Mar 29, 2024  
College Catalog 2019-2020 
    
College Catalog 2019-2020 [ARCHIVED CATALOG]

All Courses


 

Drama Graduate Studies: Acting

  
  • DRAMA 6132-42 — Fundamentals of Movement

    2 credits
    Fall and Spring
    Mark Olsen

    In the first semester, students focus on development of creative and effective relationships to space, time, gravity, behavior, energy, imagery, music, breath, and text. The work is impulse-driven, dynamic, and grounded in full use of the imagination. The second semester is a laboratory of work focused on the introduction of Laban effort-shaping and the practical exploration of all aspects of gesture, including graphic, emotional, unconscious, and theatrical. There is a partial emphasis on eradicating gestural habits and providing a process of expanding gestural vocabulary. Working in all magnitudes, staying grounded in emotional truth.
  
  • DRAMA 6134-44 — Movement I - Getting into Condition

    2 credits
    Fall and Spring
    Darryl Quinton

    A class designed to increase the physical range of the student through stretching, flexibility, and strengthening exercises. Emphasis is placed on rhythm, phrasing, dynamic, intent, and moving in space. The class integrates principles of the Alexander Technique.
  
  • DRAMA 6135-45 — Music Studies

    2 credits
    Fall and Spring
    Michelle DiBucci

    An introduction to a wide spectrum of musical styles and compositional devices with emphasis on listening to and speaking about music and its connection to all of the arts. The first semester concentrates on key elements of music including melody, rhythm, harmony, form, texture and timbre. Actors will have the opportunity to engage with music students and outside musical guests. The second semester includes work on contemporary song forms, opera, and the origins of African-American music.
  
  • DRAMA 6137-47 — Speech I - Foundation and Practice

    2 credits
    Fall and Spring
    Deborah Hecht

    The course focuses on a wide palette of sounds for use with a range of characters, plays, and venues, including film. Focus is on the muscular development of the speech organs for flexibility, strength, precision, and varying shapes. Actors develop a more sensitive ear for sound and variations in sounds, as well as a connection to and appreciation of the onomatopoeia of language and its direct application to text. Students identify and explore the formation of vowels and consonants of spoken English using the International Phonetic Alphabet (IPA) as written reinforcement of muscular, auditory, and linguistic awareness. Students work individually and in small groups with their teachers. Application and evaluation involve physical and vocal exercises, text memorization, phonetic transcription, and landmark recorded passages.
  
  • DRAMA 6139-49 — Voice I - Foundation and Practice

    2 credits
    Fall and Spring
    Kate Wilson

    The course focuses on the principles and practice of respiration, phonation, resonance, and articulation. Anatomy, physiology, and the physics of sound are introduced as students explore exercises for relaxation, flexibility, capacity, breath control, placement, and the production of sound. Through poetry and prose, actors use sound to reveal imagery, dynamics, and rhetoric in poetry and prose.
  
  • DRAMA 6143 — Stage Combat

    1 credit
    Fall and Spring
    Mark Olsen

    In the second quarter, students engage in practical study of the essential ingredients of safe, effective, well-acted stage fights: partnering, attacks, defense, falls, chokes, rolls, and the contributions of the actor to the process of creating and managing comic or dramatic stage fights. In the second term, swordplay will be introduced.
  
  • DRAMA 6214-24 — Scene Study II

    4 credits
    Fall and Spring
    Rebecca Guy, Evan Yionoulis

    The discovery and development of imaginative and technical skills which, together with the skills acquired in the first year, will enable the student to discern the inner world of a play and to learn to transform into a living character within it.

    Please note: Evan Yionoulis will teach the course in the fall semester, and Rebecca Guy will teach the course in the spring semester. 

  
  • DRAMA 6215-25 — Mask II

    2 credits
    Fall and Spring
    Kathleen McNenny

    The mask is a powerful tool that enables actors to free their instincts, impulses, and imagination.  Both character and animal masks are used to expand what the actor is capable of.   The work demands that the actor fill the mask physically, vocally, emotionally, and psychologically, in order to embody the life of the character.  Mask work serves not only to release the student’s imaginative capacity for transformation, but to prepare the way for equally courageous characterization without a mask.
  
  • DRAMA 6231-41 — Alexander Technique II

    2 credits
    Fall and Spring
    Carolyn Serota

    Second-year Alexander Technique emphasizes (1) an increasing attention to discerning and changing the mental, behavioral, emotional, and psychological patterns that underlie and reinforce the physical habits; and (2) the ability to use the Alexander Technique for character transformation. The deepening exploration of oneself moves from a review of the Alexander work of first year to an enhanced and increasingly specific thought process that links verbal direction (left brain) and image generation (right brain) to the desired physical response. The application of the Alexander Technique to different movement styles from contemporary to period is explored in relation to various rehearsal projects. Actors learn to create physicalities from simple to extreme that are artistically effective yet safe and free from tensions that might cause pain or physical injury. Selected readings and some research are required. In the second semester, actors are introduced to the Energy Work developed by Judith Leibowitz, which helps them deepen their sense of being present in the moment, and to the Character Energy Work, a way of taking the Alexander process into the realm of imagination to explore and embody inner rhythms, impulses, energies, and thought processes different from their own.
  
  • DRAMA 6234-44 — Movement II

    2 credits
    Fall and Spring
    Moni Yakim

    A rigorous drill to increase stamina and the capacity for endurance; to develop physical coordination and naturalness; to coordinate movement with breath; to attain uninhibited physical expression through connection with inner rhythms, instincts, and emotions; to explore physical character transformations.
  
  • DRAMA 6234A — Movement in Context

    1 credit
    Fall
    Mark Olsen

    A first-semester course involving study aimed at linking physical vocabulary to music, objects, culture, historical periods, gender, and theatrical styles. The learning incorporates the study of the full spectrum of movement from natural to un-natural, minimal to epic, controlled to full abandon, rustic to royal, low stakes to high stakes, etc. There will be occasional use of text.
  
  • DRAMA 6236-46 — Singing

    2 credits
    Fall and Spring
    Deborah Lapidus and David Gaines

    This course is designed to help the actor release their voice and find deeper expressivity and truth through singing. To that end, we work on building a sense of physical and vocal awareness. We focus on elements of singing such as vocal placement, resonance, breath, relaxation, and posture. The actor also learns how to function and be expressive within the form of a song. To that end, we work on the vocal, textual, and musical elements that go into a fully realized song performance. Each class includes a vocal warm-up and individual work on a song.
  
  • DRAMA 6237-47 — Speech II - Application and Expansion

    2 credits
    Fall and Spring
    Dwight Bacquie, Deborah Hecht

    Work includes further attention to strength, precision, and consistency, and delves into more complex aspects of spoken language which are then applied to more complex texts. Students work individually and in small groups with their teachers. Evaluation is based on group and individual assignments which include Shakespeare and contemporary monologues.

    Please note: Deborah Hecht will teach the course in the fall semester, and Dwight Bacquie will teach the course in the spring semester. 

  
  • DRAMA 6239-49 — Voice II - Application and Expansion

    2 credits
    Fall and Spring
    Kate Wilson

    Work focuses on increased physical awareness and expansion, with exercises for breath capacity, initiation of sound, resonance, and size. Exercises to expand the range of expression are explored. Support, flexibility, vocal dynamic, and character are challenged through a wide variety of texts.
  
  • DRAMA 6314-24 — Scene Study III

    4 credits
    Fall and Spring
    Faculty and Guests

    An integration of the technical, imaginative, and personal discoveries of the preceding two years through scene and exercise work, leading to meeting the demands of works with heightened text.
  
  • DRAMA 6331-41 — Alexander Technique III

    2 credits
    Fall and Spring
    Carolyn Serota

    Third-year Alexander Technique combines individual sessions and group classes. The 25-minute tutorials are assigned on a rotating basis: each student has a private lesson every two weeks. This allows each actor to deepen their understanding of the principles and processes of the technique and to address personal habitual patterns of mind and body. Chair work, table work, movement activity work, and character work are all addressed in the individuals. The group classes bring students together to review techniques and introduce new procedures related to performance projects.
  
  • DRAMA 6333 — Makeup Techniques for Performance

    1 credit
    Fall
    Sarah Cimino

    Through the first semester, students learn basic makeup (including street makeup for women), corrective makeup, and character makeup, including the use of wigs (and facial hair), as well as prosthetics. The class is largely a practical workshop and includes the assembling of personal makeup kits suited to individual requirements. It also addresses makeup for on-camera work and self-taping.
  
  • DRAMA 6334-44 — Movement III

    1.5 credits
    Fall and Spring
    Moni Yakim

    A physical acting lab focusing on the development and enrichment of a physically expressive vocabulary using texts and individual imaginative resources. Using exercises and skills learned during the first and second years, students will structure a warm-up routine and continue with exercises that enable a strong connection with both a partner and the group.
  
  • DRAMA 6336 — Singing for Performance

    1 credit
    Fall
    Deborah Lapidus and David Gaines

    Focus on individual and group coaching geared to each actor based on performance, audition or personal need.
  
  • DRAMA 6338 — Suzuki

    1 credit
    Fall
    Ellen Lauren

    Developed by internationally-acclaimed director Tadashi Suzuki, the Suzuki Training Method is a rigorous physical discipline drawn from such diverse influences as ballet, traditional Greek and Japanese theater, and martial arts. The training seeks to heighten the actor’s emotional and physical power and commitment to each moment on stage. Attention is on the lower body and a vocabulary of footwork, sharpening an actor’s breath control and concentration.
  
  • DRAMA 6339-49 — Voice III - Synthesis and Transformation

    2 credits
    Fall and Spring
    Andrew Wade, Kate Wilson

    This course focuses on vocal transformation through a seamless synthesis of skills including rhetoric, stamina, and vocal characterization. Work in vocal dynamics further explores heightened expressivity, style, and transformation. Students work individually and in small groups with their teachers. Material includes political speeches, classic and contemporary texts.

    Please note: Kate Wilson will teach the course in the fall semester, and Andrew Wade will teach the course in the spring semester. 

  
  • DRAMA 6342 — Character in Motion

    1 credit
    Spring
    Mark Olsen

    This second-semester class involves a series of assignments in character exploration and development. Etudes include “memorable character,” ”invented character,” “observed character,” “opposite character,” “archetypes,” “culturally bound,” etc. All character studies are aimed at development of strong point of view in solo and relational forms of expression.
  
  • DRAMA 6345 — Acting on Camera I

    2 credits
    Fall
    Bob Krakower

    The purpose of studying on-camera acting is to take the skills the actors have learned in their theatre classes and apply them to the art of visual storytelling for film and television. Preparing to perform on stage and preparing to perform on set are very different jobs. This course prepares actors to work on the set of professional films and television shows. Based on availability, teachers in other disciplines (voice, movement, etc.) will be invited to join us to weigh in as to how their area of expertise applies to on-camera work.
  
  • DRAMA 6347 — Speech III - Dialects

    1 credit
    Fall and Spring
    Dwight Bacquie

    The course includes continued work on clarity of diction and on dialects with an emphasis on their relationship to character, imagination, and embodiment.
  
  • DRAMA 6411 — Actor Presentations

    1 credit
    Fall
    Claire Karpen

    In preparation for an evening of scenes to be presented to industry members in both Los Angeles and New York in the spring, students meet regularly in the fall with a faculty member to select scenes which will best serve to introduce the actors to the profession.  In the second semester, the scenes are rehearsed and prepared for presentation.
  
  • DRAMA 6414 — Scene Study IV

    2 credits
    Fall
    Evan Yionoulis

    A first semester course in which students continue to integrate aspects of their craft and move towards ease of expression.  Focus is on challenging texts which require a facility with language and a depth of characterization.
  
  • DRAMA 6431-41 — Alexander Technique IV

    2 credits
    Fall and Spring
    Carolyn Serota

    Alexander Technique in the fourth year focuses on the continuing development of each student personally and artistically as they deepen their self-awareness, self-knowledge, and poise using the Alexander principles and process. Students are encouraged to develop a continuing spirit of investigation and master techniques for achieving readiness in the moment, for clearing out, for dealing with stress and anxiety, for taking a centered presence into the world. Character transformation work continues for the fourth-year performance season.
  
  • DRAMA 6435 — Acting on Camera II

    2 credits
    Fall
    Bob Krakower

    This course continues the actor’s training in working on camera.
  
  • DRAMA 6436 — Individual Singing Instruction

    2 credits
    Fall
    Deborah Lapidus and David Gaines

    Individual lessons as required for specific productions and solo coaching leading toward audition material.

Drama Graduate Studies

  
  • DRAMA H6111-2 — Dramaturgy and Context

    4 credits
    Fall and Spring
    Roger Oliver and Anne Cattaneo

    A series of lectures/seminars about major dramatists and dramatic forms in their historical contexts, ranging from the ancient Greeks through the 20th century, centered around the works in the Drama Division season.
  
  • DRAMA H620 — Vibrant Traditions in American Theater

    2 credits
    Spring
    Shana Komitee

    Vibrant Traditions in American Theater examines American theatrical heritage and tradition, and its relevance to current work in the field. Through readings, discussion, archival viewing, and guest speakers from the profession, students will explore a significant artist/era of work, and trace its influence.
  
  • DRAMA H649 — American Theater Landscape

    2 credits
    Fall
    Elizabeth Whitaker

    Students explore the history and current offerings of New York and regional theaters. Students hear from guest speakers and see productions, thereby gaining wide exposure to New York City theater, as well as a solid understanding of the regional theater network.
  
  • DRAMA S615 — Current Events and the Judicious Mind

    2 credits
    Fall
    Rene Houtrides

    Current Events and the Judicious Mind provides a platform for M.F.A. students to explore the world around them through the lens of current events, news, media, and technology. Students will look at the impact that these events have on the development of an artist’s perspective. After a series of preparatory sessions, students will examine news stories of interest, from disparate/contradictory news sources. The stories will be parsed for content, accuracy, and language. The goal is to create a judicious mind.
  
  • DRAMA S625 — Story

    2 credits
    Fall
    Jessica Blank

    Story covers basic principles of dramatic structure for theater, film, solo work, and episodic storytelling. Students will gain an understanding of the core texts of Western dramatic structure, including Aristotle, Egri, Freytag, and Campbell — as well as criticisms of these texts — with an eye toward application in their own projects. After a foundational introduction to the literature, we will focus on elucidating students’ intuitive understandings of story as actors, and articulate how these principles can be applied to the creation of original material through Character-Based Story Structure. Students will examine how Character-Based Story Structure applies to various forms, including feature film, plays, solo plays, short film, and web-based episodic work; gain an understanding of the practicalities of creating and producing independent work in all these mediums; and formulate an idea for a project in one of these mediums. The remainder of the semester will have a workshop/laboratory focus, in which each student develops their idea and moves through a systematic, comprehensive character and story development process, culminating with a finished outline for their project at the end of the semester.
  
  • DRAMA S626 — Methodologies of Directing

    2 credits
    Spring
    Jenny Lord

    Students will gain insight into the role of the director by examining the processes directors employ when approaching a piece of theater from conception through rehearsal. Students will apply their skills in script analysis, establishing given circumstances, and identifying objectives and actions, to rehearsal with guest actors.
  
  • DRAMA S637 — Elements of Producing

    2 credits
    Fall
    Elizabeth Whitaker and Stephanie Ybarra

    This course serves to acquaint the actor with the work and responsibilities of the many people involved in theater-making beyond the rehearsal hall and to prepare them for what it might take to produce their own work.  Students will examine the function, vision, and day-to-day operations of the various artistic, administrative, and production personnel within a variety of theater models - from larger commercial ventures and non-profit institutions to smaller off and off-off-Broadway models.  Students will develop mission statements and seasons for their own prospective theatres, and present their visions to the class. Wherever possible, guest artists in the field will be brought in to talk about their process and work.
  
  • DRAMA S638 — Pedagogy

    2 credits
    Spring
    Katherine Koerner

    Students will explore the techniques and theory of drama pedagogy today, providing insight into the teaching of theatre as well as the use of drama work in education and outreach settings.
  
  • DRAMA T618 — Poetry

    1 credit
    Spring
    Elana Bell

    The focus of this course is to experience the craft of poetry as a reader, writer, and presenter. Students will be reading the work of others, writing works of their own, and sharing these works with their peers and community. Students will be equipped with the ability to identify the major tools of the poetic craft in the analysis of text; articulate and discuss poetic works; compose original poems employing tools of the craft; accept criticism of both written and performed work; and revise their work as any artist would.
  
  • DRAMA T627 — Shakespeare Text I

    1 credit
    Fall
    Faculty

    Building on the skills developed in Prose and Poetry, this course introduces students to Shakespeare’s text and the particular demands of understanding and speaking it. Topics include the active and imaginative use of rhythm, meter, rhyme, and metaphor. (Graduates only)
  
  • DRAMA T639 — Shakespeare Text II

    1 credit
    Spring
    Faculty

    This course provides students with techniques for uniting the technical demands of speaking Shakespeare’s language with the imaginative and emotional demands of acting. (Graduates only)
  
  • DRAMA 6117 — Point of View

    1 credit
    Fall
    Renee Houtrides

    This semester-long course aims to help students see their training and their art in a larger context — historical, political, and artistic. On a regular basis, they examine the work of artists from theater and other art forms (dance, music, architecture) and engage with scientists, politicians, and activists in person and through screening documentary films. In these encounters with multiple points of view, students develop their own perspectives as actors, artists, and citizens.
  
  • DRAMA 6647-48 — Bridge to the Profession

    6 credits
    Fall and Spring
    Visiting Faculty

    The fourth year of study provides a variety of professional studio experiences where students study with working professionals who provide them with the knowledge and skills necessary to transition into the industry. These workshops explore a variety of practical aspects of the business – casting, auditioning, on-camera work, producing reels, etc.

Drama Performance Projects and the Profession (Combined)

  
  • DRAMA 115-6 — Rehearsal Projects I

    4 credits
    Fall and Spring
    Faculty and Visiting Directors

    In the fall, actors collaborate on the Discovery Project, working on a play by Shakespeare. Through close reading of the text and physical improvisation, they discover and embody the story of the play as an ensemble. Next comes Approaching the Play, a six-week course in script and character analysis in which students apply themselves to identifying a play’s theme, structure, and character relationships. By examining the work as a whole, students will be better prepared to approach a specific role and do useful research and homework for rehearsal.

    In the spring, students are cast in two plays and rehearse them under the guidance of faculty and professional directors. These rehearsal projects are laboratory exercises for exploring an actor’s process and are not aimed toward performance results. Although the work is shared with an audience of fellow students and faculty, they are not “produced,” but rather presented in a room with only basic rehearsal clothes, props, and furniture.

  
  • DRAMA 190 — Culture Initiative

    0 credits
    Fall
    James Gregg

    On a number of evenings in the first semester, the class as a group attends museums, concerts, or other cultural events in the wider city.
  
  • DRAMA 215-6 — Rehearsal Project II

    4 credits
    Fall and Spring
    Faculty and Visiting Directors

    Rehearsal projects continue as laboratory exercises for developing the actor’s process and as a measure of students’ ability to apply and integrate what they’ve learned in their classes. These projects also challenge students to apply their technique to something larger than themselves: the creation of characters and worlds which bring other people’s stories to life.
  
  • DRAMA 315 — Fall Performance Projects III

    2 credits
    Fall
    Visiting Directors

    After having worked for the first two years on plays in rehearsal studios with the emphasis on exploration and integrating skills, students in their 3rd Year of training move into a black box theater, begin to work with limited elements of production, and learn how process culminates in performance. 
  
  • DRAMA 316-B — Spring Performance Projects III

    3 credits
    Spring
    Deborah Lapidus and Visiting Directors

    The first project of the spring semester is the Cabaret, an evening of songs and musical staging.  This project is an opportunity to take what the actor learns in the classroom and to integrate, through the demands of singing, techniques of voice, speech, movement, Alexander Technique, and acting. Later in the spring, as a culmination of their third year of training, students move from the black box studio to the Drama Theater, performing two heightened-language plays (most often Shakespeare).
  
  • DRAMA 415 — Fall Performance Projects IV

    3 credits
    Fall
    Faculty and Visiting Directors

    In the fall semester, the Drama Theatre Season presents three plays chosen from a diverse canon of classical and contemporary works in full-scale production. Each play is mounted for six performances before an invited audience of the general public and members of the theatrical profession, giving actors a chance to share their work on a wider scale.
  
  • DRAMA 416-B — Spring Performance Projects IV

    4 credits
    Spring
    Faculty and Visiting Directors

    In the Spring Repertory, three productions are performed in rotation. Students utilize all the skills and knowledge obtained during their education in the Drama Division. As they prepare to graduate from the program, actors present an evening of scenes for members of the industry in New York and Los Angeles.
  
  • DRAMA 547 — Fall Playwrights Project

    1 credit
    Fall
    Visiting Directors

    The Juilliard Playwrights Festival of workshop productions gives fourth year actors a further opportunity to develop new work written by Juilliard playwrights and alumni. The Festival, directed by professional directors, advances collaborations and connections that will expand beyond students’ time here in school.
  
  • DRAMA 550 — Practicalities for the Artist

    1 credit
    Fall
    Kathleen McNenny

    A first semester course in which students learn practical skills for life as a professional actor, including writing resumes and cover letters, understanding the actor/agent relationship and contracts, getting settled financially, developing a website, and gaining information on different types of support available to them as artists.
  
  • DRAMA 588 — Individual Coachings

    2 credits
    Spring
    Faculty

    Actors work in individual sessions with teachers to target challenges that might include dialect, transformation, production demands, and audition material.
  
  • DRAMA 598 — Independent Projects

    2 credits
    Spring
    Faculty

    Independent Projects in the fourth year comprise a variety of student-initiated and division-proposed opportunities for students to prepare and perform material for audiences in the School or community or to engage in various outreach projects.

Studio Lessons

  
  • BNHMU 000 — Baroque Bassoon

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • BNWMU 000 — Bassoon


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • BSJMU 000 — Jazz Bass


    All Music students receive 15 one-hour private lessons each semester.
  
  • BTBMU 000 — Bass Trombone


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • CLWMU 000 — Clarinet


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • CPCMU 000 — Composition


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • DBHMU 000 — Baroque Double Bass

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • DBSMU 000 — Double Bass


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • DMJMU 000 — Jazz Drums


    All Music students receive 15 one-hour private lessons each semester.
  
  • FHBMU 000 — Horn


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • FLHMU 000 — Baroque Flute

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • FLJMU 000 — Jazz Flute


    All Music students receive 15 one-hour private lessons each semester.
  
  • FLWMU 000 — Flute


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • GUJMU 000 — Jazz Guitar


    All Music students receive 15 one-hour private lessons each semester.
  
  • GUSMU 000 — Guitar


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • HPSMU 000 — Harp


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • HSHMU 000 — Harpsichord

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • OBHMU 000 — Baroque Oboe

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • OBWMU 000 — Oboe


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • OCNMU 000 — Orchestral Conducting


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • ORKMU 000 — Organ


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • PCKMU 000 — Collaborative Piano


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • PEPMU 000 — Percussion


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • PIHMU 000 — Plucked Instruments

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • PNJMU 000 — Jazz Piano


    All Music students receive 15 one-hour private lessons each semester.
  
  • PNKMU 000 — Piano


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • SXJMU 000 — Jazz Saxophone


    All Music students receive 15 one-hour private lessons each semester.
  
  • TBBMU 000 — Trombone


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • TBJMU 000 — Jazz Trombone


    All Music students receive 15 one-hour private lessons each semester.
  
  • TPBMU 000 — Trumpet


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • TPJMU 000 — Jazz Trumpet


    All Music students receive 15 one-hour private lessons each semester.
  
  • TUBMU 000 — Tuba


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VAHMU 000 — Baroque Viola

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VASMU 000 — Viola


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VBJMU 000 — Jazz Vibraphone


    All Music students receive 15 one-hour private lessons each semester.
  
  • VCHMU 000 — Baroque Cello

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VCSMU 000 — Cello


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VGHMU 000 — Viola da Gamba

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VNHMU 000 — Baroque Violin

    6 credits per semester
    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VNSMU 000 — Violin


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.
  
  • VOVMU 000 — Voice


    Fall and Spring
    Faculty

    All Music students receive 15 one-hour private lessons each semester.

Ear Training

  
  • ETMUS 111-2 — Ear Training I

    4 credits
    Full Year
    Faculty

    Practice of harmonic and melodic intervals to the octave. Rhythm performance and dictation in simple and compound meters, with divisions of two through eight to the beat. Reading of treble and bass clefs using fixed Do solfège. One-part melodic dictation and qualities of triads.
  
  • ETMUS 211-2 — Ear Training II

    4 credits
    Full Year
    Faculty

    Prerequisite: ETMUS 111-2 . Reading in treble, bass, soprano, alto, and tenor clefs. Playing and singing simultaneously using two or three of the five clefs. Singing triads and dominant sevenths in all inversions up and down. Identification of isolated triads and dominant sevenths in four parts and identification of triads in root position and inversions in traditional harmonic progressions. Two-part melodic dictation in various clefs with implied harmony. Further rhythmic study, including basic polyrhythms.
  
  • ETMUS 301 — Advanced Ear Training for Singers

    2 credits
    Fall
    Faculty

    Prerequisite: ETMUS 211-2. Mezzo and baritone clefs. Continued playing and singing simultaneously from several clefs. Further rhythmic practice. Tonal and atonal reading, one-part melodic dictation, chord progressions including common chord modulation.
  
  • ETMUS 311-2 — Ear Training III

    4 credits
    Full Year
    Faculty

    Prerequisite: ETMUS 211-2 . Mezzo and baritone clefs. Continued playing and singing simultaneously from several clefs. Further rhythmic practice. Singing of seventh chords up and down in all inversions and identification of seventh chords. Three-part dictations in various clefs with harmonic analysis.
  
  • ETMUS 411-2 — Ear Training IV

    4 credits
    Full Year
    Faculty

    Prerequisite: ETMUS 311-2 . Transposition and continuation of previous material to a more advanced level.
  
  • ETMUS 511-2X — Ear Training IxIIx

    0 credits
    Full Year
    Faculty

    Accelerated course covering the material of Ear Training I  and Ear Training II  in one year. For graduate students only.
 

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