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College Catalog 2019-2020 [ARCHIVED CATALOG]
All Courses
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Repertory Classes |
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PFENS R511-2 — Orchestral Repertory for Violin 1 credit per semester
Fall and Spring
Sheryl Staples and Yoko Takebe
By audition. A class designed to give violinists the important musical, stylistic, and technical guidance needed to be successful in professional orchestral auditions and careers. Classes are limited in size and meet six times during the semester. Each student receives individual coaching on prepared excerpts, mainly from the standard first violin repertoire. For those qualified, concertmaster solo repertoire may also be incorporated with the instructor’s permission. Open to all Violin majors, and strongly encouraged for fourth-year undergraduate and graduate students.
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PFENS R521-2 — Essential Orchestral Excerpts for Viola: Keys to a Successful Audition 2 credits per semester
Fall and Spring
Cynthia Phelps
By audition. A comprehensive study of the essential orchestral excerpts. Bowings, fingerings, style, technique, priorities, how and what to do in the practice room, and what will be required at a major audition. Material to be covered includes: Study of the most asked-for excerpts at auditions; supplementary excerpts not normally found on audition lists may be suggested by students preparing for school, festivals, or other summer programs (including chamber works); study of all orchestral solo repertoire; and study and preparation of solo repertoire required for audition, e.g., concerto and solo Bach. Each student will be required to prepare a limited number of excerpts to play in class. Open to all Viola majors via the orchestral placement audition in September, and strongly encouraged for fourth-year undergraduate and graduate students.
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PFENS R523-4 — Orchestral Repertory for Cello 1-2 credits per semester
Fall and Spring
Eric Bartlett
A class designed to prepare cellists for successful orchestral auditions and careers. Classes are limited in size and meet eight times during the semester. Each student receives individual coaching on prepared excerpts, mainly from the standard audition repertoire. Some solo cello excerpts will also be included. Open to all Cello majors and strongly encouraged for fourth-year undergraduate and graduate students.
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PFENS R531-2 — Orchestral Repertory for Winds, Brass, and Percussion 4 credits
Full Year
Mark Gould
Orchestral Repertory for Winds, Brass, and Percussion meets weekly, each session preparing a standard orchestral work drawn primarily from the 19th and 20th century orchestral canon, from Beethoven to Alban Berg. In the process of performing the great orchestral masterpieces each week, students become acquainted with different musical styles and learn the essentials of orchestral ensemble playing. Required class preparation is extensive, so that in the course of the year students learn to prepare an orchestral part efficiently. Required of all first- and second-year undergraduate students and first-year graduate students (who are new to Juilliard) majoring in these instruments.
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PFENS R541-2 — Low Brass Class 4 credits
Full Year
Joseph Alessi
Low Brass Class meets weekly and emphasizes the study of low brass orchestral repertoire in a group setting. The class also provides coaching of trombone quartets and tuba ensemble, mock auditions, and master classes by visiting professors. Required of all Bass Trombone, Tenor Trombone, and Tuba majors in each semester of residence.
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PFENS R551-2 — Double Bass Studio 2 credits
Full Year
Double Bass Faculty
Double Bass Studio provides the major teacher with an opportunity to bring his or her students together for study as a group. The focus may be on solo or orchestral playing, as the schedule dictates. Class meets for five hours per semester. Required of all Double Bass majors in each semester of residence.
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PFENS R553-4 — Orchestral Repertory for Double Bass 2 credits
Full year
Albert Laszlo
The Double Bass Seminar brings the Juilliard bass community together and provides an opportunity for the student to perform for, and experience the commentary of, the faculty outside their major teacher’s studio. The class meets 10 times per semester; the faculty takes turns leading the class. Attendance is mandatory, and each student is required to play at least once per semester. The repertoire is entirely up to the student, in consultation with their studio teacher, and can be solo, orchestral, or chamber. Required of all Double Bass majors in each semester of residence.
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PFENS R561-2 — Orchestral Repertory for Harp 4 credits
Full Year
Nancy Allen
This weekly class is designed to prepare Harp majors for successful orchestral auditions and careers. Students prepare excerpts, cadenzas, and entire works from the standard and contemporary orchestral repertoire, recent audition lists, and current Juilliard Orchestral assignments. Required of all Harp majors in each semester of residence.
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PFENS R581-2 — Trumpet Class 1 credit per semester
Fall and Spring
Trumpet Faculty
Trumpet Class meets six times per semester led by members of the Trumpet faculty or by distinguished guest artists. Repertoire for the class is flexible, including solo works, trumpet ensembles, and orchestral excerpts, individually or in trumpet sections. Participation is expected of all Trumpet majors.
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PFENS R591-2 — Oboe Class 4 credits
Full Year
Elaine Douvas, Scott Hostetler, and Nathan Hughes
Oboe class meets weekly, led by members of the Oboe faculty. The comprehensive curriculum includes classes in orchestral and étude repertoire, English horn, audition preparation, oboe maintenance and repair, and reed making. Also included are master classes with visiting guest artists and an annual class recital. Required of all Oboe majors in each semester of residence.
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PFENS R593-4 — Bassoon Studio Class 2 credits
Full Year
Kim Laskowski, Judith LeClair, Frank Morelli, and William Short
Bassoon Class meets 6 times per semester, co-led by members of the Bassoon faculty. The comprehensive curriculum includes (but is not limited to) reed-making, orchestral excerpts and preparation, mock auditions, fundamentals of the instrument, ensemble playing, and pedagogy. The goal of the class is to draw on the combined knowledge of the bassoon faculty to provide practical information and experience in the areas above, as well as to foster a spirit of collaboration and community among the bassoon department. Required of all Bassoon majors in each semester of residence.
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Lyric Diction |
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VAMUS 161 — Phonics 1 credit
Fall
Robert Cowart
An introductory course dealing with the elements of lyric diction. Singers become familiar with the International Phonetic Alphabet (I.P.A.) and the similarities and differences found in Italian, German, French, and English diction.
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VAMUS 551-2 — Russian Diction/Vocal Literature 4 credits
Not offered for 2016-2017
Gina Levinson
Offered in alternate years. Meticulous study of Russian phonetics with emphasis on vocalism. Detailed interpretation of texts, and expressive singing in Russian. Concentrated study of rules and sounds of the International Phonetic Alphabet (I.P.A.) and its direct application to Russian vocal repertoire. Chronological examination of the most important works by famous Russian composers, such as Glinka, Rimsky-Korsakov, Mussorgsky, Tchaikovsky, Rachmaninoff, Shostakovich, Prokofiev, Schnittke, and others. Public recital at the conclusion of the spring term. Open to Voice, Collaborative Piano, and Conducting majors.
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VAMUS 560X — English Lyric Diction: Graduate Review 2 credits
Spring
Kathryn LaBouff
A one-semester review of English lyric diction.
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VAMUS 561 — English Diction 2 credits
Fall
Kathryn LaBouff
The study of Neutral American English pronunciation and its correct vocal production, followed by Oxford British English pronunciation and application of both pronunciations to solo vocal repertoire with regard to clarity, expression, and interpretive values.
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VAMUS 570X — French Lyric Diction: Graduate Review 2 credits
Fall
Bénédicte Jourdois
A one-semester review of French lyric diction.
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VAMUS 571-2 — French Diction 4 credits
Full Year
Bénédicte Jourdois
A thorough study of the phonemes of the French language from the points of view of phoneticization (I.P.A.), vocalization, and interpretive expression of the text. Application of these to the song and operatic repertoire with stress on declamation of translations and healthy, intelligible, expressive singing in French. Open-class recital at the conclusion of the spring term.
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VAMUS 580X — German Lyric Diction: Graduate Review 2 credits
Spring
Marianne Barrett and Nils Neubert
A one-semester review of German lyric diction.
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VAMUS 581-2 — German Diction 4 credits
Full Year
Marianne Barrett and Nils Neubert
A concentrated study of the rules and sounds of the German International Phonetic Alphabet (I.P.A.). A direct application of the I.P.A. to the vocal repertoire, emphasizing the expressive lyrical phrasing of the language through text declamation and vocal interpretation. An introduction to German grammar.
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VAMUS 590X — Italian Lyric Diction: Graduate Review 2 credits
Fall
Corradina Caporello
A one-semester review of Italian lyric diction.
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VAMUS 591-2 — Italian Diction 4 credits
Full Year
Corradina Caporello, Stefano Baldasseroni
The fundamentals of Italian phonetics and sound production. Special emphasis given to the application of the theory through art songs and operatic arias.
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Musical Studies for Singers |
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MLMUS 391-2 — Italian Vocal Literature 4 credits
Full Year
Corradina Caporello
Prerequisite: Italian Diction . A chronological survey of the Italian vocal repertoire from the first monodic music by Monteverdi, Peri, and Caccini to Mozart, Rossini, Bellini, Donizetti, Verdi, Puccini, and the Verismo School. Emphasis on all aspects of solo performance and on the understanding of the different stylistic qualities of each composer.
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MLMUS 471-2 — French Vocal Literature 4 credits
Full Year
Glenn Morton
Prerequisite: French Diction . An overall view of the performance and interpretation of the French vocal repertoire, including both song and opera, from its origins to the present. Singers and pianists perform in class periodically with background information, phonetic transcription, and translation for each piece required. Coaching in class by the instructor. Open class recital at conclusion of spring term.
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MLMUS 481-2 — German Vocal Literature 4 credits
Full Year
J.J. Penna
Prerequisite: German Diction . Open to Piano majors by permission of the instructor. This course is a performance survey focusing on 19th- and 20th-century German Lieder. Though the primary aim of our sessions will be the coaching of in-class performances by pre-assigned singer/pianist duos, there will be assignments of a broader based nature for which the student will be responsible as well. We will focus on representative composers and poets within the German canon whose works shaped the development of the genre.
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MLMUS 562 — British and American Song Literature 2 credits
Spring
J.J. Penna
Prerequisite: English Diction . A performance seminar addressing stylistic trends, poetic treatment, and musical development as they relate to the writing of song in English. In-class performance and discussion will provide detailed study of individual songs as well as an introduction to the broad-based historical and literary concepts that shaped the literature. As the tradition of song craft is closely wedded to the established literary canon, time will be devoted to the study of poems from a technical point of view as they influence musical setting. Repertoire will be chosen in conjunction with each student’s studio instructor and jury requirements.
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MSMUS 001S — Alexander Technique for Singers 1 credit
Full Year
Lauren Schiff
A psychophysical method for improving the use of the self. Students learn to recognize and control reactions and tensions in their mind and body, in movement, at rest and while singing. Expanding awareness of oneself leads to the ability to change habits that interfere with freedom of movement and use of the voice. Strict attendance requirements. Limited availability. Class is taught as private lessons. As assigned by the department with student requests.
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VAMUS 160 — Introduction to Vocal Performance 1 credit
Fall
Edward Berkeley
Major subjects will include the preparation of music and text for coachings, recital work, and stagings; the individual in the collaborative arts & growing with colleagues; presenting the self with imagination; the singer’s deportment; basic stagecraft; and effective rehearsal process. Required of all first-year undergraduates.
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VAMUS 170 — Text and the Singer 1 credit
Spring
Edward Berkeley
A workshop that develops the singer’s communicative skills through techniques designed to aid in the understanding and delivery of English texts. Source materials range from Shakespeare’s sonnets to contemporary plays and poetry. Required of all first-year undergraduates.
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VAMUS 400 — Recital Practicum 2 credits
Fall
Robert White
During the semester singers will select their recital repertoire, and explore research and performance issues vital for senior recital preparation. Participants will become familiar with the entire range of recital performance and production.
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VAMUS 501 — Vocal Arts Seminar 0-2 credits
Fall
Alexandra Day
A course designed to address the extended needs of today’s performers, its goals are to acquaint the aspiring performer with the realities of professional life both off and on the stage; to increase students’ awareness of the world and community of which they are a part or are becoming a part; and to introduce students to specific areas of the music business. Required of all Voice majors. Does not carry credit for graduates.
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VAMUS 510 — A History of Singing 1 credit
Fall
Cori Ellison
Through guided critical listening to the greatest singers from the dawn of the recording era through the present day, this course will trace the history and evolution of vocal technique, performance practice, and singing styles in classical song, opera, and oratorio. The class will explore the hallmarks of vocal excellence within diverse style periods, and develop a precise vocabulary for authoritatively discussing and evaluating singing. The impact of different performance spaces (private salons, small and large public theatres, purpose-built spaces, etc.) on vocal style will also be discussed.
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Dramatic Studies for Singers |
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OPMUS 101-2 — Acting I for Singers 2 credits
Full Year
Mary Birnbaum and John Giampietro
Short units will focus on fundamental principles of acting and study of definitive texts. Throughout the year, students will have reading assignments and write graded essays that supplement active classwork. Required of all first-year undergraduates.
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OPMUS 201-2 — Acting II for Singers 2 credits
Full Year
Mary Birnbaum
Prerequisite: OPMUS 101-2 . Students will focus on the concepts of character, context, and imagination, working through a variety of exercises and assignments based on the techniques of Jacques Lecoq, among others. Classes will include frequent discussion of acting principles, presentation of monologues, and group work. Required of all second-year undergraduates.
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OPMUS 211-2 — Opera Studies 2 credits
Full Year
Faculty
Students study assigned opera excerpts in a variety of styles, from early music to modern, and may be cast in small groups as assigned by the department, under the direction of a designated musical coach and stage director. Upon successful completion of diction, music, and staging preparation, students may perform their staged scenes. Required Movement classes and Opera Chorus are essential components of Opera Studies. Required of all second-year undergraduates.
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OPMUS 301-2 — Acting III for Singers 2 credits
Full Year
John Giampietro
Prerequisite: OPMUS 201-2 . This class will consist of physical training based on natural principles of movement (shape, gesture, speed, response) that students will incorporate into the development and expression of a character. Students will practice and strengthen their acting technique through spoken scenes, monologues, and aria and song work. Required of all third-year undergraduates.
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OPMUS 311-2 — Opera Studies 4 credits
Full Year
Faculty
Students will study assigned opera excerpts in a variety of styles, from early music to modern, and may be cast in small groups as assigned by the department, under the direction of a designated musical coach and stage director. Upon successful completion of diction, music, and staging preparation, students may perform their staged scenes. Opera Chorus is an essential component of Opera Studies. Required of all third-year undergraduates.
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OPMUS 401-2 — Acting IV for Singers 2 credits
Full Year
David Paul
Prerequisite: OPMUS 301-2 . In this culminating year of the undergraduate acting curriculum, singers will focus on integrating and applying their acting technique to the performance of vocal repertoire, with an emphasis on opera scenes, arias, and art song. Singers will also examine audition presentation technique and special challenges in recital performance. Required of all fourth- and fifth-year undergraduates.
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OPMUS 411-2 — Opera Studies 4 credits
Full Year
Faculty
As assigned by the department, students participate in full opera productions and opera scenes, in a variety of styles, from early music to modern, designed to prepare students for rehearsals and performances in the professional world. Preparation includes extensive language, music, and dramatic coaching, culminating in performances for the Juilliard community. Opera Chorus is an essential component of Opera Studies. Required of all fourth- and fifth-year undergraduates.
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OPMUS 500 — Opera Chorus 0 credit
Fall, Spring
David Moody
Participation in one Opera Chorus is required of all Juilliard singers each academic year as assigned. The Opera Chorus graduation requirement is fulfilled only by successfully completing all assignments. Chorus assessments are conducted during the rehearsal period.
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OPMUS 611-2 — Juilliard Opera (graduate) 6 credits
Full Year
Faculty
Students take part in full opera productions and opera scenes (Showcases) as assigned by the department, and receive regular advanced musical and dramatic coaching designed to prepare them for auditions, rehearsals, and performances at Juilliard and in the professional world. MM and GD students may be cast in full fall and spring productions in the Peter Jay Sharp Theater as well as the winter production in the Willson Theater. Ongoing individual and small group musical and dramatic coachings are held throughout the year. Participation in one Opera Chorus per academic year is required. Required of all students enrolled in MM degree or Graduate Diploma.
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OPMUS 701-2 — Juilliard Opera (postgraduate) 12 credits
Full Year
Stephen Wadsworth
This two-year program is an intensive acting course for singers and a rigorous lab for the detailed integration of singing and acting, tailored to each individual performer’s needs and evolving technique. A strong focus of the program is career placement at the highest possible level, with regular private auditions for and consultations with top artist managers and general and artistic directors of opera companies. The central technique class centers on mental concentration and freedom, physical release, and emotional availability. The goal: collaborative, open, inventive singing actors who can work on any stage, in any style, in any circumstance, and with any director, who are fully committed in their work, who are leaders in the room wherever they go, and who are outstanding singers. Also included are musical and dramatic coachings, and diction work in a number of languages. Singers are expected to perform roles in Juilliard Opera productions and fulfill chorus assignments (once a year) as assigned. They may also be assigned to other classes offered at the school, such as ear training, theory, movement, and other languages. A certain amount of professional work outside the school is encouraged. At the end of the first year, faculty and administration of the Marcus Institute for Vocal Arts review the progress of each program member and determine the suitability of renewing participation in the program for a second year. Required of all students enrolled in Artist Diploma in Opera Studies.
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VAMUS 101-2 — Movement I 0 credits
Full Year
Jeanne Slater
A basic dance technique class. Jazz, theatrical, and Baroque dance styles will be covered in addition to turns, leaps, basic partnering, physical storytelling, stage deportment, gesture, and craft. This class focuses on body awareness, coordination, stretching, strengthening, fitness, and movement memory. Required of all undergraduates.
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VAMUS 103-4 — Movement II 0 credits
Full Year
Jeanne Slater
Prerequisite: Movement I . At the second level, the class will continue moving forward with more advanced dance technique, including multiple turns, leaps/jumps, and basic partnered lifts/tricks in addition to learning the basics of waltz, American tango, and swing. Each semester includes a project in which the students work on stagecraft and deportment within arias, songs, and opera scenes. Required of all undergraduates.
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VAMUS 611-2 — Movement for Graduates 0 credits
Fall and Spring
Jeanne Slater
This class covers basic dance technique with a focus on strength, fitness, and flexibility in addition to turns, leaps, and partner work. Dance styles taught include jazz, theatrical, waltz, American tango, and swing. Required Movement classes and Opera Chorus are essential components of the opera studies program. Required of all students enrolled in the MM degree or Graduate Diploma.
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Vocal Literature |
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MSMUS 571 — Early Music Vocal Literature 2 credits
Fall
Avi Stein
A performance-based seminar surveying vocal literature from the early 17th century through the mid-18th century. Genres to be covered include solo songs with continuo accompaniment, opera, oratorio, and the 18th-century cantata. Assigned works will be studied through in-class performance and detailed discussion of historical context, parallel instrumental trends, and performance practice including discussion of recitative and ornamentation. This course is open to third- and fourth-year undergraduate voice students, graduate voice students, as well as players of continuo instruments. Other students may be enrolled with the permission of the instructor.
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Jazz Performance Ensembles |
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PFENS J511-2 — Juilliard Jazz Orchestra 2 credits
Full Year
James Burton
Performance of the big-band repertoire from the early works of jazz to newly composed works from established as well as emerging composers. Public concerts at Juilliard, Lincoln Center, venues around the greater New York area, as well as an annual tour.
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PFENS J521-2 — Jazz Ensemble 4 credits
Full Year
Faculty
Performance of the repertoire of small jazz ensembles from early New Orleans music to the present, including newly composed works from established as well as emerging composers. Public concerts at Juilliard and venues in Utah, Costa Rica, Spain, Japan, and Korea, to name a few.
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Departmental Studies in Jazz |
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JZMUS R001 — Doubles for Drummers 0 credits
Full Year
Mark Sherman
25 percent of the private lesson grade. Doubles for Drummers meets weekly as primarily a one-on-one class in vibraphone and the harmonic elements needed for mallet improvisation. The curriculum includes basic mallet technique and a performance-based introduction to melodic improvisation for drummers. Required of all drummers seeking a Jazz Studies degree in each semester of residence. Interested Artist Diploma students must be approved by the Jazz Studies Office.
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JZMUS R002 — Doubles for Saxophones 0 credits
Full Year
Mark Vinci
25 percent of the private lesson grade. Doubles for Saxophones meets weekly as a group class on clarinet and flute for all saxophonists. The curriculum includes a focus on fundamental difference in sound production between the flute (open cylinder), clarinet (closed cylinder) and saxophone (conical) and building successful doubling skills through group playing and solid conceptual understanding of the instruments’ tendencies. Required of all saxophonists seeking a Jazz Studies degree in each semester of residence. Interested Artist Diploma students must be approved by the Jazz Studies Office.
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JZMUS 321 — Jazz Seminar 1 credit
Spring
Faculty
This course guides students in developing a set of practical skills around presenting effective performances. Students will study and create practical concert programs for various ensembles and venues, review basic conducting patterns, discuss rehearsal techniques, and explore ways to position their compositions appropriately within concert programs. They will draft their graduation recitals as part of their final assignment for the class.
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JZMUS 411 — Introduction to Jazz Arranging and Orchestration 3 credits
Fall
Andy Farber
This course is designed to present and develop basic skills of arranging and orchestration in the context of small jazz ensembles. Students will learn notation skills from traditional paper and pencil to current computer notation software programs. In addition, the aesthetic purposes of arranging and orchestration, and the basic techniques therein will be discussed. Students will listen to seminal recordings that model their upcoming writing assignments. Those assignments may include transcribing, writing original lead sheet arrangements, and orchestrating arrangements that develop re-harmonization and counterpoint skills.
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JZMUS 412 — Jazz Arranging and Composition 3 credits
Spring
Andy Farber
This course is designed to further develop skills of arranging and orchestration and introduce composition practices in the context of small to medium size jazz ensembles. Students will discuss aesthetic principles in composition and write and record original compositions that incorporate a varied number and mixture of front lines horns, motivic development, and considerations of form.
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JZMUS 421 — The Jazz Community Project 0 credit
Fall
Faculty
This course helps students to understand the many important roles within the jazz community and to develop and implement meaningful and mutually beneficial projects. These may include mini-internships, performances, and teaching opportunities that connect students with the larger jazz community. A completed Jazz Community Project is the final required assignment.
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JZMUS 500 — Creative Ideas 1 credit per term
Full Year
Faculty and Guests
A departmental practicum where students gain experience in performance, presentation, and professional development through studio classes, lectures, and master classes with guest artists and Juilliard Jazz faculty. Attendance required of all Jazz majors.
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JZMUS 510 — Jazz Business I 2 credits, 0 credit for Graduate students
Fall
Faculty
This course provides a comprehensive survey of the functional business areas in jazz including production, marketing, finance, development, touring, and education. The class is team-taught by key administrative staff from Jazz at Lincoln Center.
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JZMUS 511 — Jazz Business II 2 credits, 0 credit for Graduate students
Spring
Faculty
Prerequisite: JZMUS 510. This course builds upon the conceptual foundation provided in the fall course and moves to project-based assignments where students engage with the key challenges of managing a jazz ensemble or organization, including marketing, interdisciplinary collaboration, production, and funding models. The class is team-taught by key administrative staff from Jazz at Lincoln Center.
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JZMUS 541-2 — Jazz Improvisation I, II 4 credits
Full year
Faculty
A workshop teaching the different concepts of improvising by listening to and studying the solos of the great improvisers throughout the history of jazz, placing an emphasis on the importance of hearing in improvisation and development of an individual sound.
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JZMUS 543-4 — Advanced Jazz Improvisation 4 credits
Fall/Spring
Faculty
This course focuses on the development of improvisational reflexes through listening and performance, reinforced by discussions oncore recordings and the artist’s approach to developing solos. Assignments may incorporate odd meter and phrase lengths, and African and East Asian rhythmic concepts. The course will help develop the skill of listening, as well as develop a strong call and response reflex, which are keys to success in live improvisational performance.
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KSMUS 540J — Jazz Piano I for Non-Pianists 1 credit per term
Fall, Spring
Frank Kimbrough
Designed to provide the non-pianist jazz musician with the basic proficiency necessary to utilize the piano as an aid to composition, arranging, and improvisation. Basics of piano technique, including scales, fingerings, arpeggios, hand position, touch, and sight-reading. Harmonic progressions and voicings will be studied in the context of the standard jazz repertoire.
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KSMUS 542J — Jazz Piano II for Non-Pianists 1 credit per semester
Fall, Spring
Frank Kimbrough
Prerequisite: KSMUS 540J . A continuation of Jazz Piano I for Non-Pianists. Designed to provide the non-pianist jazz musician with the basic proficiency necessary to utilize the piano as an aid to composition, arranging, and improvisation. Basics of piano technique, including scales, fingerings, arpeggios, hand position, touch, and sight-reading. Harmonic progressions and voicings will be studied in the context of the standard jazz repertoire.
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MHMUS 111J — Jazz History I 3 credits
Spring
Faculty
A four-course sequence covering the origins and development of jazz music and an introduction to its major contributors as well as the exploration of musical and social issues associated with the genre. This first course aligns the early history of the United States, with particular focus on the 1820s through the 1920s, with the early developments of jazz, noting composer/performers such as Louis Gottschalk, Scott Joplin, Jelly Roll Morton, W.C. Handy, King Oliver, Louis Armstrong, and Duke Ellington. The impact of technology, the developing economy, and the movement of people around the United States on jazz music will be explored.
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MHMUS 211J — Jazz History II 3 credits
Fall
Faculty
Prerequisite: MHMUS 111J. A course covering the origins and development of jazz music and an introduction to its major contributors as well as the exploration of musical and social issues associated with jazz. This course continues a review of the major developments in the United States with the many styles of jazz prevalent from approximately 1930 to 1970. The impact of the Great Depression, musical theater, black-owned record labels, the civil rights movement, as well as the music of artists such as Bennie Moten, Fletcher Henderson, Paul Whiteman, Count Basie, Louis Jordan, Benny Goodman, Miles Davis, Duke Ellington, and Charles Mingus will be studied.
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MHMUS 311J — Jazz History III 3 credits
Spring
Faculty
Prerequisite: MHMUS 211J. This course builds upon the previous Jazz History courses, exploring the political and social environment as well as the music and musicians of critical eras in jazz music. It examines the international relationships within the history of jazz, such as the major contributors born outside the United States, and the impact that radio, recordings, film, and State Department and other tours had on the proliferation of jazz around the world.
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THMUS 111J — Jazz Theory I: Melody, Rhythm and Harmony 3 credits
Fall
Faculty
This course introduces an understanding of melodic structure, rhythmic grooves, and harmony as written and performed in jazz. After a review of music fundamentals, primary chord/scale relationships, and notation basics, with which students will be expected to demonstrate fluency, students will learn melodic construction, rhythmic principles, and harmonic progressions key to the development of jazz. Source material will include hymns, work songs, spiritual, marches, blues, and Appalachian music. Music terminology and concepts will be introduced and the composition of monophonic as well as simple polyphonic musical phrases will be assigned.
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THMUS 211J — Jazz Theory II: World Melody & Rhythm 3 credits
Spring
Faculty
Prerequisite: THMUS 111J This course expands the study of melody, rhythm, and harmony to include idiomatic principles from Africa, South America, and Asia present in jazz. Students will learn to distinguish musical song forms and the unique geographic characteristics of melodies, rhythms, and harmonic progressions. Further music terminology and concepts will be introduced, and the composition and arrangement of monophonic as well as simple polyphonic pieces will be assigned.
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THMUS 311J — Jazz Theory III: Chromatic Harmony 3 credits
Fall
Faculty
Prerequisite: THMUS 211J. This course explores chromatic harmony and melodic principles, and advanced rhythmic concepts prevalent in mid- to late-20th-century jazz compositions by composers such as Wayne Shorter, John Coltrane, Duke Ellington, and others. This study will be applied to writing assignments that demonstrate students’ knowledge of arranging techniques from specific periods of jazz.
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THMUS 411J — Jazz Theory IV: Form 3 credits
Spring
Faculty
Prerequisite: THMUS 311J. This course examines general principles of formal structure including phrase length, order of phrases, sections, movements in absolute and program music as well as common forms prevalent in jazz. Analysis of song forms and larger scale works, including repertoire performed by the Juilliard Jazz Orchestra, will be assigned.
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Graduate Courses in Jazz |
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GRMUS J601 — The Origins of Jazz 2 credits
Fall
Phil Schaap
At the turn of the 19th century, jazz, America’s original art form, was born in the historic city of New Orleans. Created by African-Americans, it incorporated everything from blues, Italian operas, Caribbean dances, and military marches to the music of the Baptist church. This graduate course explores these origins and the social climates that contributed to its evolution. Performers such as Buddy Bolden, Jelly Roll Morton, Joe “King” Oliver, Sidney Bechet, and Louis Armstrong will be studied. Reading and listening assignments, class discussions, and final paper required. When possible, students will present live performances.
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GRMUS J602 — The Swing Era 2 credits
Spring
Kenny Washington
Prerequisite: The Origins of Jazz . Seen as a highly democratic musical form, and one that assisted in relaxing some of the racial divisions in America, the Swing Era was embraced by people of all walks of life. The Swing Era was not just music, but culture distinctive, generational culture with its own dances, clothing styles, and, most notably, slang. This graduate course explores the music and culture of this extraordinary time in American history via the works of jazz greats such as Count Basie, Duke Ellington, Glenn Miller, Tommy Dorsey, Chick Webb, Fletcher Henderson, and the “King of Swing,” Benny Goodman. Reading and listening assignments, class discussions, and final paper required.
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GRMUS J611-2 — Advanced Jazz Composition and Arranging 4 credits
Full Year
Andy Farber
Jazz composition and arranging for the instruments of the symphony orchestra, thus expanding the scope of writing beyond the traditional jazz band. This gives students the opportunity to explore beyond what is considered to be strictly jazz, and allows for a greater palette of expression with regard to style and orchestration. There will be six recording projects, ranging from chamber brass, woodwind quintet, larger brass and woodwind sections mixed, string quartet, and a studio orchestra that includes harp. All projects may utilize a rhythm section as desired.
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Historical Performance Ensembles |
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CMENS B531-2 — Historical Performance Chamber Music 2 credits per semester
Fall and Spring
Faculty
Chamber music groups prepare for performance through biweekly rehearsals and coachings with Historical Performance faculty. Repertoire is based one of four national themes (Italy, Germany, France, and England) in successive semesters, with the goal that each student participates in two chamber music groups per semester, and performs at least once. Students may request specific faculty coaches and chamber music partners, and any combination of instruments is permitted, including, schedules permitting, the participation of singers and modern instrument students enrolled in period instrument lessons. Required of all Historical Performance Majors.
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PFENS B611-2 — Juilliard415 4 credits
Full Year
Robert Mealy and Guests
Led by resident faculty and renowned guest conductors, intensive rehearsal periods culminate in frequent public performances of a wide range of 17th- and 18th-century instrumental and vocal music at Juilliard, around New York, and on national and international tour. Seating assignments are determined by the Historical Performance faculty and administration, based on biannual auditions, and take into account technical acuity, professionalism, dependability, collegiality, and level of experience. Required of all Historical Performance majors. Open by invitation to students taking Period Instrument Lessons for Modern Instrument Majors.
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Historical Performance Core Studies |
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HIMUS P611-2 — Historical Performance Symposium 1 credit
Fall and Spring
Guest lecturers
A symposium-style course in which esteemed scholars and performers address key topics in performance practice, often aligned with repertoire currently being performed by Juilliard415. Organized around the notion of national styles, each semester in the four-semester cycle focuses on a specific geographical region—Italy, France, Germany, and England. Classes include presentations and lectures by esteemed visiting artists and scholars and may include the study of treatises, ornamentation, improvisation, dance, art, and poetry. Required of all first- and second-year Historical Performance majors.
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HIMUS 600 — Historical Performance Studio Class 0 credit
Full Year
Robert Mealy and Faculty
A departmental practicum in which students gain experience in the performance and presentation of solo and chamber music repertoire for an audience of their peers, under the guidance of the Historical Performance faculty. The class meets periodically throughout the academic year. Attendance required of all Historical Performance majors.
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HIMUS 611-2 — History and Literature of 17th- and 18th- Century Music 4 credits
Full Year
Robert Mealy
This course is an in-depth investigation into specific historical moments and national styles in Italy, Germany, France, and England from the 17th through the mid-18th centuries. As the course progresses through each country in turn, topics covered will include historical and cultural perspectives; genre studies; musical forms and structures; rhetoric; analytical methods and treatises; notation; improvisation and ornamentation; questions of historical temperament and pitch; and organology. The class provides a practical forum to address the various aspects of research, interpretation, analysis, and issues of style through performance. Required of all first-year Historical Performance majors.
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HIMUS 613 — Baroque Music Theory 2 credits
Fall
Charles Weaver Jr.
This course meets twice a week—once as a historical theory class and once as an improvisation practicum. Using primary sources from Zarlino to Rameau, the theoretical portion of the course outlines the rudiments of a musical education in the seventeenth and eighteenth centuries: intervals, physical theories of consonance and dissonance, the gamut, the hexachords, the modes, tuning theory, counterpoint, figured bass, rhetoric, and the extraction of the fundamental bass, with an emphasis on the import of these topics for performers specializing in historical styles. The practicum combines the counterpoint pedagogy of Zarlino, Banchieri, and Morley with the division manuals of Ortiz, Bovicelli, and Simpson to explore improvisation within a contrapuntal texture and above a ground.
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HIMUS 623 — Performance Practice Seminar 2 credits
Fall
Peter Sykes
This semester-long course for second year students will ground an approach to performance practice in a study of classical logic, grammar, and rhetoric: the Trivium, upon which Western artistic creation and study was based until the modern era. There will be three modules; first, a study of basic principles applicable to both language and music; second, a treatise survey and study of cultural norms giving rise to musical habits; third, bringing together the framework of the trivium with the materials and results of research to ground contemporary performance in both historical information and contemporary expression. One paramount aspect will be heavy emphasis on improvisation as a means for understanding written music, and as an end in itself in expanding musical imagination and thought processes. Using the model of the five branches of rhetoric, a method for amassing, storing, and retrieving information in improvisation will be outlined and practiced.
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HIMUS 624 — History of Early Music 2 credits
Spring
Thomas Forrest Kelly
How did we get here and where are we going? A study of the women and men, the trends and ideas, that arose individually and collectively to shape interest in the music of the past. Various “movements” and names (musique ancienne, Ancient Musick, Early Music, Historically-Informed Performance…) make it clear that that attitudes to older music have changed over time, and often reflect aspects and attitudes of their various times and places. This background study should provide material for a consideration of today’s attitudes, and perhaps a prediction of tomorrow’s. A parallel theme of the course will be a study of the development of musical notation from the Middle Ages to the Baroque, with emphasis on reading from original sources.
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Specialized Skills in Historical Performance |
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HIMUS 644 — Historical Improvisation 2 credits
Spring
Charles Weaver Jr.
This course builds on the previous semester’s Baroque Music Theory and Improvisation class by extending the survey of historical improvisation into the eighteenth century. The basis for this survey is the pedagogical method of the Neapolitan conservatory system as embodied in eighteenth-century collections of partimenti and solfeggi. Readings by Robert Gjerdingen, Giorgio Sanguinetti, Job IJzerman, and others situate this method in the context of modern scholarship. Contemporaneous examples of written-out ornamentation supplement the Neapolitan pieces and demonstrate how melodic patterns apply to existing compositions. By learning to recognize patterns of melodic construction and harmonic progression in these pedagogical models, students can develop a historically informed approach to improvised ornamentation and extemporaneous composition in an eighteenth-century style.
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KSMUS B635-6 — Continuo Skills in Context 4 credits
Full Year
Avi Stein
This course offers a historically-oriented approach to the technique and practice of continuo skills at the keyboard. Centered on the preparation of current concert programs, areas of focus include basso continuo accompaniment in chamber music, orchestra, and opera in various national styles; related treatises; working with facsimiles; clef reading; and realization and composition of complex harmonic progressions. Required of all Harpsichord majors.
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Graduate Studies: Core Seminars in Music History |
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GRMUS H603 — Explorations in Music History I 2 credits
Fall, Spring
Faculty
An examination of a small number of representative compositions from the Middle Ages through the Baroque era, selected by the instructor to guide students toward an understanding of Western music history. Each work, or group of works, will be investigated as a reflection of a time, place, style, composer, genre, and form or design, and its connection with life and the other arts and sciences of its time and place will be emphasized. The function of a work within its society, as well as its medium, its audiences through the ages, and its reception history, will be discussed. An overall sense of the chronology of music history will be covered, showing changes and constants throughout the centuries. This course will emphasize the use of source materials, research techniques, including the development of a bibliography, issues of academic integrity, critical thinking, and basic writing techniques.
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GRMUS H604 — Explorations in Music History II 2 credits
Fall, Spring
Faculty
An examination of a small number of representative compositions from the Classical era to the present day, selected by the instructor to guide students toward an understanding of Western music history. Each work, or group of works, will be investigated as a reflection of a time, place, style, composer, genre, and form or design, and its connection with life and the other arts and sciences of its time and place will be emphasized. The function of a work within its society, as well as its medium, its audiences through the ages, and its reception history, will be discussed. An overall sense of the chronology of music history will be covered, showing changes and constants throughout the centuries. This course will emphasize the use of source materials, research techniques, including the development of a bibliography, issues of academic integrity, critical thinking, and basic writing techniques.
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GRMUS H619 — Handel: from Sources to Sound 2 credits
Spring
Ellen Harris
Performing a Handel opera or oratorio is not as simple as opening a score and playing what you see. The informed performer needs to go back to the sources and make independent judgments about multiple issues. After an introduction to the nature and construction of Handel’s autographs and conducting scores (fair copies), we will examine a variety of performing issues in specific instances, such as unresolved differences between the autographs and conducting scores; singing style embedded in Handel’s text settings; performance information embedded in Handel’s borrowings; and how Handel would cut a large-scale composition to fit into a reduced timeframe. These issues will lead us to examine specific instances in a number of Handel’s cantatas, operas, and oratorios. I expect class members to help determine the flow of topics over the course of the semester and, whenever possible, to assist in performances of alternate solutions to some of these issues.
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GRMUS H629 — One City - Ten Years 2 credits
Spring
Anne-Marie Reynolds
This course will involve a multifaceted investigation of music and music-making within particular cities during specific ten-year spans. Each student will choose one ten-year period in a single city, anywhere in the world, to explore intensively for the semester, first studying the history, politics, and social mores of the chosen period and city, and then focusing in on contemporaneous developments in the arts and cultural life. Through reading firsthand accounts and literature, listening to music, studying performance practices, and viewing artwork, theater, dance, and films (if after 1900), the student will become a master of the arts in his/her chosen years and city. The research will necessarily be conducted independently, with weekly presentations in class on the student’s discoveries, and incremental writing assignments that will culminate in a final, comprehensive report. By considering musical composition and performance within the artistic, social and political contexts of a specific time and place, and sharing their findings with one another, students should come to appreciate that music is a richly integral product of its environment and age, and be more curious about and attuned to the conditions that shaped the creation of all the music they perform.
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GRMUS H632 — Music in New York 2 credits
Spring
Aaron Wunsch
This course traces the impact of New York City on the composers and performers who resided here from approximately 1890 to the present, including Dvořák, Mahler, Bartók, Rachmaninoff, Gershwin, Copland, Carter, and Glass. Topics include musical works composed in (or influenced by) the city; the interaction between classical and popular idioms; concert life; the history of musical institutions (including the Metropolitan Opera, New York Philharmonic, Carnegie Hall, and The Juilliard School); the role of social structures and philanthropy in music-making; the history of career development; and the present musical culture. In projects and class discussions, students are urged to consider music in its wider social and historical context, drawing upon their own performance experiences and future goals.
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GRMUS H635 — Late Style and Early Romanticism: Beethoven and Schubert 2 credits
Fall
Edgardo Salinas
An examination of the notion of late style that emerged with early Romanticism, focusing on the music that Beethoven and Schubert wrote after the Congress of Vienna in 1815. We will listen to and study the influential works that Beethoven and Schubert wrote in their final years—such as their late piano sonatas, symphonies, and string quartets—as a way to discuss seminal intersections between late style, musical aesthetics, and historical context. In doing so, the course will underscore how early Romantic thought entailed a critique of modernity that located in musical experience the possibility of overcoming artificial divides between self and Nature, exacerbated by the Industrial Revolution. Topics will include the opposition between Classicism and Romanticism, disability and illness, distinctions between the beautiful and the sublime, changes in the patronage system, the growth of the middle class, and the music-publishing market, as well as the history of performance and listening practices in both public and domestic settings.
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GRMUS H639 — Brahms: The Culmination of an Era 2 credits
Fall
L. Michael Griffel
A study of the life, career, and compositions of Johannes Brahms, who came into prominence as a preserver of the Classical-Romantic style in the midst of the newer compositional approaches of Berlioz, Liszt, and Wagner. Living until 1897, Brahms continued to write Lieder, piano music, orchestral works, chamber music, and choral compositions to the very end, cognizant of and responding to the newer style. Amalgamating the splendor of Baroque counterpoint, the drama of Classical development, and the lyricism and color of Romanticism in his own works, Brahms emerged as the culmination of the era of tonality and functional harmony. The course will also address issues of performance practice and reception history and consider Brahms as performer, musicologist, editor, collaborator, sponsor, and friend.
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GRMUS H650 — Wagner’s Ring 2 credits
Spring
John J.H. Muller
A detailed examination–through score study and listening–of the music, poetic text, and philosophical background of the four music-dramas comprising The Ring of the Nibelung.
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GRMUS H651 — The Modernist Era 2 credits
Fall
Joel Sachs
An examination of the leading artistic and intellectual innovations of this period with concentration on the ascendancy of cultural modernism in general and musical modernism in particular. Subjects discussed include Impressionism, Expressionism, Decadence, Futurism, atonality, and varieties of experimental composition. Readings come from literary and theoretical texts as well as musical writings.
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GRMUS H653 — Schumann at Work: Learning From the Manuscripts 2 credits
Spring
Michael Musgrave
This course considers Schumann as a composer of piano, vocal, orchestral, and chamber works, with special reference made to sketches and revisions of his compositions as seen in the manuscripts and scores of the Juilliard Manuscript Collection. These works will be examined in the context of Schumann’s total output and students will discuss changing performance traditions and the relation of the materials to these traditions. The course will provide an opportunity to examine the original documents as well as reference their digital images.
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GRMUS H657 — Paris Between the Wars 2 credits
Fall
Benjamin Sosland
After the devastation of World War I, Paris emerged as one of the most vital and prolific creative centers in the world. The list of artists who called Paris home at some point between 1919 and 1939 reads like a who’s who of cultural history: Maurice Ravel, Pablo Picasso, Igor Stravinsky, Gertrude Stein, Ernest Hemingway, Erik Satie, and Jean Cocteau, to name only a handful. Much of their work was overtly subversive and even countercultural: this is the era when the poet Guillaume Apollinaire coined the term “surreal”; when Marcel Duchamp scandalized the art world by displaying his Fountain; when composers like Satie and his followers worked to free themselves from the weight of Wagnerian influence. This course offers a broad survey of the salient artistic philosophies that informed the fascinating cultural landscape of Paris between the wars.
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GRMUS H659 — The Life and Times of Gustav Mahler 2 credits
Fall
John J.H. Muller
Gustav Mahler lived during a turbulent time in European history, when the established political, social, and artistic norms were changing, when Romanticism was in transition to the Modernist age. In gaining an understanding of Mahler’s achievement and his place in music history, we will consider issues such as the expansion of the orchestra and symphonic form, the connections between Mahler’s songs and symphonies, and the autobiographical and programmatic elements often found in his music. Mahler’s career as a conductor will also be examined. His works will be placed in the context of fin-de-siècle European culture, with references made to contemporaries such as Bruckner, Strauss, and Schoenberg.
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GRMUS H660 — Music, Performing, and the Public 2 credits
Fall
Lynette Bowring
This course surveys the complex intersections between compositions, performing musicians, and public audiences from a broad historical perspective that runs from roughly the 15th to the 19th century. Topics discussed will include performative cultures of the medieval and Renaissance periods, the role of music notation and commercial printing in disseminating music, European music in the early Americas, the rise of public opera and concert cultures, and the changing status of the musical work throughout these developments. Alongside these broader topics, the seminar will also include discussion of repertoires that have been shaped by this dynamic. The course will be primarily discussion based: students will read and discuss recent scholarship on these topics, and situate their own performative experiences within the historical developments studied.
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GRMUS H661 — Music Since World War II 2 credits
Spring
Joel Sachs
A look at composers and social forces which have had a central role in shaping cultural activity since the Second World War. Composers will include Babbitt, Boulez, Cage, Feldman, Ligeti, Reich, Schnittke, minimalists, postmodernists, new Romantics, crossover composers, and a host of others. Listening assignments, class discussion, papers. Where possible, students will present live performances.
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GRMUS H667 — Chamber Music: From the Home to the Concert Hall 2 credits
Fall
Aaron Wunsch
While identified as private by name, chamber music today is very much a public genre. This course will investigate the musical and social changes that prompted the gradual shift from the home to the concert hall. Works by Haydn, Mozart, Beethoven, Schubert, Spohr, Mendelssohn, Schumann, Brahms, and Fauré will be discussed with an eye toward how an understanding of the context of this music can open our interpretation of it today. Varying approaches will be explored through both in-class and recorded performances.
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GRMUS H672 — Beethoven: The Symphonies in Context 2 credits
Spring
Michael Griffel
With reference to Beethoven’s role in the history of music, this course will undertake a detailed examination of his nine symphonies as they emerged and took their place among his other compositions. Historical, analytical, and performance issues will be discussed, as will Beethoven’s notions of humor, heroism, character, pictorialism, progressivism, faith, and brotherhood. Problems of orchestration, tempo, syntax, rhetoric, and structure will be studied. Students will have opportunities to do research on and write about the symphonies and other works of Beethoven, as well as to offer lecture-performances of works by Beethoven in class.
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GRMUS H679 — Romanticism, Pop Culture, and Media 2 credits
Spring
Edgardo Salinas
This course explores Romantic ideas and music from their origins in the eighteenth century to the present, examining their lasting influence on culture and society at large through the history of media and recording technologies. We begin studying how key Romantic ideas first manifested themselves in music, painting, and literature at the turn of the nineteenth century. Composers to be studied include Beethoven, Schubert, Schumann, Chopin, and Mahler. The class will follow the ways in which Romantic music and ideas were adapted and transposed to the new media technologies developed in the twentieth century, becoming thus an important part of pop culture via radio, television, and film. As we witness today the beginning of a “Digital Age,” the last part of the course will discuss the impact that digital technologies are having on the dissemination of Romantic values and contemplate the new possibilities opened by videogames, social media, and streaming platforms for the future of classical music as a whole.
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GRMUS H682 — American Music: Sources and Cultures 2 credits
Spring
Aaron Flagg
How has America’s musical identity continued to evolve over time? What is the reality of a multi-ethnic population? How do political, technological, and social changes impact the country’s cultural development? This course looks at the aesthetic foundations of American music through a chronological survey of the music itself, and the changing social and political environments in which it was molded. Music for social life and the concert stage, including patriotic songs, spirituals, marches, Appalachian folk music, and the blues, will be referenced. We will explore composers and authors such as Alexis de Tocqueville, Robert Johnson, Amy Beach, W.C. Handy, Aaron Copland, Terry Riley, Albert Murray, Thelonious Monk, and Jennifer Higdon. Through readings, videos, written assignments, and class performances, we will weave together a nuanced understanding of what comprises American music.
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GRMUS H683 — History of Jazz 3 credits
Fall
Bob Stewart
A comprehensive view of the history of jazz. This uniquely American art form will be examined not only through a musical approach but also from a social, political, and economic perspective. Studies will include jazz from its inception through the present day. Musical topics to be discussed will include ragtime, swing, bebop, cool jazz, and others. Non-Jazz majors only.
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GRMUS H684 — African American Music: An Introduction 2 credits
Fall
Fredara Hadley
This course traces the evolution of African American music from its origins in pre-colonial West Africa into the 21st Century and considers interwoven black folk, classical, and popular musical traditions. Topics include: considerations of African and African American approaches to music-making; the ways in which classical forms can preserve folk traditions and use them as a means of innovation; the effects of racism and broader social movements upon musical genre; and a survey of contemporary African American musical cultures. Students will complete projects that directly engage Juilliard’s longstanding affiliations with African American music and the diverse ways in which African American music exists in New York City.
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