demonstration, students Introduction to sampling are led to observe the connections Continuation of MIDI technology, additional MIDI between historical facts and sequencing and studio techniques. sound sources, and advanced the formation of each style in Introduction to digital multi- synthesis techniques. Emphasis Brazilian music, in a journey track recording techniques on scoring techniques for film, through almost 500 years of using Pro Tools-based Digital TV, and multimedia, as well as history/music making. As the Performer and the Tascam DA- combining acoustic and electronic students are first and foremost 88. Survey of notation, editing, instruments. Independent lab performers, a primary focus of and other MIDI software. time is provided for hands-on Independent lab time is provided

Return to Table of Contents 100 Course Description work in MIDI composition, JC2273-2274 Jazz relationships, combining digital audio recording, and Improvisation for Strings independent rhythmic parts scoring to picture. 2 hrs weekly/2 credits per semester/ in a way that emphasizes Fall and Spring their independence: as voices, Prerequisite: JC1813 or Mr. Rosenberg happening simultaneously. permission of instructor. A course designed to provide the JC1911-1912 Advanced Studio non-Jazz major with fundamental JC2781 Ritmica 2: A Unique Composition and Scoring concepts needed to compose Approach to Rhythm 3 hrs weekly/3 credits per semester spontaneously. Blues and basic 2 hrs weekly/2 credits/Spring semester Mr. Sussman jazz forms are covered through Mr. Boccato performance and recordings Advanced MIDI software This course is designed to applications, sound designing, continue to challenge the sampling, and studio techniques. JC2731 Songwriting I student’s ability to perceive In-depth exploration of 3 hrs weekly/3 credits/Fall semester rhythmic relationships in a various creative and technical Dr. Green horizontal way, through the considerations encountered A course in the composition of introduction of many more in the MIDI studio. Topics contemporary popular song. exercises of the Ritmica book. include principles of creating Students are expected to develop The exercises were created contemporary rhythm tracks, fluency in all styles. The problems by putting together irregular expressive and dynamic of prosody are studied as well as rhythmic elements against considerations of sequencing, the techniques of scoring for voice regular rhythmic sequences, and MIDI orchestrating, scoring for and instruments. exploring the contrast between film and TV, multimedia, SMPTE, them. Through the second part Not required. sampling, and combining acoustic of the Ritmica studies the class and electronic instruments. also focuses on composition, JC2732 Songwriting II: Composing Students are exposed to a and each student is assigned a wide range of current MIDI for Musical Theater partner and required to write and instruments and software. 3 hrs weekly/3 credits/Spring semester perform a duo piece based on the Additional independent lab time Dr. Green Ritmica concept. is provided for hands-on work. Continuation of JC2731. This semester will include a REQUIRED OF ALL JAZZ Prerequisite: JC1812 or concentrated introduction to COMPOSITION STUDENTS permission of instructor. the composition skills required Major Lesson: for the writing of music for JC2271-2272 Jazz Improvisation for 1 hr weekly/3–6 credits per semester musical theater. Non-Jazz Majors Ms. Stiles JC1999 Jazz Composition Forum JC2780 Ritmica: A Musical 1 hr weekly/1 credit per semester A course designed to provide the Approach to Rhythm Jazz Faculty non-Jazz major with fundamental 2 hrs weekly/2 credits concepts needed to compose Mr. Boccato JC2241-JC2242 Jazz Composing and spontaneously. Blues and basic Arranging for Studio Orchestra jazz forms are covered through Develop a deeper concept of 2 hrs weekly/2 credits per semester performance and recordings. rhythm as a musical element, moving beyond arithmetic and Jazz Faculty counting to something that is A development of writing skills more melodic and intuitive. aimed primarily for orchestra. The focus of this system is Will include the combination Counterpoint instead of vertical of big band plus either chamber

Return to Table of Contents Course Description 101 orchestra, symphony orchestra REQUIRED COURSES students explore the latest or writing works for jazz soloist FOR GRADUATES techniques in electronic, serial and chamber or symphony and experimental techniques. orchestras. Will include listening JP2500 Jazz Improvisation Prerequisites: Graduate standing or and discussion of the different 2 hrs weekly/2 credits permission from the instructor. approaches, including examples of Jazz Faculty Mr. Abene, plus in-depth analysis Graduate performance majors of the student’s own work. JC2321-2322 Jazz Styles will take improvisation every and Analysis Required for all graduate jazz semester for the duration of their 2 hrs weekly/2 credits per semester performance and composition majors. program. The following topics Mr. Markowitz will be covered: Analysis of the contributions, JC2400 Graduate Jazz Conducting/ innovations, and solo and Rehearsal Techniques Year 1 compositional output of 2 hrs weekly/2 credits/Fall or This course provides in-depth outstanding jazz composers, Spring semester studies on pentatonic, modal, arrangers, and performers. Damien Sneed open bar line playing, and the Prerequisite: JC0451-0452. This course will prepare students works of Miles Davis, Paul Bley to conduct a number of music and other post-bop composers. styles/genres (orchestral, Students will be involved in JC2360 Jazz Musician as Educator choral, jazz, Broadway, popular group improvisation, rubato 2 hrs weekly/2 credits/Spring semester music, TV/film and more), be group playing, and also the Mr. Rosenberg knowledgeable in score study works of Wayne Shorter and This course is designed to and preparation, understand Ornette Coleman. Students will develop skills in the teaching of instrument transposition, learn a new song each week in jazz music. The student will be basic baton technique, general preparation for yearly juries. exposed to a variety of materials, score analysis, rehearsal techniques, and philosophies. planning and implementation Year 2 The course focuses on program of rehearsal techniques and development for and performance other tools necessary to be a Studies on the following: in MSM’s elementary and middle successful conductor. hexatonics, parallel and chromatic school jazz education outreach harmony, odd time signatures, series. Included are the study metric modulations, hemiolas, JC2741-2742 Film Scoring of ensemble and rehearsal free playing, and World music. techniques and other factors 3 hrs weekly/3 credits per semester Students will continue to learn Mr. Green pertinent to operating a jazz/ a new song each week and commercial music program. Cross-listed with review 60 songs in preparation for graduation. CP2741-2742 on pg. 85 JC2410 Jazz Pedagogy 2 hrs weekly/2 credits/Fall semester JC2111-2112 Graduate Arranging Mr. Rosenberg and Composition This course prepares artist 2 hrs weekly/2 credits per semester teachers to function at a high level Jazz Faculty in the world of jazz education. A development of writing Included are discussions of the skills for various media and pedagogy of the applied studio as combination, including dance, well as common classroom areas show, and jazz music. Graduate for jazz education including jazz improvisation, jazz arranging and

Return to Table of Contents 102 Course Description composition, jazz history, and *JC2501-2502 are required for and judging a jazz festival. Hands- theoretical and aural skills. Also graduates, JC2503/2504 on training will be stressed by included are observational visits are not required giving clinics and workshops to area jazz programs, as well as through the Manhattan an overview of the job market and REQUIRED COURSES FOR School of Music Outreach and techniques to use in applying for DOCTORAL STUDENTS Precollege programs as well as positions within jazz education. the Carnegie Hall and NARAS JP2500 Jazz Improvisation educational programs. The JC2501-JC2504 Masters of Jazz 2 hrs weekly/2 credits course’s pedagogical concept is Seminar: A Chromatic Approach to Jazz Faculty unique in its sequential design Jazz Melody and Harmony that integrates the entire DM4700 Doctoral Jazz Seminar curriculum, its ability to train and 2 hrs weekly/2 credits per semester 3 hrs weekly/3 credits/Fall semester empower teachers effectively to Mr. Liebman/Mr. Markowitz Jazz Faculty present and reinforce musical In this course, the student will Students will be given background applications, and the program’s study theoretical and practical on the use of chromaticism in strong and affirming message concepts, which allow for various jazz up to the present day with that cements concepts through ways to conceptualize chromatic an in-depth study of the music an array of interactive and usage. There will be in-depth of John Coltrane, Miles Davis, musical experiences. historic analysis of chromatic and other exponents of this examples from the classical harmonic idiom. References and and jazz repertoire; study of MUSIC HISTORY study of some of the classical, reharmonized standards and 20th-century exponents of new original compositions; composing UNDERGRADUATE CORE harmonic techniques such as chromatic voicings, lines, and Bartok and Schoenberg will also tunes. The goal of the course is MH0001 Baroque be included. Various techniques to expose the student to a variety 2 hrs weekly/2 credits/Fall semester of employing chromaticism in of chromatic music in order Dr. Massol the jazz idiom will be presented to increase the student’s aural A comprehensive study of and students will be required to skills and critical understanding Western music from 900 until write examples and compositions of the use of chromaticism 1600. Emphasizes the evolution in the style. Improvising in modern music. of polyphonic music, the chromatically over standards development of compositional and original compositions will techniques using preexistent also be required. material, the changing relationship of words and music, DM4750 The Artist Pedagogue and the historical and cultural 3 hrs weekly/3 credits/Spring semester milieu in which music evolved. Jazz Faculty Teaching proficiency related to MH0002 Classical the implementation of listening 2 hrs weekly/2 credits/Spring semester skills, improvisation, and Dr. Poghosyan rehearsal and directing techniques A study of Baroque music from beginning to advanced focusing on national styles as levels will be developed. Class developed by Monteverdi in Italy, discussion will include: who Schütz in Germany, Lully and should teach jazz and why, the Rameau in France, and Purcell value of a degree in jazz, the state in England. Special attention is of music education in America,

Return to Table of Contents Course Description 103 given to the fusion of national ELECTIVES (OPEN TO Sources and editions are styles in the 18th century, the UNDERGRADUATE AND GRADUATE carefully considered. The monumental achievements of STUDENTS WITH THE PROPER course will include in-class Handel and J.S. Bach. PREREQUISITES) performance projects. (Offered in alternate years) MH0003 Romantic MH1400 Brazilian Music: History, 2 hrs weekly/2 credits/Fall semester Styles, and Analysis MH1531 History of Chamber Music I Associate Dean Langford 3 hrs weekly/3 credits 3 hrs weekly/3 credits/Fall semester Discussing the evolution of opera, Mr. Boccato Dr. Massol See JC1400. Lied, symphony, concerto, and A comprehensive chronological sonata, the course concentrates survey of chamber music from its on music of Haydn, Schubert, MH1402 Brazilian Music: History/ Repertoire/Performance 2 origins in such early forms as the Berlioz, and Brahms as pivotal canzona and trio sonata through 3 hrs weekly/3 credits composers and Vienna and Paris the year 1827, concluding with Mr. Boccato as important cultural centers. the death of Beethoven. The See JC1402. course has three objectives: first, MH0004 20th Century MH1040 The Music of to look at pieces and composers 2 hrs weekly/2 credits/Spring semester in historical perspective noting Duke Ellington Dr. Andreacchi the prevailing social, political, 2 hrs weekly/2 credits/Spring semester and economic trends and A comprehensive study of Mr. Kirchner major musical trends and understanding the progression A history and analysis of this great composers of the 20th century. of musical ideas as they manifest composer and his close associate Special emphasis is given to the themselves in the chamber Billy Strayhorn from the 1920s development of Serialism, Neo- music repertoire; second, to to the early 1970s. Score reading classicism, Futurism, and music explore interrelationships skills are required for the class, as since World War II. among composers and schools is the ability to analyze music in of compositions, as well as fluent written English. development of style and genres UNDERGRADUATE ELECTIVES in specific composers; and, third, MH1512 History of Opera to examine the music itself MH1510 Bach 3 hrs weekly/3 credits/Spring semester both from an analytic viewpoint 3 hrs weekly/3 credits/Spring semester Associate Dean Langford and from a performance Dr. Hilse practice perspective. A comprehensive study of A study of the history, style, the history of opera and and performance problems in operatic forms of the 19th and MH1532 History of selected instrumental and vocal 20th centuries. Chamber Music II works of J.S. Bach. 3 hrs weekly/3 credits/Spring semester MH1530 Mozart Dr. Massol 3 hrs weekly/3 credits A continuation of an historical Associate Dean Langford survey of the chamber music repertoire, beginning with A close examination of the Schubert’s great C-Major music of Mozart, including Quintet and concluding with early influences, Mozart’s Boulez’s Le Marteau sans Maître. association with Haydn, and Particular attention will be paid the interrelationships between to the use and role of individual vocal and instrumental music. instruments in ensembles as well

Return to Table of Contents 104 Course Description as to evolving modes of motivic MH1610 History of the Symphony the artists whose portraits appear developmental processes through 3 hrs weekly/3 credits/Fall semester in the Metropolitan Opera galley. the 19th and 20th centuries. Associate Dean Langford Each week will be specifically The course will involve directed A comprehensive survey of the dedicated to specific topics and listening of historic recordings of history of the symphony and voice categories. Discussion the 20th century. symphonic forms from the 18th will be primarily on style and century until the present. communication, briefly on MH1590 Music in America biographical material. 3 hrs weekly/3 credits/Spring semester MH1620 Beethoven Dr. Green 3 hrs weekly/3 credits/Spring semester MH1711 Works of Wagner: Der Ring An in-depth survey of American Associate Dean Langford des Nibelungen 3 hrs weekly/3 credits music, beginning in the 1600s A detailed study of the Dr. Stambaugh and continuing to the present, major works of Beethoven. and taking in all genres and styles, Representative samples of his A comprehensive introduction both “concert” and “popular”. various styles are drawn from to Richard Wagner’s Der Ring the symphonies, string quartets, des Nibelungen, in the context of MH1608 Voices and Orchestra piano sonatas, solo concertos, his life and times, with reference 3 hrs weekly/3 credits per semester and choral works. to other Wagner works of the Dr. Massol Ring period. The course will (Offered in alternate years) cover the musical, dramatic, This course is a two-semester poetic, historic, literary, and survey of genres scored for voices MH1698 Concerto philosophic background to and orchestra from the 17th to 3 hrs weekly/3 credits/Spring semester Wagner’s monumental tetralogy. the 21st centuries, including Dr. Hilse A term paper at the end of the oratorios, cantatas, masses, choral semester is required. symphonies, and symphonic A survey of concertos, from the song cycles. The fall semester inception of the form in the Prerequisite: TH0002 covers important works from the early 17th century to present-day Baroque and Classical eras, such examples. Various works called MH1712 Wagner: Tristan, “concerto” and “concertante” as Monteverdi’s Vespers, Bach’s Meistersinger, Parsifal will be considered, and will St. Matthew Passion and Mass 3 hrs weekly/3 credits be subjected to stylistic and in B Minor, Handel’s Messiah, Dr. Stambaugh Haydn’s Creation, Mozart’s formal analysis. An introduction to Richard Requiem, and Beethoven’s Ninth Wagner’s Tristan und Isolde, Die Symphony. The spring semester MH1700 Survey of 70 Years of Meistersinger, and Parsifal in covers important works from Recorded Vocal Music the context of his life and times, the Romantic and Modern eras, 2 hrs weekly/2 credits with reference to other Wagner such as Mendelssohn’s Elijah, Ms. Caplan works of the periods discussed. Brahms’s Ein deutsches Requiem, Beginning with the earliest known The course will cover the musical, Verdi’s Requiem, Mahler’s vocal recordings and ending in the dramatic, poetic, historic, literary, symphonies and Das Lied von 1970s, this course will introduce and philosophic background der Erde, Orff’s Carmina Burana, examples of the great singers of to Wagner’s three great music Stravinsky’s Symphony of Psalms, the past. It will feature examples dramas. A term paper at the end and Britten’s War Requiem. of the creators of various operatic of the semester is required. roles, the vocal idols of the decades, including singers of Prerequisite: TH0002 song literature. It will feature examples of the voices of many of

Return to Table of Contents Course Description 105 MH1841 World Music I Stravinsky, Prokofiev. There are the founding of the Aldeburgh 3 hrs weekly/3 credits/Fall semester the social dances of Schubert, Festival, the Maltings Concert Dr. Green Johann Strauss, and the world Hall and the Britten-Pears School An introduction to the principles of jazz and rock. There is the we will investigate Britten’s life of ethnomusicology joined to use of dance in concert music: and music within the framework a survey of the music of the the suites of the Baroque; the of some prominent themes that following non-Western cultures: minuets of the Classical era; the can be observed throughout his sub-Saharan Africa, Native nationalistic dances of the 19th career: the individual against America, the Islamic world, and century. Dance music has likewise society, the confrontation of the Indian subcontinent. The been crucial to the drama: opera, innocence and experience, study of this music will be at once Broadway, and cinema--defining the importance of musical technical and cultural. The course character and creating powerful citizenship, pacifism in an age of is enriched by visits from guest moments of theater. war, and the conflict between the artists who present the music private/public image. Although in live performance. Emphasis MH1858 Puccini the list of Britten’s operas will will also be given to seeing how 3 hrs weekly/3 credits/Spring semester act as a template for the course, composers, world-wide, are Dr. Massol his other works for orchestra, currently making use of elements chamber music, chorus, plus his This course covers Giacomo vibrant career as a performer with of the traditional music from Puccini’s life and works. We these cultures. Peter Pears and other great artists begin with prevailing operatic of his time will hardly be ignored. styles of the late 19th century and The course will include reading MH1842 World Music II discuss each of Puccini’s operas in and listening assignments, exams, 3 hrs weekly/3 credits/Spring semester turn, comparing traditional and and a final project. Dr. Green abstract productions from opera houses in the U.S. and Europe. A survey of the traditional musical MH1920 Music of the 1920’s cultures of East Asia and the 3 hrs weekly/3 credits/Spring semester Pacific, including those of China, MH1913 The Life and Works of Dr. Green Japan, Korea, Tibet, Mongolia, Benjamin Britten Indonesia, New Guinea, Oceania, 3 hrs weekly/3 credits/Spring semester This class surveys the music and Australia. As with MH 1841, Dr. Stambaugh of Europe and the USA during the music will be considered both this exciting. Turbulent and This new course will survey the culturally and technically. During boldly creative decade – all the works of Benjamin Britten in the the semester, guests proficient in many popular genres of this context of his life and musical these traditional musical cultures music: “concert,” “popular,” and activities, both as composer and will demonstrate the music in live “experimental.” We look in depth performer, during the tumultuous performance. Emphasis will also at the music of such figures as: era of the 20th century. Following be given to exploring the creative Gershwin and Bartok; Stravinsky the chronology of Britten’s life use that contemporary composers and Ellington; Prokofiev from his formative years in are making of this music. and Schoenberg; Ravel and London before World War II Shostakovich; Darius Milhuad through his American adventure and Louis Armstrong and more. MH1850 Music and the Dance in the 1940’s; from the triumphant 3 hrs weekly/3 credits/Fall semester premiere of Peter Grimes through Dr. Green the years of his subsequent In this course we study dance success as the composer of opera music in its varied forms across and instrumental music of every the centuries. There is the history variety; from his establishment of of ballet: Rameau, Tchaikovsky, the English Opera Group through

Return to Table of Contents 106 Course Description MH1960 Music of the 1960’s GRADUATE ELECTIVES (OPEN TO MH2610 Orchestral Music: Baroque 3 hrs weekly/3 credits/Spring semester ALL GRADUATE STUDENTS WITH THE to Classical Dr. Green PROPER PREREQUISITES) 3 hrs weekly/3 credits/Fall semester This class surveys the music of Dr. Massol th the 1960 with a focus on Classical, MH2001 20 Century German Opera An advanced study of the Broadway, and Rock n’ Roll. 3 hrs weekly/3 credits/Spring semester evolution of the orchestra and Dr. Fueting of primary genres of orchestral MH2030 Miles Davis An in-depth exploration of the music during the eighteenth and 2 hrs weekly/2 credits/Fall semester historical background, cultural nineteenth centuries. Mr. Kirchner milieu, and prevalent artistic trends surrounding German A survey of the music of MH2620 Orchestral Music: and Austrian operas of the 20th trumpeter-bandleader-composer Beethoven to the Present century, starting with Strauss, Miles Davis (1926-1991), one 3 hrs weekly/3 credits/Spring semester Schoenberg, and Berg, and ending of the major innovators in the Dr. Massol with Ligeti, Stockhausen, and history of jazz and 20th-century Lachenmann. Composer and A further investigation of the music. Davis’s music ranged from librettist biographies, musical evolution of the orchestra and of bebop of the1940s through hip- style, and literary resources orchestral music during the 19th hop of the 1990s. will be studied in relation to and 20th Centuries. selected operas. MH1940 The Music of Frank Zappa MH2720 Mahler and His 3 hrs weekly/3 credits/Spring semester MH2131 Performance Practice Contemporaries Mr. Delpriora 3 hrs weekly/3 credits/Fall semester 3 hrs weekly/3 credits/Spring semester This course examines the career Dr. Cooper Associate Dean Langford and music of Frank Zappa. An investigation of performance An investigation of the music Sometimes described as an practices concentrating on of Mahler, Strauss, Schoenberg, “American Maverick”, Zappa’s Baroque, Classic, and early 19th- Debussy, Scriabin, and other career touched upon almost century repertoire. Students are composers active during all genres of music including required to perform as part of the period 1890–1910. The orchestral, chamber, film and the class work. course examines late German electronic, theatre, jazz and Romanticism as one of several rock. Although varied in style Prerequisite: Graduate standing or styles leading to a new musical and approach, Zappa’s music is permission of instructor. aesthetic in the 20th Century. rigorous and complex. The recent subject of critical review termed MH2400 Beethoven, Brahms, (Offered in alternate years) “Zappology”, Zappa was himself a and Schubert famed social critic and politically 2 hrs weekly/2 credits/Spring semester MH2730 Verdi engaged artist. Dr. O’Donohue 3 hrs weekly/3 credits/Spring semester Associate Dean Langford An exploration of the musical forces that contribute to the A study of selected operas of Verdi unique character of selected piano within the context of relevant and string works of Beethoven, political, social, and musical Brahms, and Schubert. Attention trends of 19th-Century Italy. will be given to issues that Offered in alternate years. impact interpretive decisions in performance. Student performance is required.

Return to Table of Contents Course Description 107 MH2810 Berlioz and Liszt: 19th Song, Engaging with the Lyric MT0014 Scene into Song (Junior) Century Avant-Garde as a Monologue, Learning Music 3 hrs weekly/3 credits 3 hrs weekly/3 credits/Spring semester Accurately, Music as Subtext, the Erin Dilly Associate Dean Langford Importance of Focus, Exploring This course will focus on the An exploration of the avant- the Physical Life of a Song and acting of scene into song in the garde of the nineteenth century, the Craft of Telling a Story musical theatre. In addition to attempting to identify a common Through Text and Song. focusing on the acting essentials practice among composers of the libretto, this course will whose compositional and MT0200 Freshman Seminar focus on the motivated transition philosophical outlooks were self- 1.5 hrs weekly/1 credit of speaking into singing. We will consciously modernistic. Liza Gennaro also underline bringing SELF and This course serves to introduce individual artistry to roles in the MH3050 Research Methods freshman to professional musical theatre. This industry is 3 hrs weekly/3 credits/Fall semester musical theatre in New York in search of originals, and each Associate Dean Langford City. Musical theatre industry actor needs to find his/her unique voice in each role. Designed primarily for doctoral professionals including casting students, this course is an intense directors, agents, directors Students will work on three introduction to the technique of and choreographers will visit scenes from the musical theatre scholarly research: bibliography, class, audition preparation will canon: The Golden Age, Stephen style analysis and documentation; be examined, we will visit the Sondheim, Contemporary literary style and form specifically NYPL for the Performing Arts, (musicals written post 1990), and applicable to the writing of a and discuss – vocal health and for the final, students will choose graduate thesis. writing skills. their own material, from any era, fully rehearsed and prepared Enrollment is by permission of the MT0012-0013 Acting the Song outside of class. instructor only. I & II (Sophomore) Students will be required to 3 hrs weekly/3 credits research each assigned show. Randy Graff MUSICAL THEATRE Research will include full CURRICULUM This course is designed to teach history of original creators acting technique for singing and production of the show. MT0010-0011 Musical Theatre a Musical Theatre song. The Additionally, students will be Performance Technique Fall semester will focus on required to immerse themselves I & II: (Freshman) musicals from the 1930’s to 1959. in the libretto of the musical, 2.5 hrs weekly/2 credits Class work will emphasize the providing a comprehensive David Loud and Mana Allen importance of the art of story- picture of the given circumstances This class, designed for Freshmen telling through song to dramatize of the scene. The former will starting the four-year program a musical moment. We will go anchor the actor to show’s in musical theatre at Manhattan in chronological order, starting history, the latter will allow School of Music, will be an in- with songs and musicals from for personal and textual depth exploration of the skills the 30’s 40’s and 50’s, otherwise interpretation of the scene. and tools needed to effectively know as the Traditional Golden perform songs in Musical Theatre. Age Era. (Techniques to be Topics covered include: How to explored include: intention ( Learn a Song, Songs Structured, what do I want?) obstacles (what’s The Vocabulary of Professional in my way?) moment before, Song Performance, Researching personalization, text analysis, the History and Context of a tactics, stakes, and musical cues.)

Return to Table of Contents 108 Course Description MT0015 Audition seminar is to help prepare the Meisner's approach trains the Techniques (Junior) students for the expectations actor to "live truthfully under 3 hrs weekly/3 credits they will be met with once they imaginary circumstances," to Randy Graff and David Cady embark on their professional discover personally meaningful journey. This course demands that points of view with respect to the This course prepares the student for the students learn and memorize written, or improvised, word and professional musical theater auditions new songs in a prompt manner, to express spontaneous human by exploring musical theater genres, while making artistic choices reactions and authentic emotion audition etiquette and comportment, and decisions on their own. with the utmost sense of truth. and encouraging the student to find Each performance is discussed audition material that expresses their and critiqued by myself, and essence and individuality. MT0004 Acting 4, Devised Theatre occasionally by a guest artist from Practice (Sophmore) Course Description: This course the industry. The songs included 2 hrs weekly/2 credits is designed to prepare the student in the course are handpicked Yehuda Hyman for a professional singing audition from projects written by the new and book preparation in all generation of writers, and have This course will be a hands- genres of the musical theatre. yet to be published or produced. on dive into the experience Musical Theatre genres to be Each student will receive their of creating a work of Devised explored include : Traditional, song 48 hours before the seminar, Theatre. Each class will begin Contemporary, Modern and will be expected to perform with a warm-up that will alternate Contemporary Pop/Rock, and the material at the highest level between technical exercises non Musical Theatre genres as demanded in the professional (physical, vocal, etc.) and ( including Pop, Disco, R&B, world. The musical sequences investigatory (sensory awareness Country/Folk, Rock, etc. ) Other grow in length and difficulty and concentration exercises). techniques : self ta- ping with throughout the semester, and Eventually students will be in guest instructor. The process of the course culminates in large charge of leading their own warm- this class is designed to simulate ensemble performances. ups. The body of the course the pace and expectations of will be devoted to the creation of original Devised Theatre the professional audition world. MT0001-0002-0003 Acting A pdf will be provided with the group pieces. Devised Theatre is 1, 2 & 3, Meisner Technique essentially ensemble-work and list of suggested necessary song (Freshman/Sophomore) categories for an audition book a major theme of the course will 3 hrs weekly/3 credits be the techniques of partnering Robin Morse (duos, trios and large groups). MT0016 MT Lab (Senior) The Meisner technique is a Students will create scenes, songs 3 hrs weekly/3 credits progressive system of structured and movement. Writing will be Or Matias exercises (which leads into an essential component of the New Musical Theatre (NMT) Lab scene work) for developing course. Students will be writing in is a performance-based course, in concentration and imagination, each class - "Devising" ideas will which students perform newly- stimulating instincts and come out of their timed writing, written musical theatre pieces on impulses, in order for the reflections on the work they are a weekly basis. While traditional student to be able to create doing in the class and ideas that musical theatre education heavily believable, authentic, embodied emerge out of group discussion. relies on “the canon”, the current behavior in relation to the The course will culminate in professional climate often asks of imaginary circumstances they are final group pieces, which will be the performer to workshop and involved with. shown to the class, discussed and learn completely new material evaluated, then worked on again in a rapid timeframe and with for a second showing. little assistance. The goal of this

Return to Table of Contents Course Description 109 Devised Theatre techniques MT0006 Acting 6, Scene Study and this course students will be are widely in use by noted Monologue (Junior) confident musicians and polished contemporary Off-Broadway 3 hrs weekly/3 credits ensemble singers. ensembles such as Target Margin Andy Gale Theater, SITI Company, Wooster In the second semester we’ll MT0550-0551 Music Group and The Civilians. Many move from scene work to Theory (Freshman) of the theater ensembles featured monologues, with each actor 3 hrs weekly/3 credits in New York Public Theater's selecting and preparing two Andrew Gerle "Under the Radar" Festival are contrasting monologues, which A two-semester intensive study Devised Theater companies. can be confidently presented Even commercial Broadway of the fundamentals of music at auditions. Each actor will theory, sight-singing and aural productions use devised theater perform their audition pieces techniques in the creation of skills. Students will learn music before a panel of professionals in notation, rhythms, all meters, key work (i.e., the movement in "The the last class. Curious Incident of the Dog in signatures, and intervals, and will the Night-Time" was created be introduced to chords and basic by Frantic Assembly-a Devised MT0007 Acting 7, Advanced harmonic theory. The emphasis of Theatre company). Improvisation Acting (Senior) the class is building sight-singing techniques, team-building 3 hrs weekly/3 credits fluency and confidence with a skills and the ability to create Boyd Gaines focus on real-world applications. something from the blank canvas A scene work-based class with In the second semester, students is the foundation of our work an emphasis on identifying and will learn techniques of score in this course. Aspiring musical strengthening the individual analysis as a means to more deeply theater performers versed in the actor’s rehearsal and performance understand the composer's techniques of making Devised process, leading the actor’s work dramatic intentions. Theater will have an advantage in toward characters pursuing working in professional theater. personalized needs and objectives MT0120-0121 Tap while living moment to moment (Sophomore/Senior) MT0005 Acting 5, Scene Study and in imaginary given circumstances. 4.5 hrs weekly/2 credits Repertory (Junior) Marshall L. Davis 3 hrs weekly/3 credits MT0350-0351 Ensemble Voice Tap skills are introduced at the Andy Gale I & II (Freshman) beginning level and advance During our first semester 3 hrs weekly/1 credit to a solid understanding of the our focus will be on scene Judith Clurman technique and the history of this study, choosing material This is a two-semester course in discipline. Tap dancing relies on a from contemporary plays and applied musicianship using the fundamental knowledge of various portraying age-appropriate roles. repertoire of musical ensembles, rhythms and styles. The student We’ll take a break for some including unisons, duets, trios, will learn basic tap steps, rhythms Shakespeare, and then continue quartets and larger ensembles. It and choreography. scene study, expanding our scope also teaches the particular skills (We will also offer Tap as an to include a broad range of classic sets necessary to be an effective elective in spring) dramatic literature. member of any ensemble, such as tuning, phrasing and blending. Finally, it is also an historical survey of the genre, including listening to recordings of iconic performances. At the end of

Return to Table of Contents 110 Course Description MT0100-0101 Ballet MT1600 Career Development MT0300-0301 Speech/Diction (Sophomore/Senior) (CME) (Juniors) (Sophmores) 4.5 hrs weekly/2 credits 2 hrs weekly/2 credits 3 hrs weekly/2 credits Rachel Tucker Casey Molino and Liza Gennaro Blake Segal Fundamentals of ballet technique This course is designed to prepare Voice work: A development concentrating on alignment, students for their professional of the vocal skills necessary for strength, flexibility, rotation, and careers as musical theatre the actor's transformational weight change.This class will performers. The class combines instrument - (Alignment, consist of the practice of barre hands on projects including Breath Support, Open Channel, work, center floor work, traveling website building, personal budget Resonance, Range, and patterns across the floor and management and professional Articulation) and an introduction conditioning exercises. networking with guest visits from to phonetics (IPA) for industry professionals. future dialect work. MT0110-0113 Musical Theatre Dance (Freshman/Junior) MT0201 Introduction to Theatrical MT4000 Private Voice 4.5 hrs weekly/2 credits Design (Freshman) 1 hr weekly/1 credit per semester Enrique Brown 2 hrs weekly/1 credit Private instruction in proper vocal This course will focus on Jazz Scott Stauffer, Sue Makoo, Shawn performance technique, including technique and fundamentals. Kauffman, and Nate Bertone proper execution, diction and Each class will begin with a The Introduction to Technical interpretation, performance full warm up and an across the Theatre course is designed in skills, repertoire selection floor, emphasizing coordination five parts: Costume Design, Set and stylization. and style. Class will culminate Design, Lighting Design, Sound Private voice lessons are critical with choreography that will Design and Stage Management. for the technical and interpretive vary in styles from Jazz and Each segment is designed to development of the professional Contemporary to Theater Dance. inform the student of the various singer. Your Voice Faculty This class will provide a positive, roles involved in the creation of a emphasizes healthy practice supportive and encouraging Theatrical Event. techniques that preserve vocal atmosphere for dancers to gain health and develop technical confidence and grow as artists. MT1505 Senior Showcase flexibility and vocal longevity. 4 hrs weekly Fall/2 hrs weekly Each private voice instructor MT0500-0501 History of Musical Spring/2 credits tailors her/his lessons to the Theatre (Sophomore) Liza Gennaro and David Loud specific needs, level, and voice- 3 hrs weekly/3 credits Senior Showcase is the type of the individual student. David Loud culmination of four years of In the conservatory structure, This course is designed to give musical theatre training. In lessons may follow the needs of a students an understanding of the the course faculty and students timeline regarding preparation of history of the American musical, will create an end of year materials and mastery of skills to starting with the various genres production for presentation to aid the student in developing their that influenced it: Gilbert & industry professionals. technique to meet the demands Sullivan, Vaudeville, Burlesque, of their numerous performance Minstrel Shows, the Yiddish classes and performance Theatre, British Music Hall and opportunities while at MSM. American Operetta.

Return to Table of Contents Course Description 111 TH0001-0002 Music Directing Concentrating on one of Chekov’s Theory Core 1 & 2 Fall plays (Uncle Vanya or The Three 3 hrs weekly/3 credits Elmore Cisco James, Jr. Sisters), students will choose Andrew Gerle This course provides an one character to fully explore All aspects of music theory opportunity for young directors and work on 2 or 3 of the scenes that would apply to a Musical to develop and hone their talents in chronological order for their Theatre performer will be through working on, observing, chosen character. As a midterm the objective of this course. and scrutinizing each other’s work project, the students will choose The course will consist of in an analytical yet safe and fun one of the Chekhov scenes they sight singing, ear training, classroom setting. It also provides have worked on and devise a advanced interval training, and a beginning overview of the different time and place from the advanced music theory. historical/artistic developments past, present or future, playing of the modern theatre, from the the scene with those given circumstances and world. The ELECTIVES Golden-Age to the present, as well as a critical understanding second half of the semester’s of how to collaborate, through work on a Contemporary play will Musical Theatre Dance Styles compliment the first half. Fall research and in conversations, Enrique Brown with professional directors, casting directors, production Rock the Song Musical Theatre Dance Styles will management teams, and publicity Spring give the student the opportunity departments currently working Sheri Sanders to explore and delve into the in the New York and regional In today’s theatre industry, 68% of many styles of dance currently theatre scenes. being performed in the world of musicals on Broadway are written commercial theater. This course in the style of Popular Music Crafting A Performance For The will heavily focus on technique, (also known as “Pop/Rock”). ability to pick up choreography Professional Actor from the Text This class studies the eight main quickly, and performance. Each (Junior/Senior) genres of popular music currently class will begin with a warm up Spring represented on Broadway and and stretch followed by a short Laura Sametz creates a safe space for students to study and explore these genres by across the floor, emphasizing Crafting and creating an arc building a repertoire of audition coordination and style. Dancers of a role in a play or musical cuts in each style, learning how will then have the opportunity to is a skill every actor needs for to physically, emotionally AND learn original choreography that productions and auditions. To vocally embody the time period, will vary in styles from the vast strengthen this skill in the first as well as developing the skills of repertoire of current and former half of the semester, students proper communication of FEEL Broadway Musicals. Emphasis will explore scene work from an with the pianist. will be placed on interpreting the Anton Chekhov play and in the choreography with respect to the second half from a Contemporary choreographer’s intent. This class play. Throughout the student Tap will provide a positive, supportive will practice exercises on their Spring and encouraging atmosphere for feet that help excavate the text: Marshall L. Davis dancers to gain confidence and freeing their instrument while Tap skills are introduced at the grow as artists. bringing their character to life to beginning level and advance tell the story. Each student will be to a solid understanding of the working every class. technique and the history of this discipline. Tap dancing relies on a fundamental knowledge of various

Return to Table of Contents 112 Course Description rhythms and styles. The student either a string or combined OR2311-2312 Organ Improvisation will learn basic tap steps, rhythms brass, woodwind, and percussion 2 hrs weekly/1 credits per semester and choreography. orchestral reading conducted by a A comprehensive review of distinguished conductor. 16th-century counterpoint. Students learn to improvise in ORCHESTRAL ME1600 Orchestral three voices, first through fifth PERFORMANCE Entrepreneurship species on a given cantus firmus Major Lesson/Repertoire Coaching: 2 hrs weekly/2 credits/Fall semester and continuing to canons in three 1 hour weekly/5 credits per semester. voices, the passagio style, the The course is designed to equip French classic and a survey of the orchestral students with the OP2251 The Musician as Educator easier chorale preludes and two- knowledge and perspective 2 hrs twice weekly/1 credit part inventions of Bach. needed to succeed as professional Ms. Charnow orchestral players in a changing Required of all first-year industry. The class covers OR2410-2411 Organ Orchestral Performance essential organizational, financial, Service Playing students; open to all orchestral and programmatic issues 2 hrs weekly/1 credits per semester graduate students affecting orchestras and their Dr. Nagem entrepreneurial possibilities Students in this course receive The course in Service Playing for the future. Includes guest training on how to become focuses on practical skills speakers from the League of effective artist-educators as part important for church musicians, American Orchestras, American of the Manhattan School of Music in particular hymn-playing Federation of Musicians Arts-in-Education Program. and choral accompaniment. Symphonic Services Division (the Students will be exposed to a Topics covered include hymn Union), and others. variety of pedagogical methods introductions, harmonization, and materials as they prepare and Note: The course is designed for and interludes; Gregorian chant; deliver educational presentations graduate students in the Orchestral issues in 20th-century hymns; in New York City public Performance program and is also spirituals and Gospel hymns; elementary and middle schools. available to others with permission ballad-style hymns; anthem from the instructor. accompaniment; arranging piano and orchestral reductions for OP2351-2352, OP2451-2452 the organ; and issues in continuo Orchestral Repertoire Coaching ORGAN playing. In addition, the course 2 hrs three times a month/1 Major Lesson: will develop skills in registration, credit per semester 1 hr weekly/5–6 credits per semester. console management, and special Orchestral Performance Faculty and techniques in organ playing. guest symphonic artists OR2001-2002 Organ A four semester sequence Performance Class OR2931-2932 Choral Repertoire of coaching sessions on the 1 hr weekly/1 credit per semester 2 hrs weekly/2 credits per semester ensemble techniques of orchestral A master class providing Dr. Oliver performance as applied to a two- performance opportunity. year survey of the major works An in-depth study of sacred of the symphonic repertoire. Required of all Organ majors. choral literature; conducting Each semester students practicum including conducting perform in at least six sectional from the console and instrument coachings; three accompanying at the organ. brass or woodwind rehearsals conducted by a specialist; and, at the end of the semester, in

Return to Table of Contents Course Description 113 PERCUSSION guest artists as well as faculty, throughout the school year. and includes opportunities for Concerts outside of school are Major Lesson: student performance. occasionally presented. Several 1 hr weekly/3–6 credits per semester. rehearsals are taken each semester Each student has a primary by guest conductors. Required of teacher, who acts as an advisor PERFORMANCE all String majors. For Winds and during the student’s degree Percussion, entrance is based on LARGE PERFORMING ENSEMBLES program. All students work orchestral placement audition. with a variety of faculty members in the department. JP1500 Jazz Large Ensemble As Assigned LP1851-1852 Opera Theater All students participate in the 15 hrs weekly Chris Lamb Seminar as a part Study and performance of jazz Ms. Vaughn of Major Lessons. in the big band style. Both traditional and contemporary The Manhattan School of Music Opera Theater produces two fully PK0451-0452 Percussion Lab idioms are explored. staged operas with orchestra, one 2 hrs weekly/1 credit per semester Entrance based on special departmental audition. scenes program, two educational Percussion Faculty outreach programs and one Required of all undergraduate contemporary opera workshop JP1231-1232, JP1241- Percussion majors each academic year. Placement in 1242 Jazz Combos the Opera Theater is based upon An ongoing exploration of 2 hrs weekly auditions heard each September all aspects of percussion Jazz Faculty and December. Students performance, including Provides the experience of returning the following year may orchestral percussion, timpani, playing jazz in small groups complete a preliminary audition marimba, solo playing, world from Dixieland through in May. All graduate, Professional percussion, stick making, contemporary styles. Variable Studies and Doctoral students are and instrument maintenance. instrumentation. One concert strongly encouraged to audition Features presentations by is given in school each semester each semester. At the Opera guest artists as well as faculty, and outside appearances are Theater auditions, students will and includes opportunities for made. Entrance based on special also be considered for placement student performance. departmental audition. in Dona D. Vaughn’s Opera Wo r kshops and Lab. PK2451-2452 Graduate LP1351-1352 Manhattan Percussion Lab Symphony Orchestra LP1861-1862 Opera Workshop 2 hrs weekly/2 credits per semester 4 hrs weekly Percussion Faculty LP1361-1362 Manhattan Ms. Vaughn Required of all graduate Philharmonia Orchestra An acting class in which the Percussion majors individual singer learns a practical An ongoing exploration of OP1371-1372 Chamber Sinfonia and comprehensive technique all aspects of percussion for both song interpretation and performance, including SP1371-1372 Chamber Sinfonia opera repertoire. orchestral percussion, timpani, 9 hrs weekly/Guest Conductors marimba, solo playing, world Readings, rehearsal and percussion, stick making, performance of contemporary and instrument maintenance. and standard orchestral literature. Features presentations by An active program of concerts and opera performances is scheduled

Return to Table of Contents 114 Course Description LP1870 Contemporary VX0100 First-Year by Glinka, Rimsky-Korsakov Opera Ensemble Performance Class and songs of Shostakovich 4 hrs weekly 1 hr weekly/0.5 credit and Prokofiev. A fundamental Ms. Charney Mr. Peters knowledge of the Russian Explore contemporary opera, Designed as a supportive forum alphabet will be presented so from Janacek and Britten to living for first-year, undergraduate Voice that the student will never composers. Develop and practice majors to perform in front of again have to rely on confusing specific techniques for learning a peer audience. transliterations. and studying non-diatonic music with instructor, guest composers VX0200 Second-Year CM1071 Songs of the and singers. Performance of Performance Class Romantic Period arias and duets. In the spring 2 hr weekly/1 credit 2 hrs weekly semester, Continue exploration Ms. Shikany Mr. Beegle and development of study and This is a performance class vocal techniques. Performance Designed as a supportive forum for second-year, undergraduate focusing on German and French of scenes from contemporary songs for solo voice and piano. opera; possible collaborations Voice majors to perform in front of a peer audience. Songs in other languages, with student composers however, are also welcome. and conductors. Rehearsal techniques, diction, VX0800 Undergraduate style, and ensemble issues will VOCAL PERFORMANCE CLASSES Opera Theater be presented in a way to prepare 3 hrs weekly plus rehearsals/1 credit both singer and pianist for future VX0050 Symphonic Chorus Ms. Malfitano (Junior Year)/ professional collaboration. Mr. Tritle Ms. Vaughn (Senior Year) Exploration and performance This course explores the art of SP1070C2 Baroque Aria Ensemble of great choral literature from performing from beginning acting 3 hrs weekly Baroque to modern. Concert exercises and songs through Dr. Cooper monologues, opera scenes, performances of large works The Baroque Aria Ensemble and role studies. Enrollment for chorus and orchestra as offers instrumentalists and includes participation in the well as smaller pieces from the vocalists a unique opportunity accompanying opera seminar. choral repertoire. Students in to work together, exploring 18th Symphonic Chorus may also century opera, cantata, oratorio, be invited to join the Chamber VOCAL CHAMBER ENSEMBLES concerto and chamber music Chorus. The Choral program repertoire. In addition to vocal provides opportunities for CM1070 Russian and instrumental coaching, Dr. student soloists. Concert venues Romances and Ballads Cooper provides instruction in have included Weill Recital Hall at 2 hrs weekly diction and acting, guidance in Carnegie Hall and the Cathedral Mr. Beegle performance practices of the of St. John the Divine, as well as A performance class of the great Baroque and Classical styles, and Borden Auditorium at MSM. Russian song literature, with improvisation, ornamentation Required for first- and second-year an emphasis on the romances and ensemble skills in preparation undergraduate students majoring in and ballads of Tchaikovsky for professional work in this Voice, Piano, Guitar and Composition and Rachmaninov plus works field. By audition.

Return to Table of Contents Course Description 115 SP1070H1 Vocal Auditions are held in the Fall. For the Chairs of each department. Performance Class Graduate Students A fall orientation meeting is 2 hrs weekly required and a final performance Ms. Hoffmann SP1070M3 Opera comprises a portion of the grade. The Vocal Performance class Repertory Ensemble SP1070H2 Contemporary is a master class designed to A weekly meeting of enhance performance skills and accompanying majors which Ensemble: TACTUS communication through music, will explore accompanying and 4 hrs weekly acting and stage movement vocal and instrumental coaching TACTUS is dedicated to being principles. The Alexander techniques, emphasizing the aware and involved in the Technique is also applied. interaction between partners and current creativity happening in Opera arias and song repertoire the musical style and performance contemporary music. Emphasis will be performed. problems in a wide range of is placed on working with living Open to graduate students. instrumental and vocal repertory. composers. Four concerts per year are presented as well as a By audition. SP1071M1 Musical Theater Lab February double feature. Previous seasons have included works by 2 hrs weekly Fall semester SP1070R2 Preparing the Exit Ms. Marlow Luciano Berio, Steve Reich, Louis 2 hrs weekly Andriessen, Chen Yi, David Lang, The main goals of Musical Mr. Rosenshein Lou Harrison, Nils Vigeland, Theater Lab are that students This course will challenge the David Noon, Kaija Saariaho, learn solid musical theater artist to create the ten-minute Frederick Rzewski, Gyorgy Ligeti, technique build their musical performance that may lead and many others. theater repertory. There is a small to a three-hour professional studio performance at the end engagement. Today’s artist of the semester. SP1071H2 Percussion Ensemble must be prepared not only to 2 hrs weekly By audition. show their expertise, control, Mr. Traxler/Mr. Perdue consistency and dependability, but An advanced ensemble which SP1070M2 Revealing the Actor also an inspired, exciting, unique, presents at least two concerts Singer Within courageous and memorable experience for the listener. We during the school year, and public 2 hrs weekly performances as arranged. Ms. Malfitano will work with a varied repertoire including Opera, Musical Theater Required of all Percussion majors. The aim of this class is to help and Cabaret and will also be the singer integrate both music “auditioning” for professionals in SP1070L1 Percussion Lab and drama, through imagination, various venues. creative preparation, and the 3 hrs weekly/1 credit per semester transformation of nervous or Percussion Faculty fearful energy into purposeful, INSTRUMENTAL Required of all undergraduate passionate, and potent CHAMBER ENSEMBLES Percussion majors. For freshmen performing energies. “Revealing and sophomores, the credit the Actor Singer Within” is the SP1500 Chamber Music for Percussion Lab is part pathway to embracing constant 1 hr/week coachings of the chamber of Chamber Music SPI500. growth, eternal questioning, and music literature with members of A full spectrum approach to abundant confidence, moment the Chamber Music faculty the literature for percussion to moment in a flourishing Students are ASSIGNED to through sectionals, orchestral singing-acting career. chamber groups by the Director repertoire sessions for percussion of Chamber Music together with and timpani, western and non-

Return to Table of Contents 116 Course Description western instrument work-shops, PN0251-0252 Keyboard Skills Prerequisite: Junior Standing. lecture demonstrations by 1 hr weekly/1 credit per semester visiting artists, and intensive Keyboard Skills Faculty KEYBOARD COURSES REUQUIRED student participation in Further development of the skills FOR GRADUATE PIANO MAJORS class performance. studied in PN0152 including the reading of full orchestral scores, PN0861-0862 Graduate instrumental transpositions, and Keyboard Skills PIANO reading from continuo scores. Major Lesson: 2 hrs weekly/1 credit per semester Keyboard Skills Faculty 1 hr weekly/3–6 credits per semester Prerequisite for PN0251: PN0152 and TH0003 or the equivalent. Graduate Keyboard Skills KEYBOARD HARMONY COURSES Prerequisite for PN0252: PN0251 develops practical performance REQUIRED FOR UNDERGRADUATE or the equivalent. (Keyboard skills such as score reading, PIANO MAJORS Sight-Reading Jury examination transposition, and figured bass. required upon completion of Requirements: Piano and piano PN0251 and PN0252.) PN0141-0142 Keyboard accompanying majors only. Sight-Reading PN0411-0412 Piano Literature 1 hr weekly/1 credit per semester ELECTIVE COURSES OPEN TO BOTH Keyboard Skills Faculty 2 hrs weekly/2 credits per semester Piano-Related Faculty UNDERGRADUATES AND GRADUATES Techniques of reading at sight solo keyboard literature. A survey designed to explore PN1151-1152 Harpsichord for Performance of all major/ cross-sections of the piano Pianists and Organists minor scales and basic chord repertoire, emphasizing traditions Ms. Stewart progressions in all keys. of interpretation. Recorded 2 hrs weekly/2 credits per semester examples from the “Golden Age” Preparation for Keyboard Skills pianists (Hofmann, Lhevinne, An introduction to harpsichord PN0151. (Keyboard Sight-Reading Rachmaninoff) through the playing. The technique and Jury examination required upon recognized founders of the musical resources of the completion PN0141 and PN0142.) Modern School of performance instrument, its literature and its (Schnabel, Michelangeli, relation to other instruments. PN0151-0152 Keyboard Skills Gieseking) are played and Students play representative 2 hrs weekly/2 credits per semester discussed in class. Each class pieces illustrating the stylistic Keyboard Skills Faculty session is focused on the problems involved in keyboard music of the 16th, 17th, and Development of keyboard skills individual’s expanding musical, 18th Centuries. This course is through the study of score technical and critical knowledge open to pianists, organists, and reading, transposition, and the of the great piano compositions. others (with the permission realization of figured bass. of the teacher). PN0421-0422 Piano Pedagogy Prerequisite for PN0151: PN0142 2 hrs weekly/2 credits per semester and TH0002 or the equivalent. Dr. Olson PN1220 Aria Accompanying Prerequisite for PN0152: PN0151 for Pianists A practical approach to teaching or the equivalent. (Keyboard 2 hrs weekly/2 credits/Spring semester techniques focusing on beginner Sight-Reading Jury examination Ms. Charney required upon completion of through late intermediate PN0151 and PN0152.) levels. The course includes an Accompaniments for operatic exploration of method books and arias will be studied through literature available, readings and discussion and performance with discussion of historical pedagogy, the practical goal of enabling and a teaching practicum. the participants to function

Return to Table of Contents Course Description 117 competently and comfortably in PN1720 Bach for Pianists PN2022 Piano Literature: The studio, rehearsal, and audition 2 hrs weekly/3 credits per semester 19th Century venues. Pianists will be expected Dr. Vinograde 2 hrs weekly/2 credits per semester to sing for each other and to sing A one semester, comprehensive, Dr. Yui while playing, as well as learn how intensive exploration of J.S. Bach’s This class is a survey of the to prompt and sing cues. Skills works that are programmable by literature of keyboard and piano of sight-reading, lyric diction, pianists, divided into repertoire music. We will become familiar coaching, operatic accompanying, survey (Weds.) and practice with a few examples of major recitative playing, and piano (Fri. in Mikowsky Hall); open to works in its literature, as well “orchestration” will be discussed. graduate students and qualified as trace the musical and social undergraduates. developments of the piano PN1300 Organ for Pianists in the Nineteenth Century, 2 hrs weekly/1 credit per semester PN1900 The American Avant Garde: from Mendelssohn to Janácek, Dr. Meloan A Pianistic Evolution Albéniz and Granados. This course is designed for 2 hrs weekly/2 credits/Spring semester pianists who desire to learn the Dr. Vinograde PN2031 Piano Literature basic skills of the organ, focusing A two-hour immersion into the 2 hrs weekly/2 credits/Both semesters on service playing for religious piano music of Barber, Carter, Dr. O’Donohue services. Students learn pedal and Copland, Ives, Persichetti A survey of the keyboard concerto manual technique, registration, and others. The class will from the late Baroque through the beginning organ performance, and primarily examine works from early 20th century. hymn playing. Organ shoes are 1920-1980, focusing on the Student performances are encouraged. required for this course. development of the American piano sonata. Discussions and PN1600 Baroque Accompaniment lectures will explore the origins PN2032 Piano Literature 2 hrs weekly/2 credits/Spring semester and development of this gritty, 2 hrs weekly/2 credits/Both semesters Ms. Stewart powerful style, as well as the uses Mr. de Mare This course teaches the basic of jazz, folk music, and expressive A survey of the most significant skills needed to accompany vocal twelve-tone techniques. repertoire for solo piano from and instrumental chamber music the late 19th century through the in a stylistically appropriate PN2021 Keyboard Literature: 20th century, including works manner on the harpsichord. Renaissance to Classical involving electronics. Students will learn how to 2 hrs weekly/2 credits per semester Student performances are required. apply figured bass realization, Dr. Yui embellishment and improvisation This class is a survey of the PN2051-2052 Sight- to various 17th and 18th literature of keyboard and piano Reading Pedagogy century ensemble works, while music. We will become familiar 2 hrs weekly/2 credits per semester learning how to get the most with some of the major works in Dr. Aicher out of the harpsichord. There its literature as wel as trace the will be opportunities to work A class designed to help musical and social developments and perform with singers and keyboardists develop and of the piano, from the English instrumentalists. improve skills in sight- virginal music of the 17th reading and techniques for century to the piano works of teaching sight-reading. Non- Weber and Clementi. sequential semesters. Prerequisite: Graduate standing or permission of the instructor.

Return to Table of Contents 118 Course Description PN2310 Historical Recordings of PN2450 The 21st-Century RP0111-0112 Required Piano the Great Pianists Pianist: Exploring Performance 1 hr weekly/1 credit per semester 2 hrs weekly/2 credits per semester Strategies and Techniques in Required Piano Faculty Dr. Yui Contemporary Music Group instruction. Technical The objective of the class is to 3 hrs weekly/3 credits/Fall semester skills include penta-scales, trace the musical genealogy of Mr. de Mare scales, chord progressions, the great pianists of the late 19th A seminar/master class format harmonization, transposition and and early 20th centuries and to providing the context for the sight-reading. The level of sight- explore various interpretive styles exploration of contemporary reading is equivalent to repertoire by studying their recordings. performance practices, from the texts Piano for the Carefully studying – and not interpretative strategies, extended Developing Musician I, Ed. Hilley only listening to – the recordings techniques, and the incorporation and Olson.A final performance from the “Golden Age of the of multi-media in 20th and 21st jury at the end of each semester Piano,” as performed by pianists century piano music. In-class is required upon completion who knew or studied with Liszt, performances and coaching of the course. Brahms, Debussy, or Ravel, we will facilitate discussion of Co-requisite: TH0001 or will explore a manner of playing related aesthetic issues, creative the equivalent. that has virtually disappeared programming strategies, and skills from today’s concert halls. In relating to audience development. RP0211-0212 Required Piano comparing performances between 1 hr weekly/1 credit per semester pianists from disparate times and PN2500 The Beauty and Required Piano Faculty locations, we will become aware of Wit of American Song a diversity of musical styles. Group Instruction. Technical (Performance Class) skills include major and minor 2 hrs weekly/2 credits/Spring semester PN2400 Beethoven, scales; chord progressions; triads Mr. Sperry and inversions; harmonization; Brahms, Schubert See VX2500 transposition and sight-reading. 2 hrs weekly/2 credits/Spring semester The level of sight-reading is Dr. O’Donohue PN2701 French Art Song for equivalent to repertoire from An exploration of the musical Vocalists and Pianists the text Essential Keyboard forces which contribute to the 2 hrs weekly/2 credits/Spring semester Repertoire, Vol. I, ed. Lynn unique character of each work and Ms. Stanescu Freeman Olson. to its unity. Specific areas of focus: See VX2701. pace and tension, intensification, A final performance jury at the end climax, relaxation, rubato, inner REQUIRED PIANO of each semester is required upon completion of the course. pulse and tempo, forces of motion All students not majoring in and rest, agogics. Piano, Accompanying, Organ RP0350 Piano Minor Prerequisite: Graduate standing or or Guitar must take Required 30-minute private lesson per week/2 permission from the instructor. Piano. A qualifying examination credits per semester including technical skills, Required Piano Faculty transposition, harmonization and sight-reading may be taken for Undergraduate exemption from this requirement. Composition majors only. A performance jury is required upon completion of the course.

Return to Table of Contents Course Description 119 RP1360 Piano Elective AS0111R-AS0112R Elementary AS0101-AS0102 Freshman Aural 30-minute private lesson per week/1 Freshman Aural Skills 1-2 Skills for Voice Majors 1-2 credits per semester 3 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester Required Piano Faculty Theory Faculty Theory Faculty Open to all students This course is an introductory This course will cover the same approach to ear training, sight- Participation in a studio material as AS0111/AS0112 (see singing, rhythm, and dictation. performance class is required above) with approaches designed for It will cover the same material upon completion of the semester. voice students. as AS0111/AS0112 (see below) Prerequisite: Completion of Required at a pace designed for students AS0211-AS0212 Sophomore Piano 0212 or equivalent. needing preparatory work in Aural Skills 1-2 college-level aural skills. 2 hrs weekly/2 credits per semester STRINGS Theory Faculty AS0111-AS0112 Freshman ST0051-0052, ST2051-2052 This course is a continuation Aural Skills 1-2 Orchestral Repertoire for Violin of studies in ear training, sight- 2 hrs weekly/2 credits per semester singing, rhythm, and dictation Theory Faculty ST0061-0062, ST2061-2062 from the freshman year. It focuses Orchestral Repertoire for Viola This course focuses on studies on advanced tonal chromaticism in ear training, sight-singing, and modulation through 20th ST0071-0072, ST2071- rhythm, and dictation. It Century techniques including 2072 Orchestral Repertoire includes the writing, singing, and atonal melody, alternative scales, for Violoncello recognition of intervals, scale and complex rhythmic and degrees, melodies, chords, and harmonic structures. ST0081-0082, ST2081- harmonic structures ranging from diatonicism through simple 2082 Orchestral Repertoire AS0201-AS0202 Sophomore Aural chromaticism (both melodic Skills for Voice Majors 1-2 for Double Bass and harmonic) and modulation. 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester Special emphasis is placed on Theory Faculty String Faculty conducting and form recognition. The study of significant This course is a continuation of studies in ear training, sight- works from the symphonic AS0101R-AS0102R Elementary repertoire, stressing stylistic singing, rhythm, and dictation Freshman Aural Skills for for voice majors from the approaches as well as traditional Voice Majors 1-2 orchestral techniques. freshman year. It focuses on 3 hrs weekly/2 credits per semester advanced tonal chromaticism Theory Faculty and modulation through 20th MUSIC THEORY/ This course is an introductory Century techniques including AURAL SKILLS approach to studies in ear atonal melody, alternative scales, training, sight-singing, rhythm, and complex rhythmic and UNDERGRADUATE CORE and dictation for voice majors. harmonic structures. The undergraduate Aural Skills It will cover the same material as core curriculum is a four-semester AS0111/AS0112 (see above) at a AURAL SKILLS GRADUATE CORE sequence of courses with special pace designed for voice students The graduate Aural Skills core emphasis on the interrelation needing preparatory work in college- curriculum is a three-semester with Music Theory. level aural skills. sequence of courses with special emphasis on the interrelation with Music Theory.

Return to Table of Contents 120 Course Description AS0870 Graduate Aural Skills 1 AS0891-AS0892 Graduate Aural class involves writing (species 2.5 hrs weekly/2 credits Skills for Voice Majors 2-3 counterpoint) and analysis of Theory Faculty 2.5 hrs weekly/2 credits per semester musical examples by a wide This course focuses on studies Theory Faculty range of composers. in ear training, sight-singing, These courses are a continuation rhythm, and dictation. It of studies in ear training, TH0002R Elementary includes the writing, singing, and sight-singing, rhythm, and Freshman Theory 2 recognition of intervals, scale dictation from AS0890 for 4 hrs weekly/3 credits degrees, melodies, chords, and voice majors. They focus on Theory Faculty harmonic structures ranging advanced tonal chromaticism This course will cover the same from diatonicism through simple and modulation through 20th material as TH0002 (see below) chromaticism (both melodic Century techniques including at a pace designed for students and harmonic) and modulation. atonal melody, alternative scales, needing preparatory work in Special emphasis is placed on and complex rhythmic and college-level theory. conducting and form recognition. harmonic structures. TH0002 Freshman Theory 2 AS0871-AS0872 Graduate WRITTEN THEORY 4 hrs weekly/4 credits Aural Skills 2-3 UNDERGRADUATE CORE Theory Faculty 2.5 hrs weekly/2 credits per semester The undergraduate Theory core Theory Faculty This course stresses an curriculum is a four-semester understanding of Common These courses are a continuation sequence of courses devoted to Practice diatonic and chromatic of studies in ear training, sight- various analytic approaches to harmonic procedures and singing, rhythm, and dictation music of the Middle Ages through four-part writing, including an from AS0870. They focus on the 20th Century with special introduction to formal analysis. advanced tonal chromaticism emphasis on the interrelation with and modulation through 20th Music History and Humanities TH0003 Sophomore Theory 1 Century techniques including and on performance practice. atonal melody, alternative scales, 3 hrs weekly/3 credits Theory Faculty and complex rhythmic and TH0001R Elementary harmonic structures. Freshman Theory 1 As a continuation of TH0002, this course examines examples 4 hrs weekly/3 credits from Baroque counterpoint AS0890 Graduate Aural Skills for Theory Faculty Voice Majors 1 to the harmonic language of 2.5 hrs weekly/2 credits The course will cover the same the late 19th century. Detailed Theory Faculty material as TH0001 (see below) analysis of representatives works, including theory rudiments at genres, and forms (fugue, sonata This course focuses on a pace designed for students form, character piece, Lied) studies in ear training, sight- needing preparatory work in will be undertaken. singing, rhythm, and dictation college-level theory. for voice majors. TH0004 Sophomore Theory 2 It will cover the same material as TH0001 Freshman Theory 1 3 hrs weekly/3 credits AS0870 (see above) with approaches 4 hrs weekly/4 credits Theory Faculty designed for voice students. Theory Faculty This course is a study of the This course provides a systematic melodic, harmonic, rhythmic, introduction to the musical contrapuntal, and formal characteristics of Medieval innovations of the 20th Century and Renaissance Music. The beginning with Late Romanticism

Return to Table of Contents Course Description 121 and Impressionism and moving chromatic and atonal idioms, as TH2132 Beethoven String Quartets through recent developments. well as strengthening sight- and 2 hrs weekly/2 credits Detailed analysis of representative score reading and ensemble Dr. Fueting works will be undertaken. skills in all styles. This course focuses on the analysis of representative string GRADUATE THEORY CORE TH2011-TH2012 Ear-Training quartets, with particular attention The graduate theory core Pedagogy 1-2 to the evolution of musical form curriculum is a two-semester 2 hrs weekly/2 credits per semester as well as musical sources and influences. Class performances sequence of courses devoted to This course is a study of will highlight specific various analytical approaches principles, methods, and materials musical aspects. focusing on the Middle Ages, in the teaching of aural skills Renaissance, Baroque, Classical, on the adult level. It requires Romantic, and 20th century observation and practice teaching. TH2161-TH2162 20th with special emphasis on a Century Music 1/2 systematic approach and on TH2060 Harmonic Science, 2 hrs weekly/2 credits per semester performance practice. Harmonic Practice Dr. Fueting 2 hrs weekly/2 credits/Spring semester The fall semester concentrates TH0800 Graduate Theory 1 Dr. Macdonald on the music of four composers: 2.5 hrs weekly/2 credits Debussy, Ives, Schoenberg, and A class for students who have Theory Faculty Stravinsky. The second semester enjoyed the study of harmony begins with Bartók and moves This course is a review of the in their undergraduate curricula through the nationalist traditions evolution of tonal, rhythmic, and and want to learn more about to post-war developments. formal principles of composition the subject. The course examines from Medieval music to music of both (1) the rationales behind Performance is a required part of the 20th century. various theories of harmony and class assignments. also (2) harmonic practice itself in TH2883 Graduate Theory 2 the works of 17th, 18th and 19th TH2171-TH2172 Theory 2.5 hrs weekly/2 credits century composers. Pedagogy 1/2 Theory Faculty Course Prerequisite: Freshman 2 hrs weekly/2 credits per semester This course is a review of Theory (TH0002). Dr. Andreacchi the evolution of textural, This course is a study of instrumental, and formal TH2131 Beethoven Piano Sonatas principles, methods, and materials principles of composition from 2 hrs weekly/2 credits in the teaching of music theory Medieval music to music of Dr. Yui on the adult level. It requires the 20th century. This course focuses on the observation and practice teaching. analysis of representative piano THEORY ELECTIVES sonatas from each period, TH2240 Italian Voices with particular attention 2 hrs weekly/2 credits/Fall semester TH2001-TH2002 Advanced to performance problems, Dr. Marchettini Ear-Training 1-2 including tempo, dynamic Focusing exclusively on Italian 2 hrs weekly/2 credits per semester range, use of pedal, innovative vocal music, this course will Dr. Biggs effects, and Beethoven’s striking explore how the diverse Italian This course is an advanced use of harmony. musical tradition changed, study in ear-training and sight- Student performance is encouraged. and developed throughout the reading. It includes techniques centuries, from the Renaissance for hearing and performing in to the present. The course will

Return to Table of Contents 122 Course Description show how the inevitable changes TH2701-TH2702 Creative Berlioz and Verdi Requiems, in the style did not prevent the Spirituality 1/2 Britten’s War Requiem, and the Italian music to keep certain 2 hrs weekly/2 credits per semester Bernstein Mass. constant elements. These specific Dr. Andreacchi elements allow the listeners to This course includes lecture- SKILL STUDIES find a peculiar quality, in the demonstrations exploring the PT0100 Foundations of Italian Renaissance, and Baroque relation of music to mythology polyphony, in the Classical and ritual, from ancient to Critical Inquiry and Romantic Italian Opera, modern, from Eastern to Western. 3 hrs weekly/3 credits until the eclectic approach Performance is an integral Dr. Green to vocal writing in the Italian part of the course. Topics will This course investigates these contemporary music. range from Gregorian chant to inter-related questions: What is Tibetan mystic song. true criticism--in art and in life? TH2350 Musical Styles What makes a person an honest 2 hrs weekly/2 credits TH2740 Bach and Variation Through and valuable critic? And what can Dr. Andreacchi Counterpoint interfere with a person being an This course is an investigation 2 hrs weekly/2 credits/Fall semester accurate judge of value? Classic into the elements that distinguish Mr. Vassiliades texts are studied, including Baroque, Classical and Romantic Pope’s 1711 Essay on Criticism, This course examines in depth styles as well as an examination Siegel’s 1922 essay The Scientific three late esoteric works of J.S. of the idiosyncrasies of personal Criticism, and Six Names of Bach: The Goldberg Variations, style within each of these musical Beauty by Sartwell (2004). The A Musical Offering, and Art of periods. It also includes a survey varying perspectives on criticism the Fugue. Additional works will of non-Western styles and a had by different disciplines-- include the Fourteen Canons on discussion of related philosophies. including economics, psychology, the Goldberg Bass, and other and anthropology--are considered, short works of J.S. Bach. Class and examples of recent writing in TH2630 Counterpoint participation includes in-class these disciplines are evaluated. 2 hrs weekly/2 credits performances, the composing Throughout, students study Dr. Andreacchi of short pieces after these the relation of these various This course is a survey of works, and a Mid-Term and texts to the art of music: from polyphonic techniques of the Final Examination. Beethoven to the Beatles, Wagner Renaissance and the Baroque to Gershwin, Stravinsky to Hip- periods, as well as more TH2807 Development of the Hop, Mozart to the composers of recent applications. Analysis Concert Mass and Cantata contemporary film scores. and composition are integral 2 hrs weekly/2 credits/Spring semester parts of the course. Mr. Vassiliades PT1050 Arts and Education Training This course is an in-depth 2 hrs weekly/2 credits/Spring semester TH2691-TH2692 Orchestration 1/2 examination of two towering Ms. Charnow 2 hrs weekly/2 credits per semester masterpieces of J.S. Bach: The Open to undergraduate and Dr. MacDonald Mass in B Minor and the St. graduate students of all majors, This course focuses on the study Matthew Passion. After the this course provides training of instrumentation, arranging, mid-term, masses and oratorios for students interested in and scoring for instrumental throughout the Nineteenth and becoming teaching artists or ensembles and orchestra. Fall Twentieth centuries are studied music teachers. Students enrolled semester: Woodwinds and brass which follow in the shadow of in this course will observe, Spring semester: Strings, harp, these great works. Among these timpani, full orchestra. are Haydn’s “The Creation,” the

Return to Table of Contents Course Description 123 compare and evaluate music accompanying, music teaching, Open to undergraduate and graduate education programs in New and internships, as an opportunity student of all majors. Yo r k City schools. to enhance their performance Prerequisite: PT1620 or comparable skills as an integral part of their experience with technique. PT1200 Community Outreach individual degree programs. The for Musicians individualized project must be approved by the appropriate PT2011-2012 Advanced 2 hrs weekly/1 credit/Spring Semester Teaching Techniques Ms. Charnow Department Chair, the Dean of Academics Affairs, and, in the 2 hrs weekly/2 credits per semester Students in this course will case of international students, the Dr. Aicher learn how to create and present International Student Advisor. An exploration of teaching effective, interactive, and At the end of the semester, the and learning strategies. How meaningful performances for student must present a formal, students learn problem solving, underserved outreach audiences. written report on the project, motivation, assessment; with Lectures will focus on music which will be evaluated by the practical application to the and the brain, memory, and Department Chair. methodology of studio teaching healing. Guest speakers will for all instrumentalists. How to The course is graded Pass/Fail. include experts in the field of maximize results from beginners gerontology, Alzheimer’s Disease, through advanced students. developmental disabilities, PT1620 Alexander Technique and music therapy. Students 2 hrs weekly/2 credits per semester Open to graduate students of all will perform at various local Ms. McCrane majors. Non-sequential semesters. community venues including A study of the Alexander hospitals, senior residences, and Technique and its application to PT2061-2062 Alzheimer’s facilities. playing/singing. Addresses both Performance Techniques 2 hrs weekly/2 credits per semester This is an elective course open to individual and universal physical Dr. Aicher undergraduates and graduates. habits that deter easeful, healthy performing. Taught through A class for performers that PT1430-1431 Cello Pedagogy hands-on work, reading, anatomy, will cover: anxiety-reducing 2 hrs weekly/2 credits each semester and application of the technique techniques, concentration, and Ms. Feldman while performing. Short memorization techniques, skills individual sessions in addition for developing peak performance. A graded study of teaching to group class. Advanced repertoire techniques and repertoire will be explored. from beginning to advanced Open to undergraduate and graduate playing levels. students of all majors. Open to graduate and undergraduate students of all majors. Non- Full year course. PT1622 Advanced sequential semesters. Alexander Technique PT1500 Curricular 1 hr weekly/1 credit per semester PT2101 Fundamentals of Practical Training Ms. McCrane Music Education .5 credits per semester 2 hrs weekly/2 credits/Fall semester Appropriate Department Chair A small group class focused on the application of the Alexander Ms. Charnow This course is designed to Technique to making music. Students in this course will allow a student to participate Frequent playing opportunities, be introduced to the basic in exceptional, off-campus reading, hands-on work. Frequent fundamentals of teaching music in performance experiences short individual sessions in a children’s classroom setting. The such as orchestral/chamber addition to group class. course will cover: lesson planning music, solo concerts, church

Return to Table of Contents 124 Course Description and curriculum development for preparation to French style of VX0320-0330 English and American a general music classroom; the singing. Basic language study. Vocal Literature methodologies of Kodaly, Orff, Final public concert. 2 hrs weekly/2 credits per semester and Dalcroze Eurhythmics; early Ms. Charney/Mr. Sperry childhood music and movement; GR0100-0200 German Diction A survey through performance recorder pedagogy; teaching 2 hrs weekly/2 credits each semester and discussion of the origins and music to children with special Dr. Neubert development of the art song in needs; classroom management Basic grammar; intensive exercise the British Isles and the United resources; assessment. Open States, plus non-American, to graduate students of all in diction, both spoken and sung; attention to phonetics and the non-British song in English. majors; junior/seniors with Prerequisite: Senior Standing. permission of instructor. international phonetics symbols; individual assignments in the preparation and performance of VX0420 German Vocal Literature PT2800 Biomechanics/Ergonomics songs in class. The use of diction 2 hrs weekly/2 credits for Performers as an interpretive tool. Mr. Merrill 2 hrs weekly/2 credits per semester Dr. Hsu A survey through performance IT0100-0200 Italian Diction and discussion of the origins and A class designed to help 2 hrs weekly/2 credits each semester development of the German art instrumentalists develop peak Mr. Morton song in Germany and Austria. performance skills and that Basic grammar; vocabulary will cover basic physiology as it Prerequisite: Junior Standing. building; intensive exercises relates to performers, anatomy in diction, both spoken and (upper body), anxiety reducing VX0550 French Vocal Literature sung; attention to phonetics techniques, and ergonomics/ 2 hrs weekly/2 credits and the international phonetic biomechanics with practical symbols; reading and study of A survey through performance application for each instrument. poetry and song texts; individual and discussion of the origins Open to graduate and undergraduate assignments in the preparation and development of the art students of all majors. and performance of songs in class. song in France. Prerequisite: Junior Standing. VOICE, OPERA AND EN0100-0200 English Diction 2 hrs weekly/2 credits each semester VX0900 Introduction to Performing RELATED STUDIES Dr. LaBouff 2 hrs weekly/1 credit/Fall Semester Major Lesson: Ms. Marlow 1 hr weekly/3–6 credits per semester The study of sounds, structure and stress patterns of English A survey course introducing the FR0100-0200 French Diction to achieve maximum clarity young singer to the many facets 2 hrs weekly/2 credits each semester and interpretive values in of a career in performing. Topics Ms. Jourdois/Ms. Stanescu/Mr. Muraco the performance of English to be covered include stage vocal materials. make-up, audition techniques, Intensive drill in French diction managers and agents, terminology International Phonetic Alphabet as applied to singing. Thorough and traditions of the theater, required. (There is a special section for study of phonetics with the IPA. résumé construction and others Voice majors whose native language Textual and literary analysis as time permits. of songs and arias. Recitation is not English.) with awareness of resonance, phrasing, expressivity as direct

Return to Table of Contents Course Description 125 VX1090 Accompanying Seminar VX1831-1832 Movement for Singers reading the text in the singers 2 credits per semester 2 hrs weekly/1 credit per semester native language, then in English Accompanying Faculty Mr. Patrelle (if his/her native language is not A weekly meeting of Movement and dance designed English) then in Italian using accompanying majors which specifically for opera singers. Nico Castel’s books as a primary will explore accompanying and Standard dance styles and forms source for translation and IPA. vocal and instrumental coaching of the 19th-century repertory Once the Italian is authentic, we techniques, emphasizing the will be studied. work on how to be expressive in interaction between partners and the language, paying attention (May be repeated for credit.) the musical style and performance to word stress and the variety problems in a wide range of of ways one can sing a secco instrumental and vocal repertory. VX1833-1834 Advanced Movement recitative in terms of tempo, 2 hrs weekly/1 credit per semester color, rubato, appoggiature, and (Open to accompanying majors or by Mr. Patrelle how to interpret the composer’s invitation of instructor) The advanced movement is a intentions regarding rhythm. real dance class. The students VX0901-0902 Acting A method for study and do a series of stretches on the preparation of opera and 2 hrs weekly/1 credit per semester floor that enables them to warm Ms. Marlow oratorio recitative (secco and up their bodies and accustoms accompagnato) with an emphasis Basic techniques used in acting them to moving with others in on 18th century Italian works for opera and theater. Designed a musical fashion. It also begins and performance practice. Text especially for Voice majors the process of remembering communication of musical- contemplating a career on the repeated exercises and learning dramatic content/intent based in stage. In-depth character study new ones so as to prepare them to translation and transferal of those and stage techniques will be the retain staging and choreography skills to music. focus of this class. in rehearsals. Students learn a beginning ballet barre that Seniors only or by enables them to musically control permission of instructor. their bodies helping them to work consistently. Students VX1350 Preparation for learn movement styles from Operatic Roles different periods including 2 hrs weekly/2 credits per semester baroque, classical, romantic, and Ms. Dunn twentieth century. We emphasize This course provides a game plan walking, sitting, standing, and to learn an opera role from the falling. Specific dances taught beginning of the score musically include the waltz, polka, minuet, and dramatically. Diction is polonaise, mazurka, Czardas, included, as well as translation tarantella, tango, foxtrot and and presentation. It is a “how to” swing (jitterbug). learn new repertoire as well as fine tune the old. VX1875 Recitative 2 hrs weekly/2 credits per semester An in depth, detailed study of how to prepare Italian recitative from Händel thru Verdi, both secco and accompagnato. The process begins with dramatically

Return to Table of Contents 126 Course Description GRADUATE COURSES VX2151-2152 Advanced well as lesser known songs by Vocal Literature Richard Hundley, Lee Hoiby, and EN2101-2102 Graduate 2 hrs weekly/2 credits per semester Dominick Argento. English Diction Mr. Merrill 2 hrs weekly/2 credits per semester A comprehensive study of vocal VX2600 How to Plan a Song Recital Dr. LaBouff literature from the point of view (Performance Class) of performance, style, practice, 2 hrs weekly/2 credits/Spring semester IT2101-2102 Graduate and pedagogical approach of Mr. Sperry Italian Diction the solo vocal repertoire in The course will focus on how to 2 hrs weekly/2 credits per semester all languages. develop an effective program and Mr. Morton Prerequisite: FR0100, GR0100, how to perform it successfully. FR2101-2102 Graduate IT0100, and EN0100 or Issues to be studied and discussed: how to choose repertoire French Diction the equivalent. Also listed appropriate for a specific voice, 2 hrs weekly/2 credits per semester as Mh2151-2152. how to develop a personal Mr. Muraco/Ms. Stanescu VX2155 Russian Diction and repertoire, how to prepare songs for performance, how to tailor a GR2101-2102 Graduate Vocal Literature 3 hrs weekly/3 credits/Spring semester concert for a specific audience or German Diction venue, thematic programming. 2 hrs weekly/2 credits per semester Mr. Pakman Dr. Neubert The course is offered to singers and pianists interested in VX2701 French Art Song for These special courses are designed Vocalists and Pianists for graduate students in order to accompanying vocal music. Its objectives include: acquire a 2 hrs weekly/2 credits/Spring semester review the principles of language Ms. Stanescu for singers and to have intensive working knowledge of Russian drill in diction. Individual vocal sounds and their IPA This class covers French song assignments in the preparation symbols; survey works by repertoire, from the beginning and performance of songs. historically significant Russian of the mélodie (19th century). art song, opera and oratorio Spring Semester 2014: Berlioz to Graduate Prerequisite: Two graduate- composers; practice through Debussy. Spring Semester 2015: level Language for Singers classes. performance making Informed Debussy to Messiaen. The first Choices when interpreting sample semester will create a sound VX2051-2052 Graduate Russian vocal compositions. foundation for the interpretation Diction Performance of French style by studying 2 hrs weekly/2 credits per semester VX2500 The Beauty and pieces by Berlioz, Duparc, Mr. Muraco Wit of American Song Chausson, Bizet, Fauré, etc. The An in-depth exploration of the (Performance Class) second semester will enrich the knowledge of the repertoire with details in singing Italian, French, 2 hrs weekly/2 credits/Spring semester masterpieces of the 20th century, and German through the vocal Mr. Sperry repertoire, operatic and non- as well as explore lesser-known A performance class focusing on operatic. Each person is given repertoire. We will perform pieces gifted, living, American classical individual attention in order by Debussy, Ravel, Hahn, Poulenc, song composers including Tom to sing idiomatically in these Enescu, Boulanger, Roussel, Cipullo, Daron Hagen, Lori languages as well as being coached Canteloube, Mihauld, Satie, Laitman, Libby Larsen, John in many styles. Beydts, Messian, etc. The pieces Musto, and Stephen Paulus as will be assigned with care for each singer’s voice type and sensitivity. The poems are to be given as

Return to Table of Contents Course Description 127 much weight as the music, as an collaborate on short scenes from WOODWINDS intrinsic part of the composition, operas and musicals in addition Major Lesson: and 99% of the time source of to bringing in projects they are its inspiration. The singer and currently working on. 1 hr weekly/3–6 credits per semester pianists are to be treated as a SX0100 Freshman/Sophomore team. The material presented VX2905-2906 Advanced Acting 2 will be coached by the instructor Performance Class 2 hrs weekly/2 credits per semester 2 hrs weekly/1 credit per semester in a master-class setting, as well Mr. Diamond as discussed, compared and Dr. Cohen commented on by the entire class. Advanced Acting 2 is a lab which Required for all freshman and focuses on a more in depth sophomore classical saxophone Also listed as PN2701. study of acting techniques as majors. A forum for the discussion introduced in Advanced Acting I, and investigation of topics related VX2901-2902 Advanced Acting while emphasizing the physicality to the saxophone, including its 2 hrs weekly/2 credits per semester of the performer in character history, acoustics, technique, Mr. Diamond development. Essentially, a study and repertoire. Performance Advanced Acting is a lab in in this “Physical Actions”. The opportunities in both classical which we practice working with class is divided into three parts: music and jazz are an integral various tools to hone dramatic Part 1: General exploration of part of the class. technique and role preparation. Physical Actions; Part 2: Scene This class is not music-oriented. work with text (Shakespeare); Part 3: Scene work with text (Goldoni). SX0200 Advanced Level Saxophone The repertoire for class will be Repertoire and Performance Class taken from play texts, scenarios, Open to graduate voice students, 2 hrs weekly/2 credits per semester and poetry. Over the course composers and collaborative pianists Dr. Cohen of the year, the class will focus who have taken Advanced Acting 1. on Action and Circumstances Required for all junior and senior (Chekhov and Ibsen), heightened VX2907 Stagecraft in classical saxophone majors. A language and scene work Opera and Song continuation of SX0100, this (Ibsen & Shakespeare), and 2 hrs weekly/2 credits per semester class is a further investigation physical choices. Ms. Putnam of saxophone repertoire. In-class performance is required. Open to graduate voice students, Singers will learn the basic skills composers and collaborative pianists. of Stagecraft and how to apply SX2200 Graduate Level Saxophone them to Operatic and Recital Repertoire and Performance Class VX2903-2904 Acting Techniques for repertoire through movement, 2 hrs weekly/2 credits per semester Opera and Musical Theater gesture, and facial expression. Dr. Cohen 2 hrs weekly/2 credits per semester Challenges to be addressed will Ms. Levine be acting the extended moments Required for all graduate classical The class deals with inherent in music, sustaining saxophone majors. This class improvisation, in partnership dramatic choices in slower is a further investigation of with others, so that the students tempos, and expanding expression saxophone repertoire. In-class can learn to truly listen and for larger performing spaces. performance is required. respond—qualities which they Entrance by audition. must bring to written operas and musicals where the timing is determined by the composer. We examine the acting techniques developed by Uta Hagen, Sanford Meisner and others. Students

Return to Table of Contents 128 Course Description WW2151-2152 Woodwind Lab 2 hrs weekly/2 credits per semester Ms. Chesis/Woodwind Faculty A seminar devoted to developing both the performance and extra-musical skills required of today’s professional musician. The labs include sessions on orchestral excerpts, auditioning, programming, chamber music and concert presentation. Students have the opportunity to perform for guest artists who are leading experts in their fields. Required of all junior, senior, and graduate flute, oboe, clarinet, and bassoon majors.

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