2017–18 Course Catalog

Manhattan School of Music

122ND & BROADWAY | MSMNYC.EDU

TABLE OF CONTENTS

History of the School 4 Strings 37 Pinchas Zukerman Performance Program 39 Academic Calendar 5 Voice 40 Office of the Registrar 6 Woodwinds 42

Registration Procedures Professional Studies Certificate Program 44 Academic Regulations Dual Degree Program 45 Office of Student Accounts 7 Doctor of Musical Arts 46 Tuition and Fees Artist Diploma 49 Degree Programs and Curriculum 14 Course Descriptions 51 Departments by Major 16

Collaborative Piano 16 Brass 17 Composition 19 Conducting 21 Contemporary Performance 22 Guitar 23 Harp 25 Jazz 27 Musical Theatre 30 Orchestral Performance 31 Organ 32 Percussion 33 Piano 35

Although every effort has been made to assure the accuracy of the information in Manhattan School of Music is fully accredited by the Middle States Commission on this Catalog, students and others who use the Catalog should note laws, rules, Higher Education, the New York State Board of Regents, and the Bureau for Veterans policies, and procedures change from time to time and these changes may alter Education. the information contained in this publication. Furthermore, the School reserves its All programs listed in Departments by Major are approved for the training of vet- right, to revise, supplement, or rescind any policies, procedures or portion thereof as erans and other eligible persons by the Bureau for Veterans Education. The HEGIS described in the Catalog as it deems appropriate, at the School’s sole discretion and Code number is 1004 with the exception of the BM, MM, and DMA in Composition, without notice. The Manhattan School of Music Catalog does not constitute a con- which is 1004.10. tract or the terms and condition of a contract between the student and the School. Manhattan School of Music is a member Manhattan School of Music does not discriminate on the basis of sex, race, religion, of the National Association of College sexual orientation, color or national or ethical origin, parental or marital status, and Administration Counselors (NACAC) and age or disability in the recruitment or admission of its students, or in the admin- complies with the NACAC Statement of istration of its educational programs, financial assistance programs, or student Principles of Good Practice. activities. It is an equal opportunity employer.

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 http://www.msmnyc.edu/Portals/0/Documents/Departments/Facilities/Annual%20Security%20Report%20reporting%202014%20data.pdf or contact Luis Plaza, Director of Facilities at 917-493-4448. HISTORY OF THE SCHOOL

From its beginnings as a small community music school to its current incarnation as a top conservatory, Manhattan School of Music has upheld a tradition of excellence in music education. The School was founded in 1917 by pianist and phi- lanthropist Janet D. Schenck. Then called the Neighborhood Music School, it was located on Manhat- tan’s Upper East Side and tasked with bringing high-quality musical training to the immigrant communities of New York City. By re-establishing the musical communities that had existed in these immigrants’ home countries, Schenck hoped to further the nascent cause of American music. To that end, the School developed its resources to educate the complete musician.

By 1928, enrollment at the School had reached 400 students. Under opera coach, succeeded Brownlee as 2005, oversaw significant growth at additional artistic guidance from president and led the School’s move to Manhattan School of Music during Pablo Casals, Harold Bauer, and Fritz its present location. John O. Crosby, his seven-year tenure, instituting the Kreisler, the Neighborhood Music founder and general director of the critically acclaimed Contemporary School erected a new building and, in Santa Fe Opera, was appointed presi- Performance Program and, in 2010, 1938, changed its name to Manhat- dent in 1976; Gideon W. Waldrop was the innovative Center for Music tan School of Music. In the space of appointed in 1986; and Peter C. Simon Entrepreneurship, as well as the addi- twenty years, the school had built in 1989. tion of the Solomon Gadles Mikowsky a national reputation. By 1943, the Recital Hall, a new state-of-the-art School offered the Bachelor’s degree; recital space. advanced degree programs soon Marta Casals Istomin, former direc- followed. tor of the Kennedy Center for the Performing Arts, served as president Under the current leadership of Dr. of the School from 1992 until 2005. James Gandre, who assumed the presi- In 1956, Dr. Schenck retired and John Her tenure saw the construction of dency in May 2013, Manhattan School Brownlee, noted Metropolitan Opera the G. Chris and SungEun Andersen of Music continues to uphold the mis- baritone, was appointed director, a Residence Hall, which opened in sion that Janet Schenck began over 90 title later revised to president. Presi- 2001. In addition to student housing, years ago. Now home to 900 students dent Brownlee initiated the idea of Andersen is home to the William R. from over 40 countries, the School is a relocating the School to the Morn- and Irene D. Miller Recital Hall and thriving international community of ingside Heights neighborhood; his the Alan M. and Joan Taub Ades Per- artists. As MSM continues to grow, its death occurred only months before his formance Space; the Peter Jay Sharp focus remains the same: the education efforts were realized. In 1969, George Library; and 108 practice spaces. Dr. of tomorrow’s leaders in the arts. Schick, Metropolitan Opera conduc- Robert Sirota, appointed president in tor, accompanist, and distinguished

4 HISTORY OF THE SCHOOL ACADEMIC CALENDAR 2017–18

July 1, 2017 January 6, 2018 Official first day of the Fall Semester Residence Hall opens at 10:00 AM August 23, 2017 January 8, 2018 Check-in for all new students AND all continuing First day of classes for the Spring Semester students starting a new degree program; Residence Hall opens January 8 to January 12, 2018 Add/Drop Period August 27, 2017 Check-in for continuing students continuing January 12, 2018 degree programs in progress SEVIS check in deadline for international students September 4, 2017 February 2, 2018 Labor Day Holiday Last day to withdraw from a course September 6, 2017 February 23 to March 2, 2018 First day of classes for the Fall Semester Audition period entrance auditions (2018 Fall Semester) September 5 to September 15, 2017 Add/Drop Period February 24 to March 11, 2018 Spring Recess September 15, 2017 SEVIS check in deadline for international students April 27, 2018 Last day of classes for the Spring Semester October 4, 2017 Last day to withdraw from a class April 30 to May 4, 2018 Jury Examination Week (no classes, rehearsals, November 3 to November 4, 2017 concerts or recitals) Friends & family Weekend May 7 to May 11, 2018 November 22 to November 26, 2017 Final Examination Week Thanksgiving Recess May 11, 2018 December 1, 2017 Commencement Applications for admission due (2018–2019) End of Spring Semester December 8, 2017 May 12, 2018 Last day of classes for the Fall Semester Move-out Day for Andersen Hall Residents December 11 to December 15, 2017 Final Exam Week December 16, 2017 Residence Hall closes at 10:00 AM December 16, 2017 to January 7, 2018 Winter Recess

ACADEMIC CALENDAR 5 OFFICE OF STUDENT ACCOUNTS The Office of Student Accounts access to Manhattan School of Music provides information on important Student Health Insurance (annual fee) facilities on Saturdays, when the Pre- documents and payment procedures, (administered by Student Engagement): college Division is in session. Manhat- $2,365 policies and payment plans on its tan School of Music Reserves the right website at www/msmnyc.edu/offices/ Doctoral Program Fees (Doctoral to enforce reules for facilities usage at student-accounts. Candidates only) all times Thesis Research Fee: $1,000 TUITION AND FEES (per semester) REFUNDS/LEAVES OF ABSENCE These Examination Fee: $100 Confirmation Fee AND WITHDRAWALS Newly admitted students are required Other Fees Student who file a Leave of absence of to submit a non-refundable $500 fee (Non-refundable, Charged Where upon notice of their acceptance to Applicable) Withdrawal notice after the first day Manhattan School of Music. This fee of classes and did not receive Federal Application/Audition Fee: $125 represent confirmation of enrollment. grants or loans will be responsible Credits Exceeding Degree Credit Limits for tuition based upon the following Tuition (per credit): $725 schedule (any overpayment will be Course Audit (See Office of the Registrar): $500 refunded): Tuition for all Degree and Diploma Damage/Judicial Fines: TBA Programs: $45,375 Graduation Fee: $100 20% within the first two weeks Health Insurance Coverage (Waived Annual Fees (required of all students under certain conditions, see below): 40% within the third week unless otherwise noted) $2,365 Instrument Maintenance Fee (per 60% within thef ourth week General Student Fee: $600 semester): $100 Qualifying Examination Fee (per exam): 80% within the fifth week Housing Costs $30 I.D. Replacement Fee: $40 100% after the fifth week For those students residing in Ander- Postage Fee (International Students sen Hall, the following room rates Only): TBA Registration, general student fees, apply: Transcript Fee (per copy, Cash Only): healther insurance, late fees, grauda- $12.25 tion fees and meal plan payments are Economical Double: $8,975 Returned Check Fee (insufficient non-refundable. Arrangements must Funds): $30 be made with the Director of Student Double: $10,250 (After we receive a returned check, Life regarding refunds of housing personal checks will not be accepted charges. Single: $13, 975 from the student or parent for on Large Single: $14,650 Academic Year) Meal Plan BARNARD SURCHARGE

All students are required to partici- For those students wishing to take pate in a declining balance meal plan; elective courses at Barnard College, a the amount of the plan is different tuition surcharge will apply. A charge for commuting students and students of approximately $110 per credit for residing in the residence hall. The Barnard courses, in addition to the charge for the meal plan will be on refular MSM tuition, will be added the student’s invoice and the monies to the account. Currently only under- will be applied to their ID card. The graduate students are eligible to take annual cost of the meal plans are as courses at Barnard College. follows: STUDENT USE OF MANHATTAN Commuting Students: $272 SCHOOL OF MUSIC FACILTIES

Resident Students Tuition payment provides acess to Manhattan School of Music facilities Bronze: $2,615 only when classes are in session, and Silver: $3,660 does not include either the interces- sions or during summer vacaton. In Gold: $5,225 addition, college students have limited

6 OFFICE OF STUDENT ACCOUNTS OFFICE OF THE REGISTRAR REGISTRATION AND Skills, Required Piano, core Music Program Change ACADEMIC STATUS Theory, and core Music History is Students who wish to change their granted on the basis of placement course of study from one discipline to The Office of the Registrar pre-reg- exams administered at the beginning another must re-audition. Audition isters students for courses according of the student’s first semester. dates and information on require- to their program requirements. It is ments of a new program of study may the individual student’s responsibil- MSM does not accept for transfer be obtained from the Office of Admis- ity, however, to ensure that he or she credit AP credits, college courses taken sion and Financial Aid. Information is meeting those requirements in a in high school which count toward the regarding the transfer of credits timely manner. high school diploma, nor courses which from one program to another may have been used to fulfill requirements be obtained from the Office of the No student will be permitted to of a previous degree program. Registrar. attend classes or lessons until payment of tuition and fees has been made in Credit Limit Placement Exams and Deficiency accordance with the arrangements Full-time students are defined as Courses described in tuition and fees (see those enrolled for 12 to 18 credits. All new classical, jazz and orchestral Office of Student Accounts). Matriculated students are those work- program students are required to take ing towards a degree or diploma. The placement exams in Theory, Aural Registration for New Students School does not permit students to Skills, Music History, sight-reading Permission to register for classes is register for part-time status (less than (Piano majors only) and keyboard skills granted to new students and former 12 credits). Exceptions to this policy proficiency (non-Piano majors). These MSM students beginning a new are made only for students completing tests take place in August before the fall program only if they have been for- their last semester of study. Requests semester begins. mally admitted through the Office of for part-time status must be made in Admission and Financial Aid. Instruc- writing and forwarded to the Provost. Students are required to complete all tions and materials for registration are Such exceptions are reviewed on a elementary courses successfully before available at the times designated for case-by-case basis. registering for classes prescribed in new student registration (see Aca- their course sequence plans. Elemen- demic Calendar). Undergraduate Status tary courses become part of a student’s Undergraduate status is determined degree or diploma program. They may Registration for Continuing Students by the number of credits successfully not be used to fulfill requirements In April and November, all current completed or transferred: (with the exception of TH2883). The students who expect to continue their 1–30 credits = freshman length of a degree or diploma program studies in the succeeding semester are 31–60 credits = sophomore may be extended for students who are required to register for classes. 61–90 credits = junior required to take elementary courses. 91+credits = senior Students required to take English Registration for Returning Students 120 = minimum for graduation Language courses should be aware Returning students are defined as: that this may extend their program for 1) Students returning after an offi- Major Teacher Change one additional year or more. cial Leave of Absence; or 2) A former Teacher assignments are made with student seeking to complete unfinished great care and consideration for each Qualifying Examinations degree requirements and formally student. Changes must be requested If a student is already capable of readmitted by the institution. Such stu- in writing and submitted to the Dean meeting the requirements for a dents should contact the Office of the of Students. No changes will be particular course, he or she may Registrar in writing or by email and set processed after the conclusion of the demonstrate proficiency through a up an appointment with a counselor. Student Initiated Withdrawal Period qualifying examination. Qualify- (with rare exceptions). Applications ing examinations are offered in Undergraduate students transferring for and information on changing Aural Skills, Keyboard Skills (Piano, to MSM may have credits transferred teachers may be obtained from the Organ, and Accompanying majors from a previous school or schools to Office of the Provost. After a student only), Music History, Required Piano Manhattan School of Music. MSM will changes teachers, the former teacher (non-keyboard and non-guitar majors consider the transfer of course credit is excluded from grading the student only), and Theory. Applications for with the grade of C or above in Core at subsequent juries and auditions. these examinations are available in Humanities courses and Humanities In addition, teacher assignments are the Office of the Registrar. A fee is electives, Theory electives, Music subject to change based on teacher charged for Theory, Aural Skills, History electives, and general elec- availability. Required Piano and Keyboard Skills tives. Credit for Aural Skills, Keyboard examinations.

7 OFFICE OF THE REGISTRAR Students will be allowed to take a the course, and the student is subject Under-enrolled courses are subject to Theory/Aural Skills placement and to the requirements and responsibili- cancellation at any time during the qualifying examination for a particu- ties of the course. Failure to Withdraw first two weeks of classes. lar course only once. Additionally, or complete the requirements will students may only qualify in Theory/ result in a Failing grade.Deadlines and Barnard College Aural Skills courses one level at a regulations concerning dropped and Cross-Registration Program time. Notices of Qualification must withdrawn courses will apply. A special program of cross-registra- be approved and submitted to the tion between Manhattan School of Registrar’s Office by the appropriate Elective Credits Music and Barnard College department chair before the end of Elective credits are those credits not allows qualified MSM Juniors and the Add/Drop period. distinctly specified in a particular Seniors to have access to the greater major’s course sequence. Electives are variety of academic courses taught at Schedule Changes/ADD/DROP either general or department-specific. Barnard. Students must be in good Period/Course Withdrawals Students are allowed to take courses in academic standing with a cumula- Students may request changes in their other departments as General Elec- tive MSM grade point average of at schedules only during the Add/Drop tives, as long as there is space available least 3.0. Registration for appropriate and Withdrawal Periods listed in in the course for non-majors and they Barnard courses must be approved by the Academic Calendar. No schedule meet the pre-requisites. both the MSM and Barnard Offices changes are possible after the conclu- of the Registrar. A surcharge of $110 sion of the Add/Drop and Withdrawal Students are not permitted to take per credit for a Barnard course will Periods, unless approved in writing major lessons in order to fulfill elective be assessed by the MSM Bursar. A by the Provost. No schedule change is credit requirements. Barnard course may not be taken as considered official until it is processed pass/fail, and is subject to Manhattan by the Office of the Registrar. Lessons School of Music’s add/drop/with- Full-time lessons are scheduled for drawal schedule. Add: Courses may be added by filing fourteen (14) one-hour sessions per the appropriate forms in the Office of semester. Undergraduate students Auditing the Registrar during the Add/Drop are required to take at least eight (8) Students may petition to audit a Period. In addition to the approved semesters of full-time lessons, gradu- course for no credit if space is available Add form, a completed Permission to ate and doctoral students are required in the class. Outside auditors are not Enroll form and/or Over Credit form to take at least four (4) semesters and permitted. Approval of the instruc- may be required in some cases. Only professional studies and artist diploma tor and department chair is required. after the completed form(s) have been students are required to take two (2) No charge will be assessed for the filed in the Office of the Registrar semesters. The number of semesters first course audited in an academic may the student officially enroll in the of full-time major lessons required of year. A fee of $500 will be charged for course. transfer students is determined at the each additional course audited in an time of acceptance into the school and academic year. Drop: Non-required courses may is dependent upon the performance be dropped by filing the appropriate level at the audition. Courses taken as “Audit” are subject forms in the Office of the Registrar to the same Add/Drop/Withdrawal during the Add/Drop Period. Fail- Students who have completed their deadlines as regular courses. No ure to file the completed Drop Form major lesson requirement but have grades are given for courses that are will result in the student’s continued not performed their Graduation audited. enrollment in the course. Continued Project (Accompanying majors only), enrollment without attendance will Concerto requirement (Piano majors Independent Study result in an automatic Failing grade. only), Graduation Jury and/or Recital, Independent Study provides the stu- are required to register for half-time dent with an opportunity to engage in Course withdrawals: Students may lessons in order to prepare for the exceptional research projects. Inde- withdraw from a course after the Add/ requirement. Half-time lessons are pendent Study Forms are available Drop period by filing a petition in the seven (7) sessions at three (3) credits in the Office of the Registrar. Such Office of the Registrar. An approved for graduate students and two (2) cred- requests will be reviewed for approval Withdrawal results in a grade of W its for undergraduate students. by the Registrar and the Provost. A being applied to the course. While student may take no more than one the grade of W does not affect the Students may not take lessons outside Independent Study during his or her student’s grade point average, the their area of major study. residency in any program of study. course remains on his or her record, with the student remaining respon- Schedule of Classes sible for the credit associated with Class times are published in the the course. Failure to file a petition schedule of course offerings available constitutes continued enrollment in at registration, with periodic updates.

8 OFFICE OF THE REGISTRAR 8 STUDENT EXCHANGE PROGRAMS which will make the final determina- and will identify students who fall tion of the candidate’s acceptance. below MSM’s academic or artistic MSM students are eligible to apply for standards (defined below). The Com- exchange programs with MSM part- ACADEMIC REGULATIONS mittee has latitude to judge the efforts ner schools. Applicants for exchange and progress of each student, compar- programs should be current MSM Academic Honesty ing grades earned from one semester sophomores or first-year grads, and All students have an obligation to to the next, taking into account special exchange programs may be one semes- behave honorably and to respect the circumstances, and investigating issues ter or one year. Since requirements and highest ethical standards in carry- with particular instructors. The Com- length of study vary from one school ing out their academic assignments. mittee can recommend probation, con- to the next, please request information Academic dishonesty is defined to tinuing or final probation, or dismissal. for specific programs from the Office include any form of cheating and/ The Committee may also recommend of the Provost. Applicants must be in or plagiarism. Disciplinary sanc- or require tutoring or counseling. good standing at MSM. tions, including lowered or failing grade, probation, or dismissal, may For courses that are part of an MSM’s MSM currently has international be administered in cases involving student’s professional training, includ- exchange programs with the following academic dishonesty or falsification ing lessons, ensembles and perfor- schools: Royal College of Music (Lon- of academic information. All allega- mance courses, students must main- don); Paris Consevatory, Royal Danish tions of academic dishonesty will be tain a grade point average (GPA) of at Academy of Music (Copenhagen); referred to the Provost. In clear-cut least 3.0. Any student who receives a Norwegian Academy of Music (Oslo); cases, such as documented plagiarism, grade of C or lower in any semester of Sibelius Academy of Music (Helsinki, the Provost may offer a summary lessons or ensemble will automatically Finland); Musikhochschule (Stuttgart); judgment, which will include sanction be placed on probation. Amsterdam Conservatory; Shanghai or mediation designed to bring the Conservatory; Central Conservatory matter to a conclusion. In a case that (Beijing). For all non-performance academic has received summary judgment, the courses, including humanities courses Students pay tuition, health insurance student may appeal the decision to the and classroom courses in music, stu- (if not covered by the partner school), Dean’s Council. Also, the Provost may dents must maintain a GPA above 2.0. and all required student fees at Man- elect to bring the case directly to the hattan School of Music for all three Dean’s Council. The Council consists In addition to overall GPA, repeated programs. Students are responsible for of three faculty members, who, along failure of required courses may be all living, travel and personal expenses. with the Provost and the Dean of grounds for probation. Manhattan School of Music students Students, will conduct a hearing and are eligible to continue to receive their render an opinion. The decision of the Students with grades or GPAs far financial aid during their study abroad. Dean’s Council will be final. below MSM’s standards, as well as students who have been on continuing To be considered for eligibility, a Man- Satisfactory Academic Progress or final probation, may be subject to hattan School of Music student must All students are expected to maintain dismissal. make a formal application. Applica- good academic progress throughout tions and information about deadlines their degree studies. Good academic Dismissal and procedures is available through standing includes a grade of at least Grounds for dismissal include unsat- the Office of the Provost. To qualify B- in their major subject, performance isfactory academic and/or musical for exchange programs, students must: ensembles, and required ESL courses progress; any form of cheating and/or • Have a minimum G.P.A. of 3.0 and grades of C or better in all other plagiarism or falsification of academic • Have received a minimum grade subjects. If a student fails to meet the information; a failing grade in major of A- on the most recent jury requirements for good standing, his lessons, jury examinations and/or • Have an academic advisement or her record will be brought under performance ensembles; and viola- meeting with the Registrar to plan review by the Committee on Aca- tion of the Standards of Personal and and confirm a course of study demic Progress. Group Conduct and/or official School • Represent the School in a positive policies. and enthusiastic manner Probation All students are expected to make Students dismissed at the conclu- Application materials will be reviewed good academic progress throughout sion of any semester are ineligible to by members of the Exchange Program their degree studies, and to advance attend the School for two consecutive Committee and candidates will then artistically in their professional semesters. Information regarding reap- be selected. The materials of the MSM musical training. The Committee on plication to the School and auditions is students who are selected will then Academic Progress reviews all student available from the Office of Admission be submitted to the partner schools, records at the end of each semester, and Financial Aid.

9 OFFICE OF THE REGISTRAR The School retains the right to dismiss who has two consecutive unexcused for six semesters out of eight; students any student whose continued atten- absences in his or her private lessons must register for it their first semester dance or behavior is considered det- may be required to see the Dean of and each subsequent semester until rimental to the interest of his or her Students before lessons may resume. the requirement is fulfilled. The fellow students or of the School. requirement for transfer students is No student may be absent from the pro-rated: students admitted into Attendance school for professional engagements the second year of an undergraduate Regular and punctual attendance is unless permission for such absence is program must complete four semes- required at all lessons, classes, and granted by the Dean of Students well ters out of six; into the third year, two rehearsals. Faculty set the specific in advance of all such engagements. semesters out of four. attendance policies for their courses, Students who wish to pursue a profes- and publish these policies in the sional opportunity over several days For graduate students, concert atten- course syllabus or handbook. Any must apply for a professional leave, dance is required for two semesters exceptions, such as excused absences using the form available in the Dean of out of four (MM/PG) or one semester for reasons of illness or other compel- Students office. Typically the profes- out of two (PS); students must regis- ling emergencies, may be considered sional leave may not extend for more ter for it their first semester and each and granted at the discretion of the than two weeks. subsequent semester until the requirement is fulfilled. individual faculty member. Absences Religious and Other Holidays due to illness must be reported by Manhattan School of Music is sensi- Students registered for concert the student to the Office of Student tive to the needs of students who wish attendance are required to attend Engagement, and should be accompa- to observe religious or other holidays seven major concerts and/or master nied by documentation from a physi- during the academic year. To accom- classes per semester. A list of approved cian or the MSM Campus Health modate the planning needs of studio concerts is available from the Office of Nurse. In cases of serious illness the teachers, classroom teachers, and the Registrar at the beginning of each Dean of Students will communicate ensemble directors, students who semester. Performance in any portion with all the teachers of an individual anticipate being absent for religious of an approved concert does not count student in order to make sure that or other holidays must inform their toward fulfilling the Concert Atten- faculty are aware of the student’s situ- teachers and ensemble directors in dance requirement. ation. writing during the first week of classes Absence affects learning and per- at the beginning of each semester Verification of Attendance formance. Any student who misses listing the exact date/dates that the A student’s Manhattan School of lessons, classes, and rehearsals for rea- student will be absent. The student Music ID card is the mechanism by sons that the teacher considers insuf- should also give a copy of the request which attendance at an approved con- ficient may be referred to the Dean of to the Provost. If students follow cert is verified. At the end of the con- Students for permission to continue the preceding policy and understand cert, house ushers will electronically in the class. Students with excessive that they are responsible for class- scan the barcode on the ID which will or unexcused absences from lessons, room work and ensemble obligations be recorded in a central database. classes, or rehearsals may receive a missed, absence for religious or other A student is registered for Concert lowered or failing grade. Even in cases holidays will be excused. Students who Attendance by the Office of the Reg- where absences are excused, it may be do not inform their teachers in writing istrar each semester until the require- necessary for a student to withdraw with a copy sent to the Provost during ment has been satisfactorily met. Fail- from a course because of excessive the first week of classes will not be ure to attend the appropriate number absence. excused. of concerts by the end of the semester Private lessons constitute the core Concert Attendance (CA1000) will result in a failing grade. If a student performance study for every student. Attending concerts is a vital and does not intend to complete Concert If a student needs to cancel a studio important part of the total educational Attendance in a particular semester, it lesson for any reason, the student experience. MSM Concert attendance is the student’s responsibility to drop should immediately inform the studio is a great opportunity to hear music Concert Attendance from his or her teacher. In cases of documented ill- brought to life by the entire commu- official schedule. Failure to do so will ness or other emergency, the teacher nity as well as distinguished visiting result in a failing grade. Additionally, will attempt to make up missed les- artists. The administration chooses if it is discovered that a student has sons at a mutually convenient time. a wide array of performances to meet misrepresented his or her attendance The studio teacher is not obligated to the concert attendance requirement. at a concert, the student will receive adjust lesson times or make up lessons an F for the semester. In all cases, the that were canceled for non-illness, For undergraduate students (BM/ grade remains on the student’s official non-emergency reasons. Any student DP), concert attendance is required transcript.

OFFICE 10 OF THE REGISTRAR 10 Dean’s List A student who is absent from the Jury some departments may have earlier Qualified Bachelor and Master’s level Examination without prior approval deadlines for application. In order to students who meet certain academic will receive a failing grade and auto- apply for an Advanced Standing jury, a standards are named to the Dean’s matically be placed on academic student must: List each semester. These standards probation. A jury may be postponed • be an undergraduate junior include: a grade point average of 3.9 or only for documented medical reasons • have a cumulative GPA of 3.7 better, twelve or more credits of graded approved by the individual depart- or higher courses (other than P or Q grades), and ment chair. • have received a grade of A- or no failing grades for the semester. received a lesson grade of A over A Graduation Recital and/or Jury, if the last year and no lesson grade Final Examinations required, must take place within the lower than A- in all major lessons Final examinations are held dur- final thirty credits required to com- • have received a grade of 8.5 or ing the 15th week of each semester. plete a degree and once the student higher in all previous juries Students who fail to take a required has less than two semesters of major • be on track to complete all aca- class examination may be given an lessons remaining. Students must demic requirements by the time of Incomplete by the teacher if all other apply to the Scheduling Office for a the proposed graduation work for the course has been satisfac- recital date. The recital program must tory. All Incomplete grades must be be approved by the major teacher and Advanced standing juries may be pre-approved by the Provost. Incom- the department chair. A copy of the taken only once, and the results of the plete grades will be converted to fail- recital program must be submitted jury are final. Graduate students are ing grades by the Registrar if the final to the Office of the Registrar before not eligible for advanced standing. grade is not received by the end of the graduation. All Graduation Juries are Petitions following semester. Students who are scheduled through the Office of the taking large group examinations in the Registrar. A student has the right to petition the Music History and Theory Depart- administration regarding any topic ments will be required to show their Doctoral candidates should refer to that is not covered in the current MSM ID cards before beginning the the appropriate course sequence plan, school catalog, yet pertains to study at exam. Students who have final exams pages 81-84, for performance require- the School. Forms are available in the that fall on the Friday of exam week of ments. Office of the Registrar and the Office the spring semester will be given their of the Dean of Students. Students must be registered through final exam on the final day of classes. the School for major lessons until Transcripts Juries and Recitals completion of the Graduation Per- The Office of the Registrar retains Every enrolled student is required formance requirement. Students who the original copy of each student’s to take an annual Jury Examination wish to participate in Commencement academic record. Transcripts for in May. Students should be aware must fulfill all performance and aca- currently enrolled students are issued that the number of juries listed in demic requirements prior to the date without charge in support of applica- the Department Major grids is the of Commencement. tions to new programs at Manhattan minimum needed to graduate. Some School of Music. students may be required to take Advanced Standing Examinations Upon request, the School may disclose additional juries as a result of teacher In rare cases, undergraduate students educational records without a stu- requests, scholarship continuation, may accelerate their program in per- dent’s consent to officials of another or the extension of the normal length formance by means of an Advanced school in which a student seeks or of the degree program as the result Standing jury. A successful Advanced intends to enroll. of illness, leaves-of-absence, or other Standing jury will allow a student to graduate early, provided all other extraordinary circumstances. Students Official transcripts, carrying the who are off-sequence as the result of academic requirements are also met early. Advanced standing can only School’s seal and an official signature, being admitted in January or having may be issued only upon the written taken a semester Leave-of-Absence be granted for one semester. To start the process, the student submits a request of the student. Transcripts take juries in December. There is are not issued while a student is in a Sophomore Continuation Jury to petition for advanced standing to the Registrar’s office. This petition arrears or in default on student loans ensure that a student’s progress merits or if there are any outstanding fees continuation in his or her program of must indicate the approval of both the major teacher and the depart- or charges from any School office. study. Jury comments are available The Office of the Registrar will only to be read two weeks after the end of ment chair, and must be turned in no later than March 1 of the academic issue transcripts from MSM degree examination week in the Office of the programs. Registrar. year in which the advanced standing jury is to take place. Please note that

11 OFFICE OF THE REGISTRAR Leaves of Absence/Withdrawal result in the student being dropped must be approved by the Provost, the A student may take a leave of absence from all course work. Effective dates Dean of Students, the Registrar, the for several reasons: after the end of Add/Drop will result in student’s major teacher, and depart- a withdrawal from all courses. Inter- ment chair. A Limited Leave of Absence is for national students on student visas a portion of the semester and must requesting a personal leave of absence The Registrar will determine the be approved by the Dean of Students should note that they are not permitted effective date of the Leave. Medical and each of the student’s instructors. to remain in the U.S. while they are on leaves of absence with effective dates The student remains registered for leave. Details and alternatives should prior to the end of the Add/Drop the semester and is responsible for all be discussed with the International period will result in the student being course work, exams, juries, incom- Student Advisor. dropped from all course work. Effec- pletes and fees associated with that tive dates after the end of Add/Drop semester. Such a leave might be for a A student who wishes to change the will result in a withdrawal from all professional engagement, an audition, status of a leave from Personal to courses. International students on stu- or family issues, and should extend for Medical will only have a maximum dent visas requesting a medical leave no more than two weeks. A student total of 3 semesters for a leave. This of absence should note that they are who expects to be away from School total includes any leave already taken not permitted to remain in the U.S. for more than two weeks for profes- as personal leave. while they are on leave. Details and sional reasons should take a Personal alternatives should be discussed with Leave of Absence. A Medical Leave of Absence is for a the Director of International Student student who has a medical condition Services. A Personal Leave of Absence is for that necessitates being out of school a student who wishes to be away from for an extended period of time. To A student returning from a medical school for non-medical reasons. Per- apply for a medical leave, a student leave should get written clearance sonal leaves can extend from 1 semes- must have documentation from a phy- from a medical professional, and cop- ter (or portion of a semester) up to 2 sician as to the nature and severity of ies of that clearance should be for- semesters, but no longer. A student the medical condition. A medical leave warded to the Dean of Students and on a one-semester leave who wishes to can last from 1 semester (or portion of the Registrar. extend the leave for a second semester a semester) up to 2 semesters. A stu- must request this extension in writing; dent on a one-semester medical leave A student who wishes to change the a student who does not return to the who wishes to extend it into a second status of a leave from Medical to Per- School after a second semester of leave semester must request a renewal of sonal will have only a maximum of will be administratively withdrawn medical leave in writing and medical 2 semesters of total leave. and will have to re-apply and re-audi- documentation must accompany this A Withdrawal is approved for a student tion in order to return. In all cases, a request. who wishes to be away from School personal leave must be approved by for more than a year for non-medical the Provost, the Dean of Students, the In certain circumstances, a medical reasons or who wishes to transfer to Registrar, the student’s major teacher, leave can be extended into a third another school. Withdrawn students and department chair. semester; however, this determination will be made by the Provost and the are required to apply to the School The Registrar will determine the effec- Dean of Students. If such an exten- for readmission if they wish to return. tive date of the Leave. Personal leaves sion is granted, the student will have Information regarding reapplication of absence with effective dates prior to re-audition in order to return to the to the School and auditions is avail- to the end of the Add/Drop period will School. In all cases, a medical leave able from the Office of Admission and

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 5.5 years Professional Studies 1 year 1 year 2 years Artist Diploma 1 year 1 year 2 years

OFFICE 12 OF THE REGISTRAR 12 Financial Aid. GRADING Probation or Dismissal.

The Registrar’s Office administra- Grading System Non-Credit Grades tively withdraws students who do not Credit Numerical F Failure return in a particular semester and Grades Equivalent who do not notify the School of their I Work Incomplete (by petition only) intention to take a leave or withdraw. A Excellent 4.00 W Withdrawn For information regarding the finan- A- 3.67 P Passing (used for deficiency cial implications of taking a Leave of B+ 3.33 courses or when a letter grade is Absence or Withdrawing from the not required to show successful B Good 3.00 School, see Refunds in Tuition and Fees. completion of work and is not B- 2.67 included in GPA) Transfer Credit / Credit by Examination C+ 2.33 AU Audit Class Transfer credits from other nation- ally accredited institutions may be C Fair 2.00 IP In Progress (for DMA students accepted into a degree or diploma C- 1.67 only, this grade is not factored into overall GPA) program through evaluation of offi- D+ 1.33 cial documents by the Office of the Incomplete Grades Registrar. Transcripts of such course D Poor 1.00 Incomplete grades can be given only must show a grade of C or above. Stu- D- .67 dents who have attended universities with the approval of the Provost in consultation with faculty members. An overseas where English is the language Major Lesson/Jury Examination Grading of instruction may petition to have Incomplete will appear on a student’s If a student receives a grade between humanities courses considered for permanent transcript indicating late C+ and D- for major lessons or a Jury transfer credit. This petition will be completion of the course. Once the Examination, the Dean of Students, reviewed by the Chair of the Humani- work has been completed and a grade Provost, Department Chairperson, ties Department. Transfer credit is has been issued by the faculty mem- and major teacher will meet to discuss not given for courses from institutions ber, the Incomplete will be changed the general quality of applied work. where the language of instruction is to a permanent letter grade. Students If it is agreed that the grade is not other than English. receiving Incomplete grades are representative of the student’s work, required to complete all work by the Academic credit may be earned by Probation will not result, but the grade end of the following semester; if the placement or qualifying examination. will remain on the student’s tran- work is not completed, the Incomplete Performance credit may be earned by script. If Probation results, it will be will be changed to an F automatically. advanced standing jury. for one semester. The student is then re-evaluated through a Jury Examina- Manhattan School of Music Policy A maximum of sixty transfer or exam- tion at the conclusion of the following Regarding FERPA (The Family ination credits may be applied towards semester. If the student receives a B- or Educational Rights and Privacy Act) an undergraduate degree or diploma. higher, he or she is taken off Probation; The Family Educational Rights and No transfer credit will be granted for if the grade remains between C+ and Privacy Act (FERPA) affords students credits used towards another degree or D-, Probation continues until the Jury certain rights with respect to their for major lessons and ensembles. Examination at the conclusion of the educational records. They are: following semester. If the quality of Fulbright Program work does not improve by that time, 1. The right to inspect and review the Fulbright grants, administered by the the student will be dismissed. student’s educational records within United States Information Agency, are 45 days of the day the School receives a awarded to graduate students, gradu- Students who receive a failing grade request for access. ating seniors, and other candidates of for major lessons or Jury Examination Students should submit to the Reg- exceptional ability who wish to pursue are immediately dismissed from the istrar or other appropriate official, study abroad. Grants are made to School. written requests that identify the United States citizens and nationals of record(s) they wish to inspect. The other countries for a variety of educa- School official will make arrange- tional activities, primarily advanced ments for access and notify the research, graduate study, university Classwork Grading student of the time and place where teaching, and teaching in elementary If a student receives a D+ or lower in the records may be inspected. If the and secondary schools. Information one class, he or she receives a warning records are not maintained by the regarding the Fulbright Program is letter from the Registrar. If a stu- School official to whom the request available from the Associate Dean dent receives more than one of these was submitted, that official shall Office of the Provost. grades, the student will be subject to advise the student of the correct

13 OFFICE OF THE REGISTRAR official to whom the request should responsibility. In addition, the official Questions related to this report should by addressed. must be able to demonstrate that be directed to: the Registrar the review is directly related to the at (212) 749-2802 ext. 4418. 2. The right to request the amendment student’s educational welfare or the of the student’s educational records safety of the student and/or other While reviewing this information, that the student believes is inaccurate members of the School community. please bear in mind: or misleading. • The graduation/completion rate Students may ask the School to 4. The right to file a complaint with is based on 6 years of attendance amend a record that they believe the U.S. Department of Education that equates to 150% of our is inaccurate or misleading. They concerning alleged failures by longest program. Manhattan School of Music to comply should write to the School official • We have elected not to report with the requirements of FERPA. The responsible for the record, clearly our transfer-out rate because the name and address of the Office that identify the part of the record they School’s mission does not include administers FERPA is: want changed, and specify why it is providing substantial preparation Family Policy Compliance Office inaccurate or misleading. for students to enroll in other U.S. Department of Education institutions. If the School decides not to amend 600 Independence Avenue, SW the record as requested by the Washington, D.C. 20202-4605 • The graduation/completion rate student, the School will notify the does not include students who left student of the decision and advise 5. Schools may disclose, without con- the school to serve in the armed the student of his or her right to a sent, directory information including forces, on official church missions, hearing regarding the request for a student’s name, telephone numbers or in the foreign service of the amendment. Additional information (permanent, primary, and cellular), federal government. Students who regarding the hearing procedures addresses (including electronic mail), died or were totally and perma- will be provided to the student when date and place of birth, major, honors, nently disabled are also excluded. notified of the right to a hearing. awards, photograph, classification, dates of enrollment, degrees conferred, 3. The right to consent to disclosures dates of conferral, graduation, distinc- of personally identifiable information tions (including Dean’s List), and the contained in the student’s education institution attended immediately prior records, except to the extent that to admission. Students who wish to FERPA authorizes disclosure without restrict the release of such information consent. are required to notify the Office of the One exception that permits disclo- Registrar in writing within 10 days of sure without consent is disclosure to the first day of the semester of enroll- School officials with legitimate edu- ment. cational interest. A School official is a person employed by the institution Student Right to Know Act in an administrative, supervisory, (Disclosure of Institutional academic, or support staff position Graduation/Completion Rates) (including law enforcement unit Manhattan School of Music provides personnel and health staff); a person the following information regarding or company with whom the School its graduation/completion rates. The has contracted (such as an attorney, information is provided in compliance auditor, collection agent, or secu- with the Higher Education Act of 1965, rity guard); a person serving on the as amended. The rates reflect the gradu- Board of Trustees; or, when deemed ation/completion status of students who appropriate a student serving on enrolled during the 2009-2010 school an official committee, such as a year and for whom 150% of the normal disciplinary or grievance commit- time-to-completion has elapsed. tee, assisting another School official in performing his or her task, or During the fall semester of 2009, employed as a worker. 80 first-time, full-time, certificate or degree-seeking Undergraduate Legitimate educational interest is students entered Manhattan School defined as the determination of of Music. After 6 years (as of 31 August the right of a School of the official 2014) 72% of these students had to review an educational record in graduated from the institution or com- order to fulfill his or her professional pleted their programs.

OFFICE 14 OF THE REGISTRAR 14 DEGREE PROGRAMS AND CURRICULUM

DEGREE PROGRAMS especially designed to unify, coordi- nate, integrate, and interrelate basic Manhattan School of Music is fully Manhattan School of Music seeks studies in music theory (counterpoint, accredited by the Middle States to provide the artistic and technical harmony, form, and analysis), music Commission on Higher Education, training necessary for the aspiring history (an exposition of the evolu- the New York State Board of professional musician. At the same tions and revolutions of musical style Regents, and the Bureau for Veterans time, the School believes that it is of and traditions in Western classical Education. All programs listed in prime importance for professional music from c. 1000 until the present), departments by majors are approved musicians to possess as broad a general and the humanities (the discipline of for the training of veterans and other knowledge as possible and to extend the intellect—reading, writing, criti- eligible persons by the Bureau of the understanding of their art beyond cal judgment, articulate speech—as Veterans Education. The HEGIS the area of their specialization. well as a chronological survey of Code number is 1004 with the excep- Western civilization from the well- tion of the BM, MM, and DMA in UNDERGRADUATE springs of Classic Greece until the Composition, which is 1004.10. present—history, politics, philosophy, The undergraduate programs of art, geography).The core sequence Bachelor of Music (BM) study at MSM consist of four areas of includes seminars in which students Voice concentration: actively participate through discus- Instrumental Performance sion and writing. The core sequence 1. Major field of study Composition also includes lecture classes where 2. Coursework in musical subjects Jazz Performance general trends and concepts of theory, 3. Ensemble performance Musical Theatre music history, and the progression of 4. Humanities studies Western civilization are described. Master of Music (MM) Bachelor of Music The unified core curriculum prepares Voice the undergraduate student to take The Bachelor of Music degree is a Instrumental Performance intense, specialized, elective courses four-year curriculum. All students Instrumental And Vocal Collaborative in the junior and senior years. Piano are required to register for major les- Conducting sons during each semester of their Humanities Orchestral Performance residence at MSM. They must also The four-year undergraduate program Composition successfully meet the requirements of study in Humanities at MSM is Contemporary Performance for their major field of study, related designed to prepare professional musi- Jazz Performance coursework, ensemble participation, cians for a full life as cultured citizens. Jazz Composition jury examinations, and recital in order All students in the undergraduate to qualify for graduation. degree program are required to take Doctor of Musical Arts (DMA) 24 credits (voice students, 18) distrib- In instances where applicants to the uted among Humanities Core and Voice undergraduate division already pos- Instrumental Performance Elective classes. Students are trained sess a Bachelor’s degree from another to think and write clearly, to analyze Collaborative Piano school, they may be awarded the MSM Composition carefully, and to read the basic texts Bachelor of Music degree upon fulfill- of the cultural tradition. Advanced Jazz Arts Advancement ing the specific musical requirements Choral Conducting courses include multicultural inter- set forth in the curriculum. While disciplinary classes which combine MSM generally requires a student to music, art, and literature. Transfer stu- Professional Studies Certificate be full-time for the duration of their Voice dents may receive credit for equivalent BM program, a student in the final courses at other institutions. Instrumental Performance semester of the program who has com- Orchestral Performance pleted enough of the requirements Diploma Composition may apply to be part-time in that Collaborative Piano The Diploma course is the same as semester. the Bachelor of Music degree minus the Humanities Core and Humanities Artist Diploma Unified Core Curriculum Elective requirements. The Diploma Voice During the freshman and sophomore represents recognition of accom- Instrumental Performance years at MSM, students in the classi- plishment in the field of music, but it Collaborative Piano cal division take a sequence of courses does not carry with it the rights and 15 privileges of a college degree. Students accepted in the Master’s program at Manhattan School of For audition requirements and course Music first complete the two years of Postgraduate Diploma sequence plans for undergraduate MM requirements at MSM. Students The Postgraduate Diploma course programs of study in all majors, see should identify their interest in the is the same as the Master of Music Departments by Major. dual degree during the first semester degree minus up to six general of study at MSM so that the required graduate elective credits. The GRADUATE coursework and fieldwork can be com- Diploma represents recognition of pleted in preparation for the degree accomplishment in the field of music, The graduate programs of study at Teachers College. To be considered but it does not carry with it the rights at MSM consist of three areas of for acceptance into the dual degree and privileges of a college degree. concentration: program, MSM students must have at least a 3.0 GPA and successfully com- 1. Major field of study. For audition requirements and plete the Teachers College Columbia 2. Coursework in musical subjects. course sequence plans for graduate University admission process: 3. Ensemble performance. programs of study in all majors, see Departments by Major. • Teachers College application form Master of Music and fee The Master of Music degree is a Professional Studies two-year curriculum. All students • 2 letters of recommendation: one Certificate Program are required to register for major les- from MSM Director of Community For information regarding this sons during each semester of their Partnerships and one from MSM program of study, see p. 44. residence at MSM. They must also Assistant Dean of Academics successfully meet the requirements • official transcripts for all undergrad- Doctor of Musical Arts for their major field of study, related uate and graduate work For information regarding doctoral coursework, ensemble participation, studies, see p. 46. • personal statement about teaching jury examinations, and recital in experiences at MSM and decision to order to qualify for graduation. MSM Artist Diploma pursue an additional degree in music requires full-time status for all four For information regarding artist education semesters of the Master’s program. diploma, see p. 49. Once accepted by Teachers College, Dual Degree at the Master’s Level students are expected to take at least from Manhattan School of Music and 3–6 credits at Teachers College the Teachers College Columbia University summer following MSM gradua- Manhattan School of Music and tion. In the following fall semester, Teachers College Columbia University students must enroll in 10–12 credits offer a dual degree at the Master’s at Teachers College. In the spring level. The program is an accelerated semester, students enroll in two sec- one, designed to be completed in three tions of student teaching and complete years, rather than four, at the end of any remaining course requirements at which the student will have an MM Teachers College. (Master of Music) from Manhattan School of Music and an MA (Master of For detailed information, please Arts) with New York State K‑12 Music contact the Director of Community Teacher Certification from Teachers Partnerships at Manhattan School of College Columbia University. Music.

16 COLLABORATIVE PIANO

The graduate programs of study in Collaborative Piano are designed to MASTER OF MUSIC/COLLABORATIVE PIANO MAJOR/VOCAL offer skilled performers training and SPECIALIZATION experience in solo and ensemble accompanying. SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Major 5 5 5 5 GRADUATE Accompanying Seminar AC2091-2092, AC2111-2112 2 2 2 2 Accompanying Practicum AC2031-2032, AC2041-2042 1 1 1 1 Master of Music degree program Italian for Singers IT2101-2102 2 2 Audition Requirements English for Singers EN2101-2102 2 2 For complete information regarding German for Singers GR2101-2102 2 2 audition requirements and application French for Singers FR2101-2102 2 2 information, please contact the Office Advanced Ear-Training TH2001-2002 2 2 of Admission and Financial Aid. Advanced Instrumental Conducting CD2011-2012 2 2 GRADUATION REQUIREMENT Electives 2 Accompanying for three graduation Music History Electives MH1000-2999 3 recitals. If vocal specialization: two Concert Attendance CA1000 0 0 vocal, one instrumental; if instrumental specialization: two instrumental, Jury 0 one vocal. TOTAL: 61 16 16 15 14

PROFESSIONAL STUDIES MASTER OF MUSIC/COLLABORATIVE PIANO MAJOR/INSTRUMENTAL CERTIFICATE PROGRAM SPECIALIZATION For information regarding this program of study, see p. 44. SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Accompanying Major 5 5 5 5 DOCTOR OF MUSICAL ARTS Accompanying Seminar AC2091-2092, AC2111-2112 2 2 2 2 AC2031-2032, AC2041-2042 1 1 1 1 For information regarding doctoral Accompanying Practicum studies, see p. 49. German for Singers GR2101-2102* 2 2 French for Singers FR2101-2102* 2 2 COLLABORATIVE PIANO FACULTY Advanced Ear-Training TH2001-2002 2 2 Chamber Music SP1500 1 1 John Forconi, Department Chair Warren Jones Electives 2 2 Kenneth Merrill Music History MH1000-2999 3 Thomas Muraco Concert Attendance CA1000 0 0 Heasook Rhee Jury 0 TOTAL: 53 16 13 12 12 *The German and French for Singers can be interchanged with the Italian and/or English for singers, depending on the background of the student.

PREREQUISITES Graduate Theory TH0800, 2883 Students in this major are required to attend Aural Skills AS0870, 0871-0872 five Setting the Stage professional develop- Keyboard Techniques PN0851-0862 ment workshops before graduation.

17 COLLABORATIVE PIANO BRASS TRUMPET, HORN, TROMBONE, BASS TROMBONE, AND TUBA

The programs of study for Brass All undergraduate Brass majors must majors are designed to develop skilled perform their Graduation Jury before performers who are familiar with the the departmental faculty in May of standard solo, ensemble, and orches- their final year of study. tral literature for their instruments. Students must demonstrate a high GRADUATE degree of professional competence and Master of Music degree program appropriate stylistic approaches to the Postgraduate Diploma program literature of various historical periods. All students are required to fulfill Audition Requirements their Ensemble Requirement as out- For complete information regarding lined in their course sequence plans audition requirements and application and as assigned by the School. information, please contact the Office of Admission and Financial Aid. UNDERGRADUATE GRADUATION REQUIREMENTS Bachelor of Music degree program Diploma program A full-length Graduation Recital in which at least one work must be in Audition Requirements a 20th-century style and approxi- For complete information regarding mately half of the works must be com- audition requirements and application posed for the particular instrument (nontranscribed). information, please contact the Office of Admission and Financial Aid. . A Graduation Jury featuring selections from the recital with piano There will be a “sophomore continua- (where applicable) and orchestral tion jury” at the end of the sophomore repertoire. Student will prepare a list year to establish that a student’s prog- of ten excerpts from which the faculty ress has been sufficient to ensure com- panel will make selections, at their pletion of the program of study. This discretion. evaluation will determine whether or not the student may continue in that program. Repertoire will be deter- PROFESSIONAL STUDIES mined by the teacher. CERTIFICATE PROGRAM For information regarding this Repertoire for juries in non-graduat- program of study, see p. 44. ing years will be determined by the teacher and the student. DOCTOR OF MUSICAL ARTS GRADUATION REQUIREMENTS For information regarding doctoral A full-length Graduation Recital in studies, see p. 46. which at least one work must be in a 20th-century style and approximately half of the works must be composed for the particular instrument (nontranscribed).

A Graduation Jury featuring selections from the recital with piano (where applicable) and orchestral repertoire at the discretion of the panel.

BRASS 18 18 BACHELOR OF MUSIC/BRASS MAJOR BRASS FACULTY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 David Jolley, Major Instrument 3 3 3 3 4 4 4 4 Department Chair Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Trumpet Ethan Bensdorf Theory Electives TH0500-2999 2 2 Billy Ray Hunter Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 David Krauss Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Thomas Smith Music History Electives MH0500-2999 3 3 Horn Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Michelle Reed Baker Humanities Electives HU0300-2999 3 3 3 3 Richard Deane Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Javier Gándara General Electives 2 2 David Jolley R. Allen Spanjer Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Trombone Brass Lab BR0001-0002 1 1 1 1 Haim Avitsur Per Brevig Large Performing Ensemble* LP1500 1 1 1 1 1 1 1 1 David Finlayson Chamber Music* SP1500 1 1 1 1 David Taylor Concert Attendance CA1000 0 0 0 0 0 0 Colin Wiliams Jury 0 0 0 0 Graduation Recital 0 Bass Trombone TOTAL: 124 16 16 16 16 17 15 14 14 Steven Norrell David Taylor *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 Tuba by the Ensembles Office. Kyle Turner

Students working towards this degree are required to attend five Setting the Stage professional development workshops before graduation.

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 PREREQUISITES TH0800, 2883 Brass Lab BR2001-2002 2 2 2 2 Analysis/Style/Performance Aural Skills AS0870, 0871-0872 Large Performing Ensemble* LP1500 1 1 1 1 Required Piano RP0111-0112, 0211-0212 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 56 14 14 14 14

*All brass 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.

19 BRASS COMPOSITION UNDERGRADUATE Juries brought to the following day’s inter- Each student compiles a portfolio view with the Composition Faculty. Bachelor of Music degree program of work and recorded performances Diploma program for the year-end Jury, a meeting with For Complete information regarding audition requirements and applica- AUDITIONS REQUIREMENTS the entire Faculty which reviews and evaluates each portfolio. tion information and deadlines, please Applicants should submit no more contact the Office of Admission and than three scores, representa- For complete information regarding Financial Aid. tive of their own creative work. audition requirements and applica- Arrangements, orchestrations of the tion information and deadlines, please GRADUATION REQUIREMENT: Thesis works of others or exercises in histori- contact the Office of Admission and During the final year, each student cal styles should not be submitted. It Financial Aid. must complete an orchestral piece in is suggested that the submissions dem- the first semester. It is submitted to onstrate as much variety as possible in GRADUATION REQUIREMENT: Thesis the Faculty for possible inclusion in instrumentation and form. Although During the final year, each student a public concert at the School in the MIDI recordings are accepted, it is must complete an orchestral piece in second semester. Graduation is con- advised that at least one of the scores the first semester. It is submitted to tingent upon the Faculty’s acceptance be represented by an acoustic record- the Faculty for possible inclusion in of this work. ing. All Composition applicants’ port- a public concert at the School in the folios are pre-screened by members of second semester. Graduation is con- PROFESSIONAL STUDIES the Composition Faculty. Invitation tingent upon the Faculty’s acceptance CERTIFICATE PROGRAM to the audition is dependent upon the of this work. Faculty’s acceptance of the work sub- For information regarding this mitted by each applicant. GRADUATE program of study, see p. 44. Master of Music degree program The audition consists of a three-hour Postgraduate Diploma program DOCTOR OF MUSICAL ARTS exam in dictation, sight-singing, coun- Doctor of Musical Arts For information regarding doctoral terpoint, harmony, set theory and studies, see p. 46. serial procedures, instrumentation Audition Requirements and short common-practice composi- Applicants should submit no more tion exercises. There is an overnight than three scores, representative of composition assignment which is their own creative work. At least one brought to the following day’s inter- of these scores must be an orchestral view with the Composition Faculty. work. Arrangements, orchestrations Freshmen Seminar of the works of others or exercises in historical styles should not be submit- In the first semester of study, fresh- ted. It is suggested that the submis- men are enrolled in a seminar taught sions demonstrate as much variety by all members of the Composition as possible in instrumentation and Faculty. In their individual meetings, form. Although MIDI recordings are each studio teacher presents a differ- accepted, it is advised that at least two ent point of departure for new works. of the scores be represented by acous- These meetings help the new student tic recordings. All Composition appli- in choosing a teacher for private study cants’ portfolios are pre-screened by in the second semester. The choice is members of the Composition Faculty. made by the student, dependent on Invitation to the Audition is depen- that teacher’s availability. dent upon the Faculty’s acceptance of Composer Concerts the work submitted by each applicant. It is a departmental requirement The audition consists of a three hour that any student taking lessons with exam in dictation, sight-singing, coun- a private teacher must have at least terpoint, harmony, set theory and one performance every year in one serial procedures, instrumentation of the eight departmental Student and short common-practice composi- Composer Concerts. tion exercises. There is an overnight composition assignment which is

20COMPOSITION 20 COMPOSITION COMPOSITION FACULTY BACHELOR OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 J. Mark Stambaugh, Acting Chair Susan Botti Major Lessons 3 3 3 3 4 4 4 4 Reiko Fueting Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Ed Green Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Marjorie Merryman Music History Core MH0001-0002, MH0003-0004 2 2 2 2 David Adamcyk , Electronic Music Walter Hilse, Homophonic Music History Electives MH0500-2999 3 3 and Polyphonic Forms for Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Composition Majors 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 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 TOTAL: 142 17.5 17.5 17.5 17.5 18 18 19 17 *Other minor instruments in lieu of piano must be approved by the Composition Department Chair and the Vice President.

Students in this major are required to attend five Setting the Stage professional development workshops before graduation. 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 Notation and Engraving CP2100 1 Electronic Music CP 2600-2601 2 2 PREREQUISITES Score Reading Seminar CP2181-2182 2 2 Aural Skills AS0870, 0871-0872 Advanced Instrumentation CP2201-2202 2 2 Required Piano RP0111-0112, 0211-0212 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 0 0 TOTAL 18 17 15 15

*This course is offered in alternate years; check with the Registrar’s Office for current course offerings.

21 COMPOSITION CONDUCTING

The conducting program provides specialized programs for graduate MASTER OF MUSIC/CONDUCTING (CHORAL) MAJOR students who intend to become professional conductors, and courses for SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 undergraduates who wish to develop Major Lessons 5 5 5 5 the skills and sensitivities required Adv Choral Conducting CD2911-2912 2 2 for many musical disciplines. The Adv Orchestral Conducting CD2011-2012 2 2 Masters programs in orchestral conducting and in choral conducting are German for Singers GR2101-2102 2 2 highly selective, allowing each stu- English for Singers EN2101-2102 2 2 dent extensive experience with MSM Score Reading Seminar CP2181-2182 2 2 ensembles. Graduate Form & Analysis* CP2171-2172 3 3 Chorale Repertoire CD2931-2932 2 2 GRADUATE Music History Electives MH1000-2999 3 3 Master of Music degree program Symphonic Chorus VX0050 1 1 1 1 GRADUATION REQUIREMENTS General Electives 2 2 Graduation Jury: A Graduation Concert Attendance CA1000 0 0 Recital/project as determined by the Jury 0 0 individual faculty advisor and the Recital 0 student TOTAL: 60 17 17 15 15 Admission *This course is offered in alternate years; check with the Registrar’s Office for current course offerings. For complete information regarding admission requirements and application information, please contact the Office of Admission and Financial Aid. MASTER OF MUSIC/CONDUCTING (ORCHESTRAL) MAJOR

SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 CONDUCTING FACULTY Conductor’s Orchestra CS2010 3 3 3 3 George Manahan, Director of Orchestral Music: Baroque/Classical MH2610 3 Orchestral Activities Orchestral Music: Beethoven/Present MH2620 3 Kent Tritle, Director of Score Reading Seminar CP2181-2182 2 2 Choral Activities Maureen Hynes Graduate Form & Analysis* CP2171-2172 3 3 Ronald Oliver Orchestration CP2201-2202 2 2 Graduate Electives 3 2 2 DOCTOR OF MUSICAL ARTS Practical Foundations ME1500 2 For information regarding doctoral Concert Attendance CA1000 0 0 studies, see p. 46. Jury 0 0 Recital/Performance Project 0 PREREQUISITES TOTAL: 61 16 17 14 14 Analysis/Style/Performance TH0800, 2883 Aural Skills AS0870, 0871-0872 *This course is offered in alternate years; check with the Registrar’s Office for current course offerings. Required Piano RP0111-0112; 0211-0212 Students working towards this degree are required to attend five Setting the Stage professional development workshops before graduation.

CONDUCTING 22 CONTEMPORARY PERFORMANCE CONTEMPORARY majors are designed to develop Graduation Recital PERFORMANCE FACULTY skilled performers who are thor- All graduate Guitar majors must per- oughly acquainted with the history, David Adamcyk, Survey of form their Graduation Jury before literature, and pedagogy of the guitar. the departmental faculty in May of Contemporary Music Guitar majors must demonstrate their Robert Black, their final year study. The program Bass advancing musical abilities and knowl- David Cossin, for both the Graduation Jury and the Percussion edge of solo and chamber music rep- Anthony de Mare, Graduation Recital must include the Piano ertoire through participation in per- Danielle Farina, same works. Viola formance classes and ensembles. All John Ferrari, Percussion students are required to fulfill their Margaret Kampmeier, Piano Ensemble Requirement as outlined Jon Klibonoff, Coach in their course sequence plans and as David Krakauer, Clarinet assigned by the School. Curtis Macomber, Violin Tara Helen O’Connor, Flute GRADUATE Christopher Oldfather, Piano/ Harpsichord Master of Music degree program Todd Reynolds, Violin, Electronics Postgraduate Diploma program Lucy Shelton, Voice Fred Sherry, Cello Audition Requirements James Austin Smith, Oboe For complete information regarding audition requirements and application Students working towards this degree are information, please contact the Office required to attend five Setting the Stage profes- of Admission and Financial Aid. sional development workshops before graduation. GRADUATION REQUIREMENTS Graduation Jury The programs of study for Guitar

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 Survey of Contemporary Music: 1900-1960 CT1960 3 Survey of Contemporary Music: 1960-Present CT1961 3 Composer/Performer Project CT1700 1 1 Advanced Practicum ME2001 2 Independent Study IS1999 2 Graduate Electives 4-5 2-3 Graduate Theory Electives 2-3 Concert Attendance 0 0 Jury 0 0 Recital/Lecture Presentation 0 TOTAL: 54-57 14 12 12-13 16-18

23 CONTEMPORARY PERFORMANCE GUITAR The programs of study for Guitar Repertoire for juries in non-graduat- PROFESSIONAL STUDIES majors are designed to develop ing years will be determined by the CERTIFICATE PROGRAM skilled performers who are thor- teacher and the student. For information regarding this oughly acquainted with the history, program of study, see p. 44. literature, and pedagogy of the guitar. GRADUATION REQUIREMENTS Guitar majors must demonstrate their Graduation Jury advancing musical abilities and knowl- Graduation Recital DOCTOR OF MUSICAL ARTS edge of solo and chamber music rep- All undergraduate Guitar majors must For information regarding doctoral ertoire through participation in per- perform their Graduation Jury before studies, see p. 46. formance classes and ensembles. All the departmental faculty in May of students are required to fulfill their their final year study. The program Ensemble Requirement as outlined for both the Graduation Jury and the in their course sequence plans and as Graduation Recital must include the assigned by the School. same works.

UNDERGRADUATE GRADUATE Bachelor of Music degree program Master of Music degree program Diploma program Postgraduate Diploma program

Audition Requirements Audition Requirements For complete information regarding For complete information regarding audition requirements and application audition requirements and application information, please contact the Office information, please contact the Office . of Admission and Financial Aid. of Admission and Financial Aid. There will be a “sophomore continua- GRADUATION REQUIREMENTS tion jury” at the end of the sophomore year to establish that a student’s prog- Graduation Jury ress has been sufficient to ensure com- Graduation Recital pletion of the program of study. This All graduate Guitar majors must per- evaluation will determine whether or form their Graduation Jury before not the student may continue in that the departmental faculty in May of program. Repertoire will be deter- their final year study. The program mined by the teacher. for both the Graduation Jury and the Graduation Recital must include the same works.

24GUITAR 24 GUITAR BACHELOR OF MUSIC/GUITAR MAJOR GUITAR FACULTY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 David Leisner Department Chair Mark Delpriora Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Oren Fader Theory Electives TH2000-2999 2 2 David Starobin 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 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 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 125 16.5 17.5 17.5 17.5 13 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. Students working towards this degree are required to attend five Setting the Stage professional development workshops before graduation.

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 PREREQUISITES Graduation Recital 0 Graduate Theory TH0800, 2883 TOTAL: 56 14 14 14 14 Aural Skills AS0870, 0871-0872 Fretboard Harmony GT0511-0512, 0611-0612 *The minimum Chamber Music requirement consists of 4 semesters of ensemble. Guitar ensemble requests require faculty approval.

25 GUITAR HARP

The programs of study for Harp GRADUATE majors are designed to develop skilled Master of Music degree program performers who are familiar with the Postgraduate Diploma program standard solo, ensemble, and orchestral literature for the instrument. Audition Requirements Students must demonstrate a high For complete information regarding degree of professional competence and audition requirements and application appropriate stylistic approaches to the information, please contact the Office literature of various historical periods. of Admission and Financial Aid. All students are required to fulfill their Ensemble Requirement as out- All graduate Harp majors must per- lined in their course sequence plans form their Graduation Jury before and as assigned by the Performance the departmental faculty in May of Office. their final year of study. The program UNDERGRADUATE for both the Graduation Jury and the Graduation Recital, performed from Bachelor of Music degree program memory, must consist of the same Diploma program works, including one classical and one contemporary work. Students must Audition Requirements be prepared to perform orchestral For complete information regarding excerpts at the Graduation Jury. audition requirements and application information, please contact the Office of Admission and Financial Aid. PROFESSIONAL STUDIES CERTIFICATE PROGRAM There will be a “sophomore continuation jury” at the end of the sophomore For information regarding this year to establish that a student’s prog- program of study, see p. 44. ress has been sufficient to ensure completion of the program of study. This DOCTOR OF MUSICAL ARTS evaluation will determine whether or not the student may continue in that For information regarding doctoral program. Repertoire will be deter- studies, see p. 46. mined by the teacher.

Repertoire for juries in non-graduating years will be determined by the teacher and the student.

GRADUATION REQUIREMENTS Graduation Jury Graduation Recital All undergraduate Harp majors must perform their Graduation Jury before the departmental faculty in May of their final year of study. The program for both the Graduation Jury and the Graduation Recital, performed from memory, must consist of the same works, including one classical and one contemporary work. Students must be prepared to perform orchestral excerpts at the Graduation Jury.

HARP 26 BACHELOR OF MUSIC/HARP MAJOR HARP FACULTY Mariko Anraku SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Susan Jolles Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 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 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 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 136 18 18 18 18 17 15 16 16

Students working towards this degree are required to attend five Setting the Stage professional development workshops before graduation.

MASTER OF MUSIC/HARP MAJOR PREREQUISITES Analysis/Style/Performance TH0800, 2883 SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Aural Skills AS0870, 0871-0872 Required Piano RP0111-0112, 0211-0212 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

27 HARP JAZZ ARTS

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

28JAZZ ARTS 28 JAZZ ARTS FACULTY BACHELOR OF MUSIC/JAZZ PERFORMANCE Stefon Harris, PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Associate Dean/ Director, Jazz Arts Program Major Instrument 3 3 3 3 4 4 4 4 Chris Rosenberg, Associate Director Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Stephanie Crease, Senior Jazz Ear Training JC0111-0114 2 2 2 2 Coordinator, Jazz Arts Program Jazz Required Piano* JC0171-0172, JC0181-0182 1 1 1 1 Acoustic Bass Jazz Music History MH0101-0104 2 2 2 2 Jay Anderson The Music of Duke Ellington MH1040 2 Larry Ridley Harvie S Classical Survey MH1250-1260 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Afro-Cuban Music Humanities Electives HU0300-2999 3 3 3 3 Bobby Sanabria Jazz Improvisation JP2500 2 2 2 2 2 2 Brazilian Music Arranging & Composition JC0511-0512 2 2 Rogério Boccato Rhythmic Analysis JC0301-0302 2 2 Composition Studio Techniques JC1811 2 Edward Green General Electives 2 2 2 4 Mike Holober Jim McNeely Practical Foundations ME1500 2 Richard Sussman Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Drumset John Riley Jury 0 0 0 Kendrick Scott Graduation Recital 0 TOTAL: 136 17 17 17 17 17 17 17 17 Flute Jamie Baum *Jazz piano majors enroll for JC 2161-2162, Jazz Piano Perspectives, in their first year. **The ensemble requirement consists of participation in large and small ensembles every semester as Guitar assigned by the Jazz Department. In large ensembles, Saxophone majors may be assigned to play a Rodney Jones saxophone other than their principal instrument. Chris Rosenberg Students working towards this degree are required to attend five Setting the Stage professional Jack Wilkins development workshops before graduation. History Bill Kirchner MASTER OF MUSIC/JAZZ PERFORMANCE Indian Rhythm and Tabla PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Samir Chatterjee Major Lessons 5 5 5 5 Improvisation Jazz Styles and Analysis JC2321-2322 2 2 Garry Dial Graduate Jazz Arranging and Composition JC2111-2112 2 2 PREREQUISITES Jazz Pedagogy JC2410 2 Jazz Ear Training JC2201-2202 Jazz Musician as Educator JC2360 2 Jazz History MH0101, 0102, 0103-0104 Jazz Required Piano JC0171-0172, 0181-0182 Advanced Jazz Improvisation JP2500 2 2 2 2 (except for piano majors) 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: 56 15 15 15 15 **The ensemble requirement consists of participation in large and small ensembles every semester as assigned by the Jazz Department. In large ensembles, Saxophone majors may be assigned to play a saxophone other than their principal instrument.

29 JAZZ ARTS MASTER OF MUSIC/JAZZ COMPOSITION JAZZ ARTS FACULTY PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Piano Major Lessons 5 5 5 5 Garry Dial Jazz Styles & Analysis JC2321-2322 2 2 Jeremy Manasia Graduate Jazz Conducting JC2400 2 Phil Markowitz Ted Rosenthal Film Scoring* CP2741-2742 3 3 Mark Soskin Jazz Composing and Arranging for Studio Orchestra JC2241-2242 2 2 Joan Stiles JC2501-2502 2 2 Masters of Jazz Seminar Saxophone General Electives 4 2 4 4 David Liebman, Artist in Residence Jazz Composition Forum JC1999 1 1 1 1 Vincent Herring Concert Attendance 0 0 Donny McCaslin Gary Smulyan Jury 0 Dayna Stephens Graduation Recital 0 TOTAL: 60 14 14 15 15 Trombone Luis Bonilla *Students may substitute Advanced Studio Composition and Scoring JC 1911-1912 for this requirement. Frank Lacy Please note: Composition students may be assigned to ensembles as required by the Jazz Department. David Taylor Trumpet PREREQUISITES Cecil Bridgewater Jazz Ear Training JC2201-2202 Anthony Kadleck Jazz History MH0101, 0102, 0103-0104 Scott Wendholt Jazz Required Piano JC0171-0172, 0181-0182 (except for piano majors) Violin Regina Carter Sara Caswell Voice Theo Bleckmann Kate McGarry Vibraphone Stefon Harris

JAZZ ARTS 30 MUSICAL THEATRE

The curriculum includes four years professional training. MSM is MUSICAL THEATRE FACULTY of voice in private and group settings, committed to turning out not merely speech and diction, acting, musical the next generation of triple threats, Luis Perez, Associate Dean and Director theatre acting and acting for the but “quadruple threats” as well; equal Voice Faculty camera as well as dance, covering ballet, parts actors, singers, dancers, and Claudia Catania tap, jazz and other movement styles. artistic leaders. Judith Clurman Audition techniques are also taught Audition Requirements Andrea Green and valued as an important skill in Bob Stillman “getting the job.” For complete information regarding audition requirements and application Acting Faculty Significantly, the program also ventures information, please contact the Office beyond technique, offering students of Admission and Financial Aid. Judith Clurman courses in musical theatre history, Randy Graff script analysis and technical theatre David Loud GRADUATION REQUIREMENTS Robin Morse production. Finally, the program is Successful completion of all courses. rounded off with a core of humanities Luis Perez courses, providing each student a fully Laura Sametz accredited Bachelor’s degree in Technical Theatre Faculty addition to the richest possible Beverly Emmons BACHELOR OF MUSIC/MUSICAL THEATRE David Gallo SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 J. Jared Janas Sue Makkoo Studio Voice MT4000 1 1 1 1 1 1 1 1 Scott Stauffer Music Theory Core TH0001-0002 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Skills Faculty Humanities Electives HU0300-2999 3 3 Catherine Cox Andrew Gerle Required Piano RP0111-0112 1 1 Eleanor Taylor Acting MT0001-0006 3 3 3 3 3 3 Acting for Musical Theatre MT0010-0017 0.5 0.5 3 3 3 3 3 3 Speech Faculty Ballet MT0100-0103 1 1 Joan Melton Tap MT0120-0123 1 1 1 1 Dance Faculty Alexander Technique MT0140-0141 1 1 Elizabeth Parkinson Jazz MT0110-0115 1 1 1 1 1 1 Luis Perez Intro. to Professional/Technical Theatre MT0200-0201 1 2 Mimi Quillin History of Musical Theatre MT0500-0501 3 3 Aud. Techniques/Theatre as a Business MT0020-0021 3 3 Acting for the Camera MT0025-0026 3 3 Speech MT0300-0303 2 2 2 2 Stage Makeup MT0210 1 Script Analysis MT0211 1 Stage Combat MT0131-0132 3 3 Directing MT0212 3 Conditioning MT0130 1 Musical Theatre Dance MT0133 3 Ensemble Voice MT0350 0.5 Entrepreneurship ME1500 2 Concert Attendance CA1000 0 0 0 0 0 0 Rehearsal and Performance MT1500 0 0 0 0 0 0 0 0 TOTAL: 131.5 17 17.5 18 17 18 15 14 15

31 MUSICAL THEATRE ORCHESTRAL PERFORMANCE The graduate program in Orchestral Bass Performance is designed to offer Timothy Cobb skilled performers definitive train- Audition Requirements Orin O’Brien ing and preparation for careers as For complete information regarding Harp symphonic players. The program audition requirements and application includes extensive orchestral per- information, please contact the Office Mariko Anraku forming experience and an orchestral of Admission and Financial Aid. Susan Jolles curriculum taught by the concert- ORCHESTRAL Flute master and principal players of the Robert Langevin New York Philharmonic, members of PERFORMANCE FACULTY the Metropolitan Opera Orchestra, Oboe Glenn Dicterow, Program Chair New York City Opera and Ballet Robert Botti Orchestras, Orpheus Chamber Violin Stephen Taylor Orchestra, and the Orchestra of St. Glenn Dicterow Liang Wang Luke’s. Lisa Kim Clarinet GRADUATE Viola Pascual Martinez-Forteza Karen Dreyfus Anthony McGill Master of Music degree Craig Mumm Postgraduate Diploma Program Bassoon Professional Studies Violoncello Kim Laskowski Certificate Program Alan Stepansky Judith LeClair Qiang Tu Frank Morelli Roger Nye William Short MASTER OF MUSIC/ORCHESTRAL PERFORMANCE MAJOR Horn Michelle Read Baker SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Richard Deane Major Instrument and Repertoire Coaching 5 5 5 5 Javier Gandara David Jolley Orchestral Repertoire Coaching**** OP2351-2352, 2451-2452 1 1 1 1 R. Allen Spanjer Orchestral Music: Baroque to Classical MH2610 3 Trumpet Orchestral Music: Beethoven to the Present MH2620 3 Ethan Bensdorf The Musician as Educator OP2251 1 Billy Ray Hunter Graduate Electives* 2 3 3 David Krauss Chamber Sinfonia Core OP1200 1 1 1 1 Thomas Smith Large Performing Ensemble LP1500 1 1 1 1 Trombone Chamber Music SP1500*** 1 1 1 1 Per Brevig Orchestral Entrepreneurship ME1600 2 David Finlayson Stephen Norrell Concert Attendance CA1000 0 0 Colin Williams Percussion Lab PK2451-2452** (for percussion majors only) 2 2 2 2 Tuba Jury 0 Kyle Turner Graduation Jury 0 Percussion TOTAL: 53-61** 13-15** 14-16** 12-14** 14-16** Christopher Lamb *The requirements for the Master of Music degree program and the Postgraduate Diploma program Duncan Patton are exactly the same with the exception of the 6 credits in graduate electives, which are not required for the Diploma program. PREREQUISITES **Graduate Percussion majors are required to participate in Percussion Lab each semester enrolled, Analysis/Style/Performance TH0800, 2883 thus requiring these students to register for one additional credit each semester. Additionally, partici- Aural Skills AS0870, 0871-0872 pation in the Percussion Ensemble is required every semester. ***Except for doublebass and harp. Students working towards this degree are required to attend five Setting the Stage profes- ****Except percussion. sional development workshops before graduation. ORCHESTRAL PERFORMANCE 32 ORGAN

The programs of study for Organ GRADUATION REQUIREMENTS DOCTOR OF MUSICAL ARTS majors are designed to develop skilled First Year Recital For information regarding doctoral performers with a knowledge of Graduation Jury studies, see p. 46. organ design, history, literature, and Graduation Recital performance practices. All students In addition to the recitals, graduate are required to fulfill their Ensemble Organ majors are expected to present ORGAN FACULTY Requirement as outlined in their a Special Project related directly to the Andrew Hnderson, course sequence plans and as assigned Acting Chair instrument. Walter Hilse by the School. Paul-Martin Maki All graduate Organ majors must per- Raymond Nagem GRADUATE form their Graduation Jury before Kent Tritle the departmental faculty in May of Master of Music degree program their final year of study. The program PREREQUISITES Postgraduate Diploma program for both the Graduation Jury and the Analysis/Style/Performance TH0800, 2883 Graduation Recital must include the Aural Skills AS0870, 0871-0872 Audition Requirements same works. For complete information regarding audition requirements and application PROFESSIONAL STUDIES information, please contact the Office CERTIFICATE PROGRAM of Admission and Financial Aid. For information regarding this program of study, see p. 44.

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 Choral Conducting CD2911-2912 2 2 Service Playing OR2410-2411 1 1 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 14 14

*Organ Improvisation is offered every other year; 2018-2019 is the next offering.

33 ORGAN PERCUSSION

The programs of study for Percussion jury” at the end of the sophomore year GRADUATION REQUIREMENTS majors are designed to develop per- to establish that a student’s progress Graduation Jury formers with strong fundamental skills has been sufficient to ensure completion Graduation Recital and sophisticated musicianship, who of the program of study. This evalua- All graduate Percussion majors must can apply these skills to any tion will determine whether or not the perform their Graduation Jury before musical setting: orchestral, solo, cham- student may continue in that program. the departmental faculty in May of ber, commercial, or nontraditional. Repertoire will be determined by the their final year of study. Students must demonstrate a high teacher. Repertoire for juries in non- degree of professional competence graduating years will be determined and appropriate stylistic approaches to by the teacher and the student. PROFESSIONAL STUDIES the literature of various historical peri- CERTIFICATE PROGRAM ods. All students are required to fulfill GRADUATION REQUIREMENTS For information regarding this their Ensemble Requirement as out- Graduation Jury program of study, see p. 44. lined in their course sequence plans Graduation Recital and as assigned by the School. All undergraduate Percussion majors must perform their Graduation Jury DOCTOR OF MUSICAL ARTS UNDERGRADUATE before the departmental faculty in For information regarding doctoral May of their final year of study. studies, see p. 46. Bachelor of Music degree program Diploma program GRADUATE Audition Requirements Master of Music degree program and For complete information regard- Postgraduate Diploma program ing audition requirements and application information, please Audition Requirements contact the Office of Admission and For complete information regarding Financial Aid. audition requirements and application information, please contact the Office of Admission and Financial Aid. There will be a “sophomore continuation

PERCUSSION 34 BACHELOR OF MUSIC/PERCUSSION MAJOR PERCUSSION FACULTY Christopher Lamb, Department Chair SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Erik Charlston Major Instrument 3 3 3 3 4 4 4 4 Duncan Patton Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 She-e Wu, Marimba Consultant Theory Electives TH0500-2999 2 2 Kyle Zerna Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Mike Perdue & Jude Traxler, Percussion Ensemble 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 Chamber Music SP1500 1 1 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 128 18 18 18 18 15 13 14 14 Please note: All undergraduate and graduate Percussion majors are required to participate in Percussion Ensemble and Percussion Lab each semester enrolled. Students working towards this degree are required to attend five Setting the Stage professional development workshops before graduation. PREREQUISITES MASTER OF MUSIC/PERCUSSION MAJOR Graduate Theory TH0800, 2883 Aural Skills AS0870-0872 SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 . Required Piano RP0111-0112, 0211-0212 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 Chamber Music SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 52 12 12 14 14 Please note: All undergraduate and graduate Percussion majors are required to participate in Percussion Ensemble and Percussion Lab each semester enrolled.

35 PERCUSSION PIANO

The programs of study for Piano GRADUATION REQUIREMENTS year of study. The program, performed majors are designed to develop skilled Junior Concerto Requirement from memory, must include works performers familiar with piano rep- Graduation Recital from at least three style periods ertoire, performance practices, and All undergraduate Piano majors must and at least one work written during interpretive traditions. Private les- perform from memory a standard the last 75 years. sons, coursework, and master classes concerto in its entirety before a faculty Students must be enrolled for major les- emphasize performance in all styles. jury. In addition, they must perform sons during the semester they complete All students are required to fulfill an adjudicated Graduation Recital in their performance requirements. their Ensemble Requirement as out- their final year of study. The program, lined in their course sequence plans performed from memory, must include PROFESSIONAL STUDIES and as assigned by the School. works from at least three style periods and at least one work written during CERTIFICATE PROGRAM UNDERGRADUATE the last 75 years. For information regarding this Bachelor of Music degree program program of study, see p. 44. Diploma program GRADUATE Audition Requirements Master of Music degree program DOCTOR OF MUSICAL ARTS For complete information regarding Postgraduate Diploma program audition requirements and application For information regarding doctoral information, please contact the Office Audition Requirements studies, see p. 46. of Admission and Financial Aid.. For complete information regarding audition requirements and application There will be a “sophomore continua- information, please contact the Office tion jury” at the end of the sophomore of Admission and Financial Aid. year to establish that a student’s progress has been sufficient to ensure com- GRADUATION REQUIREMENTS pletion of the program of study. This Concerto Requirement evaluation will determine whether or Graduation Recital not the student may continue in that All graduate Piano majors must per- program. Repertoire will be deter- form from memory a standard con- mined by the teacher. certo in its entirety before a faculty jury in the second year of study. In Repertoire for juries in non-graduat- addition, they must perform an adjudi- ing years must include works from at cated Graduation Recital in their final least three style periods.

PIANO 36 BACHELOR OF MUSIC/PIANO MAJOR PIANO FACULTY

SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Marc Silverman, Department Chair Major Instrument 3 3 3 3 4 4 4 4 Arkady Aronov Yefin Bronfman Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Jeffrey Cohen Theory Electives TH0500-2999 2 2 Daniel Epstein Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Horatio Gutiérrez Piano Sight Reading PN0141-0142 1 1 Phillip Kawin Olga Kern Keyboard Skills PN0151-0152, PN0251-0252 2 2 1 1 Solomon Mikowsky Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Alexandre Moutouzkine Music History Electives MH0500-2999 3 3 Anton Nel, Piano Seminar Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Joanne Polk André-Michel Schub Humanities Electives HU0300-2999 3 3 3 3 Inesa Sinkevych Electives 2 2 Nina Svetlanova Practical Foundations ME1500 2 William Wolfram, Piano Seminar 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 Jury 0 0 0 Concerto Requirement PN0500 0 Graduation Recital 0 TOTAL: 126 15.5 15.5 16.5 16.5 18 16 14 14 *As assigned by the Ensembles Office

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 PREREQUISITES Piano Literature PN2021-2022, 2031-2032 2 2 2 2 Graduate Theory TH0800, 2883 Chamber Music* SP1500 1 1 Aural Skills AS0870, 0871-0872 Keyboard Techniques PN0861-0862 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

37 PIANO STRINGS VIOLIN, VIOLA, VIOLONCELLO, AND DOUBLE BASS The programs of study for String program. audition requirements and application majors are designed to develop skilled Repertoire requirements for each year information, please contact the Office performers in all areas of string in School and for each instrument are of Admission and Financial Aid. technique playing. All students are published in the String Department GRADUATION REQUIREMENTS required to fulfill their Ensemble Handbook, available from the Requirement as outlined in their Department Chair or on the MSM Graduation Jury course sequence plans and as assigned String web page. Graduation Recital by the School. All graduate String majors must per- GRADUATION REQUIREMENTS form their Graduation Jury before Graduation Jury UNDERGRADUATE the departmental faculty during Graduation Recital scheduled Graduation Jury periods in Bachelor of Music degree program All undergraduate String majors must the final year of study. The program Diploma program perform their Graduation Jury before for both the Graduation Jury and the the departmental faculty during Graduation Recital must include the Audition Requirements scheduled Graduation Jury periods in same works. For complete information regarding the final year of study. The program PROFESSIONAL STUDIES audition requirements and application for both the Graduation Jury and the CERTIFICATE PROGRAM information, please contact the Office Graduation Recital must include the of Admission and Financial Aid.. same works. For information regarding this program of study, see p. 44. There will be a “sophomore continua- GRADUATE tion jury” at the end of the sophomore year to establish that a student’s prog- Master of Music degree program DOCTOR OF MUSICAL ARTS Postgraduate Diploma program ress has been sufficient to ensure com- For information regarding doctoral pletion of the program of study. This Audition Requirements studies, see p. 46. evaluation will determine whether or not the student may continue in that For complete information regarding

STRINGS 38 BACHELOR OF MUSIC/STRING MAJOR STRINGS FACULTY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Nicholas Mann, Department Major Instrument DB46-, VA46-, VC46-, VN46- 3 3 3 3 4 4 4 4 Chair Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Violin Theory Electives TH0500-2999 2 2 Laurie Carney Glenn Dicterow Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Koichiro Harada Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Burton Kaplan Music History Electives MH0500-2999 3 3 Patinka Kopec Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Curtis Macomber Isaac Malkin Humanities Electives HU0300-2999 3 3 3 3 Nicholas Mann Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Robert Mann Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Albert Markov Practical Foundations ME1500 2 Todd Phillips Orchestral Conducting CD0211-0212 2 2 Maria Radicheva Lucie Robert Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Sylvia Rosenberg Chamber Music* SP1500 1 1 1 1 1 1 Laurie Smukler Concert Attendance CA1000 0 0 0 0 0 0 Sheryl Staples Jury 0 0 0 0 Mark Steinberg Peter Winograd Graduation Recital*** 0 TOTAL: 126 16 16 17 17 16 14 15 15 Viola Daniel Avshalomov *All string players must participate in orchestra every semester until completion of the Graduation Karen Dreyfus Jury; in addition, except for doublebass, a minimum of 6 semesters of chamber music must be com- Kazuhide Isomura pleted as assigned by the Ensembles Office. Double bass majors must complete two semesters of chamber music. **Students in the Zuckerman Program register for OP1500 in place of LP1500. ***Double Burton Kaplan bass students must do a half or full recital. Shmuel Katz Students working towards this degree are required to attend five Setting the Stage professional Patinka Kopec development workshops before graduation. Isaac Malkin Samuel Rhodes Robert Rinehart MASTER OF MUSIC/STRING MAJOR Karen Ritscher

SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Cello Major Lessons 5 5 5 5 Marion Feldman Orchestral Repertoire for Strings ST2051-2052, 2151-2152 2 2 2 2 David Geber Wolfram Koessel Music History Electives MH1000-2999 3 3 Julia Lichten Graduate Theory Electives TH2000-2999 2 2 Philippe Muller Graduate Electives 2 2 Fred Sherry Large Performing Ensemble* LP1500 1 1 1 1 Alan Stepansky Chamber Music* SP1500 1 1 1 1 Double Bass Concert Attendance CA1000 0 0 Timothy Cobb Jury 0 0 David Grossman Graduation Recital** 0 Jeremy McCoy Orin O’Brien TOTAL: 50 12 12 13 13 Pinchas Zukerman *All string players must participate in orchestra every semester until completion of the Graduation Performance Program Jury; in addition, except for doublebass, minimum of 4 semesters of chamber music must be completed Pinchas Zukerman as assigned by the Ensembles Office. **Required of all graduate string majors. Patinka Kopec PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0870, 0871-0872 Required Piano RP0111-0112, 0211-0212

39 STRINGS PINCHAS ZUKERMAN PERFORMANCE PROGRAM The internationally acclaimed violin- Graduation Recital 3. Students with an earned Bachelor ist and conductor Pinchas Zukerman of Music or equivalent undergraduate accepts a limited number of exception- Violinists must prepare a full recital degree are eligible to enter the follow- ally gifted violinists and violists as program representing three style peri- ing MSM programs: ods, including a 20th-century work. private students at Manhattan School a. Master of Music degree program of Music each year. This program, An unaccompanied work of Bach and under Mr. Zukerman’s supervision, a complete concerto with cadenzas b. Postgraduate Diploma program is devoted to the artistic and techni- (which may be part of the recital pro- c. Professional Studies Certificate cal development of these talented gram, if so desired) are optional. Program students. Viola d. Doctor of Musical Arts degree Mr. Zukerman works intensively with Graduation Jury program each student approximately six times Graduation Recital e. Special Student status with an per semester for a total of twelve pri- emphasis on instrumental study vate lessons throughout the academic Violists must prepare a full recital pro- (one-year program; student is year. In addition, weekly lessons are gram representing three style periods, non-matriculated and must peti- taught to the Zukerman class by including a complete unaccompanied tion for a second year of study) Patinka Kopec, who has been person- work of Bach and a 20th-century All International Students must ally selected by Mr. Zukerman to be work. A complete standard concerto register for a minimum of 12 credit his sole teaching associate and the pro- with cadenzas is required. hours (full-time) in order to be eli- gram coordinator. Violinists and violists accepted into gible for an I-20. Applicants from around the world are the Pinchas Zukerman Performance For Course Sequence Plans for all auditioned either in person or by vid- Program have the following options as undergraduate and graduate degree eotape by Mr. Zukerman and a course of study: and diploma programs, see Strings. Ms. Kopec. The class includes three 1. Pre-college students must enroll in to ten students, ranging in age from an accredited high school approved by fourteen years old to the young career PROFESSIONAL STUDIES Manhattan School of Music. instrumentalists as well as the tradi- CERTIFICATE PROGRAM tional conservatory student. 2. Students with an earned high school For information regarding this diploma are eligible to enter the fol- program of study, see p. 44. Audition Requirements lowing MSM programs: For complete information regarding audition requirements and application a. Bachelor of Music degree program DOCTOR OF MUSICAL ARTS information, please contact the Office b. Diploma program For information regarding doctoral of Admission and Financial Aid. c. Special Student status with an studies, see p. 46. emphasis on instrumental study GRADUATION REQUIREMENTS (one-year program; student is non- Violin matriculated and must petition Graduation Jury for a second year of study)

PINCHAS ZUKERMAN PERFORMANCE PROGRAM 40 VOICE The programs of study for Voice BACHELOR OF MUSIC/VOICE MAJOR majors are designed to develop skilled performers in all areas of SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 vocal technique and to offer oppor- Major Lessons 3 3 3 3 4 4 4 4 tunities to perform a wide variety of Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 vocal literature. Voice majors take private lessons and participate in Aural Skills AS0101-0102, AS0201-0202 2 2 2 2 master classes, workshops, and Music History Core MH0001-0002, MH0003-0004 2 2 2 2 literature classes. All students are Music History Electives MH0500-2999 3 3 required to fulfill their Ensemble Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Requirement as outlined in their HU0300-2999 3 3 3 course sequence plans and as assigned Humanities Electives by the School. Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Italian Diction IT0100-0200 2 2 UNDERGRADUATE English Diction EN0100-0200 2 2 Bachelor of Music degree program German Diction GR0100-0200 2 2 Diploma program French Diction FR0100-0200 2 2 Audition Requirements German Vocal Literature VX0420 2 For complete information regarding French Vocal Literature VX0550 2 audition requirements and application information, please contact the Office English Vocal Literature VX0320 2 of Admission and Financial Aid. American Vocal Literature VX0330 2 Practical Foundations ME1500 2 Introduction to Performance VX0900 1 GRADUATION REQUIREMENTS Acting VX0901-0902 1 1 Graduation Jury Recital Movement VX1831-1832 1 1 Graduation Recital Choir VX0050 .5 .5 .5 .5 All undergraduate Voice majors must perform a Jury Recital and Graduation General Electives 2-3 Recital (program approved by the 1st Year Performance Class VX0100 .5 .5 Department Chair) in their final 2nd Year Performance Class VX0200 .5 .5 year of study. The program for the Undergraduate Opera Theater VX0800 1 1 1 1 Graduation Recital, performed from memory, must consist of a group of Concert Attendance CA1000 0 0 0 0 0 0 songs in English, a group in German, Jury 0 0 0 0 a group in French or Italian, and a Junior (Half) Recital 0 contemporary selection (an aria from Graduation Recital 0 oratorio or opera may be included). TOTAL: 130 18 18 18 18 16 15 13 16-17 Students working towards this degree are required to attend five Setting the Stage professional GRADUATE development workshops before graduation. Master of Music degree program Graduation Recital oratorio or opera may be included). Postgraduate Diploma program All graduate Voice majors must Audition Requirements perform a Jury Recital and Graduation OPERA STUDIES PROGRAM For complete information regard- Recital (program approved by the Students in the Opera Studies pro- ing audition requirements and Department Chair) in their final gram refine their technique and application information, please year of study. The program for the develop their artistry under the contact the Office of Admission and Graduation Recital, performed from guidance of a faculty of eminent Financial Aid. memory, must consist of a group of artist-teachers while gaining expo- songs in English, a group in German, sure before New York City audiences GRADUATION REQUIREMENTS a group in French or Italian, and a through performances in opera scenes, Graduation Jury Recital contemporary selection (an aria from community and educational outreach

41 VOICE concerts, and two full-length produc- CERTIFICATE PROGRAM VOICE FACULTY tions each year. Manhattan School of For information regarding this Maitland Peters, Music opera productions have been program of study, see p. 44. praised as a significant contribution Department Chair Edith Bers to operatic life in New York City, and Joan Caplan numerous performances have been DOCTOR OF MUSICAL ARTS Shirley Close released as commercial recordings. For information regarding doctoral Mignon Dunn All voice students participate in studies, see p. 46. Ruth Golden ensembles, and opera experience is Hilda Harris Cynthia Hoffmann available to all through a variety of OPERA FACULTY opera-related programs and courses. Marlena Kleinman Malas Opera is not a major, but rather Dona D. Vaughn, Artistic Director, Spiro Malas a significant feature of the vocal Opera Program Catherine Malfitano performance experience at MSM. Gordon Ostrowski, Assistant Dean Patricia Misslin Undergraduate students gain oper- Opera Studies/Opera Production Mark Oswald atic experience through opera scenes William Tracy, Head of Opera James Morris programs in the junior year and a Musical Studies Joan Patenaude-Yarnell senior opera production. Graduate Ashley Putnam students audition for Opera Studio in Neil Rosenshein the fall semester and may be assigned to main stage productions, scenes, or RELATED VOICE opera workshops on the basis of these STUDIES FACULTY auditions. In addition, several ensemble courses offered through Chamber Marianne Barrett, German Diction Music and through the Accompanying (on leave 2017–18) program offer extensive opera experi- Miriam Charney, British Vocal ence. Literature, Contemporary Opera Ensemble Patrick Diamond, Acting PROFESSIONAL STUDIES Stefano Baldasseroni , Italian Diction Bénédicte Jourdois, French Diction, MASTER OF MUSIC/VOICE MAJOR Vocal Literature Kathryn LaBouff,English Diction, Assistant Chair SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Rhoda Levine, Acting Major Lessons 5 5 5 5 Carolyn Marlow, Introduction to Acting Graduate Italian Diction IT2101-2102 2 2 (on leave fall 2017) Graduate English Diction EN2101-2102 2 2 Kenneth Merrill, German and Graduate German Diction GR2101-2102 2 2 Advanced Vocal Literature Glenn Morton, Italian Diction Graduate French Diction FR2101-2102 2 2 Thomas Muraco, French Diction, Advanced Acting VX2901-2902 2 2 Recitative, Coaching Movement VX1831-1832 1 1 Nils Neubert, German Diction Francis Patrelle, Recitative* VX1875 1 Movement for Singers Craig Rutenberg VX/MH 1000-2999 3 3 Music History and Voice Electives Shane Schag, Music Director, Performing Class/Ensemble LP/SP1500 1 1 1 1 Musical Theater Lab Concert Attendance 0 0 Anne Shikany, Sophomore Performance Paul Sperry, Jury 0 0 American Vocal Literature Cristina Stanescu, French Diction, Graduation Recital 0 Recital Coaching TOTAL: 53 13 13 14 13 *May be taken in either semester of the second year PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0890, 0891-0892 Required Piano RP0111-0112, RP0211-0212

VOICE 42 WOODWINDS FLUTE, OBOE, CLARINET, SAXOPHONE, AND BASSOON

The programs of study for Woodwind There will be a “sophomore continua- Audition Requirements majors are designed to develop skilled tion jury” at the end of the sophomore For complete information regarding performers who are familiar with the year to establish that a student’s prog- audition requirements and application standard solo, ensemble, and orches- ress has been sufficient to ensure com- information, please contact the Office tral literature for their instruments. pletion of the program of study. This of Admission and Financial Aid. Students must demonstrate a high evaluation will determine whether or GRADUATION REQUIREMENTS degree of professional competence, not the student may continue in that and appropriate stylistic approaches program. Repertoire will be deter- Graduation Jury to the literature of various historical mined by the teacher. Graduation Recital periods. All students are required to fulfill their Ensemble Requirement Repertoire for juries in non-graduat- All graduate Woodwind majors must as outlined in their course sequence ing years will be determined by the perform their Graduation Jury before plans and as assigned by the School. teacher and the student. the departmental faculty during their final year of study as determined by GRADUATION REQUIREMENT the department chair. UNDERGRADUATE Graduation Jury Bachelor of Music degree program Graduation Recital PROFESSIONAL STUDIES Diploma program All undergraduate Woodwind majors CERTIFICATE PROGRAM Audition Requirements must perform their Graduation Jury For information regarding this For complete information regarding before the departmental faculty dur- program of study, see p. 44. audition requirements and application ing their final year of study. information, please contact the Office of Admission and Financial Aid. GRADUATE DOCTOR OF MUSICAL ARTS Master of Music degree program For information regarding doctoral Postgraduate Diploma program studies, see p. 46.

43 WOODWINDS BACHELOR OF MUSIC/WOODWIND MAJOR WOODWINDS FACULTY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Linda Chesis, Department Chair Major Instrument 3 3 3 3 4 4 4 4 Flute Reed/Flute Lab*** WW2151-2152 2 2 2 2 Linda Chesis Music Theory Core TH0001-0002, TH0003-0004 4 4 4 4 Robert Langevin Theory Electives TH0500-2999 2 2 Marya Martin Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Michael Parloff Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Oboe Music History Electives MH0500-2999 3 3 Robert Botti James Austin Smith Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Stephen Taylor Humanities Electives HU0300-2999 3 3 3 3 Liang Wang Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Clarinet Alan R. Kay Orchestral Conducting CD0211-0212 2 2 David Krakauer Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Pascual Martinez-Forteza Chamber Music** SP1500 1 1 1 1 Anthony McGill Freshman/Sophomore Performance Class* SX0100 Charles Neidich (for Saxophone majors only) 1 1 1 1 Saxophone Advanced Sax Performance SX02000 2 2 2 2 (for Saxophone majors only) Paul Cohen TOTAL: 124-136 16- 16- 16- 16- 16- 14- 15- 15- Bassoon 17 17 17 17 18 16 17 17 Kim Laskowski MASTER OF MUSIC/WOODWIND MAJOR Frank Morelli Roger Nye SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 William Short Major Lessons 5 5 5 5 PREREQUISITES Reed/Flute Lab*** WW2151-2152 2 2 2 2 Graduate Theory TH0800, 2883 Music History Electives MH1000-2999 3 3 Aural Skills AS0870, 0871-0872 Graduate Theory Electives TH2000-2999 2 2 Required Piano RP0111-0112; 0211-0212 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Graduate Level Saxophone Repertoire and Performance Class* SX2200 (for Saxophone majors only) 2 2 2 2 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54-62 14-16 14-16 14-16 14-16 *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. **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. ***Required of all flute, oboe, clarinet, and bassoon majors.

WOODWINDS 44. PROFESSIONAL STUDIES CERTIFICATE PROGRAM

The Professional Studies Certificate Graduation Requirements Program is designed for accomplished 1. Graduation Recital and/or performers possessing a Master Graduation Jury of Music degree, a Postgraduate Diploma, or their equivalent. This All students enrolled in the one-year program offers study in Professional Studies Certificate Accompanying (with a concentra- Program are required to perform a tion in either instrumental or vocal full recital and/or Graduation Jury music), Brass, Composition, Guitar, in order to successfully complete the Orchestral Performance, Organ, requirements for the program. The Piano, Strings, Voice, or Woodwinds. repertoire for the recital is deter- It is designed for students who wish mined in consultation with the major to pursue instrumental or vocal study teacher and Department Chair. on an advanced level and serves to assist them in preparing for major competitions, auditions, or career PROFESSIONAL STUDIES CERTIFICATE PROGRAM entry positions. A certificate will be awarded to students who successfully Accompanying, Brass, Composition, Guitar, Organ, Piano, complete this program of private les- Strings, Voice, Woodwinds sons, ensembles as assigned, electives, SUGGESTED DISTRIBUTION BY SEMESTER 1 2 and a graduation recital totalling at Major Lessons 6 6 least 24 credit hours for the academic year. All students who are accepted Graduate Electives 6 6 into the program must pursue a full- Concert Attendance CA1000 0 time course of study of at least 12 Graduation Jury and/or Recital 0 credit hours per semester whether TOTAL: 24 12 12 they wish to receive the certificate or not. Please Note: Prerequisites and Graduation Jury and/or Recital requirements are based upon those for each individual major. Accompanying The program is normally completed majors are required to enroll in the Accompanying Practicum each in one academic year, but may occa- semester. sionally be extended. Students must apply by petition for such extensions. PROFESSIONAL STUDIES CERTIFICATE PROGRAM IN ORCHESTRAL PERFORMANCE Admission Admission to the Professional SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Studies Certificate Program is based Major Lessons 6 6 on an audition before the faculty of Orchestra Repertoire OP2351-2, 2341-2 1 1 the applicant’s major department and on the results of a review of the appli- Musician as Educator OP2251 1 cant’s academic history. International Orchestral Entrepreneurship ME1600 2 Students must score at least 550 on Graduate Electives (as needed) 2 the TOEFL which is administered Orchestral Performance Core OP1200 1 1 at the School during each audition period. Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Audition Requirements Percussion Lab* 2 2 Audition requirements for the Concert Attendance CA1000 0 Professional Studies Certificate Program are the same as those for Graduation Jury 0 the Doctor of Musical Arts Degree TOTAL: 24-28 13–15 12–14 program. *For percussion majors only.

45 PROFESSIONAL STUDIES CERTIFICATE PROGRAM DUAL DEGREE PROGRAM WITH TEACHERS COLLEGE COLUMBIA UNIVERSITY

Master of Music from Manhattan Manhattan School of Music. Students • Supply two letters of recommen- School of Music must complete 11-13 credits of required dation from Manhattan School of coursework at Manhattan School Music: one from the Director of the Master of Education (EdM) with New of Music, as well as a minimum of 35 Community Partnerships and one York State K–12 music teacher cer- hours of supervised arts-in-education from the Assistant Dean of Aca- tification from Teachers College fieldwork. The summer after graduat- demics Columbia University ing from Manhattan School of Music, • Provide official transcripts for all Manhattan School of Music and students will commence coursework at undergraduate and graduate work Teachers College Columbia University Teachers College followed by two sec- • Submit a personal statement about offer a dual degree at the Master’s tions of teaching. teaching experiences at Manhattan level. This accelerated program gives School of Music and the decision to Admission the student an MM (Master of Music) pursue an additional degree in music from Manhattan School of Music To be considered for the program, a education and an EdM (Master of Education) in student must already be enrolled in a For detailed information, please contact Music Education with New York State Manhattan School of Music MM pro- the Director of Community Partnerships K–12 Music Teacher Certification gram and must have at least a 3.0 GPA. at Manhattan School of Music. from Teachers College Columbia To complete the Teachers College dual University. degree admission process: • Apply to Teachers College by sub- Students spend the first two years at mitting an application form and fee Manhattan School of Music complet- • Receive a successful progress review ing requirements for the Master of in the third semester from the Music degree; they must identify their Director of the Community interest in the dual-degree program Partnerships during their first semester, in time • Teachers College TOEFL to complete course requirements at Requirements MANHATTAN SCHOOL OF MUSIC (11–13 CREDITS) TEACHERS COLLEGE (34 POINTS)

COURSES OFFERED (selected in consultation with advisor) COURSES OFFERED (selected in consultation with advisor) Graduate Level Performance 4 Introduction to New Technologies in Music Education A&HM4029 2 Supervised arts-in-education fieldwork in schools (35 hours) 0-2 Foundations of Music Education A&HM 5020 3 Graduate Electives 2 Young Children’s Musical Development A&HM 5022 3* Designing Musical Experiences for Young Children A&HM 4021 3** FIVE CREDITS MUST BE CHOSEN FROM AMONG THE FOLLOWING Creativity and Problem Solving in Music Education A&HM 5025 3* Advanced Orchestral Conducting CD2011-2012 2 Music Skills and the Creative Strategy A&HM 5026 3** Advanced Choral Conducting CD2911-2912 2 Comprehensive Musicianship A&HM 5032(3) 3 Guitar Pedagogy GT1411-1412 1 Student Teaching—Elementary A&HM 4701 3 Jazz Musician as Educator JC2360 2 Student Teaching—Secondary A&HM 4701 3 Graduate Jazz Conducting/Rehearsal Techniques JC2400 2 Special Education course in consultation with advisor 2 Jazz Music Pedagogy JC2410 2 Child Abuse/Alcohol & Drug Abuse Detection C&TY 4504 0 Musician as Educator OP2251 1 Elective course in music pedagogy*** 2 Sight-Reading Pedagogy PN2051-2052 2 Two additional courses in subjects other than music 4 Arts & Education Training PT1050 2 Note: All students seeking New York State Teacher Certification Cello Pedagogy PT1430 2 must have a minimum of 6 college-level credits in each of the following areas: Mathematical Processes, Scientific Processes, Advanced Teaching Techniques PT2011-2012 2 Concepts in Historical and Social Sciences, and English/Literature. Ear Training and Sight-Singing Pedagogy TH2011-2012 2 * Prerequisite for student teaching ** Prerequisite or co-requisite for student teaching *** Selected in consultation with advisor

DUAL DEGREE PROGRAM WITH TEACHERS COLLEGE COLUMBIA UNIVERSITY 46 DOCTOR OF MUSICAL ARTS The program of study leading to the assistantship. Awards may not exceed Accompanying department elect a Manhattan School of Music Doctor two years. concentration in either vocal or instru- of Musical Arts degree is offered mental accompanying and are expected with majors in Accompanying (with a DEGREE REQUIREMENTS to audition with repertoire selected concentration in either instrumental accordingly. Students concentrat- or vocal music), Brass, Composition, Classical Division ing in vocal accompanying must pass Conducting, Guitar, Jazz, Organ, 1. Prior to graduation, all students, proficiency exams in Italian, French Piano, Strings, Voice, or Woodwinds. except Jazz majors, must demon- and German diction or satisfy any defi- A minimum of 60 credits in approved strate reading knowledge of a foreign ciency by auditing one or more of the graduate courses is required. The cur- language at a level that will enable following: Italian for Singers (IT2101- riculum is designed to prepare the can- them, with the use of a dictionary, to 2102), French for Singers (FR2101-2102), didate for a performing career and for translate 500 words of a musicologi- German for Singers (GR2101-2102). teaching at the college level. Students cal text in two hours. The choice of 7. Students may transfer a maximum will, therefore, be expected to demon- language is usually French, German, of nine graduate credits earned at strate strong academic capabilities in or Italian, but the student may peti- another institution with a grade of addition to a high level of achievement tion the Doctoral Committee for an A or B; no applied credits (i.e., private in performance or composition. examination in another language if lessons) may be transferred. that language can be shown to be rel- Admission 8. Performance majors are required evant to the student’s specific research Requirements for admission to the to give three recitals, one of which interests. Doctor of Musical Arts degree pro- is usually chamber music. For gram include (1) a Master’s degree or 2. Prior to graduation, the student Accompanying majors, all three its equivalent in music, (2) an audition must pass a comprehensive examina- recitals comprise chamber music. In before the faculty of the applicant’s tion in both history and theory. This addition to the three recitals, gradu- major department, (3) a three-hour includes a six-hour written exam ation requirements for Organ majors writtten examination in music history and a one-hour oral exam before the include mastery of all major and minor and theory, (4) a TOEFL score of at Doctoral Committee. The examina- scales in double thirds and arpeggios least 100 (computer-based score). tion is offered twice a year and may at the piano, three pedal virtuoso be taken as early as the second year of pieces, and four trio sonatas of Bach. Advisement study. Any student who fails the com- 9. Piano and Guitar majors have the Students admitted to the program prehensive examination or any portion additional requirement of perform- must consult withAssociate Dean thereof three times will be dismissed ing two solo concertos, while other Langford, Assistant Dean for from the program. Doctoral Studies, each semester prior Classical, instrumental majors must to registration. The Assistant Dean 3. Students must be in residence at the play one concerto and pass a jury for Doctoral Studies, in consulta- school for a minimum of two years. examination on excerpts from the tion with the Doctoral Committee, 4. All coursework and performance orchestral repertoire. administers all matters of curriculum, requirements must be completed 10. Composition majors present a con- document topics, examinations, and within seven years of the date of cert of original music written primar- applications for graduation. All inqui- matriculation. A one-year leave of ily during the period of doctoral study. ries, forms, and petitions should be absence may be taken. The student is encouraged to partici- forwarded to the Assistant Dean for 5. After completion of the two years pate as a performer or conductor in at Doctoral Studies. of required course work, students least one work. Composers also take Assistantships in the Classical Division register for Thesis Research in every a jury examination in each of their first two years in order to assure the A limited number of assistantships semester until graduation. This reg- Composition Department that works and teaching fellowships are avail- istration carries the equivalent of of sufficient quality and quantity are able to doctoral students qualified full-time status and a fee of $800 per being produced. to assist professors in history and semester. In the fall semester, students theory courses, to teach Required will submit a written report on the 11. Prior to graduation, all students Piano, to work in the Outreach and progress of their thesis research; and submit a written thesis demonstrating Guitar departments, and to assist the in the spring semester, they will meet an advanced level of research and writ- Assistant Dean for Doctoral Studies with the Assistant Dean for Doctoral ing skills. Further details concerning with administrative duties. Awards Studies for the purpose of making a the thesis requirement may be found are made on a yearly basis. Recipients formal presentation of their work. in the Doctoral Studies Handbook may apply to the Director of Doctoral 6. Students applying to the available from the Assistant Dean for Studies for a one-year renewal of their Doctoral Studies.

47 DOCTOR OF MUSICAL ARTS PIANO MAJOR COMPOSITION MAJOR

SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Major Lessons 6 6 6 6 Theory DM 4101-4102 3 3 Theory DM 4101-4102 3 3 Piano Pedagogy DM 3050-3051 3 3 Research Methods DM 4150 3 Research Methods DM 4150 3 History Pedagogy DM 4170 3 History Pedagogy DM 4170 3 Music History Elective 3 Music History Elective 3 Graduate Elective 3 2 Graduate Elective 3 Doctoral Seminar DM 3099 3 Doctoral Seminar DM 3099 3 Performance Practices DM 3130 3 Performance Practices DM 4200 3 Thesis Advisement DM 4200 2 2 Thesis Advisement DM 4500 2 2 Performance of Original Comps. DM 4560 2 Comprehensive Exam DM 4500 0 Comprehensive Examination DM 4500 0 Solo Recital DM 4450 2 2 Composition Jury 2 2 Performance Project DM 4490 2 Thesis Exam DM 4550 0 Concerto DM 4470 0 0 Language Exam DM 4510 0 Thesis Exam DM 4550 0 TOTAL: 60 15 14 16 15 Language Exam DM 4510 0 TOTAL: 64 15 17 16 16 ALL OTHER MAJORS

JAZZ ARTS ADVANCEMENT SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 (COMPOSITION, PERFORMANCE, PEDAGOGY) Major Lessons 6 6 6 6 Theory DM 4101-4102 3 3 SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Research Methods DM 4150 3 Major Lessons 6 6 6 6 History Pedagogy DM 4170 3 Improvisation JP2500 3 3 Music History Elective 3 Research Methods DM4150 3 Graduate Elective* 3 2 Jazz Seminar DMJ4700 3 3 Doctoral Seminar DM 3099 3 The Artist Pedagogue DMJ4750 3 Performance Practices DM 3130 3 Graduate Elective 2/3 3 Thesis Advisement DM 4200 2 2 Jazz History Elective 2 Comprehensive Examination DM 4500 0 Research Document DMJ4800 2 Solo Recital** DM4450 2 2 Lecture Recital DMJ4850 2 Performance Project*** DM 4490 2 Jazz Chamber Ensemble Recital* DMJ4870 2 Concerto (orch. instruments and guitar only) DM 4470 0 Thesis Advisement DM4200 2 Orchestral Excerpts Jury (orch. Instruments only) 0 Thesis Exam* DM4550 2 Accompanying Seminar (accompanying majors only) 2 2 2 2 Comprehensive Exam DM4500 0 Thesis Exam DM 4550 0 TOTAL: 61-62 14 16-17 13 18 Language Exam DM 4510 0 * The thesis exam is the performance of the thesis composition. Students TOTAL: 60 17 16 18 17 must conduct and/or solo in the performances. *Accompanying majors must take four semesters of Accompanying Seminar. They need only two credits of graduate electives. **Accompanying majors present ensemble recitals. ***Organ majors usually present a third solo recital.

DOCTOR OF MUSICAL ARTS 48. 12. Voice majors must pass proficiency CONDUCTING MAJOR *All Conducting exams in French, Italian, German and majors concentrate English diction or satisfy any deficien- 1 2 in either choral or cies by auditing or taking one or more Major Lessons* 6 6 6 6 orchestral conducting; of the courses listed in paragraph 5 all will have at least above. Theory DM4101-4102 3 3 one semester of lessons Research Methods DM4150 3 in the area that is not Jazz Arts Division History Pedagogy DM4170 3 their concentration. For conductors, lessons 1. Jazz Arts Advancement majors are Music History Elective 3 3 required to present: include significant Graduate Electives 2 2 podium time with an • One large ensemble recital (Jazz MSM ensemble. Doctoral Seminar DM3099 3 Chamber Music). Students must ** Performance project conduct and/or solo in the perfor- Performance Practice DM3130 3 credit in conducting mance. This performance should be Thesis Advisement DM4200 2 2 may include complete 90-120 minutes in duration inclu- programs or signifi- Comprehensive Exam DM4500 0 cant preparation and sive of intermission. Performance Project/recitals** DM4490 2 2 performance of works • One lecture recital on a topic of the in larger programs. student’s choice to be approved by Thesis Exam DM 4550 0 The final conducting the Assistant Dean of the Jazz Arts Language Exam DM 4510 0 recital will be a com- Program. Duration should be 50 TOTAL: 60 15 17 13 15 plete program. minutes. • One research document on a jazz-

related topic of the student’s choice. sis (TA Exam), and improvisation Upon completion of coursework, This document must be approved (Improv Exam). The HSA Exam and recitals, research document, and com- by the Associate Dean of the Jazz the TA Exam are written exams. The prehensive exams (in this order), the Arts Program and should be from HSA exam involves listening as well as student must present his or her thesis. 60-80 pages in length. The research writing and takes approximately three The thesis is a 30-minute jazz orches- document is a flexible requirement. hours. The TA Exam involves analysis tral work (for studio orchestra) to be Underlying this project must be of scores and transcriptions as well as performed in a Jazz Philharmonic con- evidence of basic research skills and short composition exercises and takes cert. The student must solo in and/or good writing technique. Beyond approximately four hours. The Improv conduct the work. The work must also that, we suggest work on a subject Exam is a playing and written exami- be accompanied by extensive program that will be of sufficient practical nation that will take approximately notes. interest to the music world to offer one hour. In the Improv Exam, stu- the opportunity for publication. dents are required to: Audition Requirements Common approaches to this project • Provide their own accompanying For complete information regarding include a historical study of some trio and perform at the highest doc- audition requirements and application subject related to the major field toral and professional level. information, please contact the Office or an analytical study of a work or • Memorize and be fluent in all 60 of Admission and Financial Aid. group of works from the repertoire compositions from years 5 and 6 of of the student’s instrument or a the departmental handbook (green critical edition of some previously book) and be prepared to play any unavailable work(s). of these compositions for the panel. 2. The culmination of the doctoral The panel will select several of these program is the comprehensive exam. pieces for performance. It is important to understand that • With the exception of the follow- these tests are not a measure of what ing compositions— Nica’s Dream, the student learned in the two years Pensativa, Upper Manhattan Medi- of course work at Manhattan School cal Group, Moments Notice, Airegin, of Music, but are rather an evaluation Chega de Saudade, Stablemates, and In of his or her total experience with the Your Own Sweet Way—know all of history, literature, and theory of music the remaining compositions from gained over many years of working years 5 and 6 in 12 keys. as a musician. Prior to graduation, • Write and play a line on a given the student must pass comprehensive chord progression. examinations in jazz history/styles/ • Sight read and improvise on a com- analysis (HSA Exam), theory/analy- position that will be provided by the panel. 49 ARTIST DIPLOMA

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

PIANO, GUITAR, AND ORCHESTRAL INSTRUMENTS

SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 8 8 Chamber Music 1 1 Graduate Electives 2 2 Recital 0 0 TOTAL: 24 12 12

VOICE

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

50. COURSE DESCRIPTIONS

Please note: Courses listed in this cata- BR0001-0002 Brass Lab (Undergraduate) CP0231-0232 Sophomore Orchestration logue are subject to changes initiated 2 hrs weekly/1 credit per semester 1.5 hrs weekly/1 credit per semester by department chairpersons or depart- Mr. Jolley/Brass Faculty Dr. MacDonald ment directors and approved by the Arranging and writing for large en- BR2001-2002 Brass Lab (Graduate) Curriculum Committee. Additions to all sembles. Prerequisite: CP0131-0132 or the 2 hrs weekly/2 credits per semester curricula are published annually in the equivalent. Schedule of Classes by the Office of the Mr. Jolley/Brass Faculty Registrar. Courses and assigned faculty A performance seminar and survey CP0331-0332 Junior Orchestration are subject to change. course for all Brass majors devoted 1.5 hr weekly/credit per semester to the brass player’s development as Dr. Fueting ACCOMPANYING a professional, both onstage and off. Arranging and writing for orchestra. Discussions of pedagogy, practice Prerequisite: CP0231-0232 or the equiva- Major Lesson: 1 hr weekly techniques, audition preparation, and lent. 5 credits per semester- related subjects. Selected reading. Class members perform and discuss Students explore standard vocal and CP0341 Homophonic Forms orchestral, chamber, and solo perfor- instrumental repertoire in detail with 3 hrs weekly/3 credit hours mance. the instructor. Vocal or instrumental per semester emphasis depends upon area of spe- Performances and readings of large Dr. Hilse and small brass ensemble literature cialization. Technical problem-solving Analysis and writing of common- are included. 2009-2010 marks the is stressed. practice, homophonic forms including inaugural season of the MSM Brass variation, song, sonata, and rondo. AC2091-2092, AC2111-2112 Orchestra which will rehearse dur- Accompanying Seminar ing Brass Lab for performances at the (Offered in alternate years) Prerequisite: TH0001-0003 or the equivalent. 2 credits per semester school and in the community. Accompanying Faculty CP0342 Polyphonic Forms A weekly meeting of accompanying 3 hrs weekly/3 credits/spring semester majors which will explore accompa- COMPOSITION Dr. Hilse nying and vocal and instrumental Analysis and writing of common-prac- coaching techniques, emphasizing Major Lesson: 1 hr weekly 3-6 credits per semester tice fugue and canon. Special empha- the interaction between partners and sis is placed on the music of J.S. Bach. the musical style and performance problems in a wide range of instru- CP1999 Composition Forum (Offered in alternate years) Prerequisite: TH0001-0003 or the equivalent. mental and vocal repertory. (Open to 1 hr weekly/1 credit per semester CP0421-0422 Senior Form and Analysis accompanying majors or by invitation of Dr. Fueting 2 hrs weekly/2 credits per semester instructor) Required of all Composition Students, Undergraduate and Graduate. Analysis of 20th-century music. The AC2031-2032, AC2041-2042 first semester focuses on Debussy, This course is designed for all compo- Accompanying Practicum Stravinsky, Bartok and the Second sition students at MSM and includes 1 credit per semester Viennese School. The second semester student analysis and discussion of Accompanying Faculty begins with Neo-Classicism and con- their own works, critical analysis of tinues with postwar developments to The opportunity for hands-on learning contemporary works recently per- the present. Readings from theorists in vocal and instrumental studios on a formed in NYC, guest appearances and composers as well as composition weekly basis, investigating the relation- by visiting composers, master classes, exercises comprise weekly assign- ship of other performers’ techniques to discussions of notation, lectures on ments. one’s own accompanying facility and advanced instrumental and vocal (Offered in alternate years) repertory. Special assignments to opera techniques, notation, score and part CP1720-1730 Electronic Music for projects and master classes. (Open to preparation, and the life of a composer Undergraduate Students accompanying majors only) after graduation. 2 hrs weekly/2 credits/Spring semester Dr. Adamcyk BRASS CP0131-0132 Freshman Instrumentation 1.5 hrs weekly/1 credit per semester An introduction to digital audio and digital signal processing, including Major Lesson: 1 hr weekly A study of orchestral instruments. Kyma, Pro Tools, and other software, 3–6 credits per semester Arranging and writing for small en- as techniques for composition. The sembles. COURSE DESCRIPTIONS 51 goal of the course is to provide stu- CP2600-2601 Electronic Music for CONDUCTING dents with the skills and a conceptual Graduate Students foundation for advanced work. Stu- 2 hrs weekly/2 credits per semester CD0111-0112 Introduction to Choral dents will have access to the electronic Dr. Adamcyk Conducting music studio to do creative work to The goal of this course is to provide 2 hrs weekly/2 credits per semester be performed at an end-of-the-term students with the skills and concepts Dr. Oliver concert. necessary to use electronic instru- A course designed to acquaint the ments and software in composing CP2100 Notation and Engraving student with the fundamentals of and performing music. The course choral conducting through classroom 1 hr weekly/1 credit includes intensive use of digital performance. Basic baton technique Dr. Biggs audio and signal processing software, is studied and elementary problems in including Kyma, Pro Tools, and other phrasing, balance, and tone are intro- CP2171-2172 Graduate Form and programs. Students will have access duced. Prerequisite: TH0004. Analysis to the electronic music studio to do 3 hrs weekly/3 credits per semester creative work which will be performed CD0211-0212 Introduction to Orchestral Analysis of 20th-century music. The in an end-of-the-term concert. Conducting first semester focuses on Debussy, 2 hrs weekly/2 credits per semester Stravinsky, Bartók and the Second CP2711-2712 Composition for Non- Ms. Hynes Viennese School. The second semester Composition Majors A course designed to acquaint the stu- begins with Neo-Classicism and con- 2 hrs weekly/2 credits per semester dent with the fundamentals of orches- tinues with postwar developments to Ms. Botti tral conducting through classroom the present. Readings from theorists The writing of simple original compo- performance employing an ensemble and composers as well as composition sitions with emphasis upon the indi- of orchestral instrument majors. exercises comprise weekly assign- vidual’s creative style. (May be repeated Basic baton technique is studied with ments. (Offered in alternate years) for credit) Prerequisite: TH0002. particular emphasis on its relationship to musical interpretation. Elementary CP2181-2182 Score Reading Seminar CP2741-2742 Film Scoring problems in phrasing, balance, tone, 2 hrs weekly/2 credits per semester 3 hrs weekly/3 credits per semester color, etc. are introduced, using the Dr. Fueting Dr. Green classical symphonic literature. Stu- An in-depth study of score-reading An intensive introduction to and dents must have some acquaintance for composers, from string quartets to workshop in film scoring. Students with orchestration, elementary score symphonic literature. An adjunct to study both the techniques and the reading, and simple transposition. conducting, it aids the understanding film mechanics of film composing and Prerequisite: TH0004. of clefs, transposed instruments and do actual scoring of films. The course CD2011-2012 Advanced Orchestral contemporary scores. includes a study of the compositional Conducting techniques of the master film compos- 2 hrs weekly/2 credits per semester CP2191-2192 Operatic Analysis and ers. Cross-listed with JC2741-2742. Ms. Hynes Composition A course designed for students wish- 2 hrs weekly/2 credits per semester CP2811 Composing for (and with) the ing to investigate the problems of Dr. Stambaugh Voice working with orchestras at a more The first semester concentrates on 2 hrs weekly/2 credits/Spring semester advanced level. Emphasis is on tech- operatic analysis and dramaturgy. The Ms. Botti nique, style and repertoire. Students second semester focuses on writing Vocal composition explored by com- must have a thorough background an original opera scene. Prerequisite: bining practical techniques with his- in basic musical skills and previous Graduate standing. torical perspectives, including music training in conducting. Prerequisite: from a variety of cultures and genres. CD0211-0212 or the equivalent. CP2201-2202 Advanced Instrumentation The relationship and interaction of 2 hrs weekly/2 credits per semester composer to singer will be examined Dr. Fueting citing specific examples (from Handel CD2911-2912 Advanced Choral Conduct- ing Intensive study of the specific techni- to Berio) and leading to the actualiza- 2 hrs weekly/2 credits per semester cal issues of all instruments. Weekly tion of student works with student Dr. Oliver presentation by individual instrumen- singers. Composition of short vocal studies will lead to a final vocal com- talists. Prerequisite: Graduate standing or A course designed to acquaint the position presented in a class recital. permission of the instructor. student with the fundamentals of choral conducting through classroom performance. Basic baton technique

52 COURSE DESCRIPTIONS is studied in terms of elementary with an emphasis on sight-singing. contemporary music study: perfor- problems in interpretation. Phrasing, Required for students in the Contemporary mance with electronics, improvisation diction, balance and intonation are Performance Program. and overall stylistic fluency. Tactus studied using sacred choral literature is featured in 5-6 performances each of all periods. Prerequisite: Graduate CT2700 Performing with Electronics 1 year. standing. 2 hrs weekly per semester/2 credits Mr. Reynolds CT1700 Composer/Performer Project CD2931-2932 Choral Repertoire Provides performers with experi- 1 hr weekly/1 credit per semester 2 hrs weekly/2 credits per semester ence in performing with technology, Ms. Shelton Dr. Oliver giving them access to an increasingly An assigned collaboration between a An in-depth study of sacred choral important body of music and musical 2nd-year CPP student and an MSM literature; conductiong practicum skills. The course will explore current composer resulting in the perfor- including conducting from the console developments in music that involves mance of a virtuosic solo work in the and accompanying at the organ. electronics and computers, and music 2nd semester, the process of which is generated from composing with the documented with written assignments CONTEMPORARY PERFORMANCE most up-do-date music software sys- throughout the year. Also included tems. It would provide a basic, practi- is a survey of existing works and CT6000 Major Instrument Seminar cal grounding for working out pieces instrumental demonstrations for the 1 hrs weekly/4 credits per semester in the repertoire that involve electron- composers and other members of the CPP faculty ics. Also listed as PT2700. CPP class. This performance seminar fulfills CT2701 Performing with Electronics 2 DOCTORAL PROGRAM the private lesson requirement for 2 hrs weekly/2 credits/Spring semester students in the Contemporary Perfor- Mr. Reynolds DM3050-3051 Teaching Piano in Higher mance Program. Students are assigned Education by instrument to the studio of the CT2702 Performing with Electronics 3 corresponding CPP faculty member(s). 3 hrs weekly/3 credits per semester 2 hrs weekly/2 credits/Fall semester Dr. Olson Weekly lessons provide a forum for in- Mr. Reynolds depth study of contemporary music. This course provides comprehensive CT1960 Contemporary Music Survey, CT2703 Performing with Electronics 4 exploration in all areas of collegiate piano teaching. Fall semester focuses 1900-1960 2 hrs weekly/2 credits/Spring semester on adult group piano and job prepara- 3 hrs weekly/3 credits per semester/Fall Mr. Reynolds Mr. Cole tion. This includes a survey of current college piano texts, observations and An overview of styles and trends in Recital/Lecture Presentation a teaching practicum. Spring semes- the evolution of musical modernism. Students are required to present two ter focuses on teaching in the private Intensive listening and individual proj- full-length recitals that have been studio and the technique of giving a ects aimed at broadening repertoire developed from Independent Study master class. Selected reading assign- knowledge of this period. projects, Major Instrument Seminar, ments and careful examination of and the Performing with Electron- musical scores, recordings and video CT1961 Contemporary Music Survey, ics classes. Works with electronics resources will provide a foundation 1961-the Present and improvisation should fulfill part of knowledge from which to demon- 3 hrs weekly/3 credits per semester/Spring of this requirement. Works on both strate critical thinking about the art Mr. Cole recitals should include at least three of teaching piano. Students will give An overview of modern and postmod- living composers, at least one of which presentations and participate in a ern music approached through the should be someone that the student teaching practicum. repertoire. Intensive listening and in- was able to play the piece in person for dividual projects aimed at broadening before the recital. At least one of the DM3099 Doctoral History Seminar repertoire knowledge of this period. works on one of the recitals needs to 3 hrs weekly/3 credits/Spring semester be commissioned from MSM student Music History Faculty composers. CT 2200 Contemporary Musicianship An advanced seminar, the topic of 2 hrs weekly/2 credits which changes every year. Regular and Mr. Ferrari CT1071 Contemporary Ensemble active participation is expected of ev- An advanced ear training class geared Students in the Contemporary Per- ery class member, along with a formal toward learning the skills required for formance Program form the core of research paper, and both written and the performance of the music of the Tactus, Manhattan School of Music’s oral examinations. 20th and 21st centuries. Course focus- premiere contemporary ensemble. es on intervallic and rhythmic skills, Students focus on many aspects of

COURSE DESCRIPTIONS 53 DM3130 Historical Performance DM4200 Thesis Advisement DM5100 Thesis Research Practice 10 hrs as arranged 12 credits*/Fall and Spring semesters 3 hrs weekly/3 credits/Fall semester 2 credits per semester Associate Dean Langford Dr. Cooper Conference in connection with the This course facilitates the student’s An intensive study of how Baroque preparation of a thesis. completion of the thesis requirement music was meant to be performed. through independent study supervised Students will study old and new edi- DM4450 Doctoral Recital and monitored by the Assistant Dean tions, debate differing styles of per- (Performance majors only) of Doctoral Studies and the Doctoral formance and the nature and value of 2 programs/2 credit per recital Committee. Students are required to authenticity, and will put these ideas maintain active research on a thesis One recital in each of the first two into practice by means of class and topic and to document their work years. Students must register for public performance. through periodic written reports to, DM4450 for each program. and direct consultations with, the IS4000-4999 Independent Study Doctoral Committee. The Com- mittee will evaluate the substance of Conference with an advisor in con- DM4460 Performance of Original the work done and make suggestions nection with independent projects. Compositions regarding the direction and progress Proposals are submitted for approval (Composition majors only) of the research. to the Office of Doctoral Studies prior 1 program/2 credits to electing the course for credit. It is A program of original solo or chamber *Fee of $750 will be charged. recommended that students consult music adjudicated by a specially ap- with the advisor of their choice before pointed jury. GUITAR submitting a proposal. DM4470 Concerto Performance Major Lesson: 1 hr weekly, 3–6 credits DM4101-4102 Theory Analysis/Pedagogy per semester No credit 3 hrs weekly/3 credits per semester Dr. Fueting A performance requirement for Piano GT0111-0112 History and Literature of and Guitar majors adjudicated by a the Classic Guitar A survey of various analytical tech- specially appointed jury. 1 hr weekly/1 credit per semester niques and systems as well as study Guitar Faculty of the techniques and materials of DM4490 Performance Project teaching music theory at the college The study of the literature of guitar- (Performance majors only) undergraduate level. Practice teaching related instruments of the Renais- is emphasized. A performance requirement that var- sance and Baroque periods includ- ies according to the major and is adju- ing the vihuela, four-course guitar, DM4150 Research Methods dicated by a specially appointed jury. Baroque guitar, and Baroque lute. 3 hrs weekly/3 credits/Fall semester Through transcriptions and analysis Associate Dean Langford DM4500 Comprehensive Examination students gain the necessary insights to 3 credits assess the merits of editions of music An introduction to the techniques from these stylistic periods as well as of scholarly research: bibliography, An examination which focuses on the become acquainted with the perform- documentation and style specifically major field and musical knowledge in ing practices of the time. Students also applicable to the writing of a graduate the fields of theory/analysis and music acquire techniques for researching thesis. history and literature. It may not original sources, as well as a working be taken prior to the completion of knowledge of the basic playing tech- DM4170 History Pedagogy required courses. niques of the original instruments. 3 hrs weekly/3 credits/Spring semester Associate Dean Langford DM4550 Thesis Examination GT0211-0212 History and Literature of No credit. Special fee of $100.00 A seminar devoted to developing skills the Classic Guitar in the organization and presentation Upon approval of the advisor, the 1 hr weekly/1 credit per semester of historical materials in a pedagogi- document is submitted to the Office of Guitar Faculty cal setting. Class members practice Doctoral Studies. It is then examined A continuation of GT0111-0112 to sur- selecting topics, utilizing research by one or two readers, depending on vey the solo and chamber music litera- techniques, preparing and presenting the scope and complexity of the topic. ture composed for the guitar from the lectures and administering examina- The Director of Doctoral Studies con- compositions of late 18th- and 19th- tions. fers with the student to reconcile the century masters through composers views of the readers with those of the of the 20th century. The development student and his or her advisor. of the classic guitar and performers on

54 COURSE DESCRIPTIONS the instrument are also discussed. repertoire. UNDERGRADUATE CORE HU0001-0004 Humanities Core: World GT0411-0412, 1411-1412 Guitar Literature and Culture Pedagogy HARP 4 hrs weekly/3 credits per semester 1 hr weekly/1 credit per semester Humanities Faculty Guitar Faculty Major Lesson: 1 hr weekly Study in the humanities core includes A practical study of teaching tech- 3–6 credits per semester a four-semester sequence of core niques including a survey of methods seminars—Foundational Visions, The and music available, an examina- HR0151-0152, HR2151-2152 Orchestral Questing Self, Rebels & Revolutions, tion of differences in individual and Repertoire for Harp and The Artist & Society—as well as a group instruction, and discussion of 2 hrs weekly/2 credits per semester complementary set of lectures entitled the varying approaches for teaching Ms. Jolles The Advance of Civilization: Primi- students of different ages. The course Intensive study of selected major tive to Postmodern. The lectures also covers the effectiveness of various orchestral works. This class offers a survey the development of civilization pedagogical approaches to technique spectrum of orchestral works which from the ancient world to the new and interpretative analysis, as well as cannot be included on each year’s millennium, providing students with the history of guitar pedagogy. orchestral program. Additional super- a critical overview of cultural accom- GT0511-0512, GT0611-0612 Fretboard vised research projects for graduate plishment. The core seminars are the Harmony students. central component of the humanities program, organized thematically, 1 hr weekly/1 credit per semester surveying seminal works of world liter- Mr. Delpriora HR0451 Harp Lab 2 hrs weekly/1 credits per semester ature, and offering students the oppor- A course designed to develop a full Ms. Anraku tunity to discuss life enhancing ideas knowledge of the fretboard through as they formulate a viable personal the study of fingerings, harmony, Students will play for each other and philosophy. The community formed sight-reading, score reading, transpo- give comments to each other. We also by the students’ collective endeavor sition and figured bass. discuss and share helpful ideas, includ- constitutes the most valuable resource ing physical exercises, stretches and of the core, a community in which stu- GT2151-2152 Graduate Seminar in the deep breathing, practice and perfor- dents develop a voice and an identity History and Literature of the Guitar mance habits/strategies and meditate to ensure their meaningful participa- 2 hrs weekly/2 credits per semester together to enhance our focus and tion in society. Working in concert to Guitar Faculty relaxation. achieve these goals, the core seminars An in-depth survey of the instru- and lectures direct students to some of ments, styles, notation systems, com- HUMANITIES the most significant historical events, posers, and repertoire which has led celebrity figures, and literary works the guitar from its origin through the The Core Curriculum: that have shaped cultural history, in an most current developments. Through Developing Intellect and Imagination effort to foster intellectual debate and performance, transcription, biblio- The Humanities Core is designed to stimulate evaluation of the rich cul- graphic techniques and scholarly stud- develop the intellectual and imagina- tural legacy we have inherited. Open ies, the role of plucked instruments tive abilities of students seeking to to undergraduates only in the fall and assumes a unique and influential posi- fully realize their potential as profes- spring semesters. tion in the history of Western music. sional musicians, responsible citizens, Prerequisite: Graduate standing. and creative individuals. Concentrated HU0001 Foundational Visions: Myth and Morality in the Ancient World GT0999 Guitar Performance Seminar study of world literature and cultural history provides a springboard for 4 hrs weekly/3 credits/Fall semester 3 hrs weekly/1 credit per semester students to acquire the skills of careful Humanities Faculty Guitar Faculty reading, critical thinking, persuasive A writing-intensive, cross-cultural ex- A weekly required performance class speech and effective writing that ploration of the way in which ancient for all undergraduate Guitar majors foster career advancement. Students civilizations deploy the mythologi- to perform solo and chamber music should emerge from the core able to cal imagination to invest the world repertoire. articulate their ideas in conversation with meaning and value, envision the and in writing, with a sensitivity to GT2999 Guitar Performance Seminar relationship between the human and language, an appreciation of the liter- 3 hrs weekly/3 credits per semester the divine, present human beings as ary imagination, and an understanding Guitar Faculty ethical agents confronted with moral of the rich cultural legacy of the past. choices, and foster systems of philo- A weekly required performance sophical and religious belief. Works class for all graduate Guitar majors may be chosen from the following to perform solo and chamber music COURSE DESCRIPTIONS 55 traditions: Greek, Roman, Confu- Investigation of selected literary works HU0004 The Artist and Society cian, Taoist, Hebrew and Christian. will be supplemented by an interdisci- 4 hrs weekly/3 credits/Spring semester The lecture component of the course plinary approach that imports musical Humanities Faculty provides an overview of cultural selections, images of artworks, histori- An exploration of aesthetics and artis- history from Antiquity through the cal and biographical documentaries, tic creativity focused on the changing Middle Ages to the Renaissance, trac- and film into the classroom to achieve role of the artist in society from the ing both continuity and divergence course goals and connect the literature Classical to the Postmodern world. in the progression. Investigation of to contemporary issues. Topics for discussion will include the select foundational texts of world Prerequisite: Completion of HU0001. creative process, the psychology of literature, religion, and philosophy the creative act and the phenomenon will be supplemented by an interdisci- HU0003 Rebels and Revolutions of inspiration, the nature of aesthetic plinary approach that imports repre- 4 hrs weekly/3 credits/Fall semester experience, Beauty and Truth and sentative musical selections, images of Humanities Faculty their appeal to human consciousness, artworks, historical and biographical the political & religious aspects of art; An interdisciplinary survey featur- documentaries, drama and film into race, ethnicity, class, gender & sexual- ing works of literature, political the classroom to achieve course goals ity as determinants of artistic identity philosophy, psychology and film that and connect the literature to contem- and creative expression; the proximity examines the conflicting impulses of porary issues. of genius & madness, the workings of revolution and reform, idealism and the imagination, and the destiny of the practicality, as driving forces towards HU0002 The Questing Self: Crisis and creative individual. The course offers the reconfiguration of society ranging Resolution an opportunity for young artists to from the Renaissance to the contem- 4 hrs weekly/3 credits/Spring semester more fully understand the vocational porary world. Motivated by a utopian Humanities Faculty impulses, challenges and rewards vision of the future, the rebellious in- that constitute the life of the artist, A continuation of HU0001 which sur- dividuals showcased in the course act as well as the artist’s contributions to veys World Literature from the Middle as catalysts for sociopolitical change communal and cultural accomplish- Ages to the present, focusing on the and challenge to the oppressive forces ment. Readings may be selected from paradigm of the individual’s quest for that constrain human freedom. Read- a pool of resources including Platonic happiness and fulfillment in a perilous ings to be selected from the follow- discussion of Beauty in The Sympo- world. Representative works from a ing pool of resources: More’s Utopia, sium, Aristotelian notions of the value variety of cultures feature the transfor- Machiavelli’s Prince, Shakespeare’s of theater, Nietzsche’s idea of the mative adventures of questing indi- Julius Caesar or The Tempest; En- Dionysian and the Apollonian, Shake- viduals who advance through spiritual lightenment works by Hobbes, Locke, speare’s A Midsummer Night’s Dream and existential crises toward salvation Jefferson, Wollstonecraft, Douglass; or The Tempest, Romantic poetry by and self-realization by fully develop- Romantic works by Blake, Shelley, Blake and Keats, Mary Shelley’s Fran- ing their inherent potentialities. The Emerson, Thoreau, Whitman; Marx, kenstein, Kandinsky’s Concerning the heroes and heroines of these narratives Ibsen, Nietzsche, Conrad, Woolf, Spiritual in Art, Joyce’s A Portrait of navigate challenges that include Evil, Freud, Jung; Gandhi, the Beats & the Artist as a Young Man, Woolf’s A Death, ideology, race, ethnicity, class, Hippies, Civil Rights activists; Hong Room of One’s Own or To the Light- gender and sexuality, hoping to emerge Kingston, Allende, Angelou, Garcia house, Modern poetry by Yeats and from their experience with a newfound Marquez; essays and short stories. Stevens, and contemporary short sto- identity and successful future orienta- Students are encouraged to make con- ries that foreground the figure of the tion. Literary works will be chosen nections between the revolutionary artist. The lecture component of the from a pool of resources that include programs advocated by these writers course will focus on the 20th century Beowulf, medieval romance, Dante’s and contemporary political events. as an age of innovation, instability, and Inferno, Chaucer’s Canterbury Tales, The lecture component of the course crisis. The Koran, A Thousand and One will focus on the 19th century as an Nights, Hamlet, Don Quixote, Para- age political and cultural revolution Investigation of selected literary dise Lost, Candide, Goethe’s Faust, that led to the modern world. works will be supplemented by an in- Romantic poetry, Tolstoy, Nietzsche terdisciplinary approach that imports Investigation of selected literary & the Existentialists, Hurston’s Their musical selections, images of artworks, works will be supplemented by an in- Eyes Were Watching God, Hong historical and biographical documen- terdisciplinary approach that imports Kingston’s The Woman Warrior, and taries, and film into the classroom to musical selections, images of artworks, a variety of contemporary essays and achieve course goals and connect the historical and biographical documen- fiction. The lecture component of the literature to contemporary issues. Pre- taries, and film into the classroom to course provides an overview of cultural requisite: Completion of HU0003. history from the Renaissance & Refor- achieve course goals and connect the mation to the Baroque and Enlighten- literature to contemporary issues. Pre- ment. requisite: Completion of HU0002. 56 COURSE DESCRIPTIONS HU0001.NN - HU0004.NN Humanities ELECTIVE COURSES Woods, revivals of Arthurian legend Core: Non-Native Speakers in Romantic poetry and art, Lewis 4 hrs weekly/3 credits OPEN TO BOTH UNDERGRADUATES AND Carroll’s Alice books, Tolkien’s Lord Humanities Faculty GRADUATES of the Rings trilogy and films, Magical MSM has a long tradition of looking Realist narratives by Borges, Allende, to support talented international stu- HU0511-0512 Elementary Italian I-II and Garcia Marquez. Freudian and dents with their Humanities studies. 3 hours weekly/3 credits per semester Jungian interpretations will clarify the The four semesters of the Non-Native Dr. Pedatella role that fantasy plays in the imagina- Humanities Core were born in 1995. tive life of the individual. Attention A study of the basic grammatical will also be given to the current trend The courses were designed and have structures of the Italian language. The evolved to bridge the ever changing in popular culture to deploy fantastic class is designed to provide the student elements in literature and film to en- linguistic needs of those international with both a speaking vocabulary and a students from their first languages to chant audiences and activate imagina- fundamental understanding of written tion. a more advanced mastery of English- Italian. language skills. FOR UNDERGRADUATE STUDENTS ONLY Completion of the Humanities Core This bridge is built using content- (or special permission of the depart- based, interactive teaching techniques ment chair). which allows for flexibility in teach- HU0521-0522 Elementary German I-II ing to the writing needs, the reading 3 hours weekly/3 credits per semester comprehension needs and the oral/ Mr. Lipkin HU1350 Shakespeare’s Tragedies aural needs of students. Close engage- 3 hrs weekly/3 credits/Fall semester ment and examination of readings of A study of the basic grammatical Dr. Eisenbach shorter excerpts from Humanities structures of the German language. Various interpretations of the major Core texts through journal writ- The class is designed to provide the tragedies, including Hamlet, Titus ing, group discussions, whole-class student with both a speaking vocabu- Andronicus, Macbeth, King Lear. discussions, individual presentations lary and a fundamental understanding Select film excerpts to heighten under- engage students interactively with of written German. standing of dramatic representation. texts. Relevant films, film clips, works FOR UNDERGRADUATE STUDENTS ONLY Trips to off-off Broadway productions from the fine arts of painting and of Shakespeare. Class discussion will sculpture, from the performing arts HU1200 Introduction to Psychology focus on Shakespeare’s psychological, of music, opera, musical theater and political, and social insights which still dance add another dimension and Online Course/3 credits charm, disturb, offend, and enlighten help form cultural foundations from Dr. Grayman his audience. Prerequisite: Completion which to read, understand and address This course teaches students the basics of the Humanities Core (or special in writing, more easily, the literary of how human beings think, learn, permission of the epartment Chair). works of other cultures. All this leads perceive, develop socially and physi- to open discussion and comparison of cally, and how we behave in groups. In similar ideas from all of these sources this semester long, exclusively online and helps form a foundation for the course, students apply psychological HU1360 The Romantic Spirit in Art and work of the literature of these courses. theories to improving their learning Literature Such rigorous work assists students and performance skills, and to creating 3 hrs weekly/3 credits/Spring semester in developing a sense of linguistic a project that advances their careers. Dr. Pagano confidence in expressing themselves FOR UNDERGRADUATE STUDENTS ONLY The writers and artists who trans- orally and in approaching complex formed culture, consciousness, and readings and writing assignments in HU1340 The Fantastic Imagination creative expression in the Romantic other courses in the conservatory. The age, specifically in their celebration of skills and confidence resulting from 3 hrs weekly/3 credits/Fall semester Dr. Pagano Nature, Revolution, Individuality, and the NN-Core course work will help Imagination. European and American international students integrate more An exploration of fantastic literature manifestations. Musical selections fully into the general community at that celebrate Otherness, magicality, express the spirit of the age. Prereq- the Manhattan School of Music. and imagination in a disenchanted uisite: Completion of the Humanities world, with the aim of revitalizing the Core (or special permission of the creative resources of the Self. Repre- Department Chair). sentative works will include classic fairy tales and their modern revi- HU1564 Shakespeare’s Comedies sions, the Broadway musical Into the 3 hrs weekly/3 credits/Spring semester

COURSE DESCRIPTIONS 57 Dr. Eisenbach From Hamlet to King Arthur to The sented the modern world and created A continuation of HU1350: Shake- Great Wall, this course will use mov- styles of narrative that shaped how we speare’s Tragedies. ies to analyze the elements of story- viewed ourselves and our institutions. telling by focusing on how conflicts The class will view a modern film from Examine the major themes in several between heroes and villains move Hollywood or other film producing of Shakespeare’s greatest comedies stories forward. In addition, we will centers, including France, Italy and and histories. Discuss various inter- explore the way film generates cultural Japan, each Friday and meet to discuss pretations of the texts offered by liter- connections and highlights issues the films on Wednesday. We will ary critics, actors and movie directors. like racism and sexism. Engaging focus on the filmmaker as story teller with these stories will help students and observe how film’s language de- HU1660 The Rise of the American increase vocabulary, develop writing velops in the modern world in several Republic skills, sharpen critical thinking, and national cultures. 3 hrs weekly/3 credits/Fall semester succeed with academic presentations. Dr. Eisenbach This course is offered to non-native HU1975 New York Stories This course examines the founding of speakers who wish to build on the 3 hrs weekly/3 credits the United States and its transforma- skills and knowledge of the Humani- Dr. Pedatella ties Core. Prerequisite: completion of tion from a rural collection of states In this course we will examine the Humanities Core (or special permis- into an industrial nation. Students culture of New York City by following sion of the Department Chair) acquire a deep understanding of the an interdisciplinary approach to the Bill of Rights and the Constitution, of historical, literary, sociological, cin- HU1901 Creativity and Culture: the slavery and the Civil War, and of 19th- ematic, and even televised landscape Visual Arts Throughout the Ages century urban life. Walking tours of of the city. From Walt Whitman and Greenwich Village, George Washing- 3 hrs weekly/3 credits/Spring semester Herman Melville to William Bur- ton’s New York, and the Lower East Dr. Rocco roughs and Jane Jacobs; From Woody Side. Prerequisite: Completion of the This course is a journey which begins Allen’s “Manhattan” to Spike Lee’s Humanities Core (or special permis- and ends with the question “Why do “Do The Right Thing” to Martin sion of the Department Chair). humans make art ?” We will travel Scorsese’s “Goodfellas”; from “The from prehistoric caves to soaring Jeffersons” and “All in the Family” to HU1661 America in the 20th Century Gothic cathedrals, and plumb the “Seinfeld” and “Law and Order”; from 3 hrs weekly/3 credits/Spring semester depths of the hearts and minds of Greenwich Village in the early part Dr. Eisenbach some of the greatest artists of all time, of the 20th century to Andy Warhol’s A continuation of HU1660, this such as Michelangelo. Eventually we Factory and the emergence of Punk course examines the rise of contem- will seek to understand the changes in and Hip Hop; we will be pursuing this porary America, explored through society that led to our modern concept interdisciplinary approach to the read- Turn of-the-Century Imperialism, of art as an expression of the artist’s ing (and viewing) of core NYC texts. the New Deal, the Second World interior life. War, the Cold War, the Civil Rights HU1856 Genius, Madness, Vocation: The Movement and 1960’s countercul- HU1930 Film and the Power of Artist as Eccentric ture. Documentary film, movies, and Performance 3 hrs weekly/3 credits music provide insight into trends in 3 hrs weekly/3 credits Dr. Pagano fashion and thought. Students journey Mr. Keever to a restored tenement house to see The phenomenon of creative genius This course will explore the powers has always been particularly fascinating early 20th-century urban poverty, to of “performance” as demonstrated on the top of the Empire State Building to students of the arts. How do we film and video. Students will view a se- define genius? What conditions enable for a lecture on “The History of the ries of films and through class discus- Skyscraper,” and to the aircraft carrier it to flourish? What driving forces sion and writing assignments we will propel the genius forward on the path Intrepid to learn about “Advances in explore how dramatic “imitation” can American Military Power.” Prerequi- to creative accomplishment? What shape our views of the world which the is the ultimate fate of the genius who site: Completion of the Humanities film purports to “represent.” Core (or special permission of the stands apart from the surrounding society? Department Chair). HU1940 Film and the Power of Narrative Part II This course sets out to consider these central questions and to challenge the HU1900.NN Heroes and Villains: an Explora- 4 hrs weekly/3 credits/Spring semester Mr. Keever stereotypical view of genius as identi- tion of Storytelling using Film (for Non- cal with madness by examining the Native Speakers) Beginning with World War II and life and work of artists who rebelled 3 hrs weekly/3 credits the film classic “Casablanca” we will against conventional standards and Ms. Kelderman explore how the movies both pre- sustained vocational commitment to 58 COURSE DESCRIPTIONS a life of imagination. Representative before taking the Humanities Core artists include the Romantic vision- courses. May be counted for Humani- ary poet and artist William Blake, ties elective credit. the reclusive and fiercely independent ME1600 Orchestral Entrepreneurship American poet Emily Dickinson, the HU1012 Graduate Continuing ESL 2 hrs weekly/2 credits/ Fall semester iconoclastic and oracular German Fall/Spring/1 credit philosopher Friedrich Nietzsche, Mr. Hagen The course is designed to equip or- the innovative modern novelist and chestral students with the knowledge A continuation of Summer English pioneer feminist Virginia Woolf, the and perspective needed to succeed Study for graduate students who need revolutionary artist Pablo Picasso, the as professional orchestral players in a further language instruction before provocative depth psychologist Carl changing industry. The class covers taking music theory and/or history Gustav Jung, and the seductive 60s essential organizational, financial, and courses. American rock star and shaman Jim programmatic issues affecting orches- Morrison from the Doors. In addition tras and their entrepreneurial pos- HU1013 ESL Tutorial to engaging the creative work of these sibilities for the future. Includes guest representative geniuses, students will Fall/Spring/0 credit speakers from the League of American consider the biographical and histori- Mr. Hagen Orchestras, American Federation of cal context of their accomplishments Individual and small-group meetings Musicians Symphonic Services Divi- through video documentaries and to support ESL students who are tak- sion (the Union), and others. other supporting materials in order to ing regular courses. The attendance Note: The course is designed for grad- evaluate their achievements and their policy for this course is the same as for uate students in the Orchestral Perfor- legacy. major private lessons. mance program and is also available to others with permission from the Completion of the Humanities HU1015 Fundamentals of Writing 2 instructor (Angela Beeching). Core (or special permission of the Spring/3 credits department chair). Mr. Hagen ME2001 – Advanced Practicum in Music ENGLISH AS A SECOND LANGUAGE Focused instruction on writing in Entrepreneurship English for undergraduate students. 2 hours weekly/2 credits offered spring HU1000 Summer English Study Preparation for the demands of the semester only Summer/0 credits Humanities Core courses. This course Open to grad students and seniors Mr. Hagen is offered during the spring semester by application. In this graduate-level and can be taken at the same time as Graduate and Undergraduate students course students plan and launch their the Humanities Core. (Open only to own entrepreneurial ventures. Stu- An intensive 8-week summer immer- Undergraduates) Prerequisite: HU1011 dents apply in Nov. with a venture sion program, specifically designed or permission of the instructor. already in mind and in class, in a for music students. Program includes supportive “think tank” environment, classes, tutorials and conversation sec- work to advance these by creating tions, all aimed at increasing students’ ENTREPRENEURSHIP business plans, budgets, and action readiness for regular course work dur- steps to achieve their desired goals. ing the academic year. Students will ME1500 – Practical Foundations: Class work includes relevant read- increase their proficiency in listening, Entrepreneurial Leadership Skills ings, research, and mentoring. Past speaking, reading and writing. projects have included starting a new Focusing on creativity, innovation, festival, creating a performance series, HU1010 English Language Instruction value creation, and impact, this core outreach program, and launching an Fall/1 credit course explores the basics of establish- online booking service. This course Mr. Hagen ing a professional career. The class may substitute for ME1500 with fac- covers marketing, communication, ulty approval. Intensive daily instruction for stu- financing, community engagement, dents who did not take the Summer and project management—for both ME 2500 Internship program. Does not count for Humani- new and traditional career paths. This 10+ hours per week working off-cam- ties elective credit. is a required class for all undergrads. pus/1 or 2 elective credits, for under- MM and PS students in the OP and grad and grad HU1011 Fundamentals of Writing 1 Orchestral Conducting programs have Ms. Beeching Fall/3 credits their own required section of the class Mr. Hagen (ME1500.OP offered Fall only). CPP Designed to offer students practical A continuation of Summer English students must take either ME1500 or “real world” experience, administra- Study for undergraduate students who ME2001. tive internship opportunities are avail- need further language instruction able with organizations specializing in

COURSE DESCRIPTIONS 59 New Music, Jazz, Opera, Orchestral, Jazz Faculty nique of the instrument for studies re- and Chamber Music, as well as in This course covers the advancement lating to jazz music. They are aligned music publishing, recording, radio, of harmony and counterpoint from with the basic jazz theory, ear-training arts education, and more. Learn valu- the common practice era into the and improvisation courses so that the able skills relevant to an active career early 20th century as they relate to the keyboard becomes a learning tool in as a professional musician and/or arts music of jazz. It explains the origins the student’s musical education. Flu- administrator. Internships for current and development of fundamental ency in all keys, keyboard harmony, students typically are arranged for harmonic and contrapuntal principles lead sheet realization and grand-staff one semester at a time, for 1 or 2 credit and shows the ways in which these reading are stressed. Prerequisite: Jazz hours depending on the scope and principles are in current usage in jazz. Required Piano placement examina- schedule of the work. Topics include classical and jazz view- tion. Interested students must consult points of counterpoint in two voices, with instructor and apply through the counterpoint in three or more voices, JAZZ IMPROVISATION/UNDERGRADUATE CME office before registering. Avail- Neapolitan chords, augmented 6th able fall, spring, and summer. chords, borrowed chords, composition JP2500 Jazz Improvisation projects, etc. 2 hrs weekly/2 credits Jazz Faculty JAZZ JC0004 Harmony and Counterpoint for Undergraduates will take improvisa- Jazz Majors 4 tion every semester for the duration of Major Lesson: 1 hr weekly 2 hrs weekly/2 credits their program. The following topics 3–6 credits per semester Jazz Faculty will be covered: This course is a continuation of HCJM REQUIRED UNDERGRADUATE THEORY 3. Topics include altered dominants, First Year COURSES chord superimposition, chromatic me- This course provides the students diants, Romantic period tools and jazz JC0001 Harmony for Jazz Majors 1 with fundamental concepts needed to applications, impressionistic period compose spontaneously. It consists of 2 hrs weekly/2 credits tools and jazz applications, polytonal- improvisational exercises and the ap- Jazz Faculty ity, form and development in large plication of these exercises on assigned This course covers the fundamentals ensemble jazz forms, serial techniques, progressions. Scales: Major and minor of harmony from the common prac- composition projects, etc. scales, major and dominant 8 note bop tice era as they relate to the music scales, major diatonic modes. Progres- of jazz. It explains the origins and JC0111-0114 Jazz Ear-Training sions: Each week Major and dominant development of harmonic principles 2 hrs weekly/2 credits per semester blues, ii-7 v7 1, ii-7b5 v7 b9b13 1-6/9, and shows the ways in which these Jazz Faculty and Autumn Leaves will be studied principles are in current usage in jazz. This course offers the undergradu- in a new key. Tensions 9 11 and 13 will Topics include notation, melodic ate student basic techniques needed be studied on the above progressions. organization, chord functions in major to improve aural perceptions in both The melodic minor modes will also and minor keys, voice leading, figured the translation of hearing into writing be studied along with the minor and bass, chorale studies, etc. and the performance of reading into dominant b9b13 bop scales. Students singing and playing in the jazz idiom. will also be required to learn a new JC0002 Harmony for Jazz Majors 2 Introduction and practice of singing song each week in preparation for 2 hrs weekly/2 credits and aural recognition of short, simple yearly juries. Jazz Faculty melodies and intervals based upon This course is a continuation of HJM diatonic harmony. Prerequisite: Abil- Second Year 1. Topics include resolutions of the ity to sing at sight or recognize and This course includes further studies dominant, secondary dominants, lead- notate simple melodies determined by of diatonic modes and parallel modes ing tone diminished chords, modula- placement examination. as well as modal bop scales and di- tion, harmonization systems for tonal minished scales. Approach notes and melodies, binary and ternary forms, JC0171-0172, JC0181-0182 Jazz arpeggios will be studied on Autumn composition projects, etc. Required Piano Leaves. Students will be required to 1 hr weekly/1 credit per semester learn Minor Blues and I Got Rhythm JC0003 Harmony and Counterpoint for Jazz Faculty chord changes in 12 keys. Chord substi- Jazz Majors 3 These courses are designed for the tutions on Blues, I Got Rhythm, and 2 hrs weekly/2 credits non-pianist to learn the basic tech- Autumn Leaves will also be explored.

60 COURSE DESCRIPTIONS Students will continue to learn a new MH0103 Jazz History MH1260 Berlioz to Boulez song each week. Review of the 60 songs 2 hrs weekly/2 credits 2 hrs weekly/2 credits/Spring Semester learned in preparation for yearly juries. Mr. Saltzman Dr. Green Beginning with Lennie Tristano and The second half of a yearl-long survey Third Year Charles Mingus, this semester deals of western music history. This sem- sester deals, roughly, with the years This course focuses on studying and with the varied reactions to Parker and 1830 to the present. utilizing the following: modes and Gillespie. Miles Davis and the musi- scales, including diminished, whole cians he encouraged (Coltrane, Evans, MH1300 Overview Of Afro-Cuban Music: tone, harmonic and augmented, Shorter, Hancock) form the main core History, Style And Analysis and approach notes (1 chord type of the narrative. Also, individuals such per week). Other topics this course as Ornette Coleman, Andrew Hill, Mr. Sanabria focuses on are improvisational ideas and Jaco Pastorius are explored, with Open to all. This survey course cov- stemming from rhythmic displace- the focus on tying their innovations ers the rich music, history, culture ment, harmonic substitution, and into what is contemporary in jazz. and influence of Afro-Cuban based other elements. Students will study music. From its rhythmic/melodic passing diminished tunes (It Could MH0104 Jazz History roots in West and Central Africa and Happen to You, Easy Living, etc.), and 2 hrs weekly/2 credits harmonic/melodic roots in Europe to will learn Cherokee in all twelve keys. Mr. Saltzman its relationship/influence on the sur- The third year also includes analysis rounding cultures of the Caribbean The semester is divided into three seg- to its influence on jazz, rock and other of song forms (second dominant, cycle ments: a detailed examination of jazz’s tunes, long meter). Students will con- popular U.S. music forms as well as greatest drummers (Baby Dodds, Sid the birth of Afro-Cuban jazz in NYC. tinue to learn a new song each week Catlett, Chick Webb, Dave Tough, Jo and review 90 tunes in preparation for There will be listening, viewing and Jones, Kenny Clarke, Max Roach, Roy even some slight in class performance. yearly juries. Haynes, Art Blakey, Elvin Jones, Tony Williams) and how they made the mu- UNDERGRADUATE REQUIRED COURSES JC0301-0302 Rhythmic Analysis sic’s evolution possible; a detour into 2 hrs weekly/2 credits per semester the fine arts (film, painting) and their Mr. Riley MH0101 Jazz History common denominators with jazz; a 2 hrs weekly/2 credits final assignment where students must The course objectives will be to devel- Mr. Saltzman prepare an in-depth presentation on a op fluency in the performing/reading/ feeling/identifying/transcribing and The semester covers a broad view of lesser known jazz musician. notation of rhythms. Jazz and classical the entire evolution of jazz, stress- methods of rhythmic interpretation ing its profile as an integral part of MH1040 Music of Duke Ellington will be discussed. As this is an under- American history. Connections with 2 hrs weekly /2 credits/Spring semester graduate course the focus will be on the social, musical, and racial realities Mr. Kirchner the most common time signatures and of the 20th century are highlighted. Duke Ellington (1899-1974) is gener- divisions of the beat. (Required for all ally considered the greatest and most undergraduate jazz performance and MH0102 Jazz History prolific of all jazz composers. Further- composition majors.) 2 hrs weekly/2 credits more, he is widely regarded as one of Mr. Saltzman the great composers in twentieth- JC0511-0512 Arranging and Composition An in-depth examination of what century music, regardless of genre. 2 hrs weekly/2 credits per semester made New Orleans the birthplace of This course will survey his music, Mr. Sussman jazz with an emphasis on its identity and that of his close associate Billy A development of writing skills for as a French colony. This leads into the Strayhorn (1915-1967), from the 1920s various media and combinations, emergence of Buddy Bolden, Jelly Roll to the 1970s. including dance, show and jazz music. Morton, and King Oliver, all placing Students explore the latest techniques the innovations of Louis Armstrong MH1250 Bach to Beethoven in electronics, serial and experimental in the proper context. The remainder 2 hrs weekly/2 credits/Fall Semester techniques. Prerequisite: JC0004 or of the semester deals with subsequent Dr. Green the equivalent. innovations by Duke Ellington, Cole- The first half of a year-long survey of man Hawkins, Lester Young, Art Ta- western music history. This semes- JC1811 Studio Techniques 1: Introduc- tum, Thelonious Monk, and the music ter deals reoughly with the years tion to MIDI Sequencing Studio of Charlie Parker and Dizzy Gillespie. 1675-1830. 2 hrs weekly/2 credits/Fall semester Mr. Sussman Introduction to MIDI and MIDI

COURSE DESCRIPTIONS 61 sequencing using Macintosh-based documentaries, field recordings and Mr. Sussman systems. Creative application of live demonstration, students are led Basics of analog and digital synthesis synthesizers and MIDI systems to to observe the connections between and sound designing, with emphasis contemporary jazz, commercial music historical facts and the formation on the practical application of the and classical music. Principles of audio of each style in Brazilian music, in a synthesizer to contemporary jazz and engineering, multi-track recording, journey through almost 500 years of commercial music. Applications of basic mixing, and sampling are discussed. history/music making. As the students principles to abstract “Classical” sound Independent lab time is provided for are first and foremost performers, design. Continuation of MIDI sequenc- hands-on practice in MIDI composi- a primary focus of the course is the ing and studio techniques. Independent tion and recording techniques. Expo- incorporation of the Brazilian music lab time is provided for hands-on work sure to current popular synthesizers universe of rhythms, phrasing, and in sound designing and patch editing. and software. repertoire into their developing styles. Exposure to current popular synthesiz- The aim is to produce a performer who ers and software. Prerequisite: JC1811 or ELECTIVE COURSES OPEN TO BOTH is well informed not only about musi- permission of instructor. UNDERGRADUATES AND GRADUATES cal components and necessary skills for performance, but also about the JC1814 Advanced Studio Recording: JC1100 The Music of India I history and context in which Brazilian Scoring to Picture music developed. Cross-listed with 2 hrs weekly/2 credits per semester/ 2 hrs weekly/2 credits per semester/ MH1400. Fall semester Spring semester Mr. Chatterjee JC1402 Brazilian Music: History/Reper- Mr. Sussman toire/Performance 2 This course gives students the oppor- Advanced application of MIDI se- 3 hrs weekly/3 credits/Spring semester tunity to learn and to understand Indi- quencing and digital audio recording Mr. Boccato an rhythm and more general concepts techniques. Introduction to sampling of the Indian tradition through listen- As a follow up to the almost 500 years technology, additional MIDI sound ing, demonstration by the teacher, and of Brazilian music and culture that is sources, and advanced synthesis the practice of the tali-khali clapping surveyed in part one of this course, techniques. Emphasis on scoring system and recitation of compositions. Brazilian Music History 2 will focus techniques for film, TV, and multime- It also provides an historical overview on the work and lives of 12 major dia, as well as combining acoustic and and theoretical background of both figures of Brazilian music in the 20th electronic instruments. Independent North and South Indian music. (Cross- century and today’s scene. Through lab time is provided for hands-on work listed with MH1100; Open to all majors, detailed analysis of their pieces and in MIDI composition, digital audio re- undergraduate junior and above.) contributions to the Brazilian music cording, and scoring to picture. Prereq- repertoire, this course will focus in on uisite: JC1813 or permission of instructor. JC1101 The Music of India II the master works of some of the most 2 hrs weekly/2 credits per semester/ brilliant Brazilian musicians to date. JC1911-1912 Advanced Studio Spring semester Composition and Scoring Mr. Chatterjee JC1812 Studio Techniques 2: 3 hrs weekly/3 credits per semester This course is a continuation of The Introduction to Digital Audio Recording Mr. Sussman Studio Music of India I. It consists of a more Advanced MIDI software applica- 2 hrs weekly/2 credits/Spring semester in-depth study of the improvisational tions, sound designing, sampling, Mr. Sussman and compositional practices of Indian and studio techniques. In-depth music, including vocalization of com- Continuation of MIDI sequencing exploration of various creative and positions, analysis of tabla perfor- and studio techniques. Introduction technical considerations encountered mances, and biographies of important to digital multi-track recording tech- in the MIDI studio. Topics include performers. (Cross-listed with MH1101; niques using Pro Tools-based Digital principles of creating contemporary Open to all majors, undergraduate junior Performer and the Tascam DA-88. rhythm tracks, expressive and dynam- and above.) Prerequisite: The Music of Survey of notation, editing, and other ic considerations of sequencing, MIDI India I. MIDI software. Independent lab orchestrating, scoring for film and TV, JC1400 Brazilian Music: History, Styles, time is provided for hands-on work multimedia, SMPTE, sampling, and and Analysis in sound designing and patch editing. combining acoustic and electronic 3 hrs weekly/3 credits/Fall Semester Exposure to current popular synthe- instruments. Students are exposed Mr. Boccato sizers and software. Prerequisite: JC1811 to a wide range of current MIDI or permission of instructor. instruments and software. Additional This course is designed to introduce independent lab time is provided for and examine Brazilian music from JC1813 Studio Techniques 3: Analog and hands-on work. Prerequisite: JC1812 or both academic and performance per- Digital Synthesis spectives. Through readings of articles permission of instructor. 2 hrs weekly/2 credits/Fall semester and textbooks, video excerpts and

62 COURSE DESCRIPTIONS JC1999 Jazz Composition Forum Strings time signatures, metric modulations, 1 hr weekly/1 credits per semester 2 hrs weekly/2 credits per semester/ hemiolas, free playing, and World Mr. McNeely Fall and Spring music. Students will continue to learn Mr. Rosenberg a new song each week and review 60 A course designed to provide the non- songs in preparation for graduation. Jazz major with fundamental concepts needed to compose spontaneously. JC2111-2112 Graduate Arranging and Blues and basic jazz forms are covered Composition REQUIRED OF ALL JAZZ COMPOSITION through performance and recordings 2 hrs weekly/2 credits per semester STUDENTS Mr. Sussman/Mr. McNeely JC2731 Songwriting I A development of writing skills for JC2161 Jazz Piano Perspectives 1 3 hrs weekly/3 credits/Fall semester various media and combination, 2 hrs weekly/2 credits/Fall semester Dr. Green including dance, show, and jazz music. Mr. Rosenthal A course in the composition of con- Graduate students explore the latest Required for first year undergraduate techniques in electronic, serial and ex- Piano majors temporary popular song. Students are expected to develop fluency in all perimental techniques. Prerequisites: This course is designed to give jazz styles. The problems of prosody are Graduate standing or permission from musicians the opportunity to acquire studied as well as the techniques of the instructor. a listening background essential to scoring for voice and instruments. achieving artistic depth and growth in JC2241-JC2242 Jazz Composition and their performing. This course is a sur- JC2732 Songwriting II: Composing for Arranging for Studio Orchestra vey of the development of jazz piano Musical Theater 2 hrs weekly/2 credits per semester styles. Included will be an analysis of 3 hrs weekly/3 credits/Spring semester Mr. McNeely techniques as demonstrated by the Dr. Green A development of writing skills aimed masters in recordings and transcrip- Continuation of JC2731. This semester primarily for orchestra. Will include tions. The course will also feature the combination of big band plus hands-on exposure and instruction in will include a concentrated introduction to the composition skills required either chamber orchestra, symphony the “comping” techniques needed to orchestra or writing works for jazz effectively perform in all size configu- for the writing of music for musical theater. soloist and chamber or symphony rations from duets to large orchestra. orchestras. Will include listening and discussion of the different approaches, JC2162 Jazz Piano Perspectives 2 REQUIRED COURSES FOR GRADUATES JAZZ IMPROVISATION/GRADUATE including examples of Mr. Abene, plus 2 hrs weekly/2 credits/Spring semester in-depth analysis of the student’s own Required for first year undergraduate work. Required for all graduate jazz JP2500 Jazz Improvisation Piano majors performance and composition majors. 2 hrs weekly/2 credits Continuation of JC2161. Jazz piano Jazz Faculty styles and techniques as influenced by JC2321-2322 Jazz Styles and Analysis World music and the European clas- Graduate performance majors will 2 hrs weekly/2 credits per semester sical tradition. Prerequisite: JC2161 or take improvisation every semester for Mr. Markowitz the duration of their program. The fol- permission of the instructor. Required for Analysis of the contributions, inno- lowing topics will be covered: first year undergraduate piano majors vations, and solo and compositional output of outstanding jazz composers, Year 1 JC2201-2202 Graduate Jazz Ear-Training arrangers, and performers. Prerequi- 1 hr weekly/1 credit This course provides in-depth studies site: JC0451-0452. Mr. Rosenberg on pentatonic, modal, open bar line playing, and the works of Miles Davis, JC2360 Jazz Musician as Educator JC2271-2272 Jazz Improvisation for Non- Paul Bley and other post-bop compos- 2 hrs weekly/2 credits/Spring semester Jazz Majors ers. Students will be involved in group Mr. Rosenberg Ms. Stiles improvisation, rubato group playing, This course is designed to develop and also the works of Wayne Shorter A course designed to provide the non- skills in the teaching of jazz music. and Ornette Coleman. Students will Jazz major with fundamental concepts The student will be exposed to a learn a new song each week in prepara- needed to compose spontaneously. variety of materials, techniques, and tion for yearly juries. Blues and basic jazz forms are covered philosophies. The course focuses on through performance and recordings. program development for and per- Year 2 formance in MSM’s elementary and JC2273-2274 Jazz Improvisation for Studies on the following: hexatonics, middle school jazz education outreach parallel and chromatic harmony, odd series. Included are the study of en-

COURSE DESCRIPTIONS 63 semble and rehearsal techniques and JC2503/2504 are not required Students will be given background on other factors pertinent to operating a the use of chromaticism in jazz up to jazz/commercial music program. JC2741-2742 Film Scoring the present day with an in-depth study 3 hrs weekly/3 credits per semester of the music of John Coltrane, Miles JC2400 Graduate Jazz Conducting/ Mr. Green Davis, and other exponents of this Rehearsal Techniques See CP2741-2742 harmonic idiom. References and study 2 hrs weekly/2 credits/Fall or Spring of some of the classical, 20th-century semester exponents of new harmonic tech- Mr. Rosenberg niques such as Bartok and Schoenberg will also be included. Various tech- Graduate students are trained in the JC 2780 Ritmica: A Musical Approach to niques of employing chromaticism various techniques of rehearsing and Rhythm in the jazz idiom will be presented conducting jazz ensembles, including and students will be required to write the study of scores and recordings of 2 hrs weekly/2 credits examples and compositions in the different styles and rehearsal of the Mr. Boccato style. Improvising chromatically over School’s ensembles. Develop a deeper concept of rhythm standards and original compositions as a musical element, moving beyond will also be required. JC2410 Jazz Pedagogy arithmetic and counting to something that is more melodic and intuitive. 2 hrs weekly/2 credits/Fall semester DM4750 The Artist Pedagogue Mr. Rosenberg The focus of this system is Counter- point instead of vertical relationships, 3 hrs weekly/3 credits/Spring semester This course prepares artist teachers to combining independent rhythmic Jazz Faculty function at a high level in the world of parts in a way that emphasizes their Teaching proficiency related to the jazz education. Included are discus- independence: as voices, happening implementation of listening skills, sions of the pedagogy of the applied simultaneously. improvisation, and rehearsal and studio as well as common classroom directing techniques from beginning areas for jazz education including jazz JC2781 Ritmica 2: A Unique Approach to to advanced levels will be developed. improvisation, jazz arranging and Rhythm Class discussion will include: who composition, jazz history, and theo- should teach jazz and why, the value retical and aural skills. Also included 2 hrs weekly/2 credits/Spring semester of a degree in jazz, the state of music are observational visits to area jazz Mr. Boccato education in America, and judging a programs, as well as an overview of This course is designed to continue jazz festival. Hands-on training will be the job market and techniques to use to challenge the student’s ability to stressed by giving clinics and work- in applying for positions within jazz perceive rhythmic relationships in a shops through the Manhattan School education. horizontal way, through the introduc- of Music Outreach and Precollege pro- tion of many more exercises of the grams as well as the Carnegie Hall and JC2501-JC2504 Masters of Jazz Seminar: Ritmica book. The exercises were NARAS educational programs. The A Chromatic Approach to Jazz Melody created by putting together irregular course’s pedagogical concept is unique and Harmony rhythmic elements against regular in its sequential design that integrates rhythmic sequences, and exploring the 2 hrs weekly/2 credits per semester the entire curriculum, its ability to contrast between them. Through the Mr. Liebman/Mr. Markowitz train and empower teachers effectively second part of the Ritmica studies the In this course, the student will study to present and reinforce musical ap- class also focuses on composition, and theoretical and practical concepts, plications, and the program’s strong each student is assigned a partner and which allow for various ways to con- and affirming message that cements required to write and perform a duo ceptualize chromatic usage. There will concepts through an array of interac- piece based on the Ritmica concept. be in-depth historic analysis of chro- tive and musical experiences. matic examples from the classical and REQUIRED COURSES FOR DOCTORAL jazz repertoire; study of reharmonized STUDENTS standards and original compositions; MUSIC HISTORY composing chromatic voicings, lines, JP2500 Jazz Improvisation and tunes. The goal of the course is UNDERGRADUATE CORE to expose the student to a variety of 2 hrs weekly/2 credits chromatic music in order to increase Jazz Faculty MH0001 Medieval and Renaissance the student’s aural skills and critical 2 hrs weekly/2 credits/Fall semester understanding of the use of chromati- DM4700 Doctoral Jazz Seminar Dr. Massol cism in modern music. 3 hrs weekly/3 credits/Fall semester *JC2501-2502 are required for graduates, Jazz Faculty A comprehensive study of Western

64 COURSE DESCRIPTIONS music from 900 until 1600. Emphasiz- Fall semester century until the present day. es the evolution of polyphonic music, Mr. Chatterjee the development of compositional See JC1100. MH1530 Mozart techniques using preexistent material, 3 hrs weekly/3 credits the changing relationship of words MH1101 The Music of India II Associate Dean Langford and music, and the historical and cul- 2 hrs weekly/2 credits per semester/ A close examination of the music of tural milieu in which music evolved. Spring semester Mozart, including early influences, Mr. Chatterjee Mozart’s association with Haydn, and MH0002 Baroque See JC1101. the interrelationships between vocal 2 hrs weekly/2 credits/Spring semester and instrumental music. Sources and Dr. Poghosyan MH1300 Afro Cuban History editions are carefully considered. The A study of Baroque music focusing on course will include in-class perfor- 2 hrs weekly/2 credits/Spring semester national styles as developed by Mon- mance projects. (Offered in alternate Mr. Sanabria teverdi in Italy, Schütz in Germany, years) Lully and Rameau in France, and Open to all. This survey course cov- Purcell in England. Special attention ers the rich music, history, culture MH1531 History of Chamber Music I is given to the fusion of national styles and influence of Afro-Cuban based 3 hrs weekly/3 credits/Fall semester in the 18th century, the monumental music. From its rhythmic/melodic Dr. Massol achievements of Handel and J.S. Bach. roots in West and Central Africa and harmonic/melodic roots in Europe A comprehensive chronological survey of chamber music from its origins in MH0003 Classic and Romantic to its relationship/influence on the surrounding cultures of the Carib- such early forms as the canzona and 2 hrs weekly/2 credits/Fall semester trio sonata through the year 1827, con- Associate Dean Langford bean to its influence on jazz, rock and other popular U.S. music forms as well cluding with the death of Beethoven. Discussing the evolution of opera, as the birth of Afro-Cuban jazz in The course has three objectives: Lied, symphony, concerto, and sonata, NYC. There will be listening, viewing first, to look at pieces and composers the course concentrates on music of and some in-class performances with in historical perspective noting the Haydn, Schubert, Berlioz, and Brahms student participation. prevailing social, political, and eco- as pivotal composers and Vienna and nomic trends and understanding the Paris as important cultural centers. MH1400 Brazilian Music: History, Styles, progression of musical ideas as they and Analysis manifest themselves in the chamber MH0004 20th Century music repertoire; second, to explore 3 hrs weekly/3 credits interrelationships among composers 2 hrs weekly/2 credits/Spring semester Mr. Boccato Mr. Andreacchi and schools of compositions, as well See JC1400. as development of style and genres A comprehensive study of major musi- in specific composers; and, third, to cal trends and composers of the 20th MH1402 Brazilian Music: History/ examine the music itself both from an century. Special emphasis is given to Repertoire/Performance 2 analytic viewpoint and from a perfor- the development of Serialism, Neo- 3 hrs weekly/3 credits mance practice perspective. classicism, Futurism, and music since Mr. Boccato World War II. See JC1402. MH1532 History of Chamber Music II UNDERGRADUATE ELECTIVES 3 hrs weekly/3 credits/Spring semester MH1040 The Music of Duke Ellington Dr. Massol MH1510 Bach 2 hrs weekly/2 credits/Spring semester A continuation of an historical survey Mr. Kirchner of the chamber music repertoire, be- 3 hrs weekly/3 credits/Spring semester ginning with Schubert’s great C-Major Dr. Hilse A history and analysis of this great composer and his close associate Billy Quintet and concluding with Boulez’s A study of the history, style, and per- Strayhorn from the 1920s to the early Le Marteau sans Maître. Particular at- formance problems in selected instru- 1970s. Score reading skills are required tention will be paid to the use and role mental and vocal works of J.S. Bach. for the class, as is the ability to analyze of individual instruments in ensembles music in fluent written English. as well as to evolving modes of motivic ELECTIVES (OPEN TO UNDERGRADUATE developmental processes through the AND GRADUATE STUDENTS WITH THE MH1512 History of Opera 19th and 20th centuries. The course PROPER PREREQUISITES) will involve directed listening of his- 3 hrs weekly/3 credits/Spring semester toric recordings of the 20th century. Associate Dean Langford MH1100 The Music of India I 2 hrs weekly/2 credits per semester/ A comprehensive study of the history of opera and operatic forms from the 17th

COURSE DESCRIPTIONS 65 MH1590 Music in America 17th century to present-day examples. term paper at the end of the semester 3 hrs weekly/3 credits/Spring semester Various works called “concerto” and is required. MH1712 is given in the fall An in-depth survey of American “concertante” will be considered, semester. Prerequisite: TH0002 music, beginning in the 1600s and and will be subjected to stylistic and MH1841 World Music I continuing to the present, and taking formal analysis. in all genres and styles, both “concert” 3 hrs weekly/3 credits/Fall semester and “popular”. MH1700 Survey of 70 Years of Recorded Dr. Green Vocal Music An introduction to the principles of MH1608 Voices and Orchestra 2 hrs weekly/2 credits ethnomusicology joined to a survey of 3 hrs weekly/3 credits per semester Ms. Caplan the music of the following non-West- Dr. Massol Beginning with the earliest known re- ern cultures: sub-Saharan Africa, Na- tive America, the Islamic world, and This course is a two-semester survey cordings and ending in the 1970s, this the Indian subcontinent. The study of genres scored for voices and orches- course will introduce examples of the of this music will be at once technical tra from the 17th to the 21st centuries, great singers of the past. It will feature and cultural. The course is enriched by including oratorios, cantatas, masses, examples of the creators of various visits from guest artists who present choral symphonies, and symphonic operatic roles, the vocal idols of the the music in live performance. Empha- song cycles. The fall semester covers decades, including singers of song sis will also be given to seeing how important works from the Baroque literature. It will feature examples of composers, world-wide, are currently and Classical eras, such as Montever- the voices of many of the artists whose making use of elements of the tradi- di’s Vespers, Bach’s St. Matthew Pas- portraits appear in the Metropolitan tional music from these cultures. sion and Mass in B Minor, Handel’s Opera galley. Each week will be spe- Messiah, Haydn’s Creation, Mozart’s cifically dedicated to specific topics MH1842 World Music II Requiem, and Beethoven’s Ninth Sym- and voice categories. Discussion will phony. The spring semester covers be primarily on style and communica- 3 hrs weekly/3 credits/Spring semester important works from the Romantic tion, briefly on biographical material. Dr. Green and Modern eras, such as Mendels- A survey of the traditional musical sohn’s Elijah, Brahms’s Ein deutsches MH1711 Works of Wagner: Der Ring des cultures of East Asia and the Pacific, Requiem, Verdi’s Requiem, Mahler’s Nibelungen including those of China, Japan, vocal symphonies and Das Lied von 3 hrs weekly/3 credits Korea, Tibet, Mongolia, Indonesia, der Erde, Orff’s Carmina Burana, Dr. Stambaugh New Guinea, Oceania, and Australia. Stravinsky’s Symphony of Psalms, and A comprehensive introduction to As with MH 1841, the music will be Britten’s War Requiem. Richard Wagner’s Der Ring des Ni- considered both culturally and techni- belungen, in the context of his life and cally. During the semester, guests MH1610 History of the Symphony times, with reference to other Wagner proficient in these traditional musical 3 hrs weekly/3 credits/Fall semester works of the Ring period. The course cultures will demonstrate the music Associate Dean Langford will cover the musical, dramatic, po- in live performance. Emphasis will also be given to exploring the creative A comprehensive survey of the his- etic, historic, literary, and philosophic use that contemporary composers are tory of the symphony and symphonic background to Wagner’s monumental making of this music. forms from the 18th century until the tetralogy. A term paper at the end of present. the semester is required. MH1711 is given in the spring semester. Prerequi- MH1850 Music and the Dance MH1620 Beethoven site: TH0002 3 hrs weekly/3 credits/Fall semester 3 hrs weekly/3 credits/Spring semester Dr. Green MH1712 Wagner: Tristan, Meistersinger, Associate Dean Langford Parsifal In this course we study dance music A detailed study of the major works of 3 hrs weekly/3 credits in its varied forms across the centu- Beethoven. Representative samples of Dr. Stambaugh ries. There is the history of ballet: his various styles are drawn from the Rameau, Tchaikovsky, Stravinsky, symphonies, string quartets, piano An introduction to Richard Wagner’s Prokofiev. There are the social dances sonatas, solo concertos, and choral Tristan und Isolde, Die Meisters- of Schubert, Johann Strauss, and the works. (Offered in alternate years) inger, and Parsifal in the context of world of jazz and rock. There is the use his life and times, with reference to of dance in concert music: the suites MH1698 Concerto other Wagner works of the periods of the Baroque; the minuets of the discussed. The course will cover the 3 hrs weekly/3 credits/Spring semester Classical era; the nationalistic dances musical, dramatic, poetic, historic, lit- Dr. Hilse of the 19th century. Dance music has erary, and philosophic background to likewise been crucial to the drama: op- A survey of concertos, from the Wagner’s three great music dramas. A era, Broadway, and cinema--defining inception of the form in the early

66 COURSE DESCRIPTIONS character and creating powerful mo- This class surveys the music of Europe An in-depth exploration of the histori- ments of theater. and the USA during this exciting. cal background, cultural milieu, and Turbulent and boldly creative de- prevalent artistic trends surrounding MH1858 Puccini cade – all the many popular genres of the creation of the great operas of this music: “concert,” “popular,” and Strauss, Berg, and Britten. Composer 3 hrs weekly/3 credits/Spring semester “experimental.” We look in depth at and librettist biographies, musical style, Dr. Massol the music of such figures as: Gershwin and literary resources will be studied in This course covers Giacomo Puccini’s and Bartok; Stravinsky and Ellington; relation to ten different operas. life and works. We begin with pre- Prokofiev and Schoenberg; Ravel and vailing operatic styles of the late 19th Shostakovich; Darius Milhuad and century and discuss each of Puccini’s Louis Armstrong and more. MH2131 Performance Practice operas in turn, comparing traditional 3 hrs weekly/3 credits/Fall semester and abstract productions from opera Dr. Cooper houses in the U.S. and Europe. MH1960 Music of the 1960’s An investigation of performance prac- MH1913 The Life and Works of Benjamin 3 hrs weekly/3 credits/Spring semester tices concentrating on Baroque, Clas- Britten Dr. Green sic, and early 19th-century repertoire. This class surveys the music of the Students are required to perform as 3 hrs weekly/3 credits/Spring semester 1960 with a focus on Classical, Broad- part of the class work. Prerequisite: Dr. Stambaugh way, and Rock n’ Roll. Graduate standing or permission of This new course will survey the works instructor. of Benjamin Britten in the context of MH2030 Miles Davis MH2400 Beethoven, Brahms, and his life and musical activities, both as 2 hrs weekly/2 credits/Fall semester Schubert composer and performer, during the Mr. Kirchner tumultuous era of the 20th century. 2 hrs weekly/2 credits/Spring semester Following the chronology of Brit- A survey of the music of trumpeter- Dr. O’Donohue ten’s life from his formative years in bandleader-composer Miles Davis (1926-1991), one of the major innova- An exploration of the musical forces London before World War II through that contribute to the unique charac- his American adventure in the 1940’s; tors in the history of jazz and 20th- century music. Davis’s music ranged ter of selected piano and string works from the triumphant premiere of of Beethoven, Brahms, and Schubert. Peter Grimes through the years of his from bebop of the1940s through hip- hop of the 1990s. Attention will be given to issues subsequent success as the composer of that impact interpretive decisions in opera and instrumental music of every performance. Student performance is variety; from his establishment of the MH Course # The Music of Frank Zappa required. English Opera Group through the 3 hrs weekly/3 credits/Spring semester founding of the Aldeburgh Festival, Mr. Delpriora MH2610 Orchestral Music: Baroque to the Maltings Concert Hall and the Classical Britten-Pears School we will investi- This course examines the career and music of Frank Zappa. Sometimes 3 hrs weekly/3 credits/Fall semester gate Britten’s life and music within the Dr. Stambaugh framework of some prominent themes described as an “American Maverick”, that can be observed throughout his Zappa’s career touched upon almost all An advanced study of the evolution of career: the individual against society, genres of music including orchestral, the orchestra and of primary genres of the confrontation of innocence and chamber, film and electronic, theatre, orchestral music during the eighteenth experience, the importance of musical jazz and rock. Although varied in style and nineteenth centuries. citizenship, pacifism in an age of war, and approach, Zappa’s music is rigor- and the conflict between the private/ ous and complex. The recent subject MH2620 Orchestral Music: Beethoven to public image. Although the list of Brit- of critical review termed “Zappology”, the Present ten’s operas will act as a template for Zappa was himself a famed social 3 hrs weekly/3 credits/Spring semester the course, his other works for orches- critic and politically engaged artist. Dr. Stambaugh tra, chamber music, chorus, plus his A further investigation of the evolu- vibrant career as a performer with Peter tion of the orchestra and of orches- Pears and other great artists of his time GRADUATE ELECTIVES (OPEN TO ALL tral music during the 19th and 20th will hardly be ignored. The course will GRADUATE STUDENTS WITH THE PROPER Centuries. include reading and listening assign- PREREQUISITES) ments, exams, and a final project. MH2001 Operas of Strauss, Berg, and MH2720 Mahler and His Contem- MH1920 Music of the 1920’s Britten poraries 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits/Spring semester Dr. Green Dr. Fueting Associate Dean Langford COURSE DESCRIPTIONS 67 An investigation of the music of and techniques for monologues and 7.5 hrs weekly/3 credits Mahler, Strauss, Schoenberg, Debussy, character development, including the Acting for the Musical Theater level 1 Scriabin, and other composers active physical life, the arc and the beats and will further explore the American mu- during the period 1890–1910. The actions of characters. sical theatre with a focus on musicals course examines late German Roman- written from 1920-1960. Students will ticism as one of several styles leading MT0003-0004 Intermediate Acting 1 & 2 present three solos and one duet or to a new musical aesthetic in the 20th trio. In depth work on character devel- Century. (Offered in alternate years) 6 hrs weekly/3 credits opment and performance technique Using the works of the American Re- will be presented. Level 2 will explore MH2730 Verdi alists, the student will engage in inten- the musicals from 1960-1980. Level 3 hrs weekly/3 credits/Spring semester sive scene study and monologues ap- three continues with works from 1980- Associate Dean Langford plying a Stanislavski based technique. 2000. Level 4 continues with musicals A study of selected operas of Verdi Topics of this course will include from 2000 to the present. Level 5 within the context of relevant politi- truth in actions, belief in the given adds song and dance techniques. The cal, social, and musical trends of 19th- circumstances of the play, emotional students will self-direct an assigned 10 Century Italy. and physical life of the character and minute musical including all produc- objectives and research techniques on tion elements. At various times, MH2810 Berlioz and Liszt: 19th Century the time frame in question. Intermedi- professional Actors, Composers and Avant-Garde ate 2 employs the modern playwrights Lyricists will be invited to discuss 3 hrs weekly/3 credits/Spring semester to further challenge the actor. their works, their approach, their Associate Dean Langford inspiration and their future projects. MT0005-0006 Advanced Acting 1 & 2 All levels will require research with An exploration of the avant-garde of 6 hrs weekly/3 credits respect to the behavior and style of the nineteenth century, attempting each period discussed. to identify a common practice among Shakespeare and the use of heightened composers whose compositional and language will be the emphasis of this MT0025–MT0026 Acting for the philosophical outlooks were self-con- course. Links between Shakespeare’s Camera 1 & 2 sciously modernistic. language and techniques used to in- 6 hrs weekly /3 credits terpret lyrics are discussed. Advanced MH3050 Research Methods Acting 2 will focus on the European Acting for the Camera 1, will cover 3 hrs weekly/3 credits/Fall semester Realists and a continuation of scene the various techniques necessary for Associate Dean Langford study and monologues. recorded media, as well as cold reading Designed primarily for doctoral stu- techniques. Students will be recorded dents, this course is an intense intro- MUSICAL THEATRE ACTING and all performance notes will be duction to the technique of scholarly given based on the playback of said research: bibliography, style analysis MT0010& MT0011 Introduction to Acting taping. Acting for the Camera 2 is a and documentation; literary style and for Musical Theatre 1&2 continuation of Acting for the Camera form specifically applicable to the writ- 1. This course will also cover audition ing of a graduate thesis. Enrollment is 2.5 hrs weekly/0.5 credits techniques for recorded media as well by permission of the instructor only. The proper sequence of learning a new as advanced work in techniques for on song, basics of lyric interpretation, screen acting. MUSICAL THEATRE CURRICULUM working with an accompanist, and identifying problems and habits in the MT0211 Script Analysis student performer will be the thrust ACTING 3 hrs weekly/1 credit of this course. Intro to musical theatre MT0001& MT 0002 Fundamentals of 2 continues with the analysis of a The objective of this course is to pro- Acting 1&2 character’s arc, ensemble work, im- vide the information necessary to un- provisation, development of rehearsal derstand and identify the various parts 4 hrs weekly/3 credits technique and proper etiquette. Guid- of a script and how that information Fundamentals of Acting 1 introduces ance and instruction will continue on correlates to an actor in the process of the terminology and techniques used all solo performance work. molding a character. Script Analysis builds on the students acting skills and in a Stanislavski based acting system The musical theatre faculty will work guides them to be intrinsically con- and explores the main practitioners together to provide seamless instruc- nected to the play with respect to the and master teachers of this technique. tion regarding terminology and mat- playwright’s vision. The foundations of scene study, ters of acting instruction. character and ensemble building and rehearsal techniques and etiquette will MT0012-0017 Acting for be included. Fundamentals of Acting Musical Theatre 1-6 2, includes script analysis, scene study 68 COURSE DESCRIPTIONS VOICE/MUSIC The Introduction to Technical Theatre The business of theatre includes the course is designed in four parts: elements of proper headshots and MT4000 Private Voice Costume Design, Set Design, Lighting resumes, web site building, blogging, Design and Sound Design. Each marketing and the networking tips 1 hr weekly/1 credit per semester segment is designed to inform the that are necessary tools for the actor. The technique of healthy singing for student of the various roles designers Resources such as audition books, Musical Theatre is essential to a long play in the creation of a Theatrical monologue books, casting sources and and productive career and critical for Event. union rules will be covered. the technical and interpretive devel- The costume segment introduces opment of the professional singer. students to the process by which Every voice is unique, and continued costumes are designed and MT00200 Introduction to study with a vocal expert prepares implemented for the stage. Students Professional Theatre the student for healthy, efficient vocal will be expected to demonstrate an 2 hrs weekly/1 credit production. Our Musical Theatre understanding of the costume design The objective of this course is to voice faculty will address the proper process, costume history vocabulary, provide students with information approach to belting, developing the and basic costume construction regarding the career of a professional mix and strengthening the head voice. techniques. actor. . Master Classes with current Each session is tailored to the individ- Set Design instruction demonstrates and former Broadway actors, direc- ual differences, needs, and vocal types how to analyze a script in design terms, tors, writers and casting directors will of the student. how to research the visual aspects of inspire, educate and deliver a “real a given play, how to create a good and world” understanding and valuable in- MT0350 Ensemble Voice tangible concept presentation for a dividual instruction. This course will director and how to use the world of 3 hrs weekly/0.5 credits/ Ms. Clurman also include lectures and field trips the play to guide you to a more specific and will include a presentation of the The objective of this course will be idea of how the characters might see various resources available to support to train the student in parts singing, that world. and sustain a career in the professional blending when working in an ensemble The lighting section is designed to theatre. and working with a Musical Director provide the student with a basic and Accompanist. Identifying ear is- understanding of the process of MT0210 Stage Makeup sues and providing exercises to correct designing and executing the lighting them will also be covered. for live performance. It will include 3 hrs weekly/1 credit/Mr. Janas in-class projects and demonstrations, TH0001-0002 Music Theory Core 1 &2 The objective of this course will be resulting in each student designing the to instruct the student in the applica- 3 hrs weekly/3 credits/ Mr. Gerle lighting for a short monologue. tion of theatrical make-up as it relates Sound Design will examine sound to creating characters on stage. Also All aspects of music theory that would system components and their practical apply to a Musical Theatre performer included will be a study of make-up ap- use as well as how sound designers fit plication in various periods of time, ap- will be the objective of this course. into the collaborative process and how The course will consist of sight sing- plication of cuts bruises and abrasions performers use and interact with the and finally make-up to create fantasy. ing, ear training, advanced interval technology. training, and advanced music theory. MT0131-MT0132 Stage Combat 1 & 2 RP0111-0112 Piano MT0020 Audition Techniques 3 hrs weekly/3 credits 1 hr weekly/1 credit 6 hrs weekly/3credits Techniques in unarmed stage combat The objective of this course is to pro- The ability to audition well is a most will be the objective of Stage Combat vide the skills needed for the student valuable tool for any actor. Audi- 1. The opportunity to receive certifi- to be able to accurately read and play tion techniques and practices will cation from the Society of American the notes of an unknown song. This be learned and applied. Key compo- Fight Directors at the completion skill will aid the actor when rehearsing nents of this course will include mock of this course will be available. Stage parts, finding new repertoire or when auditions with feedback from casting Combat 2 will continue with proper in- faced with an audition. directors, agents, directors, and music struction of the use of weapons includ- directors, the use of social media in ing, quarter staff, epee, rapier, broad TECHNICAL THEATRE marketing, and creating a web pres- sword, bull whip and firearm safety. MT00201 Introduction to ence. Technical Theatre MT 0140 Musical Theatre Alexander Tech- nique 5 hrs weekly/2 credits MT0021 The Business of Theatre 6 hrs weekly/3credits 1 hr weekly/1 credit COURSE DESCRIPTIONS 69 Ms. Taylor covered. ballet, tap, ballroom, street dance, Alexander technique studies how and folk dance. Dancers will have the human reaction, coordination and DANCE opportunity to learn original staging movement play a role in all physical and choreography from the vast reper- activity. Through in depth discussions, MT0100-0103 Ballet toire of current and former Broadway movement exploration and individual- 3 hrs weekly / 1 credit Musicals. Emphasis will be placed on ized lessons, actors and dancers gain an interpreting the choreography with Ballet begins with the fundamentals respect to the choreographer’s intent. understanding of the technique and its of ballet technique. Basic principles of benefits to their performance abilities. the ballet vocabulary are learned and MT0500–MT0501 History of Musical refined. Dancers are introduced to the Theatre 1 & 2 exercises of the ballet barre, center 4 hrs weekly/3credits adagio, allegro and grande allegro. History of Musical Theatre 1 covers Expanded ballet vocabulary builds the origins through the golden age of on the basic principles as the levels musicals. Including Yiddish Theatre, advance. The student will be able to MT0212 Directing Vaudeville, Burlesque, Minstrel Show, execute a ballet combination with the and Light Opera History of Musical 4 hrs weekly/3 credits knowledge of the French terminol- Theatre 2 will examine the musicals The objective of this course is to ogy and be prepared to demonstrate post the Golden Age and up to today provide the vocabulary, techniques and a given ballet sequence with accuracy including the study of Musical Theatre the practice needed when directing a and confidence. writers, composers and lyricists Theatrical Production. Experiencing working in modern Musical Theatre. a play through the director’s eyes becomes a valuable tool for the student. MT0120-0123 Tap MT0130 Conditioning Topics that range from working with 3 hrs weekly / 1 credit designers to script analysis and sched- Tap skills are introduced at the begin- 2 hrs weekly/1 credit uling are also addressed. ning level and advance to a solid un- The objective of this course is to de- derstanding of the technique and the velop a core strength, balance, stamina, SPEECH/DICTION history of this discipline. Tap dancing flexibility, and total body integration in relies on a fundamental knowledge the student actor. MT0300–MT0303 Speech/Diction 1–4 of various rhythms and styles. The student will learn basic tap steps, 3 hrs weekly/2 credits rhythms and choreography. ORCHESTRAL PERFORMANCE The objective of this course is to MT0110-0115 Jazz Major Lesson/Repertoire Coaching: 1 identify and provide exercises for hour weekly, 5 credits per semester. correcting speech impediments, 3 hrs weekly / 1 credit Jazz dance relies on the past and pres- regionalisms, nasality and other OP2251 The Musician as Educator ent influences of music and culture. speech related problems culminating 2 hrs twice weekly/1 credit The study of Jazz dance will develop in a voice that uses optimum pitch Ms. Charnow and a Standard American accent. the student’s ability to execute com- Introduction of the IPA system will plex movement and challenging rhyth- Required of all first-year Orchestral also be included. Level 2 will increase mic structures. Warm up exercises will Performance students; open to all the use of range and dynamics when further develop flexibility and coordi- orchestral graduate students using the spoken word. Level 3 will nation as well as preparing the dancer Students in this course receive train- put into practice the work done in for a dance combination. Remember- ing on how to become effective artist- prior levels by using the voice as an ing and performing combinations is an educators as part of the Manhattan extension of the emotional state as it important skill for every performer. School of Music Arts-in -Education relates to scene study. Level 4 will give Program. Students will be exposed the student the tools and techniques of MT0133 Musical Theatre Dance to a variety of pedagogical methods learning dialects for the stage and film, 3 hrs weekly/3 credits and materials as they prepare and including IPA and ear training. Major Musical Theatre dance relies on creat- deliver educational presentations in dialects used for stage and film will be ing characters through movement. New York City public elementary and This course will give the students middle schools. the opportunity to combine acting, singing and dancing. A variety of OP2351-2352, OP2451-2452 Orchestral dance styles are studied including jazz,

70 COURSE DESCRIPTIONS Repertoire Coaching through fifth species on a given cantus sion, stick making, and instrument 2 hrs three times a month/ firmus and continuing to canons in maintenance. Features presentations 1 credit per semester three voices, the passagio style, the by guest artists as well as faculty, and Orchestral Performance Faculty and French classic and a survey of the includes opportunities for student guest symphonic artists easier chorale preludes and two-part performance. A four semester sequence of coaching inventions of Bach. sessions on the ensemble techniques of PK2451-2452 Graduate Percussion Lab orchestral performance as applied to OR2410-2411 Organ Service Playing 2 hrs weekly/2 credits per semester a two-year survey of the major works 2 hrs weekly/1 credits per semester Percussion Faculty of the symphonic repertoire. Each Dr. Nagem Required of all graduate Percussion semester students perform in at least The course in Service Playing fo- majors six sectional instrument coachings; cuses on practical skills important An ongoing exploration of all aspects of three brass or woodwind rehearsals for church musicians, in particular percussion performance, including or- conducted by a specialist; and, at the hymn-playing and choral accompani- chestral percussion, timpani, marimba, end of the semester, in either a string ment. Topics covered include hymn solo playing, world percussion, stick or combined brass, woodwind, and introductions, harmonization, and making, and instrument maintenance. percussion orchestral reading con- interludes; Gregorian chant; issues in Features presentations by guest artists ducted by a distinguished conductor. 20th-century hymns; spirituals and as well as faculty, and includes opportu- Gospel hymns; ballad-style hymns; nities for student performance. ME1600 Orchestral Entrepreneurship anthem accompaniment; arrang- 2 hrs weekly/2 credits/ Fall semester ing piano and orchestral reductions PERFORMANCE The course is designed to equip or- for the organ; and issues in continuo chestral students with the knowledge playing. In addition, the course will LARGE PERFORMING ENSEMBLES and perspective needed to succeed develop skills in registration, console as professional orchestral players in a management, and special techniques JP1101-1102 Afro-Cuban Jazz Ensemble in organ playing. changing industry. The class covers 4 hrs weekly essential organizational, financial, and Mr. Sanabria programmatic issues affecting orches- OR2931-2932 Choral Repertoire tras and their entrepreneurial pos- 2 hrs weekly/2 credits per semester JP1201-1202 Concert Jazz Band Dr. Oliver sibilities for the future. Includes guest 4 hrs weekly speakers from the League of American An in-depth study of sacred choral Study and performance of jazz in the Orchestras, American Federation of literature; conducting practicum big band style. Both traditional and Musicians Symphonic Services Divi- including conducting from the console sion (the Union), and others. contemporary idioms are explored. and accompanying at the organ. Entrance based on special depart- Note: The course is designed for grad- mental audition. Two concerts each uate students in the Orchestral Perfor- semester. mance program and is also available PERCUSSION Major Lesson: 1 hr weekly to others with permission from the JP1211-1212 Jazz Orchestra 3–6 credits per semester. instructor (Angela Beeching). 4 hrs weekly Each student has a primary teacher, Rehearsal and performance of big band ORGAN who acts as an advisor during the student’s degree program. All students music from Basie to free-form. En- work with a variety of faculty mem- trance based on special departmental Major Lesson: 1 hr weekly bers in the department. All students audition. Two concerts each semester 5–6 credits per semester. participate in the Chris Lamb Semi- and outside appearances are made. nar as a part of Major Lessons. OR2001-2002 Organ Performance Class JP1231-1232, JP1241-1242 Jazz Combos 1 hr weekly/1 credit per semester PK0451-0452 Percussion Lab 2 hrs weekly A master class providing performance 2 hrs weekly/1 credit per semester Jazz Faculty opportunity. Required of all Organ Percussion Faculty Provides the experience of playing majors. Required of all undergraduate Percus- jazz in small groups from Dixieland sion majors through contemporary styles. Variable OR2311-2312 Organ Improvisation instrumentation. One concert is given 2 hrs weekly/1 credits per semester An ongoing exploration of all aspects in school each semester and outside of percussion performance, includ- A comprehensive review of 16th- appearances are made. Entrance based ing orchestral percussion, timpani, century counterpoint. Students learn on special departmental audition. marimba, solo playing, world percus- to improvise in three voices, first COURSE DESCRIPTIONS 71 LP1351-1352 Manhattan Symphony Janacek and Britten to living compos- performing from beginning acting Orchestra ers. Develop and practice specific exercises and songs through mono- techniques for learning and studying logues, opera scenes, and role studies. LP1361-1362 Manhattan Philharmonia non-diatonic music with instructor, Enrollment includes participation in Orchestra guest composers and singers. Per- the accompanying opera seminar. formance of arias and duets. In the OP1371-1372 Chamber Sinfonia spring semester, Continue exploration VOCAL CHAMBER ENSEMBLES and development of study and vocal SP1371-1372 Chamber Sinfonia techniques. Performance of scenes CM1070 Russian Romances and Ballads 9 hrs weekly/Guest Conductors from contemporary opera; possible 2 hrs weekly collaborations with student composers Mr. Beegle Readings, rehearsal and performance and conductors. of contemporary and standard orches- A performance class of the great Rus- tral literature. An active program of VOCAL PERFORMANCE CLASSES sian song literature, with an emphasis concerts and opera performances is on the romances and ballads of Tchai- kovsky and Rachmaninov plus works scheduled throughout the school year. VX0050 Symphonic Chorus Concerts outside of school are occasion- by Glinka, Rimsky-Korsakov and Mr. Tritle ally presented. Several rehearsals are songs of Shostakovich and Prokofiev. taken each semester by guest conduc- Exploration and performance of great A fundamental knowledge of the Rus- tors. Required of all String majors. For choral literature from Baroque to sian alphabet will be presented so that Winds and Percussion, entrance is based modern. Concert performances of the student will never again have to on orchestral placement audition. large works for chorus and orchestra as rely on confusing transliterations. well as smaller pieces from the choral LP1851-1852 Opera Theater repertoire. Students in Symphonic CM1071 Songs of the Romantic Period 15 hrs weekly Chorus may also be invited to join 2 hrs weekly Ms. Vaughn the Chamber Chorus. The Choral Mr. Beegle program provides opportunities for This is a performance class focusing The Manhattan School of Music Opera student soloists. Concert venues have on German and French songs for solo Theater produces two fully staged included Weill Recital Hall at Carn- voice and piano. Songs in other lan- operas with orchestra, one scenes egie Hall and the Cathedral of St. John guages, however, are also welcome. Re- program, two educational outreach the Divine, as well as Borden Audito- hearsal techniques, diction, style, and programs and one contemporary opera rium at MSM. workshop each academic year. Place- ensemble issues will be presented in a ment in the Opera Theater is based Required for first- and second-year way to prepare both singer and pianist upon auditions heard each September undergraduate students majoring in for future professional collaboration. and December. Students returning the Voice, Piano, Guitar and Composition following year may complete a prelimi- SP1070C2 Baroque Aria Ensemble nary audition in May. All graduate, VX0100 First-Year Performance Class 3 hrs weekly Professional Studies and Doctoral 1 hr weekly/0.5 credit Dr. Cooper Mr. Peters students are strongly encouraged to The Baroque Aria Ensemble of- audition each semester. At the Opera Designed as a supportive forum for fers instrumentalists and vocalists a Theater auditions, students will also be first-year, undergraduate Voice majors unique opportunity to work together, considered for placement in Dona D. to perform in front of a peer audience. exploring 18th century opera, cantata, Vaughn’s Opera Workshops and Lab. oratorio, concerto and chamber music VX0200 Second-Year Performance Class repertoire. In addition to vocal and LP1861-1862 Opera Workshop 2 hr weekly/1 credit instrumental coaching, Dr. Cooper 4 hrs weekly Ms. Shikany provides instruction in diction and Ms. Vaughn Designed as a supportive forum for acting, guidance in performance An acting class in which the individual second-year, undergraduate Voice practices of the Baroque and Classical singer learns a practical and com- majors to perform in front of a peer styles, and improvisation, ornamenta- prehensive technique for both song audience. tion and ensemble skills in preparation interpretation and opera repertoire. for professional work in this field. By VX0800 Undergraduate Opera Theater audition. LP1870 Contemporary Opera Ensemble 3 hrs weekly plus rehearsals/1 credit 4 hrs weekly Ms. Malfitano (Junior Year)/ Ms. Charney Ms. Vaughn (Senior Year) SP1070H1 Vocal Performance Class Explore contemporary opera, from This course explores the art of 2 hrs weekly

72 COURSE DESCRIPTIONS Ms. Hoffmann be prepared not only to show their Percussion Faculty The Vocal Performance class is a expertise, control, consistency and Required of all undergraduate Percus- master class designed to enhance dependability, but also an inspired, sion majors. For freshmen and sopho- performance skills and communica- exciting, unique, courageous and mores, the credit for Percussion Lab tion through music, acting and stage memorable experience for the listener. is part of Chamber Music SPI500. A movement principles. The Alexander We will work with a varied repertoire full spectrum approach to the litera- Technique is also applied. Opera arias including Opera, Musical Theater and ture for percussion through section- and song repertoire will be performed. Cabaret and will also be “auditioning” als, orchestral repertoire sessions for Open to graduate students. for professionals in various venues. percussion and timpani, western and non-western instrument work-shops, SP1071M1 Musical Theater Lab INSTRUMENTAL CHAMBER ENSEMBLES lecture demonstrations by visiting art- SP1500 Chamber Music 2 hrs weekly Fall semester ists, and intensive student participa- Ms. Marlow 1 hr/week coachings of the chamber tion in class performance. The main goals of Musical Theater music literature with members of the Lab are that students learn solid Chamber Music faculty musical theater technique build their Students are ASSIGNED to chamber PIANO musical theater repertory. There is a groups by the Director of Chamber small studio performance at the end of Music together with the Chairs of each Major Lesson: 1 hr weekly the semester. By audition. department. A fall orientation meet- 3–6 credits per semester ing is required and a final performance SP1070M2 Revealing the Actor Singer comprises a portion of the grade. KEYBOARD HARMONY COURSES Within REQUIRED FOR UNDERGRADUATE PIANO 2 hrs weekly MAJORS Ms. Malfitano PN0141-0142 Keyboard Sight-Reading The aim of this class is to help the 1 hr weekly/1 credit per semester singer integrate both music and Keyboard Skills Faculty drama, through imagination, creative SP1070H2 Contemporary Ensemble: preparation, and the transforma- TACTUS Techniques of reading at sight solo tion of nervous or fearful energy into 4 hrs weekly keyboard literature. Performance of purposeful, passionate, and potent all major/minor scales and basic chord performing energies. “Revealing the TACTUS is dedicated to being aware progressions in all keys. Preparation Actor Singer Within” is the pathway and involved in the current creativity for Keyboard Skills PN0151. (Key- to embracing constant growth, eternal happening in contemporary music. board Sight-Reading Jury examination questioning, and abundant confidence, Emphasis is placed on working with required upon completion PN0141 and moment to moment in a flourishing living composers. Four concerts per PN0142.) singing-acting career. Auditions are year are presented as well as a Febru- held in the Fall. For Graduate Students ary double feature. Previous seasons PN0151-0152 Keyboard Skills have included works by Luciano Berio, 2 hrs weekly/2 credits per semester SP1070M3 Opera Repertory Ensemble Steve Reich, Louis Andriessen, Chen Keyboard Skills Faculty A weekly meeting of accompanying Yi, David Lang, Lou Harrison, Nils Development of keyboard skills majors which will explore accompa- Vigeland, David Noon, Kaija Saaria- through the study of score reading, nying and vocal and instrumental ho, Frederick Rzewski, Gyorgy Ligeti, transposition, and the realization of coaching techniques, emphasizing the and many others. figured bass. Prerequisite for PN0151: interaction between partners and the PN0142 and TH0002 or the equiva- musical style and performance prob- SP1071H2 Manhattan Percussion lent. Prerequisite for PN0152: PN0151 lems in a wide range of instrumental Ensemble or the equivalent. (Keyboard Sight- and vocal repertory. By audition. 2 hrs weekly Reading Jury examination required Mr. Traxler/Mr. Perdue upon completion of PN0151 and An advanced ensemble which presents PN0152.) SP 1070 R2 Preparing the Exit at least two concerts during the school 2 hrs weekly year, and public performances as PN0251-0252 Keyboard Skills Mr. Rosenshein arranged. Required of all Percussion 1 hr weekly/1 credit per semester This course will challenge the artist majors. Keyboard Skills Faculty to create the ten-minute performance Further development of the skills that may lead to a three-hour profes- SP1070L1 Percussion Lab studied in PN0152 including the read- sional engagement. Today’s artist must 3 hrs weekly/1 credit per semester ing of full orchestral scores, instru-

COURSE DESCRIPTIONS 73 mental transpositions, and reading 2 hrs weekly/2 credits per semester and perform with singers and instru- from continuo scores. Prerequisite for An introduction to harpsichord mentalists. PN0251: PN0152 and TH0003 or the playing. The technique and musi- equivalent. Prerequisite for PN0252: cal resources of the instrument, its PN1720 Bach for Pianists PN0251 or the equivalent. (Keyboard literature and its relation to other 2 hrs weekly/3 credits per semester Sight-Reading Jury examination instruments. Students play represen- Dr. Vinograde required upon completion of PN0251 tative pieces illustrating the stylistic A one semester, comprehensive, inten- and PN0252.) problems involved in keyboard music sive exploration of J.S. Bach’s works of the 16th, 17th, and 18th Centuries. that are programmable by pianists, PN0411-0412 Piano Literature This course is open to pianists, organ- divided into repertoire survey (Weds.) 2 hrs weekly/2 credits per semester ists, and others (with the permission of and practice (Fri. in Mikowsky Hall); Piano-Related Faculty the teacher). open to graduate students and quali- A survey designed to explore cross- fied undergraduates. sections of the piano repertoire, PN1220 Aria Accompanying for Pianists emphasizing traditions of interpreta- 2 hrs weekly/2 credits/Spring semester PN1900 The American Avant Garde: A tion. Recorded examples from the Ms. Charney Pianistic Evolution “Golden Age” pianists (Hofmann, 2 hrs weekly/2 credits/Spring semester Accompaniments for operatic arias Dr. Vinograde Lhevinne, Rachmaninoff) through the will be studied through discussion and recognized founders of the Modern performance with the practical goal A two-hour immersion into the piano School of performance (Schnabel, Mi- of enabling the participants to func- music of Barber, Carter, Copland, chelangeli, Gieseking) are played and tion competently and comfortably in Ives, Persichetti and others. The class discussed in class. Each class session is studio, rehearsal, and audition venues. will primarily examine works from focused on the individual’s expanding Pianists will be expected to sing for 1920-1980, focusing on the develop- musical, technical and critical knowl- each other and to sing while playing, ment of the American piano sonata. edge of the great piano compositions. as well as learn how to prompt and Discussions and lectures will explore sing cues. Skills of sight-reading, lyric the origins and development of this PN0421-0422 Piano Pedagogy diction, coaching, operatic accompa- gritty, powerful style, as well as the 2 hrs weekly/2 credits per semester nying, recitative playing, and piano uses of jazz, folk music, and expressive Dr. Olson “orchestration” will be discussed. twelve-tone techniques. A practical approach to teaching techniques focusing on beginner through PN1300 Organ for Pianists PN2021 Keyboard Literature: late intermediate levels. The course in- 2 hrs weekly/1 credit per semester Renaissance to Classical cludes an exploration of method books Dr. Meloan 2 hrs weekly/2 credits per semester Dr. Yui and literature available, readings and This course is designed for pianists discussion of historical pedagogy, and who desire to learn the basic skills of This class is a survey of the literature of a teaching practicum. the organ, focusing on service playing keyboard and piano music. We will be- Prerequisite: Junior Standing. for religious services. Students learn come familiar with some of the major pedal and manual technique, registra- works in its literature as wel as trace the tion, beginning organ performance, musical and social developments of the KEYBOARD COURSES REUQUIRED FOR and hymn playing. Organ shoes are piano, from the English virginal music GRADUATE PIANO MAJORS required for this course. of the 17th century to the piano works of Weber and Clementi. PN0861-0862 Graduate Keyboard Skills PN1600 Baroque Accompaniment 2 hrs weekly/1 credit per semester 2 hrs weekly/2 credits/Spring semester PN2022 Piano Literature: The 19th Keyboard Skills Faculty Ms. Stewart Century Graduate Keyboard Skills develops 2 hrs weekly/2 credits per semester practical performance skills such as This course teaches the basic skills Dr. Yui score reading, transposition, and fig- needed to accompany vocal and instrumental chamber music in a This class is a survey of the literature ured bass. Requirements: Piano and of keyboard and piano music. We will piano accompanying majors only. stylistically appropriate manner on the harpsichord. Students will learn become familiar with a few examples how to apply figured bass realization, of major works in its literature, as well ELECTIVE COURSES OPEN TO BOTH as trace the musical and social devel- UNDERGRADUATES AND GRADUATES embellishment and improvisation to various 17th and 18th century en- opments of the piano in the Nine- semble works, while learning how to teenth Century, from Mendelssohn to PN1151-1152 Harpsichord for Pianists get the most out of the harpsichord. Janácek, Albéniz and Granados. and Organists There will be opportunities to work Ms. Stewart

74 COURSE DESCRIPTIONS PN2031 Piano Literature sion, intensification, climax, relax- end of each semester is required upon 2 hrs weekly/2 credits/Both semesters ation, rubato, inner pulse and tempo, completion of the course. Co-requi- Dr. O’Donohue forces of motion and rest, agogics. site: TH0001 or the equivalent. A survey of the keyboard concerto Prerequisite: Graduate standing or from the late Baroque through the permission from the instructor. RP0211-0212 Required Piano early 20th century. Student perfor- 1 hr weekly/1 credit per semester mances are encouraged. PN2450 The 21st-Century Pianist: Required Piano Faculty Exploring Performance Strategies and Group Instruction. Technical skills Techniques in Contemporary Music PN2032 Piano Literature include major and minor scales; chord 2 hrs weekly/2 credits/Both semesters 3 hrs weekly/3 credits/Fall semester progressions; triads and inversions; Mr. de Mare Mr. de Mare harmonization; transposition and A survey of the most significant reper- A seminar/master class format provid- sight-reading. The level of sight- toire for solo piano from the late 19th ing the context for the exploration of reading is equivalent to repertoire century through the 20th century, contemporary performance practices, from the text Essential Keyboard including works involving electronics. interpretative strategies, extended Repertoire, Vol. I, ed. Lynn Freeman Student performances are required. techniques, and the incorporation of Olson. A final performance jury at the multi-media in 20th and 21st century end of each semester is required upon PN2051-2052 Sight-Reading Pedagogy piano music. In-class performances completion of the course. and coaching will facilitate discussion 2 hrs weekly/2 credits per semester of related aesthetic issues, creative RP0350 Piano Minor Dr. Aicher programming strategies, and skills 30-minute private lesson per week / A class designed to help keyboardists relating to audience development. 2 credits per semester develop and improve skills in sight- Required Piano Faculty reading and techniques for teaching PN2500 The Beauty and Wit of Undergraduate Composition majors sight-reading. Non-sequential semes- American Song ters. Prerequisite: Graduate standing only. A performance jury is required 2 hrs weekly/2 credits/Spring semester upon completion of the course. or permission of the instructor. (Performance Class) Mr. Sperry RP1360 Piano Elective PN2310 Historical Recordings of the See VX2500 Great Pianists 30-minute private lesson per week / 1 credits per semester 2 hrs weekly/2 credits per semester PN2701 French Art Song for Vocalists Required Piano Faculty Dr. Yui and Pianists The objective of the class is to trace 2 hrs weekly/2 credits/Spring semester Open to all students the musical genealogy of the great Ms. Stanescu Participation in a studio performance pianists of the late 19th and early See VX2701. class is required upon completion of 20th centuries and to explore various the semester. Prerequisite: Comple- interpretive styles by studying their REQUIRED PIANO tion of Required Piano 0212 or equiva- recordings. Carefully studying – and lent. not only listening to – the recordings All students not majoring in Piano, from the “Golden Age of the Piano,” Accompanying, Organ or Guitar must as performed by pianists who knew or take Required Piano. A qualifying ex- STRINGS studied with Liszt, Brahms, Debussy, amination including technical skills, or Ravel, we will explore a manner of transposition, harmonization and sight-reading may be taken for exemp- ST0051-0052, ST2051-2052 Orchestral playing that has virtually disappeared Repertoire for Violin from today’s concert halls. In compar- tion from this requirement. ing performances between pianists ST0061-0062, ST2061-2062 Orchestral from disparate times and locations, RP0111-0112 Required Piano Repertoire for Viola we will become aware of a diversity of 1 hr weekly/1 credit per semester musical styles. Required Piano Faculty ST0071-0072, ST2071-2072 Orchestral Group instruction. Technical skills Repertoire for Violoncello PN2400 Beethoven, Brahms, Schubert include penta-scales, scales, chord 2 hrs weekly/2 credits/Spring semester progressions, harmonization, transpo- ST0081-0082, ST2081-2082 Orchestral Dr. O’Donohue sition and sight-reading. The level of Repertoire for Double Bass sight-reading is equivalent to rep- An exploration of the musical forces 2 hrs weekly/2 credits per semester ertoire from the texts Piano for the which contribute to the unique char- String Faculty acter of each work and to its unity. Developing Musician I, Ed. Hilley and Specific areas of focus: pace and ten- Olson.A final performance jury at the The study of significant works from

COURSE DESCRIPTIONS 75 the symphonic repertoire, stressing for Voice Majors 1-2 AS0871-AS0872 Graduate Aural Skills 2-3 stylistic approaches as well as tradi- 2 hrs weekly/2 credits per semester 2.5 hrs weekly/2 credits per semester tional orchestral techniques. Theory Faculty Theory Faculty This course will cover the same mate- These courses are a continuation of rial as AS0111/AS0112 (see above) with studies in ear training, sight-singing, MUSIC THEORY/AURAL SKILLS approaches designed for voice stu- rhythm, and dictation from AS0870. dents. They focus on advanced tonal chro- UNDERGRADUATE CORE maticism and modulation through AS0211-AS0212 Sophomore Aural Skills 20th Century techniques including The undergraduate Aural Skills core 1-2 atonal melody, alternative scales, and curriculum is a four-semester se- 2 hrs weekly/2 credits per semester complex rhythmic and harmonic quence of courses with special em- Theory Faculty structures. phasis on the interrelation with Music Theory. This course is a continuation of studies in ear training, sight-singing, AS0890 Graduate Aural Skills for Voice Majors 1 AS0111R-AS0112R Elementary Freshman rhythm, and dictation from the fresh- Aural Skills 1-2 man year. It focuses on advanced 2.5 hrs weekly/2 credits Theory Faculty 3 hrs weekly/2 credits per semester tonal chromaticism and modulation Theory Faculty through 20th Century techniques This course focuses on studies in ear including atonal melody, alternative training, sight-singing, rhythm, and This course is an introductory ap- scales, and complex rhythmic and dictation for voice majors. It will cover proach to ear training, sight-singing, harmonic structures. the same material as AS0870 (see rhythm, and dictation. It will cover above) with approaches designed for the same material as AS0111/AS0112 AS0201-AS0202 Sophomore Aural Skills voice students. (see below) at a pace designed for for Voice Majors 1-2 students needing preparatory work in 2 hrs weekly/2 credits per semester college-level aural skills. AS0891-AS0892Graduate Aural Skills for Theory Faculty Voice Majors 2-3 AS0111-AS0112 Freshman Aural Skills 1-2 This course is a continuation of 2.5 hrs weekly/2 credits per semester Theory Faculty 2 hrs weekly/2 credits per semester studies in ear training, sight-singing, Theory Faculty rhythm, and dictation for voice majors These courses are a continuation of from the freshman year. It focuses studies in ear training, sight-singing, This course focuses on studies in ear on advanced tonal chromaticism and rhythm, and dictation from AS0890 training, sight-singing, rhythm, and modulation through 20th Century for voice majors. They focus on dictation. It includes the writing, techniques including atonal melody, advanced tonal chromaticism and singing, and recognition of intervals, alternative scales, and complex rhyth- modulation through 20th Century scale degrees, melodies, chords, and mic and harmonic structures. techniques including atonal melody, harmonic structures ranging from alternative scales, and complex rhyth- diatonicism through simple chromati- AURAL SKILLS GRADUATE CORE mic and harmonic structures. cism (both melodic and harmonic) and modulation. Special emphasis is placed The graduate Aural Skills core cur- on conducting and form recognition. riculum is a three-semester sequence WRITTEN THEORY UNDERGRADUATE CORE of courses with special emphasis on The undergraduate Theory core cur- AS0101R-AS0102R Elementary Freshman the interrelation with Music Theory. riculum is a four-semester sequence Aural Skills for Voice Majors 1-2 of courses devoted to various analytic 3 hrs weekly/2 credits per semester AS0870 Graduate Aural Skills 1 approaches to music of the Middle Theory Faculty 2.5 hrs weekly/2 credits Ages through the 20th Century with Theory Faculty special emphasis on the interrelation This course is an introductory ap- with Music History and Humanities proach to studies in ear training, This course focuses on studies in ear and on performance practice. sight-singing, rhythm, and dictation training, sight-singing, rhythm, and for voice majors. It will cover the same dictation. It includes the writing, material as AS0111/AS0112 (see above) singing, and recognition of intervals, TH0001R Elementary Freshman Theory 1 at a pace designed for voice students scale degrees, melodies, chords, and 4 hrs weekly/3 credits needing preparatory work in college- harmonic structures ranging from Theory Faculty level aural skills. diatonicism through simple chromati- The course will cover the same mate- cism (both melodic and harmonic) and rial as TH0001 (see below) including AS0101-AS0102 Freshman Aural Skills modulation. Special emphasis is placed theory rudiments at a pace designed on conducting and form recognition. for students needing preparatory work

76 COURSE DESCRIPTIONS in college-level theory. works, genres, and forms (fugue, so- tion of textural, instrumental, and nata form, character piece, Lied) will formal principles of composition from TH0001 Freshman Theory 1 be undertaken. Medieval music to music of the 20th 3 hrs weekly/3 credits century. Theory Faculty TH0003.LC Sophomore Theory Lecture 1 THEORY ELECTIVES This course provides a systematic 1 hr weekly/1 credit introduction to the musical charac- Theory Faculty teristics of Medieval and Renaissance The Theory Lectures intend to high- TH2001-TH2002 Advanced Music. The class involves writing light relationships of music-theoret- Ear-Training 1-2 (species counterpoint) and analysis of ical issues discussed in TH0003with 2 hrs weekly/2 credits per semester musical examples by a wide range of issues of the other arts, philosophy, Dr. Biggs composers. and science. This course is an advanced study in ear-training and sight-reading. It TH0001.LC Freshman Theory Lecture 1 TH0004 Sophomore Theory 2 includes techniques for hearing and 1 hr weekly/1 credit 3 hrs weekly/3 credits performing in chromatic and atonal Theory Faculty Theory Faculty idioms, as well as strengthening sight- The Theory Lectures intend to This course is a study of the melodic, and score reading and ensemble skills highlight relationships of music-the- harmonic, rhythmic, contrapuntal, in all styles. oretical issues discussed in TH0001/ and formal innovations of the 20th TH0001R with issues of the other Century beginning with Late Roman- TH2011-TH2012 Ear-Training arts, philosophy, and science. ticism and Impressionism and moving Pedagogy 1-2 through recent developments. De- 2 hrs weekly/2 credits per semester TH0002R Elementary Freshman Theory 2 tailed analysis of representative works This course is a study of principles, 4 hrs weekly/3 credits will be undertaken. methods, and materials in the teach- Theory Faculty ing of aural skills on the adult level. TH0004.LC Sophomore Theory Lecture 2 This course will cover the same mate- It requires observation and practice rial as TH0002 (see below) at a pace 1 hr weekly/1 credit teaching. designed for students needing prepara- Theory Faculty tory work in college-level theory. The Theory Lectures intend to high- TH2060 Harmonic Science, Harmonic light relationships of music-theoreti- Practice TH0002 Freshman Theory 2 cal issues discussed in TH0004 with 2 hrs weekly/2 credits/Spring semester 3 hrs weekly/3 credits issues of the other arts, philosophy, Dr. Macdonald Theory Faculty and science. A class for students who have enjoyed This course stresses an understand- the study of harmony in their under- GRADUATE THEORY CORE ing of Common Practice diatonic and graduate curricula and want to learn chromatic harmonic procedures and The graduate theory core curriculum more about the subject. The course four-part writing, including an intro- is a two-semester sequence of courses examines both (1) the rationales be- duction to formal analysis. devoted to various analytical ap- hind various theories of harmony and proaches focusing on the Middle Ages, also (2) harmonic practice itself in the TH0002.LC Freshman Theory Lecture 2 Renaissance, Baroque, Classical, Ro- works of 17th, 18th and 19th century composers. Course Prerequisite: 1 hr weekly/1 credit mantic, and 20th century with special Freshman Theory (TH0002). Theory Faculty emphasis on a systematic approach and on performance practice. The Theory Lectures intend to TH2131 Beethoven Piano Sonatas highlight relationships of music-the- TH0800 Graduate Theory 1 2 hrs weekly/2 credits oretical issues discussed in TH0002/ Dr. Yui TH0002R with issues of the other 2.5 hrs weekly/2 credits arts, philosophy, and science. Theory Faculty This course focuses on the analysis This course is a review of the evolution of representative piano sonatas from TH0003 Sophomore Theory 1 of tonal, rhythmic, and formal prin- each period, with particular attention to performance problems, including 3 hrs weekly/3 credits ciples of composition from Medieval tempo, dynamic range, use of pedal, Theory Faculty music to music of the 20th century. innovative effects, and Beethoven’s As a continuation of TH0002, this TH2883 Graduate Theory 2 striking use of harmony. Student per- course examines examples from Ba- formance is encouraged. roque counterpoint to the harmonic 2.5 hrs weekly/2 credits Theory Faculty language of the late 19th century. TH2132 Beethoven String Quartets Detailed analysis of representatives This course is a review of the evolu- 2 hrs weekly/2 credits

77 Dr. Fueting This course is an investigation into the these works, and a Mid-Term and Final This course focuses on the analysis of elements that distinguish Baroque, Examination. representative string quartets, with Classical and Romantic styles as well particular attention to the evolution of as an examination of the idiosyncra- TH2807 Development of the Concert musical form as well as musical sources sies of personal style within each of Mass and Cantata and influences. Class performances these musical periods. It also includes 2 hrs weekly/2credits/Spring semester will highlight specific musical aspects. a survey of non-Western styles and a Mr. Vassiliades discussion of related philosophies. This course is an in-depth examination TH2161-TH2162 20th Century Music 1/2 of two towering masterpieces of J.S. TH2630 Counterpoint 2 hrs weekly/2 credits per semester Bach: The Mass in B Minor and the St. Dr. Fueting 2 hrs weekly/2 credits Matthew Passion. After the mid-term, Dr. Andreacchi The fall semester concentrates on the masses and oratorios throughout the music of four composers: Debussy, This course is a survey of polyphonic Nineteenth and Twentieth centuries Ives, Schoenberg, and Stravinsky. The techniques of the Renaissance and are studied which follow in the shadow second semester begins with Bartók the Baroque periods, as well as more of these great works. Among these are and moves through the nationalist recent applications. Analysis and Haydn’s “The Creation,” the Berlioz and traditions to post-war developments. composition are integral parts of the Verdi Requiems, Britten’s War Requiem, Performance is a required part of class course. and the Bernstein Mass. assignments. TH2691-TH2692 Orchestration 1/2 TH2171-TH2172 Theory Pedagogy 1/2 2 hrs weekly/2 credits per semester SKILL STUDIES 2 hrs weekly/2 credits per semester Dr. MacDonald Dr. Andreacchi This course focuses on the study of PT0100 Foundations of Critical Inquiry 3 hrs weekly/3 credits This course is a study of principles, instrumentation, arranging, and scor- Dr. Green methods, and materials in the teaching for instrumental ensembles and ing of music theory on the adult level. orchestra. Fall semester: Woodwinds This course investigates these inter-re- It requires observation and practice and brass Spring semester: Strings, lated questions: What is true criticism- teaching. harp, timpani, full orchestra. -in art and in life? What makes a person an honest and valuable critic? And TH2701-TH2702 Creative Spirituality 1/2 what can interfere with a person being TH2240 Italian Voices 2 hrs weekly/2 credits per semester an accurate judge of value? Classic 2 hrs weekly/2 credits/Fall semester Dr. Andreacchi texts are studied, including Pope’s 1711 Dr. Marchettini This course includes lecture-dem- Essay on Criticism, Siegel’s 1922 essay Focusing exclusively on Italian vocal onstrations exploring the relation of The Scientific Criticism, and Six Names music, this course will explore how music to mythology and ritual, from of Beauty by Sartwell (2004). The the diverse Italian musical tradition ancient to modern, from Eastern to varying perspectives on criticism had changed, and developed throughout Western. Performance is an integral by different disciplines--including eco- the centuries, from the Renaissance part of the course. Topics will range nomics, psychology, and anthropolo- to the present. The course will show from Gregorian chant to Tibetan mys- gy--are considered, and examples of how the inevitable changes in the style tic song. recent writing in these disciplines are did not prevent the Italian music to evaluated. Throughout, students study keep certain constant elements. These TH2740 Bach and Variation Through the relation of these various texts to specific elements allow the listeners to Counterpoint the art of music: from Beethoven to the find a peculiar quality, in the Italian 2 hours weekly/2 credits/Fall semester Beatles, Wagner to Gershwin, Stravin- Renaissance, and Baroque polyphony, Mr. Vassiliades sky to Hip-Hop, Mozart to the compos- in the Classical and Romantic Italian ers of contemporary film scores. This course examines in depth three Opera, until the eclectic approach to late esoteric works of J.S. Bach: The vocal writing in the Italian contempo- PT1050 Arts and Education Training Goldberg Variations, A Musical Offer- rary music. 2 hrs weekly/2 credits/Spring semester ing, and Art of the Fugue. Additional Ms. Charnow works will include the Fourteen Can- ons on the Goldberg Bass, and other Open to undergraduate and gradu- TH2350 Musical Styles short works of J.S. Bach. Class partici- ate students of all majors, this course 2 hrs weekly/2 credits pation includes in-class performances, provides training for students inter- Dr. Andreacchi the composing of short pieces after ested in becoming teaching artists or music teachers. Students enrolled in

78 COURSE DESCRIPTIONS this course will observe, compare and A study of the Alexander Technique Ms. Charnow evaluate music education programs in and its application to playing/singing. Students in this course will be in- New York City schools. Addresses both individual and univer- troduced to the basic fundamentals sal physical habits that deter easeful, of teaching music in a children’s PT1200 Community Outreach for healthy performing. Taught through classroom setting. The course will Musicians hands-on work, reading, anatomy, and cover: lesson planning and curriculum 2 hrs weekly/1 credit/Spring Semester application of the technique while development for a general music class- Ms. Charnow performing. Short individual sessions room; the methodologies of Kodaly, Students in this course will learn how in addition to group class. Open to Orff, and Dalcroze Eurhythmics; to create and present effective, inter- undergraduate and graduate students early childhood music and movement; active, and meaningful performances of all majors. recorder pedagogy; teaching music to for underserved outreach audiences. children with special needs; classroom Lectures will focus on music and the PT1622 Advanced/Intermediate management resources; assessment. brain, memory, and healing. Guest Alexander Technique Open to graduate students of all ma- speakers will include experts in the 1 hr weekly/1 credit per semester jors; junior/seniors with permission of field of gerontology, Alzheimer’s Ms. McCrane instructor. Disease, developmental disabilities, A small group class focused on the ap- and music therapy. Students will plication of the Alexander Technique PT2800 Biomechanics/Ergonomics for perform at various local community to making music. Frequent playing Performers venues including hospitals, senior opportunities, reading, hands-on work. 2 hrs weekly/2 credits per semester residences, and Alzheimer’s facili- Frequent short individual sessions Dr. Hsu ties. This is an elective course open to in addition to group class. Open to undergraduates and graduates. A class designed to help instrumental- undergraduate and graduate student ists develop peak performance skills of all majors. Prerequisite: PT1620 or PT1430-1431 Cello Pedagogy and that will cover basic physiology comparable experience with tech- as it relates to performers, anatomy 2 hrs weekly/2 credits each semester nique. Ms. Feldman (upper body), anxiety reducing techniques, and ergonomics/biomechanics A graded study of teaching techniques PT2011-2012 Advanced Teaching with practical application for each and repertoire from beginning to ad- Techniques instrument. Open to graduate and vanced playing levels. Full year course. 2 hrs weekly/2 credits per semester undergraduate students of all majors. Dr. Aicher PT1500 Curricular Practical Training An exploration of teaching and learn- .5 credit per semester ing strategies. How students learn VOICE, OPERA AND Appropriate Department Chair problem solving, motivation, assess- RELATED STUDIES This course is designed to allow a ment; with practical application to student to participate in exceptional, the methodology of studio teaching Major Lesson: 1 hr weekly off-campus performance experiences for all instrumentalists. How to maxi- 3–6 credits per semester such as orchestral/chamber music, mize results from beginners through solo concerts, church accompanying, advanced students. Open to graduate FR0100-0200 French Diction students of all majors. Non-sequential music teaching, and internships, as an 2 hrs weekly/2 credits each semester semesters. opportunity to enhance their perfor- Ms. Jourdois/Ms. Stanescu/Mr. mance skills as an integral part of their Muraco individual degree programs. The indi- PT2061-2062 Performance Techniques vidualized project must be approved 2 hrs weekly/2 credits per semester Intensive drill in French diction as by the appropriate Department Chair, Dr. Aicher applied to singing. Thorough study of phonetics with the IPA. Textual and the Dean of Academics Affairs, and, A class for performers that will in the case of international students, literary analysis of songs and arias. cover: anxiety-reducing techniques, Recitation with awareness of reso- the International Student Advisor. At concentration, and memorization the end of the semester, the student nance, phrasing, expressivity as direct techniques, skills for developing peak preparation to French style of singing. must present a formal, written report performance. Advanced repertoire on the project, which will be evaluated Basic language study. Final public will be explored. Open to graduate and concert. by the Department Chair. The course is undergraduate students of all majors. graded Pass/Fail. Non-sequential semesters. GR0100-0200 German Diction PT1620 Alexander Technique 2 hrs weekly/2 credits each semester PT2101 Fundamentals of Music Dr. Neubert 2 hrs weekly/2 credits per semester Education Ms. McCrane 2 hrs weekly/2 credits/ Fall semester Basic grammar; intensive exercise in 79 diction, both spoken and sung; atten- ment of the art song in France. Prereq- cally for opera singers. Standard dance tion to phonetics and the international uisite: Junior Standing. styles and forms of the 19th-century phonetics symbols; individual assign- repertory will be studied. (May be ments in the preparation and perfor- VX0900 Introduction to Performing repeated for credit.) mance of songs in class. The use of 2 hrs weekly/1 credit/Fall Semester diction as an interpretive tool. Ms. Marlow VX1833-1834 Advanced Movement A survey course introducing the young 2 hrs weekly/1 credit per semester IT0100-0200 Italian Diction singer to the many facets of a career Mr. Patrelle Mr. Morton in performing. Topics to be covered The advanced movement is a real 2 hrs weekly/2 credits each semester include stage make-up, audition tech- dance class. The students do a series of Basic grammar; vocabulary building; niques, managers and agents, termi- stretches on the floor that enables them intensive exercises in diction, both nology and traditions of the theater, to warm up their bodies and accustoms spoken and sung; attention to phonet- résumé construction and others as them to moving with others in a musi- ics and the international phonetic time permits. cal fashion. It also begins the process symbols; reading and study of poetry VX1090 Accompanying Seminar of remembering repeated exercises and and song texts; individual assignments 2 credits per semester learning new ones so as to prepare them in the preparation and performance of Accompanying Faculty to retain staging and choreography in songs in class. rehearsals. Students learn a beginning A weekly meeting of accompanying ballet barre that enables them to musi- EN0100-0200 English Diction majors which will explore accompa- cally control their bodies helping them 2 hrs weekly/2 credits each semester nying and vocal and instrumental to work consistently. Students learn Dr. LaBouff coaching techniques, emphasizing movement styles from different periods the interaction between partners and including baroque, classical, romantic, The study of sounds, structure and the musical style and performance and twentieth century. We emphasize stress patterns of English to achieve problems in a wide range of instru- walking, sitting, standing, and fall- maximum clarity and interpretive mental and vocal repertory. (Open to ing. Specific dances taught include values in the performance of English accompanying majors or by invitation of the waltz, polka, minuet, polonaise, vocal materials. International Pho- instructor) mazurka, Czardas, tarantella, tango, netic Alphabet required. (There is a foxtrot and swing (jitterbug). special section for Voice majors whose native language is not English.) VX0901-0902 Acting VX1875 Recitative VX0320-0330 English and American 2 hrs weekly/1 credit per semester 2 hrs weekly/2 credits per semester Vocal Literature Ms. Marlow An in depth, detailed study of how to 2 hrs weekly/2 credits per semester Basic techniques used in acting for prepare Italian recitative from Händel Ms. Charney/Mr. Sperry opera and theater. Designed especially thru Verdi, both secco and accompagnato. The process begins with dramat- A survey through performance and for Voice majors contemplating a ca- ically reading the text in the singers discussion of the origins and devel- reer on the stage. In-depth character native language, then in English (if opment of the art song in the Brit- study and stage techniques will be the his/her native language is not English) ish Isles and the United States, plus focus of this class. Seniors only or by then in Italian using Nico Castel’s non-American, non-British song in permission of instructor. books as a primary source for transla- English. Prerequisite: Senior Standing. VX1350 Preparation for Operatic Roles tion and IPA. Once the Italian is au- thentic, we work on how to be expres- VX0420 German Vocal Literature 2 hrs weekly/2 credits per semester Ms. Dunn sive in the language, paying attention 2 hrs weekly/2 credits to word stress and the variety of ways Mr. Merrill This course provides a game plan to learn an opera role from the beginning one can sing a secco recitative in terms A survey through performance and of the score musically and dramati- of tempo, color, rubato, appoggiature, discussion of the origins and devel- cally. Diction is included, as well as and how to interpret the composer’s opment of the German art song in translation and presentation. It is a intentions regarding rhythm. Germany and Austria. Prerequisite: “how to” learn new repertoire as well A method for study and preparation Junior Standing. as fine tune the old. of opera and oratorio recitative (secco and accompagnato) with an emphasis VX0550 French Vocal Literature VX1831-1832 Movement for Singers on 18th century Italian works and 2 hrs weekly/2 credits 2 hrs weekly/1 credit per semester performance practice. Text communi- A survey through performance and Mr. Patrelle cation of musical-dramatic content/in- discussion of the origins and develop- Movement and dance designed specifi- tent based in translation and transferal of those skills to music. The course is offered to singers and Beydts, Messian, etc. The pieces will be pianists interested in accompanying vo- assigned with care for each singer’s voice GRADUATE COURSES cal music. Its objectives include: acquire type and sensitivity. The poems are to a working knowledge of Russian vocal be given as much weight as the music, as EN2101-2102 Graduate English Diction sounds and their IPA symbols; survey an intrinsic part of the composition, and 2 hrs weekly/2 credits per semester works by historically significant Russian 99% of the time source of its inspiration. Dr. LaBouff art song, opera and oratorio composers; The singer and pianists are to be treated practice through performance making as a team. The material presented IT2101-2102 Graduate Italian Diction Informed Choices when interpreting will be coached by the instructor in a 2 hrs weekly/2 credits per semester sample Russian vocal compositions. master-class setting, as well as discussed, Mr. Morton compared and commented on by the VX2500 The Beauty and Wit of entire class. FR2101-2102 Graduate French Diction American Song Also listed as PN2701. Mr. Muraco/Ms. Stanescu 2 hrs weekly/2 credits/Spring semester 2 hrs weekly/2 credits per semester (Performance Class) VX2901-2902 Advanced Acting Mr. Sperry 2 hrs weekly/2 credits per semester GR2101-2102 Graduate German Diction A performance class focusing on gifted, Mr. Diamond 2 hrs weekly/2 credits per semester living, American classical song compos- Advanced Acting is a lab in which we Dr. Neubert ers including Tom Cipullo, Daron Ha- practice working with various tools to gen, Lori Laitman, Libby Larsen, John These special courses are designed for hone dramatic technique and role prepa- Musto, and Stephen Paulus as well as graduate students in order to review the ration. This class is not music-oriented. lesser known songs by Richard Hundley, principles of language for singers and to The repertoire for class will be taken Lee Hoiby, and Dominick Argento. have intensive drill in diction. Individual from play texts, scenarios, and poetry. assignments in the preparation and per- Over the course of the year, the class VX2600 How to Plan a Song Recital formance of songs. Graduate Prerequisite: will focus on Action and Circumstances 2 hrs weekly/2 credits/Spring semester Two graduate-level Language for Singers (Chekhov and Ibsen), heightened lan- (Performance Class) classes. guage and scene work (Ibsen & Shake- Mr. Sperry speare), and physical choices. Open to The course will focus on how to develop graduate voice students, composers and collaborative pianists. VX2051-2052 Graduate Diction an effective program and how to per- Performance form it successfully. Issues to be studied and discussed: how to choose repertoire VX2903-2904 Acting Techniques for Opera 2 hrs weekly/2 credit per semester appropriate for a specific voice, how to and Musical Theater Mr. Muraco develop a personal repertoire, how to 2 hrs weekly/2 credits per semester An in-depth exploration of the details prepare songs for performance, how to Ms. Levine in singing Italian, French, and German tailor a concert for a specific audience or The class deals with improvisation, in through the vocal repertoire, operatic venue, thematic programming. partnership with others, so that the and non-operatic. Each person is given students can learn to truly listen and individual attention in order to sing VX2701 French Art Song for Vocalists and respond—qualities which they must bring idiomatically in these languages as well Pianists to written operas and musicals where the as being coached in many styles. 2 hrs weekly/2 credits/Spring semester timing is determined by the composer. Ms. Stanescu We examine the acting techniques de- VX2151-2152 Advanced Vocal Literature This class covers French song repertoire, veloped by Uta Hagen, Sanford Meisner 2 hrs weekly/2 credits per semester from the beginning of the (19th and others. Students collaborate on Mr. Merrill mélodie century). Spring Semester 2014: Berlioz short scenes from operas and musicals in A comprehensive study of vocal litera- to Debussy. Spring Semester 2015 - De- addition to bringing in projects they are ture from the point of view of perfor- bussy to Messiaen. currently working on. mance, style, practice, and pedagogical The first semester will create a sound approach of the solo vocal repertoire foundation for the interpretation of VX2905-2906 Advanced Acting 2 in all languages. Prerequisite: FR0100, French style by studying pieces by 2 hrs weekly/2 credits per semester GR0100, IT0100, and EN0100 or the Berlioz, Duparc, Chausson, Bizet, Fauré, Mr. Diamond equivalent. Also listed as Mh2151-2152. etc. The second semester will enrich Advanced Acting 2 is a lab which focuses the knowledge of the repertoire with on a more in depth study of acting tech- VX2155 Russian Diction and Vocal masterpieces of the 20th century, as well niques as introduced in Advanced Acting Literature as explore lesser-known repertoire. We I, while emphasizing the physicality of 3 hrs weekly/3 credits/Spring semester will perform pieces by Debussy, Ravel, the performer in character development. Mr. Pakman Hahn, Poulenc, Enescu, Boulanger, Essentially, a study in this “Physical Roussel, Canteloube, Mihauld, Satie, Actions”. The class is divided into three parts: Part 1: General exploration of Physical Actions; Part 2: Scene work with text (Shakespeare); Part 3: Scene work with Text (Goldoni). Open to graduate voice students, composers and collaborative pianists who have taken Advanced Acting 1.

VX2907 Stagecraft in Opera and Song 2 hrs weekly/2 credits per semester Ms. Putnam Singers will learn the basic skills of Stagecraft and how to apply them to Operatic and Recital repertoire through movement, gesture, and facial expression. Challenges to be addressed will be acting the extended moments inherent in music, sustaining dramatic choices in slower tempos, and expanding expression for larger performing spaces. Entrance by audition.

WOODWINDS Major Lesson: 1 hr weekly 3–6 credits per semester

SX0100 Freshman/Sophomore Performance Class 2 hrs weekly/1 credit per semester Dr. Cohen Required for all freshman and sophomore classical saxophone majors. A forum for the discussion and investigation of topics related to the saxophone, including its history, acoustics, technique, and repertoire. Performance opportunities in both classical music and jazz are an integral part of the class.

SX0200 Advanced Level Saxophone Repertoire and Performance Class 2 hrs weekly/2 credits per semester Dr. Cohen Required for all junior and senior classical saxophone majors. A continuation of SX0100, this class is a further investigation of saxophone repertoire. In-class performance is required.

SX2200 Graduate Level Saxophone Repertoire and Performance Class 2 hrs weekly/2 credits per semester Dr. Cohen Required for all graduate classical saxophone majors. This class is a further investigation of saxophone repertoire.