Apr 27, 2024  
College Catalog 2021-2022 
    
Catalog Navigation
  Catalog Home
  Academic Calendar 2021-2022
  Leaders & Administration
  Admissions
  Financial Aid
  Campus Safety
  Resources and Special Offerings
  Academic Policies and Procedures
  Dance Division
  Drama Division
  Music Division
  Liberal Arts
  All Programs
  All Courses
HELP
College Catalog 2021-2022 [ARCHIVED CATALOG]

All Courses

 

Graduate Studies: Core Seminars in Music History
  

  • GRMUS H660 — Music, Performing, and the Public

    2 credits
    Spring
    Elizabeth Weinfield

    This course surveys the complex intersections between compositions, performing musicians, and public audiences from a broad historical perspective that runs from roughly the 16th to the 19th century. We will discuss the reception of European music in America, the rise of public opera and concert cultures, and the changing status of the musical work throughout these developments. The course will be primarily discussion based: students will situate their own performative experiences within the historical developments studied. Some questions we will ask are, how does recognizing the performer’s “voice” change or complicate music history’s conventional understanding of the work? Consequently, how does the work pose a challenge to the emergence of the performer’s voice? What is the audience’s role in this conversation, both today and in the historic moment of the work’s conception? And finally, how does the performing body emerge as a point in which these issues converge, and how might it be a tool for understanding music? 
  

  • 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.
  

  • GRMUS H670 — The Concerto: Its Evolution Since 1615

    2 credits
    Spring
    L. Michael Griffel

    A survey of the concerto from the Baroque era through the 20th century, this course will examine the numerous approaches composers have taken to write works scored for various combinations of voices and/or instruments. Dependent on the sonic relationships among soloists, small groups, and larger ensembles for their effectiveness, concertos at different times have stressed either the uniting of musical forces or their opposition. The survey will begin in the time of the Gabrielis in Venice and will include works by Vivaldi, Bach, Mozart, Beethoven, Brahms, Rachmaninoff, Berg, Bartók, and Carter. There will be reading, listening, and writing assignments.
  

  • GRMUS H676 — Music Born in Crisis

    2 credits
    Fall
    Elizabeth Weinfield

    How do composers respond to crises in society around them? History has shown how periods of immense difficulty often result in intensive bursts of musical invention. This course will examine music written during challenging times — war, famine, racial tension, or plague — not as aesthetic dead ends, but rather as impetus for adaptation and change. Reading from primary and secondary sources, we will look afresh at Tallis, Bach, Francesca Caccini, Schütz, Mozart, Marianna Martínes, Beethoven, Burleigh, Mahler, Janáček, Shostakovich, Adams, Caroline Shaw and others to trace invention and creation as outgrowths of socio-political crisis. Our study will culminate with work written during COVID-19 and investigate how current social unrest might be affecting aesthetic changes in the present moment. Students who have taken the undergraduate version of this class will not be permitted to enroll.
  

  • GRMUS H678 — Beethoven From the Enlightenment

    2 credits
    Fall
    Edgardo Salinas

    This seminar explores the lasting influence that Beethoven’s music and reception has had both within Western art music and in the cultural history of modernity, following a trajectory that begins in the Enlightenment and culminates with today’s Digital Age. We will start by exploring how Beethoven’s iconic works embodied aesthetic ideals introduced by the early Romantics in response to the philosophical and political upheavals of the Enlightenment. We then examine the critical reception of Beethoven’s music in the 19th century as well as the appropriation of his music by totalitarian regimes in the 20th century. The class concludes by analyzing the transformative effects that digital technologies are having on the performance and consumption of Beethoven’s music and on the future of classical music at large. Works to be discussed in detail include Beethoven’s symphonies nos. 3, 5, 6, and 9, his only opera Fidelio, the Missa Solemnis, and the late string quartets. The seminar has been planned in conjunction with the symposium of the same title taking place at Juilliard in October 2020. Students will be expected to attend the symposium and write a report responding to the presented papers. The final project involves a research essay and an oral presentation on one of the topics included in the syllabus. 
  

  • GRMUS H680 — Women Composers Before 1800

    2 credits
    Spring
    Elizabeth Weinfield

    This course analyzes the musical output and historical contexts of women composers in the early modern period. Using as a methodological basis critical works in feminist musicology by scholars such as Suzanne Cusick, Bonnie Gordon, and Emily Wilbourne, students will address—and redress—the absence of women’s voices in early modern music historiography through the study of composers Maddalena Casulana, Barbara Strozzi, Francesca Caccini, Leonora Duarte, Isabella Leonarda, and Marianna Martínes, among others. Drawing upon musical analysis, critical theory, gender, and consciously curated recordings of works by women as musical examples, music is framed concurrently as a product of diverse influences within the landscape of post-Inquisition Europe, as evidence of complex and symbiotic relationships with male contemporaries, and, especially, as vital testimony to the cultural accomplishments of women in the early modern world.
  

  • GRMUS H684 — Foundations of African American Music

    2 credits
    Fall
    Fredara Hadley

    This course traces the evolution of African American music from its origins in pre-colonial West Africa into the early 20th century. Taking as a framework interwoven Black folk, classical, and popular musical traditions, the course delves deeply into African and African American approaches to music-making, including the ways in which classical forms can both preserve folk traditions and use them as a means of innovation, and the effects of racism and broader social movements upon musical genre. Students will complete projects that directly engage Juilliard’s longstanding affiliations with African American music and the diverse ways in which African American music shapes early conceptions of American music. 
  

  • GRMUS H686 — First Nights

    2 credits
    Spring
    Thomas Forrest Kelly

    A study of the first performances of five iconic pieces: Monteverdis Orfeo, Handel’s Messiah, Beethoven’s Ninth Symphony, Berlioz’s Symphonie fantastique, and Stravinsky’s Rite of Spring. For each piece we will consider the cultural context, the musical background (what were people used to listening to?), and give very close attention to the score, the performers, the audience, and the details that can turn monumental pieces of the past into what they were then: cutting-edge pieces of contemporary music.
  

  • GRMUS H694 — Music & 20th Century Movements

    2 credits
    Spring
    Fredara Hadley

    This course explores the connection between music and 20th-century sociopolitical movements and considers the complex ways in which music affects, and is affected by, historical inflection points. Topics include a survey of the diverse music genres associated with women’s suffrage and women’s equality causes; music and the Civil Rights era; and immigration movements. The course takes a wide-angle view of the music associated with these movements so as to emphasize the diverse musical responses to profound social change. Students will complete projects that highlight the relationship between musical innovation and social shifts as a way to underscore the ways in which music soundtracks the upheaval of change.
  

  • GRMUS H695 — African-American Music Since the Harlem Renaissance

    2 credits
    Spring
    Fredara Hadley

    This course traces the evolution of African American music from the era of the Harlem Renaissance in the 1930s to the present. Considering interwoven Black folk, classical, and popular musical traditions and African and African American approaches to music-making, the focus of this course is the Harlem Renaissance—a period marked by rich literary, artistic, and intellectual production and innovation—as a site of convergence of classical, folk, and popular African American musics. Students will investigate how the artistic debates of that era informed the further development and critique of African American musics and complete projects that directly engage Juilliard’s longstanding affiliations with African American music and the manifold ways African American music shapes American music more broadly. 
  

  • GRMUS H697 — Music in New York City

    2 credits
    Fall
    Martin Verdrager

    New York City, with residents from all over the world, is the most diverse city in the United States. Nearly 200 languages are spoken here, including indigenous languages and numerous dialects from regions all over the globe. It is that spirit of plurality that has made New York a national leader in communication and creativity, including theater, journalism, literature, visual art, fashion, and, of course, music. This class explores where music and New York’s vibrant cultural heritage intersect, continually transforming and enriching the identity of this iconic city. Assignments will include readings, two weekly listening assignments, short papers, and an in-class presentation.

Graduate Studies: Core Seminars in Music Theory
  

  • GRMUS T603 — Graduate Theory Review

    3 credits
    Fall
    Faculty

    This review course is designed for entering graduate music students. The integrated format combines aural, visual, tactile, and written activities with analysis; keyboard; exercises in figured bass and melody harmonization; and short compositions that incorporate various harmonic idioms; singing; and transcription. The course comprises a reorientation that reveals how theory, composition, listening, and analysis can inform performance and provides a foundation for more-advanced theory courses. The first half of the course focuses on diatonicism and the second addresses chromaticism. 
  

  • GRMUS T610 — Bach’s Well-Tempered Clavier in Context

    2 credits
    Spring
    Kendall Briggs

    Bach’s Well-Tempered Clavier is the foundation of all necessary musical study. It is not only two books of elegant preludes and fugues, but also an entire treatise on harmony, tuning, and temperament; every composer since Bach has encountered it or can expect to as they develop their craft. But why did Bach write two volumes? Wasn’t one enough? This course will investigate the answer to these questions and more through an examination of the compositional inspiration of the Well-Tempered Clavier, including the sets of preludes and fugues in all the keys both during and after Bach’s time. The course will explore tuning, temperament, and their harmonic implications as well as the stylistic implications of Bach’s approach to compositional structure. References to the Inventions, Sinfonias, Suites, Clavier-Übung, Art of Fugue, and Musical Offering will all be considered.

  

  • GRMUS T615 — Beethoven’s Late Piano Sonatas

    2 credits
    Fall
    Kendall Briggs

    The late piano sonatas represent Beethoven’s final statements on the genre as well as his unique mark on the use of sonata and other architectonic principles. These unique works stand as monuments in the compositional history of the piano sonata. All composers since have had to reconcile their own piano sonatas to those of Beethoven. This course will focus on his late sonatas, beginning with op. 101 and finishing with his remarkable op. 111. Because of their unique nature and proximity, the late sonatas will be compared with his late string quartets in order to understand more fully Beethoven’s compositional process at the end of his life. Sonatas written at the time by other composers will also be included, to help situate Beethoven’s own in the appropriate context.
  

  • GRMUS T620 — The Baroque Concerto

    2 credits
    Fall
    Kendall Briggs

    The early form and development of the concerto is rarely discussed. From the early antiphonal vocal and instrumental works of Gabrieli to the colorful “Brandenburg” Concertos of Bach, this course will focus on how composers used the concepts of antiphony, contrast, and opposition in large and small ensembles to create the concerto principle by examining the influence of vocal music on emerging instrumental forms. Topics will include the development of harmony and counterpoint from the older hexachordal system to the seconda pratica, its effects on tonal planning, and the creation of the ritornello concept; development of musical instruments and their combinations; analysis and comparison among national styles and their influence. Works by Gabrieli, Schütz, Corelli, Muffat, Leclair, Vivaldi, Bach, and Handel will be examined. Assignments will include comparative summaries of topics discussed as well as a final document, which will focus on a specific topic or a comparison of various topics. Preference given to Historical Performance students.
  

  • GRMUS T623 — Advanced Counterpoint

    2 credits
    Fall
    Philip Lasser

    An intensive course devoted to studying the contrapuntal nature of music. Counterpoint is treated here not as a historical, style-based study, but rather as a fundamental controlling force in the syntax of Western music. The class will cover all the species in two, three, and four voices as well as explore works from Bach to today using unique contrapuntal tools for analysis. The class is designed as a rigorous seminar with weekly written assignments. Required of all undergraduate Composition majors and master’s Conducting majors. Open to advanced students in other majors.​
  

  • GRMUS T624 — Advanced Counterpoint

    2 credits
    Spring
    Philip Lasser

    Prerequisite: GRMUS T623. Building upon the skills and techniques acquired in the fall semester, this course will explore two, three, and four voice fully invertible counterpoint as well as the secrets to writing all types of canons from regular to augmentation and cancrizan canons and will culminate in the study and the writing of Bach-style fugues. Concurrently the class will analyze relevant works from the repertoire including an in-depth study of fugues from The Well-Tempered Klavier. Required of all undergraduate Composition majors and master’s Conducting majors. Open to advanced students in other majors who have taken the fall semester of Advanced Counterpoint.
  

  • GRMUS T625-6 — Advanced Studies in Harmony

    4 credits
    Full Year
    Philip Lasser

    Open to Composition majors and advanced students in other majors. An advanced course examining the harmonic principals of the tonal language and their evolution through history. Based on Nadia Boulanger’s method, the class involves extensive written and aural work on chorale harmonizations from triads to ninth chords, with special emphasis on doublings and chord spacings. Work evolves gradually from diatonic to chromatic. Analysis of music from all periods will also be covered stressing harmonic issues as key elements of style and compositional organization.
  

  • GRMUS T633 — Music in Context

    2 credits
    Spring
    Philip Lasser

    An intensive special-topics course devoted to analyzing and discussing works that students are currently preparing for performance. Basic tools for contrapuntal, harmonic, and formal analysis will be established through examination of diverse works from the repertoire. Students will then apply these analytical techniques toward a work of their choosing as their final project and present in groups, an in-class lecture-performance discussing collaboratively the analysis and its relevance to interpretation. Open to individuals and chamber groups.
  

  • GRMUS T637 — Contrapuntal Analysis: The Fabric of Music

    2 credits
    Spring
    Philip Lasser

    A seminar to analyze the contrapuntal fabric of music. Western music, both modal and tonal, has developed intricate ways to transmit meaning and beauty through sound. What are these processes and how do they affect how we understand music? Emphasis will be made on the relevance of this analysis to informed interpretation, performance, and composition. Following a presentation of the tools and concepts necessary for this analytical method, the course will examine major works from the High Baroque to Debussy. Students will also select works for individual analysis and discussion. Open to D.M.A. and advanced M.M. students.
  

  • GRMUS T640 — The New and the Old

    2 credits
    Spring
    Jonathan Dawe

    A study of pairs of works from different eras in which significant links and lineages are established and explored. Principal to this analytic survey is the investigation of musical expressions that make connections beyond historic periods. How do works reinvent the past and what constitutes genuine compositional innovations? Included in this collection are: Babbitt and Brahms; Monteverdi and Glass; Hindemith and Bach; and Stravinsky and Machaut.
  

  • GRMUS T641 — The American Symphony: Ives to Corigliano

    2 credits
    Fall
    Wayne Oquin

    This course focuses on some of the major American orchestral works of the 20th century, including notable symphonies, concertos, and works for large instrumental forces that have contributed significantly to music written today. Using photos of composer manuscripts, sketches, letters, and other primary source materials retrieved from the Library of Congress, many of which remain undigitized, the course delves deeply into the realm of compositional process as it relates uniquely to each composer. Lectures will apply basic and more advanced theoretical principles to music often neglected in general analytic studies. Works are covered in chronological order, retracing the development of American concert music from its Eurocentric beginnings to its wide-ranging influences including jazz, musical theatre, and film.
  

  • GRMUS T643 — The Bartók String Quartets

    2 credits
    Fall
    Kendall Briggs

    The quartets of Bartók stand as the greatest achievements in quartet writing in the first half of the 20th century. These monumental works also shaped and changed forever the way quartets were written and played and gave the medium a fresh and vibrant start in the new musical world at the beginning of the 20th century. Briefly surveying the history of quartet writing and playing, this course will demonstrate how Bartók explored and exploited the developments of the past as well as how he derived new ideas of form and timbre which would drastically change the soundscape of the string quartet. Each quartet will be viewed in its contemporary context as well as through historical perspective, giving the student the opportunity to see and experience these quartets in new and different ways. 
  

  • GRMUS T644 — Beethoven: The Heroic Decade, 1800-1810

    2 credits
    Spring
    Wayne Oquin

    During the years of 1800-1810 Beethoven singlehandedly altered the history of Western music. In his so-called middle period, Beethoven’s vast creative output contained many of his most revered works: Symphonies Nos. 3 through 6; the Op. 59 (“Razumovsky”) String Quartets; Piano Sonatas Op. 27 (Quasi una fantasia) through Op. 81a (Les Adieux); and his opera Fidelio. This course will cover each of these works and others, analyzing the music, retracing Beethoven’s artistic development, and putting the works into their historical context. Frequently we will refer to facsimiles of the autograph manuscripts, critical editions, and analytical writings.
  

  • GRMUS T645 — Methods of Analysis

    2 credits
    Fall
    Jonathan Dawe

    A course that explores analytic approaches to tonal and post-tonal theories. Included in the study is a survey of important speculative and practical theories of the 18th and 19th centuries as well as an investigation of significant theoretic traditions of the 20th century. This course also offers an introduction to the recent diverse approaches in music analysis currently developing in the 21st century.
  

  • GRMUS T657 — Schubert and Schumann: The Song Cycles

    2 credits
    Spring
    Kendall Briggs

    This course will explore selected song cycles of Franz Schubert and Robert Schumann including: Schubert’s Die Schöne Müllerin and Winterreise and Schumann’s Dichterliebe, Frauenliebe und -Leben, and Liederkreis (opus 39). Following an introduction to German Romanticism and analytical techniques, the course will focus on the nature of the song cycle, including large-scale narrative and detailed exploration of specific songs. Weekly discussions of readings and analyses will be reinforced with live performance. A central question will concern the role of analysis in informing a musical interpretation.
  

  • GRMUS T662 — Schoenberg and the Serial Legacy

    2 credits
    Fall
    Jonathan Dawe

    Shortly after fully forming his 12-tone method, Schoenberg proudly proclaimed that it would play a central role for the next 100 years. Just what was so significant about this compositional procedure that led him to anticipate its profound effect on the development of modern music for 100 years to come? This course examines the many dimensions of Schoenberg’s 12-tone techniques, not only through the study of specific works but also through its influence on compositional thinking of later important composers. Central to the study is an investigation of the deeper conceptual ideas behind the method that affect musical structure, motion, logic, and embrace Karlheinz Stockhausen’s proclamation: “Serial music demands serial thinking.”
  

  • GRMUS T663 — European Avant-garde Composers: 1945-1980

    2 credits
    Spring
    Jonathan Dawe

    Instilled with a newfound sense of purpose and discovery in the second half of the 20th century, young European composers radically advanced compositional thought and in doing so reconsidered the very foundations of musical language. This course offers an analytic path through important musical compositions that represent this period of avant-garde achievements. Included in the survey are works by Boulez, Stockhausen, Nono, Ligeti, and Dallapiccola.
  

  • GRMUS T670 — 19th-Century German Art Song

    2 credits
    Fall
    Loretta Terrigno

    Focusing on song collections by Robert Schumann, Johannes Brahms, and Hugo Wolf, this course will compare definitions of the “song cycle,” “song bouquet,” and “songbook,” as well as “song pairs,” and seek evidence for these types in Schumann’s Dichterliebe (Op. 48) and Frauenliebe und Leben (Op. 42), Brahms’s Op. 3 songs, Die schöne Magelone (Op. 33), and Vier ernste Gesänge (Op. 121), and Wolf’s Mörike Lieder and Italienisches Liederbuch, among others. Course content will reference authors such as Beate Perrey, Rufus Hallmark, Xavier Hascher, Inge Van Rij, and Susan Youens, and explore how musical connections throughout each collection either convey poetic and musical narratives or merely hint at a network of associations. Students will investigate how each composer modifies or adapts original literary sources and gain a thorough understanding of poetic form and meter as well as of declamation, form, and harmony in the musical settings. Coursework will include short analytical papers, weekly presentations of original song interpretations, class performances, and mock pre-concert lectures.
  

  • GRMUS T671 — Introduction to Post-Tonal Theory

    2 credits
    Fall
    Jonathan Dawe

    An engaging study of important analytic approaches to modern music that have developed during the second half of the 20th century. Included in the survey is a study of important post-tonal theories, including Set-Theories, Klumpenhouwer Networks, Array Design, and Transformation Graphs applied to analyses of works by composers as diverse as Webern, Stravinsky, Boulez, Part, Ligeti, Glass, and Wuorinen.
  

  • GRMUS T672 — String Music: Debussy to Bartók

    2 credits
    Spring
    Behzad Ranjbaran

    This course is devoted to an in-depth and comprehensive analysis of select string works from the early 20th century. With particular focus on composers who contributed to the development and stylistic diversity of the string repertoire, including Debussy, Ravel, Schoenberg, Berg, and Bartók, the course will critically examine the innovations in harmony, melody, form, texture, rhythm, and string techniques that occurred during this time period. Students will be encouraged to perform passages from works studied in class in order to gain a greater understanding of various elements of these complex works.
  

  • GRMUS T675 — Writing Cadenzas

    2 credits
    Fall
    Behzad Ranjbaran

    A newly composed cadenza has the potential to feature a performer’s artistry with refreshing personal commentary on an ever-familiar work, thus becoming a highlight of a performance. This class is devoted to developing the skills necessary for composing cadenzas appropriate for 18th- and 19th-century sonatas and concertos. The art of cadenza writing, so prominent in the Common-Practice era, will be explored by examining historical documents detailing its development. In addition, there will be a comprehensive harmonic and melodic analysis of cadenzas written by period composers such as Mozart and Beethoven. We will explore various types of cadenzas from Eingang (a fermata embellishment) to fully developed cadenzas written for a variety of instruments in 19th-century concertos. Special attention will be given to the relationship of each cadenza to the thematic and harmonic language of the work in which it appears. Students will be methodically guided through the stages of composing first brief passages and then later complete cadenzas.  All works will be performed and discussed in class.
  

  • GRMUS T682 — Music Theory Pedagogy

    2 credits
    Spring
    Steven Laitz

    This course offers a practical introduction to teaching methods in music theory. Students will gain experience designing lessons plans, homework assignments, and assessments. The course also includes a survey of teaching materials for music theory, as well as advanced analysis projects. Each student will have the opportunity to teach sample lessons in undergraduate Music Theory and Analysis classes. Required for music students interested in fellowship and assistantship positions in the Music Theory and Analysis department; these assignments are contingent upon overall class standing and evaluation by the instructor. Undergraduates may enroll with permission of the instructor. 
  

  • GRMUS T693 — Schenkerian Analysis I

    2 credits
    Fall
    Eric Wen

    Analysis of excerpts and of complete movements and pieces from the tonal repertory (1700 to 1900) using the Schenkerian approach. The purpose of the course is to enable both performers and composers to hear and understand music more deeply in ways that will benefit their own music making.
  

  • GRMUS T694 — Schenkerian Analysis II

    2 credits
    Spring
    Eric Wen

    Prerequisite: GRMUS T693 . The analysis of complete pieces and movements using the Schenkerian approach. Two areas of special concentration will be sonata form and the relationship between words and music from a Schenkerian perspective.

     

Graduate Studies: Elective Seminars in Music
  

  • GRMUS S687 — The Great Pianists

    2 credits
    Fall
    José García-León

    This course provides a survey of the main pianists since the invention of the instrument, from Mozart to present day. By studying their recordings and surviving documents, we will analyze and discuss their pianistic styles, their legacy, and their approaches to public performances and recording sessions. Pianists included are Mozart, Beethoven, Chopin, Liszt, Clara Schumann, Paderewski, Rachmaninov, Horowitz, Rubinstein, Lipatti, Gould, Hess, Van Cliburn, Argerich, Barenboim, Brendel, Perahia, Pires, Uchida, and many others.

Graduate Studies: Departmental Practicums in Music
  

  • GRMUS P634 — Tonal Improvisation

    2 credits
    Spring
    Yi-heng Yang

    This course develops the tools of improvisation needed to speak the musical languages of Bach, Mozart, Beethoven, Chopin, Schumann, and Mendelssohn. After an initial module where fundamental tonal harmonic patterns, sequences, and improvisatory methods are practiced, we will embark on different units, one for each composer. We will study and extract the essential stylistic and harmonic characteristics found in the literature, and work towards playing and improvising in genres that the composers themselves used: fantasy and fugue (Bach), cadenza and variation (Mozart), nocturne and waltz (Chopin), and fantasy and character pieces (Schumann, Mendelssohn). For the final project, students will select another composer of choice, identify specific stylistic characteristics of that composer’s language, and develop a fully improvised solo work in a genre that the chosen composer used. 
  

  • GRMUS P658 — Jazz Practicum for Pianists

    2 credits
    Spring
    Ted Rosenthal

    A chronological overview of jazz’s most important piano stylists, defining their lasting contributions to the art form. Fundamentals of the jazz language, such as harmony, rhythm, melody, song forms, and improvisational techniques will be addressed. Ear training, transposition, and harmonic analysis will also be utilized to enhance the student’s total musical awareness. Non-Jazz majors only.
  

  • GRMUS P670 — Composers and Choreographers

    2 credits
    Fall
    Jerome Begin, Daniel Ott

    For selected Composition and Dance majors only. Exploring techniques of collaboration through exercises in problem solving and the development of a work. The course will introduce to each discipline the needs, vocabulary, and work methods of the other and search for the common ground on which each can flourish while nourishing the other. Advisement will be provided for ongoing showings of works in progress. Finished pieces will be presented in concert format.
  

  • GRMUS P671 — 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. 
  

  • GRMUS P673 — Opera Lab Seminar

    2 credits
    Fall
    Cori Ellison

    Opera Lab is a practical training program for composers, librettists, and performers interested in connecting the past, present, and future of opera as they create and perform their own new operatic works. The program offers a balanced and robust mix of vital nuts-and-bolts curriculum, conversations with distinguished professional practitioners, and hands-on creative work. The fall semester seminar culminates in a performance of student-generated operatic arias.
  

  • GRMUS P674 — Opera Lab Practicum

    2 credits
    Spring
    Cori Ellison

    Opera Lab is a practical training program for composers, librettists, and performers interested in connecting the past, present, and future of opera as they create and perform their own new operatic works. The program offers a balanced and robust mix of vital nuts-and-bolts curriculum, conversations with distinguished professional practitioners, and hands-on creative work. The spring semester practicum culminates in a performance of student-generated one-act operas. 
  

  • GRMUS P677-8 — Opera Performance Technique for Pianists

    4 credits
    Full Year
    Diane Richardson

    A course designed for pianists with focus on all styles of operatic literature. Emphasis is placed on techniques of preparation and rehearsal of ensemble as well as solo repertoire. Effective means of producing orchestral textures at the piano are studied. Required of all second-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor.
  

  • GRMUS P679-80 — Russian Diction/Vocal Literature

    2 credits per semester
    Fall and Spring
    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.
  

  • GRMUS P682 — British and American Song Literature

    2 credits
    Spring
    Lydia Brown

    Prerequisite: VAMUS 561 . This performance seminar addresses 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.
  

  • GRMUS P683-4 — French Vocal Literature

    2 credits per semester
    Fall and Spring
    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.
  

  • GRMUS P685-6 — German Vocal Literature

    2 credits per semester
    Fall and Spring
    Faculty

    Prerequisite: VAMUS 581-2  . Open to Piano majors by permission of the instructor. A survey of the songs of Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Liszt, Strauss, Mahler, Marx, and Berg. All songs will be performed and discussed in class.
  

  • GRMUS P687-8 — Italian Vocal Literature

    2 credits per semester
    Fall and Spring
    Nicolò Sbuelz

    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.
  

  • GRMUS P691-2 — Instrumental Accompanying I

    4 credits
    Full Year
    Jonathan Feldman

    A performance class in which participants prepare repertoire and play without rehearsal with a core group of instrumentalists. Extensive study of orchestral reductions, comparison of different editions, examination of full orchestral scores, and discussion of other options for realizations for the piano. Additional focus on ways to imitate and produce orchestral sounds on the piano. Repertoire will also include shorter duo works, non-orchestral. Some sight-reading included. Required of all first-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor.
  

  • GRMUS P693-4 — Skills of Vocal Accompanying

    4 credits
    Full Year
    Lydia Brown

    Through the study of English, French, and German song, this course endeavors to identify and explore the specific skills required of both pianists and singers in the successful rehearsal and performance of this repertoire. Focus on performance practice issues and how they differ from composer to composer. Required of all first-year Collaborative Piano majors; Voice, Conducting, and Piano majors with permission of the instructor.
  

  • GRMUS P695-6 — The Art of Vocal Coaching

    4 credits
    Full Year
    Lydia Brown

    Prerequisite: GRMUS P693-4  This course seeks to develop the vocal coaching skills of student pianists/coaches to their highest possible level. Beginning with teacher-singer demonstrations and discussions, the class gradually progresses to the student pianists/coaches. Interactive discussion and evaluation. Collaborative Piano majors only.
  

  • GRMUS P697-8 — Orchestral Keyboard Repertoire

    2 credits per semester
    Fall and Spring
    Eric Huebner

    A course open to Collaborative Piano and Piano majors interested in learning orchestral keyboard repertoire for piano, celeste, electric keyboard, and harpsichord. Selected repertoire will encompass programs that the Juilliard orchestras (including Lab Orchestra for student conductors) will be performing during the school year. Works written by Juilliard student composers and requiring keyboard will also be included. Standard repertoire not scheduled for performance but important for the keyboard player to know will be an important element of the course, as will the review of other responsibilities which fall to the orchestral keyboard player, such as solo rehearsals, instrumental auditions, and choral rehearsals. By permission only.
  

  • GRMUS P791-2 — Instrumental Accompanying II

    4 credits
    Full Year
    Jonathan Feldman

    Prerequisite: GRMUS P691-2  A performance class in which participants prepare repertoire and play with a core group of instrumentalists. The repertoire assignments will be decided based on the student’s own repertory needs. Works of study will include orchestral reductions, large works (not sonatas) and smaller works. The focus will be on 19th and 20th century repertoire. Required of all second-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor. 

Graduate Studies: General Practicums in Music
  

  • GRMUS P610 — Baroque as a Second Language: Historical Performance for Modern Players

    2 credits
    Fall
    Robert Mealy

    This class offers an intensive exploration of the specific techniques and styles of historical performance, concentrating on the rich and virtuosic chamber and orchestral music of the 17th and 18th centuries. It will focus on French and Italian Baroque style, through study of original musical sources and contemporary writing about performance, as well as through hands-on experience for string players using Baroque bows. Although designed primarily for modern string players, the class welcomes oboes and bassoons as well, to explore historical performance practice on modern instruments. Admission is by instructor approval. Baroque bows will be provided. There will be at least one class performance per semester.
  

  • GRMUS P611 — Baroque as a Second Language: Historical Performance for Modern Players

    2 credits
    Spring
    Robert Mealy

    This class offers an intensive exploration of the specific techniques and styles of historical performance, concentrating on the rich and virtuosic chamber and orchestral music of the 17th and 18th centuries. It will focus on French and Italian Baroque style, through study of original musical sources and contemporary writing about performance, as well as through hands-on experience for string players using Baroque bows. Although designed primarily for modern string players, the class welcomes oboes and bassoons as well, to explore historical performance practice on modern instruments. Admission is by instructor approval. Baroque bows will be provided. There will be at least one class performance per semester.
  

  • GRMUS P633 — Improvisation

    2 credits
    Spring
    Peter Sykes

    Focusing on one of the most essential skills for any musician, in this introductory course we learn to improvise on our instruments: creating a melody on the spot; developing variations on a given bass or chord progression; learning to modulate; improvising within an ABA or a larger form; playing by ear; experimenting with sound-based free improvisation; combining music with poetry; and more. We improvise mostly in small groups of duos or trios, balancing playing and listening. Open to all instruments and singers. No prior experience in improvisation is needed.​
  

  • GRMUS P639 — Accompanying Dance

    2 credits
    Fall
    David LaMarche

    The worlds of dance and music have always been intertwined. This course will focus on rhythms, tempos and quality of music as an integral aspect of successful dance training. Improvisation and collaboration will be emphasized as pianists learn first-hand how musicians work in partnership with dancers in their classwork and in performance. Students will be coached largely in piano accompaniment for ballet by a conductor and pianist on the staff of American Ballet Theatre and with the Dance Division at Juilliard with the goal of exposing students to the professional possibilities for musicians in the dance world and giving them real-time experience in a ballet class. Piano students will be responsible for learning basic ballet vocabulary and the structure of a ballet class in order to support the dancers’ artistic and technical training. A brief exploration into modern dance will also be introduced. 
  

  • GRMUS P649 — Viennese Song and Fortepiano

    2 credits
    Spring
    Audrey Axinn

    Using Juilliard’s Viennese 1820s fortepiano, this performance seminar surveys lieder by Haydn, Mozart, Beethoven, and Schubert with a focus on vocal and pianistic performance practice of the late 18th and early 19th centuries. Class discussions place songs in historical context and explore the seminal keyboard writing of these great composers. Weekly in-class coachings emphasize natural speech-like syllabic inflection and classical notational practices, including note length, slurs, and ornamentation. Assigned readings and class discussions establish a framework for understanding performance practice scholarship, thus enabling students to locate resources to inform their own style-oriented interpretive choices. Students complete the class equipped with knowledge and techniques they can draw upon throughout their lives both as performers and teachers. Open to Graduate and 3rd and 4th-year undergraduate voice and piano majors. 
  

  • GRMUS P651-2 — Performance Workshop on 20th- and 21st-Century Music

    2 credits per semester
    Fall and Spring
    Joel Sachs

    Performance and discussion of a broad variety of instrumental and vocal works spanning the 20th and 21st centuries. Emphasis is placed on issues of learning, notation, and interpretation. Students will perform one or several times during each semester, and will lead the discussions. Brief papers summarizing the projects are required.
  

  • GRMUS P655 — Cultural Equity and Performance Practice

    2 credits
    Spring
    Curtis Stewart

    Open to individuals, duos, trios, and quartets of string players, Cultural Equity and Performance Practice delves into the performance of notated music influenced by the Blues and African American art music. The course explores recording comparisons of Fritz Kreisler and Don Shirley; Pablo Casals and Sister Rosetta Tharpe; Ginete Neveu and Stuff Smith; and Janine Jansen and James Brown, among others, in order to illuminate similarities, context, and gradation in several elements of performance practice. Students will explore the concept of cultural equity through performance practice, programming, and connecting a burgeoning understanding of history with stylistic fluency. The class will meet weekly over the semester, with three additional individual meetings planned for every player/group to develop a final performance project, and culminates in a performance in a community of color and a digital/social media presentation.
  

  • GRMUS P656 — Jazz Practicum

    2 credits
    Spring
    Ron Blake

    A hands-on approach to the study of jazz improvisation through an examination of the work of masters such as Louis Armstrong, Lester Young, Charlie Parker, Miles Davis, and others, as well as in-class performances. Emphasis will be placed on the practice of the rhythmic, melodic, and harmonic aspects of jazz vocabulary, blues, and standard song forms, transcribed solos, and strategies for developing one’s creative potential. Non-Jazz majors only.
  

  • GRMUS P660 — Introduction to Music Technology

    2 credits
    Fall or Spring
    Edward Bilous, Nathan Prillaman

    An introduction to the basic skills needed for composing and arranging electronic music. Topics of study include sequencing, sampling, and editing and processing digital audio. Basic Macintosh skills are required.
  

  • GRMUS P662 — Composing for Visual Media

    2 credits
    Fall
    Edward Bilous

    Prerequisite: GRMUS P660 . For students interested in learning the fundamental skills needed to compose and produce music for visual media including film, television, games and emerging art forms. Topics include creative collaboration with directors and visual artists, traditional and emerging art forms, diverse styles of music composition and production, and analysis of masterworks of professional composers. Students will be required to compose and produce original scores to excerpts from feature films, documentaries, and other filmed media.  
  

  • GRMUS P663 — Creation, Improvisation & Technology

    2 credits
    Fall or Spring
    Mari Kimura

    This course challenges the conventional distinctions imposed on diverse styles of music-making, inviting students to set aside notions of “genre” and embrace new forms and techniques. Central to the course are the study and practice of extended technique, including innovations such as “Subharmonics,” and the investigation of how non-traditional methods can inform composition and improvisation.
  

  • GRMUS P664 — Scoring to Picture Workshop

    2 credits
    Spring
    Edward Bilous

    Prerequisite: GRMUS P660  , GRMUS P662 . This course introduces the fundamental skills essential to composing and producing film music. Coursework will explore all elements of the scoring process, including spotting a picture, creating a musical structure based on visual images, styles of music composition and production, and analysis of traditional film scores. Students will be required to compose and produce original scores to excerpts from a variety of filmed media, including feature films and documentaries. For the final project, students will compose and produce original scores to short films created by young filmmakers working in diverse styles.
  

  • GRMUS P665 — Independent Study in Emerging and Collaborative Arts

    2 credits
    Fall, Spring
    Edward Bilous

    With permission of the instructor. A class for advanced students interested in working with new technology in the creation of original compositions. Projects may include the use of computers and electronic or acoustic instruments in live performance or the creation of a recorded work.
  

  • GRMUS P666 — Music Production Workshop

    2 credits
    Spring
    Ed Bilous

    Prerequisite: GRMUS P660 . A survey of electronic music production techniques most frequently used by composers, arrangers, and producers in the recording industry. Topics of study include creating rhythm tracks, arranging for electronic instruments, the use of signal processing, and basic mixing skills. Homework will include creative projects as well as listening assignments.
  

  • GRMUS P667 — Introduction to Interactive Music Technology

    2 credits
    Fall, Spring
    Mari Kimura

    An introductory class in which students will learn about the revolutionary program called MaxMSP (digital signal processing in Max), which allows musicians to perform interactive and electroacoustic computer music without any external devices such as synthesizers.
  

  • GRMUS P672 — From Studio to Stage

    2 credits
    Fall
    Dan Freeman

    Prerequisite: GRMUS P660 . For students interested in composing and producing contemporary popular music. The course will cover basic procedures and practices used in diverse contemporary and emerging musical styles including EDM, electronica, pop, rock, R&B, rap and hip-hop, and various sub-genres of indie music. A variety of production and performance software will be used in class with an emphasis on Ableton Live. Projects will include original compositions produced for recorded formats and live performance.
  

  • GRMUS P675 — Performance Enhancement

    2 credits
    Fall or Spring
    Noa Kageyama

    Performance-oriented, this course presents Sport Psychology methods that have been shown to assist students in achieving optimal performance levels under the pressure of juries, recitals, competitions, and auditions. Students will learn how to deal with fear and doubts, channel nervousness, focus better, and perform at a high level in stressful situations. A Performance Skills Profile, which identifies mental strengths and areas for improvement, will be administered and interpreted for each student. Through a series of practical exercises and mock auditions, students will apply established strategies and techniques, such as mental rehearsal, “deep” practice, and the “Centering” process, for achieving their best when it matters most.

Graduate Studies: Entrepreneurship and Career Development in Music
  

  • GRMUS E605 — Career Development Seminar

    2 credits
    Fall or Spring
    Bärli Nugent

    This highly collaborative seminar comprises three primary areas of focus: the finding and refinement of one’s own artistic voice; the polished production of a wide array of career materials; and the hands-on acquisition of tools and experiences that open pathways to new possibilities. Also woven throughout is increasing the awareness of how to: recognize opportunity; build your team; understand behind-the-scenes thinking; find and commission a composer; walk through a job search; develop an authentic public speaking persona; harness music’s power to effect change; enhance the ability to enter any situation professionally; and take continuous and organic action towards your career right now. Revision and completion of the significant number of weekly assignments is supported by five individual meetings with the teacher during the course of the semester.
  

  • GRMUS E607 — A Career in Music: Foundations for Success

    2 credits
    Fall
    Jessica Phillips

    A Career in Music: Foundations for Success is designed for curious and ambitious musicians to explore the elements of a well-rounded and fulfilling career in the music business. The course begins with an overview of existing business models in the arts and will include topics such as personal accountability and values, professional goals, and time management skills. Students will develop comprehensive foundational knowledge of areas such as marketing, communication, development, and fundraising, after which coursework shifts “inward” to include self-promotion, health and wellness, deliberate practice theory, storytelling and public speaking, and drafting successful résumés and biographical statements. Lastly, the course will discuss topics related to unions, negotiations, and basic finance, both for organizations and for individual artists. 
  

  • GRMUS E614 — Musician as Entrepreneur

    2 credits
    Spring
    Jessica Phillips

    Musician as Entrepreneur is intended for students looking to delve further into leadership development and the entrepreneurial skills required in the modern business of music. Each module will feature professional guest lecturers who are experts in the subject matter and leaders in their fields. The first half of the course will focus on individual leadership and personal development, labor negotiations, contracts, and political advocacy. This portion of the course will culminate in a midterm project. The second half will focus on public relations, marketing, and digital content creation; finance and bookkeeping; fiscal sponsorships, grant writing, contracting, and executive management roles. There will be a final project or paper due at the end of the course (TBA).
  

  • GRMUS E615 — Breaking Barriers: Classical Music in an Age of Pop

    2 credits
    Spring
    Greg Sandow

    There’s been talk for years about a crisis in classical music. We’ve all heard that the audience is getting older, that ticket sales are down, and that funding is harder to find. In this course, we ask where classical music fits in our changing culture. How real is the crisis? What can we do to make things better? We also look at how classical music is changing. As an exercise in making change ourselves, we talk about entrepreneurship – how musicians can find their own audience, and make careers in new and creative ways.
  

  • GRMUS E620 — Speaking of Music: How to Talk and Write About Music

    2 credits
    Fall
    Greg Sandow

    In today’s climate, musicians need to reach out to their audience and to the community. To do that, they need to talk about the music they make, which is something we all can learn to do better. In this course, we play recordings in class, and find ways to describe what we hear. We also read music critics, as examples (both good and bad) of how music gets talked about, which gives you one extra benefit: you’ll learn how critics work, how they think, and what your relationship with them can be, as your career advances.
  

  • GRMUS E630 — Future Stages

    2 credits
    Fall
    Edward Bilous

    This course explores how emerging technologies, trans-disciplinary design, and global interconnectivity impact the way in which the arts are created, performed, and experienced. Performances and recordings of recent multimedia and interdisciplinary works will provide insight into the ways digital technology, engineering and new media are shaping contemporary aesthetics and practices. Assigned readings will include texts drawn from art criticism, media studies, cognitive science, and meta-modernist philosophies; additionally, guest speakers will discuss topics related to interdisciplinary collaboration, augmented and virtual reality, and haptic performance technology. The course will place special emphasis on approaches to the pedagogy of art education, requiring students to design a lesson plan on the topic of emerging art forms.
  

  • GRMUS E633-4 — Suzuki Pedagogy

    2 credits per semester
    Fall and Spring
    Faculty

    Open to Piano, Violin, and Cello majors. With permission of the Executive Director, School for Strings.This course extends one year of credit to approved students who wish to complete the first year of the two-year Suzuki-based Teacher-Training program. This year includes weekly seminars and discussions as well as intensive observation of the lessons and classes in the School for Strings. Further information is available from the registrar.
  

  • GRMUS E644 — Arts in Education

    2 credits
    Spring
    Thomas Cabaniss

    A class for students interested in learning about teaching. Among the topics explored are multiple intelligence theory, arts education, and the development of human intelligence and aesthetic education. The main teaching tools are activities led by artist/ teachers who guide participants through creative challenges directly linked to problems solved by masters in major works of art. The goal of the class is to aid the participants in developing a teaching style that promotes a sense of ownership of artistic ideas and awakens a curiosity for lifelong learning. Classwork includes weekly reading assignments and two projects.
  

  • GRMUS E645 — Practicum in Classroom Pedagogy

    1 credit
    Fall
    Alice Jones, John Popham

    Practicum in Classroom Pedagogy provides training and support to current Community Engagement Teaching Fellows. The seminar explores teaching and learning strategies, curriculum design, social-emotional learning, classroom management techniques, and digital pedagogy, as well as culturally responsive and anti-ableist teaching practices. Students will develop their skills as artist-educators through in-class presentations and discussions; workshops on syllabus creation, lesson planning, and group instrumental instruction; and regular teaching observations by Community Engagement staff, professional teaching artists, and music educators. Additionally, students will develop key components of their teaching portfolio, including sample lesson plans, a teaching philosophy statement, and digital educational content. Practicum in Classroom Pedagogy is required for all current Community Engagement Morse, Concert, and McCabe Teaching Fellows.
  

  • GRMUS E646 — Practicum in Classroom Pedagogy

    1 credit
    Spring
    Alice Jones, John Popham

    Practicum in Classroom Pedagogy provides training and support to current Community Engagement Teaching Fellows. The seminar explores teaching and learning strategies, curriculum design, social-emotional learning, classroom management techniques, and digital pedagogy, as well as culturally responsive and anti-ableist teaching practices. Students will develop their skills as artist-educators through in-class presentations and discussions; workshops on syllabus creation, lesson planning, and group instrumental instruction; and regular teaching observations by Community Engagement staff, professional teaching artists, and music educators. Additionally, students will develop key components of their teaching portfolio, including sample lesson plans, a teaching philosophy statement, and digital educational content. Practicum in Classroom Pedagogy is required for all current Community Engagement Morse, Concert, and McCabe Teaching Fellows.
  

  • GRMUS E651 — Piano Pedagogy

    2 credits
    Spring
    Aaron Wunsch

    Learning and teaching are two sides of the same coin. In this course, we shall investigate the process of learning and how we, as teachers, participate in this process. The practical approach to teaching at different levels will focus on such considerations as the psychology of learning and teaching, the study and evaluation of teaching repertoire and materials, the use of technology in teaching, as well as approaches to the learning and teaching of keyboard skills and musical literacy. The course will include lecture, discussion, and demonstration sessions and, in addition, can serve as a practicum for participants with students of their own.
  

  • GRMUS E653 — The Art of Teaching in the Music Studio

    2 credits per semester
    Fall and Spring
    Virginia Allen

    This course will help students identify and develop the skills necessary to be effective private studio teachers. Through assigned readings, discussions, and observations of master teachers, students will explore learning styles, teaching strategies, assessment strategies, resources, and methods and approaches to cultivate a creative learning environment. Students will learn by doing as they teach a limited number of private lessons. Open to fourth-year undergraduate students by permission of the Registrar.
  

  • GRMUS E674 — Leadership and Innovation in the Creative Arts

    2 credits
    Spring
    J.Y. Song

    Individuals in creative industries face all kinds of problems that pose significant challenges to their careers. These include highly volatile career environments, competitive conditions, a complex global environment, and difficult politics and conflicts between individuals and organizations. This course looks at how leaders in the creative industries develop strategies to deal with such challenges. Stressing the importance of innovation in entrepreneurial endeavors, we will study the work of artists in different disciplines—Pina Bausch, Daniel Barenboim, and Ferran Adrià. We will also look at leaders whose initiative and foresight have had significant impact on the music industry: Klaus Heymann at Naxos, Peter Gelb at the Metropolitan Opera, and Steve Jobs at Apple. By the end of the semester, students should understand fundamental concepts in leadership, entrepreneurship, and innovation. 

Graduate Studies: Departmental Requirements in Music
  

  • GRMUS R600 — Conductors’ Forum

    0 credit
    Full Year
    David Robertson and Guest Conductors

    Conductors’ Forum is an opportunity for Conducting majors to engage in conversation with David Robertson and guest conductors, following observation of their rehearsals with orchestras on the Lincoln Center campus. Conducting majors only.
  

  • GRMUS R601-2 — Sonatas for Accompanists I

    2 credits per semester
    Fall and Spring
    Collaborative Piano Faculty

    Study and performance of the vast sonata literature for all instruments, building the communication skills necessary for efficient and effective rehearsal with instrumentalists, and leading to polished performances. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
  

  • GRMUS R603-4 — Composition Seminar

    1 credit per semester
    Fall and Spring
    Melinda Wagner

    A seminar for all graduate Composition majors concentrating on the practicalities of making a career in composition.
  

  • GRMUS R611-2 — Songs for Accompanists

    2 credits per semester
    Fall and Spring
    Lydia Brown, Gina Levinson, Diane Richardson, Cameron Stowe and Brian Zeger

    Applied study of the vast song repertoire in all languages. Study includes aspects of style, technique, ensemble, and, when singers are partners, vocal coaching issues. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
  

  • GRMUS R621 — Principles of Conducting

    2 credits
    Fall
    David Robertson & Guest Faculty

    This course covers the wide range of techniques and expertise that a conductor must acquire for a successful career: the physicality of the craft (basic gestures and baton technique); in-depth knowledge of the instrument groups and their requirements (such as bowing for strings); and musical considerations, such as phrasing, and the strategic use of rehearsal time. Conducting exercises include one-line, two-line, and recitative; repertoire selected to illustrate specific challenges. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Visits to orchestra libraries and archives. Conducting majors only.
  

  • GRMUS R622 — Conducting Seminar

    2 credits
    Spring
    David Robertson & Guest Faculty

    This course builds upon the technical studies of the first semester by exploring selected orchestral repertoire in rehearsal and performance. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Conducting majors only.
  

  • GRMUS R623-4 — Studio Accompanying

    0 credits
    Full Year
    Faculty

    Collaborative Piano majors accompany in the studios and classes of instrumental and vocal arts faculty. This requirement, a component of their major study, provides valuable hands-on experience developing collaborative skills under the guidance of a wide variety of professional musicians.
  

  • GRMUS R701-2 — Sonatas for Accompanists II

    2 credits per semester
    Fall and Spring
    Collaborative Piano Faculty

    Study and performance of the vast sonata literature for all instruments, building the communication skills necessary for efficient and effective rehearsal with instrumentalists, and leading to polished performances. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
  

  • GRMUS R721-2 — Conducting Seminar

    4 credits
    Full Year
    David Robertson & Guest Faculty

    An advanced seminar building upon the technical studies of the first year and exploring selected orchestral repertoire in rehearsal and performance. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Conducting majors only.
  

  • MSMUS R511-2 — Advanced Score Reading and Musicianship for Conductors

    2 credits per semester
    Fall and Spring
    Kyle Blaha

    An advanced course for conducting students that provides an in-depth study of the repertoire through score-reading and performance. At the core of the class are prepared and sight-read excerpts from the repertoire that provide an intimate and comprehensive understanding of the assigned scores. In addition, exercises in dictation, transposition, singing, keyboard skills, rhythm, and sight-reading allow the students to continuously hone their skills on a personalized basis.
  

  • MSMUS R623-4 — Repertoire Performance

    0 credits
    Fall and Spring
    Collaborative Piano Faculty

    A component of applied studies for Collaborative Piano majors consisting of public performance of required repertoire. Performance venues include Liederabend and Sonatenabend concerts in Paul Hall, master classes in the Peter Jay Sharp Theater, and chamber music concerts in Alice Tully Hall.

Doctoral Requirements
  

  • DRMUS E671-2 — Graduate Reading Course in French

    0 credits
    Full Year
    Liberal Arts Faculty

    This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
  

  • DRMUS E681-2 — Graduate Reading Course in German

    0 credits
    Full Year
    Liberal Arts Faculty

    This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
  

  • DRMUS E691-2 — Graduate Reading Course in Italian

    0 credits
    Full Year
    Liberal Arts Faculty

    This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
  

  • DRMUS 810 — Music Reference and Research

    2 credits
    Fall
    Jane Gottlieb

    A systematic study designed to provide the student with a thorough knowledge of sources necessary for research on the doctoral level. Covers library research methods, sources of information on music and music literature of all historic periods, and the process of evaluating editions. Required of all first-year D.M.A. students.
  

  • DRMUS 811-2 — Analytical Methods

    2 credits per term
    Fall and Spring
    Philip Lasser; Jonathan Dawe

    A seminar devoted to the study of analytical approaches to modal, tonal, and non-tonal music through a careful examination of seminal theoretical treatises and their relevance to music from the early Middle Ages up to the present. Topics will include proportional and tetrachordal thinking of early composers as reflected by Boethius and the Musica Enchiriadis, polyphony and the rise of thoroughbass conceptions of composition as discussed by Tinctoris, Zarlino, and Rameau. Second semester will focus on analysis of major works from Bach to contemporary composers using modern analytical techniques including Schenkerian and contrapuntal analysis as well as 12-tone theory. The course is designed to provide the opportunity for students to gain experience analyzing music and presenting their analyses both in written form and through oral presentations. Required of all first-year D.M.A. students.
  

  • DRMUS 820 — Approaches to Scholarly Editing of Music

    2 credits
    Spring
    Michael Musgrave

    An outline history of music printing and publication up to modern critical and performing editions. With a focus on the changing character and role of editions, this course will begin by examining the stages in the publication process, from autograph to first edition and later editions, noting typical problems in the evaluation of sources and issues in prioritizing. Study continues with the comparison of modern critical and performing editions in several genres (keyboard, strings, wind/brass, vocal, choral) with consideration of the performance consequences. References to historic and modern performances/recordings will elucidate discussion. Assignments will include a class presentation and an extensive term paper. Required of all first-year D.M.A. students.
 

Page: 1 | 2 | 3 | 4 | 5 | 6