2021-2022 Course Catalog

(last updated August 25, 2021)

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

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

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

2 TABLE OF CONTENTS Course Catalog Policy 4 Professional Studies Certificate Program 79

History of the School 5 Dual Degree Program 83

Academic Calendar 7 Doctor of Musical Arts 85

Office of Student Accounts 9 Artist Diploma 90

Tuition and Fees Course Descriptions

Office of the Registrar 11 Brass 91 Collaborative Piano 91 Registration Procedures Composition 91 Academic Regulations Conducting 93 Degree Programs and Curriculum 27 Contemporary Performance 94 Doctoral Program 96 Departments by Major Guitar 97 Brass 30 Harp 98 Collaborative Piano 33 Humanities 98 Composition 35 English as a Second Language 103 Conducting 38 Entreprenuership 103 Contemporary Performance 40 Jazz 104 Guitar 42 Music History 110 Harp 44 Musical Theatre Curriculum 114 Jazz Arts 46 Orchestral Performance 119 Musical Theatre 51 Organ 119 Orchestral Performance 53 Percussion 119 Organ 56 Performance 120 Percussion 58 Piano 122 Piano 60 Strings 125 Strings 63 Musical Theory/Aural Skills 125 Pinchas Zukerman Performance Program 68 Skill Studies 129 Voice 71 Voice, Opera and Related Studies 130 Woodwinds 75 Woodwinds 133

Table of Contents 3 COURSE CATALOG POLICY This Course Catalog Policy serves procedures for their particular including the conversion of some to familiarize all undergraduate, degree or certification programs. or all coursework or business to graduate, and doctoral students remote instruction or remote with Manhattan School of In addition, the entire campus operations; (2) modifying, Music’s academic policies and community must recognize postponing, or temporarily procedures as of September 1, that the current COVID-19 eliminating academic course 2021. A department or program pandemic is likely to continue offerings, program requirements, may adopt more specific policies to challenge the operations, as clinical assignments or or procedures applicable to the well as the health and safety, experiential learning, access to particular program of study. of our community. The School facilities, student activities, and Together, the policies and publicizes its current plans other services; (3) postponing or procedures set forth in this and expectations on the MSM adjusting extracurricular activities Catalog and in program-specific website. All students must and offerings; (4) changing or policies constitute your resource comply with these guidelines, and adjusting semester schedules, guides regarding the academic may include completing a daily examination schedules, teaching requirements of the School. health questionnaire as part of and academic counseling our shared responsibility to help assignments, and grading The policies and procedures protect the health and safety protocols; and (5) otherwise in this Catalog are subject to of the community. If, following changing or adjusting academic modification, revision, and a campus judicial hearing, a operations and student activities updates at the discretion of student is found to have violated when such modifications are the School or the program in these campus safety protocols, deemed to be in the best interests question, to comply with evolving a sanction up to and including of the students and the health accreditation standards and best suspension or dismissal may be and safety of the greater campus practices in the best interests imposed, without refund. community. Any changes to the of the MSM community. These learning environment for this policies and procedures do not Manhattan School of Music reserves the right to change academic year (2021-2022) will not constitute a contract, do not result in a reduction of tuition reflect binding commitments or alter its programs, services, methods of delivering course and fees because instruction, by MSM, and may not be relied academic credit, and non- upon as such. Manhattan School content, schedules, safety guidelines, and operations to academic services will nonetheless of Music will notify students be provided to students, whether when policies or procedures are respond to the evolving needs of the campus community. These in-person, remotely, or in a revised, but students also have hybrid environment. a responsibility to stay current changes may include: (1) adjusting on the applicable policies and the method of delivering course content, curricula, or services,

Return to Table of Contents 4 Course Catalog Policy MISSION AND HISTORY OF THE SCHOOL

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

Return to Table of Contents History of the School 55 national reputation. By 1943, the 1976; Gideon W. Waldrop was Program and, in 2010, the School offered the Bachelor’s appointed in 1986; and Peter innovative Center for Music degree; advanced degree C. Simon in 1989. Entrepreneurship, as well as the programs soon followed. addition of the Solomon Gadles Marta Casals Istomin, former Mikowsky Recital Hall, a new In 1956, Dr. Schenck retired director of the Kennedy Center state-of-the-art recital space. and John Brownlee, noted for the Performing Arts, served Metropolitan Opera baritone, as president of the School from Under the current leadership was appointed director, a title 1992 until 2005. Her tenure saw of Dr. James Gandre, who later revised to president. the construction of the G. Chris assumed the presidency in President Brownlee initiated and SungEun Andersen Residence May 2013, Manhattan School the idea of relocating the School Hall, which opened in 2001. In of Music continues to uphold to the Morningside Heights addition to student housing, the mission that Janet Schenck neighborhood; his death occurred Andersen is home to the William began over 90 years ago. Now only months before his efforts R. and Irene D. Miller Recital home to 950 students from over were realized. In 1969, George Hall and the Alan M. and Joan 40 countries, the School is a Schick, Metropolitan Opera Taub Ades Performance Space; thriving international community conductor, accompanist, and the Peter Jay Sharp Library; and of artists. As MSM continues to distinguished opera coach, 108 practice spaces. Dr. Robert grow, its focus remains the same: succeeded Brownlee as president Sirota, appointed president in the education of tomorrow’s and led the School’s move to 2005, oversaw significant growth leaders in the arts. its present location. John O. at Manhattan School of Music Crosby, founder and general during his seven-year tenure, director of the Santa Fe Opera, instituting the critically acclaimed was appointed president in Contemporary Performance

Return to Table of Contents 6 History of the School ACADEMIC CALENDAR 2021–22 FALL June 14–18, 2021 October 22, 2021 Placement and Qualifying Exams Last day to withdraw from a for Fall 2021 (online) Fall 2021 Semester class July 1, 2021 November 4–6, 2021 Official first day of the Fall 2021 Semester Friends & Family Weekend August 30, 2021 November 24–28, 2021 Andersen Residence Hall opens Thanksgiving recess for students and faculty for new students. Orientation Week begins November 24–26, 2021 September 1, 2021 Administrative offices closed Andersen Residence Hall opens at 10 am for for Thanksgiving holiday returning Voice and Musical Theatre students December 1, 2021 September 2, 2021 Admissions applications due date (2022-2023) Andersen Residence Hall opens at 10 am for all returning students. In-Person Classical Voice and December 13–17, 2021 Musical Theatre auditions begin Finals Week/Final week of classes September 3, 2021 December 17, 2021 In-Person Classical Instrumental Last Day of Fall 2021 Semester activities and Jazz auditions begin December 18, 2021 September 6, 2021 Andersen Residence Hall closes at 12 pm Labor Day holiday (administrative offices closed) December 18, 2021–January 11, 2022 September 8, 2021 Winter recess First day of academic classes for the Fall 2021 Semester January 3, 2022 New Yea r's Day (observed) September 8–17, 2021 Add/drop period January 4, 2022 Administrative offices reopen

Return to Table of Contents Academic Calendar 7 SPRING January 11, 2022 May 10, 2022 Andersen Hall re-opens Last day of Spring 2022 Semester classes January 12, 2022 May 11–18, 2022 First day of classes for the Spring 2022 Semester Jur y Week January 12–19, 2022 May 18, 2022 Add/drop period Move-out day for Andersen Hall residents (non-graduating students only) January 17, 2022 Martin Luther King Jr. Day. May 19, 2022 No classes and administrative offices closed Commencement February 25, 2022 May 19, 2022 Last day to withdraw from Last day of Spring 2022 Semester Spring 2022 Semester classes May 20, 2022 February 25–March 4, 2022 Move-out day for Andersen Hall Audition Week (graduating) residents by 12 pm February 26–March 13, 2022 May 20 & May 21, 2022 Spring Break (No Classes) Second admission audition period for select majors as available, for Fall 2022 entrance May 4–10, 2022 *Dates are subject to change. Finals Week/Final week of classes

Return to Table of Contents 8 Academic Calendar OFFICE OF STUDENT ACCOUNTS The Office of Student Accounts Regular Single: $14,720 Course Audit (See Office of the provides information on Registrar): $500 Premium Single: $15,430 important documents and Damage/Judicial Fines: TBA payment procedures, policies Meal Plan and payment plans on its Graduation Fee: $125 website at msmnyc.edu/campus/ All students are required to student-accounts/. participate in a declining balance Qualifying Examination Fee meal plan; the amount of the (per exam): $35 plan is different for commuting I.D. Replacement Fee: $45 TUITION AND FEES students and students residing Confirmation Fee in the residence hall. The charge Postage Fee (International Newly admitted students are for the meal plan will be on the Students Only): TBA student’s invoice and the monies required to submit a non- Transcript Fee ($10 per copy) refundable $500 fee upon will be applied to their ID card. notice of their acceptance The annual cost of the meal plans Returned Check Fee (insufficient to Manhattan School of are as follows: Funds): $30 (After we receive Music. This fee represents Commuting Students: $298 a returned check, personal confirmation of enrollment. checks will not be accepted from Resident Students the student or parent for one Tuition Brronze: $2,850 Academic Year) Silver: $3,990 Tuition for all Degree and Gold: $5,550 Diploma Programs: $49,850 BARNARD Student Health Insurance (annual Annual Fees (required of all SURCHARGE fee, administered by Student students unless otherwise noted) For those students wishing to Engagement): $2,755 take elective courses at Barnard General Student Fee: $850 Doctoral Program Fees (Doctoral College, a tuition surcharge will per academic year Candidates only) apply. A charge of approximately (billed as $495 per semester) $110 per credit for Barnard Thesis Research Fee: $1,200 courses, in addition to the Housing Costs (per semester) regular MSM tuition, will be added to the account. Currently Housing Fee: $300 Thesis Examination Fee: $120 only undergraduate students For those students residing in Other Fees (Non-refundable, Charged are eligible to take courses at Andersen Hall, the following Where Applicable) Barnard College. room rates apply: Application/Audition Fee: $125 Triple Room: $8,900 Credits Exceeding Degree Credit Standard Double: $10,790 Limits (per credit): $750

Return to Table of Contents Office of Student Accounts 9 STUDENT USE classes are required to complete EFFECTS ON the appropriate form located OF MANHATTAN in the Office of the Registrar. FINANCIAL AID SCHOOL OF MUSIC The Registrar will determine Students receiving federal financial aid funds that withdraw FACILTIES the official date. After the first day of classes, all students will or cease attendance through Tuition payment provides acess be responsible for a portion a leave of absence during the to Manhattan School of Music of tuition and housing. The semester are subject to The facilities only when classes are tuition due will be based upon Return of Title IV Funds in session, and does not include the following schedule (any regulation. For a list of federal the intercessions or summer over payment will be refunded funds falling under this regulation vacation. College students have by mailed check): and more information about this limited access to Manhattan process, please visit financial 20% within the f School of Music facilities on most aid. If you have any questions, irst two weeks Saturdays, when the Precollege please contact the Office 40% within the third week Division is in session. Manhattan of Financial Aid. School of Music reserves the 60% within the fourth week right to enforce rules for facilities 80% within the fifth week usage at all times. 100% after the fifth week Nonrefundable charges: Arrangements must be made Registration, general student with the Director of Residence fees, health insurance, late fees, REFUNDS/LEAVES Life regarding refunds of meal plan fees, graduation fees OF ABSENCE AND housing charges. and certain Other Fees are WITHDRAWALS non-refundable. Students who wish to file a Leave of Absence or Withdrawal notice after the first day of

Return to Table of Contents 10 Office of Student Accounts OFFICE OF THE REGISTRAR 1) Students returning after an are those working towards a REGISTRATION AND official Leave of Absence; or 2) degree or diploma. The School ACADEMIC STATUS A former student seeking to does not permit students to The Office of the Registrar pre- complete unfinished degree register for part-time status (less registers students for courses requirements and formally than 12 credits). Exceptions to according to their program readmitted by the institution. this policy are made for students requirements. It is the individual Such students should contact completing their last semester student’s responsibility, however, the Office of the Registrar in of undergraduate study, and to ensure that he or she is writing or by email and set up an otherwise on a case-by-case meeting those requirements in appointment with a counselor. basis. Applications for part- a timely manner. time status are available in the Undergraduate students Registrar’s Office. No student will be permitted to transferring to MSM may have attend classes or lessons until credits transferred from a payment of tuition and fees has previous school or schools to Undergraduate Status been made in accordance with Manhattan School of Music. Undergraduate status is the arrangements described in MSM will consider the transfer determined by the number of tuition and fees. of course credit with the grade of credits successfully completed C or above in Core Humanities or transferred: Registration for New Students courses and Humanities electives. 1–30 credits=freshman Credit for core Aural Skills, Permission to register for classes 31–60 credits=sophomore Keyboard Skills, Required 61–90 credits=junior is granted to new students and Piano, Music Theory, and Music former MSM students beginning 91+credits=senior History is granted on the basis of 120=minimum for graduation a new program only if they have placement exams administered been formally admitted through at the beginning of the student’s Major Teacher Change the Office of Admission and first semester. Financial Aid. Instructions and Teacher assignments are made materials for registration are Please refer to the Transfer Credit with great care and consideration available at the times designated Policy for information. for each student. Before for new student registration. MSM does not accept for transfer considering a teacher change, credit AP credits, college courses students should speak with either Registration for taken in high school which count the Department Chair or Dean Continuing Students toward the high school diploma, of Academic Affairs. Students nor courses which have been may initiate the request as early In April and November, all used to fulfill requirements of a as the preceding semester and current students who expect previous degree program. must submit the required online to continue their studies in the form no later than end of the following semester are required to For more information, see Transfer add/drop period of the term in register for classes. Credit Policy/Credit by Examination. which the change is to take place. Changes must be requested Registration for Returning Students Credit Limit before the end of the Add/Drop Returning students are defined as: Full-time students are defined period, and will only be accepted as those enrolled for 12 to 18 through completion of the credits. Matriculated students online form. Information may be obtained by emailing

Return to Table of Contents Office of the Registrar 11 [email protected]. After for a continuation of the split. of TH2883). The length of a a student changes teachers, Splits are ONLY approved for degree or diploma program may the former teacher is excluded lessons within the student’s be extended for students who from grading the student at major. Students who wish to are required to take elementary subsequent juries and auditions. study outside their major area can courses. Students required to In general, teacher assignments request non-major lessons, please take English Language courses are subject to change based on see instructions for a non-major should be aware that this may teacher availability. lesson request below. extend their program for one additional year or more. Split Teacher Program Change Before students are eligible to Students who wish to change Qualifying Examinations submit a split teacher request, their course of study from one If a student is already capable of they must first receive approval discipline to another must re- meeting the requirements for from the following: audition. Audition dates and a particular course, he or she 1. Current Teacher information on requirements may demonstrate proficiency 2. Request Teacher of a new program of study may through a qualifying examination. 3. Department Chair. be obtained from the Office Qualifying examinations are of Admission and Financial offered in Theory, Aural Skills, Once all the required permissions Aid. Information regarding Keyboard Skills (Piano, Organ, are received, the student can the transfer of credits from and Collaborative Piano majors request the official form by one program to another may only), Music History, Required emailing the Provost’s office be obtained from the Office Piano (non-keyboard and non- at [email protected]. An of the Registrar. guitar majors only), and fretboard approved request form will be harmony (Classical Guitar majors sent to the student, the student’s only). Applications for these current teacher, requested Placement Exams and Deficiency Courses examinations are available in the teacher, Department Chair, and Office of the Registrar. A fee is the Provost for signatures (in All new classical, jazz and charged for Theory, Aural Skills, that order). Once all required orchestral program students are Required Piano and Keyboard signatures are received, a copy required to take placement exams Skills examinations. of the completed form will in Theory, Aural Skills, Music be emailed to all signatories. History, sight-reading (Piano Students will be allowed to take The Registrar’s Office will also majors only), keyboard skills (non- a Theory/Aural Skills placement receive a copy to place in the Piano majors only), and fretboard and qualifying examination for student’s file. Split lessons must harmony (Classical Guitar majors a particular course only once. be requested before the end of the only). These exams take place Additionally, students may only Add/Drop period, and will only during summer before the fall qualify in Theory/Aural Skills be accepted through completion semester begins. courses one level at a time. of the online form. Information Notices of Qualification must may be obtained by emailing Students are required to complete be approved and submitted [email protected]. all elementary courses successfully to the Registrar’s Office by before registering for classes the appropriate department Please note: Split lessons are prescribed in their course chair before the end of the intended for a finite period of sequence plans. Elementary Add/Drop period. time. As such, requests are only courses become part of a student’s approved for a single semester degree or diploma program. or a single academic year. New They may not be used to fulfill requests must be submitted requirements (with the exception

Return to Table of Contents 12 Office of the Registrar Schedule Changes/ADD/DROP of W. See Academic Calendar The number of semesters of full- Period/Course Withdrawals for deadline. While the grade of time major lessons required of Students may request changes W does not affect the student’s transfer students is determined in their schedules only during grade point average, the course at the time of acceptance into the the Add/Drop and Withdrawal remains on his or her record, with school and is dependent upon the Periods listed in the Academic the student remaining responsible performance level at the audition. for the credit associated with the Calendar. No schedule changes Students who have completed are possible after the conclusion course. Failure to file a petition constitutes continued enrollment their major lesson requirement of the Add/Drop and Withdrawal but have not performed their Periods, unless approved in in the course, and the student is subject to the requirements and Graduation Project (Collaborative writing by the Provost. No Piano majors only), Concerto schedule change is considered responsibilities of the course. Failure to Withdraw or complete requirement (Piano majors only), official until it is processed by the Graduation Jury and/or Recital, Office of the Registrar. the requirements will result in a Failing grade.Deadlines and are required to register for half- Add: Courses may be added by regulations concerning dropped time lessons in order to prepare filing the appropriate forms in and withdrawn courses will apply. for the requirement. Half-time the Office of the Registrar during lessons are seven (7) sessions at three (3) credits for graduate the Add/Drop Period. In addition Elective Credits to the approved Add form, a students and two (2) credits for completed Permission to Enroll Elective credits are those undergraduate students. form and/or Over Credit form credits not distinctly specified may be required in some cases. in a particular major’s course Non-Major Lessons Only after the completed form(s) sequence. Electives are either Students seeking to take addition- have been filed in the Office of general or department-specific. al lessons outside of their major/ the Registrar may the student Students are allowed to take department, can request Non-Ma- officially enroll in the course. courses in other departments as jor Lessons (secondary lessons) for General Electives, as long as there a fee. Full time non-major lessons Drop: Non-required courses is space available in the course are 14 one-hour lessons in a semes- may be dropped by filing the for non-majors and they meet the ter for an additional $4000. Half appropriate forms in the Office pre-requisites. time non-major lessons are 7 one- of the Registrar during the Add/ Students are not permitted to take hour lessons in a semester for an Drop Period. Failure to file additional $2000. A student must the completed Drop Form will major lessons in order to fulfill elective credit requirements. first receive approval from the result in the student’s continued requested teacher and their de- enrollment in the course. partment chair. Then the student Continued enrollment without Lessons can email their intent to provost@ attendance will result in an Full-time lessons are scheduled msmnyc.edu. Once approved, the automatic Failing grade. for fourteen (14) one-hour official form will be sent to the Course withdrawals: Students sessions per semester. student, requested teacher, De- may withdraw from a course Undergraduate students are partment Chair, and the Provost after the Add/Drop period by required to take at least eight (8) for signatures (in that order). filing a petition in the Office semesters of full-time lessons, Once all required signatures are of the Registrar. An approved graduate and doctoral students are received, a copy of the form will Withdrawal results in a grade of required to take at least four (4) be generated and emailed to all W being applied to the course if semesters and professional studies the signatories. The Registrar’s request is made after the deadline and artist diploma students are Office will also receive a copy to withdrawal without a grade required to take two (2) semesters. to place in the student’s file and

Return to Table of Contents Office of the Registrar 13 Student Accounts will updated to do not approve auditing for than one Independent Study process the required fee. courses that are full and closed during his or her residency in any to students needing to take the program of study. Schedule of Classes course for credit. Class times are published in the Outside auditors are not STUDENT schedule of course offerings permitted. Only enrolled MSM available at registration, with students may audit MSM courses. EXCHANGE periodic updates. Under-enrolled PROGRAMS courses are subject to cancellation Students may audit one course MSM students are eligible to at any time during the first two for free per academic year. A apply for exchange programs with weeks of classes. fee of $500 is charged for each MSM partner schools. Applicants additional course audited in an for exchange programs should Barnard College Cross- academic year. be current MSM sophomores, Registration Program Courses taken as “Audit” are and exchange programs may be one semester or one year. Since A special program of cross- subject to the same add/drop/ requirements and length of study registration between Manhattan withdrawal deadlines as regular vary from one school to the next, School of Music and Barnard courses. As a reminder the last day please request information for College allows qualified MSM to add courses for Spring 2021 is specific programs from the Office Juniors and Seniors to have February 5, 2021. of the Provost. Applicants must access to the greater variety No grades are given; an AU is be in good standing at MSM and of academic courses taught indicated for auditing. must be able to complete required at Barnard. Students must be coursework and performance in good academic standing Students auditing courses are requirements at the exchange with a cumulative MSM grade there for observation only and institution as determined point average of at least 3.0. cannot participate in assignments, by the Exchange Program Registration for appropriate tests, or exams. Committee. Students may only Barnard courses must be be eligible for one semester approved by both the MSM and Students may not audit a course of foreign exchange study Barnard Offices of the Registrar. required for degree requirements. depending on their department's A surcharge of $110 per credit for If you have students currently curricular requirements. a Barnard course will be assessed auditing your course and it has not by the MSM Bursar. A Barnard been officially processed through MSM currently has international course may not be taken as pass/ the Registrar’s Office, please do exchange programs with the fail, and is subject to Manhattan so immediately as add/drop ended following schools: Royal College School of Music’s add/drop/ this past Friday, February 5, 2021. of Music (London); Paris withdrawal schedule. Consevatory, Royal Danish Independent Study Academy of Music (Copenhagen); Auditing Norwegian Academy of Music Independent Study provides the (Oslo); Sibelius Academy of All requests to audit must be student with an opportunity to Music (Helsinki, Finland); submitted and approved by engage in exceptional research Musikhochschule (Stuttgart); the Registrar. Approval of the projects. Independent Study Amsterdam Conservatory. instructor and department Forms are available in the Office chair is required. of the Registrar. Such requests Students pay tuition, health insurance (if not covered by the Students may petition to audit will be reviewed for approval by partner school), and all required a course for no credit if space the Registrar and the Provost. student fees at Manhattan School is available in the class. Please A student may take no more

Return to Table of Contents 14 Office of the Registrar of Music. Students are responsible academic assignments. Academic Probation for all living, travel and personal dishonesty is defined to include All students are expected to expenses. Manhattan School of any form of cheating and/or make good academic progress Music students are eligible to plagiarism. Disciplinary sanctions, throughout their degree studies, continue to receive their financial including lowered or failing and to advance artistically in their aid during their study abroad. grade, probation, or dismissal, professional musical training. The may be administered in cases To be considered for eligibility, Committee on Academic Progress involving academic dishonesty reviews all student records at a Manhattan School of Music or falsification of academic student must make a formal the end of each semester, and information. All allegations of will identify students who fall application. Applications and academic dishonesty will be information about deadlines below MSM’s academic or artistic referred to the Provost. In clear- standards (defined below). The and procedures is available cut cases, such as documented through the Office of the Committee has latitude to plagiarism, the Provost may offer judge the efforts and progress of Provost. To qualify for exchange a summary judgment, which will programs, students must: each student, comparing grades include sanction or mediation earned from one semester to the • Have a minimum designed to bring the matter to next, taking into account special G.P.A. of 3.0 a conclusion. In a case that has circumstances, and investigating • Have received a minimum received summary judgment, the issues with particular instructors. grade of A- on the student may appeal the decision The Committee can recommend most recent jury to the Dean’s Council. Also, probation, continuing or final • Have an academic the Provost may elect to bring probation, or dismissal. The advisement meeting with the case directly to the Dean’s Committee may also recommend the Registrar to plan and Council. The Council consists or require tutoring or counseling. confirm a course of study of three faculty members, who, • Represent the School along with the Provost and the For courses that are part of an in a positive and Dean of Students, will conduct MSM student’s professional enthusiastic manner a hearing and render an opinion. training, including lessons, Application materials will be The decision of the Dean’s ensembles and performance reviewed by members of the Council will be final. courses, students must maintain Exchange Program Committee a grade point average (GPA) of and candidates will then be Satisfactory Academic Progress at least 3.0. Any student who selected. The materials of the receives a grade of C or lower All students are expected to in any semester of lessons or MSM students who are selected maintain good academic progress will then be submitted to the ensemble will automatically be throughout their degree studies. placed on probation. partner schools, which will make Good academic standing includes the final determination of the a grade of at least B- in their For all non-performance academic candidate’s acceptance. major subject, performance courses, including humanities ensembles, and required ESL courses and classroom courses in ACADEMIC courses and grades of C or better music, students must maintain a in all other subjects. If a student GPA above 2.0. REGULATIONS fails to meet the requirements In addition to overall GPA, Academic Honesty for good standing, his or her repeated failure of required record will be brought under All students have an obligation courses may be grounds review by the Committee on to behave honorably and to for probation. respect the highest ethical Academic Progress. standards in carrying out their

Return to Table of Contents Office of the Registrar 15 Students with grades or GPAs far Attendance absences from lessons, classes, or below MSM’s standards, as well Regular and punctual attendance rehearsals may receive a lowered as students who have been on is required at all lessons, classes, or failing grade. Even in cases continuing or final probation, may and rehearsals. Faculty set the where absences are excused, it be subject to dismissal. specific attendance policies for may be necessary for a student to their courses, and publish these withdraw from a course because Dismissal policies in the course syllabus or of excessive absence. Grounds for dismissal include handbook. Any exceptions, such Private lessons constitute the unsatisfactory academic and/ as excused absences for reasons core performance study for or musical progress; any form of illness or other compelling every student. If a student needs of cheating and/or plagiarism emergencies, may be considered to cancel a studio lesson for or falsification of academic and granted at the discretion of any reason, the student should information; a failing grade in the individual faculty member. immediately inform the studio major lessons, jury examinations Absences due to illness must be teacher. In cases of documented and/or performance ensembles; reported by the student to the illness or other emergency, the and violation of the Standards of Office of Student Engagement, teacher will attempt to make Personal and Group Conduct and/ and should be accompanied by up missed lessons at a mutually or official School policies. documentation from a physician convenient time. The studio or the MSM Campus Health teacher is not obligated to adjust Students dismissed at the Nurse. In cases of serious lesson times or make up lessons conclusion of any semester illness the Dean of Students will that were canceled for non-illness, are ineligible to attend the communicate with all the teachers non-emergency reasons. Any School for two consecutive of an individual student in order student who has two consecutive semesters. Information to make sure that faculty are unexcused absences in his or her regarding reapplication to the aware of the student’s situation. private lessons may be required to School and auditions is available Absence affects learning and see the Dean of Students before from the Office of Admission lessons may resume. and Financial Aid. performance. Any student who misses lessons, classes, and No student may be absent from The School retains the right rehearsals for reasons that the the school for professional to dismiss any student whose teacher considers insufficient engagements unless permission continued attendance or behavior may be referred to the Dean for such absence is granted by is considered detrimental to of Students for permission to the Office of the Provost well in the interest of his or her fellow continue in the class. Students advance of all such engagements. students or of the School. with excessive or unexcused Students who wish to pursue a

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

Return to Table of Contents 16 Office of the Registrar professional opportunity over music brought to life by the Final Examinations several days must apply for a entire community as well as Final examinations are held during professional leave, using the distinguished visiting artists. the 14th week of the fall and 15th form available in the Office week of the spring semester, of the Provost. Typically the For undergraduate students (BM/DP), concert attendance respectively. Students who fail to professional leave may not extend take a required class examination for more than two weeks. is required for six semesters out of eight; students must register may be given an Incomplete by for it their first semester and the teacher if all other work for Religious and Other Holidays each subsequent semester until the course has been satisfactory. Manhattan School of Music is the requirement is fulfilled. All Incomplete grades must be sensitive to the needs of students The requirement for transfer pre-approved by the Dean of who wish to observe religious students is pro-rated: students Academic Affair. Incomplete or other holidays during the admitted into the second year grades will be converted to academic year. To accommodate of an undergraduate program failing grades by the Registrar the planning needs of studio must complete four semesters if the final grade is not received teachers, classroom teachers, out of six; into the third year, two by the end of the following and ensemble directors, students semesters out of four. semester. Students who are who anticipate being absent taking large group examinations for religious or other holidays For graduate students, concert in the Music History and Theory must inform their teachers and attendance is required for two Departments will be required to ensemble directors in writing semesters out of four (MM/ show their MSM ID cards before during the first week of classes at PG) or one semester out of two beginning the exam. the beginning of each semester (PS); students must register for listing the exact date/dates that it their first semester and each Juries and Recitals the student will be absent. The subsequent semester until the requirement is fulfilled. Every enrolled student is student should also give a copy required to take an annual Jury of the request to the Provost. If Concert Attendance is a Examination in May. Students students follow the preceding combination of attending should be aware that the number policy and understand that they performances as a community, of juries listed in the Department are responsible for classroom small group discussion, and a Major grids is the minimum work and ensemble obligations final reflection submitted at the needed to graduate. Some missed, absence for religious or end of each semester. Students students may be required to other holidays will be excused. will be notified of specific course take additional juries as a result Students who do not inform requirements through the of teacher requests, scholarship their teachers in writing with a published syllabus in Canvas. continuation, or the extension of copy sent to the Provost during the normal length of the degree the first week of classes will Dean’s List program as the result of illness, not be excused. leaves-of-absence, or other Qualified Bachelor and Master’s extraordinary circumstances. level students who meet certain Concert Attendance Requirement Students who are off-sequence academic standards are named as the result of being admitted Attending concerts is a vital to the Dean’s List each semester. in January or having taken a and important part of the These standards include: a semester Leave-of-Absence take total educational experience. grade point average of 3.9 or juries in December. There is a MSM Concert attendance is better, twelve or more credits of Sophomore Continuation Jury to a great opportunity to hear graded courses (other than P or ensure that a student’s progress Q grades), and no failing grades merits continuation in his or her for the semester. program of study. Jury comments

Return to Table of Contents Office of the Registrar 17 are available to be read two weeks must fulfill all performance and Advanced standing juries may be after the end of examination week academic requirements prior to taken only once, and the results in the Office of the Registrar. the date of Commencement. of the jury are final. Graduate students are not eligible for A student who is absent from advanced standing. the Jury Examination without Advanced Standing Examinations prior approval will receive a In rare cases, undergraduate failing grade and automatically be students may accelerate their Petitions placed on academic probation. A program in performance by means A student has the right to petition jury may be postponed only for of an Advanced Standing jury. A the administration regarding documented medical reasons and successful Advanced Standing jury any topic that is not covered in must be requested by submitting will allow a student to graduate the current school catalog, yet a General Petition Form to the early, provided all other academic pertains to study at the School. Registrar's Office. This form must requirements are also met early. Forms are available in the Office be signed by the Department Advanced standing can only be of the Registrar and the Office of Chair, Registrar, and Dean of granted for one semester. To the Dean of Students. Academic Affairs. start the process, the student submits a petition for advanced Transcripts A Graduation Recital and/or standing to the Registrar’s office. Jury, if required, must take place This petition must indicate The Office of the Registrar retains within the final thirty credits the approval of both the major the original copy of each student’s required to complete a degree teacher and the department chair, academic record. Transcripts for and once the student has less than and must be turned in no later currently enrolled students are two semesters of major lessons than March 1 of the academic year issued without charge in support remaining. Students must apply in which the advanced standing of applications to new programs to the Scheduling Office for a jury is to take place. Please note at Manhattan School of Music. recital date. The recital program that some departments may have Upon request, the School may must be approved by the major earlier deadlines for application. teacher and the department disclose educational records In order to apply for an Advanced without a student’s consent chair. A copy of the recital Standing jury, a student must: program must be submitted to to officials of another school the Office of the Registrar before • be an undergraduate junior in which a student seeks or graduation. All Graduation Juries • have a cumulative GPA of intends to enroll. 3.7 or higher are scheduled through the Office Official transcripts, carrying of the Registrar. • have received a grade of A- or received a lesson grade of the School’s seal and an official Doctoral candidates should A over the last year and no signature, may be issued only refer to the appropriate course lesson grade lower than A- in upon the written request of the sequence plan, pages 81-84, for all major lessons student. Transcripts are not issued performance requirements. • have received a grade while a student is in arrears or of 8.5 or higher in all in default on student loans or if Students must be registered previous juries there are any outstanding fees or through the School for major • be on track to complete charges from any School office. lessons until completion of all academic requirements The Office of the Registrar will the Graduation Performance by the time of the only issue transcripts from MSM requirement. Students who wish proposed graduation degree programs. to participate in Commencement

Return to Table of Contents 18 Office of the Registrar Leaves of Absence Withdrawl medical leave of absence during The semester leave of absence Students not wishing to return a semester, all courses on the may be for one or two consecutive to the School should formally student’s transcript for that semesters. After that time withdraw. Withdrawal forms term will be assigned grades of a student must reapply and are available in the Office of the “W” to indicate a withdrawal reaudition. The Registrar will Registrar. Withdrawn students from those courses. determine the effective date of are required to apply to the It is expected that a student the leave. Leaves of absence with School for readmission if they on a medical leave of absence effective dates prior to the end of wish to return. Information from MSM will use the leave the Add/Drop period will result regarding reapplication to the for treatment and recovery. The in the student being dropped School and auditions are available School has established criteria from all course work. Effective from the Office of Admission regarding the student’s eligibility dates after the end of Add/Drop and Financial Aid. for returning to the campus will result in all courses on the For information regarding the community. These criteria student’s transcript for that term include, but are not limited to, assigned grades of “W” to indicate financial implications of taking a leave of absence or withdrawing evidence that the condition which a withdrawal from those courses. precipitated the medical leave It is the responsibility of the from the School, see Refunds in TUITION AND FEES section. of absence has been treated and student to notify the Office of the has improved such that it will Registrar in writing when he or no longer adversely affect the Medical Leaves of Absence she intends to return from leave. student’s ability to participate as All undergraduate (BM) programs, Manhattan School of Music is a student at MSM. Compliance MM Voice, MM Jazz, and MM concerned about its students’ with the treatment expectations Contemporary Performance health and well-being, and is primary in the School’s decision must take a two-semester Leave believes that students should to approve the return of the of Absence due to the sequential receive appropriate physical student to MSM. nature of coursework. or mental health care when necessary. A student experiencing Students considering a medical Scholarship awards are not a physical or psychological leave are strongly encouraged affected by leaves of absence and condition that significantly to meet with a member of carry over into the semester the impairs their ability to function Student Affairs staff (Dean of student returns from leave. At successfully or safely as a student Students, Counselor, Campus the conclusion of a student’s first may decide that a period of Health Nurse, etc.) to discuss semester following a leave, their time away from MSM for their challenges and determine artistic and academic progress will treatment or recovery helps to whether a leave is the best fit be subject to review consistent restore functioning to a level for their needs. with MSM’s current policies that will enable the student to Should the student decide and procedures which apply return and perform successfully to take a leave, they must fill to all students. academically and within the out a request form (from the campus community. International students on student Registrar’s office), obtain medical visas requesting a leave of absence Students may request that a documentation from a physician should note that they are required medical leave of absence start or mental health provider, and to leave the country within fifteen during a semester in which submit it to the Dean of Students (15) days of the “effective date.” they are currently enrolled, or for approval. Students may take start with the next semester on a medical leave of absence for up the academic calendar. In the to two semesters. event that a student starts a

Return to Table of Contents Office of the Registrar 19 Limited Leaves of Absence a student to preserve the health • The student has A Limited Leave of Absence may and safety of the student or communicated through be requested for professional the community, as described in words or behaviors engagements or sudden family or the policy below. their unwillingness to engage with available personal situations through the When a student’s behavior Office of the Provost. A limited supports or to modify the presents a direct threat to the threatening behaviors. leave of absence generally is not health or safety of the student granted for a period more than • *Suicidal ideation or or others, and supportive behavior, in and of itself, two weeks per semester. The interventions to help the student leave must be pre-approved by does not constitute grounds modify the behavior while for placing a student on the Dean of Academic Affairs at remaining in school have been least two weeks in advance of the involuntary leave unless the unsuccessful, MSM may place a above criteria are met. requested limited leave unless student on involuntary leave. This opportunities or situations are • Mandated Assessment process is separate and distinct • All members of the MSM truly unforeseen. International from the disciplinary process students also require the pre- community have a role to associated with violations of the play in student health. If a approval of the International Student Code of Conduct. Unless Student Services. Students who faculty or staff member has they are sanctioned separately a concern about a student’s receive pre-approval must then through the disciplinary process, obtain approval from each of health (mental or physical), students on involuntary leave they may encourage the the student’s instructors and will not be considered to have department chair and submit student to utilize available a student conduct record. support services (the the Limited Leave of Absence However, it is important to note Request Form to the Office of the Counseling Center, the that being placed on involuntary Campus Health Nurse) and Provost for final approval. The leave (or taking voluntary leave) student remains registered for the may also inform the Dean does not insulate students from of Students or any other semester and is responsible for all disciplinary action if they have missed course work, exams, and member of the C.A.R.E. violated the Code of Conduct, team of their concern. juries, and for all fees associated though the impact of their with that semester. • In instances where there health concerns on the behavior is concern that the health leading to the violation may be Please be advised that leaves and issue being faced by the taken into consideration when withdrawals may affect immigration student significantly determining sanctions. status and/or financial aid. Students impacts their academic or should consult with the International Criteria for Involuntary Leave social functioning or has the Student Services Office and/or the Involuntary Leave should be potential to cause disruption Financial Aid Office as part of the considered only when one or more to MSM’s learning Leaves/Withdraw process. of the following criteria are met: community, the C.A.R.E. team may require the • The student’s behavior student to be evaluated by a Involuntary Leave of poses a direct and imminent campus counselor or nurse Absence Policy threat to their own safety or to determine whether/with the safety of others in the Manhattan School of Music cares what supports they are able campus community; and deeply about the health, well- to remain on campus and • All available resources to being, and overall success of all attending classes (including support the student in members of the MSM community. reasonable accommodations modifying their behavior There are circumstances in which for qualifying disabilities). have been exhausted; or the School may need to remove During the mandated

Return to Table of Contents 20 Office of the Registrar assessment period and the regular intervals to track the Student Affairs Team involuntary leave process, the student’s progress shall schedule a hearing the Dean of Students, and monitor their with the student, to take in consultation with the continued safety. place no sooner than two C.A.R.E. team may impose • The Dean (or designee) will business days from the time an interim suspension. meet with the student to go the student is informed of • The evaluating clinician over the SOE, which will be the hearing. will promptly provide signed by both the student • If the student is hospitalized the C.A.R.E. team with and the Dean and reflects or otherwise incapacitated their assessment of the the student’s agreement to or unavailable for an student’s functioning pursue appropriate supports immediate hearing, the and recommendations and their understanding hearing shall take place no for supportive services of potential consequences sooner than two business (including the possibility of not following through days after they become of recommending the with the agreement. If the available. At the hearing, student take a medical leave student does not agree to the Dean will give the of absence if warranted). the expectations, they may student the opportunity to The Dean of Students, appeal to the Provost. Such present any information in consultation with an appeal must include or evidence they believe the C.A.R.E. team, will specific information about contravenes the decision of make the determination why the student objects involuntary leave. regarding whether the to some or all of the The Dean will then issue a student may remain on expectations, including decision within two business campus or whether to supporting evidence if days following the hearing. If encourage a voluntary leave the student believes the the student believes the Dean’s or pursue an involuntary assessment is not clinically decision did not take into account leave of absence. valid, or the expectations all evidence and contextual • Statement of Expectations are unduly burdensome. factors, they may appeal the • If it is determined that The decision of the Provost decision to the Provost, providing the student is able to will be final. additional evidence in support safely remain on campus • Involuntary Leave Process of their position. The Provost’s contingent on their • Generally, the process decision will be final. engaging with supportive of placing a student on services (e.g., psychotherapy, involuntary leave begins substance abuse or eating with the Dean of Students, Emergency Involuntary disorder treatment, regular in collaboration with the Leave of Absence academic tutoring, etc.), C.A.R.E. team, initiating In cases where a student’s the Dean will issue a a Mandated Assessment behavior poses an immediate Statement of Expectations as described above. If the threat to their own or others’ (SOE) to the student results of the assessment safety, the Dean may temporarily outlining the expectations suggest that the threat of place the student on involuntary for treatment. This may harm to self or other posed leave and take actions, in include a requirement by the student’s behavior consultation with other relevant that the student and/ is sufficiently severe that parties (e.g., Counseling staff, or their treatment the student cannot safely MSM administrators, C.A.R.E. provider(s) provide check- remain on campus, the Team, campus security, law ins to the Dean or another Dean of Students and one enforcement, etc.) to remove School administrator at of the other members of the student from campus in

Return to Table of Contents Office of the Registrar 21 order to ensure safety. In such • Sometimes a student may • The Dean will then connect instances, once the immediate be hospitalized relatively students wishing to return threat has been addressed and briefly and may decide from a Medical Leave with the student is able to undergo not to take a semester- either the Campus Health the process, the policies for long leave. In these cases, Nurse or MSM’s Chief involuntary leave outlined above a student who has been Psychologist. Students should be followed, including the discharged from the hospital must provide them with opportunity for appeal if desired and wishes to return to documentation from the by the student. school must still undergo medical and/or mental a Mandated Assessment health providers from Returning from Medical Leave of with a Campus Health and whom they have received Absence, Hospitalization or other Wellness staff member treatment while on leave, Disruption of Study: The Re- or a clinical psychologist summarizing the course of designated by the School treatment and the provider’s Entry Process to assess their readiness to assessment of their current When a student has been resume study and determine level of functioning and separated from MSM because of a recommendations and readiness to resume study. medical or mental health concern, expectations for support/ • In addition, when indicated whether through a hospitalization ongoing treatment, as and feasible, students or a longer voluntary or described above. Hospital may also be required to involuntary leave of absence, they discharge paperwork, undergo an assessment with must undergo a re-entry process though necessary, is not Health and Wellness Staff prior to resuming their studies. sufficient documentation or a consulting community The goals of this process are: to allow the student to provider affiliated with • ensure that students are return to campus; discharge MSM, the purpose of which ready to return to classes personnel at the hospital is to assess the student’s and/or School housing should coordinate with ability specifically to meet after an emergency, the Dean of Students the rigorous demands of crisis, hospitalization, (or the MSM clinician their education at MSM, unexplained absence, who hospitalized the supplementing the more leave of absence (LOA) or student, if applicable) to general assessment of their withdrawal (WD); assure that a Mandated safety and functioning • ensure coordination among Assessment by MSM staff furnished by their treating separate areas and offices is conducted promptly provider(s). associated with the re- following discharge. • The student will provide entry process; • Following Medical this documentation to the • give students and families Leave of Absence Campus Health Nurse or a clear set of expectations • Students wishing to return MSM’s Chief Psychologist and requirements for to MSM after a medical later than August 1 (Fall) re-entry; and leave of absence must or December 1 (Spring). • ensure that MSM is inform the Dean of Students The Dean will examine adequately prepared in writing of their intent this documentation, make to support students as by July 15th (for return a decision regarding the they return to academics in the Fall semester) or student’s eligibility to and housing. November 1 (for return in return to MSM at that time, • Following Hospitalization the Spring semester). and inform the student in

Return to Table of Contents 22 Office of the Registrar writing of their decision transcript and transfer credits will MSM does not accept for transfer within one week of receiving occur before the student’s first credit or placement: AP credits, the documentation. day of classes, with the result and college courses taken in high • Until this decision is determination of transfer credits school which count toward the communicated, the student communicated before the student high school diploma, nor courses may not be on campus, begins their program of study. which have been used to fulfill attend classes, or participate requirements of a previous in any school-related MSM will consider the transfer degree program. Transfer credit activities. If the Dean does of undergraduate course credit is not given for courses from not permit the student to with the grade of C or above in institutions where the language of resume, and the student core Humanities, Humanities instruction is other than English. believes this determination electives, and other suitable Students who have studied in a has not taken all available electives as determined by the non-English institution may still evidence into consideration, Office of the Registrar. Credit complete placement exams as they may appeal the decision for core courses – Aural Skills, described above. to the Provost, whose Keyboard Skills, Required decision shall be final. Piano, Music Theory, and Music History – is granted on Fulbright Program Transfer Credit/Credit by the basis of placement exams The Fulbright Scholars Program, Examination administered before the student’s administered by the Council first semester. A maximum of for International Exchange of Classification of transfer students’ sixty transfer or examination Scholars (CIES), are awarded to level of study upon admission credits may be applied towards an graduate students, graduating is based solely on audition undergraduate degree. seniors, and other candidates of performance; the number of exceptional ability who wish to semesters at MSM will depend Graduate students may transfer pursue study abroad. Grants are on the results of the placement a maximum of nine graduate made to United States citizens exams required of all new students credits earned at another and nationals of other countries and approved transfer of any accredited institution with a grade for a variety of educational eligible credits. Students may of B or above. activities, primarily advanced need to complete more semesters No transfer credit will be granted research, graduate study, than expected in order to meet all for major lessons and ensembles. university teaching, and teaching degree requirements. Students receive proficiency in elementary and secondary Only transfer credits from credit for lessons based upon their schools. Information regarding other nationally accredited audition for admission which the Fulbright Program is available institutions may be accepted determines classification of their from the Provost’s Office. into a degree program and are level of study. subject to an evaluation of official Students accepted into the GRADING documents by the Office of the MSM's Foreign Exchange Grading System Registrar. Prior coursework is Program and completing courses not automatically transferred; CREDIT Numerical as a partner institution will students must request to have GRADES Equivalent be evaluated by the Exchange credits transferred to MSM by Program Committee. Exceptions A Excellent 4.00 submitting both transcript and to this policy may be granted A- 3.67 course descriptions by July 1 for on a case-by-case basis in B+ 3.33 review of any applicable courses consultation with the student's being requested. Review of final B Good 3.00 department chair.

Return to Table of Contents Office of the Registrar 23 B- 2.67 Classwork Grading Manhattan School of Music C+ 2.33 If a student receives a D+ or lower Policy Regarding FERPA (The C Fair 2.00 in one class, the student will Family Educational Rights and Privacy Act) C- 1.67 receive a warning letter from the Registrar. If a student receives D+ 1.33 The Family Educational Rights more than one of these grades, D Poor 1.00 and Privacy Act (FERPA) affords the student will be subject to students certain rights with D- .67 Probation or Dismissal. respect to their educational records. They are: Major Lesson/Jury Non-Credit Grades 1. The right to inspect and Examination Grading F Failure review the student’s educational I Work Incomplete If a student receives a grade records within 45 days of (by petition only) between C+ and D- for major the day the School receives a W Withdrawn lessons or a Jury Examination, request for access. the Dean of Students, Provost, P Passing (used for Students should submit to the Department Chairperson, and deficiency courses or Registrar or other appropriate major teacher will meet to discuss when a letter grade is not official, written requests that the general quality of applied required to show successful identify the record(s) they wish work. If it is agreed that the completion of work and is to inspect. The School official grade is not representative of the not included in GPA) will make arrangements for student’s work, Probation will not AU Audit Class access and notify the student result, but the grade will remain IP In Progress (for DMA of the time and place where the on the student’s transcript. If students only, this records may be inspected. If Probation results, it will be for grade is not factored the records are not maintained one semester. The student is then into overall GPA) by the School official to whom re-evaluated through a Re-Jury the request was submitted, Examination at the conclusion Incomplete Grades that official shall advise of the following semester. If the Incomplete grades should only be the student of the correct student receives a B- or higher, considered under extraordinary official to whom the request he or she is taken off Probation; circumstances and with the should by addressed. if the grade remains between pre-approval of the Dean of C+ and D-, Probation continues Academic Affairs, in consultation 2. The right to request the until the Re-Jury Examination at with the faculty member. An amendment of the student’s the conclusion of the following Incomplete will appear on a educational records that semester. If the quality of work student’s permanent transcript the student believes is does not improve by that time, indicating late completion of the inaccurate or misleading. the student will be dismissed. course. Once the work has been Students may ask the School completed and a grade has been to amend a record that Students who receive a failing issued by the faculty member, the they believe is inaccurate grade for major lessons or Jury Incomplete will be changed to a or misleading. They should Examination are immediately permanent letter grade. Students write to the School official dismissed from the School. receiving Incomplete grades are responsible for the record, required to complete all work by clearly identify the part the end of the following semester; of the record they want if the work is not completed, the changed, and specify why it is Incomplete will be changed to an inaccurate or misleading. F automatically.

Return to Table of Contents 24 Office of the Registrar If the School decides not to Legitimate educational interest Student Right to Know Act amend the record as requested is defined as the determination (Disclosure of Institutional by the student, the School of the right of a School of the Graduation/Completion Rates) will notify the student of official to review an educational Manhattan School of Music the decision and advise the record in order to fulfill his or provides the following student of his or her right to a her professional responsibility. information regarding its hearing regarding the request In addition, the official must graduation/completion rates. for amendment. Additional be able to demonstrate that the The information is provided information regarding the review is directly related to the in compliance with the Higher hearing procedures will be student’s educational welfare Education Act of 1965, as provided to the student or the safety of the student amended. The rates reflect the when notified of the and/or other members of the graduation/completion status right to a hearing. School community. of students who enrolled during 3. The right to consent to 4. The right to file a complaint the 2010-2011 school year and for disclosures of personally with the U.S. Department of whom 150% of the normal time- identifiable information Education concerning alleged to-completion has elapsed. contained in the student’s failures by Manhattan School education records, except to the of Music to comply with the During the fall semester of 2010, extent that FERPA authorizes requirements of FERPA. The 98 first-time, full-time, certificate disclosure without consent. name and address of the Office or degree-seeking Undergraduate students entered Manhattan One exception that permits that administers FERPA is: School of Music. After 6 years (as disclosure without consent is Family Policy Compliance Office of August 31, 2017) 69% of these disclosure to School officials U.S. Department of Education 600 Independence Avenue, SW students had graduated from with legitimate educational Washington, D.C. 20202-4605 the institution or completed interest. A School official is 5. their programs. a person employed by the Schools may disclose, without consent, directory information institution in an administrative, Questions related to this report including a student’s name, supervisory, academic, should be directed to: the telephone numbers (permanent, or support staff position Registrar at (917) 493-4418. (including law enforcement primary, and cellular), addresses unit personnel and health (including electronic mail), While reviewing this information, staff); a person or company date and place of birth, major, please bear in mind: with whom the School honors, awards, photograph, • The graduation/completion has contracted (such as an classification, dates of enrollment, rate is based on 6 years attorney, auditor, collection degrees conferred, dates of of attendance that agent, or security guard); a conferral, graduation, distinctions equates to 150% of our person serving on the Board (including Dean’s List), and the longest program. of Trustees; or, when deemed institution attended immediately • We have elected not to appropriate a student serving prior to admission. Students who report our transfer-out rate on an official committee, wish to restrict the release of such because the School’s mission such as a disciplinary or information are required to notify does not include providing grievance committee, assisting the Office of the Registrar in substantial preparation for another School official in writing within 10 days of the first students to enroll in other performing his or her task, or day of the semester of enrollment. institutions. employed as a worker. • The graduation/completion rate does not include students who left the school

Return to Table of Contents Office of the Registrar 25 to serve in the armed forces, additional provisions for any tuition and fee bills to the on official church missions, students using U.S. Department institution, including but or in the foreign service of of Veterans Affairs (VA) Post 9/11 not limited to access to the federal government. G.I. Bill® (Ch. 33) or Vocational classes, libraries, or other Students who died or were Rehabilitation and Employment institutional facilities. totally and permanently (Ch. 31) benefits, while payment However, to qualify for this disabled are also excluded. to the institution is pending from provision, such students may the VA. This school will not: be required to: Campus Safety • Prevent nor delay the • Produce the Certificate The Advisory Committee on student's enrollment; of Eligibility by the first Campus Safety will provide upon • Assess a late penalty fee to day of class; request all campus crime statistics the student; • Provide written request to as reported to the United States • Require the student to be certified; Department of Education. secure alternative or • Provide additional additional funding; information needed VA Pending Payment Compliance • Deny the student access to properly certify the to any resources available In accordance with Title 38 US enrollment as described in to other students who other institutional policies. Code 3679 subsection (e), this have satisfied their school adopts the following

Return to Table of Contents 26 Office of the Registrar DEGREE PROGRAMS AND CURRICULUM Professional Studies Certificate requirements for their major DEGREE PROGRAMS Voice field of study, related coursework, Manhattan School of Music is Instrumental Performance ensemble participation, jury fully accredited by the Middle Orchestral Performance examinations, and recital in order States Commission on Higher Composition to qualify for graduation. Education, the New York State Conducting Board of Regents, and the Bureau In instances where applicants to Collaborative Piano for Veterans Education. All the undergraduate division already programs listed in departments Artist Diploma possess a Bachelor’s degree from by majors are approved for the another school, they may be Voice training of veterans and other awarded the MSM Bachelor of Instrumental Performance eligible persons by the Bureau Music degree upon fulfilling the Collaborative Piano of Veterans Education. The specific musical requirements set HEGIS Code number is 1004 Manhattan School of Music forth in the curriculum. While with the exception of the BM, seeks to provide the artistic and MSM generally requires a student MM, and DMA in Composition, technical training necessary to be full-time for the duration of which is 1004.10. for the aspiring professional their BM program, a student in musician. At the same time, the the final semester of the program School believes that it is of prime Bachelor of Music (BM) who has completed enough of importance for professional Voice the requirements may apply to be musicians to possess as broad a Instrumental Performance part-time in that semester. general knowledge as possible and Composition to extend the understanding of Jazz Performance Unified Core Curriculum their art beyond the area of their Musical Theatre specialization. During the freshman and sophomore years at MSM, Master of Music (MM) students in the classical division Voice UNDERGRADUATE take a sequence of courses Instrumental Performance The undergraduate programs especially designed to unify, Instrumental And Vocal of study at MSM consist of four coordinate, integrate, and Collaborative Piano areas of concentration: interrelate basic studies in Conducting 1. Major field of study music theory (counterpoint, Orchestral Performance harmony, form, and analysis), Composition 2. Coursework in musical subjects music history (an exposition of Contemporary Performance the evolutions and revolutions Jazz Performance 3. Ensemble performance 4. Humanities studies of musical style and traditions in Jazz Composition Western classical music from c. Bachelor of Music 1000 until the present), and the Doctor of Musical Arts (DMA) humanities (the discipline of the Voice The Bachelor of Music degree is a intellect—reading, writing, critical Instrumental Performance four-year curriculum. All students judgment, articulate speech—as Collaborative Piano are required to register for major well as a chronological survey of Composition lessons during each semester of Western civilization from the Jazz Arts Advancement their residence at MSM. They wellsprings of Classic Greece until Conducting must also successfully meet the the present—history, politics,

Return to Table of Contents Degree Programs and Curriculum 27 philosophy, art, geography). music, but it does not carry with MM (Master of Music) from The core sequence includes it the rights and privileges of a Manhattan School of Music and seminars in which students college degree. an MA (Master of Arts) with New actively participate through York State K‑12 Music Teacher discussion and writing. The core For audition requirements Certification from Teachers sequence also includes lecture and course sequence plans College Columbia University. classes where general trends and for undergraduate programs Students accepted in the Master’s concepts of theory, music history, of study in all majors, see program at Manhattan School and the progression of Western Departments by Major. of Music first complete the two civilization are described. The years of MM requirements at unified core curriculum prepares GRADUATE MSM. Students should identify the undergraduate student their interest in the dual degree The graduate programs of study to take intense, specialized, during the first semester of study at MSM consist of three areas of elective courses in the junior at MSM so that the required concentration: and senior years. coursework and fieldwork can be 1. Major field of study. completed in preparation for the Humanities 2. Coursework in degree at Teachers College. To be musical subjects. considered for acceptance into The four-year undergraduate 3. Ensemble performance. the dual degree program, MSM program of study in Humanities students must have at least a 3.0 at MSM is designed to prepare Master of Music GPA and successfully complete professional musicians for a The Master of Music degree is a the Teachers College Columbia full life as cultured citizens. All two-year curriculum. All students University admission process: students in the undergraduate are required to register for major degree program are required to • Teachers College lessons during each semester of take 24 credits (voice students­, 18) application form and fee their residence at MSM. They distributed among Humanities • 2 letters of recommendation: must also successfully meet the Core and Elective classes. one from MSM requirements for their major Students are trained to think and Director of Community field of study, related coursework, write clearly, to analyze carefully, Partnerships and one from ensemble participation, jury and to read the basic texts of MSM Assistant Dean examinations, and recital in the cultural tradition. Advanced of Academics order to qualify for graduation. courses include multicultural • official transcripts for MSM requires full-time status interdisciplinary classes which all undergraduate and for all four semesters of the combine music, art, and literature. graduate work Master’s program. Transfer students may receive • personal statement about credit for equivalent courses at teaching experiences at other institutions. Dual Degree at the Master’s MSM and decision to pursue Level from Manhattan School an additional degree in music education Diploma of Music and Teachers College Columbia University Once accepted by Teachers The Diploma course is the College, students are expected Manhattan School of Music same as the Bachelor of Music to take at least 3–6 credits at and Teachers College Columbia degree minus the Humanities Teachers College the summer University offer a dual degree at Core and Humanities Elective following MSM graduation. In the the Master’s level. The program requirements. The Diploma following fall semester, students is an accelerated one, designed represents recognition of must enroll in 10–12 credits at to be completed in three years, accomplishment in the field of Teachers College. In the spring rather than four, at the end of semester, students enroll in two which the student will have an

Return to Table of Contents 28 Degree Programs and Curriculum sections of student teaching and ­graduate elective credits. The Professional Studies complete any remaining course Diploma represents recognition Certificate Program requirements at Teachers College. of accomplishment in the field of For information regarding this program music, but it does not carry with of study, see p. 79. For detailed information, it the rights and privileges of a please contact the Director of college degree. Doctor of Musical Arts Community Partnerships at For information regarding doctoral Manhattan School of Music. For audition requirements studies, see p. 85. and course sequence plans Postgraduate Diploma for graduate programs of Artist Diploma study in all majors, see For information regarding artist The Postgraduate Diploma course Departments by Major. is the same as the Master of Music diploma, see p. 90. degree minus up to six general

Return to Table of Contents Degree Programs and Curriculum 29 BRASS TRUMPET, HORN, TROMBONE, BASS TROMBONE, AND TUBA The programs of study for Repertoire for juries in non- GRADUATION REQUIREMENTS Brass majors are designed to graduating years will be A full-length Graduation develop skilled performers who determined by the teacher Recital in which at least one are familiar with the standard and the student. work must be in a 20th-century solo, ensemble, and orchestral style and approximately half of literature for their instruments. GRADUATION REQUIREMENTS the works must be composed Students must demonstrate A full-length Graduation for the particular instrument a high degree of professional (nontranscribed). competence and appropriate Recital in which at least one stylistic approaches to the work must be in a 20th-century A Graduation Jury featuring literature of various historical style and approximately half of selections from the recital with periods. All students are the works must be composed piano (where applicable) and required to fulfill their Ensemble for the particular instrument orchestral repertoire. Student will Requirement as outlined in their (nontranscribed). prepare a list of ten excerpts from course sequence plans and as A Graduation Jury featuring which the faculty panel will make assigned by the School. selections from the recital with selections, at their discretion. piano (where applicable) and UNDERGRADUATE orchestral repertoire at the PROFESSIONAL Bachelor of Music degree program discretion of the panel. STUDIES Diploma program All undergraduate Brass majors must perform their Graduation CERTIFICATE Audition Requirements Jury before the departmental PROGRAM For complete information faculty in May of their For information regarding this program regarding audition requirements final year of study. of study, see p. 79. and application information, please contact the Office of DOCTOR OF Admission and Financial Aid. GRADUATE Master of Music degree program MUSICAL ARTS There will be a “sophomore Postgraduate Diploma program For information regarding doctoral continuation jury” at the end of studies, see p. 85. the sophomore year to establish Audition Requirements that a student’s progress has been For complete information sufficient to ensure completion regarding audition requirements of the program of study. This and application information, evaluation will determine whether please contact the Office of or not the student may continue Admission and Financial Aid. in that program. Repertoire will be determined by the teacher.

Return to Table of Contents 30 Brass BACHELOR OF MUSIC/BRASS MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH0500-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 General Electives 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Brass Performance Class BR0003-0004 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 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 126 17 17 16 16 15 15 16 14 ** All brass players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

Return to Table of Contents Brass 31 MASTER OF MUSIC/BRASS MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 3 3 Brass Performance Class BR2003-2004 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: 56 14 14 14 14

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0861-0862 Required Piano RP0121-0122

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

Return to Table of Contents 32 Brass COLLABORATIVE PIANO The graduate programs of study in GRADUATION REQUIREMENT PROFESSIONAL Collaborative Piano are designed Accompanying for three to offer skilled performers graduation recitals. If STUDIES training and experience in solo vocal spe­cialization: two CERTIFICATE and ensemble accompanying. vocal, one instrumental; if PROGRAM instrumental specialization: two For information regarding this program GRADUATE instrumental, one vocal. of study, see p. 79. Master of Music degree program DOCTOR OF Audition Requirements MUSICAL ARTS For complete information For information regarding doctoral regarding audition requirements studies, see p. 85 and application information, please contact the Office of Admission and Financial Aid.

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

Return to Table of Contents Collaborative Piano 33 MASTER OF MUSIC COLLABORATIVE PIANO MAJOR VOCAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Collaborative Piano Seminar AC2093-2094, AC2113-2114 2 2 2 2 Collaborative Piano Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Ear-Training TH2001-2002 2 2 Advanced Instrumental Conducting CD2011-2012 2 2 Graduate Electives 2 Music History Electives MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 61 16 16 15 14 3 adjucated recitals are required: 2 vocal and 1 instrumental

MASTER OF MUSIC COLLABOARTIVE PIANO MAJOR INSTRUMENTAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Collaborative Piano Seminar AC2091-2092, AC2111-2112 2 2 2 2 Collaborative Piano Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Diction GR2101-2102 EN, FR, GR, or IT * 2 2 2 2 Advanced Ear-Training TH2001-2002 2 2 Chamber Music SP1500 1 1 Electives 2 2 Music History MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 53 16 13 12 12 * Instrumental Collaborative Pianists can take any two of four year-long graduate diction courses. English, French, German, or Italian. Typically one language is taken in each year of the MM degree. 3 adjucated recitals are required: 2 vocal and 1 instrumental PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Keyboard Techniques PN0861-0862

Return to Table of Contents 34 Collaborative Piano COMPOSITION UNDERGRADUATE by works from their portfolio. GRADUATE Bachelor of Music degree program Applicants should bring four Master of Music degree program Diploma program bound copies of their scores to the Postgraduate Diploma program interview, along with recording Doctor of Musical Arts Auditions Requirements of the works they wish to present in electronic format (via laptop, Audition Requirements Applicants should submit cell phone, notepad, or CD). It no more than three scores, is advised that composers bring Applicants should submit representative of their own their recordings in more than one no more than three scores, creative work. Arrangements, electronic format. representative of their own orchestrations of the works of creative work. At least one others or exercises in historical of these scores must be an styles should not be submitted. It Composer Concerts orchestral work. Arrangements, is suggested that the submissions It is a departmental requirement orchestrations of the works of demonstrate as much variety as that any student taking lessons others or exercises in historical possible in instrumentation and with a private teacher must styles should not be submitted. It form. Although MIDI recording have at least one performance is suggested that the submissions are accepted, it is preferred that every year in one of the demonstrate as much variety as scores be represented by acoustic eight departmental Student possible in instrumentation and recordings. All Composition Composer Concerts. form. Although MIDI recording applicants’ portfolios are pre- are accepted, it is preferred that screened by members of the Juries scores be represented by acoustic Composition Faculty. Invitation recordings. All Composition to the audition is dependent upon Each student compiles a applicants’ portfolios are pre- the Faculty’s acceptance of the portfolio of scores and recorded screened by members of the work submitted by each applicant. performances for the year-end Composition Faculty. Invitation Jury, a meeting with the entire to the Audition is dependent upon The audition consists of three Faculty which reviews and the Faculty’s acceptance of the parts. First, a three-hour evaluates each portfolio. work submitted by each applicant. examination in dictation, counterpoint, harmony, serial For complete information The audition consists of three and set theory procedures, regarding audition requirements parts. First, a three-hour instrumentation, and two short and application information examination in dictation, composition exercises. Second, and deadlines, please contact counterpoint, harmony, serial there is Composition Project the Office of Admission and set theory procedures, assigned during the examination. and Financial Aid. instrumentation, and two short Applicants must complete composition exercises. Second, the project according to the GRADUATION REQUIREMENT: Thesis there is Composition Project instructions given and bring four During the final year, each student assigned during the examination. copies of the finished project must complete an orchestral Applicants must complete with them to their interview. piece in the first semester. It the project according to the Third, applicants meet with the is submitted to the Faculty for instructions given and bring four Composition Faculty in a private possible inclusion in a public copies of the finished project interview of approximately 15 concert at the School in the with them to their interview. minutes, during which they second semester. Graduation is Third, applicants meet with the will present their completed contingent upon the Faculty’s Composition Faculty in a private Composition Project followed acceptance of this work. interview of approximately 15

Return to Table of Contents Composition 35 minutes, during which they and deadlines, please contact PROFESSIONAL will present their completed the Office of Admission Composition Project followed and Financial Aid. STUDIES by works from their portfolio. CERTIFICATE Applicants should bring four GRADUATION REQUIREMENT: Thesis PROGRAM bound copies of their scores For information regarding this program During the final year, each student to the interview, along with of study, see p. 79. recording of the works they wish must complete an orchestral to present in electronic format piece in the first semester. It (via laptop, cell phone, notepad, or is submitted to the Faculty for DOCTOR OF CD). It is advised that composers possible inclusion in a public MUSICAL ARTS bring their recordings in more concert at the School in the For information regarding doctoral than one electronic format. second semester. Graduation is studies, see p. 85. contingent upon the Faculty’s For Complete information acceptance of this work. regarding audition requirements and application information

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

RELATED COMPOSITION STUDIES FACULTY David Adamcyk, Electronic and Computer Music Reiko Fueting, Composition Forum, Orchestration, David Macdonald, Orchestration Graduate Form and Analysis Hayes Biggs, Senior Form and Analysis Susan Botti, Composition for Non-Majors, J. Mark Stambaugh Composing for the Voice PREREQUISITES Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents 36 Composition BACHELOR OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 OR RP0350** 1 1 1 1 Instr/Orchestration CP0131-0132, 0231-0232, 0331-0332 1 1 1 1 1 1 General Electives 3 3 Undergraduate Form & Analysis* CP0421-0422 2 2 Contemporary Music Survey* CT1960-1961 3 3 Electronic Music CP1720-1730 2 2 Composing for (and with) the Voice* CP0811 2 Living in Sound CP1300* 2 Tuning Systems and Acoustics CP1500* 2 Indeterminate Music CP1600* 2 Choral/Orchestral Cond CD0111-0112, CD0211-0212 2 2 2 2 Practical Foundations ME1500 2 Choir VX0050 0.5 0.5 0.5 0.5 Composition Forum CP1999 1 1 1 1 1 1 1 1 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 TOTAL: 140 17.5 17.5 16.5 16.5 18 18 19 17 *These courses are offered in alternate years; check with the Registrar’s Office for current course offerings. **Other minor instruments in lieu of piano must be approved by the Composition Department Chair and the Dean of Academic Affairs

MASTER OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Form and Analysis CP2171-2172 3 3 Electronic Music CP2600-2601 2 2 Score Reading Seminar CP2181-2182 2 2 Advanced Orchestration CP2201-2202 2 2 Music History Electives MH1000-2999 3 3 Graduate Electives 2 2 6 6 Composition Forum CP1999 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 TOTAL: 64 17 17 15 15

Return to Table of Contents Composition 37 CONDUCTING The conducting program provides highly selective, allowing each Admission specialized programs for graduate student extensive experience For complete information students who intend to become with MSM ensembles. regarding admission requirements professional conductors, and and application information, courses for undergraduates who please contact the Office of wish to develop the skills and GRADUATE Master of Music degree program Admission and Financial Aid. sensitivities required for many musical disciplines. The Masters GRADUATION REQUIREMENTS programs in orchestral conducting DOCTOR OF Graduation Jury: A Graduation and in choral conducting are MUSICAL ARTS Recital/project as determined For information regarding doctoral by the individual faculty advisor studies, see p. 85. and the student

CONDUCTING FACULTY George Manahan, Director of Orchestral Activities Kent Tritle, Director of Choral Activities Maureen Hynes Ronald Oliver, Jr. Return to Table of Contents 38 Conducting MASTER OF MUSIC/CONDUCTING MAJOR (CHORAL) SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Advanced Choral Conducting CD2911-2912 2 2 Advanced Orchestral Conducting CD2011-2012 2 2 German for Singers GR2101-2102 2 2 English for Singers EN2101-2102 2 2 Score Reading Seminar CP2181-2182 2 2 Graduate Form Analysis CP2171-2172 3 3 Chorale Repertoire CD2931-2932 2 2 Electives 2 2 Music History Electives MH1000-2999 3 3 Symphonic Chorus/Chamber Choir VX0060 1 1 1 1 Concert Attendance CA1000 0 0 Jury or Adjudicated Performance 0 0 TOTAL: 64 17 17 15 15

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

PREREQUISITES Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents Conducting 39 CONTEMPORARY PERFORMANCE The Contemporary Performance GRADUATE include electronics and/or Program at MSM is a vibrant Master of Music degree program improvisation, and should community of graduate students show mastery of significant who are passionate about the Audition Information technical and artistic music of our time. The program challenges. Suggested features private instruction, group Please contact the Office of timeframe: 2000-present classes, composer collaborations, Admission and Financial Aid for and performances with MSM’s complete information regarding Special Needs for Auditions applications and auditions. premier contemporary ensemble, For those whose audition Tactus. Our students receive repertoire requires piano detailed instruction in various Audition Requirements accompaniment, it is highly aspects of contemporary classical • One work from the standard recommended that you music performance, including– classical repertoire that provide your own pianist for but not limited to–extended demonstrates the applicant’s your audition. If this presents techniques, performance with technical and musical logistical problems, pianists will electronics, and improvisation. proficiency. Suggested be available who are experienced Students participate in lessons timeframe: Pre-1900 with contemporary music with world renowned performers • One work by an established collaborations. Please consult of contemporary music. We composer from the standard with Margaret Kampmeier to encourage all of our students contemporary classical arrange for this professional to explore widely in order repertoire. This work service. If the audition includes to develop a sense of their should demonstrate the works involving electronics, personal mission as artists and applicant’s familiarity with please inform the Office of cultural ambassadors. contemporary techniques Admission and Financial and understanding Aid of setup and sound- of style. Suggested check requirements. timeframe: 1900-2000 • One recent work. This work should demonstrate GRADUATION REQUIREMENTS the applicant’s knowledge Graduation of recent music. It may Recital

Return to Table of Contents 40 Contemporary Performance CURRICULUM OVERVIEW SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Instrument Seminar CT6000 4 4 4 4 Composer Reading/Workshop CT1999 1 1 1 1 Contemporary Ensemble CT1071 2 2 2 2 Contemporary Musicianship CT2200 2 2 Performing with Electronics CT2700 2 Contemporary Music Survey: 1900-1960 CT1960 * 3 Contemporary Music Survey: 1960-present CT1961 * 3 Composer/Performer Project CT1700 1 1 Advanced Practicum Entreprenuership ME2001 2 Independent Study IS1999 2 Graduate Electives 4 2 Graduate Theory Electives TH2000-2999 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 Graduation Recital/Lecture Presentation 0 TOTAL: 54 14 12 14 14 * This course is offered in alternative years.

CONTEMPORARY PERFORMANCE FACULTY David Adamcyk, Survey of David Krakauer, Clarinet Contemporary Music Curtis Macomber, Violin Robert Black, Bass Tara Helen O’Connor, Flute David Cossin, Percussion Todd Reynolds, Electronics Anthony de Mare, Piano John Pickford Richards, Viola Monica Ellis, Bassoon Brandon Ridenour, Trumpet John Ferrari, Percussion Lucy Shelton, Voice Susan Jolles, Harp Fred Sherry, Cello Margaret Kampmeier, Piano James Austin Smith, Oboe

Return to Table of Contents Contemporary Performance 41 GUITAR The programs of study for Guitar of the program of study. This GRADUATION REQUIREMENTS majors are designed to develop evaluation will determine whether Graduation Jury skilled performers who are or not the student may continue Graduation Recital thoroughly acquainted with the in that program. Repertoire will All graduate Guitar majors must history, literature, and pedagogy be determined by the teacher. perform their Graduation Jury of the guitar. Guitar majors must before the departmental faculty in demonstrate their advancing Repertoire for juries in non- graduating years will be May of their final year study. The musical abilities and knowledge program for both the Graduation of solo and chamber music determined by the teacher and the student. Jury and the Graduation Recital repertoire through participation must include the same works. in performance classes and ensembles. All students are GRADUATION REQUIREMENTS required to fulfill their Ensemble Graduation Jury PROFESSIONAL Graduation Recital Requirement as outlined in their STUDIES course sequence plans and as All undergraduate Guitar majors assigned by the School. must perform their Graduation CERTIFICATE Jury before the departmental PROGRAM faculty in May of their final year For information regarding this program UNDERGRADUATE of study, see p. 79. Bachelor of Music degree program study. The program for both Diploma program the Graduation Jury and the Graduation Recital must include DOCTOR OF Audition Requirements the same works. MUSICAL ARTS For complete information For information regarding doctoral regarding audition requirements GRADUATE studies, see p. 85. and application information, Master of Music degree program please contact the Office of Postgraduate Diploma program Admission and Financial Aid. Audition Requirements There will be a “sophomore continuation jury” at the end of For complete information the sophomore year to establish regarding audition requirements that a student’s progress has been and application information, sufficient to ensure completion please contact the Office of Admission and Financial Aid.

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

Return to Table of Contents 42 Guitar BACHELOR OF MUSIC/GUITAR MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Fretboard Harmony GT0511-0512, GT0611-0612 1 1 1 1 Guitar Literature GT0111-0112, GT0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Guitar Pedagogy GT0411-0412 1 1 Guitar Performance Seminar GT0999 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 1 Choir VX0050 .5 .5 .5 .5 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 125 16.5 17.5 16.5 16.5 15 13 15 15 *The minimum Chamber Music requirement consists of 7 semesters of ensemble, 2 of which must be Guitar ensemble. Guitar ensemble requests beyond sophomore first semester require faculty approval.

MASTER OF MUSIC/GUITAR MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Guitar History and Literature GT2151-2152 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 3 3 Guitar Performance Seminar GT2999 3 3 3 3 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 56 14 14 14 14 *The minimum Chamber Music requirement consists of 4 semesters of ensemble. Guitar ensemble requests require faculty approval. PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Fretboard Harmony GT0511, 0512, 0611, 0612

Return to Table of Contents Guitar 43 HARP The programs of study for or not the student may continue All graduate Harp majors must Harp majors are designed to in that program. Repertoire will perform their Graduation Jury develop skilled performers be determined by the teacher. before the departmental faculty who are familiar with the in May of their final year of standard solo, ensemble, and Repertoire for juries in non- study. The program for both orchestral literature for the graduating years will be the Graduation Jury and the instrument. Students must determined by the teacher Graduation Recital, performed demonstrate a high degree of and the student. from memory, must consist of professional competence and the same works, including one appropriate stylistic approaches GRADUATION REQUIREMENTS classical and one contemporary to the literature of various Graduation Jury work. Students must be prepared historical periods. All students Graduation Recital to perform orchestral excerpts at are required to fulfill their All undergraduate Harp majors the Graduation Jury. Ensemble Requirement as must perform their Graduation outlined in their course sequence Jury before the departmental plans and as assigned by the faculty ­in May of their final year PROFESSIONAL Performance Office. of study. The program for both STUDIES the Graduation Jury and the CERTIFICATE UNDERGRADUATE Graduation Recital, performed PROGRAM Bachelor of Music degree program from memory, must consist of For information regarding this program Diploma program the same works, including one of study, see p. 79. classical and one contemporary Audition Requirements work. Students must be prepared to perform orchestral excerpts at DOCTOR OF For complete information the Graduation Jury. MUSICAL ARTS regarding audition requirements For information regarding doctoral and application information, studies, see p. 85. please contact the Office of GRADUATE Admission and Financial Aid. Master of Music degree program Postgraduate Diploma program There will be a “sophomore continuation jury” at the end of Audition Requirements the sophomore year to establish that a student’s progress has been For complete information sufficient to ensure completion regarding audition requirements of the program of study. This and application information, evaluation will determine whether please contact the Office of Admission and Financial Aid.

HARP FACULTY Mariko Anraku Susan Jolles

Return to Table of Contents 44 Harp BACHELOR OF MUSIC/CLASSICAL HARP MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Harp HR0151-0152 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Harp Lab HR0451-0452 1 1 1 1 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 1 1 1 1 Chamber Music SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 132 17 17 17 17 17 15 16 16

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

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents Harp 45 JAZZ ARTS The programs of study for There will be a “sophomore GRADUATE Jazz majors are designed to continuation jury” at the end of Master of Music degree program develop skilled performers, the sophomore year to establish Postgraduate Diploma program composers, and arrangers in that a student’s progress has been preparation for careers in jazz sufficient to ensure completion Audition Requirements music. Students who wish to of the program of study. This enter these degree programs evaluation will determine whether For complete information are expected to demonstrate or not the student may continue regarding audition requirements the same level of proficiency in in that program. Repertoire and application information, musical skills which Manhattan will be determined by the please contact the Office of School of Music requires of its Jazz Arts Program. Admission and Financial Aid. other degree candidates. All students are required to fulfill Repertoire for juries in GRADUATION REQUIREMENTS their Ensemble Requirement as non-graduating years will Graduation Recital outlined in their course sequence be determined by the Jazz Arts Program. All graduate Jazz majors plans and as assigned by the must perform an adjudicated Assistant Dean for Jazz. Graduation Recital before the GRADUATION REQUIREMENTS departmental faculty in their final Graduation Recital UNDERGRADUATE year of study. The program for Bachelor of Music degree program All undergraduate Jazz majors the Graduation Recital must be Diploma program must perform an adjudicated approved by the major teacher. Graduation Recital in their final Audition Requirements year of study. The program for the Graduation Recital must be For complete information approved by the major teacher. regarding audition requirements and application information, please contact the Office of Admission and Financial Aid.

Return to Table of Contents 46 Jazz Arts JAZZ ARTS FACULTY Ingrid Jensen, Interim Associate History Trumpet Dean and Director Bill Kirchner Jon Faddis Acoustic Bass James Saltzman Ingrid Jensen Damien Sneed Scott Wendholt Jay Anderson Elio Villafranca Ron Carter Violin Improvisation Harvie S Marc Cary Regina Carter Buster Williams Matthew Holman Sara Caswell Afro-Cuban Music Jeremy Manasia Voice Elio Villafranca Chris Rosenberg Jean Baylor Brazilian Music Mingus Ensemble Theo Bleckmann Rogério Boccato Frank Lacy Vibraphone Composition Piano Joel Ross Edward Green Marc Cary Small Ensemble Mike Holober Jeremy Manasia Theo Bleckmann Jim McNeely, prof. emeritus Phil Markowitz Rogério Boccato Richard Sussman Ted Rosenthal Marc Cary Miguel Zenon Damien Sneed Jon Faddis Sherisse Rogers Joan Stiles Jeremy Manasia Elio Villafranca Drumset Phil Markowitz Chris Rosenberg Rogério Boccato Saxophone Ted Rosenthal John Riley Vincent Herring, alto Harvie S Kendrick Scott Donny McCaslin, tenor Kendrick Scott Jaleel Shaw, Flute alto Jaleel Shaw Dayna Stephens, tenor Jamie Baum Damien Sneed Trombone Richard Sussman Guitar Ryan Keberle Elio Villafranca Mike Moreno David Taylor Scott Wendholt Chris Rosenberg Steve Turre Buster Williams Miguel Zenon

Return to Table of Contents Jazz Arts 47 BACHELOR OF MUSIC/JAZZ PERFORMANCE (EXCEPT PIANO) PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Jazz Ear Training JC0111-0114 2 2 2 2 Jazz Required Piano JC0171-0172, JC0181-0182 1 1 1 1 Jazz Music History MH0101-0106 2 2 2 2 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Jazz Improvisation JP2500 2 2 2 2 Arranging & Composition JC0511-0512 2 2 Rhythmic Analysis JC0301-0302 2 2 Studio Techniques JC1811 2 General Electives 4 6 Practical Foundations ME1500 2 Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Graduation Recital (2 adjudications) 0 TOTAL: 130 17 17 17 17 15 15 17 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Assistant Dean for Jazz

Return to Table of Contents 48 Jazz Arts BACHELOR OF MUSIC/JAZZ PIANO PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Jazz Ear Training JC0111-0114 2 2 2 2 Jazz Music History MH0101-0106 2 2 2 2 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Jazz Piano Perspectives JC2161-2162 2 2 Humanities Electives HU0500-1999 3 3 3 3 Jazz Improvisation JP2500 2 2 2 2 Arranging & Composition JC0511-0512 2 2 Rhythmic Analysis JC0301-0302 2 2 Studio Techniques JC1811 2 General Electives 4 6 Practical Foundations ME1500 2 Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Graduation Recital (2 adjudications) 0 TOTAL: 130 18 18 16 16 15 15 17 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Assistant Dean for Jazz

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

Return to Table of Contents Jazz Arts 49 MASTER OF MUSIC/JAZZ PIANO PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Styles and Analysis JC2321-2322 2 2 Graduate Jazz Arranging and Composition JC2111-2112 2 2 Jazz Pedagogy JC2410 2 Jazz Musician as Educator JC2360 2 Advanced Jazz Improvisation JP2500 2 2 2 2 Masters of Jazz Seminar JC2501-2502 2 2 Jazz Performance Ensembles** JP1500 2 2 2 2 General Electives 4 4 Concert Attendance CA1000 0 0 Jury 0 Graduation Recital 0 TOTAL: 60 15 15 15 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Jazz Arts Department. In large ensembles, Saxophone majors may be assigned to play a saxophone other than their principal instrument.

MASTER OF MUSIC/JAZZ COMPOSITION PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Composition Styles & Analysis JC2321-2322 2 2 Graduate Jazz Conducting JC2400 2 Advanced Studio Composition JC1911-1912 3 3 Jazz Composing and Arranging for Studio Orchestra JC2241-2242 2 2 Masters of Jazz Seminar JC2501-2502 2 2 General Electives 4 2 4 4 Jazz Composition Forum JC1999 1 1 1 1 Concert Attendance 0 0 Jury 0 Graduation Recital 0 TOTAL: 58 14 14 15 15 Please note: Composition students may be assigned to ensembles as required by the Jazz Arts Department. PREREQUISITES Jazz History MH0101, 0102 Jazz Required Piano JC0171, 0172, 0181, 0182 (except for piano majors)

Return to Table of Contents 50 Jazz Arts MUSICAL THEATRE Manhattan School of Music, performing including directing, Audition Requirements Musical Theatre is passionate choreographing, writing, and For complete information about the next generation of composing. Devoted to musical regarding audition requirements musical theatre artists. We theatre past, present and future and application information, offer rigorous training in acting, we provide our students with please contact the Office of singing and dancing taught by a opportunities to investigate the Admission and Financial Aid. stellar faculty of artist-educators. classic and contemporary canon. Embracing individuality we honor At MSM students learn to manage each student’s artistic journey their careers and negotiate GRADUATION REQUIREMENTS by providing opportunities the challenges of a highly Successful completion to investigate areas beyond competitive field. of all courses.

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

Return to Table of Contents Musical Theatre 51 BACHELOR OF MUSIC/MUSICAL THEATRE SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Studio Voice MT4000 1 1 1 1 2 2 3 3 Music Theory MT0550-0551 3 3 Humanities Core HU0001-0004 3 3 3 3 Humanities Elective HU 3 3 Required Piano RP0111-0112 1 1 Musical Theatre Performance Technique I & II MT0010-MT0011 2 2 Acting the Song I & II MT0012-0013 3 3 Scene to Song MT0014 3 Acting 1 MT0001 3 Acting 2 MT0002 3 Acting 3 MT0003 3 Acting 4 - Practice-Devised Practice MT0004 2 Acting 5 MT0005 3 Acting 6 - Scene Study & Monologue MT0006 3 Acting 7 - Advanced Acting MT0007 3 Acting 8 - Advanced Acting MT0008 3 Ballet MT0100-0101 2 2 Tap MT0120-0121 2 2 MT Freshman Seminar/Theatrical Design MT0200-0201 1 1 MT Exploring the Art Form I & II MT0500-0501 3 3 Script Analysis MT0211 2 Speech MT0300-0301 2 2 General Electives 2 2 4 4 Audition Techniques MT0015 3 Senior Showcase I & II MT1507, MT1508 1 3 Musical Theatre Lab MT0016 3 Musical Theatre Dance MT0110-0113 2 2 2 2 Ensemble Voice MT0350-0351 1 1 Career Development (CME) MT1600 2 Concert Attendance CA0100 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Rehearsal and Performance MT1500 0 0 0 0 TOTAL: 129 16 16 20 17 15 17 16 12

Return to Table of Contents 52 Musical Theatre ORCHESTRAL PERFORMANCE The graduate program in Metropolitan Opera Orchestra, GRADUATE Orchestral Performance New York City Opera and Ballet Master of Music degree is designed to offer skilled Orchestras, Orpheus Chamber Postgraduate Diploma Program performers definitive training Orchestra, and the Orchestra Professional Studies and preparation for careers as of St. Luke’s. Certificate Program symphonic players. The program includes extensive orchestral Audition Requirements performing experience and an orchestral curriculum taught For complete information by the concertmaster and regarding audition requirements principal players of the New York and application information, Philharmonic, members of the please contact the Office of Admission and Financial Aid.

ORCHESTRAL PERFORMANCE FACULTY Glenn Dicterow, Program Chair Flute Trumpet Violin Robert Langevin Ethan Bensdorf David Krauss Glenn Dicterow Oboe Thomas Smith Lisa Kim Robert Botti Trombone Viola Stephen Taylor Per Brevig Karen Dreyfus Clarinet David Finlayson Shmuel Katz Pascual Martinez-Forteza Shmuel Katz (2021-22 academic year only) Bassoon (2021-22 academic year only) Violoncello Kim Laskowski Colin Williams Alan Stepansky Judith LeClair Bass Trombone Qiang Tu Frank Morelli George Curran Bass Roger Nye Stephen Norrell William Short Timothy Cobb Tuba Orin O’Brien Horn Kyle Turner Harp Michelle Read Baker Richard Deane Percussion Mariko Anraku Javier Gandara Christopher Lamb Susan Jolles R. Allen Spanjer Duncan Patton Kyle Zerna

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

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

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862

Return to Table of Contents 54 Orchestral Performance MASTER OF MUSIC/ORCHESTRAL PERFORMANCE MAJOR DOUBLE BASS AND HARP ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire Coaching OP2351-2352, 2451-2452 1 1 1 1 Orchestral Music: Baroque to Classical MH2610 3 Orchestral Music: Beethoven to the Present MH2620 3 The Musician as Educator OP2251 1 Graduate Electives 2 3 6 Chamber Sinfonia Core OP1200 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 Orchestral Entrepreneurship ME1600 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 Graduation Jury 0 TOTAL: 52 12 13 13 14

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862

Return to Table of Contents Orchestral Performance 55 ORGAN The programs of study for GRADUATE All graduate Organ majors must Organ majors are designed Master of Music degree program perform their Graduation Jury to develop skilled prformers Postgraduate Diploma program before the departmental faculty­ with a knowledge of organ in May of their final year of design, history, literature, and Audition Requirements study. The program for both performance practices. All the Graduation Jury and the students are required to fulfill For complete information Graduation Recital must include their Ensemble Requirement regarding audition requirements the same works. as outlined in their course and application information, sequence plans and as please contact the Office of assigned by the School. Admission and Financial Aid. PROFESSIONAL STUDIES GRADUATION REQUIREMENTS First Year Recital CERTIFICATE Graduation Jury PROGRAM Graduation Recital For information regarding this program of study, see p. 79. In addition to the recitals, graduate Organ majors are expected to present a Special DOCTOR OF Project related directly to MUSICAL ARTS the instrument. For information regarding doctoral studies, see p. 85.

ORGAN FACULTY Andrew Henderson, Chair Walter Hilse Kent Tritle

Return to Table of Contents 56 Organ MASTER OF MUSIC/ORGAN MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 Organ Performance Class OR2001-2002 1 1 1 1 Organ Improvisation OR2311-2312 1 1 Organ Literature OR2211-2212 2 2 Service Playing OR2410-2411 1 1 Choral Conducting CD2911-2912 2 2 Choral Repertoire CD2931-2932 2 2 Concert Attendance CA1000 0 0 Jury 0 0 First Year Recital 0 Graduation Recital 0 TOTAL: 60 16 16 14 14

PREREQUISITES Analysis/Style/Performance TH0800, 2883 Aural Skills AS0861-0862

Return to Table of Contents Organ 57 PERCUSSION The programs of study for that a student’s progress has been GRADUATION REQUIREMENTS Percussion majors are designed sufficient to ensure completion Graduation Jury to develop performers with of the program of study. This Graduation Recital strong fundamental skills and evaluation will determine All graduate Percussion majors sophisticated musicianship, whether or not the student must perform their Graduation who can apply these skills to may continue in that program. Jury before the departmental any musical setting: orchestral, Repertoire will be determined faculty in May of their solo, chamber, commercial, or by the teacher. Repertoire for final year of study. nontraditional. Students must juries in non-graduating years demonstrate a high degree of will be determined by the teacher professional competence and and the student. PROFESSIONAL appropriate stylistic approaches STUDIES to the literature of various GRADUATION REQUIREMENTS historical periods. All students are Graduation Jury CERTIFICATE required to fulfill their Ensemble Graduation Recital PROGRAM Requirement as outlined in their For information regarding this program course sequence plans and as All undergraduate Percussion of study, see p. 79. assigned by the School. majors must perform their Graduation Jury before the departmental faculty in May of DOCTOR OF UNDERGRADUATE their final year of study. MUSICAL ARTS Bachelor of Music degree program For information regarding doctoral Diploma program studies, see p. 85. GRADUATE Audition Requirements Master of Music degree program and Postgraduate Diploma program For complete information regarding audition requirements Audition Requirements and application information, please contact the Office of For complete information Admission and Financial Aid. regarding audition requirements and application information, There will be a “sophomore please contact the Office of continuation jury” at the end of Admission and Financial Aid. the sophomore year to establish

PERCUSSION FACULTY Christopher Lamb, Department Chair Duncan Patton Kyle Zerna

ADDITIONAL FACULTY She-e Wu, Marimba Consultant Return to Table of Contents 58 Percussion BACHELOR OF MUSIC/PERCUSSION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH0500-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Percussion Lab PK0451-0452 1 1 1 1 1 1 1 1 Large Performing Ensemble LP1500 1 1 1 1 1 1 1 1 Percussion Ensemble SP1500 1 1 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Technical Examination 0 0 Graduation Recital 0 TOTAL: 126 18 18 17 17 15 13 14 14

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

PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents Percussion 59 PIANO The programs of study for or not the student may continue GRADUATION REQUIREMENTS Piano majors are designed to in that program. Repertoire will Concerto Requirement develop skilled performers be determined by the teacher. Graduation Recital familiar with piano repertoire, All graduate Piano majors must performance practices, and Repertoire for juries in non-graduating years must perform from memory a standard interpretive traditions. Private concerto in its entirety before lessons, coursework, and master include works from at least three style periods­. a faculty jury in the second classes emphasize performance year of study. In addition, they in all styles. All students are must perform an adjudicated GRADUATION REQUIREMENTS required to fulfill their Ensemble Graduation Recital in their Junior Concerto Requirement Requirement as outlined in their final year of study. The program, Graduation Recital course sequence plans and as performed from memory, must assigned by the School. All undergraduate Piano majors include works from at least three must perform from memory a style periods and at least one work UNDERGRADUATE standard concerto in its entirety written during the last 75 years. Bachelor of Music degree program before a faculty jury. In addition, Students must be enrolled Diploma program they must perform an adjudicated Graduation Recital in their for major lessons during the semester they complete their Audition Requirements final year of study. The program, performed from memory, must performance requirements. For complete information include works from at least three regarding audition requirements style periods and at least one work and application information, written during the last 75 years. PROFESSIONAL please contact the Office of STUDIES Admission and Financial Aid.. CERTIFICATE GRADUATE There will be a “sophomore Master of Music degree program PROGRAM continuation jury” at the end of Postgraduate Diploma program For information regarding this program the sophomore year to establish of study, see p. 79. that a student’s progress has been Audition Requirements sufficient to ensure completion of the program of study. This For complete information DOCTOR OF evaluation will determine whether regarding audition requirements MUSICAL ARTS and application information, For information regarding doctoral please contact the Office of studies, see p. 85. Admission and Financial Aid.

PIANO FACULTY Marc Silverman, Department Chair Phillip Kawin Nina Svetlanova Arkady Aronov Olga Kern William Wolfram (2021-22 Yefim Bronfman Solomon Mikowsky academic year only) Jeffrey Cohen Alexandre Moutouzkine André-Michel Schub, Daniel Epstein Joanne Polk Faculty Emeritus Horatio Gutiérrez Inesa Sinkevych

Return to Table of Contents 60 Piano BACHELOR OF MUSIC/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Piano Sight Reading PN0141-0142 1 1 Keyboard Skills PN0151-0152, PN0251-0252 2 2 1 1 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Electives 2 2 Practical Foundations ME1500 2 Conducting (Choral or Orchestral) CD0111-0112; CD0211-0212 2 2 Piano Literature PN0411-0412 2 2 Piano Pedagogy PN0421-0422 2 2 Choir VX0050 .5 .5 .5 .5 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Concerto Requirement (adjudicated) PN0500 0 Graduation Recital (adjudicated) 0 TOTAL: 124 15.5 15.5 15.5 15.5 18 16 14 14 *As assigned by the Ensembles Office

Return to Table of Contents Piano 61 MASTER OF MUSIC/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 4 4 Piano Literature PN2021-2022, 2031-2032 2 2 2 2 Chamber Music* SP1500 1 1 Concert Attendance CA1000 0 0 Jury 0 Concerto Requirement PN2200 0 Graduation Recital 0 TOTAL: 52 12 12 14 14 *As assigned by the Ensembles Office PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Keyboard Skills PN0861, 0862

Return to Table of Contents 62 Piano STRINGS VIOLIN, VIOLA, VIOLONCELLO, AND DOUBLE BASS The programs of study for Repertoire requirements for GRADUATION REQUIREMENTS String majors are designed to each year in School and for each Graduation Jury develop skilled performers in instrument are published in the Graduation Recital all areas of string technique String Department Handbook, All graduate String majors must playing. All students are required available from the Department perform their Graduation Jury to fulfill their Ensemble Chair or on the MSM before the departmental faculty­ Requirement as outlined in their String web page. during scheduled Graduation course sequence plans and as Jury periods in the final year of assigned by the School. GRADUATION REQUIREMENTS study. The program for both Graduation Jury the Graduation Jury and the UNDERGRADUATE Graduation Recital Graduation Recital must include Bachelor of Music degree program All undergraduate String majors the same works. Diploma program must perform their Graduation Jury before the departmental Audition Requirements faculty during scheduled PROFESSIONAL For complete information Graduation Jury periods in the STUDIES regarding audition requirements final year of study. The program CERTIFICATE and application information, for both the Graduation Jury PROGRAM please contact the Office of and the Graduation Recital must For information regarding this program Admission and Financial Aid.. include the same works. of study, see p. 79. There will be a “sophomore continuation jury” at the end of GRADUATE DOCTOR OF Master of Music degree program the sophomore year to establish MUSICAL ARTS that a student’s progress has been Postgraduate Diploma program For information regarding doctoral sufficient to ensure completion studies, see p. 85. of the program of study. This Audition Requirements evaluation will determine whether For complete information or not the student may continue regarding audition requirements in that program. and application information, please contact the Office of Admission and Financial Aid.

Return to Table of Contents Strings 63 STRINGS FACULTY Nicholas Mann, Department Chair Viola Double Bass Violin Daniel Avshalomov David Grossman Isaac Malkin Jeremy McCoy Albert Markov Karen Dreyfus Orin O’Brien Curtis Macomber Karen Ritscher Timothy Cobb Glenn Dicterow Kazuhide Isomura Isaac Malkin Pinchas Zukerman Patinka Kopec Kelly Hall-Tompkins Robert Rinehart Performance Program Koichiro Harada Samuel Rhodes Patinka Kopec Laurie Carney Shmuel Katz Pinchas Zukerman Laurie Smukler Molly Carr Lucie Robert Maria Radicheva Cello Mark Steinberg David Geber Nicholas Mann Fred Sherry Patinka Kopec Julia Lichten Peter Winograd Marion Feldman Sheryl Staples Philippe Muller Sylvia Rosenberg Wolfram Koessel Todd Phillips

Return to Table of Contents 64 Strings BACHELOR OF MUSIC/STRING MAJOR VIOLIN, VIOLA, AND CELLO SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 124 16 16 16 16 16 14 15 15 *All string players must participate in orchestra every semester until completion of the graduation jury; in addition, a minimum of 6 semesters of chamber music must be completed as assigned by the Ensembles Office. **Students in the Zuckerman Program register for OP1500 in place of LP1500.

Return to Table of Contents Strings 65 BACHELOR OF MUSIC/STRING MAJOR DOUBLE BASS ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music*** SP1500 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Half or Full Graduation Recital 0 TOTAL: 120 16 16 15 15 15 13 15 15 *All string players must participate in orchestra every semester until completion of the graduation jury; **Students in the Zuckerman Program register for OP1500 in place of LP1500. ***double bass majors must also complete two semesters of chamber music.

Return to Table of Contents 66 Strings MASTER OF MUSIC/STRING MAJOR VIOLIN, VIOLA, AND CELLO ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire for Strings ST2051-2052, 2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 Chamber Music* SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital*** 0 TOTAL: 50 12 12 13 13 *All string players must participate in orchestra every semester until completion of the graduation jury; in addition, except for doublebass, a minimum of 4 semesters of chamber music must be completed as assigned by the Ensembles Office. **Students in the Zuckerman Program register for OP1500 in place of LP1500. *** Required of all graduate string majors.

MASTER OF MUSIC/STRING MAJOR DOUBLE BASS ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Orchestral Repertoire for Strings ST2051-2052, 2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital*** 0 TOTAL: 50 13 13 12 12 *All string players must participate in orchestra every semester until completion of the graduation jury. **Students in the Zuckerman Program register for OP1500 in place of LP1500. *** Required of all graduate string majors. PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents Strings 67 PINCHAS ZUKERMAN PERFORMANCE PROGRAM The internationally acclaimed Audition Requirements Violinists and violists accepted violinist and conductor Pinchas For complete information into the Pinchas Zukerman Zukerman accepts a limited regarding audition requirements Performance Program have number of exceptionally and application information, the following options as a gifted violinists and violists as please contact the Office of course of study: private students at Manhattan Admission and Financial Aid. 1. School of Music each year. Pre-college students must This program, under Mr. enroll in an accredited high Zukerman’s supervision, is GRADUATION REQUIREMENTS school approved by Manhattan devoted to the artistic and School of Music. Violin technical development of these 2. Students with an earned Graduation Jury talented students. high school diploma Graduation Recital Mr. Zukerman works intensively are eligible to enter the Violinists must prepare a full with each student approximately following MSM programs: recital program representing six times per semester for a a. Bachelor of Music three style periods, including total of twelve private lessons degree program a 20th-century work. An throughout the academic year. b. Diploma program unaccompanied work of Bach In addition, weekly lessons c. Special Student status with and a complete concerto with are taught to the Zukerman an emphasis on instrumental cadenzas (which may be part class by Patinka Kopec, who study (one-year program; of the recital program, if so has been personally selected student is non-matriculated desired) are optional. by Mr. Zukerman to be his and must petition for a sole teaching associate and the second year of study) Viola program coordinator. 3. Students with an earned Graduation Jury Bachelor of Music or Applicants from around the world Graduation Recital are auditioned either in person equivalent undergraduate Violists must prepare a full recital or by videotape by Mr. Zukerman degree are eligible to enter the program representing three style and Ms. Kopec. The class includes following MSM programs: periods, including a complete three to ten students, ranging in a. Master of Music unaccompanied work of Bach age from fourteen years old to degree program and a 20th-century work. A the young career instrumentalists b. Postgraduate complete standard concerto with as well as the traditional Diploma program cadenzas is required. conservatory student. c. Professional Studies Certificate Program

Return to Table of Contents 68 Pinchas Zukerman Performance Program d. Doctor of Musical Arts 12 credit hours (full-time) PROFESSIONAL degree program in order to be eligible e. Special Student status with for an I-20. STUDIES an emphasis on instrumental For Course Sequence Plans CERTIFICATE study (one-year program; for all undergraduate and PROGRAM student is non-matriculated graduate degree and diploma For information regarding this program and must petition for a programs, see Strings. of study, see p. 79. second year of study)All International Students must register for a minimum of DOCTOR OF MUSICAL ARTS For information regarding doctoral studies, see p. 85.

PINCHAS ZUKERMAN PERFORMANCE PROGRAM FACULTY Pinchas Zukerman Patinka Kopec

Return to Table of Contents Strings/ Pinchas Zukerman Performance Program 69 BACHELOR OF MUSIC/STRING MAJOR ZUKERMAN PROGRAM SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument DB46-, VA46-, VC46-, VN46- 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* OP1500** 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital*** 0 TOTAL: 124 16 16 16 16 16 14 15 15

Return to Table of Contents 70 Strings/ Pinchas Zukerman Performance Program VOICE The programs of study for GRADUATE year. Manhattan School of Voice majors are designed to Master of Music degree program Music opera productions have develop skilled performers Postgraduate Diploma program been praised as a significant in all areas of vocal technique contribution to operatic life in and to offer opportunities to Audition Requirements New York City, and numerous perform a wide variety of vocal performances have been released literature. Voice majors take For complete information as commercial recordings. private lessons and participate in regarding audition requirements master classes, workshops, and and application information, All voice students participate in literature classes. All students are please contact the Office of ensembles, and opera experience required to fulfill their Ensemble Admission and Financial Aid. is available to all through a variety Requirement as outlined in their of opera-related programs and course sequence plans and as GRADUATION REQUIREMENTS courses. Opera is not a major, but assigned by the School. Graduation Jury Recital rather a significant feature of the Graduation Recital vocal performance experience at MSM. Undergraduate students UNDERGRADUATE All graduate Voice majors must gain operatic experience through Bachelor of Music degree program perform a Jury Recital and opera scenes programs in the Diploma program Graduation Recital (program junior year and a senior opera approved by the Department production. Graduate students Audition Requirements Chair) in their final year of study. audition for Opera Studio in the The program for the Graduation For complete information fall semester and may be assigned Recital, performed from memory, to main stage productions, scenes, regarding audition requirements must consist of a group of songs and application information, or opera workshops on the basis in English, a group in German, of these auditions. In addition, please contact the Office of a group in French or Italian, Admission and Financial Aid. several ensemble courses offered and a contemporary selection through Chamber Music and (an aria from oratorio or opera through the Collaborative GRADUATION REQUIREMENTS may be included). Piano program offer extensive Graduation Jury Recital opera experience. Graduation Recital All undergraduate Voice majors OPERA STUDIES must perform a Jury Recital and PROGRAM PROFESSIONAL Graduation Recital (program Students in the Opera Studies STUDIES approved by the Department program refine their technique Chair) in their final year of study. and develop their artistry under CERTIFICATE The program for the Graduation the guidance of a faculty of PROGRAM Recital, performed from memory, eminent artist-teachers while For information regarding this program must consist of a group of songs gaining exposure before New of study, see p. 79. in English, a group in German, York City audiences through a group in French or Italian, performances in opera scenes, DOCTOR OF and a contemporary selection community and educational MUSICAL ARTS (an aria from oratorio or opera outreach concerts, and two For information regarding doctoral may be included). full-length productions each studies, see p. 85.

Return to Table of Contents Voice 71 OPERA FACULTY RELATED VOICE Carleen Graham, Associate Dean of Vocal Arts Tazewell Thompson, STUDIES FACULTY Artistic Director, Opera Program Ashley Putnam, Freshmen Performance Kristen Kemp, Head of Music Carolyn Marlow, Acting Andy Gale, Stage Director for Catherine Malfitano, Junior Performance Opera Community Engagement Cristina Stanescu, French Diction, Recital Coaching Mark Janas, Music Director for Elsa Quéron, French Diction Opera Community Engagement Glenn Morton, Italian Diction Gordon Ostrowski, Stage Director for Kathryn LaBouff, English Diction Opera Community Engagement Kenneth Merrill, German and LeAnn Overton, Music Director for Advanced Vocal Literature Opera Community Engagement Mark Pakman, Russian Diction and Literature Jorge Parodi, Music Director of Senior Opera Theater Miriam Charney, British Vocal Literature, Nicolo Sbuelz, Opera Vocal Coach/Pianist Contemporary Opera Ensemble Shane Schag, Music Director for Nils Neubert, German Diction Opera Community Engagement Patrick Diamond, Acting Paul Sperry, American Vocal Literature VOICE FACULTY Shane Schag, Music Director, Musical Theater Lab Ashley Putnam Thomas Muraco, French Diction, Recitative, Coaching Catherine Malfitano Francis Patrelle, Faculty Emeritus Cynthia Hoffmann Edith Bers Harolyn Blackwell James Morris Joan Patenaude-Yarnell Maitland Peters Mark Oswald Marlena Kleinman Malas Mignon Dunn Neil Rosenshein Ruth Golden Shirley Close Isabel Leonard

Return to Table of Contents 72 Voice BACHELOR OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0101-0102, AS0201-0202 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Italian Diction IT0100-0200 2 2 English Diction EN0100-0200 2 2 German Diction GR0100-0200 2 2 French Diction FR0100-0200 2 2 German Vocal Literature VX0420 2 French Vocal Literature VX0550 2 English Vocal Literature VX0320 2 American Vocal Literature VX0322 2 Practical Foundations ME1500 2 General Electives 2 Introduction to Performance VX0900 1 Acting VX0901-0902 1 1 Movement VX1831-1832 1 1 Choir VX0050 .5 .5 .5 .5 1st Year Performance Class VX0100 .5 .5 2nd Year Performance Class VX0200 .5 .5 Junior Opera VX0800 1 1 Senior Opera Theatre VX0800 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Junior (Half) Recital 0 Graduation Recital 0 TOTAL: 130 18 18 17 17 16 15 13 16

Return to Table of Contents Voice 73 MASTER OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Acting VX2901-2902 2 2 Movement VX1831-1832 1 1 Music History and Voice Electives VX/MH 1000-2999 3 3 Recitative* VX1875 1 Ensemble** LP/SP1500 1 1 1 1 Performance Technique Class PT2500 1 1 Concert Attendance 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 55 14 14 14 13 *Can be taken either semester of the 2nd year; cannot count toward elective or ensemble credit **Students can participate in up to two (2) ensembles per semester, as assigned by Associate Dean for Vocal Arts PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0881-0882 Required Piano RP0121-0122

Return to Table of Contents 74 Voice WOODWINDS FLUTE, OBOE, CLARINET, SAXOPHONE, AND BASSOON The programs of study for sufficient to ensure completion GRADUATION REQUIREMENTS Woodwind majors are designed of the program of study. This Graduation Jury to develop skilled performers evaluation will determine whether Graduation Recital who are familiar with the or not the student may continue All graduate Woodwind majors standard solo, ensemble, and in that program. Repertoire will must perform their Graduation orchestral literature for their be determined by the teacher. Jury before the departmental instruments. Students must faculty during their final year demonstrate a high degree of Repertoire for juries in non- graduating years will be of study as determined by the pro­fessional competence, and department chair. appropriate stylistic approaches determined by the teacher to the literature of various and the student. historical periods. All students are PROFESSIONAL required to fulfill their Ensemble GRADUATION REQUIREMENT Requirement as outlined in their Graduation Jury STUDIES course sequence plans and as Graduation Recital CERTIFICATE assigned by the School. All undergraduate Woodwind PROGRAM majors must perform their For information regarding this program of study, see p. 79. UNDERGRADUATE Graduation Jury before the Bachelor of Music degree program departmental faculty during their Diploma program final year of study. DOCTOR OF MUSICAL ARTS Audition Requirements GRADUATE For information regarding doctoral For complete information Master of Music degree program studies, see p. 85. regarding audition requirements Postgraduate Diploma program and application information, please contact the Office of Audition Requirements Admission and Financial Aid. For complete information There will be a “sophomore regarding audition requirements continuation jury” at the end of and application information, the sophomore year to establish please contact the Office of that a student’s progress has been Admission and Financial Aid.

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

Return to Table of Contents Woodwinds 75 BACHELOR OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Woodwind Lab WW1151-1152 2 2 2 2 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-1999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 122 16 16 15 15 16 14 15 15 **All woodwind players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

Return to Table of Contents 76 Woodwinds BACHELOR OF MUSIC/WOODWIND MAJOR CLASSICAL SAXOPHONE ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Freshman/Sophomore Sax Performance Class SX0100*** 1 1 1 1 Junior/Senior Sax Performance Class SX0200*** 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 126 17 17 16 16 16 14 15 15 **All woodwind players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

Return to Table of Contents Woodwinds 77 MASTER OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Woodwind Lab WW2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 14 12 14 14 **All woodwind players must participate in large ensembles for 4 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

MASTER OF MUSIC/WOODWIND MAJOR CLASSICAL SAXOPHONE ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Graduate Sax Repetoire Class SX2200*** 2 2 2 2 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 14 12 14 14 **All woodwind players must participate in large ensembles for 4 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester. PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents 78 Woodwinds PROFESSIONAL STUDIES CERTIFICATE PROGRAM The Professional Studies at least 24 credit hours for the TOEFL which is administered Certificate program is designed academic year. All students who at the School during each for accomplished performers are accepted into the program audition period. possessing a Master of Music must pursue a full-time course of degree, a Postgraduate study of at least 12 credit hours Audition Requirements Diploma, or their equivalent. per semester whether they wish to This one-year program offers receive the certificate or not. Audition requirements for the study in Collaborative Piano Professional Studies Certificate (with a concentration in either The program is normally Program are the same as those instrumental or vocal music), completed in one academic year, for the Doctor of Musical Arts Brass, Composition, Guitar, but may occasionally be extended. Degree program. Orchestral Performance,­ Students must apply by petition Organ, Piano, Strings, Voice, or for such extensions. GRADUATION REQUIREMENTS Woodwinds. It is designed for 1. Graduation Recital and/or students who wish to pursue Admission Graduation Jury instrumental or vocal study on Admission to the Professional All students enrolled in the an advanced level and serves to Studies Certificate Program is Professional Studies Certificate assist them in preparing for major based on an audition before the Program are required to perform a competitions, auditions, or career faculty of the applicant’s major full recital and/or Graduation Jury entry positions. A certificate department and on the results of a in order to successfully complete will be awarded to students review of the applicant’s academic the requirements for the program. who successfully complete this history. International Students The repertoire for the recital program of private lessons, must score at least 550 on the is determined in consultation ensembles as assigned, electives, with the major teacher and and a graduation recital totalling Department Chair.

Return to Table of Contents Professional Studies Certificate Program 79 PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR BRASS, WOODWINDS, VIOLIN, VIOLA AND VIOLONCELLO ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives 2 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 25 13 12

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

Return to Table of Contents 80 Professional Studies Certificate Program PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR PERCUSSION ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives (as needed) 2 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Percussion Lab PK2451-2452 2 2 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 29 15 14

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

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

Return to Table of Contents Professional Studies Certificate Program 81 PROFESSIONAL STUDIES CERTIFICATE PROGRAM BRASS, COMPOSITION, GUITAR, ORGAN, WOODWINDS ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Graduate Electives 6 6 Concert Attendance CA1000 0 Graduation Jury or Recital 0 TOTAL: 24 12 12 Graduation Jury and/or Recital requirements are based upon those for each individual major.

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

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

PROFESSIONAL STUDIES CERTIFICATE PROGRAM COLLABORATIVE PIANO ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Collaborative Piano Seminar AC2091-92 OR AC2093-94, AC2111-12 OR AC2113-14 2 2 Collaborative Piano Practicum AC2031-2032 1 1 Graduate Electives 6 6 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Recital 0 TOTAL: 30 15 15

Return to Table of Contents 82 Professional Studies Certificate Program DUAL DEGREE PROGRAM WITH TEACHERS COLLEGE COLUMBIA UNIVERSITY

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

Return to Table of Contents Dual Degree Program with Teachers College Columbia University 83 MANHATTAN SCHOOL OF MUSIC (11–13 CREDITS) COURSES OFFERED (selected in consultation with advisor) Graduate Level Performance 4 Supervised arts-in-education fieldwork in schools (35 hours) 0 Graduate Electives 2

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

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

Return to Table of Contents 84 Dual Degree Program with Teachers College Columbia University DOCTOR OF MUSICAL ARTS The program of study leading the Doctoral Committee, Committee for an examination to the Manhattan School of administers all matters of in another language if that Music Doctor of Musical Arts curriculum, document topics, language can be shown to be degree is offered with majors examinations, and applications relevant to the student’s specific in Collaborative Piano (with for graduation. All inquiries, research interests. a concentration in either forms, and petitions should be 2. instrumental or vocal music), forwarded to the Assistant Dean Prior to graduation, the student Brass, Composition, Conducting, for Doctoral Studies. must pass a comprehensive Guitar, Jazz, Organ, Piano, examination in both history and Strings, Voice, or Woodwinds. theory. This includes a six-hour Assistantships in the written exam and a one-hour A minimum of 60 credits in Classical Division approved graduate courses is oral exam before the Doctoral required. The curriculum is A limited number of Committee. The examination is designed to prepare the candidate assistantships and teaching offered twice a year and may be for a perfor­­ming career and for fellowships are available to taken as early as the second year teaching at the college level. doctoral students qualified to of study. Any student who fails Students will, therefore, be assist professors in history and the comprehensive examination expected to demonstrate strong theory courses, to teach Required or any portion thereof three academic capabilities in addition Piano, to work in the Outreach times will be dismissed to a high level of achievement in and Guitar departments, and from the program. to assist the Assistant Dean performance or composition. 3. Students must be in for Doctoral Studies with residence at the school for a administrative duties. Awards are Admission minimum of two years. made on a yearly basis. Recipients Requirements for admission may apply to the Director of 4. All coursework and to the Doctor of Musical Arts Doctoral Studies for a one-year performance requirements degree program include (1) a renewal of their assistantship. must be completed within Master’s degree or its equivalent Awards may not exceed two years. five years of the date of in music, (2) an audition before matriculation. A one-year leave of the faculty of the applicant’s absence may be taken. major department, (3) a three- DEGREE hour writtten examination in REQUIREMENTS 5. After completion of the two years of required course work, music history and theory, (4) a Classical Division TOEFL score of at least 100 students register for Thesis (computer-based score). 1. Prior to graduation, all Research in every semester until students, except Jazz majors, must graduation. This registration demonstrate reading knowledge Advisement carries the equivalent of full- of a foreign language at a level time status and a fee of $800 per Students admitted to the that will enable them, with the semester. In the fall semester, program must consult with use of a dictionary, to translate students will submit a written Associate Dean for Doctoral 500 words of a musicological report on the progress of Studies, Jeffrey Langford, each text in two hours. The choice their thesis research; and in semester prior to registration. of language is usually French, the spring semester, they will The Assistant Dean for Doctoral German, or Italian, but the meet with the Assistant Dean Studies, in consultation with student may petition the Doctoral

Return to Table of Contents Doctor of Musical Arts 85 for Doctoral Studies for the one concerto and pass a jury Associate Dean of the Jazz purpose of making a formal examination on excerpts from the Arts Program. Duration presentation of their work. orchestral repertoire. should be 50 minutes. • One research document 6. 10. Students applying to the Composition majors present a on a jazz-related topic of Collaborative Piano department concert of original music written the student’s choice. This elect a concentration in primarily during the period of document must be approved either vocal or instrumental doctoral study. The student is by the Associate Dean of accompanying and are encouraged to participate as a the Jazz Arts Program and expected to audition with performer or conductor in at least should be from 60-80 pages repertoire selected accordingly. one work. Composers also take a in length. The research Students concentrating in jury examination in each of their document is a flexible vocal accompanying must pass first two years in order to assure requirement. Underlying proficiency exams in Italian, the Composition Department this project must be French and German diction or that works of sufficient quality evidence of basic research satisfy any deficiency by auditing and quantity are being produced. skills and good writing one or more of the following: 11. Prior to graduation, all technique. Beyond that, we Italian for Singers (IT2101-2102), suggest work on a subject French for Singers (FR2101- students submit a written thesis demonstrating an advanced that will be of sufficient 2102), German for Singers practical interest to the (GR2101-2102). level of research and writing skills. Further details concerning music world to offer the 7. Students may transfer a the thesis requirement may opportunity for publication. maximum of nine graduate credits be found in the Doctoral Common approaches to this earned at another institution Studies Handbook available project include a historical with a grade of A or B; no applied from the Assistant Dean for study of some subject credits (i.e., private lessons) may Doctoral Studies. related to the major field or be transferred. an analytical study of a work 12. Voice majors must pass or group of works from the 8. Performance majors are proficiency exams in French, repertoire of the student’s required to give three recitals, Italian, German and English instrument or a critical one of which is usually chamber diction or satisfy any deficiencies edition of some previously music. For Collaborative Piano by auditing or taking one or unavailable work(s). majors, all three recitals comprise more of the courses listed in 2. The culmination of the doctoral chamber music. In addition to paragraph 5 above. program is the comprehensive the three recitals, graduation exam. It is important to requirements for Organ majors Jazz Arts Division understand that these tests include mastery of all major and 1. are not a measure of what the minor scales in double thirds and Jazz Arts Advancement majors student learned in the two years arpeggios at the piano, three pedal are required to present: of course work at Manhattan virtuoso pieces, and four trio • One large ensemble recital School of Music, but are rather sonatas of Bach. (Jazz Chamber Music). an evaluation of his or her total Students must conduct and/ experience with the history, 9. Piano and Guitar majors or solo in the performance. literature, and theory of music have the additional require­ This performance should be gained over many years of ment of performing two solo 90-120 minutes in duration working as a musician. Prior to concertos, while other Classical, inclusive of intermission. graduation, the student must pass instrumental majors must play • One lecture recital on a comprehensive examinations topic of the student’s choice in jazz history/styles/analysis to be approved by the

Return to Table of Contents 86 Doctor of Musical Arts (HSA Exam), theory/analysis • Memorize and be fluent • Sight read and improvise on (TA Exam), and improvisation in all 60 compositions a composition that will be (Improv Exam). The HSA Exam from years 5 and 6 of the provided by the panel. and the TA Exam are written departmental handbook Upon completion of coursework, exams. The HSA exam involves (green book) and be recitals, research document, and listening as well as writing and prepared to play any of comprehensive exams (in this takes approximately three hours. these compositions for the order), the student must present The TA Exam involves analysis of panel. The panel will select his or her thesis. The thesis is a scores and transcriptions as well several of these pieces for 30-minute jazz orchestral work as short composition exercises performance. (for studio orchestra) to be and takes approximately four • With the exception of the performed in a Jazz Philharmonic hours. The Improv Exam is a following compositions— concert. The student must solo playing and written examination Nica’s Dream, Pensativa, in and/or conduct the work. The that will take approximately Upper Manhattan Medical work must also be accompanied one hour. In the Improv Exam, Group, Moments Notice, by extensive program notes. students are required to: Airegin, Chega de Saudade, Stablemates, and In Your • Provide their own Audition Requirements accompanying trio Own Sweet Way—know and perform at the all of the remaining For complete information highest doctoral and compositions from years 5 regarding audition requirements professional level. and 6 in 12 keys. and application information, • Write and play a line on a please contact the Office of given chord progression. Admission and Financial Aid.

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

Return to Table of Contents Doctor of Musical Arts 84 DOCTOR OF MUSICAL ARTS/PIANO MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Piano Pedagogy DM3050-3051 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective 3 Doctoral Seminar DM3099 3 Performance Practices DM3130 3 Thesis Advisement DM4500 2 2 Comprehensive Exam DM4500 0 Solo Recital DM4450 2 2 Performance Project DM4490 2 Concerto DM4470 0 0 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 64 15 17 16 16

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

Return to Table of Contents 88 Doctor of Musical Arts DOCTOR OF MUSICAL ARTS/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective 3 2 Doctoral Seminar DM3099 3 Performance Practices DM3130 3 Thesis Advisement DM4200 2 2 Comprehensive Examination DM4500 0 Performance of Original Comps. DM4560 2 Composition Jury 2 2 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 60 15 14 16 15

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

Return to Table of Contents Doctor of Musical Arts 89 ARTIST DIPLOMA The Artist Diploma is a one- Admission Advisement year course of study designed for Admission to the Artist Diploma Students admitted to the program students whose performance level degree program is based on are advised by the Deans of is of the highest international a three-tier process: 1) an Faculty and the appropriate standards, significantly above initial screening of applicants Departmental Chair. the level required of DMA or by videotape after which a Postgraduate Diploma students. student may be invited to 2) Audition Requirements Artist Diploma students must be audition in person before the full time (a minimum of 12 credits appropriate departmental For complete information per semester). The Artist Diploma faculty after which the student regarding audition requirements is available in the following may be asked to 3) audition in and application information, main areas of concentration: person before members of the please contact the office of Classical Piano, Voice, Organ, Artist Diploma Committee, admission and financial aid. Guitar, Collaborative Piano, and chaired by the appropriate Vice Orchestral Instruments. President of Faculty.

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

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

ARTIST DIPLOMA VOICE SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 8 8 Graduate Electives 2 2 Role Preparation* 2 2 Recital 0 0 TOTAL: 24 12 12 *Selected in consultation with Dean of Academic Affairs, Chair of the Voice Department, and Associate Dean and Director of Vocal Arts.

Return to Table of Contents 90 Artist Diploma COURSE DESCRIPTIONS instructor. Vocal or instrumental Please note: Courses listed in emphasis depends upon area of COMPOSITION this catalogue are subject to specialization. Technical problem- Major Lesson: changes initiated by department solving is stressed. 1 hr weekly/3-6 credits per semester chairpersons or department directors CP1999 Composition Forum and approved by the Curriculum AC2091-92, AC2111-12– Committee. Additions to all 1.5 hr weekly/1 credit per semester Instrumental AC2093-94, curricula are published annually This course is designed for all by the Office of the Registrar. AC2113-14–Vocal Collaborative Piano Seminar composition students at MSM Courses and assigned faculty are and includes student analysis and 2-3 hrs weekly/2 credits per semester subject to change. discussion of their own works, A weekly meeting of collaborative critical analysis of contemporary piano majors which will explore works recently performed in BRASS accompanying and vocal NYC, guest appearances by Major Lesson: and instrumental coaching visiting composers, master classes, techniques, emphasizing the 1 hr weekly/3–6 credits per semester discussions of notation, lectures interaction between partners and on advanced instrumental and BR0003-0004 Brass Performance the musical style and performance vocal techniques, notation, score problems in a wide range of Class (Undergraduate) and part preparation, and the life instrumental and vocal repertory. 2 hrs weekly/1 credit per semester of a composer after graduation. (Open to collaborative piano majors Required of all Composition Students, BR2003-2004 Brass Performance or by invitation of instructor) Undergraduate and Graduate. Class (Graduate) 2 hrs weekly/2 credits per semester AC2031-2032, AC2041-2042 CP0131-0132 Freshman A performance seminar and Collaborative Piano Practicum Instrumentation survey course for all Brass majors 1 credit per semester 1 hrs weekly/1 credit per semester devoted to the brass player’s The opportunity for hands-on A study of orchestral instruments. development as a professional, learning in vocal and instrumental Arranging and writing for both onstage and off. Discussions studios on a weekly basis, small ensembles. of pedagogy, practice techniques, investigating the relationship audition preparation, and related of other performers’ techniques CP0231-0232 Sophomore subjects. Selected reading. to one’s own accompanying Orchestration Class members perform and facility and repertory. Special 1.5 hrs weekly/1 credit per semester discuss orchestral, chamber, and assignments to opera projects and solo performance. master classes. Arranging and writing for large ensembles. (Open to collaborative COLLABORATIVE piano majors only) Prerequisite: CP0131-0132 or the equivalent. PIANO Major Lesson: CP0331-0332 Junior Orchestration 1 hr weekly/5 credits per semester 1 hr weekly/1 credit per semester Students explore standard Arranging and writing vocal and instrumental for orchestra. repertoire in detail with the

Return to Table of Contents Course Description 91 Prerequisite: CP0231-0232 or Max Neuhaus, Paul DeMarinis, The class will include a survey the equivalent. Peter Ablinger, David Dunn, of seminal works by composers John Grznich, Peter Cusack and working with alternate tunings CP0421-0422 Undergraduate Mary Jane Leach. The aim of this and acoustical models. Classes Form and Analysis course is to refine listening within will be a mixture of lectures, 2 hrs weekly/2 credits per semester natural and built environments. discussion, class presentations, In addition to weekly assignments music demonstrations and guest Analysis of 20th-century music. that are basically thought performances. The course is open The first semester focuses on experiments, the final assessment to music students with basic Debussy, Stravinsky, Bartok and involves the creation of a knowledge of music theory. the Second Viennese School. sound installation. The second semester begins with CP1600 Experimental Neo-Classicism and continues CP1500 Tuning Systems with postwar developments Indeterminate Music to the present. Readings from and Acoustics 2 hrs weekly/2 credits per semester theorists and composers as well as 2 hrs weekly/2 credits per semester This course focuses on the study, composition exercises comprise This course will explore the interpretation, and composition weekly assignments. origins and development of of text-based scores, graphic tuning systems and acoustics from scores, and practices of free CP1300 Living in Sound Ancient Greece to the present improvisation, exploring a 2 hrs weekly/2 credits per semester and projecting into the fuure. It spectrum of methods used to is designed to enable students create music with elements of Did you know there is no such with Western music skills and indeterminacy. It is designed to thing as an ear lid? The fraction aesthetics to broaden their provide students with the tools of information lost with a blink understanding and performance and experience to apply these is not lost on the ear. Current skills beyond the 12 notes of methods to best serve their archeoacoustic studies have the equal tempered scale and own creative practices. In each shown that prehistoric people the acoustics of traditional class, we will study and discuss navigated caves by using sound concert halls. We will learn the compositional methods as sonar. This means our ears the basics of just intonation, and philosophies of relevant have the capacity to distinguish historical temperaments, composers as well as learn and between the different densities microtonality, and how these perform select works together. of substances, the volumes of tuning systems, along with the spaces and the distances between acoustical making throughout Annea Lockwood, Karlheinz objects. Indeed, measuring the ages. We will also learn the Stockhausen, Carolyn Chen, distance is more accurate when fundamental principles of the Sarah Hennies, Cornelius Cardew, understood aurally than visually. physics of sound, exploring how Sophia Jernberg, Pamela Z, John the harmonic series, resonance, Coltrane, and inti figgis-vizueta This course explores what are just a few of the artists whom information an open ear can give. acoustics, and now technology have provided the foundation we will study or perform. Students It looks at the deep listening will synthesize their score study, theories of Pauline Oliveros for the music of various cultures throughout history. performances, and reading and the work of sound artists assignments into a series of their and composers like Murray Techniques and processes for own compositions that will be Schafer, Bernhard Leitner, David creating and performing music performed and discussed in class. Dunn, Christina Kubisch, Alvin in alternate unings will be The course will culminate with a Lucier, Hanna Hartman, Paul reviewed and discussed, including concert of student compositions. Panhuysen, Laurie Anderson, various methods of microtonal Hildegard Westerkamp, David notation and MIDI playback. Byrne, Jürg Frey, Laurie Spiegel,

Return to Table of Contents 92 Course Description CP1720-1730 Electronic Music for CP2201-2202 Advanced relationship and interaction Undergraduate Students Orchestration of composer to singer will be 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester examined citing specific examples An introduction to digital audio Intensive study of the specific (from Handel to Berio) and and digital signal processing, technical issues of all instruments. leading to the actualization of including Kyma, Pro Tools, and Weekly presentation by individual student works with student other software, as techniques instrumentalists. singers. Composition of short for composition. The goal of the vocal studies will lead to a final Prerequisite: Graduate standing or course is to provide students vocal composition presented in permission of the instructor. with the skills and a conceptual a class recital. foundation for advanced work. CP2600-2601 Electronic Music for Students will have access to the CONDUCTING electronic music studio to do Graduate Students CD0111-0112 Introduction to creative work to be performed at 2 hrs weekly/2 credits per semester an end-of-the-term concert. The goal of this course is to Choral Conducting provide students with the skills 2 hrs weekly/2 credits per semester CP2171-2172 Graduate Form and concepts necessary to use A course designed to acquaint the and Analysis electronic instruments and student with the fundamentals 3 hrs weekly/3 credits per semester software in composing and of choral conducting through performing music. The course classroom performance. Basic Analysis of 20th-century music. includes intensive use of digital baton technique is studied and The first semester focuses on audio and signal processing elementary problems in phrasing, Debussy, Stravinsky, Bartók and software, including Kyma, Pro balance, and tone are introduced. the Second Viennese School. Tools, and other programs. Prerequisite: TH0004. The second semester begins with Students will have access to Neo-Classicism and continues the electronic music studio to CD0211-0212 Introduction to with postwar developments do creative work which will to the present. Readings from be performed in an end-of- Orchestral Conducting theorists and composers as well as the-term concert. 2 hrs weekly/2 credits per semester composition exercises comprise A course designed to acquaint the weekly assignments. CP2711-2712 Composition for Non- student with the fundamentals Composition Majors of orchestral conducting CP2181-2182 Score 2 hrs weekly/2 credits per semester through classroom performance Reading Seminar employing an ensemble of 2 hrs weekly/2 credits per semester The writing of simple original orchestral instrument majors. compositions with emphasis upon Basic baton technique is studied An in-depth study of score- the individual’s creative style. with particular emphasis on reading for composers, its relationship to musical from string quartets to interpretation. Elementary symphonic literature. An CP2811 Composing for (and problems in phrasing, balance, adjunct to conducting, it aids with) the Voice tone, color, etc. are introduced, the understanding of clefs, 2 hrs weekly/2 credits per semester using the classical symphonic transposed instruments and Vocal composition explored by literature. Students must contemporary scores. combining practical techniques have some acquaintance with with historical perspectives, orchestration, elementary score including music from a variety reading, and simple transposition. of cultures and genres. The Prerequisite: TH0004.

Return to Table of Contents Course Description 93 CD2011-2012 Advanced Performance Program. Students extended techniques for their Orchestral Conducting are assigned by instrument to instruments.There are written 2 hrs weekly/2 credits per semester the studio of the corresponding assignments throughout the year A course designed for students CPP faculty member(s). Weekly to document the collaborative wishing to investigate the lessons provide a forum for process with the composer. problems of working with in-depth study of classical orchestras at a more advanced contemporary music. CT1960 Contemporary Music level. Emphasis is on technique, Survey, 1900-1960 style and repertoire. Students CT1071 Contemporary Ensemble 3 hrs weekly/3 credits per semester/Fall Up to 9 hrs weekly/2 credits must have a thorough background This course is an overview of the per semester in basic musical skills and evolution of musical modernism, previous training in conducting. Students in the Contemporary with an emphasis on linking Prerequisite: CD0211-0212 or Performance Program form the together composers, important the equivalent. core of Tactus, Manhattan School works, concepts, and trends, to of Music’s premier contemporary create an overall map of the early CD2911-2912 Advanced ensemble. Participation in 20th century. Course work centers Choral Conducting CT1071 is required during on weekly readings, writings each semester of study in the 2 hrs weekly/2 credits per semester assignments, and robust in- Contemporary Performance class discussions. A course designed to acquaint the Program. Class periods are *Course runs alternate years. student with the fundamentals used for rehearsals, coachings, of choral conducting through master classes, repertoire classroom performance. Basic classes, composer readings, CT1961 Contemporary Music baton technique is studied in workshops, and CPP special Survey, 1961-the Present terms of elementary problems in events. Students focus on many 3 hrs weekly/3 credits per interpretation. Phrasing, diction, aspects of contemporary music semester/Spring balance and intonation are studied study, including performance with This course is an overview of the using sacred choral literature electronics, improvisation, and evolution of musical modernism of all periods. overall stylistic fluency. Tactus and postmodernism, with an Prerequisite: Graduate standing. presents 6 public performances emphasis on linking together a year at the Manhattan composers, important works, CD2931-2932 Choral Repertoire School of Music. concepts, and trends, to create 2 hrs weekly/2 credits per semester an overall map of the late 20th CT1700 Composer/ century and early 21st century. An in-depth study of sacred Course work centers on weekly choral literature; conductiong Performer Project 1 hr weekly/1 credit per semester readings, writings assignments, practicum including conducting and robust in-class discussions. from the console and The Composer/Performer accompanying at the organ. Project [CPP II] is an assigned *Course runs alternate years. collaboration between a 2nd- year CPP student and an MSM CT1999 Composer CONTEMPORARY composer. It results in the Workshop/Reading PERFORMANCE creation of a short solo work to 4 hrs total, meets twice a semester/1 CT6000 Major Instrument Seminar be performed during the 2nd credit per semester semester. In the 1st semester 1 hr weekly/4 credits per semester The Composer Workshop/ the CPP students make a Reading happens twice each This performance seminar fulfills presentation of the historically semester. For the workshops, the private lesson requirement groundbreaking works and for students in the Contemporary MSM composition students

Return to Table of Contents 94 Course Description submit pieces and/or sketches concentration on understanding course, self-motivated and that are played by CPP amplification, negotiating designed, that focuseson students. For the readings, CPP recording and performance preparation for three concerts students perform assignments with software, and building a each semester wherein the submitted by members of MSM’s personal electronics toolkit for classbands together to produce orchestration classes. The current practice. a lunchtime event. Students course provides a platform for have the opportunity to further live hearings of student works. CT2701 Performing with design their own electronics “rig” CPP students are expected to Electronics 2 and practice, and freely explore perform at a reasonable level, and 2 hrs weekly/2 credits/Spring particular musical paradigms to contributive constructively to which might be “out of the class discussions. The second semester course box” for them. (Spring) expands on the first course with more of a CT2200 Contemporary JURIES concentration on synthesis and Musicianship Max/MSP, an object-oriented The Office of the Registrar assigns 2 hrs weekly/2 credits software program used heavily in jury days and times for students CT 2200 is an advanced class composition, performance, sound, at MSM. CPP juries take place in geared toward polishing the skills and video design in everything early May. Each jury is 15 minutes necessary for the performance from academic music to popular long. Both 1st-year and 2nd-year of music of the 20th and 21st music (Aphex Twin). CPP students are required to centuries. The course focuses participate. 1st year students on relative pitch, intervallic, and CT2702 Performing with Please present three works: rhythmic skills, with an emphasis Electronics 3 • One piece from the on sight singing. 2 hrs weekly/2 credits/Fall 20th century Advanced Performing with CT2700 Performing with • One piece from Electronics (offered both 21st century Electronics 1 semesters), is a project based • One contemporary etude, 2 hrs weekly per semester/2 credits/Fall course, self-motivated and or etude-like piece 2nd The CT 2700 series provides designed, that focuseson year students students with hands-on preparation for three concerts Please present three works: experience performing and each semester wherein the creating with technology, giving classbands together to produce • One piece written in the them access to an increasingly a lunchtime event. Students last ten years important body of technical and have the opportunity to further • One piece demonstrating musical skills in digital music design their own electronics “rig” significant technical skill software and hardware, and and practice, and freely explore • One piece of the equipping them with a knowledge particular musical paradigms player’s choosing of current practices in the field. which might be “out of the Students are responsible for CT 2700 is a prerequisite for CT box” for them. providing their own accompanists, 2701, as are both for CT 2702. if needed. Please plan early, to Exceptions are considered based CT2703 Performing with avoid last-minute scheduling upon experience, knowledge, Electronics 4 problems. Students may view and desire. Please approach the 2 hrs weekly/2 credits/Spring their jury comments and scores instructor directly. at the Registrar’s Office and may Advanced Performing with elect to share them with their The first semester (Fall) is an Electronics (offered both teachers. All juries are graded on a entry level course focusing on self- semesters), is a project based 10-point scale. The student’s jury sufficiency in performance with a

Return to Table of Contents Course Description 95 grade is the average of all scores DM3099 Doctoral History Seminar DM4150 Research Methods received at the jury. The Provost’s 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits/Fall semester Office will consider a student An advanced seminar, the topic An introduction to the petition for jury postponement, of which changes every year. techniques of scholarly research: but only in the case of an extreme Regular and active participation is bibliography, documentation and medical condition (documented expected of every class member, style specifically applicable to the by a physician), sudden family along with a formal research writing of a graduate thesis. emergency, or other exceptional paper, and both written and circumstance. In all other cases, oral examinations. DM4170 History Pedagogy a student who fails to play a scheduled jury will receive 3 hrs weekly/3 credits/Spring semester DM3130 Historical an “F” for that jury. A failed A seminar devoted to developing jury may result in academic Performance Practice skills in the organization and probation or dismissal from 3 hrs weekly/3 credits/Fall semester presentation of historical MSM. A postponed jury must be An intensive study of how materials in a pedagogical successfully completed not later Baroque music was meant to be setting. Class members practice than the first two weeks of the performed. Students will study selecting topics, utilizing subsequent semester. old and new editions, debate research techniques, preparing differing styles of performance and presenting lectures and and the nature and value of administering examinations. DOCTORAL authenticity, and will put these PROGRAM ideas into practice by means of DM4200 Thesis Advisement DM3050-3051 Teaching Piano in class and public performance. 10 hrs as arranged/2 Higher Education credits per semester 3 hrs weekly/3 credits per semester IS4000-4999 Independent Study Conference in connection with This course provides Conference with an advisor in the preparation of a thesis. comprehensive exploration in all connection with independent areas of collegiate piano teaching. projects. Proposals are DM4450 Doctoral Recital Fall semester focuses on adult submitted for approval to the (Performance majors only) group piano and job preparation. Office of Doctoral Studies 2 programs/2 credits per recital This includes a survey of current prior to electing the course college piano texts, observations for credit. It is recommended One recital in each of the first two and a teaching practicum. Spring that students consult with the years. Students must register for semester focuses on teaching advisor of their choice before DM4450 for each program. in the private studio and the submitting a proposal. technique of giving a master class. DM4460 Performance of Original Selected reading assignments DM4101-4102 Theory Compositions (Composition and careful examination of Analysis/Pedagogy majors only) musical scores, recordings and 3 hrs weekly/3 credits per semester 1 program/2 credits video resources will provide A program of original solo or a foundation of knowledge A survey of various analytical chamber music adjudicated by a from which to demonstrate techniques and systems as well specially appointed jury. critical thinking about the art of as study of the techniques and teaching piano. Students will give materials of teaching music theory presentations and participate in a at the college undergraduate level. teaching practicum. Practice teaching is emphasized.

Return to Table of Contents 96 Course Description DM4470 Concerto Performance Studies and the Doctoral the guitar from the compositions No credit Committee. Students are required of late 18th- and 19th-century A performance requirement to maintain active research on masters through composers of the for Piano and Guitar majors a thesis topic and to document 20th century. The development adjudicated by a specially their work through periodic of the classic guitar and appointed jury. written reports to, and direct performers on the instrument are consultations with, the Doctoral also discussed. Committee. The Committee DM4490 Performance Project will evaluate the substance of the (Performance majors only) GT0411-0412, 1411-1412 work done and make suggestions Guitar Pedagogy A performance requirement that regarding the direction and 1 hr weekly/1 credit per semester varies according to the major progress of the research. A practical study of teaching and is adjudicated by a specially *Fee of $750 will be charged. appointed jury. techniques including a survey of methods and music available, an examination of differences in DM4500 GUITAR Major Lesson: individual and group instruction, Comprehensive Examination 1 hr weekly/3–6 credits per semester and discussion of the varying 3 credits approaches for teaching students An examination which focuses GT0111-0112 History and Literature of different ages. The course on the major field and musical of the Classic Guitar also covers the effectiveness of knowledge in the fields of theory/ 1 hr weekly/1 credit per semester various pedagogical approaches analysis and music history and to technique and interpretative literature. It may not be taken The study of the literature of analysis, as well as the history of prior to the completion of guitar-related instruments of guitar pedagogy. required courses. the Renaissance and Baroque periods including the vihuela, four-course guitar, Baroque GT0511-0512, GT0611-0612 DM4550 Thesis Examination guitar, and Baroque lute. Through Fretboard Harmony No credit. Special fee of $100.00 transcriptions and analysis 1 hr weekly/1 credit per semester Upon approval of the advisor, students gain the necessary A course designed to develop a the document is submitted to insights to assess the merits of full knowledge of the fretboard the Office of Doctoral Studies. It editions of music from these through the study of fingerings, is then examined by one or two stylistic periods as well as become harmony, sight-reading, readers, depending on the scope acquainted with the performing score reading, transposition and complexity of the topic. The practices of the time. Students and figured bass. Associate Dean for Doctoral also acquire techniques for Studies confers with the student researching original sources, as GT2151-2152 Graduate Seminar to reconcile the views of the well as a working knowledge of in the History and Literature readers with those of the student the basic playing techniques of of the Guitar and his or her advisor. the original instruments. 2 hrs weekly/2 credits per semester DM5200 Thesis Research GT0211-0212 History and Literature An in-depth survey of the instruments, styles, notation 12 credits*/Fall and Spring semesters of the Classic Guitar systems, composers, and 1 hr weekly/1 credit per semester This course facilitates the repertoire which has led the guitar student’s completion of the thesis A continuation of GT0111-0112 from its origin through the most requirement through independent to survey the solo and chamber current developments. Through study supervised and monitored music literature composed for performance, transcription, by the Associate Dean of Doctoral

Return to Table of Contents Course Description 97 bibliographic techniques and practice and performance Postmodern. The lectures survey scholarly studies, the role of habits/strategies and meditate the development of civilization plucked instruments assumes a together to enhance our focus from the ancient world to the unique and influential position in and relaxation. new millennium, providing the history of Western music. students with a critical overview of cultural accomplishment. The Prerequisite: Graduate standing. HUMANITIES core seminars are the central The Core Curriculum: Developing component of the humanities GT0999 Guitar Intellect and Imagination program, organized thematically, Performance Seminar surveying seminal works of world 2 hrs weekly/1 credit per semester The Humanities Core is designed to develop the intellectual literature, and offering students A weekly required performance and imaginative abilities of the opportunity to discuss life class for all undergraduate Guitar students seeking to fully realize enhancing ideas as they formulate majors to perform solo and their potential as professional a viable personal philosophy. chamber music repertoire. musicians, responsible citizens, The community formed by the and creative individuals. students’ collective endeavor GT2999 Guitar Concentrated study of world constitutes the most valuable Performance Seminar literature and cultural history resource of the core, a community in which students develop a 2 hrs weekly/3 credits per semester provides a springboard for students to acquire the skills voice and an identity to ensure A weekly required performance their meaningful participation class for all graduate Guitar of careful reading, critical thinking, persuasive speech in society. Working in concert majors to perform solo and to achieve these goals, the core chamber music repertoire. and effective writing that foster career advancement. seminars and lectures direct Students should emerge from students to some of the most significant historical events, HARP the core able to articulate their ideas in conversation and in celebrity figures, and literary Major Lesson: works that have shaped cultural 1 hr weekly/3–6 credits per semester writing, with a sensitivity to language, an appreciation of history, in an effort to foster the literary imagination, and an intellectual debate and stimulate HR0151-0152, HR2151-2152 evaluation of the rich cultural Orchestral Repertoire for Harp understanding of the rich cultural legacy of the past. legacy we have inherited. Open 2 hrs weekly/2 credits per semester to undergraduates only in the fall Intensive study of selected major and spring semesters. UNDERGRADUATE CORE orchestral works. This class offers a spectrum of orchestral works HU0001-0004 Humanities Core: HU0001 Foundational Visions: Myth which cannot be included on World Literature and Culture and Morality in the Ancient World each year’s orchestral program. 4 hrs weekly/3 credits/Fall semester Additional supervised research 4 hrs weekly/3 credits per semester A writing-intensive, cross-cultural projects for graduate students. Study in the humanities core includes a four-semester sequence exploration of the way in which of core seminars—Foundational ancient civilizations deploy the HR0451/HR2451 Harp Lab mythological imagination to 1hr weekly/1 credit per semester Visions, The Questing Self, Rebels & Revolutions, and invest the world with meaning and Students will play for each other The Artist & Society—as well value, envision the relationship and give comments to each other. as a complementary set of between the human and the We also discuss and share helpful lectures entitled The Advance divine, present human beings as ideas, including physical exercises, of Civilization: Primitive to ethical agents confronted with stretches and deep breathing, moral choices, and foster systems

Return to Table of Contents 98 Course Description of philosophical and religious identity and successful future for sociopolitical change and belief. Works may be chosen orientation. Literary works will be challenge to the oppressive forces from the following traditions: chosen from a pool of resources that constrain human freedom. Greek, Roman, Confucian, that include Beowulf, medieval Readings to be selected from Taoist, Hebrew and Christian. romance, Dante’s Inferno, the following pool of resources: The lecture component of the Chaucer’s Canterbury Tales, The More’s Utopia, Machiavelli’s course provides an overview of Koran, A Thousand and One Prince, Shakespeare’s Julius cultural history from Antiquity Nights, Hamlet, Don Quixote, Caesar or The Tempest; through the Middle Ages to Paradise Lost, Candide, Goethe’s Enlightenment works by Hobbes, the Renaissance, tracing both Faust, Romantic poetry, Tolstoy, Locke, Jefferson, Wollstonecraft, continuity and divergence in Nietzsche & the Existentialists, Douglass; Romantic works the progression. Investigation Hurston’s Their Eyes Were by Blake, Shelley, Emerson, of select foundational texts of Watching God, Hong Kingston’s Thoreau, Whitman; Marx, Ibsen, world literature, religion, and The Woman Warrior, and a variety Nietzsche, Conrad, Woolf, philosophy will be supplemented of contemporary essays and Freud, Jung; Gandhi, the Beats by an interdisciplinary approach fiction. The lecture component of & Hippies, Civil Rights activists; that imports representative the course provides an overview Hong Kingston, Allende, Angelou, musical selections, images of cultural history from the Garcia Marquez; essays and short of artworks, historical and Renaissance & Reformation to stories. Students are encouraged biographical documentaries, the Baroque and Enlightenment. to make connections between drama and film into the classroom the revolutionary programs to achieve course goals and Investigation of selected literary advocated by these writers and connect the literature to works will be supplemented by contemporary political events. contemporary issues. an interdisciplinary approach The lecture component of the that imports musical selections, course will focus on the 19th images of artworks, historical and century as an age political and HU0002 The Questing Self: Crisis biographical documentaries, and and Resolution cultural revolution that led to film into the classroom to achieve the modern world. 4 hrs weekly/3 credits/Spring semester course goals and connect the A continuation of HU0001 which literature to contemporary issues. Investigation of selected literary works will be supplemented by surveys World Literature from Prerequisite: Completion of HU0001. the Middle Ages to the present, an interdisciplinary approach focusing on the paradigm of the that imports musical selections, HU0003 Rebels and Revolutions individual’s quest for happiness images of artworks, historical and 4 hrs weekly/3 credits/Fall semester and fulfillment in a perilous world. biographical documentaries, and Representative works from a An interdisciplinary survey film into the classroom to achieve variety of cultures feature the featuring works of literature, course goals and connect the transformative adventures of political philosophy, psychology literature to contemporary issues. and film that examines the questing individuals who advance Prerequisite: Completion of HU0002. through spiritual and existential conflicting impulses of revolution crises toward salvation and self- and reform, idealism and HU0004 The Artist and Society realization by fully developing practicality, as driving forces 4 hrs weekly/3 credits/Spring semester their inherent potentialities. towards the reconfiguration The heroes and heroines of these of society ranging from the An exploration of aesthetics and narratives navigate challenges Renaissance to the contemporary artistic creativity focused on that include Evil, Death, ideology, world. Motivated by a utopian the changing role of the artist race, ethnicity, class, gender and vision of the future, the in society from the Classical to sexuality, hoping to emerge from rebellious individuals showcased the Postmodern world. Topics their experience with a newfound in the course act as catalysts for discussion will include the

Return to Table of Contents Course Description 99 creative process, the psychology that imports musical selections, works of other cultures. All this of the creative act and the images of artworks, historical and leads to open discussion and phenomenon of inspiration, the biographical documentaries, and comparison of similar ideas nature of aesthetic experience, film into the classroom to achieve from all of these sources and Beauty and Truth and their appeal course goals and connect the helps form a foundation for the to human consciousness, the literature to contemporary issues. work of the literature of these political & religious aspects of courses. Such rigorous work Prerequisite: Completion of HU0003. art; race, ethnicity, class, gender assists students in developing a & sexuality as determinants of sense of linguistic confidence in artistic identity and creative HU0001.NN-HU0004.NN Humanities expressing themselves orally and expression; the proximity of Core: Non-Native Speakers in approaching complex readings genius & madness, the workings 4 hrs weekly/3 credits and writing assignments in other of the imagination, and the MSM has a long tradition of courses in the conservatory. The destiny of the creative individual. looking to support talented skills and confidence resulting The course offers an opportunity international students with their from the NN-Core course work for young artists to more fully Humanities studies. The four will help international students understand the vocational semesters of the Non-Native integrate more fully into the impulses, challenges and rewards Humanities Core were born in general community at the that constitute the life of the 1995. The courses were designed Manhattan School of Music. artist, as well as the artist’s and have evolved to bridge the contributions to communal ever changing linguistic needs of ELECTIVE COURSES and cultural accomplishment. those international students from Readings may be selected from their first languages to a more OPEN TO BOTH UNDERGRADUATES a pool of resources including advanced mastery of English- AND GRADUATES Platonic discussion of Beauty in language skills. The Symposium, Aristotelian Only course numbers 1000 and above notions of the value of theater, This bridge is built using are available to graduate students. Nietzsche’s idea of the Dionysian content-based, interactive and the Apollonian, Shakespeare’s teaching techniques which HU0511-0512 Elementary A Midsummer Night’s Dream allows for flexibility in teaching Italian I-II or The Tempest, Romantic to the writing needs, the reading 3 hrs weekly/3 credits per semester comprehension needs and the poetry by Blake and Keats, A study of the basic grammatical oral/aural needs of students. Close Mary Shelley’s Frankenstein, structures of the Italian language. engagement and examination of Kandinsky’s Concerning the The class is designed to provide readings of shorter excerpts from Spiritual in Art, Joyce’s A Portrait the student with both a speaking Humanities Core texts through of the Artist as a Young Man, vocabulary and a fundamental journal writing, group discussions, Woolf’s A Room of One’s Own understanding of written Italian. or To the Lighthouse, Modern whole-class discussions, individual presentations engage students poetry by Yeats and Stevens, HU0521-0522 and contemporary short stories interactively with texts. Relevant Elementary German I-II that foreground the figure of the films, film clips, works from 3 hrs weekly/3 credits per semester artist. The lecture component of the fine arts of painting and the course will focus on the 20th sculpture, from the performing A study of the basic grammatical century as an age of innovation, arts of music, opera, musical structures of the German instability, and crisis. theater and dance add another language. The class is designed dimension and help form cultural to provide the student with Investigation of selected literary foundations from which to both a speaking vocabulary and works will be supplemented by read, understand and address in a fundamental understanding of an interdisciplinary approach writing, more easily, the literary written German.

Return to Table of Contents 100 Course Description HU1200 Introduction to Psychology HU1350 Shakespeare’s Tragedies Prerequisite: Completion of the Online-asynchronous/3 credits 3 hrs weekly/3 credits/Fall semester Humanities Core (or special This course teaches students the Various interpretations of the permission of the Department Chair). basics of how human beings think, major tragedies, including learn, perceive, develop socially Hamlet, Titus Andronicus, HU1661 America in the snd physically, how we develop Macbeth, King Lear. Select 20th Century personalities, and how we behave film excerpts to heighten 3 hrs weekly/3 credits/Spring semester in groups. In this semester long, understanding of dramatic A continuation of HU1660, exclusively online course, students representation. Trips to off- this course examines the rise of apply psychological theories to off Broadway productions of contemporary America, explored improving their performances, Shakespeare. Class discussion through Turn of-the-Century reducing their stress levels, and will focus on Shakespeare’s Imperialism, the New Deal, the understanding their identities as a psychological, political, and Second World War, the Cold people and artists. social insights which still War, the Civil Rights Movement charm, disturb, offend, and and 1960’s counterculture. enlighten his audience. HU1340 The Fantastic Imagination Documentary film, movies, 3 hrs weekly/3 credits/Fall semester Prerequisite: Completion of the and music provide insight into An exploration of fantastic Humanities Core (or special trends in fashion and thought. literature that celebrate permission of the epartment Chair). Students journey to a restored Otherness, magicality, and tenement house to see early 20th- imagination in a disenchanted HU1564 Shakespeare’s Comedies century urban poverty, to the world, with the aim of revitalizing 3 hrs weekly/3 credits/Spring semester top of the Empire State Building for a lecture on “The History the creative resources of the A continuation of HU1350: of the Skyscraper,” and to the Self. Representative works will Shakespeare’s Tragedies. include classic fairy tales and aircraft carrier Intrepid to learn their modern revisions, the Examine the major themes in about “Advances in American Broadway musical Into the several of Shakespeare’s greatest Military Power.” Woods, revivals of Arthurian comedies and histories. Discuss Prerequisite: Completion of the legend in Romantic poetry and various interpretations of the Humanities Core (or special art, Lewis Carroll’s Alice books, texts offered by literary critics, permission of the Department Chair). Tolkien’s Lord of the Rings actors and movie directors. trilogy and films, Magical Realist HU1901 Art History I narratives by Borges, Allende, HU1660 The Rise of the 3 hrs weekly/3 credits/Fall semester and Garcia Marquez. Freudian American Republic This course is a journey which and Jungian interpretations will 3 hrs weekly/3 credits/Fall semester clarify the role that fantasy plays begins and ends with the question in the imaginative life of the This course examines the “Why do humans make art ?” We individual. Attention will also founding of the United States will travel from prehistoric caves be given to the current trend and its transformation from a to soaring Gothic cathedrals, in popular culture to deploy rural collection of states into an and plumb the depths of the fantastic elements in literature industrial nation. Students acquire hearts and minds of some of the and film to enchant audiences and a deep understanding of the Bill greatest artists of all time, such as activate imagination. of Rights and the Constitution, of Michelangelo. Eventually we will slavery and the Civil War, and of seek to understand the changes Completion of the Humanities 19th-century urban life. Walking in society that led to our modern Core (or special permission of the tours of Greenwich Village, concept of art as an expression of department chair). George Washington’s New York, the artist’s interior life. and the Lower East Side.

Return to Table of Contents Course Description 101 HU1902 Art History HU1930 Film/Narrative 1 enable it to flourish? What 2-3 hrs weekly/3 credits/ 3 hrs weekly/3 credits driving forces propel the genius Spring semester This course will explore the forward on the path to creative powers of “performance” as accomplishment? What is the HU1917 Jazz and Literature demonstrated on film and video. ultimate fate of the genius 3 hrs weekly/3 credits/Spring semester Students will view a series of who stands apart from the This course offers students an films and through class discussion surrounding society? opportunity to investigate the and writing assignments we will This course sets out to consider theory and the practice of jazz as explore how dramatic “imitation” these central questions and seen across the humanities. While can shape our views of the to challenge the stereotypical considering the contributions world which the film purports view of genius as identical with and legacies of canonical jazz to “represent.” madness by examining the artists such as Duke Ellington, life and work of artists who Billie Holiday, and Charlie HU1975 New York Stories rebelled against conventional Parker, among others, we will also 3 hrs weekly/3 credits standards and sustained explore the interdisciplinary links vocational commitment to a life between jazz as a form as seen In this course we will examine the culture of New York City by of imagination. Representative within the visual and literary arts. artists include the Romantic Along the way, we will examine following an interdisciplinary approach to the historical, literary, visionary poet and artist and reflect upon such ideas as jazz William Blake, the reclusive and and spirituality, improvisation, sociological, cinematic, and even televised landscape of the city. fiercely independent American the Manhattan skyline, the US poet Emily Dickinson, the Constitution, popular culture, From Walt Whitman and Herman Melville to William Burroughs iconoclastic and oracular German and jazz as an institution of philosopher Friedrich Nietzsche, human knowledge. and Jane Jacobs; From Woody Allen’s “Manhattan” to Spike Lee’s the innovative modern novelist “Do The Right Thing” to Martin and pioneer feminist Virginia HU1920 The Harlem Scorsese’s “Goodfellas”; from Woolf, the revolutionary artist Rennaissance and Beyond “The Jeffersons” and “All in the Pablo Picasso, the provocative 3 hrs weekly/3 credits/Fall semester Family” to “Seinfeld” and “Law depth psychologist Carl Gustav Jung, and the seductive 60s This course offers students an and Order”; from Greenwich American rock star and shaman opportunity to study major works Village in the early part of the Jim Morrison from the Doors. In of the Harlem Renaissance. With 20th century to Andy Warhol’s addition to engaging the creative an emphasis upon literature, Factory and the emergence of work of these representative bolstered by excursions into Punk and Hip Hop; we will be geniuses, students will consider music and the visual arts, we will pursuing this interdisciplinary the biographical and historical examine the historical and cultural approach to the reading (and context of their accomplishments contexts, the philosophical and viewing) of core NYC texts. through video documentaries spiritual strivings that animate and other supporting materials this vibrant, affirmative cultural HU1856 Genius, Madness, Vocation: in order to evaluate their flowering. Discussions will range The Artist as Eccentric achievements and their legacy. from aesthetics to criticism, 3 hrs weekly/3 credits with particular focus upon Completion of the Humanities The phenomenon of creative artistic voice and vision. Along Core (or special permission of the genius has always been the way, we will reflect upon the department chair). enduring legacies of the Harlem particularly fascinating to Renaissance within the broader students of the arts. How do we landscapes of creative activity. define genius? What conditions

Return to Table of Contents 102 Course Description HU1013 ESL Tutorial ME1600 Orchestral ENGLISH AS A Fall/Spring/0 credits Entrepreneurship SECOND LANGUAGE Individual and small-group 2 hrs weekly/2 credits/Fall semester HU1000 Summer English Study meetings to support ESL students The course is designed to equip Summer/0 credits who are taking regular courses. orchestral students with the Graduate and The attendance policy for this knowledge and perspective Undergraduate students course is the same as for major needed to succeed as professional private lessons. orchestral players in a changing An intensive 8-week summer industry. The class covers immersion program, specifically essential organizational, financial, designed for music students. HU1015 Fundamentals of Writing 2 and programmatic issues Program includes classes, tutorials Spring/3 credits affecting orchestras and their and conversation sections, all Focused instruction on writing entrepreneurial possibilities aimed at increasing students’ in English for undergraduate for the future. Includes guest readiness for regular course students. Preparation for the speakers from the League of work during the academic year. demands of the Humanities Core American Orchestras, American Students will increase their courses. This course is offered Federation of Musicians proficiency in listening, speaking, during the spring semester and Symphonic Services Division (the reading and writing. can be taken at the same time as Union), and others. the Humanities Core. Note: The course is designed for HU1010 English Language (Open only to Undergraduates) graduate students in the Orchestral Instruction Prerequisite: HU1011 or permission of Performance program and is also Fall/1 credit the instructor. available to others with permission Intensive daily instruction for from the instructor. students who did not take the ENTRE- Summer program. Does not count PRENEURSHIP ME2001 Advanced Practicum in for Humanities elective credit. Music Entrepreneurship ME1500 Practical Foundations: 2 hours weekly/2 credits offered Entrepreneurial Leadership Skills HU1011 Fundamentals of Writing 1 spring semester only Fall/3 credits Focusing on creativity, innovation, Open to grad students and seniors value creation, and impact, this A continuation of Summer by application. In this graduate- core course explores the basics of English Study for undergraduate level course students plan and establishing a professional career. students who need further launch their own entrepreneurial The class covers marketing, language instruction before taking ventures. Students apply in Nov. communication, financing, the Humanities Core courses. with a venture already in mind community engagement, and May be counted for Humanities and in class, in a supportive “think project management—for both elective credit. tank” environment, work to new and traditional career advance these by creating business paths. This is a required class for HU1012 Graduate Continuing ESL plans, budgets, and action steps all undergrads. Fall/Spring/1 credit to achieve their desired goals. MM and PS students in the OP and Class work includes relevant A continuation of Summer Orchestral Conducting programs readings, research, and mentoring. English Study for graduate have their own required section of Past projects have included students who need further the class (ME1500.OP offered Fall starting a new festival, creating language instruction before only). CPP students must take either a performance series, outreach taking music theory and/or ME1500 or ME2001. program, and launching an online history courses. booking service.

Return to Table of Contents Course Description 103 This course may substitute for in which these principles are superimposition, chromatic ME1500 with faculty approval. in current usage in jazz. Topics mediants, Romantic period include notation, melodic tools and jazz applications, ME2500 Internship organization, chord functions impressionistic period 10+ hours per week working off- in major and minor keys, tools and jazz applications, campus/1 or 2 elective credits, for voice leading, figured bass, polytonality, form and undergrad and grad chorale studies, etc. development in large ensemble jazz forms, serial techniques, Designed to offer students composition projects, etc. practical “real world” experience, JC0002 Harmony for Jazz Majors 2 administrative internship 2 hrs weekly/2 credits opportunities are available This course is a continuation of JC0111-0114 Jazz Ear-Training with organizations specializing HJM 1. Topics include resolutions 2 hrs weekly/2 credits per semester in New Music, Jazz, Opera, of the dominant, secondary This course offers the Orchestral, and Chamber Music, dominants, leading tone undergraduate student basic as well as in music publishing, diminished chords, modulation, techniques needed to improve recording, radio, arts education, harmonization systems for tonal aural perceptions in both the and more. Learn valuable skills melodies, binary and ternary translation of hearing into writing relevant to an active career as forms, composition projects, etc. and the performance of reading a professional musician and/or into singing and playing in the arts administrator. Internships JC0003 Harmony and Counterpoint jazz idiom. Introduction and for current students typically for Jazz Majors 3 practice of singing and aural are arranged for one semester 2 hrs weekly/2 credits recognition of short, simple at a time, for 1 or 2 credit hours melodies and intervals based upon depending on the scope and This course covers the diatonic harmony. schedule of the work. advancement of harmony and counterpoint from the common Prerequisite: Ability to sing at Interested students must consult practice era into the early 20th sight or recognize and notate with instructor and apply through century as they relate to the music simple melodies determined by the CME office before registering. of jazz. It explains the origins placement examination. Available fall, spring, and summer. and development of fundamental harmonic and contrapuntal JC0171-0172, JC0181-0182 Jazz JAZZ principles and shows the ways Required Piano in which these principles are 1 hr weekly/1 credit per semester Major Lesson: in current usage in jazz. Topics 1 hr weekly/3–6 credits per semester These courses are designed for include classical and jazz the non-pianist to learn the basic viewpoints of counterpoint in two REQUIRED UNDERGRADUATE technique of the instrument for voices, counterpoint in three or THEORY COURSES studies relating to jazz music. more voices, Neapolitan chords, They are aligned with the augmented 6th chords, borrowed basic jazz theory, ear-training JC0001 Harmony for Jazz Majors 1 chords, composition projects, etc. 2 hrs weekly/2 credits and improvisation courses so that the keyboard becomes a This course covers the JC0004 Harmony and Counterpoint learning tool in the student’s fundamentals of harmony for Jazz Majors 4 musical education. Fluency in from the common practice 2 hrs weekly/2 credits all keys, keyboard harmony, era as they relate to the music This course is a continuation lead sheet realization and of jazz. It explains the origins grand-staff reading are stressed. and development of harmonic of HCJM 3. Topics include altered dominants, chord Prerequisite: Jazz Required Piano principles and shows the ways placement examination.

Return to Table of Contents 104 Course Description JAZZ IMPROVISATION/ will continue to learn a new such as Ornette Coleman, UNDERGRADUATE song each week. Review of the Andrew Hill, and Jaco Pastorius 60 songs learned in preparation are explored, with the focus on JP2500 Jazz Improvisation for yearly juries. tying their innovations into what 2 hrs weekly/2 credits is contemporary in jazz. Undergraduates will take UNDERGRADUATE improvisation for 4 semesters REQUIRED COURSES MH0104 Jazz History (2 years) of their program. The 2 hrs weekly/2 credits following topics will be covered: MH0101 Jazz History The semester is divided into three 2 hrs weekly/2 credits segments: a detailed examination First Year The semester covers a broad of jazz’s greatest drummers (Baby This course provides the view of the entire evolution of Dodds, Sid Catlett, Chick Webb, students with fundamental jazz, stressing its profile as an Dave Tough, Jo Jones, Kenny concepts needed to compose integral part of American history. Clarke, Max Roach, Roy Haynes, spontaneously. It consists of Connections with the social, Art Blakey, Elvin Jones, Tony improvisational exercises and musical, and racial realities of the Williams) and how they made the application of these exercises 20th century are highlighted. the music’s evolution possible; on assigned progressions. Scales: a detour into the fine arts (film, Major and minor scales, major and MH0102 Jazz History painting) and their common dominant 8 note bop scales, major 2 hrs weekly/2 credits denominators with jazz; a final assignment where students must diatonic modes. Progressions: An in-depth examination of what Each week Major and dominant prepare an in-depth presentation made New Orleans the birthplace on a lesser known jazz musician. blues, ii-7 v7 1, ii-7b5 v7 b9b13 of jazz with an emphasis on its 1-6/9, and Autumn Leaves will be identity as a French colony. This MH0105 Roots, Rhythms, and Music studied in a new key. Tensions 9 11 leads into the emergence of and 13 will be studied on the above Buddy Bolden, Jelly Roll Morton, of the Americas I progressions. The melodic minor and King Oliver, all placing the 2 hrs weekly/2 credits/Fall Semester modes will also be studied along innovations of Louis Armstrong This performance-based course with the minor and dominant in the proper context. The explores the diverse musical and b9b13 bop scales. Students will remainder of the semester deals rhythmic genres of the African also be required to learn a new with subsequent innovations Diaspora from Latin America and song each week in preparation by Duke Ellington, Coleman the Caribbean. Using multiple for yearly juries. Hawkins, Lester Young, Art resources, including guest artists, Tatum, Thelonious Monk, and to introduce aspects of the music Second Year the music of Charlie Parker and and rhythms from these regions This course includes further Dizzy Gillespie. to provide a musical foundation to studies of diatonic modes and bridge knowledge and experience parallel modes as well as modal MH0103 Jazz History for a more authentic performance bop scales and diminished scales. 2 hrs weekly/2 credits experience. Classes are structured Approach notes and arpeggios to include new material, i.e. Beginning with Lennie Tristano cultural music and rhythmic will be studied on Autumn Leaves. and Charles Mingus, this semester Students will be required to learn concepts, followed by in-class deals with the varied reactions to ensemble work and composition Minor Blues and I Got Rhythm Parker and Gillespie. Miles Davis chord changes in 12 keys. Chord to apply the new material. Topics and the musicians he encouraged will include historical elements substitutions on Blues, I Got (Coltrane, Evans, Shorter, Rhythm, and Autumn Leaves of the music, traditional forms Hancock) form the main core of of melody and rhythm, meaning will also be explored. Students the narrative. Also, individuals

Return to Table of Contents Course Description 105 and understanding, stylistic Prerequisite: JC0004 or JC2162 Jazz Piano Perspectives 2 approaches, rhythmic analysis, the equivalent. 2 hrs weekly/2 credits/Spring semester stylistic elements through dance Continuation of JC2161. Jazz and cultural perspectives within JC1811 Studio Techniques piano styles and techniques as the genres. The course concludes 1: Introduction to MIDI influenced by World music and with an in-class performance Sequencing Studio the European classical tradition. of a selected work or student 2 hrs weekly/2 credits/Fall semester composition that demonstrates Required for first year authentic interpretation. Introduction to MIDI and MIDI undergraduate Piano majors sequencing using Macintosh- Prerequisite: JC2161 or permission of MH0106 Roots, Rhythms, and Music based systems. Creative the instructor. Required for first year application of synthesizers and of the Americas II undergraduate piano majors MIDI systems to contemporary 2 hrs weekly/2 credits/Spring Semester jazz, commercial music and ME1500 Practical Foundations: Semester II focuses on the classical music. Principles of Entrepreneurial Leadership Skills African Diaspora in Central audio engineering, multi-track America and South America. recording, mixing, and sampling Focusing on creativity, innovation, are discussed. Independent lab value creation, and impact, this Continuation of MH0105. time is provided for hands-on core course explores the basics of practice in MIDI composition establishing a professional career. JC0301-0302 Rhythmic Analysis and recording techniques. The class covers marketing, 2 hrs weekly/2 credits per semester Exposure to current popular communication, financing, The course objectives will synthesizers and software. community engagement, and be to develop fluency in the project management—for both performing/reading/feeling/ JC2161 Jazz Piano Perspectives 1 new and traditional career paths. This is a required class for identifying/transcribing and 2 hrs weekly/2 credits/Fall semester notation of rhythms. Jazz and all undergrads. This course is designed to give classical methods of rhythmic jazz musicians the opportunity See CME on pg. 94 interpretation will be discussed. to acquire a listening background As this is an undergraduate course essential to achieving artistic ELECTIVES (OPEN TO BOTH the focus will be on the most depth and growth in their UNDERGRADUATES AND GRADUATES) common time signatures and performing. This course is a divisions of the beat. survey of the development of MH1040 Music of Duke Ellington (Required for all undergraduate jazz jazz piano styles. Included will 2 hrs weekly/2 credits/Spring semester performance and composition majors.) be an analysis of techniques as Duke Ellington (1899-1974) is demonstrated by the masters in generally considered the greatest JC0511-0512 Arranging recordings and transcriptions. and most prolific of all jazz and Composition The course will also feature composers. Furthermore, he is 2 hrs weekly/2 credits per semester hands-on exposure and widely regarded as one of the instruction in the “comping” great composers in twentieth- A development of writing techniques needed to effectively skills for various media and century music, regardless of perform in all size configurations genre. This course will survey combinations, including dance, from duets to large orchestra. show and jazz music. Students his music, and that of his close explore the latest techniques Required for first year associate Billy Strayhorn (1915- in electronics, serial and undergraduate Piano majors 1967), from the 1920s to the 1970s. experimental techniques.

Return to Table of Contents 106 Course Description MH0165/MH2165 African-American rhythms, phrasing, and repertoire Prerequisite: JC1811 or Music History into their developing styles. The permission of instructor. 2 hrs weekly/2 credits aim is to produce a performer We will examine a variety who is well informed not only JC1813 Studio Techniques 3: Analog of musical genres beginning about musical components and and Digital Synthesis with the music of West Africa necessary skills for performance, 2 hrs weekly/2 credits/Fall semester but also about the history and and moving to Plantations Basics of analog and digital songs (spirituals, work songs), context in which Brazilian music developed. synthesis and sound designing, Ethiopian Minstrelsy, music of with emphasis on the the Mississippi Delta, Blues, Cross-listed with MH1400. practical application of the Ragtime, Jazz, Rhythm & Blues synthesizer to contemporary and Art Music. Such figures as JC1402 Brazilian Music: History/ jazz and commercial music. Master Juba, Francis Johnson, Repertoire/Performance 2 Applications of basic principles Newport Gardner, Richard Allen, 3 hrs weekly/3 credits/Spring semester to abstract “Classical” sound Bessie Smith, Duke Ellington, design. Continuation of MIDI Mary Lou Williams, Robert As a follow up to the almost 500 years of Brazilian music and sequencing and studio techniques. Johnson, Ma Rainey, Thomas Independent lab time is provided A. Dorsey, Marian Anderson, culture that is surveyed in part one of this course, Brazilian for hands-on work in sound William Grant Still, Stevie designing and patch editing. Wonder, James Brow, Aretha Music History 2 will focus on the work and lives of 12 major Exposure to current popular Franklin, Prince, Stevie Wonder synthesizers and software. and Jay-Z will be discussed. All of figures of Brazilian music in the these individuals helped to shape 20th century and today’s scene. Prerequisite: JC1811 or and define music of the African Through detailed analysis of permission of instructor. American Diaspora. their pieces and contributions to the Brazilian music repertoire, JC1814 Advanced Studio Recording: this course will focus in on Scoring to Picture JC1400 Brazilian Music: History, the master works of some of Styles, and Analysis 2 hrs weekly/2 credits per semester/ the most brilliant Brazilian Spring semester 3 hrs weekly/3 credits/Fall Semester musicians to date. This course is designed to Advanced application of MIDI sequencing and digital introduce and examine Brazilian JC1812 Studio Techniques 2: audio recording techniques. music from both academic Introduction to Digital Audio and performance perspectives. Introduction to sampling Recording Studio technology, additional MIDI Through readings of articles and 2 hrs weekly/2 credits/Spring semester textbooks, video excerpts and sound sources, and advanced documentaries, field recordings Continuation of MIDI synthesis techniques. Emphasis and live demonstration, students sequencing and studio techniques. on scoring techniques for film, are led to observe the connections Introduction to digital multi- TV, and multimedia, as well as between historical facts and track recording techniques combining acoustic and electronic the formation of each style in using Pro Tools-based Digital instruments. Independent lab Brazilian music, in a journey Performer and the Tascam DA- time is provided for hands-on through almost 500 years of 88. Survey of notation, editing, work in MIDI composition, history/music making. As the and other MIDI software. digital audio recording, and students are first and foremost Independent lab time is provided scoring to picture. performers, a primary focus of for hands-on work in sound Prerequisite: JC1813 or the course is the incorporation designing and patch editing. permission of instructor. of the Brazilian music universe of Exposure to current popular synthesizers and software.

Return to Table of Contents Course Description 107 JC1911-1912 Advanced Studio JC2731 Songwriting I exercises of the Ritmica book. Composition and Scoring 3 hrs weekly/3 credits/Fall semester The exercises were created 3 hrs weekly/3 credits per semester A course in the composition of by putting together irregular Advanced MIDI software contemporary popular song. rhythmic elements against applications, sound designing, Students are expected to develop regular rhythmic sequences, and sampling, and studio techniques. fluency in all styles. The problems exploring the contrast between In-depth exploration of of prosody are studied as well as them. Through the second part various creative and technical the techniques of scoring for voice of the Ritmica studies the class considerations encountered and instruments. also focuses on composition, and each student is assigned a in the MIDI studio. Topics Not required. include principles of creating partner and required to write and contemporary rhythm tracks, perform a duo piece based on the JC2732 Songwriting II: Composing expressive and dynamic Ritmica concept. considerations of sequencing, for Musical Theater MIDI orchestrating, scoring for 3 hrs weekly/3 credits/Spring semester REQUIRED OF ALL JAZZ film and TV, multimedia, SMPTE, Continuation of JC2731. COMPOSITION STUDENTS sampling, and combining acoustic This semester will include a Major Lesson: concentrated introduction to and electronic instruments. 1 hr weekly/3–6 credits per semester Students are exposed to a the composition skills required wide range of current MIDI for the writing of music for JC1999 Jazz Composition Forum instruments and software. musical theater. 1 hr weekly/1 credit per semester Additional independent lab time is provided for hands-on work. JC2780 Ritmica: A Musical JC2241-JC2242 Jazz Composing Prerequisite: JC1812 or Approach to Rhythm and Arranging for Studio Orchestra permission of instructor. 2 hrs weekly/2 credits 2 hrs weekly/2 credits per semester Develop a deeper concept of A development of writing skills JC2271-2272 Jazz Improvisation for rhythm as a musical element, aimed primarily for orchestra. Non-Jazz Majors moving beyond arithmetic and Will include the combination A course designed to provide the counting to something that is of big band plus either chamber non-Jazz major with fundamental more melodic and intuitive. orchestra, symphony orchestra concepts needed to compose The focus of this system is or writing works for jazz soloist spontaneously. Blues and basic Counterpoint instead of vertical and chamber or symphony jazz forms are covered through relationships, combining orchestras. Will include listening performance and recordings. independent rhythmic parts and discussion of the different in a way that emphasizes approaches, including examples of their independence: as voices, JC2273-2274 Jazz Mr. Abene, plus in-depth analysis happening simultaneously. of the student’s own work. Improvisation for Strings 2 hrs weekly/2 credits per semester/ Required for all graduate jazz JC2781 Ritmica 2: A Unique Fall and Spring performance and composition majors. Approach to Rhythm A course designed to provide the 2 hrs weekly/2 credits/Spring semester non-Jazz major with fundamental concepts needed to compose This course is designed to spontaneously. Blues and basic continue to challenge the jazz forms are covered through student’s ability to perceive performance and recordings rhythmic relationships in a horizontal way, through the introduction of many more

Return to Table of Contents 108 Course Description JC2400 Graduate Jazz Conducting/ Year 2 of ensemble and rehearsal Rehearsal Techniques Studies on the following: techniques and other factors 2 hrs weekly/2 credits/Fall or hexatonics, parallel and chromatic pertinent to operating a jazz/ Spring semester harmony, odd time signatures, commercial music program. This course will prepare students metric modulations, hemiolas, to conduct a number of music free playing, and World music. JC2410 Jazz Pedagogy styles/genres (orchestral, Students will continue to learn 2 hrs weekly/2 credits/Fall semester choral, jazz, Broadway, popular a new song each week and This course prepares artist music, TV/film and more), be review 60 songs in preparation teachers to function at a high level knowledgeable in score study for graduation. in the world of jazz education. and preparation, understand Included are discussions of the instrument transposition, JC2111-2112 Graduate Arranging pedagogy of the applied studio as basic baton technique, general and Composition well as common classroom areas score analysis, rehearsal 2 hrs weekly/2 credits per semester for jazz education including jazz planning and implementation improvisation, jazz arranging and of rehearsal techniques and A development of writing skills for various media and composition, jazz history, and other tools necessary to be a theoretical and aural skills. Also successful conductor. combination, including dance, show, and jazz music. Graduate included are observational visits students explore the latest to area jazz programs, as well as REQUIRED COURSES techniques in electronic, serial an overview of the job market and FOR GRADUATES and experimental techniques. techniques to use in applying for positions within jazz education. JP2500 Jazz Improvisation Prerequisites: Graduate standing or 2 hrs weekly/2 credits permission from the instructor. JC2501-JC2504 Masters of Jazz Graduate performance majors Seminar: A Chromatic Approach to JC2321-2322 Jazz Styles will take improvisation every Jazz Melody and Harmony and Analysis semester for the duration of their 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester program. The following topics In this course, the student will will be covered: Analysis of the contributions, study theoretical and practical innovations, and solo and concepts, which allow for various Year 1 compositional output of ways to conceptualize chromatic outstanding jazz composers, usage. There will be in-depth This course provides in-depth arrangers, and performers. studies on pentatonic, modal, historic analysis of chromatic open bar line playing, and the Prerequisite: JC0451-0452. examples from the classical works of Miles Davis, Paul Bley and jazz repertoire; study of and other post-bop composers. JC2360 Jazz Musician as Educator reharmonized standards and Students will be involved in 2 hrs weekly/2 credits/Spring semester original compositions; composing chromatic voicings, lines, and group improvisation, rubato This course is designed to tunes. The goal of the course is group playing, and also the develop skills in the teaching of to expose the student to a variety works of Wayne Shorter and jazz music. The student will be of chromatic music in order Ornette Coleman. Students will exposed to a variety of materials, to increase the student’s aural learn a new song each week in techniques, and philosophies. skills and critical understanding preparation for yearly juries. The course focuses on program of the use of chromaticism development for and performance in modern music. in MSM’s elementary and middle school jazz education outreach series. Included are the study

Return to Table of Contents Course Description 109 *JC2501-2502 are required for through the Manhattan MH0003 Romantic graduates, JC2503/2504 School of Music Outreach and 2 hrs weekly/2 credits/Fall semester are not required Precollege programs as well as Discussing the evolution of opera, the Carnegie Hall and NARAS Lied, symphony, concerto, and REQUIRED COURSES FOR educational programs. The sonata, the course concentrates DOCTORAL STUDENTS course’s pedagogical concept is on music of Haydn, Schubert, unique in its sequential design Berlioz, and Brahms as pivotal JP2500 Jazz Improvisation that integrates the entire composers and Vienna and Paris 2 hrs weekly/2 credits curriculum, its ability to train and as important cultural centers. empower teachers effectively to DM4700 Doctoral Jazz Seminar present and reinforce musical MH0004 20th Century 3 hrs weekly/3 credits/Fall semester applications, and the program’s 2 hrs weekly/2 credits/Spring semester Students will be given background strong and affirming message A comprehensive study of on the use of chromaticism in that cements concepts through major musical trends and jazz up to the present day with an array of interactive and composers of the 20th century. an in-depth study of the music musical experiences. Special emphasis is given to the of John Coltrane, Miles Davis, development of Serialism, Neo- and other exponents of this MUSIC HISTORY classicism, Futurism, and music harmonic idiom. References and since World War II. study of some of the classical, UNDERGRADUATE CORE 20th-century exponents of new harmonic techniques such as MH0001 Baroque ELECTIVES (OPEN TO Bartok and Schoenberg will also 2 hrs weekly/2 credits/Fall semester UNDERGRADUATE AND GRADUATE be included. Various techniques STUDENTS WITH THE PROPER A comprehensive study of of employing chromaticism in PREREQUISITES) Western music from 900 until the jazz idiom will be presented 1600. Emphasizes the evolution and students will be required to MH1005 Monteverdi to Mozart of polyphonic music, the write examples and compositions 3 hrs weekly/3 credits development of compositional in the style. Improvising techniques using preexistent (This course is for non-native English chromatically over standards material, the changing speakers only.) and original compositions will relationship of words and music, also be required. Our course will cover the music of and the historical and cultural Baroque and Classical periods up milieu in which music evolved. to the great Wolfgang Amadeus DM4750 The Artist Pedagogue Mozart. Baroque period [1600- 3 hrs weekly/3 credits/Spring semester MH0002 Classical 1750] brought about a major Teaching proficiency related to 2 hrs weekly/2 credits/Spring semester revolution in music, giving birth the implementation of listening A study of Baroque music to an abundance of new genres, skills, improvisation, and focusing on national styles as which are now staples of music rehearsal and directing techniques developed by Monteverdi in Italy, repertoire we now cannot live from beginning to advanced Schütz in Germany, Lully and without. One important novelty levels will be developed. Class Rameau in France, and Purcell of the era, the Opera, will be the discussion will include: who in England. Special attention is subject of many of our lectures, should teach jazz and why, the given to the fusion of national tracing its growth from its early value of a degree in jazz, the state styles in the 18th century, the champion, Claudio Monteverdi, of music education in America, monumental achievements of to the late Baroque giant Georg F. and judging a jazz festival. Hands- Handel and J.S. Bach. Handel. This is also the period in on training will be stressed by music history when Instrumental giving clinics and workshops

Return to Table of Contents 110 Course Description music is emancipated from MH1040 The Music of carefully considered. The Vocal dominance and for the Duke Ellington course will include in-class first time gains an independent 2 hrs weekly/2 credits/Spring semester performance projects. value of its own. We will explore A history and analysis of this great (Offered in alternate years) the inspiring composers, who composer and his close associate courageously lead this movement Billy Strayhorn from the 1920s with their masterpieces François MH1531 History of Chamber Music I to the early 1970s. Score reading 3 hrs weekly/3 credits/Fall semester Couperin with his keyboard skills are required for the class, as A comprehensive chronological suites, Arcangelo Corelli with is the ability to analyze music in survey of chamber music from its his trio sonatas, Vivaldi with his fluent written English. beloved violin concerti, and Bach origins in such early forms as the with his historic Well Tempered canzona and trio sonata through Clavier. We will conclude our MH1400 Brazilian Music 1: History, the year 1827, concluding with semester with the deep study of Styles, and Analysis the death of Beethoven. The the two foremost Classical Period 3 hrs weekly/3 credits course has three objectives: first, composers Haydn and Mozart. See JC1400. to look at pieces and composers in historical perspective noting MH1006 Beethoven to Boulez MH1402 Brazilian Music 2: History/ the prevailing social, political, and economic trends and (This course is for non-native English Repertoire/Performance understanding the progression speakers only.) 3 hrs weekly/3 credits of musical ideas as they manifest See JC1402. Throughout this course, we will themselves in the chamber trace the evolution of Classical music repertoire; second, to MH1510 Bach music through the height of explore interrelationships 3 hrs weekly/3 credits/Spring semester the Classical Period all the way among composers and schools to 20th Century modernist A study of the history, style, of compositions, as well as movements. We will begin and performance problems in development of style and genres with Ludwig van Beethoven selected instrumental and vocal in specific composers; and, third, and explore his tremendous works of J.S. Bach. to examine the music itself influence on the composers of the both from an analytic viewpoint Romantic period. 19th century MH1512 History of Opera and from a performance composers highlighted in our 3 hrs weekly/3 credits/Spring semester practice perspective. course will include the pianist A comprehensive study of composers Chopin and Liszt, the history of opera and MH1532 History of as well as great symphonists operatic forms of the 19th and Chamber Music II Schumann, Brahms. We will 20th centuries. 3 hrs weekly/3 credits/Spring semester then see the great change toward nationalism, and see this A continuation of an historical movement in various countries. MH1530 Mozart survey of the chamber music Finally, in our discussions of 3 hrs weekly/3 credits repertoire, beginning with Schubert’s great C-Major 20th century composers, we A close examination of the Quintet and concluding with will explore through the great music of Mozart, including Boulez’s Le Marteau sans Maître. diversity of styles, ‘isms,’ and early influences, Mozart’s Particular attention will be paid innovative compositional association with Haydn, and to the use and role of individual movements such as Atonality, the interrelationships between instruments in ensembles as well Neoclassicism, Minimalism, vocal and instrumental music. as to evolving modes of motivic and many others. Sources and editions are developmental processes through the 19th and 20th centuries.

Return to Table of Contents Course Description 111 The course will involve directed MH1590 Music in America MH1620 Beethoven listening of historic recordings of 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits/Spring semester the 20th century. An in-depth survey of American A detailed study of the music, beginning in the 1600s major works of Beethoven. MH1575 Women in Music and continuing to the present, Representative samples of his 3 hrs weekly/3 credits and taking in all genres and styles, various styles are drawn from “Women” and “Greatness” – both “concert” and “popular”. the symphonies, string quartets, throughout the course of all piano sonatas, solo concertos, history, these two words have MH1609 Voices and Orchestra and choral works. not been used in the same 3 hrs weekly/3 credits per semester (Offered in alternate years) sentence too often. Certainly, in This course is a one-semester the case of Music History, it is survey of genres scored for voices MH1640 Romanticism as if there was a sort of mental and orchestra from the 17th to Online–asynchronous/3 credits programming to exclude women the 21st centuries, including from the realm of great legacy and oratorios, cantatas, masses, choral MH1698 Concerto powerful contribution. symphonies, and symphonic 3 hrs weekly/3 credits/Spring semester Therefore, this course will provide song cycles. The fall semester A survey of concertos, from the a fascinating exploration into the covers important works from the inception of the form in the lives and stories of women who Baroque and Classical eras, such early 17th century to present-day enriched Music History in spite as Monteverdi’s Vespers, Bach’s examples. Various works called of many obstacles. Our journey St. Matthew Passion and Mass “concerto” and “concertante” will begin in the Middle Ages and in B Minor, Handel’s Messiah, will be considered, and will conclude with the current times. Haydn’s Creation, Mozart’s be subjected to stylistic and We will explore a great variety Requiem, and Beethoven’s Ninth formal analysis. of musical carriers, placing our Symphony. The spring semester covers important works from main emphasis on the study of MH1711 Works of Wagner: Der Ring the life and work of such great the Romantic and Modern eras, such as Mendelssohn’s Elijah, des Nibelungen composers as Barbara Strozzi, 3 hrs weekly/3 credits Clara Schumann, Amy Beach, Brahms’s Ein deutsches Requiem, and Tania Leon. We will also Verdi’s Requiem, Mahler’s vocal A comprehensive introduction celebrate the trail blazing women symphonies and Das Lied von to Richard Wagner’s Der Ring on the concert stage from the der Erde, Orff’s Carmina Burana, des Nibelungen, in the context of Primadonnas of Italian opera Stravinsky’s Symphony of Psalms, his life and times, with reference to the great female conductors and Britten’s War Requiem. to other Wagner works of the on the world stage is today. The Ring period. The course will goal of the course is to shed light MH1610 History of the Symphony cover the musical, dramatic, on the music composed over an 3 hrs weekly/3 credits/Fall semester poetic, historic, literary, and entire millennium that may still philosophic background to A comprehensive survey of the Wagner’s monumental tetralogy. be undiscovered, and to better history of the symphony and understand the sociopolitical A term paper at the end of the symphonic forms from the 18th semester is required. circumstances, which many of century until the present. the women we discussed had Prerequisite: TH0002 to overcome and bring their gifts to the world.

Return to Table of Contents 112 Course Description MH1712 Wagner: Tristan, the semester, guests proficient in era of the 20th century. Following Meistersinger, Parsifal these traditional musical cultures the chronology of Britten’s life 3 hrs weekly/3 credits will demonstrate the music in live from his formative years in An introduction to Richard performance. Emphasis will also London before World War II Wagner’s Tristan und Isolde, Die be given to exploring the creative through his American adventure Meistersinger, and Parsifal in use that contemporary composers in the 1940’s; from the triumphant the context of his life and times, are making of this music. premiere of Peter Grimes through with reference to other Wagner the years of his subsequent works of the periods discussed. MH1850 Music and the Dance success as the composer of opera The course will cover the musical, 3 hrs weekly/3 credits/Fall semester and instrumental music of every dramatic, poetic, historic, literary, variety; from his establishment of In this course we study dance the English Opera Group through and philosophic background music in its varied forms across to Wagner’s three great music the founding of the Aldeburgh the centuries. There is the history Festival, the Maltings Concert dramas. A term paper at the end of ballet: Rameau, Tchaikovsky, of the semester is required. Hall and the Britten-Pears School Stravinsky, Prokofiev. There are we will investigate Britten’s life Prerequisite: TH0002 the social dances of Schubert, and music within the framework Johann Strauss, and the world of some prominent themes that MH0841/1841 World Music I of jazz and rock. There is the can be observed throughout his 3 hrs weekly/3 credits/Fall semester use of dance in concert music: career: the individual against the suites of the Baroque; the society, the confrontation of An introduction to the principles minuets of the Classical era; the of ethnomusicology joined to innocence and experience, the nationalistic dances of the 19th importance of musical citizenship, a survey of the music of the century. Dance music has likewise following non-Western cultures: pacifism in an age of war, and been crucial to the drama: opera, the conflict between the private/ sub-Saharan Africa, Native Broadway, and cinema--defining America, the Islamic world, and public image. Although the list character and creating powerful of Britten’s operas will act as a the Indian subcontinent. The moments of theater. study of this music will be at once template for the course, his other technical and cultural. The course works for orchestra, chamber is enriched by visits from guest MH1858 Puccini music, chorus, plus his vibrant artists who present the music 3 hrs weekly/3 credits career as a performer with Peter in live performance. Emphasis This course covers Giacomo Pears and other great artists of his will also be given to seeing how Puccini’s life and works. We time will hardly be ignored. The composers, world-wide, are begin with prevailing operatic course will include reading and currently making use of elements styles of the late 19th century and listening assignments, exams, and of the traditional music from discuss each of Puccini’s operas in a final project. these cultures. turn, comparing traditional and abstract productions from opera MH1920 Music of the 1920’s MH1842 World Music II houses in the U.S. and Europe. 3 hrs weekly/3 credits 3 hrs weekly/3 credits/Spring semester This class surveys the music A survey of the traditional musical MH1913 The Life and Works of of Europe and the USA during cultures of East Asia and the Benjamin Britten this exciting. Turbulent and Pacific, including those of China, 3 hrs weekly/3 credits/Spring semester boldly creative decade – all the Japan, Korea, Tibet, Mongolia, This new course will survey the many popular genres of this Indonesia, New Guinea, Oceania, works of Benjamin Britten in the music: “concert,” “popular,” and and Australia. As with MH 1841, context of his life and musical “experimental.” We look in depth the music will be considered both activities, both as composer and at the music of such figures as: culturally and technically. During performer, during the tumultuous Gershwin and Bartok; Stravinsky

Return to Table of Contents Course Description 113 and Ellington; Prokofiev MH0131/2131 MH2720 Mahler and His and Schoenberg; Ravel and Performance Practice Contemporaries Shostakovich; Darius Milhuad 3 hrs weekly/3 credits/Fall semester 3 hrs weekly/3 credits/Spring semester and Louis Armstrong and more. An investigation of performance An investigation of the music practices concentrating on of Mahler, Strauss, Schoenberg, MH1960 Music of the 1960’s Baroque, Classic, and early 19th- Debussy, Scriabin, and other 3 hrs weekly/3 credits century repertoire. Students are composers active during This class surveys the music of required to perform as part of the period 1890–1910. The the 1960 with a focus on Classical, the class work. course examines late German Romanticism as one of several Broadway, and Rock n’ Roll. Prerequisite: Graduate standing or styles leading to a new musical permission of instructor. aesthetic in the 20th Century. MH2030/JC2030 Miles Davis 2 hrs weekly/2 credits/Fall semester MH2400 Beethoven, Brahms, (Offered in alternate years) A survey of the music of and Schubert trumpeter-bandleader-composer 2 hrs weekly/2 credits/Spring semester MH2730 Verdi 3 hrs weekly/3 credits/Spring semester Miles Davis (1926-1991), one An exploration of the musical of the major innovators in the forces that contribute to the A study of selected operas of Verdi history of jazz and 20th-century unique character of selected piano within the context of relevant music. Davis’s music ranged from and string works of Beethoven, political, social, and musical bebop of the1940s through hip- Brahms, and Schubert. Attention trends of 19th-Century Italy. hop of the 1990s. will be given to issues that Offered in alternate years. impact interpretive decisions GRADUATE ELECTIVES (OPEN TO in performance. ALL GRADUATE STUDENTS WITH THE Student performance is required. MUSICAL THEATRE PROPER PREREQUISITES) CURRICULUM MH2610 Orchestral Music: Baroque th st MT0010-0011 Musical Theatre MH2001 20 /21 Century to Classical Performance Technique German Opera 3 hrs weekly/3 credits/Fall semester 3 hrs weekly/3 credits/Spring semester I & II: (Freshman) An advanced study of the 2.5 hrs weekly/2 credits An in-depth exploration of the evolution of the orchestra and historical background, cultural of primary genres of orchestral This class, designed for Freshmen milieu, and prevalent artistic music during the eighteenth and starting the four-year program trends surrounding German nineteenth centuries. in musical theatre at Manhattan and Austrian operas of the 20th School of Music, will be an in- century, starting with Strauss, depth exploration of the skills MH2620 Orchestral Music: Schoenberg, and Berg, and ending and tools needed to effectively with Ligeti, Stockhausen, and Beethoven to the Present perform songs in Musical Theatre. Lachenmann. Composer and 3 hrs weekly/3 credits/Spring semester Topics covered include: How to librettist biographies, musical A further investigation of the Learn a Song, Songs Structured, style, and literary resources evolution of the orchestra and of The Vocabulary of Professional will be studied in relation to orchestral music during the 19th Song Performance, Researching selected operas. and 20th Centuries. the History and Context of a Song, Engaging with the Lyric as a Monologue, Learning Music Accurately, Music as Subtext, the Importance of Focus, Exploring

Return to Table of Contents 114 Course Description the Physical Life of a Song and focusing on the acting essentials Course Description: This course the Craft of Telling a Story of the libretto, this course will is designed to prepare the student Through Text and Song. focus on the motivated transition for a professional singing audition of speaking into singing. We will and book preparation in all MT0200 Freshman Seminar also underline bringing SELF and genres of the musical theatre. 1.5 hrs weekly/1 credit individual artistry to roles in the Musical Theatre genres to be musical theatre. This industry is explored include : Traditional, This course serves to introduce in search of originals, and each Contemporary, Modern freshman to professional actor needs to find his/her unique Contemporary Pop/Rock, and musical theatre in New York voice in each role. non Musical Theatre genres City. Musical theatre industry ( including Pop, Disco, R&B, professionals including casting Students will work on three Country/Folk, Rock, etc. ) Other directors, agents, directors scenes from the musical theatre techniques : self ta- ping with and choreographers will visit canon: The Golden Age, Stephen guest instructor. The process of class, audition preparation will Sondheim, Contemporary this class is designed to simulate be examined, we will visit the (musicals written post 1990), and the pace and expectations of NYPL for the Performing Arts, for the final, students will choose the professional audition world. and discuss – vocal health and their own material, from any A pdf will be provided with the writing skills. era, fully rehearsed and prepared list of suggested necessary song outside of class. categories for an audition book MT0012-0013 Acting the Song Students will be required to I & II (Sophomore) research each assigned show. MT0016 MT Lab (Senior) 3 hrs weekly/3 credits Research will include full 3 hrs weekly/3 credits This course is designed to teach history of original creators New Musical Theatre (NMT) Lab acting technique for singing and production of the show. is a performance-based course, in a Musical Theatre song. The Additionally, students will be which students perform newly- Fall semester will focus on required to immerse themselves written musical theatre pieces on musicals from the 1930’s to 1959. in the libretto of the musical, a weekly basis. While traditional Class work will emphasize the providing a comprehensive musical theatre education heavily importance of the art of story- picture of the given circumstances relies on “the canon”, the current telling through song to dramatize of the scene. The former will professional climate often asks of a musical moment. We will go anchor the actor to show’s the performer to workshop and in chronological order, starting history, the latter will allow learn completely new material with songs and musicals from for personal and textual in a rapid timeframe and with the 30’s 40’s and 50’s, otherwise interpretation of the scene. little assistance. The goal of this know as the Traditional Golden seminar is to help prepare the Age Era. (Techniques to be MT0015 Audition students for the expectations explored include: intention ( Techniques (Junior) they will be met with once they what do I want?) obstacles (what’s 3 hrs weekly/3 credits embark on their professional in my way?) moment before, journey. This course demands that This course prepares the student for personalization, text analysis, the students learn and memorize professional musical theater auditions tactics, stakes, and musical cues.) new songs in a prompt manner, by exploring musical theater genres, while making artistic choices audition etiquette and comportment, MT0014 Scene into Song (Junior) and decisions on their own. and encouraging the student to find 3 hrs weekly/3 credits Each performance is discussed audition material that expresses their and critiqued by myself, and This course will focus on the essence and individuality. acting of scene into song in the occasionally by a guest artist from musical theatre. In addition to the industry. The songs included

Return to Table of Contents Course Description 115 in the course are handpicked with a warm-up that will alternate skills and the ability to create from projects written by the new between technical exercises something from the blank canvas generation of writers, and have (physical, vocal, etc.) and is the foundation of our work yet to be published or produced. investigatory (sensory awareness in this course. Aspiring musical Each student will receive their and concentration exercises). theater performers versed in the song 48 hours before the seminar, Eventually students will be in techniques of making Devised and will be expected to perform charge of leading their own warm- Theater will have an advantage in the material at the highest level ups. The body of the course working in professional theater. as demanded in the professional will be devoted to the creation world. The musical sequences of original Devised Theatre MT0005 Acting 5 (Junior) grow in length and difficulty group pieces. Devised Theatre is 3 hrs weekly/3 credits throughout the semester, and essentially ensemble-work and the course culminates in large a major theme of the course will During our first semester ensemble performances. be the techniques of partnering our focus will be on scene (duos, trios and large groups). study, choosing material from contemporary plays and MT0001-0002-0003 Acting 1, 2 & 3 Students will create scenes, songs and movement. Writing will be portraying age-appropriate roles. (Freshman/Sophomore) We’ll take a break for some 3 hrs weekly/3 credits an essential component of the course. Students will be writing in Shakespeare, and then continue Acting I, II, and III is a each class - "Devising" ideas will scene study, expanding our scope progressive system of structured come out of their timed writing, to include a broad range of classic exercises (which leads into reflections on the work they are dramatic literature. scene work) for developing doing in the class and ideas that concentration and imagination, emerge out of group discussion. MT0006 Acting 6, Scene Study and stimulating instincts and The course will culminate in Monologue (Junior) impulses, in order for the final group pieces, which will be 3 hrs weekly/3 credits student to be able to create shown to the class, discussed and believable, authentic, embodied In the second semester we’ll evaluated, then worked on again move from scene work to behavior in relation to the for a second showing. imaginary circumstances they are monologues, with each actor involved with. Devised Theatre techniques selecting and preparing two are widely in use by noted contrasting monologues, which This approach trains the actor to contemporary Off-Broadway can be confidently presented "live truthfully under imaginary ensembles such as Target Margin at auditions. Each actor will circumstances," to discover Theater, SITI Company, Wooster perform their audition pieces personally meaningful points of Group and The Civilians. Many before a panel of professionals in view with respect to the written, of the theater ensembles featured the last class. or improvised, word and to in New York Public Theater's express spontaneous human "Under the Radar" Festival are MT0007-0008, Acting 7 & 8, reactions and authentic emotion Devised Theater companies. Advanced Acting (Senior) with the utmost sense of truth. Even commercial Broadway 3 hrs weekly/3 credits per semester productions use devised theater A scene work-based class with MT0004 Acting 4, Devised techniques in the creation of an emphasis on identifying and work (i.e., the movement in "The Practice Sophmore strengthening the individual Curious Incident of the Dog in 2 hrs weekly/2 credits actor’s rehearsal and performance the Night-Time" was created This course will be a hands- process, leading the actor’s work by Frantic Assembly-a Devised on dive into the experience toward characters pursuing Theatre company). Improvisation of creating a work of Devised techniques, team-building Theatre. Each class will begin

Return to Table of Contents 116 Course Description personalized needs and objectives MT0120-0121 Tap MT0500-0501 MT Exploring the Art while living moment to moment 4.5 hrs weekly/2 credits Form 1 & 2 (Sophomore) in imaginary given circumstances. Tap skills are introduced at the 3 hrs weekly/3 credits beginning level and advance This course is designed to give MT0350-0351 Ensemble Voice to a solid understanding of the students an understanding of the I & II (Freshman) technique and the history of this history of the American musical, 3 hrs weekly/1 credit discipline. Tap dancing relies on a starting with the various genres fundamental knowledge of various This is a two-semester course in that influenced it: Gilbert & rhythms and styles. The student applied musicianship using the Sullivan, Vaudeville, Burlesque, will learn basic tap steps, rhythms repertoire of musical ensembles, Minstrel Shows, the Yiddish and choreography. including unisons, duets, trios, Theatre, British Music Hall and quartets and larger ensembles. It (May be repeated for credit.) American Operetta. also teaches the particular skills (We will also offer Tap as an MT1600 Career Development sets necessary to be an effective elective in spring) member of any ensemble, such (CME) (Juniors) as tuning, phrasing and blending. MT0100-0101 Ballet 2 hrs weekly/2 credits Finally, it is also an historical 4.5 hrs weekly/2 credits This course is designed to prepare survey of the genre, including students for their professional Fundamentals of ballet technique listening to recordings of iconic careers as musical theatre concentrating on alignment, performances. At the end of performers. The class combines strength, flexibility, rotation, and this course students will be hands on projects including weight change.This class will confident musicians and polished website building, personal budget consist of the practice of barre ensemble singers. management and professional work, center floor work, traveling networking with guest visits from patterns across the floor and MT0550-0551 Music industry professionals. conditioning exercises. Theory (Freshman) 3 hrs weekly/3 credits (May be repeated for credit.) MT0201 Introduction to Theatrical A two-semester intensive study Design (Freshman) of the fundamentals of music MT0110-0113 Musical 2 hrs weekly/1 credit Theatre Dance theory, sight-singing and aural The Introduction to Technical 4.5 hrs weekly/2 credits skills. Students will learn music Theatre course is designed in notation, rhythms, all meters, key This course will focus on Jazz five parts: Costume Design, Set signatures, and intervals, and will technique and fundamentals. Design, Lighting Design, Sound be introduced to chords and basic Each class will begin with a Design and Stage Management. harmonic theory. The emphasis of full warm up and an across the Each segment is designed to the class is building sight-singing floor, emphasizing coordination inform the student of the various fluency and confidence with a and style. Class will culminate roles involved in the creation of a focus on real-world applications. with choreography that will Theatrical Event. In the second semester, students vary in styles from Jazz and will learn techniques of score Contemporary to Theater Dance. MT0211 Script Analysis analysis as a means to more deeply This class will provide a positive, 3 hrs weekly/2 credits understand the composer's supportive and encouraging dramatic intentions. atmosphere for dancers to gain Through the exploration of a confidence and grow as artists. wide variety of plays, we will learn how to breakdown and analyze (May be repeated for credit.) the essential elements in a script, developing techniques for fully

Return to Table of Contents Course Description 117 understanding the world in which Private voice lessons are critical ELECTIVES the character exists and how to for the technical and interpretive bring that character to life. development of the professional MT2005 Acting for the Camera singer. Your Voice Faculty 3 hrs weekly/3 credits MT1507 Senior Showcase I emphasizes healthy practice 1.5 hrs weekly/1 credit techniques that preserve vocal MT0133 Musical Theatre health and develop technical Dance Styles Senior Showcase is the flexibility and vocal longevity. Fall culmination of four years of Each private voice instructor Musical Theatre Dance Styles will musical theatre training. In tailors her/his lessons to the give the student the opportunity the course faculty and students specific needs, level, and voice- to explore and delve into the will create an end of year type of the individual student. many styles of dance currently production for presentation to In the conservatory structure, being performed in the world of industry professionals. lessons may follow the needs of a commercial theater. This course timeline regarding preparation of will heavily focus on technique, MT1508 Senior Showcase II materials and mastery of skills to ability to pick up choreography 4 hrs weekly/3 credits aid the student in developing their quickly, and performance. Each technique to meet the demands Senior Showcase is the class will begin with a warm up of their numerous performance culmination of four years of and stretch followed by a short classes and performance musical theatre training. In across the floor, emphasizing opportunities while at MSM. the course faculty and students coordination and style. Dancers will create an end of year will then have the opportunity to production for presentation to MT4002 Private Voice learn original choreography that industry professionals. 1 hr weekly/2 credits per semester will vary in styles from the vast repertoire of current and former MT0300 Speech Sophmores MT4003 Private Voice Broadway Musicals. Emphasis 3 hrs weekly/2 credits 1 hr weekly/3 credits per semester will be placed on interpreting the choreography with respect to the Voice work: A development TH0001-0002 Music choreographer’s intent. This class of the vocal skills necessary for Theory Core 1 & 2 will provide a positive, supportive the actor's transformational 3 hrs weekly/3 credits and encouraging atmosphere for instrument - (Alignment, dancers to gain confidence and Breath Support, Open Channel, All aspects of music theory grow as artists. Resonance, Range, and that would apply to a Musical Articulation) and an introduction Theatre performer will be (May be repeated for credit.) to phonetics (IPA) for the objective of this course. future dialect work. The course will consist of MT2003 Elective Tap sight singing, ear training, Spring MT4000 Private Voice advanced interval training, and advanced music theory. Tap skills are introduced at the 1 hr weekly/1 credit per semester beginning level and advance Private instruction in proper vocal to a solid understanding of the performance technique, including technique and the history of this proper execution, diction and discipline. Tap dancing relies on a interpretation, performance fundamental knowledge of various skills, repertoire selection rhythms and styles. The student and stylization. will learn basic tap steps, rhythms and choreography. (May be repeated for credit.)

Return to Table of Contents 118 Course Description ORCHESTRAL ME1600 Orchestral and continuing to canons in three Entrepreneurship voices, the passagio style, the PERFORMANCE 2 hrs weekly/2 credits/Fall semester French classic and a survey of the Major Lesson/Repertoire Coaching: The course is designed to equip easier chorale preludes and two- 1 hour weekly/5 credits per semester. orchestral students with the part inventions of Bach. knowledge and perspective OP2251 The Musician as Educator needed to succeed as professional OR2410-2411 Organ 4 hrs twice weekly/1 credit orchestral players in a changing Service Playing Required of all first-year industry. The class covers 2 hrs weekly/1 credits per semester Orchestral Performance essential organizational, financial, The course in Service Playing students; open to all orchestral and programmatic issues focuses on practical skills graduate students affecting orchestras and their important for church musicians, entrepreneurial possibilities Students in this course receive in particular hymn-playing for the future. Includes guest training on how to become and choral accompaniment. speakers from the League of effective artist-educators as part Topics covered include hymn American Orchestras, American of the Manhattan School of Music introductions, harmonization, Federation of Musicians Arts-in-Education Program. and interludes; Gregorian chant; Symphonic Services Division (the Students will be exposed to a issues in 20th-century hymns; Union), and others. variety of pedagogical methods spirituals and Gospel hymns; and materials as they prepare and Note: The course is designed for ballad-style hymns; anthem deliver educational presentations graduate students in the Orchestral accompaniment; arranging piano in New York City public Performance program and is also and orchestral reductions for elementary and middle schools. available to others with permission the organ; and issues in continuo from the instructor. playing. In addition, the course OP2351-2352, OP2451-2452 will develop skills in registration, console management, and special Orchestral Repertoire Coaching ORGAN techniques in organ playing. 2 hrs, 6-8 times per semester based on Major Lesson: area of study/1 credit per semester 1 hr weekly/5–6 credits per semester. CD2931-2932 Choral Repertoire A four semester sequence 2 hrs weekly/2 credits per semester of coaching sessions on the OR2001-2002 Organ ensemble techniques of orchestral Performance Class An in-depth study of sacred performance as applied to a two- 1 hr weekly/1 credit per semester choral literature; conducting year survey of the major works practicum including conducting A master class providing of the symphonic repertoire. from the console and performance opportunity. Each semester students accompanying at the organ. perform in at least six sectional Required of all Organ majors. instrument coachings; three brass or woodwind rehearsals OR2211-2212 Organ Literature PERCUSSION conducted by a specialist; and, 2 hrs weekly/2 credits per semester Major Lesson: at the end of the semester, in 1 hr weekly/3–6 credits per semester. either a string or combined OR2311-2312 Organ Improvisation Each student has a primary brass, woodwind, and percussion 2 hrs weekly/1 credits per semester teacher, who acts as an advisor orchestral reading conducted by a A comprehensive review of during the student’s degree distinguished conductor. 16th-century counterpoint. program. All students work Students learn to improvise in with a variety of faculty three voices, first through fifth members in the department. species on a given cantus firmus

Return to Table of Contents Course Description 119 All students participate in the idioms are explored. educational outreach programs Chris Lamb Seminar as a part Entrance based on special and one contemporary opera of Major Lessons. departmental audition. workshop each academic year. Placement in the Opera Theater As Assigned PK0451-0452 Percussion Lab is based upon auditions heard 2 hrs weekly/1 credit per semester each September and December. JP1231-1232, JP1241- Students returning the following An ongoing exploration of 1242 Jazz Combos year may complete a preliminary all aspects of percussion 2 hrs weekly audition in May. All graduate, performance, including Provides the experience of Professional Studies and Doctoral orchestral percussion, timpani, playing jazz in small groups students are strongly encouraged marimba, solo playing, world from Dixieland through to audition each semester. percussion, stick making, contemporary styles. Variable and instrument maintenance. instrumentation. One concert LP1870 Contemporary Features presentations by is given in school each semester guest artists as well as faculty, Opera Ensemble and outside appearances are 6 hrs weekly for 11 weeks and includes opportunities for made. Entrance based on special student performance. departmental audition. Explore contemporary opera, Required of all undergraduate from Janacek and Britten to living Percussion majors composers. Develop and practice LP1351-1352 Manhattan specific techniques for learning Symphony Orchestra and studying non-diatonic music PK2451-2452 Graduate with instructor, guest composers Percussion Lab LP1361-1362 Manhattan and singers. Performance of 2 hrs weekly/2 credits per semester Philharmonia Orchestra arias and duets. In the spring An ongoing exploration of semester, Continue exploration all aspects of percussion SP1371-1372 Chamber Sinfonia and development of study and performance, including 9 hrs weekly/Guest Conductors vocal techniques. Performance orchestral percussion, timpani, Readings, rehearsal and of scenes from contemporary marimba, solo playing, world performance of contemporary opera; possible collaborations percussion, stick making, and standard orchestral literature. with student composers and instrument maintenance. An active program of concerts and and conductors. Features presentations by opera performances is scheduled guest artists as well as faculty, throughout the school year. VOCAL PERFORMANCE CLASSES and includes opportunities for Concerts outside of school are student performance. occasionally presented. Several VX0050 Symphonic Chorus rehearsals are taken each semester Exploration and performance Required of all graduate by guest conductors. Required of of great choral literature from Percussion majors all String majors. For Winds and Baroque to modern. Concert Percussion, entrance is based on performances of large works orchestral placement audition. PERFORMANCE for chorus and orchestra as LARGE PERFORMING ENSEMBLES well as smaller pieces from the LP1851-1852 Opera Theater choral repertoire. Students in 15 hrs weekly Symphonic Chorus may also JP1500 Jazz Large Ensemble The Manhattan School of Music be invited to join the Chamber Study and performance of jazz Opera Theater produces two fully Chorus. The Choral program in the big band style. Both staged operas with orchestra, provides opportunities for traditional and contemporary one scenes program, two student soloists. Concert venues

Return to Table of Contents 120 Course Description have included Weill Recital Hall at by Glinka, Rimsky-Korsakov By audition. Carnegie Hall and the Cathedral and songs of Shostakovich of St. John the Divine, as well as and Prokofiev. A fundamental PT2500.M1 Vocal Performance Neidorff-Karpati Hall at MSM. knowledge of the Russian Techniques-Revealing the Actor alphabet will be presented so Required for first- and second-year Singer Within that the student will never undergraduate students majoring in 2 hrs weekly/1 credit per semester again have to rely on confusing Voice, Piano, Guitar and Composition transliterations. The aim of this class is to help the singer integrate both music VX0100 First-Year SP1071.B1 Songs of the and drama, through imagination, Performance Class creative preparation, and the Romantic Period 1 hr weekly/0.5 credit per semester transformation of nervous or 2 hrs weekly Designed as a supportive forum fearful energy into purposeful, for first-year, undergraduate Voice This is a performance class passionate, and potent majors to perform in front of focusing on German and French performing energies. “Revealing a peer audience. songs for solo voice and piano. the Actor Singer Within” is the Songs in other languages, pathway to embracing constant however, are also welcome. growth, eternal questioning, and VX0200 Second-Year Rehearsal techniques, diction, abundant confidence, moment Performance Class style, and ensemble issues will to moment in a flourishing 2 hr weekly/0.5 credit per semester be presented in a way to prepare singing-acting career. Designed as a supportive forum both singer and pianist for future Auditions are held in the Fall. For for second-year, undergraduate professional collaboration. Graduate Students Voice majors to perform in front of a peer audience. PT2500.H1 Vocal PT2500.R1 Vocal Performance Performance Techniques Techniques-Preparing the Exit VX0800 Undergraduate 2 hrs weekly/1 credit per semester 2 hrs weekly/1 credit per semester Opera Theater The Vocal Performance class 3-6 hrs weekly plus rehearsals/1 credit This course will challenge the is a master class designed to artist to create the ten-minute This course explores the art of enhance performance skills and performance that may lead performing from beginning acting communication through music, to a three-hour professional exercises and songs through acting and stage movement engagement. Today’s artist monologues, opera scenes, principles. The Alexander must be prepared not only to and role studies. Enrollment Technique is also applied. show their expertise, control, includes participation in the Opera arias and song repertoire consistency and dependability, but accompanying opera seminar. will be performed. also an inspired, exciting, unique, Open to graduate students. courageous and memorable VOCAL CHAMBER ENSEMBLES experience for the listener. We SP1071.M1 Musical Theater Lab will work with a varied repertoire SP1070.B1 Russian 2 hrs weekly including Opera, Musical Theater Romances and Ballads and Cabaret and will also be The main goals of Musical Fall Only “auditioning” for professionals in Theater Lab are that students various venues. A performance class of the great learn solid musical theater Russian song literature, with technique build their musical an emphasis on the romances theater repertory. There is a small and ballads of Tchaikovsky studio performance at the end and Rachmaninov plus works of the semester.

Return to Table of Contents Course Description 121 INSTRUMENTAL Prerequisite for PN0251: PN0152 CHAMBER ENSEMBLES PIANO Major Lesson: and TH0002 or the equivalent. 1 hr weekly/3–6 credits per semester Prerequisite for PN0252: PN0251 SP1500 Chamber Music or the equivalent. (Keyboard 1 hr/week coachings of the chamber KEYBOARD HARMONY COURSES Sight-Reading Jury examination music literature with members of required upon completion of REQUIRED FOR UNDERGRADUATE the Chamber Music faculty PN0251 and PN0252.) PIANO MAJORS Students are ASSIGNED to PN0411-0412 Piano Literature chamber groups by the Director PN0141-0142 Keyboard 2 hrs weekly/2 credits per semester of Chamber Music together with Sight-Reading the Chairs of each department. 1 hr weekly/1 credit per semester A survey designed to explore A fall orientation meeting is cross-sections of the piano Techniques of reading at required and a final performance repertoire, emphasizing traditions sight solo keyboard literature. comprises a portion of the grade. of interpretation. Recorded Performance of all major/ examples from the “Golden Age” minor scales and basic chord CT1071 Contemporary pianists (Hofmann, Lhevinne, progressions in all keys. Ensemble: TACTUS Rachmaninoff) through the Preparation for Keyboard Skills recognized founders of the TACTUS is dedicated to being PN0151. (Keyboard Sight-Reading Modern School of performance aware and involved in the Jury examination required upon (Schnabel, Michelangeli, current creativity happening in completion PN0141 and PN0142.) Gieseking) are played and contemporary music. Emphasis discussed in class. Each class is placed on working with living session is focused on the composers. Four concerts per PN0151-0152 Keyboard Skills individual’s expanding musical, year are presented as well as a 2 hrs weekly/2 credits per semester technical and critical knowledge February double feature. Previous Development of keyboard skills of the great piano compositions. seasons have included works by through the study of score Luciano Berio, Steve Reich, Louis reading, transposition, and the Andriessen, Chen Yi, David Lang, realization of figured bass. PN0421-0422 Piano Pedagogy Lou Harrison, Nils Vigeland, 2 hrs weekly/2 credits per semester Prerequisite for PN0151: PN0142 David Noon, Kaija Saariaho, and TH0002 or the equivalent. A practical approach to teaching Frederick Rzewski, Gyorgy Ligeti, Prerequisite for PN0152: PN0151 techniques focusing on beginner and many others. or the equivalent. (Keyboard through late intermediate Sight-Reading Jury examination levels. The course includes an SP1500.P1 Percussion Ensemble required upon completion of exploration of method books and 3 hrs weekly PN0151 and PN0152.) literature available, readings and discussion of historical pedagogy, An advanced ensemble which and a teaching practicum. presents at least two concerts PN0251-0252 Keyboard Skills during the school year, and public 1 hr weekly/1 credit per semester Prerequisite: Junior Standing. performances as arranged. Further development of the skills Required of all Percussion majors. studied in PN0152 including the reading of full orchestral scores, instrumental transpositions, and reading from continuo scores.

Return to Table of Contents 122 Course Description KEYBOARD COURSES REQUIRED FOR to prompt and sing cues. Skills survey and practice; open to GRADUATE PIANO MAJORS of sight-reading, lyric diction, graduate students and qualified coaching, operatic accompanying, undergraduates. PN0861-0862 Graduate recitative playing, and piano Keyboard Skills “orchestration” will be discussed. PN1800 Piano Music by 2 hrs weekly/2 credits per semester Composers from Asia Graduate Keyboard Skills PN1300 Organ for Pianists 2 hrs weekly/2 credits per semester 2 hrs weekly/1 credit per semester develops practical performance This course explores the literature skills such as score reading, This course is designed for of piano music by composers transposition, and figured bass. pianists as a career development from Asia and its expatriates. Requirements: Piano and piano course to expand existing As the history of the piano accompanying majors only. keyboard skills. Students learn in Asia is o:en one of cultural performance skills of the organ, imperialism, we will study the ELECTIVE COURSES OPEN TO BOTH focusing on pedal and manual social history of western music technique, registration, organ UNDERGRADUATES AND GRADUATES in individual countries. Through performance, and hymn playing. critical reading, listening, This course is not limited to PN1151-1152 Harpsichord for written assignments, discussions, piano majors, but also available performance, presentations, and Pianists and Organists to students who have passed the guest lecturers, we will examine 2 hrs weekly/2 credits per semester piano proficiency exam. Organ selected piano music composed An introduction to harpsichord shoes are required for this course. from the late nineteenth century playing. The technique and to presentday works. Each musical resources of the PN1600 Baroque Accompaniment student is required to perform, instrument, its literature and its 2 hrs weekly/2 credits/Spring semester write program notes, and give relation to other instruments. a presentation on one or more This course teaches the basic Students play representative works from the provided list. skills needed to accompany vocal pieces illustrating the stylistic Composers and performers and instrumental chamber music problems involved in keyboard will visit the class (live or by in a stylistically appropriate music of the 16th, 17th, and videoconference) as guest manner on the harpsichord. 18th Centuries. This course is speakers throughout the semester Students will learn how to open to pianists, organists, and to discuss their professional apply figured bass realization, others (with the permission journeys and compositions. of the teacher). embellishment and improvisation to various 17th and 18th century ensemble works, while PN1900 The American Avant Garde: PN1220 Aria Accompanying learning how to get the most A Pianistic Evolution for Pianists out of the harpsichord. There 2 hrs weekly/2 credits/Spring semester 2 hrs weekly/2 credits/Spring semester will be opportunities to work A two-hour immersion into the Accompaniments for operatic and perform with singers and piano music of Barber, Carter, arias will be studied through instrumentalists. Copland, Ives, Persichetti discussion and performance with and others. The class will the practical goal of enabling PN1720 Bach for Pianists primarily examine works from the participants to function 3 hrs weekly/3 credits per semester 1920-1980, focusing on the competently and comfortably in development of the American A one semester, comprehensive, studio, rehearsal, and audition piano sonata. Discussions and intensive exploration of J.S. Bach’s venues. Pianists will be expected lectures will explore the origins works that are programmable by to sing for each other and to sing and development of this gritty, pianists, divided into repertoire while playing, as well as learn how

Return to Table of Contents Course Description 123 powerful style, as well as the uses Student performances are required. climax, relaxation, rubato, inner of jazz, folk music, and expressive pulse and tempo, forces of motion twelve-tone techniques. PN2051-2052 Sight- and rest, agogics. Reading Pedagogy Prerequisite: Graduate standing or PN2021 Keyboard Literature: 2 hrs weekly/2 credits per semester permission from the instructor. Renaissance to Classical A class designed to help 2 hrs weekly/2 credits per semester keyboardists develop and PN2450 The 21st-Century This class is a survey of the improve skills in sight- Pianist: Exploring Performance literature of keyboard and piano reading and techniques for Strategies and Techniques in music. We will become familiar teaching sight-reading. Non- Contemporary Music with some of the major works in sequential semesters. 3 hrs weekly/3 credits/Fall semester its literature as wel as trace the Prerequisite: Graduate standing or A seminar/master class format musical and social developments permission of the instructor. providing the context for the of the piano, from the English exploration of contemporary virginal music of the 17th performance practices, century to the piano works of PN2310 Historical Recordings of interpretative strategies, extended Weber and Clementi. the Great Pianists 2 hrs weekly/2 credits per semester techniques, and the incorporation of multi-media in 20th and 21st The objective of the class is to PN2022 Piano Literature: The century piano music. In-class trace the musical genealogy of 19th Century performances and coaching the great pianists of the late 19th 2 hrs weekly/2 credits per semester will facilitate discussion of and early 20th centuries and to related aesthetic issues, creative This class is a survey of the explore various interpretive styles programming strategies, and skills literature of keyboard and piano by studying their recordings. relating to audience development. music. We will become familiar Carefully studying – and not with a few examples of major only listening to – the recordings works in its literature, as well from the “Golden Age of the PN2500 The Beauty and as trace the musical and social Piano,” as performed by pianists Wit of American Song developments of the piano who knew or studied with Liszt, (Performance Class) in the Nineteenth Century, Brahms, Debussy, or Ravel, we 2 hrs weekly/2 credits/Fall semester from Mendelssohn to Janácek, will explore a manner of playing See VX2500 Albéniz and Granados. that has virtually disappeared from today’s concert halls. In PN2701 French Art Song for PN2031 Piano Literature comparing performances between 2 hrs weekly/2 credits/Both semesters pianists from disparate times and Vocalists and Pianists 2 hrs weekly/2 credits/Spring semester A survey of the keyboard concerto locations, we will become aware of from the late Baroque through the a diversity of musical styles. See VX2701. early 20th century. PN2400 Beethoven, REQUIRED PIANO Student performances are encouraged. Brahms, Schubert All students not majoring in 2 hrs weekly/2 credits/Spring semester PN2032 Piano Literature Piano, Collaborative Piano, Organ 2 hrs weekly/2 credits/Both semesters An exploration of the musical or Guitar must take Required forces which contribute to the Piano. A qualifying examination A survey of the most significant unique character of each work and including technical skills, repertoire for solo piano from to its unity. Specific areas of focus: transposition, harmonization and the late 19th century through the pace and tension, intensification, sight-reading may be taken for 20th century, including works exemption from this requirement. involving electronics.

Return to Table of Contents 124 Course Description RP0111-0112 Required Piano RP0121-0122 Required Piano for ELECTIVE COURSES OPEN TO 1 hr weekly/1 credit per semester Graduate Students UNDERGRADUATES Group instruction. Technical 1 hr weekly/1 credit per semester skills include penta-scales, Group Instruction for classical ST0300 Contemporary scales, chord progressions, graduate non-piano majors. String Literature harmonization, transposition and Technical skills include 2 hrs per week/2 credits per semester sight-reading. The level of sight- scales, chord progressions, This course will be devoted to reading is equivalent to repertoire harmonization, transposition the study, listening, discussion from the texts Piano for the and sight reading. Students will and performance of a wide range Developing Musician I, Ed. Hilley learn repertoire and perform it of repertoire. Repertoire lists for and Olson.A final performance throughout the semester. A final each instrument will be supplied, jury at the end of each semester performance jury at the end of and from each list a number of is required upon completion each semester is required upon works will be required listening. of the course. completion of the course. Time will be spent on how to Co-requisite: TH0001 or approach a new piece: notational the equivalent. RP1360 Piano Elective issues, complex rhythms, score 30-minute private lesson per week/1 study, style, and various technical RP0211-0212 Graduate credits per semester issues. 20th and 21st Century works will be studied in depth Required Piano Open to all students and as well as repertoire from 1 hr weekly/1 credit per semester Participation in a studio students’ listening assignments. Group Instruction. Technical performance class is required Each student will be required skills include major and minor upon completion of the semester. to learn and present at least one scales; chord progressions; triads performance of a work. and inversions; harmonization; Prerequisite: Completion of Required transposition and sight-reading. Piano 0212 or equivalent. The level of sight-reading is MUSIC THEORY/ equivalent to repertoire from STRINGS AURAL SKILLS the text Essential Keyboard ST0051-0052, ST2051-2052 Repertoire, Vol. I, ed. Lynn UNDERGRADUATE CORE Orchestral Repertoire for Violin Freeman Olson. The undergraduate Aural Skills A final performance jury at the end ST0061-0062, ST2061-2062 core curriculum is a four-semester of each semester is required upon Orchestral Repertoire for Viola sequence of courses with special completion of the course. emphasis on the interrelation ST0071-0072, ST2071-2072 with Music Theory. RP0350 Piano Minor Orchestral Repertoire 30-minute private lesson per week/ for Violoncello AS0111R-AS0112R Elementary 2 credits per semester/ Freshman Aural Skills 1-2 14 weeks per semester ST0081-0082, ST2081- 3 hrs weekly/2 credits per semester Undergraduate 2082 Orchestral Repertoire This course is an introductory Composition majors only. for Double Bass approach to ear training, sight- A performance jury is required upon 2 hrs weekly/2 credits per semester singing, rhythm, and dictation. completion of the course. The study of significant It will cover the same material works from the symphonic as AS0111/AS0112 (see below) repertoire, stressing stylistic at a pace designed for students approaches as well as traditional needing preparatory work in orchestral techniques. college-level aural skills.

Return to Table of Contents Course Description 125 AS0111-AS0112 Freshman and modulation through 20th AS0862 Graduate Aural Skills 2 Aural Skills 1-2 Century techniques including 2.5 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester atonal melody, alternative scales, This course is a continuation This course focuses on studies and complex rhythmic and of studies in ear training, sight- in ear training, sight-singing, harmonic structures. singing, rhythm, and dictation rhythm, and dictation. It from AS0870. It focuses on includes the writing, singing, and AS0201-AS0202 Sophomore Aural advanced tonal chromaticism recognition of intervals, scale Skills for Voice Majors 1-2 and modulation through 20th degrees, melodies, chords, and 2 hrs weekly/2 credits per semester Century techniques including atonal melody, alternative scales, harmonic structures ranging This course is a continuation and complex rhythmic and from diatonicism through simple of studies in ear training, sight- harmonic structures. chromaticism (both melodic singing, rhythm, and dictation and harmonic) and modulation. for voice majors from the Special emphasis is placed on freshman year. It focuses on AS0881 Graduate Aural Skills for conducting and form recognition. advanced tonal chromaticism Voice Majors 1 and modulation through 20th 2.5 hrs weekly/2 credits AS0101R-AS0102R Elementary Century techniques including This course focuses on Freshman Aural Skills for atonal melody, alternative scales, studies in ear training, sight- Voice Majors 1-2 and complex rhythmic and singing, rhythm, and dictation 3 hrs weekly/2 credits per semester harmonic structures. for voice majors. This course is an introductory It will cover the same material as AURAL SKILLS GRADUATE CORE approach to studies in ear AS0870 (see above) with approaches training, sight-singing, rhythm, The graduate Aural Skills core designed for voice students. and dictation for voice majors. curriculum is a three-semester It will cover the same material as sequence of courses with special AS0882 Graduate Aural Skills for AS0111/AS0112 (see above) at a emphasis on the interrelation Voice Majors 2 pace designed for voice students with Music Theory. 2.5 hrs weekly/2 credits per semester needing preparatory work in college- This course is a continuation level aural skills. AS0861 Graduate Aural Skills 1 of studies in ear training, 2.5 hrs weekly/2 credits sight-singing, rhythm, and AS0101-AS0102 Freshman Aural This course focuses on studies dictation from AS0890 for Skills for Voice Majors 1-2 in ear training, sight-singing, voice majors. It focuses on 2 hrs weekly/2 credits per semester rhythm, and dictation. It advanced tonal chromaticism This course will cover the same includes the writing, singing, and and modulation through 20th material as AS0111/AS0112 (see recognition of intervals, scale Century techniques including above) with approaches designed for degrees, melodies, chords, and atonal melody, alternative scales, voice students. harmonic structures ranging and complex rhythmic and from diatonicism through simple harmonic structures. chromaticism (both melodic AS0211-AS0212 Sophomore and harmonic) and modulation. Aural Skills 1-2 WRITTEN THEORY Special emphasis is placed on UNDERGRADUATE CORE 2 hrs weekly/2 credits per semester conducting and form recognition. This course is a continuation The undergraduate Theory core of studies in ear training, sight- curriculum is a four-semester singing, rhythm, and dictation sequence of courses devoted to from the freshman year. It focuses various analytic approaches to on advanced tonal chromaticism music of the Middle Ages through

Return to Table of Contents 126 Course Description the 20th Century with special TH0003 Sophomore Theory 1 TH2883 Graduate Theory 2 emphasis on the interrelation with 3 hrs weekly/3 credits 2.5 hrs weekly/2 credits Music History and Humanities As a continuation of TH0002, This course is a review of and on performance practice. this course examines examples the evolution of textural, from Baroque counterpoint instrumental, and formal TH0001R Elementary to the harmonic language of principles of composition from Freshman Theory 1 the late 19th century. Detailed Medieval music to music of 4 hrs weekly/4 credits analysis of representatives works, the 20th century. genres, and forms (fugue, sonata The course will cover the same form, character piece, Lied) THEORY ELECTIVES material as TH0001 (see below) will be undertaken. including theory rudiments at a pace designed for students TH2001-TH2002 Advanced needing preparatory work in TH0004 Sophomore Theory 2 Ear-Training 1-2 college-level theory. 3 hrs weekly/3 credits 2 hrs weekly/2 credits per semester This course is a study of the This course is an advanced TH0001 Freshman Theory 1 melodic, harmonic, rhythmic, study in ear-training and sight- 4 hrs weekly/4 credits contrapuntal, and formal reading. It includes techniques innovations of the 20th Century This course provides a systematic for hearing and performing in beginning with Late Romanticism introduction to the musical chromatic and atonal idioms, as and Impressionism and moving characteristics of Medieval well as strengthening sight- and through recent developments. and Renaissance Music. The score reading and ensemble Detailed analysis of representative class involves writing (species skills in all styles. works will be undertaken. counterpoint) and analysis of musical examples by a wide TH2011-TH2012 Ear-Training range of composers. GRADUATE THEORY CORE Pedagogy 1-2 The graduate theory core 2 hrs weekly/2 credits per semester TH0002R Elementary curriculum is a two-semester This course is a study of Freshman Theory 2 sequence of courses devoted to principles, methods, and materials 4 hrs weekly/4 credits various analytical approaches in the teaching of aural skills focusing on the Middle Ages, on the adult level. It requires This course will cover the same Renaissance, Baroque, Classical, observation and practice teaching. material as TH0002 (see below) Romantic, and 20th century at a pace designed for students with special emphasis on a TH2060-TH2061 Harmonic Science/ needing preparatory work in systematic approach and on Practice 1 & 2 college-level theory. performance practice. 2 hrs weekly/2 credits/Spring semester TH0002 Freshman Theory 2 TH0800 Graduate Theory 1 A class for students who have 4 hrs weekly/4 credits 2.5 hrs weekly/2 credits enjoyed the study of harmony This course stresses an in their undergraduate curricula This course is a review of the understanding of Common and want to learn more about evolution of tonal, rhythmic, and Practice diatonic and chromatic the subject. The course examines formal principles of composition harmonic procedures and both (1) the rationales behind from Medieval music to music of four-part writing, including an various theories of harmony and the 20th century. introduction to formal analysis. also (2) harmonic practice itself in the works of 17th, 18th and 19th century composers.

Return to Table of Contents Course Description 127 Course Prerequisite: Freshman TH2171-TH2172 Theory TH2630 Counterpoint Theory (TH0004). Pedagogy 1 & 2 2 hrs weekly/2 credits 2 hrs weekly/2 credits per semester This course is a survey of TH2131 Beethoven Piano Sonatas This course is a study of polyphonic techniques of the 2 hrs weekly/2 credits principles, methods, and materials Renaissance and the Baroque This course focuses on the in the teaching of music theory periods, as well as more analysis of representative piano on the adult level. It requires recent applications. Analysis sonatas from each period, observation and practice teaching. and composition are integral with particular attention parts of the course. to performance problems, TH2240 Italian Voices including tempo, dynamic 2 hrs weekly/2 credits/Fall semester TH2691-TH2692 range, use of pedal, innovative Focusing exclusively on Italian Orchestration 1 & 2 effects, and Beethoven’s striking vocal music, this course will 2 hrs weekly/2 credits per semester use of harmony. explore how the diverse Italian This course focuses on the study Student performance is encouraged. musical tradition changed, of instrumentation, arranging, and developed throughout the and scoring for instrumental TH2132 Beethoven String Quartets centuries, from the Renaissance ensembles and orchestra. Fall 2 hrs weekly/2 credits to the present. The course will semester: Woodwinds and brass show how the inevitable changes Spring semester: Strings, harp, This course focuses on the in the style did not prevent the timpani, full orchestra. analysis of representative string Italian music to keep certain quartets, with particular attention constant elements. These specific to the evolution of musical form TH2701-TH2702 Creative elements allow the listeners to as well as musical sources and Spirituality 1 & 2 find a peculiar quality, in the influences. Class performances 2 hrs weekly/2 credits per semester Italian Renaissance, and Baroque will highlight specific polyphony, in the Classical This course includes lecture- musical aspects. and Romantic Italian Opera, demonstrations exploring the until the eclectic approach relation of music to mythology TH2161-TH2162 20th/21st Century to vocal writing in the Italian and ritual, from ancient to Theory 1 & 2 contemporary music. modern, from Eastern to Western. 2 hrs weekly/2 credits per semester Performance is an integral part of the course. Topics will The fall semester concentrates TH2350 Musical Styles range from Gregorian chant to on the music of four composers: 2 hrs weekly/2 credits Tibetan mystic song. Debussy, Ives, Schoenberg, and This course is an investigation Stravinsky. The second semester into the elements that distinguish begins with Bartók and moves TH2740 Bach and Variation Baroque, Classical and Romantic Through Counterpoint through the nationalist traditions styles as well as an examination 2 hrs weekly/2 credits/Fall semester to post-war developments. of the idiosyncrasies of personal Performance is a required part of style within each of these musical This course examines in depth class assignments. periods. It also includes a survey three late esoteric works of J.S. of non-Western styles and a Bach: The Goldberg Variations, discussion of related philosophies. A Musical Offering, and Art of the Fugue. Additional works will include the Fourteen Canons on the Goldberg Bass, and other short works of J.S. Bach. Class participation includes in-class

Return to Table of Contents 128 Course Description performances, the composing and the brain, memory, and The course is graded Pass/Fail. of short pieces after these healing. Guest speakers will works, and a Mid-Term and include experts in the field of PT1620 Alexander Technique Final Examination. gerontology, Alzheimer’s Disease, 3 hrs weekly/2 credits per semester developmental disabilities, A study of the Alexander TH2807 Development of the and music therapy. Students will perform at various local Technique and its application to Concert Mass and Cantata playing/singing. Addresses both 2 hrs weekly/2 credits/Spring semester community venues including hospitals, senior residences, and individual and universal physical This course is an in-depth Alzheimer’s facilities. habits that deter easeful, healthy examination of two towering performing. Taught through masterpieces of J.S. Bach: The This is an elective course open to hands-on work, reading, anatomy, Mass in B Minor and the St. undergraduates and graduates. and application of the technique Matthew Passion. After the while performing. Short individual mid-term, masses and oratorios PT1430-1431 Cello Pedagogy sessions in addition to group class. 2 hrs weekly/2 credits each semester throughout the Nineteenth and Open to undergraduate and graduate Twentieth centuries are studied A graded study of teaching students of all majors. which follow in the shadow of techniques and repertoire these great works. Among these from beginning to advanced PT1622 Advanced are Haydn’s “The Creation,” the playing levels. Berlioz and Verdi Requiems, Alexander Technique Britten’s War Requiem, and the Full year course. 2 hr weekly/1 credit per semester Bernstein Mass. A small group class focused on PT1500 Curricular the application of the Alexander Practical Training Technique to making music. SKILL STUDIES .5 credits per semester Frequent playing opportunities, PT1050 Arts and Education Training This course is designed to reading, hands-on work. Frequent 2 hrs weekly/2 credits/Spring semester allow a student to participate short individual sessions in Open to undergraduate and in exceptional, off-campus addition to group class. graduate students of all majors, performance experiences Open to undergraduate and graduate this course provides training such as orchestral/chamber student of all majors. for students interested in music, solo concerts, church Prerequisite: PT1620 or comparable becoming teaching artists or accompanying, music teaching, experience with technique. music teachers. Students enrolled and internships, as an opportunity in this course will observe, to enhance their performance PT2011-2012 Advanced compare and evaluate music skills as an integral part of their education programs in New individual degree programs. The Teaching Techniques Yo r k City schools. individualized project must be 2 hrs weekly/2 credits per semester approved by the appropriate An exploration of teaching PT1200 Community Outreach Department Chair, the Dean of and learning strategies. How for Musicians Academics Affairs, and, in the students learn problem solving, 2 hrs weekly/1 credit/Spring Semester case of international students, the motivation, assessment; with International Student Advisor. practical application to the Students in this course will At the end of the semester, the methodology of studio teaching learn how to create and present student must present a formal, for all instrumentalists. How to effective, interactive, and written report on the project, maximize results from beginners meaningful performances for which will be evaluated by the through advanced students. underserved outreach audiences. Department Chair. Lectures will focus on music

Return to Table of Contents Course Description 129 Open to graduate students of all (upper body), anxiety reducing poetry and song texts; individual majors. Non-sequential semesters. techniques, and ergonomics/ assignments in the preparation biomechanics with practical and performance of songs in class. PT0061-0062/PT2061-2062 application for each instrument. Performance Techniques Open to graduate and undergraduate EN0100-0200 English Diction 2 hrs weekly/2 credits per semester students of all majors. 2 hrs weekly/2 credits each semester A class for performers that The study of sounds, structure will cover: anxiety-reducing VOICE, OPERA AND and stress patterns of English techniques, concentration, and to achieve maximum clarity memorization techniques, skills RELATED STUDIES and interpretive values in for developing peak performance. Major Lesson: the performance of English Advanced repertoire 1 hr weekly/3–6 credits per semester vocal materials. will be explored. FR0100-0200 French Diction International Phonetic Alphabet required. Open to graduate and undergraduate 2 hrs weekly/2 credits each semester students of all majors. Non- sequential semesters. Intensive drill in French diction VX0320/0322 English and American as applied to singing. Thorough Vocal Literature PT0101/PT2101 Fundamentals of study of phonetics with the IPA. 2 hrs weekly/2 credits per semester Music Education Textual and literary analysis of songs and arias. Recitation A survey through performance 2 hrs weekly/2 credits/Fall semester with awareness of resonance, and discussion of the origins and Students in this course will phrasing, expressivity as direct development of the art song in be introduced to the basic preparation to French style of the British Isles and the United fundamentals of teaching music in singing. Basic language study. States, plus non-American, a children’s classroom setting. The Final public concert. non-British song in English. course will cover: lesson planning Prerequisite: Senior Standing. and curriculum development for GR0100-0200 German Diction a general music classroom; the 2 hrs weekly/2 credits each semester VX0420 German Vocal Literature methodologies of Kodaly, Orff, 2 hrs weekly/2 credits and Dalcroze Eurhythmics; early Basic grammar; intensive exercise A survey through performance childhood music and movement; in diction, both spoken and sung; and discussion of the origins and recorder pedagogy; teaching attention to phonetics and the development of the German art music to children with special international phonetics symbols; song in Germany and Austria. needs; classroom management individual assignments in the resources; assessment. Open preparation and performance of Prerequisite: Junior Standing. to graduate students of all songs in class. The use of diction majors; junior/seniors with as an interpretive tool. VX0550 French Vocal Literature permission of instructor. 2 hrs weekly/2 credits IT0100-0200 Italian Diction A survey through performance PT2800 Biomechanics/Ergonomics 2 hrs weekly/2 credits each semester and discussion of the origins for Performers Basic grammar; vocabulary and development of the art 2 hrs weekly/2 credits per semester building; intensive exercises song in France. in diction, both spoken and A class designed to help Prerequisite: Junior Standing. instrumentalists develop peak sung; attention to phonetics performance skills and that and the international phonetic will cover basic physiology as it symbols; reading and study of relates to performers, anatomy

Return to Table of Contents 130 Course Description VX0900 Introduction to Performing PT2500 Vocal Performance polonaise, mazurka, Czardas, 2 hrs weekly/1 credit/Fall Semester Techniques-Preparation for tarantella, tango, foxtrot and A survey course introducing the Operatic Roles swing (jitterbug). young singer to the many facets 2 hrs weekly/1 credit per semester of a career in performing. Topics This course provides a game plan VX1875 Recitative to be covered include stage to learn an opera role from the 2 hrs weekly/1 credit per semester make-up, audition techniques, beginning of the score musically An in depth, detailed study of managers and agents, terminology and dramatically. Diction is how to prepare Italian recitative and traditions of the theater, included, as well as translation from Händel thru Verdi, both résumé construction and others and presentation. It is a “how to” secco and accompagnato. The as time permits. learn new repertoire as well as process begins with dramatically fine tune the old. reading the text in the singers VX1090 Collaborative Piano/ native language, then in English Singer's Seminar VX1831-1832 Movement for Singers (if his/her native language is not 1 credit per semester 2 hrs weekly/1 credit per semester English) then in Italian using Nico Castel’s books as a primary A weekly meeting of collaborative Movement and dance designed source for translation and IPA. piano majors which will explore specifically for opera singers. Once the Italian is authentic, we accompanying and vocal Standard dance styles and forms work on how to be expressive in and instrumental coaching of the 19th-century repertory the language, paying attention techniques, emphasizing the will be studied. interaction between partners and to word stress and the variety (May be repeated for credit.) the musical style and performance of ways one can sing a secco problems in a wide range of recitative in terms of tempo, instrumental and vocal repertory. VX1833-1834 Advanced Movement color, rubato, appoggiature, and 2 hrs weekly/1 credit per semester how to interpret the composer’s (Open to collaborative piano majors intentions regarding rhythm. The advanced movement is a or by invitation of instructor) real dance class. The students A method for study and do a series of stretches on the VX0901-0902 Acting preparation of opera and floor that enables them to warm 2 hrs weekly/1 credit per semester oratorio recitative (secco and up their bodies and accustoms accompagnato) with an emphasis Basic techniques used in acting them to moving with others in on 18th century Italian works for opera and theater. Designed a musical fashion. It also begins and performance practice. Text especially for Voice majors the process of remembering communication of musical- contemplating a career on the repeated exercises and learning dramatic content/intent based in stage. In-depth character study new ones so as to prepare them to translation and transferal of those and stage techniques will be the retain staging and choreography skills to music. focus of this class. in rehearsals. Students learn Seniors only or by a beginning ballet barre that permission of instructor. enables them to musically control their bodies helping them to work consistently. Students learn movement styles from different periods including baroque, classical, romantic, and twentieth century. We emphasize walking, sitting, standing, and falling. Specific dances taught include the waltz, polka, minuet,

Return to Table of Contents Course Description 131 GRADUATE COURSES and pedagogical approach of appropriate for a specific voice, the solo vocal repertoire in how to develop a personal EN2101-2102 Graduate all languages. repertoire, how to prepare songs English Diction for performance, how to tailor a Prerequisite: FR0100, GR0100, 2 hrs weekly/2 credits per semester concert for a specific audience or IT0100, and EN0100 or venue, thematic programming. the equivalent. IT2101-2102 Graduate Italian Diction VX2155 Russian Diction and VX2701 French Art Song for 2 hrs weekly/2 credits per semester Vocal Literature Vocalists and Pianists 2 hrs weekly/2 credits/Spring semester FR2101-2102 Graduate 3 hrs weekly/3 credits/Spring semester This class covers French song French Diction The course is offered to singers repertoire, from the beginning 2 hrs weekly/2 credits per semester and pianists interested in accompanying vocal music. Its of the mélodie (19th century). Spring Semester 2014: Berlioz to GR2101-2102 Graduate objectives include: acquire a working knowledge of Russian Debussy. Spring Semester 2015: German Diction Debussy to Messiaen. The first 2 hrs weekly/2 credits per semester vocal sounds and their IPA symbols; survey works by semester will create a sound These special courses are designed historically significant Russian foundation for the interpretation for graduate students in order to art song, opera and oratorio of French style by studying review the principles of language composers; practice through pieces by Berlioz, Duparc, for singers and to have intensive performance making Informed Chausson, Bizet, Fauré, etc. The drill in diction. Individual Choices when interpreting sample second semester will enrich the assignments in the preparation Russian vocal compositions. knowledge of the repertoire with and performance of songs. masterpieces of the 20th century, as well as explore lesser-known Graduate Prerequisite: Two graduate- VX2500 The Beauty and repertoire. We will perform pieces level Language for Singers classes. Wit of American Song by Debussy, Ravel, Hahn, Poulenc, (Performance Class) Enescu, Boulanger, Roussel, VX2051-2052 Graduate 2 hrs weekly/2 credits/Fall semester Canteloube, Mihauld, Satie, Diction Performance A performance class focusing on Beydts, Messian, etc. The pieces 2 hrs weekly/2 credits per semester gifted, living, American classical will be assigned with care for each An in-depth exploration of the song composers including Tom singer’s voice type and sensitivity. details in singing Italian, French, Cipullo, Daron Hagen, Lori The poems are to be given as and German through the vocal Laitman, Libby Larsen, John much weight as the music, as an repertoire, operatic and non- Musto, and Stephen Paulus as intrinsic part of the composition, operatic. Each person is given well as lesser known songs by and 99% of the time source of individual attention in order Richard Hundley, Lee Hoiby, and its inspiration. The singer and to sing idiomatically in these Dominick Argento. pianists are to be treated as a languages as well as being coached team. The material presented in many styles. VX2600 How to Plan a Song Recital will be coached by the instructor in a master-class setting, as well (Performance Class) as discussed, compared and VX2151-2152 Advanced 2 hrs weekly/2 credits/Spring semester Vocal Literature commented on by the entire class. The course will focus on how to 2 hrs weekly/2 credits per semester develop an effective program and Also listed as PN2701. A comprehensive study of vocal how to perform it successfully. literature from the point of view Issues to be studied and discussed: of performance, style, practice, how to choose repertoire

Return to Table of Contents 132 Course Description VX2901-2902 Advanced Acting PT2500.P1 Vocal Performance SX0200 Advanced Level Saxophone 2 hrs weekly/2 credits per semester Techniques-Stagecraft in Repertoire and Performance Class Advanced Acting is a lab in Opera and Song 2 hrs weekly/2 credits per semester 2 hrs weekly/1 credit per semester which we practice working with Required for all junior and senior various tools to hone dramatic Singers will learn the basic skills classical saxophone majors. A technique and role preparation. of Stagecraft and how to apply continuation of SX0100, this This class is not music-oriented. them to Operatic and Recital class is a further investigation The repertoire for class will be repertoire through movement, of saxophone repertoire. In-class taken from play texts, scenarios, gesture, and facial expression. performance is required. and poetry. Over the course Challenges to be addressed will of the year, the class will focus be acting the extended moments SX2200 Graduate Level Saxophone on Action and Circumstances inherent in music, sustaining Repertoire and Performance Class (Chekhov and Ibsen), heightened dramatic choices in slower 2 hrs weekly/2 credits per semester language and scene work tempos, and expanding expression (Ibsen & Shakespeare), and for larger performing spaces. Required for all graduate classical physical choices. Entrance by audition. saxophone majors. This class is a further investigation of Open to graduate voice students, saxophone repertoire. In-class composers and collaborative pianists. WOODWINDS performance is required. Major Lesson: VX2905-2906 Advanced Acting 2 1 hr weekly/3–6 credits per semester WW1151-1152/WW2151-2152 2 hrs weekly/2 credits per semester Woodwind Lab Advanced Acting 2 is a lab which SX0100 Freshman/Sophomore 2 hrs weekly/2 credits per semester focuses on a more in depth Performance Class A seminar devoted to developing study of acting techniques as 2 hrs weekly/1 credit per semester introduced in Advanced Acting I, both the performance and while emphasizing the physicality Required for all freshman and extra-musical skills required of of the performer in character sophomore classical saxophone today’s professional musician. development. Essentially, a study majors. A forum for the discussion The labs include sessions on in this “Physical Actions”. The and investigation of topics related orchestral excerpts, auditioning, class is divided into three parts: to the saxophone, including its programming, chamber music and Part 1: General exploration of history, acoustics, technique, concert presentation. Students Physical Actions; Part 2: Scene and repertoire. Performance have the opportunity to perform work with text (Shakespeare); Part opportunities in both classical for guest artists who are leading 3: Scene work with text (Goldoni). music and jazz are an integral experts in their fields. part of the class. Open to graduate voice students, Required of all flute, oboe, clarinet, composers and collaborative pianists and bassoon majors. who have taken Advanced Acting 1.

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