2020-2021 Course Catalog

(last updated February 19, 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 74

History of the School 5 Dual Degree Program 78

Academic Calendar 7 Doctor of Musical Arts 80

Office of Student Accounts 9 Artist Diploma 85

Tuition and Fees Course Descriptions

Office of the Registrar 11 Brass 86 Collaborative Piano 86 Registration Procedures Composition 86 Academic Regulations Conducting 88 Degree Programs and Curriculum 22 Contemporary Performance 88 Doctoral Program 90 Departments by Major Guitar 91 Brass 25 Harp 92 Collaborative Piano 28 Humanities 92 Composition 30 English as a Second Language 97 Conducting 33 Entreprenuership 98 Contemporary Performance 35 Jazz 99 Guitar 37 Music History 105 Harp 39 Musical Theatre Curriculum 109 Jazz Arts 41 Orchestral Performance 114 Musical Theatre 46 Organ 114 Orchestral Performance 48 Percussion 115 Organ 51 Performance 115 Percussion 53 Piano 118 Piano 55 Strings 121 Strings 58 Musical Theory/Aural Skills 121 Pinchas Zukerman Performance Program 63 Skill Studies 124 Voice 66 Voice, Opera and Related Studies 126 Woodwinds 70 Woodwinds 129

Table of Contents 3 COURSE CATALOG POLICY This Course Catalog Policy serves on the applicable policies and remote instruction or remote to familiarize all undergraduate, procedures for their particular operations; (2) modifying, graduate, and doctoral students degree or certification programs. postponing, or temporarily with Manhattan School of eliminating academic course Music’s academic policies and In addition, during the next offerings, program requirements, procedures as of September 1, academic year the entire campus clinical assignments or 2020. A department or program community must recognize experiential learning, access to may adopt more specific policies that the current COVID-19 facilities, student activities, and or procedures applicable to pandemic is likely to continue other services; (3) postponing or the particular program of to challenge the operations, as adjusting extracurricular activities study. Together, the policies well as the health and safety, of and offerings, including athletics and procedures set forth in this our community. The University opportunities; (4) changing or Catalog and in program-specific has set forth its current plans adjusting semester schedules, policies constitute your resource and expectations in the MSM examination schedules, teaching guides regarding the academic Reopening guidelines and daily and academic counseling requirements of the School. health questionnaire, with which assignments, and grading all students and employees protocols; and (5) otherwise The policies and procedures must comply as part of our changing or adjusting academic in this Catalog are subject to shared responsibility to help operations and student activities modification, revision, and protect the health and safety of when such modifications are updates at the discretion of the community. deemed to be in the best interests the School or the program in Manhattan School of Music of the students and the greater question, to comply with evolving campus community. I also accreditation standards and best also reserves the right to change or alter its programs, services, acknowledge that, regardless of practices in the best interests the learning environment for fall of the MSM community. These methods of delivering course content, schedules, safety 2020, the tuition and fees will policies and procedures do not be the same. The tuition and constitute a contract, do not guidelines, and operations to respond to the evolving needs fees that I agree to pay are in reflect binding commitments exchange for learning, academic by MSM, and may not be relied of the campus community. This changes may include: (1) adjusting credit, and certain non-academic upon as such. Manhattan School services that will be provided of Music will notify students the method of delivering course content, curricula, or services, whether remotely, in a hybrid when policies or procedures are environment, or entirely remotely. revised, but students also have including the conversion of some a responsibility to stay current or all coursework or business to

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 2020–21 FALL July 1, 2020 December 1, 2020 Official first day of the Fall 2020 Semester Admissions applications due date (2021-2022) August 24, 2020 December 11, 2020 Residence Hall opens. Please visit the Last day of Fall 2020 Semester academic classes Fall Reopening page on the MSM website for more details December 14–18, 2020 Final exam week September 7, 2020 Labor Day holiday (administrative offices closed) December 19, 2020 Anderson Hall closes at 12 pm for Track A students September 9, 2020 First day of academic classes for the December 19, 2020 to January 3, 2021 Fall 2020 Semester Winter recess for students in Tracks B & C First day of Track A on-campus classes December 19, 2020 to January 31, 2021 September 9–18, 2020 Extended Winter Recess for students Add/drop period in Tracks A & D (Administrative offices closed through September 9–18, 2020 January 3, 2021) SEVIS check-in deadline for Track A international students January 4, 2021 Administrative offices reopen October 25, 2020 First day of Track C on-campus classes Last day to withdraw from a Fall Track B on-campus classes continue 2020 Semester class January 4–8, 2021 November 1, 2020 SEVIS check in deadline for Track C First day of Track B on-campus classes international students November 1–6, 2020 January 4–29, 2021 SEVIS check in deadline for Track B Fall 2020 Semester Track C on-campus international students Performance Intensive November 25–29, 2020 January 18, 2021 Thanksgiving recess for students and faculty Martin Luther King Jr. Day. No classes and administrative offices closed. November 25–27, 2020 Administrative offices closed for Thanksgiving holiday

Return to Table of Contents Academic Calendar 7 SPRING January 31, 2021 May 7, 2021 Andersen Hall re-opens for Fall 2020 Last day of Spring 2021 Semester classes Track A students May 10–14, 2021 February 1–5, 2021 Jury examination week (No classes or rehearsals) SEVIS check in deadline for international students for Spring 2021 Semester May 17–21, 2021 Final examination week February 1, 2021 First day of classes for the Spring 2021Semester May 20, 2021 Commencement February 1–5, 2021 Add/drop period May 21, 2021 Last day of Spring 2021 Semester February 19–28, 2021 First admission audition period for May 22, 2021 Fall 2021 entrance Move-out day for Andersen Hall residents by 12 pm February 20–28, 2021 May 27 and May 28, 2021 Spring recess for students and faculty Second admission audition period for select majors as available, for Fall 2021 entrance March 1, 2021 Last day to withdraw from a Spring 2021 Semester class

Return to Table of Contents 8 Academic Calendar OFFICE OF STUDENT ACCOUNTS The Office of Student Accounts Meal Plan Damage/Judicial Fines: TBA provides information on All students are required to Graduation Fee: $125 important documents and participate in a declining balance payment procedures, policies meal plan; the amount of the Qualifying Examination Fee and payment plans on its plan is different for commuting (per exam): $35 website at msmnyc.edu/campus/ students and students residing I.D. Replacement Fee: $45 student-accounts/. in the residence hall. The charge for the meal plan will be on the Postage Fee (International TUITION AND FEES student’s invoice and the monies Students Only): TBA will be applied to their ID card. Confirmation Fee The annual cost of the meal plans Transcript Fee ($10 per copy) Newly admitted students are are as follows: Returned Check Fee (insufficient required to submit a non- Commuting Students: $276 Funds): $30 (After we receive refundable $500 fee upon a returned check, personal notice of their acceptance Resident Students checks will not be accepted from to Manhattan School of Bronze: $2,705 the student or parent for one Music. This fee represents Academic Year) confirmation of enrollment. Silver: $3,785 Gold: $5,405 Tuition Student Health Insurance (annual BARNARD fee, administered by Student Tuition for all Degree and SURCHARGE Engagement): $2,430 Diploma Programs: $48,280 For those students wishing to take elective courses at Barnard Doctoral Program Fees (Doctoral Annual Fees (required of all College, a tuition surcharge will Candidates only) students unless otherwise noted) apply. A charge of approximately Thesis Research Fee: $1,200 $110 per credit for Barnard General Student Fee: $850 (per semester) courses, in addition to the Housing Costs regular MSM tuition, will be These Examination Fee: $120 added to the account. Currently For those students residing in Other Fees (Non-refundable, Charged only undergraduate students Andersen Hall, the following Where Applicable) are eligible to take courses at room rates apply: Barnard College. Application/Audition Fee: $125 Standard Double: $10,790 Credits Exceeding Degree Credit Economical Double: $9,460 Limits (per credit): $750 Regular Single: $14,720 Course Audit (See Office of the Premium Single: $15,430 Registrar): $500

Return to Table of Contents Office of Student Accounts 9 STUDENT USE School of Music reserves the 20% within the right to enforce rules for facilities first two weeks OF MANHATTAN usage at all times. 40% within the third week SCHOOL OF MUSIC 60% within the fourth week FACILTIES 80% within the fifth week REFUNDS/LEAVES 100% after the fifth week Tuition payment provides acess to Manhattan School of Music OF ABSENCE AND Registration, general student facilities only when classes are WITHDRAWALS fees, health insurance, late fees, in session, and does not include Student who file a Leave of graudation fees and meal plan the intercessions or summer absence of Withdrawal notice payments are non-refundable. vacation. College students have after the first day of classes and Arrangements must be made limited access to Manhattan did not receive Federal grants with the Director of Student School of Music facilities on most or loans will be responsible for Life regarding refunds of Saturdays, when the Precollege tuition based upon the following housing charges. Division is in session. Manhattan schedule (any overpayment will be refunded):

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

Return to Table of Contents Office of the Registrar 11 Split Teacher of a new program of study may Qualifying examinations are Before students are eligible to be obtained from the Office offered in Theory, Aural Skills, submit a split teacher request, of Admission and Financial Keyboard Skills (Piano, Organ, they must first receive approval Aid. Information regarding and Collaborative Piano majors from the following: the transfer of credits from only), Music History, Required one program to another may Piano (non-keyboard and non- 1. Current Teacher be obtained from the Office guitar majors only), and fretboard 2. Request Teacher of the Registrar. harmony (Classical Guitar majors 3. Department Chair. only). Applications for these Once all the required permissions Placement Exams and examinations are available in the are received, the student can Deficiency Courses Office of the Registrar. A fee is request the official form by charged for Theory, Aural Skills, emailing the Provost’s office All new classical, jazz and Required Piano and Keyboard at [email protected]. An orchestral program students Skills examinations. approved request form will be are required to take placement sent to the student, the student’s exams in Theory, Aural Skills, Students will be allowed to take current teacher, requested Music History, sight-reading a Theory/Aural Skills placement teacher, Department Chair, and (Piano majors only), keyboard and qualifying examination for the Provost for signatures (in skills (non-Piano majors only), a particular course only once. that order). Once all required and fretboard harmony (Classical Additionally, students may only signatures are received, a copy Guitar majors only). These exams qualify in Theory/Aural Skills of the completed form will take place in August before the fall courses one level at a time. be emailed to all signatories. semester begins. Notices of Qualification must The Registrar’s Office will also be approved and submitted Students are required to complete receive a copy to place in the to the Registrar’s Office by all elementary courses successfully student’s file. the appropriate department before registering for classes chair before the end of the Please note: Split lessons are prescribed in their course Add/Drop period. intended for a finite period of sequence plans. Elementary courses become part of a student’s time. As such, requests are only Schedule Changes/ADD/DROP degree or diploma program. approved for a single semester Period/Course Withdrawals or a single academic year. New They may not be used to fulfill requests must be submitted requirements (with the exception Students may request changes for a continuation of the split. of TH2883). The length of a in their schedules only during Splits are ONLY approved for degree or diploma program may the Add/Drop and Withdrawal lessons within the student’s be extended for students who Periods listed in the Academic major. Students who wish to are required to take elementary Calendar. No schedule changes study outside their major area can courses. Students required to are possible after the conclusion request non-major lessons, please take English Language courses of the Add/Drop and Withdrawal see instructions for a non-major should be aware that this may Periods, unless approved in lesson request below. extend their program for one writing by the Provost. No additional year or more. schedule change is considered Program Change official until it is processed by the Qualifying Examinations Office of the Registrar. Students who wish to change their course of study from one If a student is already capable of Add: Courses may be added by discipline to another must re- meeting the requirements for filing the appropriate forms in audition. Audition dates and a particular course, he or she the Office of the Registrar during information on requirements may demonstrate proficiency the Add/Drop Period. In addition through a qualifying examination. to the approved Add form, a

Return to Table of Contents 12 Office of the Registrar completed Permission to Enroll Elective Credits at three (3) credits for graduate form and/or Over Credit form Elective credits are those students and two (2) credits for may be required in some cases. credits not distinctly specified undergraduate students. Only after the completed form(s) in a particular major’s course have been filed in the Office of sequence. Electives are either Non-Major Lessons the Registrar may the student general or department-specific. Students seeking to take addition- officially enroll in the course. Students are allowed to take al lessons outside of their major/ Drop: Non-required courses courses in other departments as department, can request Non-Ma- may be dropped by filing the General Electives, as long as there jor Lessons (secondary lessons) for appropriate forms in the Office is space available in the course a fee. Full time non-major lessons of the Registrar during the Add/ for non-majors and they meet the are 14 one-hour lessons in a semes- Drop Period. Failure to file pre-requisites. ter for an additional $4000. Half time non-major lessons are 7 one- the completed Drop Form will Students are not permitted to take result in the student’s continued hour lessons in a semester for an major lessons in order to fulfill additional $2000. A student must enrollment in the course. elective credit requirements. Continued enrollment without first receive approval from the attendance will result in an requested teacher and their de- Lessons automatic Failing grade. partment chair. Then the student Full-time lessons are scheduled can email their intent to provost@ Course withdrawals: Students for fourteen (14) one-hour msmnyc.edu. Once approved, the may withdraw from a course sessions per semester. official form will be sent to the after the Add/Drop period by Undergraduate students are student, requested teacher, De- filing a petition in the Office required to take at least eight (8) partment Chair, and the Provost of the Registrar. An approved semesters of full-time lessons, for signatures (in that order). Withdrawal results in a grade of graduate and doctoral students are Once all required signatures are W being applied to the course if required to take at least four (4) received, a copy of the form will request is made after the deadline semesters and professional studies be generated and emailed to all to withdrawal without a grade and artist diploma students are the signatories. The Registrar’s of W. See Academic Calendar required to take two (2) semesters. Office will also receive a copy for deadline. While the grade of The number of semesters of full- to place in the student’s file and W does not affect the student’s time major lessons required of Student Accounts will updated to grade point average, the course transfer students is determined process the required fee. remains on his or her record, with at the time of acceptance into the the student remaining responsible school and is dependent upon the Schedule of Classes for the credit associated with the performance level at the audition. Class times are published in the course. Failure to file a petition schedule of course offerings constitutes continued enrollment Students who have completed available at registration, with in the course, and the student is their major lesson requirement periodic updates. Under-enrolled subject to the requirements and but have not performed courses are subject to cancellation responsibilities of the course. their Graduation Project at any time during the first two Failure to Withdraw or complete (Accompanying majors only), weeks of classes. the requirements will result in Concerto requirement (Piano a Failing grade.Deadlines and majors only), Graduation Jury and/ regulations concerning dropped or Recital, are required to register Barnard College Cross- and withdrawn courses will apply. for half-time lessons in order to Registration Program prepare for the requirement. Half- A special program of cross- time lessons are seven (7) sessions registration between Manhattan School of Music and Barnard

Return to Table of Contents Office of the Registrar 13 College allows qualified MSM A student may take no more To be considered for eligibility, Juniors and Seniors to have than one Independent Study a Manhattan School of Music access to the greater variety during his or her residency in any student must make a formal of academic courses taught program of study. application. Applications and at Barnard. Students must be information about deadlines in good academic standing and procedures is available with a cumulative MSM grade STUDENT through the Office of the point average of at least 3.0. EXCHANGE Provost. To qualify for exchange Registration for appropriate programs, students must: Barnard courses must be PROGRAMS MSM students are eligible to • Have a minimum approved by both the MSM and apply for exchange programs with G.P.A. of 3.0 Barnard Offices of the Registrar. MSM partner schools. Applicants • Have received a minimum A surcharge of $110 per credit for for exchange programs should grade of A- on the a Barnard course will be assessed be current MSM sophomores most recent jury by the MSM Bursar. A Barnard or first-year grads, and exchange • Have an academic course may not be taken as pass/ programs may be one semester advisement meeting with fail, and is subject to Manhattan or one year. Since requirements the Registrar to plan and School of Music’s add/drop/ and length of study vary from one confirm a course of study withdrawal schedule. school to the next, please request • Represent the School information for specific programs in a positive and Auditing from the Office of the Provost. enthusiastic manner Students may petition to audit Applicants must be in good Application materials will be a course for no credit if space is standing at MSM. reviewed by members of the available in the class. Outside Exchange Program Committee MSM currently has international auditors are not permitted. and candidates will then be exchange programs with the Approval of the instructor and selected. The materials of the following schools: Royal College department chair is required. No MSM students who are selected of Music (London); Paris charge will be assessed for the first will then be submitted to the Consevatory, Royal Danish course audited in an academic partner schools, which will make Academy of Music (Copenhagen); year. A fee of $500 will be charged the final determination of the Norwegian Academy of Music for each additional course audited candidate’s acceptance. (Oslo); Sibelius Academy of in an academic year. Music (Helsinki, Finland); Courses taken as “Audit” are Musikhochschule (Stuttgart); ACADEMIC subject to the same Add/Drop/ Amsterdam Conservatory; Withdrawal deadlines as regular Shanghai Conservatory; Central REGULATIONS courses. No grades are given for Conservatory (Beijing). Academic Honesty courses that are audited. All students have an obligation Students pay tuition, health to behave honorably and to insurance (if not covered by the respect the highest ethical Independent Study partner school), and all required standards in carrying out their student fees at Manhattan School Independent Study provides the academic assignments. Academic of Music. Students are responsible student with an opportunity to dishonesty is defined to include for all living, travel and personal engage in exceptional research any form of cheating and/or expenses. Manhattan School of projects. Independent Study plagiarism. Disciplinary sanctions, Music students are eligible to Forms are available in the Office including lowered or failing continue to receive their financial of the Registrar. Such requests grade, probation, or dismissal, aid during their study abroad. will be reviewed for approval by may be administered in cases the Registrar and the Provost.

Return to Table of Contents 14 Office of the Registrar involving academic dishonesty reviews all student records at Dismissal or falsification of academic the end of each semester, and Grounds for dismissal include information. All allegations of will identify students who fall unsatisfactory academic and/ academic dishonesty will be below MSM’s academic or artistic or musical progress; any form referred to the Provost. In clear- standards (defined below). The of cheating and/or plagiarism cut cases, such as documented Committee has latitude to or falsification of academic plagiarism, the Provost may offer judge the efforts and progress of information; a failing grade in a summary judgment, which will each student, comparing grades major lessons, jury examinations include sanction or mediation earned from one semester to the and/or performance ensembles; designed to bring the matter to next, taking into account special and violation of the Standards of a conclusion. In a case that has circumstances, and investigating Personal and Group Conduct and/ received summary judgment, the issues with particular instructors. or official School policies. student may appeal the decision The Committee can recommend to the Dean’s Council. Also, probation, continuing or final Students dismissed at the the Provost may elect to bring probation, or dismissal. The conclusion of any semester the case directly to the Dean’s Committee may also recommend are ineligible to attend the Council. The Council consists or require tutoring or counseling. School for two consecutive of three faculty members, who, semesters. Information along with the Provost and the For courses that are part of an regarding reapplication to the Dean of Students, will conduct MSM student’s professional School and auditions is available a hearing and render an opinion. training, including lessons, from the Office of Admission The decision of the Dean’s ensembles and performance and Financial Aid. Council will be final. courses, students must maintain a grade point average (GPA) of The School retains the right at least 3.0. Any student who to dismiss any student whose Satisfactory Academic Progress receives a grade of C or lower continued attendance or behavior All students are expected to in any semester of lessons or is considered detrimental to maintain good academic progress ensemble will automatically be the interest of his or her fellow throughout their degree studies. placed on probation. students or of the School. Good academic standing includes For all non-performance academic a grade of at least B- in their Attendance major subject, performance courses, including humanities Regular and punctual attendance ensembles, and required ESL courses and classroom courses in is required at all lessons, classes, courses and grades of C or better music, students must maintain a and rehearsals. Faculty set the in all other subjects. If a student GPA above 2.0. specific attendance policies for fails to meet the requirements In addition to overall GPA, their courses, and publish these for good standing, his or her repeated failure of required policies in the course syllabus or record will be brought under courses may be grounds handbook. Any exceptions, such review by the Committee on for probation. as excused absences for reasons Academic Progress. Students with grades or GPAs far of illness or other compelling emergencies, may be considered Probation below MSM’s standards, as well as students who have been on and granted at the discretion of All students are expected to continuing or final probation, may the individual faculty member. make good academic progress be subject to dismissal. Absences due to illness must be throughout their degree studies, reported by the student to the and to advance artistically in their Office of Student Engagement, professional musical training. The and should be accompanied by Committee on Academic Progress documentation from a physician

Return to Table of Contents Office of the Registrar 15 or the MSM Campus Health lesson times or make up lessons ensemble directors in writing Nurse. In cases of serious that were canceled for non-illness, during the first week of classes at illness the Dean of Students will non-emergency reasons. Any the beginning of each semester communicate with all the teachers student who has two consecutive listing the exact date/dates that of an individual student in order unexcused absences in his or her the student will be absent. The to make sure that faculty are private lessons may be required to student should also give a copy aware of the student’s situation. see the Dean of Students before of the request to the Provost. If lessons may resume. students follow the preceding Absence affects learning and policy and understand that they performance. Any student who No student may be absent from are responsible for classroom misses lessons, classes, and the school for professional work and ensemble obligations rehearsals for reasons that the engagements unless permission missed, absence for religious or teacher considers insufficient for such absence is granted by other holidays will be excused. may be referred to the Dean the Office of the Provost well in Students who do not inform of Students for permission to advance of all such engagements. their teachers in writing with a continue in the class. Students Students who wish to pursue a copy sent to the Provost during with excessive or unexcused professional opportunity over the first week of classes will absences from lessons, classes, or several days must apply for a not be excused. rehearsals may receive a lowered professional leave, using the form or failing grade. Even in cases available in the Office of the where absences are excused, it Provost. Typically the professional Concert Attendance Requirement may be necessary for a student to leave may not extend for more Attending concerts is a vital withdraw from a course because than two weeks. and important part of the of excessive absence. total educational experience. Religious and Other Holidays MSM Concert attendance is Private lessons constitute the a great opportunity to hear core performance study for Manhattan School of Music is music brought to life by the every student. If a student needs sensitive to the needs of students entire community as well as to cancel a studio lesson for who wish to observe religious distinguished visiting artists. any reason, the student should or other holidays during the The administration chooses a immediately inform the studio academic year. To accommodate wide array of performances to teacher. In cases of documented the planning needs of studio meet the concert attendance illness or other emergency, the teachers, classroom teachers, requirement. During the Fall teacher will attempt to make and ensemble directors, students 2020 semester, students must up missed lessons at a mutually who anticipate being absent complete the Digital Learning convenient time. The studio for religious or other holidays Module to fulfill the Fall 2020 teacher is not obligated to adjust must inform their teachers and

Residency Requirements Residency requirements for degree and diploma programs at Manhattan School of Music are as follows: PROGRAM NORMAL RESIDENCY MINIMUM RESIDENCY LIMITATION Diploma 4 years 2 years 7 years Bachelor of Music 4 years 2 years 7 years Postgraduate Diploma 2 years 2 years 5 years Master of Music 2 years 2 years 5 years Doctor of Musical Arts 2 years 2 years 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 Concert Attendance requirement. graded courses (other than P or as the result of being admitted Further updates regarding Spring Q grades), and no failing grades in January or having taken a 2021 Concert Attendance will be for the semester. semester Leave-of-Absence take communicated to students. juries in December. There is a Final Examinations Sophomore Continuation Jury to For undergraduate students ensure that a student’s progress (BM/DP), concert attendance Final examinations are held merits continuation in his or her is required for six semesters out during the 15th week of each program of study. Jury comments of eight; students must register semester. Students who fail to are available to be read two weeks for it their first semester and take a required class examination after the end of examination week each subsequent semester until may be given an Incomplete by in the Office of the Registrar. the requirement is fulfilled. the teacher if all other work for The requirement for transfer the course has been satisfactory. A student who is absent from students is pro-rated: students All Incomplete grades must be the Jury Examination without admitted into the second year pre-approved by the Provost. prior approval will receive a of an undergraduate program Incomplete grades will be failing grade and automatically be must complete four semesters converted to failing grades by placed on academic probation. out of six; into the third year, two the Registrar if the final grade A jury may be postponed only semesters out of four. is not received by the end of the for documented medical reasons following semester. Students approved by the individual For graduate students, concert who are taking large group department chair. attendance is required for two examinations in the Music semesters out of four (MM/ History and Theory Departments A Graduation Recital and/or PG) or one semester out of two will be required to show their Jury, if required, must take place (PS); students must register for MSM ID cards before beginning within the final thirty credits it their first semester and each the exam. Students who have final required to complete a degree subsequent semester until the exams that fall on the Friday of and once the student has less than requirement is fulfilled. exam week of the spring semester two semesters of major lessons remaining. Students must apply Students registered for concert will be given their final exam on the final day of classes. to the Scheduling Office for a attendance are required to attend recital date. The recital program seven major concerts and/or must be approved by the major master classes per semester. A list Juries and Recitals teacher and the department of approved concerts is available Every enrolled student is chair. A copy of the recital from the Office of the Registrar required to take an annual Jury program must be submitted to at the beginning of each semester. Examination in May. Students the Office of the Registrar before Performance in any portion of an should be aware that the number graduation. All Graduation Juries approved concert does not count of juries listed in the Department are scheduled through the Office toward fulfilling the Concert Major grids is the minimum of the Registrar. Attendance requirement. needed to graduate. Some Doctoral candidates should students may be required to refer to the appropriate course Dean’s List take additional juries as a result sequence plan, pages 81-84, for of teacher requests, scholarship Qualified Bachelor and Master’s performance requirements. level students who meet certain continuation, or the extension of academic standards are named the normal length of the degree Students must be registered to the Dean’s List each semester. program as the result of illness, through the School for major These standards include: a leaves-of-absence, or other lessons until completion of grade point average of 3.9 or extraordinary circumstances. the Graduation Performance better, twelve or more credits of Students who are off-sequence requirement. Students who wish

Return to Table of Contents Office of the Registrar 17 to participate in Commencement Advanced standing juries may be Leaves of Absence/Withdrawal must fulfill all performance and taken only once, and the results For more information regarding academic requirements prior to of the jury are final. Graduate MSM’s Leave of Absence and the date of Commencement. students are not eligible for Withdrawal policies, please visit advanced standing. msmnyc.edu/about/offices-staff/ Advanced Standing Examinations registrar/leaves-withdrawals/ Petitions In rare cases, undergraduate Please be advised that leaves and students may accelerate their A student has the right to petition withdrawals may affect immigration program in performance by means the administration regarding status and/or financial aid. You should of an Advanced Standing jury. A any topic that is not covered in consult with those offices as part of successful Advanced Standing jury the current school catalog, yet your decision-making process. will allow a student to graduate pertains to study at the School. early, provided all other academic Forms are available in the Office Transfer Credit/Credit by requirements are also met early. of the Registrar and the Office of Examination Advanced standing can only be the Dean of Students. granted for one semester. To Transfer credits from other nationally accredited institutions start the process, the student Transcripts submits a petition for advanced may be accepted into a degree standing to the Registrar’s office. The Office of the Registrar retains or diploma program through This petition must indicate the original copy of each student’s evaluation of official documents the approval of both the major academic record. Transcripts for by the Office of the Registrar. teacher and the department chair, currently enrolled students are Transcripts of such course must and must be turned in no later issued without charge in support show a grade of C or above. than March 1 of the academic year of applications to new programs Students who have attended in which the advanced standing at Manhattan School of Music. universities overseas where English is the language of jury is to take place. Please note Upon request, the School may instruction may petition to have that some departments may have disclose educational records humanities courses considered earlier deadlines for application. without a student’s consent for transfer credit. This petition In order to apply for an Advanced to officials of another school will be reviewed by the Chair of Standing jury, a student must: in which a student seeks or the Humanities Department. intends to enroll. • be an undergraduate junior Transfer credit is not given for • have a cumulative GPA of Official transcripts, carrying courses from institutions where 3.7 or higher the School’s seal and an official the language of instruction is • have received a grade of A- signature, may be issued only other than English. or received a lesson grade of upon the written request of the A over the last year and no Academic credit may be earned student. Transcripts are not issued lesson grade lower than A- in by placement or qualifying while a student is in arrears or all major lessons examination. Performance in default on student loans or if • have received a grade credit may be earned by there are any outstanding fees or of 8.5 or higher in all advanced standing jury. charges from any School office. previous juries The Office of the Registrar will • be on track to complete A maximum of sixty transfer only issue transcripts from MSM all academic requirements or examination credits may be degree programs. by the time of the applied towards an undergraduate proposed graduation degree or diploma. No transfer credit will be granted for credits used towards another degree or for major lessons and ensembles.

Return to Table of Contents 18 Office of the Registrar Fulbright Program major teacher will meet to discuss successful completion The Fulbright Scholars Program, the general quality of applied of work and is not administered by the Council work. If it is agreed that the included in GPA) for International Exchange of grade is not representative of the AU Audit Class Scholars (CIES), are awarded to student’s work, Probation will not IP In Progress (for DMA graduate students, graduating result, but the grade will remain students only, this seniors, and other candidates of on the student’s transcript. If grade is not factored exceptional ability who wish to Probation results, it will be for into overall GPA) pursue study abroad. Grants are one semester. The student is made to United States citizens then re-evaluated through a Jury Incomplete Grades and nationals of other countries Examination at the conclusion Incomplete grades can be for a variety of educational of the following semester. If the given only with the approval activities, primarily advanced student receives a B- or higher, of the Provost in consultation research, graduate study, he or she is taken off Probation; with faculty members. An university teaching, and teaching if the grade remains between Incomplete will appear on a in elementary and secondary C+ and D-, Probation continues student’s permanent transcript schools. Information regarding until the Jury Examination at indicating late completion of the the Fulbright Program is available the conclusion of the following course. Once the work has been from the Provost’s Office. semester. If the quality of work completed and a grade has been does not improve by that time, issued by the faculty member, the the student will be dismissed. Incomplete will be changed to a GRADING Students who receive a failing permanent letter grade. Students Grading System grade for major lessons or Jury receiving Incomplete grades are CREDIT Numerical Examination are immediately required to complete all work by GRADES Equivalent dismissed from the School. the end of the following semester; if the work is not completed, the A Excellent 4.00 Incomplete will be changed to an Classwork Grading A- 3.67 F automatically. B+ 3.33 If a student receives a D+ or lower B Good 3.00 in one class, the student will Manhattan School of Music B- 2.67 receive a warning letter from the Policy Regarding FERPA (The Registrar. If a student receives C+ 2.33 Family Educational Rights and more than one of these grades, C Fair 2.00 the student will be subject to Privacy Act) C- 1.67 Probation or Dismissal. The Family Educational Rights D+ 1.33 and Privacy Act (FERPA) affords D Poor 1.00 Non-Credit Grades students certain rights with D- .67 F Failure respect to their educational I Work Incomplete records. They are: Major Lesson/Jury (by petition only) 1. The right to inspect and Examination Grading W Withdrawn review the student’s educational P Passing (used for records within 45 days of If a student receives a grade deficiency courses or between C+ and D- for major the day the School receives a when a letter grade is request for access. lessons or a Jury Examination, not required to show the Dean of Students, Provost, Department Chairperson, and

Return to Table of Contents Office of the Registrar 19 Students should submit to the provided to the student or the safety of the student Registrar or other appropriate when notified of the and/or other members of the official, written requests that right to a hearing. School community. identify the record(s) they wish 3. The right to consent to 4. The right to file a complaint to inspect. The School official disclosures of personally with the U.S. Department of will make arrangements for identifiable information Education concerning alleged access and notify the student contained in the student’s failures by Manhattan School of the time and place where the education records, except to the of Music to comply with the records may be inspected. If extent that FERPA authorizes requirements of FERPA. The the records are not maintained disclosure without consent. name and address of the Office by the School official to whom that administers FERPA is: the request was submitted, One exception that permits Family Policy Compliance Office that official shall advise disclosure without consent is disclosure to School officials U.S. Department of Education the student of the correct 600 Independence Avenue, SW official to whom the request with legitimate educational Washington, D.C. 20202-4605 interest. A School official is should by addressed. 5. a person employed by the Schools may disclose, without 2. The right to request the institution in an administrative, consent, directory information amendment of the student’s supervisory, academic, including a student’s name, educational records that or support staff position telephone numbers (permanent, the student believes is (including law enforcement primary, and cellular), addresses inaccurate or misleading. unit personnel and health (including electronic mail), Students may ask the School staff); a person or company date and place of birth, major, to amend a record that with whom the School honors, awards, photograph, they believe is inaccurate has contracted (such as an classification, dates of enrollment, or misleading. They should attorney, auditor, collection degrees conferred, dates of write to the School official agent, or security guard); a conferral, graduation, distinctions responsible for the record, person serving on the Board (including Dean’s List), and the clearly identify the part of Trustees; or, when deemed institution attended immediately of the record they want appropriate a student serving prior to admission. Students who changed, and specify why it is on an official committee, wish to restrict the release of such inaccurate or misleading. such as a disciplinary or information are required to notify If the School decides not to grievance committee, assisting the Office of the Registrar in amend the record as requested another School official in writing within 10 days of the first by the student, the School performing his or her task, or day of the semester of enrollment. will notify the student of employed as a worker. the decision and advise the Legitimate educational interest Student Right to Know Act student of his or her right to a is defined as the determination (Disclosure of Institutional hearing regarding the request of the right of a School of the Graduation/Completion Rates) for amendment. Additional official to review an educational Manhattan School of Music information regarding the record in order to fulfill his or provides the following hearing procedures will be her professional responsibility. information regarding its In addition, the official must graduation/completion rates. be able to demonstrate that the The information is provided review is directly related to the in compliance with the Higher student’s educational welfare Education Act of 1965, as

Return to Table of Contents 20 Office of the Registrar amended. The rates reflect the substantial preparation for (Ch. 31) benefits, while payment graduation/completion status students to enroll in other to the institution is pending from of students who enrolled during institutions. the VA. This school will not: the 2010-2011 school year and for • The graduation/completion • Prevent nor delay the whom 150% of the normal time- rate does not include student's enrollment; to-completion has elapsed. students who left the school • Assess a late penalty fee to to serve in the armed forces, During the fall semester of 2010, the student; on official church missions, • Require the student to 98 first-time, full-time, certificate or in the foreign service of or degree-seeking Undergraduate secure alternative or the federal government. additional funding; students entered Manhattan Students who died or were School of Music. After 6 years (as • Deny the student access totally and permanently to any resources available of August 31, 2017) 69% of these disabled are also excluded. students had graduated from to other students who have satisfied their the institution or completed Campus Safety their programs. tuition and fee bills to the The Advisory Committee on institution, including but Questions related to this report Campus Safety will provide upon not limited to access to should be directed to: the request all campus crime statistics classes, libraries, or other Registrar at (917) 493-4418. as reported to the United States institutional facilities. Department of Education. While reviewing this information, However, to qualify for this please bear in mind: provision, such students may VA Pending Payment Compliance be required to: • The graduation/completion rate is based on 6 years In accordance with Title 38 US • Produce the Certificate of attendance that Code 3679 subsection (e), this of Eligibility by the first equates to 150% of our school adopts the following day of class; longest program. additional provisions for any • Provide written request to • We have elected not to students using U.S. Department be certified; report our transfer-out rate of Veterans Affairs (VA) Post 9/11 • Provide additional because the School’s mission G.I. Bill® (Ch. 33) or Vocational information needed does not include providing Rehabilitation and Employment to properly certify the enrollment as described in other institutional policies.

Return to Table of Contents Office of the Registrar 21 DEGREE PROGRAMS AND CURRICULUM Professional Studies Certificate requirements for their major DEGREE PROGRAMS Voice field of study, related coursework, Manhattan School of Music is Instrumental Performance ensemble participation, jury fully accredited by the Middle Orchestral Performance examinations, and recital in order States Commission on Higher Composition to qualify for graduation. Education, the New York State Conducting Board of Regents, and the Bureau In instances where applicants to Collaborative Piano for Veterans Education. All the undergraduate division already programs listed in departments Artist Diploma possess a Bachelor’s degree from by majors are approved for the another school, they may be Voice training of veterans and other awarded the MSM Bachelor of Instrumental Performance eligible persons by the Bureau Music degree upon fulfilling the Collaborative Piano of Veterans Education. The specific musical requirements set HEGIS Code number is 1004 Manhattan School of Music forth in the curriculum. While with the exception of the BM, seeks to provide the artistic and MSM generally requires a student MM, and DMA in Composition, technical training necessary to be full-time for the duration of which is 1004.10. for the aspiring professional their BM program, a student in musician. At the same time, the the final semester of the program School believes that it is of prime Bachelor of Music (BM) who has completed enough of importance for professional Voice the requirements may apply to be musicians to possess as broad a Instrumental Performance part-time in that semester. general knowledge as possible and Composition to extend the understanding of Jazz Performance Unified Core Curriculum their art beyond the area of their Musical Theatre specialization. During the freshman and sophomore years at MSM, Master of Music (MM) students in the classical division Voice UNDERGRADUATE take a sequence of courses Instrumental Performance The undergraduate programs especially designed to unify, Instrumental And Vocal of study at MSM consist of four coordinate, integrate, and Collaborative Piano areas of concentration: interrelate basic studies in Conducting 1. Major field of study music theory (counterpoint, Orchestral Performance harmony, form, and analysis), Composition 2. Coursework in musical subjects music history (an exposition of Contemporary Performance the evolutions and revolutions Jazz Performance 3. Ensemble performance 4. Humanities studies of musical style and traditions in Jazz Composition Western classical music from c. Bachelor of Music 1000 until the present), and the Doctor of Musical Arts (DMA) humanities (the discipline of the Voice The Bachelor of Music degree is a intellect—reading, writing, critical Instrumental Performance four-year curriculum. All students judgment, articulate speech—as Collaborative Piano are required to register for major well as a chronological survey of Composition lessons during each semester of Western civilization from the Jazz Arts Advancement their residence at MSM. They wellsprings of Classic Greece until Choral Conducting must also successfully meet the the present—history, politics,

Return to Table of Contents 22 Degree Programs and Curriculum 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 Degree Programs and Curriculum 23 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. 74. 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. 80. 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. 85. degree minus up to six general

Return to Table of Contents 24 Degree Programs and Curriculum 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. 74. 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. 80. 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 Brass 25 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: 122-126 17 17 16 16 15 15 16 14 * All trumpet majors must participate in Trumpet Lab for 1 credit for 4 semesters; additional semesters are optional and uncredited. ** All brass players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

Return to Table of Contents 26 Brass 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 * All trumpet majors must participate in Trumpet Lab for 1 credit for 2 semesters; additional semesters are optional and uncredited. ** All brass players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. 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 Billy Ray Hunter David Taylor David Krauss Colin Williams Thomas Smith Bass Trombone Horn George Curran Michelle Reed Baker Steven Norrell Richard Deane David Taylor Javier Gándara David Jolley Tuba R. Allen Spanjer Derek Fenstermacher Kyle Turner

Return to Table of Contents Brass 27 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. 74. Master of Music degree program DOCTOR OF Audition Requirements MUSICAL ARTS For complete information For information regarding doctoral regarding audition requirements studies, see p. 80 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

Return to Table of Contents 28 Collaborative Piano MASTER OF MUSIC COLLABORATIVE PIANO MAJOR VOCAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Collaborative Piano Seminar AC2091-2092, AC2111-2112 2 2 2 2 Collaborative Piano Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Ear-Training TH2001-2002 2 2 Advanced Instrumental Conducting CD2011-2012 2 2 Graduate Electives 2 Music History Electives MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 61 16 16 15 14 3 adjucated recitals are required: 2 vocal and 1 instrumental

MASTER OF MUSIC COLLABOARTIVE PIANO MAJOR INSTRUMENTAL SPECIALIZATION SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Collaborative Piano Lessons 5 5 5 5 Accompanying Seminar AC2091-2092, AC2111-2112 2 2 2 2 Accompanying Practicum AC2031-2032, AC2041-2042 1 1 1 1 Graduate Diction GR2101-2102 EN, FR, GR, or IT * 2 2 2 2 Advanced Ear-Training TH2001-2002 2 2 Chamber Music SP1500 1 1 Electives 2 2 Music History MH1000-2999 3 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 Recital 0 0 0 TOTAL: 53 16 13 12 12 * Instrumental Collaborative Pianists can take any two of four year-long graduate diction courses. English, French, German, or Italian. Typically one language is taken in each year of the MM degree. 3 adjucated recitals are required: 2 vocal and 1 instrumental PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0861-0862 Keyboard Techniques PN0851-0862

Return to Table of Contents Collaborative Piano 29 COMPOSITION UNDERGRADUATE by works from their portfolio. GRADUATE Bachelor of Music degree program Applicants should bring four Master of Music degree program Diploma program bound copies of their scores to the Postgraduate Diploma program interview, along with recording Doctor of Musical Arts Auditions Requirements of the works they wish to present in electronic format (via laptop, Audition Requirements Applicants should submit cell phone, notepad, or CD). It no more than three scores, is advised that composers bring Applicants should submit representative of their own their recordings in more than one no more than three scores, creative work. Arrangements, electronic format. representative of their own orchestrations of the works of creative work. At least one others or exercises in historical of these scores must be an styles should not be submitted. It Composer Concerts orchestral work. Arrangements, is suggested that the submissions It is a departmental requirement orchestrations of the works of demonstrate as much variety as that any student taking lessons others or exercises in historical possible in instrumentation and with a private teacher must styles should not be submitted. It form. Although MIDI recording have at least one performance is suggested that the submissions are accepted, it is preferred that every year in one of the demonstrate as much variety as scores be represented by acoustic eight departmental Student possible in instrumentation and recordings. All Composition Composer Concerts. form. Although MIDI recording applicants’ portfolios are pre- are accepted, it is preferred that screened by members of the Juries scores be represented by acoustic Composition Faculty. Invitation recordings. All Composition to the audition is dependent upon Each student compiles a applicants’ portfolios are pre- the Faculty’s acceptance of the portfolio of work and recorded screened by members of the work submitted by each applicant. performances for the year-end Composition Faculty. Invitation Jury, a meeting with the entire to the Audition is dependent upon The audition consists of three Faculty which reviews and the Faculty’s acceptance of the parts. First, a three-hour evaluates each portfolio. work submitted by each applicant. examination in dictation, counterpoint, harmony, serial For complete information The audition consists of three and set theory procedures, regarding audition requirements parts. First, a three-hour instrumentation, and two short and application information examination in dictation, composition exercises. Second, and deadlines, please contact counterpoint, harmony, serial there is Composition Project the Office of Admission and set theory procedures, assigned during the examination. and Financial Aid. instrumentation, and two short Applicants must complete composition exercises. Second, the project according to the GRADUATION REQUIREMENT: Thesis there is Composition Project instructions given and bring four During the final year, each student assigned during the examination. copies of the finished project must complete an orchestral Applicants must complete with them to their interview. piece in the first semester. It the project according to the Third, applicants meet with the is submitted to the Faculty for instructions given and bring four Composition Faculty in a private possible inclusion in a public copies of the finished project interview of approximately 15 concert at the School in the with them to their interview. minutes, during which they second semester. Graduation is Third, applicants meet with the will present their completed contingent upon the Faculty’s Composition Faculty in a private Composition Project followed acceptance of this work. interview of approximately 15

Return to Table of Contents 30 Composition 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. 74. 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. 80. contingent upon the Faculty’s For Complete information acceptance of this work. regarding audition requirements and application information

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

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

Return to Table of Contents Composition 31 BACHELOR OF MUSIC/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Instrumentation/Orchestration CP0131-0132, CP0231-0232, CP0331-0332 1 1 1 1 1 1 Form and Analysis CP0421-0422 2 2 2 2 Electronic Music CP1720-1730 2 2 Piano Minor** RP0350 2 2 2 2 Choral and Orchestral Conducting CD0111-0112, CD0211-0212 2 2 2 2 Practical Foundations ME1500 2 Choir VX0050 .5 .5 .5 .5 Composition Forum CP1999 1 1 1 1 1 1 1 1 Setting the Stage Workshops (5) ME1000 0 Concert Attendance CA1000 0 0 0 0 0 0 Jury 0 0 0 0 TOTAL: 138 17.5 17.5 16.5 16.5 17 17 19 17 **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 Instrumentation CP2201-2202 2 2 Music History Electives MH1000-2999 3 3 Graduate Electives 2 2 6 6 Composition Forum CP1999 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 TOTAL: 64 17 17 15 15 *This course is offered in alternate years; check with the Registrar’s Office for current course offerings. PREREQUISITES Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents 32 Composition 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. 80. 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 Conducting 33 MASTER OF MUSIC/CHORAL CONDUCTING MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Advanced Choral Conducting CD2911-2912 2 2 Advanced Orchestral Conducting CD2011-2012 2 2 German for Singers GR2101-2102 2 2 English for Singers EN2101-2102 2 2 Score Reading Seminar CP2181-2182 2 2 Graduate Form Analysis CP2171-2172 3 3 Chorale Repertoire CD2931-2932 2 2 Electives 2 2 Music History Electives MH1000-2999 3 3 Symphonic Chorus/Chamber Choir VX0060 1 1 1 1 Concert Attendance CA1000 0 0 Jury or Adjudicated Performance 0 0 TOTAL: 64 17 17 15 15

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

PREREQUISITES Aural Skills AS0861-0862 Required Piano RP0121-0122

Return to Table of Contents 34 Conducting CONTEMPORARY PERFORMANCE The Contemporary Performance Program; however, applicants • One recent work. This Program at MSM is a vibrant must submit a contemporary work should demonstrate community of graduate students repertoire sheet as part of their the applicant’s knowledge who are passionate about the initial application. of recent music. It may music of our time. Our students include electronics and/or receive detailed instruction in Applicants to the Contemporary improvisation, and should various aspects of contemporary Performance Program are show mastery of significant classical music performance, and welcome to audition with pieces technical and artistic enter the profession as experts in that utilize piano accompaniment, challenges. Suggested the field. The program features electronics, complex percussion timeframe: 2000-present private instruction, group classes, setups, and extended piano composer collaborations, and techniques. We will be happy Special Needs for Auditions groundbreaking performances to provide equipment and support for the unique demands For those whose audition with MSM’s premier repertoire requires piano contemporary ensemble, of this repertoire to the extent of our ability. Please contact accompaniment, it is highly Tactus. The curriculum includes recommended that you classes tailored to the specific the Office of Admissions for more information provide your own pianist for needs of the contemporary your audition. If this presents performing musician. logistical problems, pianists will Audition Requirements be available who are experienced • One work from the standard with contemporary music GRADUATE classical repertoire that Master of Music degree program collaborations. Please consult demonstrates the applicant’s with Margaret Kampmeier to technical and musical Audition Information arrange for this professional proficiency. Suggested service. If the audition includes Applicants are encouraged timeframe: Pre-1900 works involving electronics, to audition in person. If this • One work by an established please inform the Office of is not possible, the applicant composer from the standard Admission and Financial may submit a high quality contemporary classical Aid of setup and sound- video recording. All auditions repertoire. This work check requirements. include an oral interview. In should demonstrate the the case of a recorded audition, applicant’s familiarity with the interview takes place via contemporary techniques GRADUATION REQUIREMENTS telephone or Skype. There is no and understanding Recital pre-screen requirement for the of style. Suggested Graduation Jury Contemporary Performance timeframe: 1900-2000

Return to Table of Contents Contemporary Performance 35 CURRICULUM OVERVIEW SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Instrument Seminar CT6000 4 4 4 4 Composer Reading/Workshop CT1999 1 1 1 1 Contemporary Ensemble CT1071 2 2 2 2 Contemporary Musicianship CT2200 2 2 Performing with Electronics CT2700 2 Contemporary Music Survey: 1900-1960 CT1960 * 3 Contemporary Music Survey: 1960-present CT1961 * 3 Composer/Performer Project CT1700 1 1 Advanced Practicum Entreprenuership ME2001 2 Independent Study IS1999 2 Graduate Electives 4 2 Graduate Theory Electives TH2000-2999 2 Concert Attendance CA1000 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 Graduation Recital/Lecture Presentation 0 TOTAL: 54 14 12 14 14 * This course is offered in alternative years.

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

Return to Table of Contents 36 Contemporary Performance 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. 74. 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. 80. and application information, Master of Music degree program please contact the Office of Postgraduate Diploma program Admission and Financial Aid. Audition Requirements There will be a “sophomore continuation jury” at the end of For complete information the sophomore year to establish regarding audition requirements that a student’s progress has been and application information, sufficient to ensure completion please contact the Office of Admission and Financial Aid.

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

Return to Table of Contents Guitar 37 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 38 Guitar 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. 74. 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. 80. 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 Harp 39 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 40 Harp 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 Jazz Arts 41 JAZZ ARTS FACULTY Ingrid Jensen, Interim Associate Elio Villafranca Violin Dean and Director Improvisation Regina Carter Marc Cary Acoustic Bass Sara Caswell Matthew Holman Jay Anderson Jeremy Manasia Voice Ron Carter Chris Rosenberg Jean Baylor Harvie S Theo Bleckmann Buster Williams Mingus Ensemble Jo Lawry Frank Lacy Afro-Cuban Music Vibraphone Elio Villafranca Piano Joe Locke Marc Cary Brazilian Music Jeremy Manasia Small Ensemble Rogério Boccato Phil Markowitz Theo Bleckmann Composition Ted Rosenthal Rogério Boccato Marc Cary Edward Green Damien Sneed Jon Faddis Mike Holober Joan Stiles Jo Lawry Jim McNeely, emeritus Elio Villafranca prof. Jeremy Manasia Richard Sussman Saxophone Phil Markowitz Miguel Zenon Vincent Herring, alto Chris Rosenberg Drumset Donny McCaslin, tenor Ted Rosenthal Rogério Boccato Lauren Sevian, baritone Harvie S John Riley Jaleel Shaw, alto Kendrick Scott Kendrick Scott Dayna Stephens, tenor Jaleel Shaw Trombone Damien Sneed Flute Richard Sussman Marshall Gilkes Jamie Baum Elio Villafranca David Taylor Scott Wendholt Guitar Steve Turre Mike Moreno Buster Williams Chris Rosenberg Trumpet Miguel Zenon Jon Faddis History Ingrid Jensen Bill Kirchner Scott Wendholt James Saltzman Damien Sneed

Return to Table of Contents 42 Jazz Arts BACHELOR OF MUSIC/JAZZ PERFORMANCE (EXCEPT PIANO) PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Jazz Harmony/Counterpoint JC0001-0004 2 2 2 2 Jazz Ear Training JC0111-0114 2 2 2 2 Jazz Required Piano JC0171-0172, JC0181-0182 1 1 1 1 Jazz Music History MH0101-0106 2 2 2 2 2 2 Humanties Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 3 Jazz Improvisation JP2500 2 2 2 2 Arranging & Composition JC0511-0512 2 2 Rhythmic Analysis JC0301-0302 2 2 Studio Techniques JC1811 2 General Electives 4 6 Practical Foundations ME1500 2 Jazz Performance Ensembles** JP1500 2 2 2 2 2 2 2 2 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 Graduation Recital (2 adjudications) 0 TOTAL: 130 17 17 17 17 15 15 17 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Assistant Dean for Jazz

Return to Table of Contents Jazz Arts 43 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 44 Jazz Arts MASTER OF MUSIC/JAZZ PIANO PROGRAM REQUIREMENTS BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Jazz Styles and Analysis JC2321-2322 2 2 Graduate Jazz Arranging and Composition JC2111-2112 2 2 Jazz Pedagogy JC2410 2 Jazz Musician as Educator JC2360 2 Advanced Jazz Improvisation JP2500 2 2 2 2 Masters of Jazz Seminar JC2501-2502 2 2 Jazz Performance Ensembles** JP1500 2 2 2 2 General Electives 4 4 Concert Attendance CA1000 0 0 Jury 0 Graduation Recital 0 TOTAL: 60 15 15 15 15 **The ensemble requirement consists of participation in large and small ensembles every semester in which enrolled as assigned by the Jazz Arts Department. In large ensembles, Saxophone majors may be assigned to play a saxophone other than their principal instrument.

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

Return to Table of Contents Jazz Arts 45 MUSICAL THEATRE Manhattan School of Music, performing including directing, Audition Requirements Musical Theatre is passionate choreographing, writing, and For complete information about the next generation of composing. Devoted to musical regarding audition requirements musical theatre artists. We theatre past, present and future and application information, offer rigorous training in acting, we provide our students with please contact the Office of singing and dancing taught by a opportunities to investigate the Admission and Financial Aid. stellar faculty of artist-educators. classic and contemporary canon. Embracing individuality we honor At MSM students learn to manage each student’s artistic journey their careers and negotiate GRADUATION REQUIREMENTS by providing opportunities the challenges of a highly Successful completion to investigate areas beyond competitive field. of all courses.

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

Return to Table of Contents 46 Musical Theatre 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 MT0010 2 Musical Theatre Performance Technique II MT0011 2 Acting the Song I MT0012 3 Acting the Song II MT0013 3 Scene to Song MT0014 3 0 Acting 1 MT0001 3 Acting 2 MT0002 3 Acting 3 MT0003 3 Acting 4 - Devised Acting MT0004 2 Acting 5 - Scene Study & Repertory MT0005 3 Acting 6 - Scene Study & Monologue MT0006 3 Acting 7 - Advanced Acting MT0007 3 Ballet / Tap MT0100-0101/MT0120-0121 2 2 2 2 Intro to Professional/Technical Theatre MT0200-0201 1 1 History of Musical Theatre MT0500-0501 3 3 Speech MT0300-0301 2 2 General Electives 2 2 4 4 Audition Techniques MT0015 3 Senior Showcase 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 0 0 0 0 TOTAL: 127 16 16 18 17 15 17 13 15 NOTE: Seniors priortized for directing elective only. All other electives, first come, first serve Juniors & Seniors Students wishing to take Acting I,II, III must receive Department Chair permission.

Return to Table of Contents Musical Theatre 47 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 Billy Ray Hunter Glenn Dicterow Oboe David Krauss Lisa Kim Robert Botti Thomas Smith Viola Stephen Taylor Trombone Karen Dreyfus Clarinet Per Brevig Craig Mumm Pascual Martinez-Forteza David Finlayson Violoncello Bassoon Stephen Norrell Alan Stepansky Kim Laskowski Colin Williams Bass Judith LeClair Bass Trombone Frank Morelli Qiang TuBass George Curran Roger Nye Timothy Cobb Stephen Norrell William Short Orin O’Brien Tuba Horn Harp Kyle Turner Michelle Read Baker Mariko Anraku Richard Deane Percussion Susan Jolles Javier Gandara Christopher Lamb David Jolley Duncan Patton R. Allen Spanjer Kyle Zerna

Return to Table of Contents 48 Orchestral Performance 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 Orchestral Performance 49 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 50 Orchestral Performance 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. 74. 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. 80.

ORGAN FACULTY Andrew Henderson, Chair Walter Hilse Kent Tritle

Return to Table of Contents Organ 51 MASTER OF MUSIC/ORGAN MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Music History Electives MH1000-2999 3 3 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 2 Organ Performance Class OR2001-2002 1 1 1 1 Organ Improvisation OR2311-2312 1 1 Organ Literature OR2211-2212 2 2 Service Playing OR2410-2411 2 2 Choral Conducting CD2911-2912 2 2 Choral Repertoire OR2931-2932 2 2 Concert Attendance CA1000 0 0 Jury 0 0 First Year Recital 0 Graduation Recital 0 TOTAL: 62 16 16 15 15

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

Return to Table of Contents 52 Organ 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. 74. 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. 80. 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 Mike Perdue & Jude Traxler, Percussion Ensemble Return to Table of Contents Percussion 53 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 54 Percussion 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. 74. 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. 80. Admission and Financial Aid.

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

Return to Table of Contents Piano 55 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 56 Piano 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 Techniques PN0861, 0862

Return to Table of Contents Piano 57 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. 74. 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. 80. 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 58 Strings 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 Lucie Robert Cello Maria Radicheva David Geber Mark Steinberg Fred Sherry Nicholas Mann Julia Lichten Patinka Kopec Marion Feldman Peter Winograd Philippe Muller Sheryl Staples Wolfram Koessel Sylvia Rosenberg Todd Phillips

Return to Table of Contents Strings 59 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 60 Strings BACHELOR OF MUSIC/STRING MAJOR DOUBLE BASS ONLY SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music*** SP1500 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Half or Full Graduation Recital 0 TOTAL: 120 16 16 15 15 15 13 15 15 *All string players must participate in orchestra every semester until completion of the graduation jury; **Students in the Zuckerman Program register for OP1500 in place of LP1500. ***double bass majors must also complete two semesters of chamber music.

Return to Table of Contents Strings 61 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 62 Strings PINCHAS ZUKERMAN PERFORMANCE PROGRAM The internationally acclaimed Audition Requirements Violinists and violists accepted violinist and conductor Pinchas For complete information into the Pinchas Zukerman Zukerman accepts a limited regarding audition requirements Performance Program have number of exceptionally and application information, the following options as a gifted violinists and violists as please contact the Office of course of study: private students at Manhattan Admission and Financial Aid. 1. School of Music each year. Pre-college students must This program, under Mr. enroll in an accredited high Zukerman’s supervision, is GRADUATION REQUIREMENTS school approved by Manhattan devoted to the artistic and School of Music. Violin technical development of these 2. Students with an earned Graduation Jury talented students. high school diploma Graduation Recital Mr. Zukerman works intensively are eligible to enter the Violinists must prepare a full with each student approximately following MSM programs: recital program representing six times per semester for a a. Bachelor of Music three style periods, including total of twelve private lessons degree program a 20th-century work. An throughout the academic year. b. Diploma program unaccompanied work of Bach In addition, weekly lessons c. Special Student status with and a complete concerto with are taught to the Zukerman an emphasis on instrumental cadenzas (which may be part class by Patinka Kopec, who study (one-year program; of the recital program, if so has been personally selected student is non-matriculated desired) are optional. by Mr. Zukerman to be his and must petition for a sole teaching associate and the second year of study) Viola program coordinator. 3. Students with an earned Graduation Jury Bachelor of Music or Applicants from around the world Graduation Recital are auditioned either in person equivalent undergraduate Violists must prepare a full recital or by videotape by Mr. Zukerman degree are eligible to enter the program representing three style and Ms. Kopec. The class includes following MSM programs: periods, including a complete three to ten students, ranging in a. Master of Music unaccompanied work of Bach age from fourteen years old to degree program and a 20th-century work. A the young career instrumentalists b. Postgraduate complete standard concerto with as well as the traditional Diploma program cadenzas is required. conservatory student. c. Professional Studies Certificate Program

Return to Table of Contents Pinchas Zukerman Performance Program 63 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. 74. second year of study)All International Students must register for a minimum of DOCTOR OF MUSICAL ARTS For information regarding doctoral studies, see p. 80.

PINCHAS ZUKERMAN PERFORMANCE PROGRAM FACULTY Pinchas Zukerman Patinka Kopec

Return to Table of Contents 64 Strings/ Pinchas Zukerman Performance Program BACHELOR OF MUSIC/STRING MAJOR ZUKERMAN PROGRAM SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument DB46-, VA46-, VC46-, VN46- 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0300-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Orchestral Repertoire for Strings ST0051-0052 2 2 2 2 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble* LP1500** 1 1 1 1 1 1 1 1 Chamber Music* SP1500 1 1 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital*** 0 TOTAL: 124 16 16 16 16 16 14 15 15

Return to Table of Contents Strings/ Pinchas Zukerman Performance Program 65 VOICE The programs of study for GRADUATE year. Manhattan School of Voice majors are designed to Master of Music degree program Music opera productions have develop skilled performers Postgraduate Diploma program been praised as a significant in all areas of vocal technique contribution to operatic life in and to offer opportunities to Audition Requirements New York City, and numerous perform a wide variety of vocal performances have been released literature. Voice majors take For complete information as commercial recordings. private lessons and participate in regarding audition requirements master classes, workshops, and and application information, All voice students participate in literature classes. All students are please contact the Office of ensembles, and opera experience required to fulfill their Ensemble Admission and Financial Aid. is available to all through a variety Requirement as outlined in their of opera-related programs and course sequence plans and as GRADUATION REQUIREMENTS courses. Opera is not a major, but assigned by the School. Graduation Jury Recital rather a significant feature of the Graduation Recital vocal performance experience at MSM. Undergraduate students UNDERGRADUATE All graduate Voice majors must gain operatic experience through Bachelor of Music degree program perform a Jury Recital and opera scenes programs in the Diploma program Graduation Recital (program junior year and a senior opera approved by the Department production. Graduate students Audition Requirements Chair) in their final year of study. audition for Opera Studio in the The program for the Graduation For complete information fall semester and may be assigned Recital, performed from memory, to main stage productions, scenes, regarding audition requirements must consist of a group of songs and application information, or opera workshops on the basis in English, a group in German, of these auditions. In addition, please contact the Office of a group in French or Italian, Admission and Financial Aid. several ensemble courses offered and a contemporary selection through Chamber Music and (an aria from oratorio or opera through the Accompanying GRADUATION REQUIREMENTS may be included). program offer extensive Graduation Jury Recital opera experience. Graduation Recital All undergraduate Voice majors OPERA STUDIES must perform a Jury Recital and PROGRAM PROFESSIONAL Graduation Recital (program Students in the Opera Studies STUDIES approved by the Department program refine their technique Chair) in their final year of study. and develop their artistry under CERTIFICATE The program for the Graduation the guidance of a faculty of PROGRAM Recital, performed from memory, eminent artist-teachers while For information regarding this program must consist of a group of songs gaining exposure before New of study, see p. 74. 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. 80.

Return to Table of Contents 66 Voice OPERA FACULTY RELATED VOICE Tazewell Thompson, Artistic Director, Opera Program Andy Gale, STUDIES FACULTY Stage Director for Ashley Putnam, Freshmen Performance Opera Community Engagement Carolyn Marlow, Acting Mark Janas, Music Director for Catherine Malfitano, Junior Performance Opera Community Engagement Cristina Stanescu, French Diction, Recital Coaching Gordon Ostrowski, Stage Director for Elsa Quéron, French Diction Opera Community Engagement Francis Patrelle, Movement for Singers LeAnn Overton, Music Director for Glenn Morton, Italian Diction Opera Community Engagement Kathryn LaBouff, English Diction Jorge Parodi, Music Director of Senior Opera Theater Kenneth Merrill, German and Nicolo Sbuelz, Opera Vocal Coach/Pianist Advanced Vocal Literature Shane Schag, Music Director for Mark Pakman, Russian Diction and Literature Opera Community Engagement Miriam Charney, British Vocal Literature, Contemporary Opera Ensemble VOICE FACULTY Nils Neubert, German Diction Ashley Putnam Patrick Diamond, Acting Catherine Malfitano Paul Sperry, American Vocal Literature Cynthia Hoffmann Shane Schag, Music Director, Musical Theater Lab Edith Bers Thomas Muraco, French Diction, Recitative, Coaching Harolyn Blackwell James Morris Joan Patenaude-Yarnell Maitland Peters, Department Chair Mark Oswald Marlena Kleinman Malas Mignon Dunn Neil Rosenshein Ruth Golden Shirley Close

Return to Table of Contents Voice 67 BACHELOR OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Lessons 3 3 3 3 4 4 4 4 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Aural Skills AS0101-0102, AS0201-0202 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-1999 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Italian Diction IT0100-0200 2 2 English Diction EN0100-0200 2 2 German Diction GR0100-0200 2 2 French Diction FR0100-0200 2 2 German Vocal Literature VX0420 2 French Vocal Literature VX0550 2 English Vocal Literature VX0320 2 American Vocal Literature VX0330 2 Practical Foundations ME1500 2 General Electives 2 Introduction to Performance VX0900 1 Acting VX0901-0902 1 1 Movement VX1831-1832 1 1 Choir VX0050 .5 .5 .5 .5 1st Year Performance Class VX0100 .5 .5 2nd Year Performance Class VX0200 .5 .5 Junior Opera VX0800 1 1 Senior Opera Theatre VX0800 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Junior (Half) Recital 0 Graduation Recital 0 TOTAL: 130 18 18 17 17 16 15 13 16

Return to Table of Contents 68 Voice MASTER OF MUSIC/VOICE MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Graduate Italian Diction IT2101-2102 2 2 Graduate English Diction EN2101-2102 2 2 Graduate German Diction GR2101-2102 2 2 Graduate French Diction FR2101-2102 2 2 Advanced Acting VX2901-2902 2 2 Movement VX1831-1832 1 1 Music History and Voice Electives VX/MH 1000-2999 3 3 Recitative* VX1875 1 Ensemble** LP/SP1500 1 1 1 1 Performance Technique Class 1 1 Concert Attendance 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 55 14 14 14 13 *Can be taken either semester of the 2nd year; cannot count toward elective or ensemble credit **Students can participate in up to two (2) ensembles per semester, as assigned by Opera Office PREREQUISITES Graduate Theory TH0800, 2883 Aural Skills AS0881-0882 Required Piano RP0121-0122

Return to Table of Contents Voice 69 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. 74. 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. 80. 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 70 Woodwinds BACHELOR OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 3 4 Major Instrument 3 3 3 3 4 4 4 4 Reed/Flute Lab WW2151-2152* 2 2 2 2 Music Theory Core TH0001-0002, TH0003-0004 4 4 3 3 Theory Electives TH2000-2999 2 2 Aural Skills AS0111-0112, AS0211-0212 2 2 2 2 Music History Core MH0001-0002, MH0003-0004 2 2 2 2 Music History Electives MH0500-2999 3 3 Humanities Core HU0001-0002, HU0003-0004 3 3 3 3 Humanities Electives HU0500-2999 3 3 3 3 Required Piano RP0111-0112, RP0211-0212 1 1 1 1 Practical Foundations ME1500 2 Orchestral Conducting CD0211-0212 2 2 Large Performing Ensemble** LP1500 1 1 1 1 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 0 0 0 0 Setting the Stage Workshops (5) ME1000 0 Jury 0 0 0 0 Graduation Recital 0 TOTAL: 122 16 16 15 15 16 14 15 15 **All woodwind players must participate in large ensembles for 8 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office.

Return to Table of Contents Woodwinds 71 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 72 Woodwinds MASTER OF MUSIC/WOODWIND MAJOR FLUTE, OBOE, CLARINET, AND BASSOON SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 5 5 5 5 Reed/Flute Lab WW2151-2152 2 2 2 2 Music History Electives MH1000-2999 3 3 Graduate Theory Electives TH2000-2999 2 2 Graduate Electives 2 3 3 Large Performing Ensemble** LP1500 1 1 1 1 Chamber Music** SP1500 1 1 1 1 Concert Attendance CA1000 0 0 Jury 0 0 Graduation Recital 0 TOTAL: 54 14 12 14 14 **All woodwind players must participate in large ensembles for 4 semesters as assigned by the Ensembles Office; in addition, 4 semesters of chamber music must be completed as assigned by the Ensembles Office. ***Saxophone majors are required to participate in the repertoire and performance class each semester enrolled, thus requiring these students to register for additional credits each semester.

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

Return to Table of Contents Woodwinds 73 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 74 Professional Studies Certificate Program 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 Professional Studies Certificate Program 75 PROFESSIONAL STUDIES CERTIFICATE PROGRAM ORCHESTRAL PERFORMANCE MAJOR PERCUSSION ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Orchestra Repertoire OP2351-2352 1 1 Musician as Educator OP2251 1 Orchestral Entrepreneurship ME1600 2 Graduate Electives (as needed) 2 OP Program Core OP1200 1 1 Large Performance Ensemble LP1500 1 1 Chamber Music SP1500 1 1 Percussion Lab 2 2 Concert Attendance CA1000 0 Setting the Stage Workshops (5) ME1000 0 Graduation Jury 0 TOTAL: 29 15 14

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

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

Return to Table of Contents 76 Professional Studies Certificate Program PROFESSIONAL STUDIES CERTIFICATE PROGRAM BRASS, COMPOSITION, GUITAR, ORGAN, WOODWINDS ONLY SUGGESTED DISTRIBUTION BY SEMESTER 1 2 Major Lessons 6 6 Graduate Electives 6 6 Concert Attendance CA1000 0 Graduation Jury or Recital 0 TOTAL: 24 12 12 Graduation Jury and/or Recital requirements are based upon those for each individual major.

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

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

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

Return to Table of Contents Professional Studies Certificate Program 77 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 78 Dual Degree Program with Teachers College Columbia University 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 Dual Degree Program with Teachers College Columbia University 79 DOCTOR OF MUSICAL ARTS The program of study leading the Doctoral Committee, Committee for an examination to the Manhattan School of administers all matters of in another language if that Music Doctor of Musical Arts curriculum, document topics, language can be shown to be degree is offered with majors examinations, and applications relevant to the student’s specific in Collaborative Piano (with for graduation. All inquiries, research interests. a concentration in either forms, and petitions should be 2. instrumental or vocal music), forwarded to the Assistant Dean Prior to graduation, the student Brass, Composition, Conducting, for Doctoral Studies. must pass a comprehensive Guitar, Jazz, Organ, Piano, examination in both history and Strings, Voice, or Woodwinds. theory. This includes a six-hour Assistantships in the written exam and a one-hour A minimum of 60 credits in Classical Division approved graduate courses is oral exam before the Doctoral required. The curriculum is A limited number of Committee. The examination is designed to prepare the candidate assistantships and teaching offered twice a year and may be for a perfor­­ming career and for fellowships are available to taken as early as the second year teaching at the college level. doctoral students qualified to of study. Any student who fails Students will, therefore, be assist professors in history and the comprehensive examination expected to demonstrate strong theory courses, to teach Required or any portion thereof three academic capabilities in addition Piano, to work in the Outreach times will be dismissed to a high level of achievement in and Guitar departments, and from the program. to assist the Assistant Dean performance or composition. 3. Students must be in for Doctoral Studies with residence at the school for a administrative duties. Awards are Admission minimum of two years. made on a yearly basis. Recipients Requirements for admission may apply to the Director of 4. All coursework and to the Doctor of Musical Arts Doctoral Studies for a one-year performance requirements degree program include (1) a renewal of their assistantship. must be completed within Master’s degree or its equivalent Awards may not exceed two years. seven years of the date of in music, (2) an audition before matriculation. A one-year leave of the faculty of the applicant’s absence may be taken. major department, (3) a three- DEGREE hour writtten examination in REQUIREMENTS 5. After completion of the two years of required course work, music history and theory, (4) a Classical Division TOEFL score of at least 100 students register for Thesis (computer-based score). 1. Prior to graduation, all Research in every semester until students, except Jazz majors, must graduation. This registration demonstrate reading knowledge Advisement carries the equivalent of full- of a foreign language at a level time status and a fee of $800 per Students admitted to the program that will enable them, with the semester. In the fall semester, must consult withAssociate use of a dictionary, to translate students will submit a written Dean Langford, Assistant Dean 500 words of a musicological report on the progress of for Doctoral Studies, each text in two hours. The choice their thesis research; and in semester prior to registration. of language is usually French, the spring semester, they will The Assistant Dean for Doctoral German, or Italian, but the meet with the Assistant Dean Studies, in consultation with student may petition the Doctoral

Return to Table of Contents 80 Doctor of Musical Arts 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 Doctor of Musical Arts 81 (HSA Exam), theory/analysis • Memorize and be fluent • Sight read and improvise on (TA Exam), and improvisation in all 60 compositions a composition that will be (Improv Exam). The HSA Exam from years 5 and 6 of the provided by the panel. and the TA Exam are written departmental handbook Upon completion of coursework, exams. The HSA exam involves (green book) and be recitals, research document, and listening as well as writing and prepared to play any of comprehensive exams (in this takes approximately three hours. these compositions for the order), the student must present The TA Exam involves analysis of panel. The panel will select his or her thesis. The thesis is a scores and transcriptions as well several of these pieces for 30-minute jazz orchestral work as short composition exercises performance. (for studio orchestra) to be and takes approximately four • With the exception of the performed in a Jazz Philharmonic hours. The Improv Exam is a following compositions— concert. The student must solo playing and written examination Nica’s Dream, Pensativa, in and/or conduct the work. The that will take approximately Upper Manhattan Medical work must also be accompanied one hour. In the Improv Exam, Group, Moments Notice, by extensive program notes. students are required to: Airegin, Chega de Saudade, Stablemates, and In Your • Provide their own Audition Requirements accompanying trio Own Sweet Way—know and perform at the all of the remaining For complete information highest doctoral and compositions from years 5 regarding audition requirements professional level. and 6 in 12 keys. and application information, • Write and play a line on a please contact the Office of given chord progression. Admission and Financial Aid.

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

Return to Table of Contents 82 Doctor of Musical Arts 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 Doctor of Musical Arts 83 DOCTOR OF MUSICAL ARTS/COMPOSITION MAJOR SUGGESTED DISTRIBUTION BY YEAR AND SEMESTER 1 2 Major Lessons 6 6 6 6 Theory DM4101-4102 3 3 Research Methods DM4150 3 History Pedagogy DM4170 3 Music History Elective 3 Graduate Elective 3 2 Doctoral Seminar DM3099 3 Performance Practices DM3130 3 Thesis Advisement DM4200 2 2 Comprehensive Examination DM4500 0 Performance of Original Comps. DM4560 2 Composition Jury 2 2 Thesis Exam DM4550 0 Language Exam DM4510 0 TOTAL: 60 15 14 16 15

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

Return to Table of Contents 84 Doctor of Musical Arts 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 Director of Opera Studies.

Return to Table of Contents Artist Diploma 85 COURSE DESCRIPTIONS emphasis depends upon area of discussion of their own works, Please note: Courses listed in specialization. Technical problem- critical analysis of contemporary this catalogue are subject to solving is stressed. works recently performed in changes initiated by department NYC, guest appearances by chairpersons or department directors AC2091-2092, AC2111-2112 visiting composers, master classes, and approved by the Curriculum Collaborative Piano Seminar discussions of notation, lectures Committee. Additions to all 2 credits per semester on advanced instrumental and curricula are published annually vocal techniques, notation, score by the Office of the Registrar. A weekly meeting of collaborative and part preparation, and the life Courses and assigned faculty are piano majors which will explore of a composer after graduation. subject to change. accompanying and vocal and instrumental coaching Required of all Composition Students, techniques, emphasizing the Undergraduate and Graduate. interaction between partners and BRASS the musical style and performance CP0131-0132 Freshman Major Lesson: problems in a wide range of Instrumentation 1 hr weekly/3–6 credits per semester instrumental and vocal repertory. 1.5 hrs weekly/1 credit per semester BR0003-0004 Brass Performance (Open to collaborative piano majors A study of orchestral instruments. Class (Undergraduate) or by invitation of instructor) Arranging and writing for small ensembles. 2 hrs weekly/1 credit per semester AC2031-2032, AC2041-2042 BR2003-2004 Brass Performance Collaborative Piano Practicum CP0231-0232 Sophomore Class (Graduate) 1 credit per semester Orchestration 2 hrs weekly/2 credits per semester The opportunity for hands-on 1.5 hrs weekly/1 credit per semester A performance seminar and learning in vocal and instrumental Arranging and writing for survey course for all Brass majors studios on a weekly basis, large ensembles. investigating the relationship devoted to the brass player’s Prerequisite: CP0131-0132 or of other performers’ techniques development as a professional, the equivalent. both onstage and off. Discussions to one’s own accompanying facility and repertory. Special of pedagogy, practice techniques, CP0331-0332 Junior Orchestration audition preparation, and related assignments to opera projects and 1.5 hr weekly/1 credit per semester subjects. Selected reading. master classes. Arranging and writing Class members perform and (Open to collaborative for orchestra. discuss orchestral, chamber, and piano majors only) solo performance. Prerequisite: CP0231-0232 or the equivalent. COMPOSITION COLLABORATIVE Major Lesson: CP0341 Homophonic Forms PIANO 1 hr weekly/3-6 credits per semester 3 hrs weekly/3 credit per semester Major Lesson: Analysis and writing of common- 1 hr weekly/5 credits per semester CP1999 Composition Forum 1 hr weekly/1 credit per semester practice, homophonic forms Students explore standard including variation, song, vocal and instrumental This course is designed for all sonata, and rondo. repertoire in detail with the composition students at MSM instructor. Vocal or instrumental and includes student analysis and

Return to Table of Contents 86 Course Description (Offered in alternate years) CP2171-2172 Graduate Form Prerequisite: Graduate standing or Prerequisite: TH0001-0003 or and Analysis permission of the instructor. the equivalent. 3 hrs weekly/3 credits per semester Analysis of 20th-century music. CP2600-2601 Electronic Music for CP0342 Polyphonic Forms The first semester focuses on Graduate Students 3 hrs weekly/3 credits/Spring semester Debussy, Stravinsky, Bartók and 2 hrs weekly/2 credits per semester Analysis and writing of common- the Second Viennese School. The goal of this course is to practice fugue and canon. The second semester begins with provide students with the skills Special emphasis is placed on the Neo-Classicism and continues and concepts necessary to use music of J.S. Bach. with postwar developments electronic instruments and to the present. Readings from (Offered in alternate years) software in composing and theorists and composers as well as performing music. The course Prerequisite: TH0001-0003 or composition exercises comprise the equivalent. includes intensive use of digital weekly assignments. audio and signal processing software, including Kyma, Pro CP0421-0422 Undergraduate (Offered in alternate years) Tools, and other programs. Form and Analysis Students will have access to 2 hrs weekly/2 credits per semester CP2181-2182 Score Reading Seminar the electronic music studio to Analysis of 20th-century music. 2 hrs weekly/2 credits per semester do creative work which will The first semester focuses on be performed in an end-of- Debussy, Stravinsky, Bartok and An in-depth study of score- the-term concert. the Second Viennese School. reading for composers, The second semester begins with from string quartets to symphonic literature. An CP2711-2712 Composition for Non- Neo-Classicism and continues Composition Majors with postwar developments adjunct to conducting, it aids 2 hrs weekly/2 credits per semester to the present. Readings from the understanding of clefs, theorists and composers as well as transposed instruments and The writing of simple original composition exercises comprise contemporary scores. compositions with emphasis upon weekly assignments. the individual’s creative style. CP2191-2192 Operatic Analysis (Offered in alternate years) (May be repeated for credit) and Composition Prerequisite: TH0002. CP1720-1730 Electronic Music for 2 hrs weekly/2 credits per semester Undergraduate Students The first semester concentrates CP2741-2742 Film Scoring 2 hrs weekly/2 credits/Spring semester on operatic analysis and 3 hrs weekly/3 credits per semester dramaturgy. The second An introduction to digital audio An intensive introduction semester focuses on writing an and digital signal processing, to and workshop in film original opera scene. including Kyma, Pro Tools, and scoring. Students study both other software, as techniques Prerequisite: Graduate standing. the techniques and the film for composition. The goal of the mechanics of film composing and course is to provide students CP2201-2202 Advanced do actual scoring of films. The with the skills and a conceptual Instrumentation course includes a study of the compositional techniques of the foundation for advanced work. 2 hrs weekly/2 credits per semester Students will have access to the master film composers. Intensive study of the specific electronic music studio to do technical issues of all instruments. Cross-listed with JC2741-2742. creative work to be performed at Weekly presentation by individual an end-of-the-term concert. instrumentalists.

Return to Table of Contents Course Description 87 CP2811 Composing for (and tone, color, etc. are introduced, CONTEMPORARY with) the Voice using the classical symphonic 2 hrs weekly/2 credits/Spring semester literature. Students must PERFORMANCE CT6000 Major Instrument Seminar Vocal composition explored by have some acquaintance with 1 hr weekly/4 credits per semester combining practical techniques orchestration, elementary score with historical perspectives, reading, and simple transposition. This performance seminar fulfills including music from a variety Prerequisite: TH0004. the private lesson requirement of cultures and genres. The for students in the Contemporary relationship and interaction CD2011-2012 Advanced Performance Program. Students of composer to singer will be Orchestral Conducting are assigned by instrument to the studio of the corresponding examined citing specific examples 2 hrs weekly/2 credits per semester (from Handel to Berio) and CPP faculty member(s). Weekly leading to the actualization of A course designed for students lessons provide a forum for student works with student wishing to investigate the in-depth study of classical singers. Composition of short problems of working with contemporary music. vocal studies will lead to a final orchestras at a more advanced level. Emphasis is on technique, vocal composition presented in CT1071 Contemporary Ensemble style and repertoire. Students a class recital. Up to 9 hrs weekly/4 must have a thorough background credits per semester in basic musical skills and previous CONDUCTING training in conducting. Students in the Contemporary Performance Program form the CD0111-0112 Introduction to Prerequisite: CD0211-0212 or Choral Conducting core of Tactus, Manhattan School the equivalent. of Music’s premier contemporary 2 hrs weekly/2 credits per semester ensemble. Participation in A course designed to acquaint the CD2911-2912 Advanced CT1071 is required during student with the fundamentals Choral Conducting each semester of study in the of choral conducting through 2 hrs weekly/2 credits per semester Contemporary Performance classroom performance. Basic A course designed to acquaint the Program. Class periods are baton technique is studied and student with the fundamentals used for rehearsals, coachings, elementary problems in phrasing, of choral conducting through master classes, repertoire balance, and tone are introduced. classroom performance. Basic classes, composer readings, Prerequisite: TH0004. baton technique is studied in workshops, and CPP special terms of elementary problems in events. Students focus on many CD0211-0212 Introduction to interpretation. Phrasing, diction, aspects of contemporary music study, including performance with Orchestral Conducting balance and intonation are studied electronics, improvisation, and 2 hrs weekly/2 credits per semester using sacred choral literature of all periods. overall stylistic fluency. Tactus A course designed to acquaint the presents 6 public performances student with the fundamentals Prerequisite: Graduate standing. a year at the Manhattan of orchestral conducting School of Music. through classroom performance CD2931-2932 Choral Repertoire 2 hrs weekly/2 credits per semester employing an ensemble of CT1700 Composer/ orchestral instrument majors. An in-depth study of sacred Performer Project Basic baton technique is studied choral literature; conductiong 1 hr weekly/1 credit per semester with particular emphasis on practicum including conducting its relationship to musical from the console and The Composer/Performer interpretation. Elementary accompanying at the organ. Project [CPP II] is an assigned problems in phrasing, balance, collaboration between a 2nd-

Return to Table of Contents 88 Course Description year CPP student and an MSM CT 1999 Composer 2701, as are both for CT 2702. composer. It results in the Workshop/Reading Exceptions are considered based creation of a short solo work to 4 hrs total, meets twice a semester/1 upon experience, knowledge, be performed during the 2nd credit per semester and desire. Please approach the semester. In the 1st semester The Composer Workshop/ instructor directly. the CPP students make a Reading happens twice each presentation of the historically The first semester (Fall) is an semester. For the workshops, entry level course focusing on self- groundbreaking works and MSM composition students extended techniques for their sufficiency in performance with a submit pieces and/or sketches concentration on understanding instruments.There are written that are played by CPP assignments throughout the year amplification, negotiating students. For the readings, CPP recording and performance to document the collaborative students perform assignments process with the composer. with software, and building a submitted by members of MSM’s personal electronics toolkit for orchestration classes. The current practice. CT1960 Contemporary Music course provides a platform for Survey, 1900-1960 live hearings of student works. CT2701 Performing with 3 hrs weekly/3 credits per semester/Fall CPP students are expected to perform at a reasonable level, and Electronics 2 This course is an overview of the 2 hrs weekly/2 credits/Spring evolution of musical modernism, to contributive constructively to with an emphasis on linking class discussions. The second semester course together composers, important (Spring) expands on the works, concepts, and trends, to CT 2200 Contemporary first course with more of a create an overall map of the early Musicianship concentration on synthesis and 20th century. Course work centers 2 hrs weekly/2 credits Max/MSP, an object-oriented on weekly readings, writings software program used heavily CT 2200 is an advanced class in composition, performance, assignments, and robust in- geared toward polishing the skills class discussions. sound, and video design in necessary for the performance everything from academic music of music of the 20th and 21st to popular music (Aphex Twin). CT1961 Contemporary Music centuries. The course focuses Survey, 1961-the Present on relative pitch, intervallic, and CT2702 Performing with 3 hrs weekly/3 credits per rhythmic skills, with an emphasis semester/Spring on sight singing. Electronics 3 2 hrs weekly/2 credits/Fall This course is an overview of the evolution of musical modernism CT2700 Performing with Advanced Performing with and postmodernism, with an Electronics 1 Electronics (offered both emphasis on linking together 2 hrs weekly per semester/2 credits/Fall semesters), is a project based composers, important works, course, self-motivated and The CT 2700 series provides designed, that focuseson concepts, and trends, to create students with hands-on an overall map of the late 20th preparation for three concerts experience performing and each semester wherein the century and early 21st century. creating with technology, giving Course work centers on weekly classbands together to produce them access to an increasingly a lunchtime event. Students readings, writings assignments, important body of technical and and robust in-class discussions. have the opportunity to further musical skills in digital music design their own electronics “rig” software and hardware, and and practice, and freely explore equipping them with a knowledge particular musical paradigms of current practices in the field. which might be “out of the CT 2700 is a prerequisite for CT box” for them.

Return to Table of Contents Course Description 89 CT2703 Performing with Recitals technique of giving a master class. Electronics 4 A graduation recital is required Selected reading assignments 2 hrs weekly/2 credits/Spring and must take place within the and careful examination of Advanced Performing with last two semesters of study at musical scores, recordings and Electronics (offered both MSM. The major teacher and video resources will provide semesters), is a project based the department chair must a foundation of knowledge course, self-motivated and approve the recital program in from which to demonstrate designed, that focuseson advance. A copy of this program critical thinking about the art of preparation for three concerts must be submitted to the Office teaching piano. Students will give each semester wherein the of the Registrar as part of the presentations and participate in a classbands together to produce student’s graduation requirement. teaching practicum. a lunchtime event. Students Repertoire for CPP graduation have the opportunity to further recitals should demonstrate the DM3099 Doctoral History Seminar design their own electronics “rig” student’s global understanding 3 hrs weekly/3 credits/Spring semester and practice, and freely explore of contemporary music styles. An advanced seminar, the topic particular musical paradigms Students are encouraged to show of which changes every year. which might be “out of the fluency with electronics and/ Regular and active participation is box” for them. or improvisation. They may expected of every class member, choose to offer composition(s) along with a formal research Juries by themselves or colleagues, paper, and both written and in addition to pieces from the oral examinations. CPP juries take place in early more standard contemporary May. Each jury is 15 minutes long. repertoire. Students must prepare Both 1st and 2nd year students written or oral program notes DM3130 Historical are required to participate. for the graduation recital. CPP Performance Practice Repertoire requirements students are encouraged to give 3 hrs weekly/3 credits/Fall semester are as follows: additional (non-required) recitals An intensive study of how in their first year of study, and to Baroque music was meant to be 1st year students take advantage of other playing performed. Students will study • One piece of the opportunities at MSM. old and new editions, debate player’s choosing differing styles of performance • One contemporary etude, or and the nature and value of etude-like piece DOCTORAL authenticity, and will put these • One piece from the PROGRAM ideas into practice by means of standard 20th or 21st class and public performance. century repertoire DM3050-3051 Teaching Piano in Higher Education 2nd year students 3 hrs weekly/3 credits per semester IS4000-4999 Independent Study • One piece of the This course provides Conference with an advisor in player’s choosing comprehensive exploration in all connection with independent • One piece written in the areas of collegiate piano teaching. projects. Proposals are last ten years Fall semester focuses on adult submitted for approval to the • One solo piece (comparable group piano and job preparation. Office of Doctoral Studies in difficulty to a This includes a survey of current prior to electing the course Berio Sequenza college piano texts, observations for credit. It is recommended and a teaching practicum. Spring that students consult with the semester focuses on teaching advisor of their choice before in the private studio and the submitting a proposal.

Return to Table of Contents 90 Course Description DM4101-4102 Theory DM4460 Performance of Original to reconcile the views of the Analysis/Pedagogy Compositions (Composition readers with those of the student 3 hrs weekly/3 credits per semester majors only) and his or her advisor. A survey of various analytical 1 program/2 credits techniques and systems as well A program of original solo or DM5200 Thesis Research as study of the techniques and chamber music adjudicated by a 12 credits*/Fall and Spring semesters materials of teaching music theory specially appointed jury. This course facilitates the at the college undergraduate level. student’s completion of the thesis Practice teaching is emphasized. DM4470 Concerto Performance requirement through independent No credit study supervised and monitored DM4150 Research Methods by the Associate Dean of Doctoral A performance requirement 3 hrs weekly/3 credits/Fall semester Studies and the Doctoral for Piano and Guitar majors Committee. Students are required An introduction to the adjudicated by a specially to maintain active research on techniques of scholarly research: appointed jury. bibliography, documentation and a thesis topic and to document their work through periodic style specifically applicable to the DM4490 Performance Project writing of a graduate thesis. written reports to, and direct (Performance majors only) consultations with, the Doctoral Committee. The Committee DM4170 History Pedagogy A performance requirement that varies according to the major will evaluate the substance of the 3 hrs weekly/3 credits/Spring semester and is adjudicated by a specially work done and make suggestions A seminar devoted to developing appointed jury. regarding the direction and skills in the organization and progress of the research. presentation of historical DM4500 *Fee of $750 will be charged. materials in a pedagogical Comprehensive Examination setting. Class members practice 3 credits selecting topics, utilizing GUITAR research techniques, preparing An examination which focuses Major Lesson: and presenting lectures and on the major field and musical 1 hr weekly/3–6 credits per semester administering examinations. knowledge in the fields of theory/ analysis and music history and GT0111-0112 History and DM4200 Thesis Advisement literature. It may not be taken Literature of the Classic Guitar 10 hrs as arranged/2 prior to the completion of 1 hr weekly/1 credit per semester required courses. credits per semester The study of the literature of Conference in connection with guitar-related instruments of DM4550 Thesis Examination the preparation of a thesis. the Renaissance and Baroque No credit. Special fee of $100.00 periods including the vihuela, four-course guitar, Baroque DM4450 Doctoral Recital Upon approval of the advisor, guitar, and Baroque lute. Through (Performance majors only) the document is submitted to the Office of Doctoral Studies. It transcriptions and analysis 2 programs/2 credits per recital is then examined by one or two students gain the necessary One recital in each of the first two readers, depending on the scope insights to assess the merits of years. Students must register for and complexity of the topic. The editions of music from these DM4450 for each program. Associate Dean for Doctoral stylistic periods as well as become Studies confers with the student acquainted with the performing practices of the time. Students also acquire techniques for researching original sources, as

Return to Table of Contents Course Description 91 well as a working knowledge of GT2151-2152 Graduate Seminar which cannot be included on the basic playing techniques of in the History and Literature each year’s orchestral program. the original instruments. of the Guitar Additional supervised research 2 hrs weekly/2 credits per semester projects for graduate students. GT0211-0212 History and Literature An in-depth survey of the of the Classic Guitar instruments, styles, notation HR0451 Harp Lab 1 hr weekly/1 credit per semester systems, composers, and 2 hrs weekly/1 credit per semester A continuation of GT0111-0112 repertoire which has led the guitar Students will play for each other to survey the solo and chamber from its origin through the most and give comments to each other. music literature composed for current developments. Through We also discuss and share helpful the guitar from the compositions performance, transcription, ideas, including physical exercises, of late 18th- and 19th-century bibliographic techniques and stretches and deep breathing, masters through composers of the scholarly studies, the role of practice and performance 20th century. The development plucked instruments assumes a habits/strategies and meditate of the classic guitar and unique and influential position in together to enhance our focus performers on the instrument are the history of Western music. and relaxation. also discussed. Prerequisite: Graduate standing. HUMANITIES GT0411-0412, 1411-1412 GT0999 Guitar The Core Curriculum: Developing Guitar Pedagogy Performance Seminar Intellect and Imagination 1 hr weekly/1 credit per semester 3 hrs weekly/1 credit per semester The Humanities Core is designed A practical study of teaching A weekly required performance to develop the intellectual techniques including a survey class for all undergraduate Guitar and imaginative abilities of of methods and music available, majors to perform solo and students seeking to fully realize an examination of differences in chamber music repertoire. their potential as professional individual and group instruction, musicians, responsible citizens, and discussion of the varying GT2999 Guitar and creative individuals. approaches for teaching students Performance Seminar Concentrated study of world of different ages. The course 3 hrs weekly/3 credits per semester literature and cultural history also covers the effectiveness of provides a springboard for various pedagogical approaches A weekly required performance students to acquire the skills to technique and interpretative class for all graduate Guitar of careful reading, critical analysis, as well as the history of majors to perform solo and thinking, persuasive speech guitar pedagogy. chamber music repertoire. and effective writing that foster career advancement. GT0511-0512, GT0611-0612 HARP Students should emerge from Fretboard Harmony Major Lesson: the core able to articulate their 1 hr weekly/1 credit per semester 1 hr weekly/3–6 credits per semester ideas in conversation and in A course designed to develop a writing, with a sensitivity to full knowledge of the fretboard HR0151-0152, HR2151-2152 language, an appreciation of through the study of fingerings, Orchestral Repertoire for Harp the literary imagination, and an harmony, sight-reading, 2 hrs weekly/2 credits per semester understanding of the rich cultural score reading, transposition legacy of the past. Intensive study of selected major and figured bass. orchestral works. This class offers a spectrum of orchestral works

Return to Table of Contents 92 Course Description UNDERGRADUATE CORE HU0001 Foundational Visions: Myth Representative works from a and Morality in the Ancient World variety of cultures feature the HU0001-0004 Humanities Core: 4 hrs weekly/3 credits/Fall semester transformative adventures of World Literature and Culture A writing-intensive, cross-cultural questing individuals who advance 4 hrs weekly/3 credits per semester exploration of the way in which through spiritual and existential Study in the humanities core ancient civilizations deploy the crises toward salvation and self- includes a four-semester sequence mythological imagination to realization by fully developing of core seminars—Foundational invest the world with meaning and their inherent potentialities. Visions, The Questing Self, value, envision the relationship The heroes and heroines of these Rebels & Revolutions, and between the human and the narratives navigate challenges The Artist & Society—as well divine, present human beings as that include Evil, Death, ideology, as a complementary set of ethical agents confronted with race, ethnicity, class, gender and lectures entitled The Advance moral choices, and foster systems sexuality, hoping to emerge from of Civilization: Primitive to of philosophical and religious their experience with a newfound Postmodern. The lectures survey belief. Works may be chosen identity and successful future the development of civilization from the following traditions: orientation. Literary works will be from the ancient world to the Greek, Roman, Confucian, chosen from a pool of resources new millennium, providing Taoist, Hebrew and Christian. that include Beowulf, medieval students with a critical overview The lecture component of the romance, Dante’s Inferno, of cultural accomplishment. The course provides an overview of Chaucer’s Canterbury Tales, The core seminars are the central cultural history from Antiquity Koran, A Thousand and One component of the humanities through the Middle Ages to Nights, Hamlet, Don Quixote, program, organized thematically, the Renaissance, tracing both Paradise Lost, Candide, Goethe’s surveying seminal works of world continuity and divergence in Faust, Romantic poetry, Tolstoy, literature, and offering students the progression. Investigation Nietzsche & the Existentialists, the opportunity to discuss life of select foundational texts of Hurston’s Their Eyes Were enhancing ideas as they formulate world literature, religion, and Watching God, Hong Kingston’s a viable personal philosophy. philosophy will be supplemented The Woman Warrior, and a variety The community formed by the by an interdisciplinary approach of contemporary essays and students’ collective endeavor that imports representative fiction. The lecture component of constitutes the most valuable musical selections, images the course provides an overview resource of the core, a community of artworks, historical and of cultural history from the in which students develop a biographical documentaries, Renaissance & Reformation to voice and an identity to ensure drama and film into the classroom the Baroque and Enlightenment. their meaningful participation to achieve course goals and Investigation of selected literary in society. Working in concert connect the literature to works will be supplemented by to achieve these goals, the core contemporary issues. an interdisciplinary approach seminars and lectures direct that imports musical selections, students to some of the most HU0002 The Questing Self: Crisis images of artworks, historical and significant historical events, and Resolution biographical documentaries, and celebrity figures, and literary 4 hrs weekly/3 credits/Spring semester film into the classroom to achieve works that have shaped cultural course goals and connect the A continuation of HU0001 which history, in an effort to foster literature to contemporary issues. intellectual debate and stimulate surveys World Literature from evaluation of the rich cultural the Middle Ages to the present, Prerequisite: Completion of HU0001. legacy we have inherited. Open focusing on the paradigm of the to undergraduates only in the fall individual’s quest for happiness and spring semesters. and fulfillment in a perilous world.

Return to Table of Contents Course Description 93 HU0003 Rebels and Revolutions images of artworks, historical and Kandinsky’s Concerning the 4 hrs weekly/3 credits/Fall semester biographical documentaries, and Spiritual in Art, Joyce’s A Portrait An interdisciplinary survey film into the classroom to achieve of the Artist as a Young Man, featuring works of literature, course goals and connect the Woolf’s A Room of One’s Own political philosophy, psychology literature to contemporary issues. or To the Lighthouse, Modern poetry by Yeats and Stevens, and film that examines the Prerequisite: Completion of HU0002. conflicting impulses of revolution and contemporary short stories and reform, idealism and that foreground the figure of the HU0004 The Artist and Society artist. The lecture component of practicality, as driving forces 4 hrs weekly/3 credits/Spring semester towards the reconfiguration the course will focus on the 20th of society ranging from the An exploration of aesthetics and century as an age of innovation, Renaissance to the contemporary artistic creativity focused on instability, and crisis. the changing role of the artist world. Motivated by a utopian Investigation of selected literary vision of the future, the in society from the Classical to the Postmodern world. Topics works will be supplemented by rebellious individuals showcased an interdisciplinary approach in the course act as catalysts for discussion will include the creative process, the psychology that imports musical selections, for sociopolitical change and images of artworks, historical and challenge to the oppressive forces of the creative act and the phenomenon of inspiration, the biographical documentaries, and that constrain human freedom. film into the classroom to achieve Readings to be selected from nature of aesthetic experience, Beauty and Truth and their appeal course goals and connect the the following pool of resources: literature to contemporary issues. More’s Utopia, Machiavelli’s to human consciousness, the Prince, Shakespeare’s Julius political & religious aspects of Prerequisite: Completion of HU0003. Caesar or The Tempest; art; race, ethnicity, class, gender Enlightenment works by Hobbes, & sexuality as determinants of HU0001.NN-HU0004.NN Humanities Locke, Jefferson, Wollstonecraft, artistic identity and creative Core: Non-Native Speakers Douglass; Romantic works expression; the proximity of 4 hrs weekly/3 credits genius & madness, the workings by Blake, Shelley, Emerson, MSM has a long tradition of Thoreau, Whitman; Marx, Ibsen, of the imagination, and the destiny of the creative individual. looking to support talented Nietzsche, Conrad, Woolf, international students with their Freud, Jung; Gandhi, the Beats The course offers an opportunity for young artists to more fully Humanities studies. The four & Hippies, Civil Rights activists; semesters of the Non-Native Hong Kingston, Allende, Angelou, understand the vocational impulses, challenges and rewards Humanities Core were born in Garcia Marquez; essays and short 1995. The courses were designed stories. Students are encouraged that constitute the life of the artist, as well as the artist’s and have evolved to bridge the to make connections between ever changing linguistic needs of the revolutionary programs contributions to communal and cultural accomplishment. those international students from advocated by these writers and their first languages to a more contemporary political events. Readings may be selected from a pool of resources including advanced mastery of English- The lecture component of the language skills. course will focus on the 19th Platonic discussion of Beauty in century as an age political and The Symposium, Aristotelian This bridge is built using cultural revolution that led to notions of the value of theater, content-based, interactive the modern world. Nietzsche’s idea of the Dionysian teaching techniques which and the Apollonian, Shakespeare’s allows for flexibility in teaching Investigation of selected literary A Midsummer Night’s Dream to the writing needs, the reading works will be supplemented by or The Tempest, Romantic comprehension needs and the an interdisciplinary approach poetry by Blake and Keats, oral/aural needs of students. Close that imports musical selections, Mary Shelley’s Frankenstein,

Return to Table of Contents 94 Course Description engagement and examination of HU0511-0512 Elementary the creative resources of the readings of shorter excerpts from Italian I-II Self. Representative works will Humanities Core texts through 3 hrs weekly/3 credits per semester include classic fairy tales and journal writing, group discussions, A study of the basic grammatical their modern revisions, the whole-class discussions, individual structures of the Italian language. Broadway musical Into the presentations engage students The class is designed to provide Woods, revivals of Arthurian interactively with texts. Relevant the student with both a speaking legend in Romantic poetry and films, film clips, works from vocabulary and a fundamental art, Lewis Carroll’s Alice books, the fine arts of painting and understanding of written Italian. Tolkien’s Lord of the Rings sculpture, from the performing trilogy and films, Magical Realist arts of music, opera, musical narratives by Borges, Allende, theater and dance add another HU0521-0522 and Garcia Marquez. Freudian dimension and help form cultural Elementary German I-II and Jungian interpretations will foundations from which to 3 hrs weekly/3 credits per semester clarify the role that fantasy plays read, understand and address in A study of the basic grammatical in the imaginative life of the writing, more easily, the literary structures of the German individual. Attention will also works of other cultures. All this language. The class is designed be given to the current trend leads to open discussion and to provide the student with in popular culture to deploy comparison of similar ideas both a speaking vocabulary and fantastic elements in literature from all of these sources and a fundamental understanding of and film to enchant audiences and helps form a foundation for the written German. activate imagination. work of the literature of these Completion of the Humanities courses. Such rigorous work HU1200 Introduction to Psychology Core (or special permission of the assists students in developing a Online Course/3 credits department chair). sense of linguistic confidence in expressing themselves orally and This course teaches students the in approaching complex readings basics of how human beings think, HU1350 Shakespeare’s Tragedies and writing assignments in other learn, perceive, develop socially 3 hrs weekly/3 credits/Fall semester courses in the conservatory. The snd physically, how we develop Various interpretations of the skills and confidence resulting personalities, and how we behave major tragedies, including from the NN-Core course work in groups. In this semester long, Hamlet, Titus Andronicus, will help international students exclusively online course, students Macbeth, King Lear. Select integrate more fully into the apply psychological theories to film excerpts to heighten general community at the improving their performances, understanding of dramatic Manhattan School of Music. reducing their stress levels, and representation. Trips to off- understanding their identities as a off Broadway productions of people and artists. ELECTIVE COURSES Shakespeare. Class discussion will focus on Shakespeare’s OPEN TO BOTH UNDERGRADUATES HU1340 The Fantastic Imagination psychological, political, and AND GRADUATES 3 hrs weekly/3 credits/Fall semester social insights which still charm, disturb, offend, and An exploration of fantastic Only course numbers 1000 and above enlighten his audience. are available to graduate students. literature that celebrate Otherness, magicality, and Prerequisite: Completion of the imagination in a disenchanted Humanities Core (or special world, with the aim of revitalizing permission of the epartment Chair).

Return to Table of Contents Course Description 95 HU1360 The Romantic Spirit in Art HU1661 America in the speakers who wish to build on and Literature 20th Century the skills and knowledge of the 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits/Spring semester Humanities Core. The writers and artists A continuation of HU1660, Prerequisite: completion of who transformed culture, this course examines the rise of Humanities Core (or special consciousness, and creative contemporary America, explored permission of the Department Chair) expression in the Romantic age, through Turn of-the-Century specifically in their celebration of Imperialism, the New Deal, the HU1901 Creativity and Culture: the Nature, Revolution, Individuality, Second World War, the Cold Visual Arts Throughout the Ages and Imagination. European War, the Civil Rights Movement 3 hrs weekly/3 credits/Spring semester and American manifestations. and 1960’s counterculture. Musical selections express the Documentary film, movies, This course is a journey which spirit of the age. and music provide insight into begins and ends with the question trends in fashion and thought. “Why do humans make art ?” We Prerequisite: Completion of the Students journey to a restored will travel from prehistoric caves Humanities Core (or special tenement house to see early 20th- to soaring Gothic cathedrals, permission of the Department Chair). century urban poverty, to the and plumb the depths of the top of the Empire State Building hearts and minds of some of the HU1564 Shakespeare’s Comedies for a lecture on “The History greatest artists of all time, such as 3 hrs weekly/3 credits/Spring semester of the Skyscraper,” and to the Michelangelo. Eventually we will A continuation of HU1350: aircraft carrier Intrepid to learn seek to understand the changes Shakespeare’s Tragedies. about “Advances in American in society that led to our modern Military Power.” concept of art as an expression of Examine the major themes in the artist’s interior life. several of Shakespeare’s greatest Prerequisite: Completion of the comedies and histories. Discuss Humanities Core (or special HU1910 Modern Heroes and permission of the Department Chair). various interpretations of the Villains: An Exploration of texts offered by literary critics, Storytelling using Film Part II (for actors and movie directors. HU1900 Classic Heroes and Villains Non-Native Speakers) 3 hrs weekly/3 credits HU1660 The Rise of the From Hamlet to King Arthur This course will focus on films American Republic to Mulan, this course will use and stories from the Classical to 3 hrs weekly/3 credits/Fall semester movies to analyze the elements the Postmodern period, including such works as Elizabeth: the This course examines the of storytelling by focusing on how conflicts between heroes Golden Age, Selma and 2001: A founding of the United States Space Odyssey. We will continue and its transformation from a and villains move stories forward. In addition, we will explore to engage the ideas of storytelling, rural collection of states into an and exploring the themes industrial nation. Students acquire the way film generates cultural connections and highlights presented in the films, including a deep understanding of the Bill racism, sexism, and classism. of Rights and the Constitution, of issues like racism and sexism. slavery and the Civil War, and of Engaging with these stories will The course is open to non-native 19th-century urban life. Walking help students increase vocabulary, speakers who wish to build on tours of Greenwich Village, develop writing skills, sharpen the skills and knowledge of the George Washington’s New York, critical thinking, and succeed Humanities Core. Prerequisite: and the Lower East Side. with academic presentations. This completion of the Humanities course is offered to non-native core or special permission of the Prerequisite: Completion of the Department Chair). Humanities Core (or special permission of the Department Chair).

Return to Table of Contents 96 Course Description HU1930 Film and the Power “Do The Right Thing” to Martin Woolf, the revolutionary artist of Performance Scorsese’s “Goodfellas”; from Pablo Picasso, the provocative 3 hrs weekly/3 credits “The Jeffersons” and “All in the depth psychologist Carl Gustav This course will explore the Family” to “Seinfeld” and “Law Jung, and the seductive 60s powers of “performance” as and Order”; from Greenwich American rock star and shaman demonstrated on film and video. Village in the early part of the Jim Morrison from the Doors. In Students will view a series of 20th century to Andy Warhol’s addition to engaging the creative films and through class discussion Factory and the emergence of work of these representative and writing assignments we will Punk and Hip Hop; we will be geniuses, students will consider explore how dramatic “imitation” pursuing this interdisciplinary the biographical and historical can shape our views of the approach to the reading (and context of their accomplishments world which the film purports viewing) of core NYC texts. through video documentaries to “represent.” and other supporting materials HU1856 Genius, Madness, Vocation: in order to evaluate their achievements and their legacy. HU1940 Film and the Power of The Artist as Eccentric Narrative Part II 3 hrs weekly/3 credits Completion of the Humanities 4 hrs weekly/3 credits/Spring semester The phenomenon of creative Core (or special permission of the department chair). Beginning with World War II genius has always been and the film classic “Casablanca” particularly fascinating to we will explore how the movies students of the arts. How do we ENGLISH AS A both presented the modern world define genius? What conditions enable it to flourish? What SECOND LANGUAGE and created styles of narrative HU1000 Summer English Study that shaped how we viewed driving forces propel the genius Summer/0 credits ourselves and our institutions. forward on the path to creative The class will view a modern film accomplishment? What is the Graduate and from Hollywood or other film ultimate fate of the genius Undergraduate students producing centers, including who stands apart from the An intensive 8-week summer France, Italy and Japan, each surrounding society? immersion program, specifically Friday and meet to discuss the This course sets out to consider designed for music students. films on Wednesday. We will focus these central questions and Program includes classes, tutorials on the filmmaker as story teller to challenge the stereotypical and conversation sections, all and observe how film’s language view of genius as identical with aimed at increasing students’ develops in the modern world in madness by examining the readiness for regular course several national cultures. life and work of artists who work during the academic year. rebelled against conventional Students will increase their HU1975 New York Stories standards and sustained proficiency in listening, speaking, 3 hrs weekly/3 credits vocational commitment to a life reading and writing. In this course we will examine of imagination. Representative artists include the Romantic the culture of New York City by HU1010 English Language visionary poet and artist following an interdisciplinary Instruction William Blake, the reclusive and approach to the historical, literary, Fall/1 credit sociological, cinematic, and even fiercely independent American Intensive daily instruction for televised landscape of the city. poet Emily Dickinson, the students who did not take the From Walt Whitman and Herman iconoclastic and oracular German Summer program. Does not count Melville to William Burroughs philosopher Friedrich Nietzsche, for Humanities elective credit. and Jane Jacobs; From Woody the innovative modern novelist Allen’s “Manhattan” to Spike Lee’s and pioneer feminist Virginia

Return to Table of Contents Course Description 97 HU1011 Fundamentals of Writing 1 ME2001 Advanced Practicum in Fall/3 credits ENTRE- Music Entrepreneurship A continuation of Summer PRENEURSHIP 2 hours weekly/2 credits offered English Study for undergraduate ME1500 Practical Foundations: spring semester only students who need further Entrepreneurial Leadership Skills Open to grad students and seniors language instruction before taking Focusing on creativity, innovation, by application. In this graduate- the Humanities Core courses. value creation, and impact, this level course students plan and May be counted for Humanities core course explores the basics of launch their own entrepreneurial elective credit. establishing a professional career. ventures. Students apply in Nov. The class covers marketing, with a venture already in mind HU1012 Graduate Continuing ESL communication, financing, and in class, in a supportive “think Fall/Spring/1 credit community engagement, and tank” environment, work to project management—for both advance these by creating business A continuation of Summer new and traditional career plans, budgets, and action steps English Study for graduate paths. This is a required class for to achieve their desired goals. students who need further all undergrads. Class work includes relevant language instruction before readings, research, and mentoring. taking music theory and/or MM and PS students in the OP and Past projects have included history courses. Orchestral Conducting programs starting a new festival, creating have their own required section of a performance series, outreach the class (ME1500.OP offered Fall HU1013 ESL Tutorial program, and launching an online only). CPP students must take either Fall/Spring/0 credits booking service. ME1500 or ME2001. Individual and small-group This course may substitute for meetings to support ESL students ME1600 Orchestral ME1500 with faculty approval. who are taking regular courses. Entrepreneurship The attendance policy for this 2 hrs weekly/2 credits/Fall semester ME2500 Internship course is the same as for major 10+ hours per week working off- private lessons. The course is designed to equip orchestral students with the campus/1 or 2 elective credits, for undergrad and grad HU1015 Fundamentals of Writing 2 knowledge and perspective needed to succeed as professional Designed to offer students Spring/3 credits orchestral players in a changing practical “real world” experience, Focused instruction on writing industry. The class covers administrative internship in English for undergraduate essential organizational, financial, opportunities are available students. Preparation for the and programmatic issues with organizations specializing demands of the Humanities Core affecting orchestras and their in New Music, Jazz, Opera, courses. This course is offered entrepreneurial possibilities Orchestral, and Chamber Music, during the spring semester and for the future. Includes guest as well as in music publishing, can be taken at the same time as speakers from the League of recording, radio, arts education, the Humanities Core. American Orchestras, American and more. Learn valuable skills (Open only to Undergraduates) Federation of Musicians relevant to an active career as Prerequisite: HU1011 or permission of Symphonic Services Division (the a professional musician and/or the instructor. Union), and others. arts administrator. Internships for current students typically Note: The course is designed for are arranged for one semester graduate students in the Orchestral at a time, for 1 or 2 credit hours Performance program and is also depending on the scope and available to others with permission schedule of the work. from the instructor.

Return to Table of Contents 98 Course Description Interested students must consult practice era into the early 20th Prerequisite: Ability to sing at with instructor and apply through century as they relate to the music sight or recognize and notate the CME office before registering. of jazz. It explains the origins simple melodies determined by Available fall, spring, and summer. and development of fundamental placement examination. harmonic and contrapuntal principles and shows the ways JC0171-0172, JC0181-0182 Jazz JAZZ in which these principles are Required Piano Major Lesson: in current usage in jazz. Topics 1 hr weekly/1 credit per semester 1 hr weekly/3–6 credits per semester include classical and jazz viewpoints of counterpoint in two These courses are designed for REQUIRED UNDERGRADUATE voices, counterpoint in three or the non-pianist to learn the basic THEORY COURSES more voices, Neapolitan chords, technique of the instrument for augmented 6th chords, borrowed studies relating to jazz music. JC0001 Harmony for Jazz Majors 1 chords, composition projects, etc. They are aligned with the 2 hrs weekly/2 credits basic jazz theory, ear-training and improvisation courses so JC0004 Harmony and Counterpoint This course covers the that the keyboard becomes a fundamentals of harmony for Jazz Majors 4 learning tool in the student’s from the common practice 2 hrs weekly/2 credits musical education. Fluency in era as they relate to the music This course is a continuation all keys, keyboard harmony, of jazz. It explains the origins of HCJM 3. Topics include lead sheet realization and and development of harmonic altered dominants, chord grand-staff reading are stressed. principles and shows the ways superimposition, chromatic Prerequisite: Jazz Required Piano in which these principles are mediants, Romantic period placement examination. in current usage in jazz. Topics tools and jazz applications, include notation, melodic impressionistic period organization, chord functions JAZZ IMPROVISATION/ tools and jazz applications, UNDERGRADUATE in major and minor keys, polytonality, form and voice leading, figured bass, development in large ensemble chorale studies, etc. JP2500 Jazz Improvisation jazz forms, serial techniques, 2 hrs weekly/2 credits composition projects, etc. JC0002 Harmony for Jazz Majors 2 Undergraduates will take improvisation for 4 semesters 2 hrs weekly/2 credits JC0111-0114 Jazz Ear-Training (2 years) of their program. The 2 hrs weekly/2 credits per semester This course is a continuation of following topics will be covered: HJM 1. Topics include resolutions This course offers the of the dominant, secondary undergraduate student basic First Year dominants, leading tone techniques needed to improve diminished chords, modulation, aural perceptions in both the This course provides the harmonization systems for tonal translation of hearing into writing students with fundamental melodies, binary and ternary and the performance of reading concepts needed to compose forms, composition projects, etc. into singing and playing in the spontaneously. It consists of jazz idiom. Introduction and improvisational exercises and JC0003 Harmony and Counterpoint practice of singing and aural the application of these exercises for Jazz Majors 3 recognition of short, simple on assigned progressions. Scales: 2 hrs weekly/2 credits melodies and intervals based upon Major and minor scales, major and diatonic harmony. dominant 8 note bop scales, major This course covers the diatonic modes. Progressions: advancement of harmony and Each week Major and dominant counterpoint from the common

Return to Table of Contents Course Description 99 blues, ii-7 v7 1, ii-7b5 v7 b9b13 MH0102 Jazz History painting) and their common 1-6/9, and Autumn Leaves will be 2 hrs weekly/2 credits denominators with jazz; a final studied in a new key. Tensions 9 11 An in-depth examination of what assignment where students must and 13 will be studied on the above made New Orleans the birthplace prepare an in-depth presentation progressions. The melodic minor of jazz with an emphasis on its on a lesser known jazz musician. modes will also be studied along identity as a French colony. This with the minor and dominant leads into the emergence of MH0105 Roots, Rhythms, and Music b9b13 bop scales. Students will Buddy Bolden, Jelly Roll Morton, of the Americas I also be required to learn a new and King Oliver, all placing the 2 hrs weekly/2 credits/Fall Semester song each week in preparation innovations of Louis Armstrong This performance-based course for yearly juries. in the proper context. The explores the diverse musical and remainder of the semester deals rhythmic genres of the African Second Year with subsequent innovations Diaspora from Latin America and by Duke Ellington, Coleman This course includes further the Caribbean. Using multiple Hawkins, Lester Young, Art studies of diatonic modes and resources, including guest artists, Tatum, Thelonious Monk, and parallel modes as well as modal to introduce aspects of the music the music of Charlie Parker and bop scales and diminished scales. and rhythms from these regions Dizzy Gillespie. Approach notes and arpeggios to provide a musical foundation to will be studied on Autumn Leaves. bridge knowledge and experience Students will be required to learn MH0103 Jazz History for a more authentic performance Minor Blues and I Got Rhythm 2 hrs weekly/2 credits experience. Classes are structured chord changes in 12 keys. Chord Beginning with Lennie Tristano to include new material, i.e. substitutions on Blues, I Got and Charles Mingus, this semester cultural music and rhythmic Rhythm, and Autumn Leaves deals with the varied reactions to concepts, followed by in-class will also be explored. Students Parker and Gillespie. Miles Davis ensemble work and composition will continue to learn a new and the musicians he encouraged to apply the new material. Topics song each week. Review of the (Coltrane, Evans, Shorter, will include historical elements 60 songs learned in preparation Hancock) form the main core of of the music, traditional forms for yearly juries. the narrative. Also, individuals of melody and rhythm, meaning such as Ornette Coleman, and understanding, stylistic UNDERGRADUATE Andrew Hill, and Jaco Pastorius approaches, rhythmic analysis, REQUIRED COURSES are explored, with the focus on stylistic elements through dance tying their innovations into what and cultural perspectives within MH0101 Jazz History is contemporary in jazz. the genres. The course concludes 2 hrs weekly/2 credits with an in-class performance of a selected work or student MH0104 Jazz History The semester covers a broad composition that demonstrates 2 hrs weekly/2 credits view of the entire evolution of authentic interpretation. jazz, stressing its profile as an The semester is divided into three integral part of American history. segments: a detailed examination MH0106 Roots, Rhythms, and Music Connections with the social, of jazz’s greatest drummers (Baby of the Americas II musical, and racial realities of the Dodds, Sid Catlett, Chick Webb, 2 hrs weekly/2 credits/Spring Semester 20th century are highlighted. Dave Tough, Jo Jones, Kenny Clarke, Max Roach, Roy Haynes, Semester II focuses on the Art Blakey, Elvin Jones, Tony African Diaspora in Central Williams) and how they made America and South America. the music’s evolution possible; a detour into the fine arts (film, Continuation of MH0105.

Return to Table of Contents 100 Course Description JC0301-0302 Rhythmic Analysis and recording techniques. community engagement, and 2 hrs weekly/2 credits per semester Exposure to current popular project management—for both The course objectives will synthesizers and software. new and traditional career be to develop fluency in the paths. This is a required class for performing/reading/feeling/ JC2161 Jazz Piano Perspectives 1 all undergrads. identifying/transcribing and 2 hrs weekly/2 credits/Fall semester See CME on pg. 88 notation of rhythms. Jazz and This course is designed to give classical methods of rhythmic jazz musicians the opportunity ELECTIVES (OPEN TO BOTH interpretation will be discussed. to acquire a listening background UNDERGRADUATES AND GRADUATES) As this is an undergraduate course essential to achieving artistic the focus will be on the most depth and growth in their MH1040 Music of Duke Ellington common time signatures and performing. This course is a 2 hrs weekly/2 credits/Spring semester divisions of the beat. survey of the development of Duke Ellington (1899-1974) is jazz piano styles. Included will (Required for all undergraduate jazz generally considered the greatest be an analysis of techniques as performance and composition majors.) and most prolific of all jazz demonstrated by the masters in composers. Furthermore, he is recordings and transcriptions. JC0511-0512 Arranging widely regarded as one of the The course will also feature and Composition great composers in twentieth- hands-on exposure and 2 hrs weekly/2 credits per semester century music, regardless of instruction in the “comping” genre. This course will survey A development of writing techniques needed to effectively his music, and that of his close skills for various media and perform in all size configurations associate Billy Strayhorn (1915- combinations, including dance, from duets to large orchestra. show and jazz music. Students 1967), from the 1920s to the 1970s. explore the latest techniques Required for first year in electronics, serial and undergraduate Piano majors MH2165 African-American experimental techniques. Music History JC2162 Jazz Piano Perspectives 2 Prerequisite: JC0004 or 2 hrs weekly/2 credits 2 hrs weekly/2 credits/Spring semester the equivalent. We will examine a variety Continuation of JC2161. Jazz of musical genres beginning JC1811 Studio Techniques piano styles and techniques as with the music of West Africa 1: Introduction to MIDI influenced by World music and and moving to Plantations the European classical tradition. Sequencing Studio songs (spirituals, work songs), 2 hrs weekly/2 credits/Fall semester Required for first year Ethiopian Minstrelsy, music of undergraduate Piano majors the Mississippi Delta, Blues, Introduction to MIDI and MIDI Ragtime, Jazz, Rhythm & Blues sequencing using Macintosh- Prerequisite: JC2161 or permission of and Art Music. Such figures as based systems. Creative the instructor. Required for first year Master Juba, Francis Johnson, application of synthesizers and undergraduate piano majors Newport Gardner, Richard Allen, MIDI systems to contemporary Bessie Smith, Duke Ellington, jazz, commercial music and ME1500 Practical Foundations: Mary Lou Williams, Robert classical music. Principles of Entrepreneurial Leadership Skills Johnson, Ma Rainey, Thomas audio engineering, multi-track Focusing on creativity, innovation, A. Dorsey, Marian Anderson, recording, mixing, and sampling value creation, and impact, this William Grant Still, Stevie are discussed. Independent lab core course explores the basics of Wonder, James Brow, Aretha time is provided for hands-on establishing a professional career. Franklin, Prince, Stevie Wonder practice in MIDI composition The class covers marketing, and Jay-Z will be discussed. All of communication, financing,

Return to Table of Contents Course Description 101 these individuals helped to shape Through detailed analysis of Prerequisite: JC1811 or and define music of the African their pieces and contributions to permission of instructor. American Diaspora. the Brazilian music repertoire, this course will focus in on JC1814 Advanced Studio Recording: JC1400 Brazilian Music: History, the master works of some of Scoring to Picture Styles, and Analysis the most brilliant Brazilian 2 hrs weekly/2 credits per semester/ 3 hrs weekly/3 credits/Fall Semester musicians to date. Spring semester This course is designed to Advanced application of JC1812 Studio Techniques 2: introduce and examine Brazilian MIDI sequencing and digital music from both academic Introduction to Digital Audio audio recording techniques. and performance perspectives. Recording Studio Introduction to sampling Through readings of articles and 2 hrs weekly/2 credits/Spring semester technology, additional MIDI textbooks, video excerpts and Continuation of MIDI sound sources, and advanced documentaries, field recordings sequencing and studio techniques. synthesis techniques. Emphasis and live demonstration, students Introduction to digital multi- on scoring techniques for film, are led to observe the connections track recording techniques TV, and multimedia, as well as between historical facts and using Pro Tools-based Digital combining acoustic and electronic the formation of each style in Performer and the Tascam DA- instruments. Independent lab Brazilian music, in a journey 88. Survey of notation, editing, time is provided for hands-on through almost 500 years of and other MIDI software. work in MIDI composition, history/music making. As the Independent lab time is provided digital audio recording, and students are first and foremost for hands-on work in sound scoring to picture. performers, a primary focus of designing and patch editing. Prerequisite: JC1813 or the course is the incorporation Exposure to current popular permission of instructor. of the Brazilian music universe of synthesizers and software. rhythms, phrasing, and repertoire Prerequisite: JC1811 or into their developing styles. The JC1911-1912 Advanced Studio permission of instructor. aim is to produce a performer Composition and Scoring who is well informed not only 3 hrs weekly/3 credits per semester about musical components and JC1813 Studio Techniques 3: Analog Advanced MIDI software necessary skills for performance, and Digital Synthesis applications, sound designing, but also about the history and 2 hrs weekly/2 credits/Fall semester sampling, and studio techniques. context in which Brazilian Basics of analog and digital In-depth exploration of music developed. synthesis and sound designing, various creative and technical considerations encountered Cross-listed with MH1400. with emphasis on the practical application of the in the MIDI studio. Topics include principles of creating JC1402 Brazilian Music: History/ synthesizer to contemporary jazz and commercial music. contemporary rhythm tracks, Repertoire/Performance 2 Applications of basic principles expressive and dynamic 3 hrs weekly/3 credits/Spring semester to abstract “Classical” sound considerations of sequencing, As a follow up to the almost design. Continuation of MIDI MIDI orchestrating, scoring for 500 years of Brazilian music and sequencing and studio techniques. film and TV, multimedia, SMPTE, culture that is surveyed in part Independent lab time is provided sampling, and combining acoustic one of this course, Brazilian for hands-on work in sound and electronic instruments. Music History 2 will focus on designing and patch editing. Students are exposed to a the work and lives of 12 major Exposure to current popular wide range of current MIDI figures of Brazilian music in the synthesizers and software. 20th century and today’s scene.

Return to Table of Contents 102 Course Description instruments and software. the composition skills required REQUIRED OF ALL JAZZ Additional independent lab time for the writing of music for COMPOSITION STUDENTS is provided for hands-on work. musical theater. Major Lesson: Prerequisite: JC1812 or 1 hr weekly/3–6 credits per semester permission of instructor. JC2780 Ritmica: A Musical Approach to Rhythm JC1999 Jazz Composition Forum JC2271-2272 Jazz Improvisation for 2 hrs weekly/2 credits 1 hr weekly/1 credit per semester Non-Jazz Majors Develop a deeper concept of JC2241-JC2242 Jazz Composing A course designed to provide the rhythm as a musical element, and Arranging for Studio Orchestra non-Jazz major with fundamental moving beyond arithmetic and 2 hrs weekly/2 credits per semester concepts needed to compose counting to something that is spontaneously. Blues and basic more melodic and intuitive. A development of writing skills jazz forms are covered through The focus of this system is aimed primarily for orchestra. performance and recordings. Counterpoint instead of vertical Will include the combination relationships, combining of big band plus either chamber independent rhythmic parts JC2273-2274 Jazz orchestra, symphony orchestra in a way that emphasizes or writing works for jazz soloist Improvisation for Strings their independence: as voices, and chamber or symphony 2 hrs weekly/2 credits per semester/ happening simultaneously. orchestras. Will include listening Fall and Spring and discussion of the different A course designed to provide the JC2781 Ritmica 2: A Unique approaches, including examples of non-Jazz major with fundamental Approach to Rhythm Mr. Abene, plus in-depth analysis concepts needed to compose 2 hrs weekly/2 credits/Spring semester of the student’s own work. spontaneously. Blues and basic jazz forms are covered through This course is designed to Required for all graduate jazz performance and recordings continue to challenge the performance and composition majors. student’s ability to perceive rhythmic relationships in a JC2400 Graduate Jazz Conducting/ JC2731 Songwriting I horizontal way, through the Rehearsal Techniques 3 hrs weekly/3 credits/Fall semester introduction of many more 2 hrs weekly/2 credits/Fall or A course in the composition of exercises of the Ritmica book. Spring semester contemporary popular song. The exercises were created This course will prepare students Students are expected to develop by putting together irregular to conduct a number of music fluency in all styles. The problems rhythmic elements against styles/genres (orchestral, of prosody are studied as well as regular rhythmic sequences, and choral, jazz, Broadway, popular the techniques of scoring for voice exploring the contrast between music, TV/film and more), be and instruments. them. Through the second part knowledgeable in score study of the Ritmica studies the class Not required. and preparation, understand also focuses on composition, instrument transposition, and each student is assigned a JC2732 Songwriting II: Composing basic baton technique, general partner and required to write and score analysis, rehearsal for Musical Theater perform a duo piece based on the planning and implementation 3 hrs weekly/3 credits/Spring semester Ritmica concept. of rehearsal techniques and Continuation of JC2731. other tools necessary to be a This semester will include a successful conductor. concentrated introduction to

Return to Table of Contents Course Description 103 JC2741-2742 Film Scoring JC2111-2112 Graduate Arranging pedagogy of the applied studio as 3 hrs weekly/3 credits per semester and Composition well as common classroom areas 2 hrs weekly/2 credits per semester for jazz education including jazz Cross-listed with improvisation, jazz arranging and CP2741-2742 on pg. 85 A development of writing skills for various media and composition, jazz history, and theoretical and aural skills. Also REQUIRED COURSES combination, including dance, included are observational visits FOR GRADUATES show, and jazz music. Graduate students explore the latest to area jazz programs, as well as an overview of the job market and JP2500 Jazz Improvisation techniques in electronic, serial and experimental techniques. techniques to use in applying for 2 hrs weekly/2 credits positions within jazz education. Graduate performance majors Prerequisites: Graduate standing or will take improvisation every permission from the instructor. JC2501-JC2504 Masters of Jazz semester for the duration of their Seminar: A Chromatic Approach to JC2321-2322 Jazz Styles program. The following topics Jazz Melody and Harmony will be covered: and Analysis 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester In this course, the student will Year 1 Analysis of the contributions, study theoretical and practical This course provides in-depth innovations, and solo and concepts, which allow for various studies on pentatonic, modal, compositional output of ways to conceptualize chromatic open bar line playing, and the outstanding jazz composers, usage. There will be in-depth works of Miles Davis, Paul Bley arrangers, and performers. historic analysis of chromatic and other post-bop composers. Prerequisite: JC0451-0452. examples from the classical Students will be involved in and jazz repertoire; study of group improvisation, rubato JC2360 Jazz Musician as Educator reharmonized standards and group playing, and also the 2 hrs weekly/2 credits/Spring semester original compositions; composing works of Wayne Shorter and chromatic voicings, lines, and This course is designed to Ornette Coleman. Students will tunes. The goal of the course is develop skills in the teaching of learn a new song each week in to expose the student to a variety jazz music. The student will be preparation for yearly juries. of chromatic music in order exposed to a variety of materials, to increase the student’s aural techniques, and philosophies. skills and critical understanding Year 2 The course focuses on program of the use of chromaticism Studies on the following: development for and performance in modern music. hexatonics, parallel and chromatic in MSM’s elementary and middle harmony, odd time signatures, school jazz education outreach metric modulations, hemiolas, series. Included are the study free playing, and World music. of ensemble and rehearsal Students will continue to learn techniques and other factors a new song each week and pertinent to operating a jazz/ review 60 songs in preparation commercial music program. for graduation. JC2410 Jazz Pedagogy 2 hrs weekly/2 credits/Fall semester This course prepares artist teachers to function at a high level in the world of jazz education. Included are discussions of the

Return to Table of Contents 104 Course Description *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 UNDERGRADUATE ELECTIVES Bartok and Schoenberg will also 2 hrs weekly/2 credits/Fall semester be included. Various techniques MH1510 Bach A comprehensive study of of employing chromaticism in 3 hrs weekly/3 credits/Spring semester Western music from 900 until the jazz idiom will be presented 1600. Emphasizes the evolution A study of the history, style, and students will be required to of polyphonic music, the and performance problems in write examples and compositions development of compositional selected instrumental and vocal in the style. Improvising techniques using preexistent works of J.S. Bach. chromatically over standards material, the changing and original compositions will relationship of words and music, ELECTIVES (OPEN TO also be required. and the historical and cultural UNDERGRADUATE AND GRADUATE milieu in which music evolved. STUDENTS WITH THE PROPER DM4750 The Artist Pedagogue PREREQUISITES) 3 hrs weekly/3 credits/Spring semester MH0002 Classical Teaching proficiency related to 2 hrs weekly/2 credits/Spring semester MH0165 African-American the implementation of listening A study of Baroque music Music History skills, improvisation, and focusing on national styles as 2 hrs weekly/2 credits rehearsal and directing techniques developed by Monteverdi in Italy, from beginning to advanced Schütz in Germany, Lully and MH1575 Women in Music levels will be developed. Class Rameau in France, and Purcell 3 hrs weekly/3 credits discussion will include: who in England. Special attention is should teach jazz and why, the “Women” and “Greatness” – given to the fusion of national value of a degree in jazz, the state throughout the course of all styles in the 18th century, the of music education in America, history, these two words have monumental achievements of and judging a jazz festival. Hands- not been used in the same Handel and J.S. Bach. on training will be stressed by sentence too often. Certainly, in giving clinics and workshops the case of Music History, it is

Return to Table of Contents Course Description 105 as if there was a sort of mental MH1040 The Music of of musical ideas as they manifest programming to exclude women Duke Ellington themselves in the chamber from the realm of great legacy and 2 hrs weekly/2 credits/Spring semester music repertoire; second, to powerful contribution. A history and analysis of this great explore interrelationships among composers and schools Therefore, this course will provide composer and his close associate Billy Strayhorn from the 1920s of compositions, as well as a fascinating exploration into the development of style and genres lives and stories of women who to the early 1970s. Score reading skills are required for the class, as in specific composers; and, third, enriched Music History in spite to examine the music itself of many obstacles. Our journey is the ability to analyze music in fluent written English. both from an analytic viewpoint will begin in the Middle Ages and and from a performance conclude with the current times. practice perspective. We will explore a great variety MH1512 History of Opera of musical carriers, placing our 3 hrs weekly/3 credits/Spring semester MH1532 History of main emphasis on the study of A comprehensive study of the life and work of such great Chamber Music II the history of opera and 3 hrs weekly/3 credits/Spring semester composers as Barbara Strozzi, operatic forms of the 19th and Clara Schumann, Amy Beach, 20th centuries. A continuation of an historical and Tania Leon. We will also survey of the chamber music celebrate the trail blazing women repertoire, beginning with MH1530 Mozart on the concert stage from the Schubert’s great C-Major Primadonnas of Italian opera 3 hrs weekly/3 credits Quintet and concluding with to the great female conductors A close examination of the Boulez’s Le Marteau sans Maître. on the world stage is today. The music of Mozart, including Particular attention will be paid goal of the course is to shed light early influences, Mozart’s to the use and role of individual on the music composed over an association with Haydn, and instruments in ensembles as well entire millennium that may still the interrelationships between as to evolving modes of motivic be undiscovered, and to better vocal and instrumental music. developmental processes through understand the sociopolitical Sources and editions are the 19th and 20th centuries. circumstances, which many of carefully considered. The The course will involve directed the women we discussed had course will include in-class listening of historic recordings of to overcome and bring their performance projects. the 20th century. gifts to the world. (Offered in alternate years) MH1590 Music in America MH1400 Brazilian Music: History, MH1531 History of Chamber Music I 3 hrs weekly/3 credits/Spring semester Styles, and Analysis 3 hrs weekly/3 credits/Fall semester An in-depth survey of American 3 hrs weekly/3 credits A comprehensive chronological music, beginning in the 1600s See JC1400. survey of chamber music from its and continuing to the present, origins in such early forms as the and taking in all genres and styles, MH1402 Brazilian Music: History/ canzona and trio sonata through both “concert” and “popular”. Repertoire/Performance 2 the year 1827, concluding with 3 hrs weekly/3 credits the death of Beethoven. The MH1608 Voices and Orchestra See JC1402. course has three objectives: first, 3 hrs weekly/3 credits per semester to look at pieces and composers This course is a two-semester in historical perspective noting survey of genres scored for voices the prevailing social, political, and orchestra from the 17th to and economic trends and the 21st centuries, including understanding the progression oratorios, cantatas, masses, choral

Return to Table of Contents 106 Course Description symphonies, and symphonic will be considered, and will MH1712 Wagner: Tristan, song cycles. The fall semester be subjected to stylistic and Meistersinger, Parsifal covers important works from the formal analysis. 3 hrs weekly/3 credits Baroque and Classical eras, such An introduction to Richard as Monteverdi’s Vespers, Bach’s MH1700 Survey of 70 Years of Wagner’s Tristan und Isolde, Die St. Matthew Passion and Mass Recorded Vocal Music Meistersinger, and Parsifal in in B Minor, Handel’s Messiah, 2 hrs weekly/2 credits the context of his life and times, Haydn’s Creation, Mozart’s Beginning with the earliest known with reference to other Wagner Requiem, and Beethoven’s Ninth works of the periods discussed. Symphony. The spring semester recordings and ending in the 1970s, this course will introduce The course will cover the musical, covers important works from dramatic, poetic, historic, literary, the Romantic and Modern eras, examples of the great singers of the past. It will feature examples and philosophic background such as Mendelssohn’s Elijah, to Wagner’s three great music Brahms’s Ein deutsches Requiem, of the creators of various operatic roles, the vocal idols of the dramas. A term paper at the end Verdi’s Requiem, Mahler’s vocal of the semester is required. symphonies and Das Lied von decades, including singers of der Erde, Orff’s Carmina Burana, song literature. It will feature Prerequisite: TH0002 Stravinsky’s Symphony of Psalms, examples of the voices of many of and Britten’s War Requiem. the artists whose portraits appear MH1841 World Music I in the Metropolitan Opera galley. 3 hrs weekly/3 credits/Fall semester Each week will be specifically MH1610 History of the Symphony dedicated to specific topics and An introduction to the principles 3 hrs weekly/3 credits/Fall semester voice categories. Discussion of ethnomusicology joined to A comprehensive survey of the will be primarily on style and a survey of the music of the history of the symphony and communication, briefly on following non-Western cultures: symphonic forms from the 18th biographical material. sub-Saharan Africa, Native century until the present. America, the Islamic world, and the Indian subcontinent. The MH1711 Works of Wagner: Der Ring study of this music will be at once MH1620 Beethoven des Nibelungen technical and cultural. The course 3 hrs weekly/3 credits/Spring semester 3 hrs weekly/3 credits is enriched by visits from guest A detailed study of the A comprehensive introduction artists who present the music major works of Beethoven. to Richard Wagner’s Der Ring in live performance. Emphasis Representative samples of his des Nibelungen, in the context of will also be given to seeing how various styles are drawn from his life and times, with reference composers, world-wide, are the symphonies, string quartets, to other Wagner works of the currently making use of elements piano sonatas, solo concertos, Ring period. The course will of the traditional music from and choral works. cover the musical, dramatic, these cultures. (Offered in alternate years) poetic, historic, literary, and philosophic background to MH1842 World Music II MH1698 Concerto Wagner’s monumental tetralogy. 3 hrs weekly/3 credits/Spring semester A term paper at the end of the 3 hrs weekly/3 credits/Spring semester A survey of the traditional musical semester is required. A survey of concertos, from the cultures of East Asia and the inception of the form in the Prerequisite: TH0002 Pacific, including those of China, early 17th century to present-day Japan, Korea, Tibet, Mongolia, examples. Various works called Indonesia, New Guinea, Oceania, “concerto” and “concertante” and Australia. As with MH 1841, the music will be considered both culturally and technically. During

Return to Table of Contents Course Description 107 the semester, guests proficient in era of the 20th century. Following and Ellington; Prokofiev these traditional musical cultures the chronology of Britten’s life and Schoenberg; Ravel and will demonstrate the music in live from his formative years in Shostakovich; Darius Milhuad performance. Emphasis will also London before World War II and Louis Armstrong and more. be given to exploring the creative through his American adventure use that contemporary composers in the 1940’s; from the triumphant MH1960 Music of the 1960’s are making of this music. premiere of Peter Grimes through 3 hrs weekly/3 credits/Spring semester the years of his subsequent success as the composer of opera This class surveys the music of MH1850 Music and the Dance the 1960 with a focus on Classical, 3 hrs weekly/3 credits/Fall semester and instrumental music of every variety; from his establishment of Broadway, and Rock n’ Roll. In this course we study dance the English Opera Group through music in its varied forms across the founding of the Aldeburgh MH2030 Miles Davis the centuries. There is the history Festival, the Maltings Concert 2 hrs weekly/2 credits/Fall semester of ballet: Rameau, Tchaikovsky, Hall and the Britten-Pears School Stravinsky, Prokofiev. There are A survey of the music of we will investigate Britten’s life trumpeter-bandleader-composer the social dances of Schubert, and music within the framework Johann Strauss, and the world Miles Davis (1926-1991), one of some prominent themes that of the major innovators in the of jazz and rock. There is the can be observed throughout his use of dance in concert music: history of jazz and 20th-century career: the individual against music. Davis’s music ranged from the suites of the Baroque; the society, the confrontation of minuets of the Classical era; the bebop of the1940s through hip- innocence and experience, the hop of the 1990s. nationalistic dances of the 19th importance of musical citizenship, century. Dance music has likewise pacifism in an age of war, and MH1940 The Music of Frank Zappa been crucial to the drama: opera, the conflict between the private/ Broadway, and cinema--defining public image. Although the list 3 hrs weekly/3 credits/Spring semester character and creating powerful of Britten’s operas will act as a This course examines the career moments of theater. template for the course, his other and music of Frank Zappa. works for orchestra, chamber Sometimes described as an MH1858 Puccini music, chorus, plus his vibrant “American Maverick”, Zappa’s 3 hrs weekly/3 credits/Spring semester career as a performer with Peter career touched upon almost This course covers Giacomo Pears and other great artists of his all genres of music including Puccini’s life and works. We time will hardly be ignored. The orchestral, chamber, film and begin with prevailing operatic course will include reading and electronic, theatre, jazz and styles of the late 19th century and listening assignments, exams, and rock. Although varied in style discuss each of Puccini’s operas in a final project. and approach, Zappa’s music is turn, comparing traditional and rigorous and complex. The recent abstract productions from opera MH1920 Music of the 1920’s subject of critical review termed houses in the U.S. and Europe. 3 hrs weekly/3 credits/Spring semester “Zappology”, Zappa was himself a famed social critic and politically This class surveys the music engaged artist. MH1913 The Life and Works of of Europe and the USA during Benjamin Britten this exciting. Turbulent and 3 hrs weekly/3 credits/Spring semester boldly creative decade – all the This new course will survey the many popular genres of this works of Benjamin Britten in the music: “concert,” “popular,” and context of his life and musical “experimental.” We look in depth activities, both as composer and at the music of such figures as: performer, during the tumultuous Gershwin and Bartok; Stravinsky

Return to Table of Contents 108 Course Description GRADUATE ELECTIVES (OPEN TO MH2610 Orchestral Music: Baroque practice among composers ALL GRADUATE STUDENTS WITH THE to Classical whose compositional and PROPER PREREQUISITES) 3 hrs weekly/3 credits/Fall semester philosophical outlooks were self- An advanced study of the consciously modernistic. th MH2001 20 Century German Opera evolution of the orchestra and 3 hrs weekly/3 credits/Spring semester of primary genres of orchestral MH3050 Research Methods An in-depth exploration of the music during the eighteenth and 3 hrs weekly/3 credits/Fall semester historical background, cultural nineteenth centuries. Designed primarily for doctoral milieu, and prevalent artistic students, this course is an intense trends surrounding German MH2620 Orchestral Music: introduction to the technique of and Austrian operas of the 20th Beethoven to the Present scholarly research: bibliography, century, starting with Strauss, 3 hrs weekly/3 credits/Spring semester style analysis and documentation; Schoenberg, and Berg, and ending literary style and form specifically A further investigation of the with Ligeti, Stockhausen, and applicable to the writing of a evolution of the orchestra and of Lachenmann. Composer and graduate thesis. librettist biographies, musical orchestral music during the 19th style, and literary resources and 20th Centuries. Enrollment is by permission of the will be studied in relation to instructor only. selected operas. MH2720 Mahler and His Contemporaries MUSICAL THEATRE 3 hrs weekly/3 credits/Spring semester MH2131 Performance Practice CURRICULUM 3 hrs weekly/3 credits/Fall semester An investigation of the music An investigation of performance of Mahler, Strauss, Schoenberg, MT0010-0011 Musical Theatre practices concentrating on Debussy, Scriabin, and other Performance Technique Baroque, Classic, and early 19th- composers active during I & II: (Freshman) century repertoire. Students are the period 1890–1910. The 2.5 hrs weekly/2 credits course examines late German required to perform as part of This class, designed for Freshmen Romanticism as one of several the class work. starting the four-year program styles leading to a new musical in musical theatre at Manhattan Prerequisite: Graduate standing or aesthetic in the 20th Century. permission of instructor. School of Music, will be an in- (Offered in alternate years) depth exploration of the skills MH2400 Beethoven, Brahms, and tools needed to effectively and Schubert MH2730 Verdi perform songs in Musical Theatre. Topics covered include: How to 2 hrs weekly/2 credits/Spring semester 3 hrs weekly/3 credits/Spring semester Learn a Song, Songs Structured, A study of selected operas of Verdi An exploration of the musical The Vocabulary of Professional within the context of relevant forces that contribute to the Song Performance, Researching political, social, and musical unique character of selected piano the History and Context of a trends of 19th-Century Italy. and string works of Beethoven, Song, Engaging with the Lyric Brahms, and Schubert. Attention Offered in alternate years. as a Monologue, Learning Music will be given to issues that Accurately, Music as Subtext, the impact interpretive decisions MH2810 Berlioz and Liszt: 19th Importance of Focus, Exploring in performance. Century Avant-Garde the Physical Life of a Song and Student performance is required. 3 hrs weekly/3 credits/Spring semester the Craft of Telling a Story Through Text and Song. An exploration of the avant- garde of the nineteenth century, attempting to identify a common

Return to Table of Contents Course Description 109 MT0200 Freshman Seminar also underline bringing SELF and Musical Theatre genres to be 1.5 hrs weekly/1 credit individual artistry to roles in the explored include : Traditional, This course serves to introduce musical theatre. This industry is Contemporary, Modern freshman to professional in search of originals, and each Contemporary Pop/Rock, and musical theatre in New York actor needs to find his/her unique non Musical Theatre genres City. Musical theatre industry voice in each role. ( including Pop, Disco, R&B, Country/Folk, Rock, etc. ) Other professionals including casting Students will work on three directors, agents, directors techniques : self ta- ping with scenes from the musical theatre guest instructor. The process of and choreographers will visit canon: The Golden Age, Stephen class, audition preparation will this class is designed to simulate Sondheim, Contemporary the pace and expectations of be examined, we will visit the (musicals written post 1990), and NYPL for the Performing Arts, the professional audition world. for the final, students will choose A pdf will be provided with the and discuss – vocal health and their own material, from any writing skills. list of suggested necessary song era, fully rehearsed and prepared categories for an audition book outside of class. MT0012-0013 Acting the Song I & II (Sophomore) Students will be required to MT0016 MT Lab (Senior) research each assigned show. 3 hrs weekly/3 credits 3 hrs weekly/3 credits Research will include full This course is designed to teach New Musical Theatre (NMT) Lab history of original creators is a performance-based course, in acting technique for singing and production of the show. a Musical Theatre song. The which students perform newly- Additionally, students will be written musical theatre pieces on Fall semester will focus on required to immerse themselves musicals from the 1930’s to 1959. a weekly basis. While traditional in the libretto of the musical, musical theatre education heavily Class work will emphasize the providing a comprehensive importance of the art of story- relies on “the canon”, the current picture of the given circumstances professional climate often asks of telling through song to dramatize of the scene. The former will a musical moment. We will go the performer to workshop and anchor the actor to show’s learn completely new material in chronological order, starting history, the latter will allow with songs and musicals from in a rapid timeframe and with for personal and textual little assistance. The goal of this the 30’s 40’s and 50’s, otherwise interpretation of the scene. know as the Traditional Golden seminar is to help prepare the Age Era. (Techniques to be students for the expectations MT0015 Audition explored include: intention ( they will be met with once they (Junior) what do I want?) obstacles (what’s Techniques embark on their professional in my way?) moment before, 3 hrs weekly/3 credits journey. This course demands that the students learn and memorize personalization, text analysis, This course prepares the student for new songs in a prompt manner, tactics, stakes, and musical cues.) professional musical theater auditions while making artistic choices by exploring musical theater genres, and decisions on their own. audition etiquette and comportment, MT0014 Scene into Song (Junior) Each performance is discussed and encouraging the student to find 3 hrs weekly/3 credits and critiqued by myself, and audition material that expresses their This course will focus on the occasionally by a guest artist from essence and individuality. acting of scene into song in the the industry. The songs included musical theatre. In addition to Course Description: This course in the course are handpicked focusing on the acting essentials is designed to prepare the student from projects written by the new of the libretto, this course will for a professional singing audition generation of writers, and have focus on the motivated transition and book preparation in all yet to be published or produced. of speaking into singing. We will genres of the musical theatre. Each student will receive their

Return to Table of Contents 110 Course Description 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, Scene Study and grow in length and difficulty group pieces. Devised Theatre is Repertory (Junior) throughout the semester, and essentially ensemble-work and 3 hrs weekly/3 credits the course culminates in large a major theme of the course will ensemble performances. be the techniques of partnering During our first semester (duos, trios and large groups). our focus will be on scene study, choosing material MT0001-0002-0003 Acting 1, 2 & 3 Students will create scenes, songs and movement. Writing will be from contemporary plays and (Freshman/Sophomore) portraying age-appropriate roles. 3 hrs weekly/3 credits an essential component of the course. Students will be writing in We’ll take a break for some Acting I, II, and III is a each class - "Devising" ideas will Shakespeare, and then continue progressive system of structured come out of their timed writing, scene study, expanding our scope exercises (which leads into reflections on the work they are to include a broad range of classic scene work) for developing doing in the class and ideas that dramatic literature. concentration and imagination, emerge out of group discussion. stimulating instincts and The course will culminate in MT0006 Acting 6, Scene Study and impulses, in order for the final group pieces, which will be Monologue (Junior) student to be able to create shown to the class, discussed and 3 hrs weekly/3 credits believable, authentic, embodied evaluated, then worked on again In the second semester we’ll behavior in relation to the for a second showing. imaginary circumstances they are move from scene work to involved with. Devised Theatre techniques monologues, with each actor are widely in use by noted selecting and preparing two This approach trains the actor to contemporary Off-Broadway contrasting monologues, which "live truthfully under imaginary ensembles such as Target Margin can be confidently presented circumstances," to discover Theater, SITI Company, Wooster at auditions. Each actor will personally meaningful points of Group and The Civilians. Many perform their audition pieces view with respect to the written, of the theater ensembles featured before a panel of professionals in or improvised, word and to in New York Public Theater's the last class. express spontaneous human "Under the Radar" Festival are reactions and authentic emotion Devised Theater companies. MT0007 Acting 7, Advanced with the utmost sense of truth. Even commercial Broadway Acting (Senior) productions use devised theater 3 hrs weekly/3 credits MT0004 Acting 4, Devised Theatre techniques in the creation of A scene work-based class with Practice (Sophmore) work (i.e., the movement in "The an emphasis on identifying and 2 hrs weekly/2 credits Curious Incident of the Dog in strengthening the individual the Night-Time" was created This course will be a hands- actor’s rehearsal and performance by Frantic Assembly-a Devised on dive into the experience process, leading the actor’s work Theatre company). Improvisation of creating a work of Devised toward characters pursuing techniques, team-building Theatre. Each class will begin personalized needs and objectives skills and the ability to create with a warm-up that will alternate while living moment to moment something from the blank canvas between technical exercises in imaginary given circumstances. is the foundation of our work (physical, vocal, etc.) and in this course. Aspiring musical investigatory (sensory awareness theater performers versed in the and concentration exercises).

Return to Table of Contents Course Description 111 MT0350-0351 Ensemble Voice discipline. Tap dancing relies on a Minstrel Shows, the Yiddish I & II (Freshman) fundamental knowledge of various Theatre, British Music Hall and 3 hrs weekly/1 credit rhythms and styles. The student American Operetta. This is a two-semester course in will learn basic tap steps, rhythms applied musicianship using the and choreography. MT1600 Career Development repertoire of musical ensembles, (We will also offer Tap as an (CME) (Juniors) including unisons, duets, trios, elective in spring) 2 hrs weekly/2 credits quartets and larger ensembles. It This course is designed to prepare also teaches the particular skills MT0100-0101 Ballet students for their professional sets necessary to be an effective (Sophomore/Senior) careers as musical theatre member of any ensemble, such 4.5 hrs weekly/2 credits performers. The class combines as tuning, phrasing and blending. hands on projects including Finally, it is also an historical Fundamentals of ballet technique concentrating on alignment, website building, personal budget survey of the genre, including management and professional listening to recordings of iconic strength, flexibility, rotation, and weight change.This class will networking with guest visits from performances. At the end of industry professionals. this course students will be consist of the practice of barre confident musicians and polished work, center floor work, traveling ensemble singers. patterns across the floor and MT0201 Introduction to Theatrical conditioning exercises. Design (Freshman) 2 hrs weekly/1 credit MT0550-0551 Music Theory (Freshman) MT0110-0113 Musical Theatre The Introduction to Technical 3 hrs weekly/3 credits Dance (Freshman/Junior) Theatre course is designed in 4.5 hrs weekly/2 credits five parts: Costume Design, Set A two-semester intensive study This course will focus on Jazz Design, Lighting Design, Sound of the fundamentals of music Design and Stage Management. theory, sight-singing and aural technique and fundamentals. Each class will begin with a Each segment is designed to skills. Students will learn music inform the student of the various notation, rhythms, all meters, key full warm up and an across the floor, emphasizing coordination roles involved in the creation of a signatures, and intervals, and will Theatrical Event. be introduced to chords and basic and style. Class will culminate harmonic theory. The emphasis of with choreography that will the class is building sight-singing vary in styles from Jazz and MT1507 Senior Showcase I fluency and confidence with a Contemporary to Theater Dance. 2 hrs weekly/1 credit focus on real-world applications. This class will provide a positive, Senior Showcase is the In the second semester, students supportive and encouraging culmination of four years of will learn techniques of score atmosphere for dancers to gain musical theatre training. In analysis as a means to more deeply confidence and grow as artists. the course faculty and students understand the composer's will create an end of year dramatic intentions. MT0500-0501 History of Musical production for presentation to Theatre (Sophomore) industry professionals. MT0120-0121 Tap 3 hrs weekly/3 credits (Sophomore/Senior) This course is designed to give MT1508 Senior Showcase II 4.5 hrs weekly/2 credits students an understanding of the 4 hrs weekly/3 credits Tap skills are introduced at the history of the American musical, Senior Showcase is the beginning level and advance starting with the various genres culmination of four years of to a solid understanding of the that influenced it: Gilbert & musical theatre training. In technique and the history of this Sullivan, Vaudeville, Burlesque, the course faculty and students

Return to Table of Contents 112 Course Description will create an end of year TH0001-0002 Music and encouraging atmosphere for production for presentation to Theory Core 1 & 2 dancers to gain confidence and industry professionals. 3 hrs weekly/3 credits grow as artists. All aspects of music theory MT0300-0301 Speech/Diction that would apply to a Musical Directing (Sophmores) Theatre performer will be This course provides an 3 hrs weekly/2 credits the objective of this course. opportunity for young directors Voice work: A development The course will consist of to develop and hone their talents of the vocal skills necessary for sight singing, ear training, through working on, observing, the actor's transformational advanced interval training, and and scrutinizing each other’s work instrument - (Alignment, advanced music theory. in an analytical yet safe and fun Breath Support, Open Channel, classroom setting. It also provides Resonance, Range, and ELECTIVES a beginning overview of the Articulation) and an introduction historical/artistic developments to phonetics (IPA) for MT2005 Acting for the Camera of the modern theatre, from the future dialect work. 3 hrs weekly/3 credits Golden-Age to the present, as well as a critical understanding MT4000 Private Voice Acting for Camera of how to collaborate, through 1 hr weekly/1 credit per semester Fall research and in conversations, with professional directors, Private instruction in proper vocal MT Dance Styles casting directors, production performance technique, including Fall management teams, and publicity proper execution, diction and departments currently working interpretation, performance Musical Theatre Dance Styles in the New York and regional skills, repertoire selection Fall theatre scenes. and stylization. Musical Theatre Dance Styles will Private voice lessons are critical give the student the opportunity MT Dance Styles for the technical and interpretive to explore and delve into the Spring development of the professional many styles of dance currently singer. Your Voice Faculty being performed in the world of Tap emphasizes healthy practice commercial theater. This course Spring techniques that preserve vocal will heavily focus on technique, health and develop technical ability to pick up choreography Crafting A Performance For The flexibility and vocal longevity. quickly, and performance. Each Professional Actor from the Text Each private voice instructor class will begin with a warm up (Junior/Senior) tailors her/his lessons to the and stretch followed by a short Spring specific needs, level, and voice- across the floor, emphasizing Crafting and creating an arc type of the individual student. coordination and style. Dancers of a role in a play or musical In the conservatory structure, will then have the opportunity to is a skill every actor needs for lessons may follow the needs of a learn original choreography that productions and auditions. To timeline regarding preparation of will vary in styles from the vast strengthen this skill in the first materials and mastery of skills to repertoire of current and former half of the semester, students aid the student in developing their Broadway Musicals. Emphasis will explore scene work from an technique to meet the demands will be placed on interpreting the Anton Chekhov play and in the of their numerous performance choreography with respect to the second half from a Contemporary classes and performance choreographer’s intent. This class play. Throughout the student opportunities while at MSM. will provide a positive, supportive will practice exercises on their

Return to Table of Contents Course Description 113 feet that help excavate the text: technique and the history of this either a string or combined freeing their instrument while discipline. Tap dancing relies on a brass, woodwind, and percussion bringing their character to life to fundamental knowledge of various orchestral reading conducted by a tell the story. Each student will be rhythms and styles. The student distinguished conductor. working every class. will learn basic tap steps, rhythms and choreography. Concentrating on one of Chekov’s ME1600 Orchestral plays (Uncle Vanya or The Three Entrepreneurship Sisters), students will choose ORCHESTRAL 2 hrs weekly/2 credits/Fall semester one character to fully explore PERFORMANCE The course is designed to equip and work on 2 or 3 of the scenes orchestral students with the Major Lesson/Repertoire Coaching: in chronological order for their knowledge and perspective 1 hour weekly/5 credits per semester. chosen character. As a midterm needed to succeed as professional project, the students will choose orchestral players in a changing OP2251 The Musician as Educator one of the Chekhov scenes they industry. The class covers 2 hrs twice weekly/1 credit have worked on and devise a essential organizational, financial, different time and place from the Required of all first-year and programmatic issues past, present or future, playing Orchestral Performance affecting orchestras and their the scene with those given students; open to all orchestral entrepreneurial possibilities circumstances and world. The graduate students for the future. Includes guest second half of the semester’s speakers from the League of Students in this course receive work on a Contemporary play will American Orchestras, American training on how to become compliment the first half. Federation of Musicians effective artist-educators as part Symphonic Services Division (the of the Manhattan School of Music Union), and others. Rock the Song Arts-in-Education Program. Spring Students will be exposed to a Note: The course is designed for In today’s theatre industry, 68% of variety of pedagogical methods graduate students in the Orchestral musicals on Broadway are written and materials as they prepare and Performance program and is also in the style of Popular Music deliver educational presentations available to others with permission (also known as “Pop/Rock”). in New York City public from the instructor. This class studies the eight main elementary and middle schools. genres of popular music currently ORGAN represented on Broadway and OP2351-2352, OP2451-2452 creates a safe space for students to Major Lesson: Orchestral Repertoire Coaching 1 hr weekly/5–6 credits per semester. study and explore these genres by 2 hrs three times a month/1 building a repertoire of audition credit per semester cuts in each style, learning how OR2001-2002 Organ to physically, emotionally AND A four semester sequence Performance Class vocally embody the time period, of coaching sessions on the 1 hr weekly/1 credit per semester ensemble techniques of orchestral as well as developing the skills of A master class providing performance as applied to a two- proper communication of FEEL performance opportunity. with the pianist. year survey of the major works of the symphonic repertoire. Required of all Organ majors. Each semester students Tap perform in at least six sectional Spring instrument coachings; three Tap skills are introduced at the brass or woodwind rehearsals beginning level and advance conducted by a specialist; and, to a solid understanding of the at the end of the semester, in

Return to Table of Contents 114 Course Description OR2311-2312 Organ Improvisation 2 hrs weekly/1 credits per semester PERCUSSION PERFORMANCE Major Lesson: A comprehensive review of 1 hr weekly/3–6 credits per semester. LARGE PERFORMING ENSEMBLES 16th-century counterpoint. Students learn to improvise in Each student has a primary JP1500 Jazz Large Ensemble three voices, first through fifth teacher, who acts as an advisor during the student’s degree Study and performance of jazz species on a given cantus firmus in the big band style. Both and continuing to canons in three program. All students work with a variety of faculty traditional and contemporary voices, the passagio style, the idioms are explored. French classic and a survey of the members in the department. All students participate in the Entrance based on special easier chorale preludes and two- departmental audition. part inventions of Bach. Chris Lamb Seminar as a part of Major Lessons. As Assigned OR2410-2411 Organ JP1231-1232, JP1241- Service Playing PK0451-0452 Percussion Lab 2 hrs weekly/1 credit per semester 1242 Jazz Combos 2 hrs weekly/1 credits per semester An ongoing exploration of 2 hrs weekly The course in Service Playing all aspects of percussion focuses on practical skills Provides the experience of performance, including important for church musicians, playing jazz in small groups orchestral percussion, timpani, in particular hymn-playing from Dixieland through marimba, solo playing, world and choral accompaniment. contemporary styles. Variable percussion, stick making, Topics covered include hymn instrumentation. One concert and instrument maintenance. introductions, harmonization, is given in school each semester Features presentations by and interludes; Gregorian chant; and outside appearances are guest artists as well as faculty, issues in 20th-century hymns; made. Entrance based on special and includes opportunities for spirituals and Gospel hymns; departmental audition. student performance. ballad-style hymns; anthem accompaniment; arranging piano Required of all undergraduate LP1351-1352 Manhattan and orchestral reductions for Percussion majors Symphony Orchestra the organ; and issues in continuo playing. In addition, the course PK2451-2452 Graduate LP1361-1362 Manhattan will develop skills in registration, Percussion Lab Philharmonia Orchestra console management, and special 2 hrs weekly/2 credits per semester techniques in organ playing. OP1371-1372 Chamber Sinfonia An ongoing exploration of all aspects of percussion SP1371-1372 Chamber Sinfonia OR2931-2932 Choral Repertoire performance, including 9 hrs weekly/Guest Conductors 2 hrs weekly/2 credits per semester orchestral percussion, timpani, An in-depth study of sacred marimba, solo playing, world Readings, rehearsal and choral literature; conducting percussion, stick making, performance of contemporary practicum including conducting and instrument maintenance. and standard orchestral literature. from the console and Features presentations by An active program of concerts and accompanying at the organ. guest artists as well as faculty, opera performances is scheduled and includes opportunities for throughout the school year. student performance. Concerts outside of school are occasionally presented. Several Required of all graduate rehearsals are taken each semester Percussion majors by guest conductors. Required of

Return to Table of Contents Course Description 115 all String majors. For Winds and and development of study and VX0800 Undergraduate Percussion, entrance is based on vocal techniques. Performance Opera Theater orchestral placement audition. of scenes from contemporary 3 hrs weekly plus rehearsals/1 credit opera; possible collaborations This course explores the art of LP1851-1852 Opera Theater with student composers performing from beginning acting 15 hrs weekly and conductors. exercises and songs through The Manhattan School of Music monologues, opera scenes, Opera Theater produces two fully VOCAL PERFORMANCE CLASSES and role studies. Enrollment staged operas with orchestra, one includes participation in the scenes program, two educational VX0050 Symphonic Chorus accompanying opera seminar. outreach programs and one Exploration and performance contemporary opera workshop of great choral literature from VOCAL CHAMBER ENSEMBLES each academic year. Placement in Baroque to modern. Concert the Opera Theater is based upon performances of large works CM1070 Russian auditions heard each September for chorus and orchestra as Romances and Ballads and December. Students well as smaller pieces from the 2 hrs weekly returning the following year may choral repertoire. Students in A performance class of the great complete a preliminary audition Symphonic Chorus may also Russian song literature, with in May. All graduate, Professional be invited to join the Chamber an emphasis on the romances Studies and Doctoral students are Chorus. The Choral program and ballads of Tchaikovsky strongly encouraged to audition provides opportunities for and Rachmaninov plus works each semester. At the Opera student soloists. Concert venues by Glinka, Rimsky-Korsakov Theater auditions, students will have included Weill Recital Hall at and songs of Shostakovich also be considered for placement Carnegie Hall and the Cathedral and Prokofiev. A fundamental in Dona D. Vaughn’s Opera of St. John the Divine, as well as knowledge of the Russian Wo r kshops and Lab. Borden Auditorium at MSM. alphabet will be presented so Required for first- and second-year that the student will never LP1861-1862 Opera Workshop undergraduate students majoring in again have to rely on confusing 4 hrs weekly Voice, Piano, Guitar and Composition transliterations. An acting class in which the individual singer learns a practical VX0100 First-Year CM1071 Songs of the and comprehensive technique Performance Class Romantic Period for both song interpretation and 1.5 hr weekly/0.5 credit 2 hrs weekly opera repertoire. Designed as a supportive forum This is a performance class for first-year, undergraduate Voice focusing on German and French LP1870 Contemporary majors to perform in front of songs for solo voice and piano. Opera Ensemble a peer audience. Songs in other languages, 4 hrs weekly however, are also welcome. Explore contemporary opera, VX0200 Second-Year Rehearsal techniques, diction, from Janacek and Britten to living Performance Class style, and ensemble issues will composers. Develop and practice 2 hr weekly/1 credit be presented in a way to prepare both singer and pianist for future specific techniques for learning Designed as a supportive forum professional collaboration. and studying non-diatonic music for second-year, undergraduate with instructor, guest composers Voice majors to perform in front and singers. Performance of of a peer audience. arias and duets. In the spring semester, Continue exploration

Return to Table of Contents 116 Course Description SP1070C2 Baroque Aria Ensemble SP1070M2 Revealing the Actor will work with a varied repertoire 3 hrs weekly Singer Within including Opera, Musical Theater The Baroque Aria Ensemble 2 hrs weekly and Cabaret and will also be offers instrumentalists and The aim of this class is to help “auditioning” for professionals in vocalists a unique opportunity the singer integrate both music various venues. to work together, exploring 18th and drama, through imagination, century opera, cantata, oratorio, creative preparation, and the INSTRUMENTAL concerto and chamber music transformation of nervous or CHAMBER ENSEMBLES repertoire. In addition to vocal fearful energy into purposeful, and instrumental coaching, Dr. passionate, and potent SP1500 Chamber Music Cooper provides instruction in performing energies. “Revealing 1 hr/week coachings of the chamber diction and acting, guidance in the Actor Singer Within” is the music literature with members of performance practices of the pathway to embracing constant the Chamber Music faculty Baroque and Classical styles, and growth, eternal questioning, and Students are ASSIGNED to improvisation, ornamentation abundant confidence, moment chamber groups by the Director and ensemble skills in preparation to moment in a flourishing of Chamber Music together with for professional work in this singing-acting career. the Chairs of each department. field. By audition. Auditions are held in the Fall. For A fall orientation meeting is Graduate Students required and a final performance SP1070H1 Vocal comprises a portion of the grade. Performance Class SP1070M3 Opera 2 hrs weekly Repertory Ensemble SP1070H2 Contemporary The Vocal Performance class A weekly meeting of Ensemble: TACTUS is a master class designed to accompanying majors which 4 hrs weekly enhance performance skills and will explore accompanying and TACTUS is dedicated to being communication through music, vocal and instrumental coaching aware and involved in the acting and stage movement techniques, emphasizing the current creativity happening in principles. The Alexander interaction between partners and contemporary music. Emphasis Technique is also applied. the musical style and performance is placed on working with living Opera arias and song repertoire problems in a wide range of composers. Four concerts per will be performed. instrumental and vocal repertory. year are presented as well as a February double feature. Previous Open to graduate students. By audition. seasons have included works by Luciano Berio, Steve Reich, Louis SP1071M1 Musical Theater Lab SP1070R2 Preparing the Exit Andriessen, Chen Yi, David Lang, 2 hrs weekly Fall semester 2 hrs weekly Lou Harrison, Nils Vigeland, The main goals of Musical This course will challenge the David Noon, Kaija Saariaho, Theater Lab are that students artist to create the ten-minute Frederick Rzewski, Gyorgy Ligeti, learn solid musical theater performance that may lead and many others. technique build their musical to a three-hour professional theater repertory. There is a small engagement. Today’s artist studio performance at the end SP1071H2 Percussion Ensemble must be prepared not only to 2 hrs weekly of the semester. show their expertise, control, By audition. consistency and dependability, but An advanced ensemble which also an inspired, exciting, unique, presents at least two concerts courageous and memorable during the school year, and public experience for the listener. We performances as arranged.

Return to Table of Contents Course Description 117 Required of all Percussion majors. PN0151-0152 Keyboard Skills individual’s expanding musical, 2 hrs weekly/2 credits per semester technical and critical knowledge SP1070L1 Percussion Lab Development of keyboard skills of the great piano compositions. 3 hrs weekly/1 credit per semester through the study of score Percussion Faculty reading, transposition, and the PN0421-0422 Piano Pedagogy Required of all undergraduate realization of figured bass. 2 hrs weekly/2 credits per semester Percussion majors. For freshmen Prerequisite for PN0151: PN0142 A practical approach to teaching and sophomores, the credit and TH0002 or the equivalent. techniques focusing on beginner for Percussion Lab is part Prerequisite for PN0152: PN0151 through late intermediate of Chamber Music SPI500. or the equivalent. (Keyboard levels. The course includes an A full spectrum approach to Sight-Reading Jury examination exploration of method books and the literature for percussion required upon completion of literature available, readings and through sectionals, orchestral PN0151 and PN0152.) discussion of historical pedagogy, repertoire sessions for percussion and a teaching practicum. and timpani, western and non- PN0251-0252 Keyboard Skills Prerequisite: Junior Standing. western instrument work-shops, 1 hr weekly/1 credit per semester lecture demonstrations by visiting artists, and intensive Further development of the skills KEYBOARD COURSES REQUIRED FOR student participation in studied in PN0152 including the GRADUATE PIANO MAJORS class performance. reading of full orchestral scores, instrumental transpositions, and PN0861-0862 Graduate reading from continuo scores. Keyboard Skills PIANO Prerequisite for PN0251: PN0152 2 hrs weekly/1 credit per semester Major Lesson: and TH0003 or the equivalent. Graduate Keyboard Skills 1 hr weekly/3–6 credits per semester Prerequisite for PN0252: PN0251 develops practical performance or the equivalent. (Keyboard skills such as score reading, KEYBOARD HARMONY COURSES Sight-Reading Jury examination transposition, and figured bass. REQUIRED FOR UNDERGRADUATE required upon completion of Requirements: Piano and piano PIANO MAJORS PN0251 and PN0252.) accompanying majors only. PN0141-0142 Keyboard PN0411-0412 Piano Literature ELECTIVE COURSES OPEN TO BOTH Sight-Reading 2 hrs weekly/2 credits per semester UNDERGRADUATES AND GRADUATES 1 hr weekly/1 credit per semester A survey designed to explore Techniques of reading at cross-sections of the piano PN1151-1152 Harpsichord for sight solo keyboard literature. repertoire, emphasizing traditions Pianists and Organists Performance of all major/ of interpretation. Recorded 2 hrs weekly/2 credits per semester minor scales and basic chord examples from the “Golden Age” progressions in all keys. pianists (Hofmann, Lhevinne, An introduction to harpsichord Rachmaninoff) through the playing. The technique and Preparation for Keyboard Skills recognized founders of the musical resources of the PN0151. (Keyboard Sight-Reading Modern School of performance instrument, its literature and its Jury examination required upon (Schnabel, Michelangeli, relation to other instruments. completion PN0141 and PN0142.) Gieseking) are played and Students play representative discussed in class. Each class pieces illustrating the stylistic session is focused on the problems involved in keyboard music of the 16th, 17th, and 18th Centuries. This course is

Return to Table of Contents 118 Course Description open to pianists, organists, and learning how to get the most virginal music of the 17th others (with the permission out of the harpsichord. There century to the piano works of of the teacher). will be opportunities to work Weber and Clementi. and perform with singers and PN1220 Aria Accompanying instrumentalists. PN2022 Piano Literature: The for Pianists 19th Century 2 hrs weekly/2 credits/Spring semester PN1720 Bach for Pianists 2 hrs weekly/2 credits per semester 2 hrs weekly/3 credits per semester Accompaniments for operatic This class is a survey of the arias will be studied through A one semester, comprehensive, literature of keyboard and piano discussion and performance with intensive exploration of J.S. Bach’s music. We will become familiar the practical goal of enabling works that are programmable by with a few examples of major the participants to function pianists, divided into repertoire works in its literature, as well competently and comfortably in survey (Weds.) and practice as trace the musical and social studio, rehearsal, and audition (Fri. in Mikowsky Hall); open to developments of the piano venues. Pianists will be expected graduate students and qualified in the Nineteenth Century, to sing for each other and to sing undergraduates. from Mendelssohn to Janácek, while playing, as well as learn how Albéniz and Granados. to prompt and sing cues. Skills PN1900 The American Avant Garde: of sight-reading, lyric diction, A Pianistic Evolution PN2031 Piano Literature coaching, operatic accompanying, 2 hrs weekly/2 credits/Spring semester 2 hrs weekly/2 credits/Both semesters recitative playing, and piano “orchestration” will be discussed. A two-hour immersion into the A survey of the keyboard concerto piano music of Barber, Carter, from the late Baroque through the Copland, Ives, Persichetti early 20th century. PN1300 Organ for Pianists and others. The class will Student performances are encouraged. 2 hrs weekly/1 credit per semester primarily examine works from This course is designed for 1920-1980, focusing on the pianists who desire to learn the development of the American PN2032 Piano Literature basic skills of the organ, focusing piano sonata. Discussions and 2 hrs weekly/2 credits/Both semesters on service playing for religious lectures will explore the origins A survey of the most significant services. Students learn pedal and and development of this gritty, repertoire for solo piano from manual technique, registration, powerful style, as well as the uses the late 19th century through the beginning organ performance, and of jazz, folk music, and expressive 20th century, including works hymn playing. Organ shoes are twelve-tone techniques. involving electronics. required for this course. Student performances are required. PN2021 Keyboard Literature: PN1600 Baroque Accompaniment Renaissance to Classical PN2051-2052 Sight- 2 hrs weekly/2 credits/Spring semester 2 hrs weekly/2 credits per semester Reading Pedagogy This course teaches the basic This class is a survey of the 2 hrs weekly/2 credits per semester skills needed to accompany vocal literature of keyboard and piano A class designed to help and instrumental chamber music music. We will become familiar keyboardists develop and in a stylistically appropriate with some of the major works in improve skills in sight- manner on the harpsichord. its literature as wel as trace the reading and techniques for Students will learn how to musical and social developments teaching sight-reading. Non- apply figured bass realization, of the piano, from the English sequential semesters. embellishment and improvisation to various 17th and 18th Prerequisite: Graduate standing or century ensemble works, while permission of the instructor.

Return to Table of Contents Course Description 119 PN2310 Historical Recordings of interpretative strategies, extended Co-requisite: TH0001 or the Great Pianists techniques, and the incorporation the equivalent. 2 hrs weekly/2 credits per semester of multi-media in 20th and 21st The objective of the class is to century piano music. In-class RP0211-0212 Required Piano trace the musical genealogy of performances and coaching 1 hr weekly/1 credit per semester the great pianists of the late 19th will facilitate discussion of related aesthetic issues, creative Group Instruction. Technical and early 20th centuries and to skills include major and minor explore various interpretive styles programming strategies, and skills relating to audience development. scales; chord progressions; triads by studying their recordings. and inversions; harmonization; Carefully studying – and not transposition and sight-reading. only listening to – the recordings PN2500 The Beauty and The level of sight-reading is from the “Golden Age of the Wit of American Song equivalent to repertoire from Piano,” as performed by pianists (Performance Class) the text Essential Keyboard who knew or studied with Liszt, 2 hrs weekly/2 credits/Spring semester Repertoire, Vol. I, ed. Lynn Brahms, Debussy, or Ravel, we Freeman Olson. will explore a manner of playing See VX2500 that has virtually disappeared A final performance jury at the end from today’s concert halls. In PN2701 French Art Song for of each semester is required upon comparing performances between Vocalists and Pianists completion of the course. pianists from disparate times and 2 hrs weekly/2 credits/Spring semester RP0350 Piano Minor locations, we will become aware of See VX2701. a diversity of musical styles. 30-minute private lesson per week/2 credits per semester REQUIRED PIANO PN2400 Beethoven, Undergraduate All students not majoring in Brahms, Schubert Composition majors only. Piano, Accompanying, Organ 2 hrs weekly/2 credits/Spring semester or Guitar must take Required A performance jury is required upon An exploration of the musical Piano. A qualifying examination completion of the course. forces which contribute to the including technical skills, unique character of each work and transposition, harmonization and RP0121-0122 Required Piano for to its unity. Specific areas of focus: sight-reading may be taken for Graduate Students pace and tension, intensification, exemption from this requirement. 1 hr weekly/1 credit per semester climax, relaxation, rubato, inner Group Instruction for classical pulse and tempo, forces of motion RP0111-0112 Required Piano graduate non-piano majors. and rest, agogics. 1 hr weekly/1 credit per semester Technical skills include Prerequisite: Graduate standing or Group instruction. Technical scales, chord progressions, permission from the instructor. skills include penta-scales, harmonization, transposition scales, chord progressions, and sight reading. Students will PN2450 The 21st-Century harmonization, transposition and learn repertoire and perform it Pianist: Exploring Performance sight-reading. The level of sight- throughout the semester. A final Strategies and Techniques in reading is equivalent to repertoire performance jury at the end of Contemporary Music from the texts Piano for the each semester is required upon 3 hrs weekly/3 credits/Fall semester Developing Musician I, Ed. Hilley completion of the course. and Olson.A final performance A seminar/master class format jury at the end of each semester providing the context for the is required upon completion exploration of contemporary of the course. performance practices,

Return to Table of Contents 120 Course Description RP1360 Piano Elective AS0111R-AS0112R Elementary AS0101-AS0102 Freshman Aural 30-minute private lesson per week/1 Freshman Aural Skills 1-2 Skills for Voice Majors 1-2 credits per semester 3 hrs weekly/2 credits per semester 2 hrs weekly/2 credits per semester Open to all students This course is an introductory This course will cover the same approach to ear training, sight- Participation in a studio material as AS0111/AS0112 (see singing, rhythm, and dictation. performance class is required above) with approaches designed for It will cover the same material upon completion of the semester. voice students. as AS0111/AS0112 (see below) Prerequisite: Completion of Required at a pace designed for students AS0211-AS0212 Sophomore Piano 0212 or equivalent. needing preparatory work in Aural Skills 1-2 college-level aural skills. 2 hrs weekly/2 credits per semester STRINGS This course is a continuation AS0111-AS0112 Freshman ST0051-0052, ST2051-2052 of studies in ear training, sight- Aural Skills 1-2 Orchestral Repertoire for Violin singing, rhythm, and dictation 2 hrs weekly/2 credits per semester from the freshman year. It focuses ST0061-0062, ST2061-2062 This course focuses on studies on advanced tonal chromaticism Orchestral Repertoire for Viola in ear training, sight-singing, and modulation through 20th rhythm, and dictation. It Century techniques including ST0071-0072, ST2071-2072 includes the writing, singing, and atonal melody, alternative scales, Orchestral Repertoire recognition of intervals, scale and complex rhythmic and for Violoncello degrees, melodies, chords, and harmonic structures. harmonic structures ranging ST0081-0082, ST2081- from diatonicism through simple AS0201-AS0202 Sophomore Aural chromaticism (both melodic 2082 Orchestral Repertoire Skills for Voice Majors 1-2 and harmonic) and modulation. 2 hrs weekly/2 credits per semester for Double Bass Special emphasis is placed on 2 hrs weekly/2 credits per semester conducting and form recognition. This course is a continuation The study of significant of studies in ear training, sight- singing, rhythm, and dictation works from the symphonic AS0101R-AS0102R Elementary repertoire, stressing stylistic for voice majors from the Freshman Aural Skills for freshman year. It focuses on approaches as well as traditional Voice Majors 1-2 orchestral techniques. advanced tonal chromaticism 3 hrs weekly/2 credits per semester and modulation through 20th This course is an introductory Century techniques including MUSIC THEORY/ approach to studies in ear atonal melody, alternative scales, AURAL SKILLS training, sight-singing, rhythm, and complex rhythmic and and dictation for voice majors. harmonic structures. UNDERGRADUATE CORE It will cover the same material as The undergraduate Aural Skills AS0111/AS0112 (see above) at a AURAL SKILLS GRADUATE CORE core curriculum is a four-semester pace designed for voice students The graduate Aural Skills core sequence of courses with special needing preparatory work in college- curriculum is a three-semester emphasis on the interrelation level aural skills. sequence of courses with special with Music Theory. emphasis on the interrelation with Music Theory.

Return to Table of Contents Course Description 121 AS0861 Graduate Aural Skills 1 voice majors. It focuses on at a pace designed for students 2.5 hrs weekly/2 credits advanced tonal chromaticism needing preparatory work in This course focuses on studies and modulation through 20th college-level theory. in ear training, sight-singing, Century techniques including rhythm, and dictation. It atonal melody, alternative scales, TH0002 Freshman Theory 2 includes the writing, singing, and and complex rhythmic and 4 hrs weekly/4 credits harmonic structures. recognition of intervals, scale This course stresses an degrees, melodies, chords, and understanding of Common harmonic structures ranging WRITTEN THEORY Practice diatonic and chromatic from diatonicism through simple UNDERGRADUATE CORE harmonic procedures and chromaticism (both melodic The undergraduate Theory core four-part writing, including an and harmonic) and modulation. curriculum is a four-semester introduction to formal analysis. Special emphasis is placed on sequence of courses devoted to conducting and form recognition. various analytic approaches to TH0003 Sophomore Theory 1 music of the Middle Ages through 3 hrs weekly/3 credits AS0862 Graduate Aural Skills 2 the 20th Century with special As a continuation of TH0002, 2.5 hrs weekly/2 credits per semester emphasis on the interrelation with this course examines examples Music History and Humanities This course is a continuation from Baroque counterpoint and on performance practice. of studies in ear training, sight- to the harmonic language of singing, rhythm, and dictation the late 19th century. Detailed from AS0870. It focuses on TH0001R Elementary analysis of representatives works, advanced tonal chromaticism Freshman Theory 1 genres, and forms (fugue, sonata and modulation through 20th 4 hrs weekly/3 credits form, character piece, Lied) Century techniques including will be undertaken. atonal melody, alternative scales, The course will cover the same and complex rhythmic and material as TH0001 (see below) harmonic structures. including theory rudiments at TH0004 Sophomore Theory 2 a pace designed for students 3 hrs weekly/3 credits needing preparatory work in This course is a study of the AS0881 Graduate Aural Skills for college-level theory. Voice Majors 1 melodic, harmonic, rhythmic, 2.5 hrs weekly/2 credits contrapuntal, and formal TH0001 Freshman Theory 1 innovations of the 20th Century This course focuses on 4 hrs weekly/4 credits beginning with Late Romanticism studies in ear training, sight- This course provides a systematic and Impressionism and moving singing, rhythm, and dictation introduction to the musical through recent developments. for voice majors. characteristics of Medieval Detailed analysis of representative It will cover the same material as and Renaissance Music. The works will be undertaken. AS0870 (see above) with approaches class involves writing (species designed for voice students. counterpoint) and analysis of GRADUATE THEORY CORE musical examples by a wide The graduate theory core range of composers. AS0882 Graduate Aural Skills for curriculum is a two-semester Voice Majors 2 sequence of courses devoted to 2.5 hrs weekly/2 credits per semester TH0002R Elementary various analytical approaches This course is a continuation Freshman Theory 2 focusing on the Middle Ages, of studies in ear training, 4 hrs weekly/3 credits Renaissance, Baroque, Classical, Romantic, and 20th century sight-singing, rhythm, and This course will cover the same dictation from AS0890 for material as TH0002 (see below)

Return to Table of Contents 122 Course Description with special emphasis on a TH2060 Harmonic Science, Stravinsky. The second semester systematic approach and on Harmonic Practice begins with Bartók and moves performance practice. 2 hrs weekly/2 credits/Spring semester through the nationalist traditions A class for students who have to post-war developments. TH0800 Graduate Theory 1 enjoyed the study of harmony Performance is a required part of 2.5 hrs weekly/2 credits in their undergraduate curricula class assignments. This course is a review of the and want to learn more about evolution of tonal, rhythmic, and the subject. The course examines TH2171-TH2172 Theory formal principles of composition both (1) the rationales behind Pedagogy 1/2 from Medieval music to music of various theories of harmony and 2 hrs weekly/2 credits per semester the 20th century. also (2) harmonic practice itself in the works of 17th, 18th and 19th This course is a study of century composers. principles, methods, and materials TH2883 Graduate Theory 2 in the teaching of music theory 2.5 hrs weekly/2 credits Course Prerequisite: Freshman on the adult level. It requires Theory (TH0002). This course is a review of observation and practice teaching. the evolution of textural, instrumental, and formal TH2131 Beethoven Piano Sonatas TH2240 Italian Voices principles of composition from 2 hrs weekly/2 credits 2 hrs weekly/2 credits/Fall semester Medieval music to music of This course focuses on the Focusing exclusively on Italian the 20th century. analysis of representative piano vocal music, this course will sonatas from each period, explore how the diverse Italian THEORY ELECTIVES with particular attention musical tradition changed, to performance problems, and developed throughout the TH2001-TH2002 Advanced including tempo, dynamic centuries, from the Renaissance Ear-Training 1-2 range, use of pedal, innovative to the present. The course will 2 hrs weekly/2 credits per semester effects, and Beethoven’s striking show how the inevitable changes use of harmony. This course is an advanced in the style did not prevent the study in ear-training and sight- Student performance is encouraged. Italian music to keep certain reading. It includes techniques constant elements. These specific for hearing and performing in TH2132 Beethoven String Quartets elements allow the listeners to chromatic and atonal idioms, as 2 hrs weekly/2 credits find a peculiar quality, in the well as strengthening sight- and Italian Renaissance, and Baroque This course focuses on the polyphony, in the Classical score reading and ensemble analysis of representative string skills in all styles. and Romantic Italian Opera, quartets, with particular attention until the eclectic approach to the evolution of musical form to vocal writing in the Italian TH2011-TH2012 Ear-Training as well as musical sources and contemporary music. Pedagogy 1-2 influences. Class performances 2 hrs weekly/2 credits per semester will highlight specific musical aspects. TH2350 Musical Styles This course is a study of 2 hrs weekly/2 credits principles, methods, and materials This course is an investigation in the teaching of aural skills TH2161-TH2162 20th into the elements that distinguish on the adult level. It requires Century Music 1/2 Baroque, Classical and Romantic observation and practice teaching. 2 hrs weekly/2 credits per semester styles as well as an examination The fall semester concentrates of the idiosyncrasies of personal on the music of four composers: style within each of these musical Debussy, Ives, Schoenberg, and

Return to Table of Contents Course Description 123 periods. It also includes a survey the Goldberg Bass, and other and examples of recent writing in of non-Western styles and a short works of J.S. Bach. Class these disciplines are evaluated. discussion of related philosophies. participation includes in-class Throughout, students study performances, the composing the relation of these various TH2630 Counterpoint of short pieces after these texts to the art of music: from 2 hrs weekly/2 credits works, and a Mid-Term and Beethoven to the Beatles, Wagner Final Examination. to Gershwin, Stravinsky to Hip- This course is a survey of Hop, Mozart to the composers of polyphonic techniques of the contemporary film scores. Renaissance and the Baroque TH2807 Development of the periods, as well as more Concert Mass and Cantata recent applications. Analysis 2 hrs weekly/2 credits/Spring semester PT1050 Arts and Education Training 2 hrs weekly/2 credits/Spring semester and composition are integral This course is an in-depth parts of the course. examination of two towering Open to undergraduate and masterpieces of J.S. Bach: The graduate students of all majors, TH2691-TH2692 Orchestration 1/2 Mass in B Minor and the St. this course provides training 2 hrs weekly/2 credits per semester Matthew Passion. After the for students interested in mid-term, masses and oratorios becoming teaching artists or This course focuses on the study throughout the Nineteenth and music teachers. Students enrolled of instrumentation, arranging, Twentieth centuries are studied in this course will observe, and scoring for instrumental which follow in the shadow of compare and evaluate music ensembles and orchestra. Fall these great works. Among these education programs in New semester: Woodwinds and brass are Haydn’s “The Creation,” the Yo r k City schools. Spring semester: Strings, harp, Berlioz and Verdi Requiems, timpani, full orchestra. Britten’s War Requiem, and the PT1200 Community Outreach Bernstein Mass. for Musicians TH2701-TH2702 Creative 2 hrs weekly/1 credit/Spring Semester Spirituality 1/2 2 hrs weekly/2 credits per semester SKILL STUDIES Students in this course will PT0100 Foundations of learn how to create and present This course includes lecture- effective, interactive, and demonstrations exploring the Critical Inquiry 3 hrs weekly/3 credits meaningful performances for relation of music to mythology underserved outreach audiences. and ritual, from ancient to This course investigates these Lectures will focus on music modern, from Eastern to Western. inter-related questions: What is and the brain, memory, and Performance is an integral true criticism--in art and in life? healing. Guest speakers will part of the course. Topics will What makes a person an honest include experts in the field of range from Gregorian chant to and valuable critic? And what can gerontology, Alzheimer’s Disease, Tibetan mystic song. interfere with a person being an developmental disabilities, accurate judge of value? Classic and music therapy. Students TH2740 Bach and Variation Through texts are studied, including will perform at various local Counterpoint Pope’s 1711 Essay on Criticism, community venues including 2 hrs weekly/2 credits/Fall semester Siegel’s 1922 essay The Scientific hospitals, senior residences, and Criticism, and Six Names of Alzheimer’s facilities. This course examines in depth Beauty by Sartwell (2004). The three late esoteric works of J.S. varying perspectives on criticism This is an elective course open to Bach: The Goldberg Variations, had by different disciplines-- undergraduates and graduates. A Musical Offering, and Art of including economics, psychology, the Fugue. Additional works will and anthropology--are considered, include the Fourteen Canons on

Return to Table of Contents 124 Course Description PT1430-1431 Cello Pedagogy while performing. Short for developing peak performance. 2 hrs weekly/2 credits each semester individual sessions in addition Advanced repertoire A graded study of teaching to group class. will be explored. techniques and repertoire Open to undergraduate and graduate Open to graduate and undergraduate from beginning to advanced students of all majors. students of all majors. Non- playing levels. sequential semesters. Full year course. PT1622 Advanced Alexander Technique PT2101 Fundamentals of PT1500 Curricular 1 hr weekly/1 credit per semester Music Education Practical Training A small group class focused on 2 hrs weekly/2 credits/Fall semester .5 credits per semester the application of the Alexander Students in this course will This course is designed to Technique to making music. be introduced to the basic allow a student to participate Frequent playing opportunities, fundamentals of teaching music in in exceptional, off-campus reading, hands-on work. Frequent a children’s classroom setting. The performance experiences short individual sessions in course will cover: lesson planning such as orchestral/chamber addition to group class. and curriculum development for a general music classroom; the music, solo concerts, church Open to undergraduate and graduate methodologies of Kodaly, Orff, accompanying, music teaching, student of all majors. and internships, as an opportunity and Dalcroze Eurhythmics; early Prerequisite: PT1620 or comparable to enhance their performance childhood music and movement; experience with technique. skills as an integral part of their recorder pedagogy; teaching individual degree programs. The music to children with special individualized project must be PT2011-2012 Advanced needs; classroom management approved by the appropriate Teaching Techniques resources; assessment. Open Department Chair, the Dean of 2 hrs weekly/2 credits per semester to graduate students of all Academics Affairs, and, in the An exploration of teaching majors; junior/seniors with case of international students, the and learning strategies. How permission of instructor. International Student Advisor. students learn problem solving, At the end of the semester, the motivation, assessment; with PT2800 Biomechanics/Ergonomics student must present a formal, practical application to the for Performers written report on the project, methodology of studio teaching 2 hrs weekly/2 credits per semester which will be evaluated by the for all instrumentalists. How to A class designed to help Department Chair. maximize results from beginners instrumentalists develop peak through advanced students. The course is graded Pass/Fail. performance skills and that Open to graduate students of all will cover basic physiology as it PT1620 Alexander Technique majors. Non-sequential semesters. relates to performers, anatomy 2 hrs weekly/2 credits per semester (upper body), anxiety reducing techniques, and ergonomics/ A study of the Alexander PT2061-2062 biomechanics with practical Technique and its application to Performance Techniques application for each instrument. playing/singing. Addresses both 2 hrs weekly/2 credits per semester individual and universal physical A class for performers that Open to graduate and undergraduate habits that deter easeful, healthy will cover: anxiety-reducing students of all majors. performing. Taught through techniques, concentration, and hands-on work, reading, anatomy, memorization techniques, skills and application of the technique

Return to Table of Contents Course Description 125 VOICE, OPERA AND EN0100-0200 English Diction to be covered include stage 2 hrs weekly/2 credits each semester make-up, audition techniques, RELATED STUDIES The study of sounds, structure managers and agents, terminology Major Lesson: and stress patterns of English and traditions of the theater, 1 hr weekly/3–6 credits per semester to achieve maximum clarity résumé construction and others and interpretive values in as time permits. FR0100-0200 French Diction the performance of English 2 hrs weekly/2 credits each semester vocal materials. VX1090 Accompanying Seminar Intensive drill in French diction 2 credits per semester International Phonetic Alphabet as applied to singing. Thorough required. (There is a special section for A weekly meeting of study of phonetics with the IPA. Voice majors whose native language accompanying majors which Textual and literary analysis is not English.) will explore accompanying and of songs and arias. Recitation vocal and instrumental coaching with awareness of resonance, VX0320-0330 English and American techniques, emphasizing the phrasing, expressivity as direct interaction between partners and preparation to French style of Vocal Literature 2 hrs weekly/2 credits per semester the musical style and performance singing. Basic language study. problems in a wide range of Final public concert. A survey through performance instrumental and vocal repertory. and discussion of the origins and GR0100-0200 German Diction development of the art song in (Open to accompanying majors or by invitation of instructor) 2 hrs weekly/2 credits each semester the British Isles and the United States, plus non-American, Basic grammar; intensive exercise non-British song in English. VX0901-0902 Acting in diction, both spoken and sung; Prerequisite: Senior Standing. 2 hrs weekly/1 credit per semester attention to phonetics and the international phonetics symbols; Basic techniques used in acting individual assignments in the VX0420 German Vocal Literature for opera and theater. Designed preparation and performance of 2 hrs weekly/2 credits especially for Voice majors songs in class. The use of diction A survey through performance contemplating a career on the as an interpretive tool. and discussion of the origins and stage. In-depth character study development of the German art and stage techniques will be the focus of this class. IT0100-0200 Italian Diction song in Germany and Austria. 2 hrs weekly/2 credits each semester Prerequisite: Junior Standing. Seniors only or by permission of instructor. Basic grammar; vocabulary building; intensive exercises VX0550 French Vocal Literature in diction, both spoken and 2 hrs weekly/2 credits VX1350 Preparation for sung; attention to phonetics Operatic Roles A survey through performance 2 hrs weekly/2 credits per semester and the international phonetic and discussion of the origins symbols; reading and study of and development of the art This course provides a game plan poetry and song texts; individual song in France. to learn an opera role from the assignments in the preparation beginning of the score musically and performance of songs in class. Prerequisite: Junior Standing. and dramatically. Diction is included, as well as translation VX0900 Introduction to Performing and presentation. It is a “how to” 2 hrs weekly/1 credit/Fall Semester learn new repertoire as well as A survey course introducing the fine tune the old. young singer to the many facets of a career in performing. Topics

Return to Table of Contents 126 Course Description VX1831-1832 Movement for Singers (if his/her native language is not drill in diction. Individual 2 hrs weekly/1 credit per semester English) then in Italian using assignments in the preparation Movement and dance designed Nico Castel’s books as a primary and performance of songs. source for translation and IPA. specifically for opera singers. Graduate Prerequisite: Two graduate- Once the Italian is authentic, we Standard dance styles and forms level Language for Singers classes. of the 19th-century repertory work on how to be expressive in will be studied. the language, paying attention to word stress and the variety VX2051-2052 Graduate (May be repeated for credit.) of ways one can sing a secco Diction Performance recitative in terms of tempo, 2 hrs weekly/2 credits per semester VX1833-1834 Advanced Movement color, rubato, appoggiature, and An in-depth exploration of the 2 hrs weekly/1 credit per semester how to interpret the composer’s details in singing Italian, French, The advanced movement is a intentions regarding rhythm. and German through the vocal real dance class. The students repertoire, operatic and non- A method for study and operatic. Each person is given do a series of stretches on the preparation of opera and floor that enables them to warm individual attention in order oratorio recitative (secco and to sing idiomatically in these up their bodies and accustoms accompagnato) with an emphasis them to moving with others in languages as well as being coached on 18th century Italian works in many styles. a musical fashion. It also begins and performance practice. Text the process of remembering communication of musical- repeated exercises and learning dramatic content/intent based in VX2151-2152 Advanced new ones so as to prepare them to translation and transferal of those Vocal Literature retain staging and choreography skills to music. 2 hrs weekly/2 credits per semester in rehearsals. Students learn A comprehensive study of vocal a beginning ballet barre that literature from the point of view enables them to musically control GRADUATE COURSES of performance, style, practice, their bodies helping them to and pedagogical approach of work consistently. Students EN2101-2102 Graduate the solo vocal repertoire in learn movement styles from English Diction all languages. different periods including 2 hrs weekly/2 credits per semester baroque, classical, romantic, and Prerequisite: FR0100, GR0100, twentieth century. We emphasize IT2101-2102 Graduate IT0100, and EN0100 or walking, sitting, standing, and Italian Diction the equivalent. Also listed falling. Specific dances taught 2 hrs weekly/2 credits per semester as Mh2151-2152. include the waltz, polka, minuet, polonaise, mazurka, Czardas, FR2101-2102 Graduate VX2155 Russian Diction and tarantella, tango, foxtrot and French Diction Vocal Literature swing (jitterbug). 2 hrs weekly/2 credits per semester 3 hrs weekly/3 credits/Spring semester GR2101-2102 Graduate The course is offered to singers VX1875 Recitative and pianists interested in German Diction 2 hrs weekly/2 credits per semester accompanying vocal music. Its 2 hrs weekly/2 credits per semester An in depth, detailed study of objectives include: acquire a how to prepare Italian recitative These special courses are designed working knowledge of Russian from Händel thru Verdi, both for graduate students in order to vocal sounds and their IPA secco and accompagnato. The review the principles of language symbols; survey works by process begins with dramatically for singers and to have intensive historically significant Russian reading the text in the singers art song, opera and oratorio native language, then in English composers; practice through

Return to Table of Contents Course Description 127 performance making Informed Chausson, Bizet, Fauré, etc. The VX2903-2904 Acting Techniques for Choices when interpreting sample second semester will enrich the Opera and Musical Theater Russian vocal compositions. knowledge of the repertoire with 2 hrs weekly/2 credits per semester masterpieces of the 20th century, The class deals with VX2500 The Beauty and as well as explore lesser-known improvisation, in partnership Wit of American Song repertoire. We will perform pieces with others, so that the students (Performance Class) by Debussy, Ravel, Hahn, Poulenc, can learn to truly listen and Enescu, Boulanger, Roussel, 2 hrs weekly/2 credits/Spring semester respond—qualities which they Canteloube, Mihauld, Satie, must bring to written operas A performance class focusing on Beydts, Messian, etc. The pieces and musicals where the timing is gifted, living, American classical will be assigned with care for each determined by the composer. We song composers including Tom singer’s voice type and sensitivity. examine the acting techniques Cipullo, Daron Hagen, Lori The poems are to be given as developed by Uta Hagen, Sanford Laitman, Libby Larsen, John much weight as the music, as an Meisner and others. Students Musto, and Stephen Paulus as intrinsic part of the composition, collaborate on short scenes from well as lesser known songs by and 99% of the time source of operas and musicals in addition Richard Hundley, Lee Hoiby, and its inspiration. The singer and to bringing in projects they are Dominick Argento. pianists are to be treated as a currently working on. team. The material presented VX2600 How to Plan a Song Recital will be coached by the instructor VX2905-2906 Advanced Acting 2 (Performance Class) in a master-class setting, as well 2 hrs weekly/2 credits per semester 2 hrs weekly/2 credits/Spring semester as discussed, compared and commented on by the entire class. Advanced Acting 2 is a lab which The course will focus on how to focuses on a more in depth develop an effective program and Also listed as PN2701. study of acting techniques as how to perform it successfully. introduced in Advanced Acting I, Issues to be studied and discussed: VX2901-2902 Advanced Acting while emphasizing the physicality how to choose repertoire 2 hrs weekly/2 credits per semester of the performer in character appropriate for a specific voice, Advanced Acting is a lab in development. Essentially, a study how to develop a personal which we practice working with in this “Physical Actions”. The repertoire, how to prepare songs various tools to hone dramatic class is divided into three parts: for performance, how to tailor a technique and role preparation. Part 1: General exploration of concert for a specific audience or This class is not music-oriented. Physical Actions; Part 2: Scene venue, thematic programming. The repertoire for class will be work with text (Shakespeare); Part taken from play texts, scenarios, 3: Scene work with text (Goldoni). VX2701 French Art Song for and poetry. Over the course Open to graduate voice students, Vocalists and Pianists of the year, the class will focus composers and collaborative pianists 2 hrs weekly/2 credits/Spring semester on Action and Circumstances who have taken Advanced Acting 1. This class covers French song (Chekhov and Ibsen), heightened repertoire, from the beginning language and scene work (Ibsen & Shakespeare), and VX2907 Stagecraft in of the mélodie (19th century). Opera and Song Spring Semester 2014: Berlioz to physical choices. 2 hrs weekly/2 credits per semester Debussy. Spring Semester 2015: Open to graduate voice students, Debussy to Messiaen. The first composers and collaborative pianists. Singers will learn the basic skills semester will create a sound of Stagecraft and how to apply foundation for the interpretation them to Operatic and Recital of French style by studying repertoire through movement, pieces by Berlioz, Duparc, gesture, and facial expression. Challenges to be addressed will

Return to Table of Contents 128 Course Description be acting the extended moments opportunities in both classical saxophone repertoire. In-class inherent in music, sustaining music and jazz are an integral performance is required. dramatic choices in slower part of the class. tempos, and expanding expression WW2151-2152 Woodwind Lab for larger performing spaces. SX0200 Advanced Level Saxophone 2 hrs weekly/2 credits per semester Entrance by audition. Repertoire and Performance Class A seminar devoted to developing 2 hrs weekly/2 credits per semester both the performance and WOODWINDS Required for all junior and senior extra-musical skills required of Major Lesson: classical saxophone majors. A today’s professional musician. 1 hr weekly/3–6 credits per semester continuation of SX0100, this The labs include sessions on class is a further investigation orchestral excerpts, auditioning, SX0100 Freshman/Sophomore of saxophone repertoire. In-class programming, chamber music and Performance Class performance is required. concert presentation. Students 2 hrs weekly/1 credit per semester have the opportunity to perform SX2200 Graduate Level Saxophone for guest artists who are leading Required for all freshman and experts in their fields. sophomore classical saxophone Repertoire and Performance Class majors. A forum for the discussion 2 hrs weekly/2 credits per semester Required of all junior, senior, and graduate flute, oboe, clarinet, and and investigation of topics related Required for all graduate classical bassoon majors. to the saxophone, including its saxophone majors. This class history, acoustics, technique, is a further investigation of and repertoire. Performance

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