May 19, 2024

College Catalog 2023-2024

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Repertory Classes
	PFENS 541R-542R — Low Brass Class 2 credits per semester Fall and Spring Joseph Alessi Low Brass Class meets weekly and emphasizes the study of low brass orchestral repertoire in a group setting. The class also provides coaching of trombone quartets and tuba ensemble, mock auditions, and master classes by visiting professors. Required of all Bass Trombone, Tenor Trombone, and Tuba majors in each semester of residence.
	PFENS 551R-552R — Double Bass Studio 1 credit per semester Fall and Spring Double Bass Faculty Double Bass Studio provides the major teacher with an opportunity to bring his or her students together for study as a group. The focus may be on solo or orchestral playing, as the schedule dictates. Class meets for five hours per semester. Required of all Double Bass majors in each semester of residence.
	PFENS 553R-554R — Orchestral Repertory for Double Bass 1 credit per semester Fall and Spring Timothy Cobb, Rex Surany The Orchestral Repertory for Double Bass course brings the Juilliard bass community together and provides an opportunity for students to study and perform the standard orchestral excerpts which will be asked at most auditions. The class meets 13 times per semester and all Double Bass faculty lead the class on a rotating basis. Each semester culminates with a mock audition. Required of all Double Bass majors in each semester of residence.
	PFENS 561R-562R — Orchestral Repertory for Harp 2 credits per semester Fall and Spring Nancy Allen This weekly class is designed to prepare Harp majors for successful orchestral auditions and careers. Students prepare excerpts, cadenzas, and entire works from the standard and contemporary orchestral repertoire, recent audition lists, and current Juilliard Orchestral assignments. Required of all Harp majors in each semester of residence.
	PFENS 581R-582R — Trumpet Class 1 credit per semester Fall and Spring Trumpet Faculty Trumpet Class meets six times per semester led by members of the Trumpet faculty or by distinguished guest artists. Repertoire for the class is flexible, including solo works, trumpet ensembles, and orchestral excerpts, individually or in trumpet sections. Participation is expected of all Trumpet majors.
	PFENS 583R-584R — Horn Class 1 credit per semester Fall and Spring Horn Faculty Horn Class meets six times per semester, led by members of the Horn faculty and by distinguished guest artists. The purpose of the class is to draw upon the knowledge and expertise of faculty and guest artists while fostering a sense of community and collaboration between all members of the Horn department. Comprehensive curriculum includes solo and ensemble repertoire, audition preparation, fundamentals, etiquette, wellness, Horn maintenance, and pedagogy. Required of all Horn majors in each semester of residence.
	PFENS 591R-592R — Oboe Class 2 credits per semester Fall and Spring Elaine Douvas, Scott Hostetler, and Nathan Hughes Oboe class meets weekly, led by members of the Oboe faculty. The comprehensive curriculum includes classes in orchestral and étude repertoire, English horn, audition preparation, oboe maintenance and repair, and reed making. Also included are master classes with visiting guest artists and an annual class recital. Required of all Oboe majors in each semester of residence.
	PFENS 593R-594R — Bassoon Studio Class 1 credit per semester Fall and Spring Kim Laskowski, Judith LeClair, and William Short Bassoon Class meets 6 times per semester, co-led by members of the Bassoon faculty. The comprehensive curriculum includes (but is not limited to) reed-making, orchestral excerpts and preparation, mock auditions, fundamentals of the instrument, ensemble playing, and pedagogy. The goal of the class is to draw on the combined knowledge of the bassoon faculty to provide practical information and experience in the areas above, as well as to foster a spirit of collaboration and community among the bassoon department. Required of all Bassoon majors in each semester of residence.
	PFENS 595R-596R — Clarinet Studio Class 1 credit per semester Fall and Spring Jon Manasse
Opera Studies
	OPMUS 501 — Juilliard Opera Chorus 0 credits Fall Andrew Gaines Participation in one Juilliard Opera chorus is required of all Juilliard Opera Workshop and graduate singers each academic year as assigned. Artist Diploma students are also required to participate as assigned. Any Voice major is welcome to participate in Juilliard Opera Chorus with major teacher and departmental approval. The Opera Chorus graduation requirement for Juilliard Opera Workshop and graduate students is fulfilled only by successfully completing assignments in Juilliard Opera Chorus. Chorus assessments are conducted during the rehearsal period.
	OPMUS 502 — Juilliard Opera Chorus 0 credits Spring Andrew Gaines Participation in Juilliard Opera Workshop Chorus is required of all second-year undergraduate singers. Students are introduced to production elements, methods of musical preparation, and the rehearsal process. Singers learn to work together and hone ensemble skills in a fully-staged operatic work with conductor and piano or chamber ensemble. Any Voice major is welcome to participate in Juilliard Opera Workshop Chorus with major teacher and departmental approval. The Opera Chorus graduation requirement for second-year undergraduate students is fulfilled only by successfully completing assignments in Juilliard Opera Workshop Chorus.
Lyric Diction
	VAMUS 161 — Phonics 1 credit Fall Hemdi Kfir An introductory course dealing with the elements of lyric diction. Singers become familiar with the International Phonetic Alphabet (I.P.A.) and the similarities and differences found in Italian, German, French, and English diction.
	VAMUS 551-552 — Russian Diction/Vocal Literature 2 credits per semester Fall and Spring Ksenia Leletkina 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.
	VAMUS 560X — English Lyric Diction: Graduate Review 2 credits Spring Kathryn LaBouff A one-semester review of English lyric diction.
	VAMUS 561 — English Diction 2 credits Fall Kathryn LaBouff The study of Neutral American English pronunciation and its correct vocal production, followed by Oxford British English pronunciation and application of both pronunciations to solo vocal repertoire with regard to clarity, expression, and interpretive values.
	VAMUS 570X — French Lyric Diction: Graduate Review 2 credits Fall Bénédicte Jourdois A one-semester review of French lyric diction.
	VAMUS 571-572 — French Diction 4 credits Full Year Bénédicte Jourdois A thorough study of the phonemes of the French language from the points of view of phoneticization (I.P.A.), vocalization, and interpretive expression of the text. Application of these to the song and operatic repertoire with stress on declamation of translations and healthy, intelligible, expressive singing in French. Open-class recital at the conclusion of the spring term.
	VAMUS 580X — German Lyric Diction: Graduate Review 2 credits Spring Nils Neubert A one-semester review of German lyric diction.
	VAMUS 581-582 — German Diction 2 credits per semester Fall and Spring Nils Neubert A concentrated study of the rules and sounds of the German International Phonetic Alphabet (I.P.A.). A direct application of the I.P.A. to the vocal repertoire, emphasizing the expressive lyrical phrasing of the language through text declamation and vocal interpretation. An introduction to German grammar.
	VAMUS 590X — Italian Lyric Diction: Graduate Review 2 credits Fall Stefano Baldasseroni A one-semester review of Italian lyric diction.
	VAMUS 591-592 — Italian Diction 2 credits per semester Fall and Spring Stefano Baldasseroni The fundamentals of Italian phonetics and sound production. Special emphasis given to the application of the theory through art songs and operatic arias.
Musical Studies for Singers
	MLMUS 391-392 — 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.
	MLMUS 471-472 — French Vocal Literature 2 credits per semester Fall and Spring Glenn Morton Prerequisite: VAMUS 571-572 . 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.
	MLMUS 481-482 — German Vocal Literature 2 credits per semester Fall and Spring Kayo Iwama Prerequisite: VAMUS 581-582 . Open to Piano majors by permission of the instructor. This course is a performance survey focusing on 19th- and 20th-century German Lieder. Though the primary aim of our sessions will be the coaching of in-class performances by pre-assigned singer/pianist duos, there will be assignments of a broader based nature for which the student will be responsible as well. We will focus on representative composers and poets within the German canon whose works shaped the development of the genre.
	MLMUS 562 — 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.
	MSMUS 100S — Alexander Technique for Singers 1 credit per semester Fall and Spring Lauren Schiff A psychophysical method for improving the use of the self. Students learn to recognize and control reactions and tensions in their mind and body, in movement, at rest and while singing. Expanding awareness of oneself leads to the ability to change habits that interfere with freedom of movement and use of the voice. Strict attendance requirements. Limited availability. Class is taught as private lessons. As assigned by the department with student requests.
	MSMUS 571 — Early Music Vocal Literature 2 credits Fall Avi Stein A performance-based seminar surveying vocal literature from the early 17th century through the mid-18th century. Genres to be covered include solo songs with continuo accompaniment, opera, oratorio, and the 18th-century cantata. Assigned works will be studied through in-class performance and detailed discussion of historical context, parallel instrumental trends, and performance practice including discussion of recitative and ornamentation. This course is open to third- and fourth-year undergraduate voice students, graduate voice students, as well as players of continuo instruments. Other students may be enrolled with the permission of the instructor.
	VAMUS 400 — Recital Practicum 2 credits Fall Justina Lee During the semester singers will select their recital repertoire, and explore research and performance issues vital for recital preparation. Participants will become familiar with the entire range of recital performance and production.
	VAMUS 501 — Vocal Arts Seminar 0-2 credits Fall Alexandra Day A course designed to address the extended needs of today’s performers, its goals are to acquaint the aspiring performer with the realities of professional life both off and on the stage; to increase students’ awareness of the world and community of which they are a part or are becoming a part; and to introduce students to specific areas of the music business. Required of all Voice majors. Does not carry credit for graduates.
	VAMUS 510 — A History of Singing 1 credit Fall Cori Ellison Through guided critical listening to the greatest singers from the dawn of the recording era through the present day, this course will trace the history and evolution of vocal technique, performance practice, and singing styles in classical song, opera, and oratorio. The class will explore the hallmarks of vocal excellence within diverse style periods, and develop a precise vocabulary for authoritatively discussing and evaluating singing. The impact of different performance spaces (private salons, small and large public theatres, purpose-built spaces, etc.) on vocal style will also be discussed.
Dramatic Studies for Singers
	OPMUS 101-102 — Acting I for Singers 1 credit per semester Full Year John Giampietro Short units will focus on fundamental principles of acting and study of definitive texts. Throughout the year, students will have reading assignments and write graded essays that supplement active classwork. Required of all first-year undergraduates.
	OPMUS 201-202 — Acting II for Singers 1 credit per semester Fall and Spring Anne Shikany Prerequisite: OPMUS 101-102 . Students will focus on the concepts of character, context, and imagination, working through a variety of exercises and assignments based on the techniques of Jacques Lecoq, among others. Classes will include frequent discussion of acting principles, presentation of monologues, and group work. Required of all second-year undergraduates.
	OPMUS 211-212 — Opera Studies 1 credit per semester Fall and Spring Justina Lee Students study assigned opera excerpts in a variety of styles, from early music to modern, and may be cast in small groups as assigned by the department, under the direction of a designated musical coach and stage director. Upon successful completion of diction, music, and staging preparation, students may perform their staged scenes. Required Movement classes and Opera Chorus are essential components of Opera Studies. Required of all second-year undergraduates.
	OPMUS 301-302 — Acting III for Singers 1 credit per semester Fall and Spring John Giampietro Prerequisite: OPMUS 201-202 . This class will consist of physical training based on natural principles of movement (shape, gesture, speed, response) that students will incorporate into the development and expression of a character. Students will practice and strengthen their acting technique through spoken scenes, monologues, and aria and song work. Required of all third-year undergraduates.
	OPMUS 311-312 — Opera Studies 2 credits per semester Fall and Spring Justina Lee Students will study assigned opera excerpts in a variety of styles, from early music to modern, and may be cast in small groups as assigned by the department, under the direction of a designated musical coach and stage director. Upon successful completion of diction, music, and staging preparation, students may perform their staged scenes. Opera Chorus is an essential component of Opera Studies. Required of all third-year undergraduates.
	OPMUS 401-402 — Acting IV for Singers 1 credit per semester Fall and Spring Mary Birnbaum Prerequisite: OPMUS 301-302 . In this culminating year of the undergraduate acting curriculum, singers will focus on integrating and applying their acting technique to the performance of vocal repertoire, with an emphasis on opera scenes, arias, and art song. Singers will also examine audition presentation technique and special challenges in recital performance. Required of all fourth- and fifth-year undergraduates.
	OPMUS 411-412 — Opera Studies 2 credits per semester Fall and Spring Justina Lee As assigned by the department, students participate in full opera productions and opera scenes, in a variety of styles, from early music to modern, designed to prepare students for rehearsals and performances in the professional world. Preparation includes extensive language, music, and dramatic coaching, culminating in performances for the Juilliard community. Opera Chorus is an essential component of Opera Studies. Required of all fourth- and fifth-year undergraduates.
	OPMUS 500 — Opera Chorus 0 credit Fall, Spring Andrew Gaines Participation in one Opera Chorus is required of all Juilliard singers each academic year as assigned. The Opera Chorus graduation requirement is fulfilled only by successfully completing all assignments. Chorus assessments are conducted during the rehearsal period.
	OPMUS 601-602 — Acting for Singers 2 credits per semseter Full Year Mary Birnbaum Class will focus on developing a dramatic toolkit for singers, including an acting vocabulary for text analysis and scene study, physical movement and connection to repertoire, audition practice, and partner work. Working to achieve a personal process (or “technique”) for acting—one which can coexist with a developing technique for singing— students will meet most weeks in group acting class taught by the MM/GD Dramatic Advisor. Individual and group dramatic coachings are scheduled outside of class time as a continuation of the weekly group acting class.
	OPMUS 603-604 — Advanced Acting for Singers 2 credits per semester Full Year Mary Birnbaum This class builds upon the dramatic training and foundations explored in OPMUS 601-602. Singers will continue developing their acting technique with a heightened focus on preparing for professional auditions.
	OPMUS 611-612 — Juilliard Opera (Graduate) 1 credit per semester Full Year Faculty Students take part in full opera productions and opera scenes (“Showcases”) as assigned by the department and receive regular advanced musical and dramatic coaching designed to prepare them for auditions, rehearsals, and performances at Juilliard and in the professional world. MM and GD students may be cast in full fall and spring productions in the Peter Jay Sharp Theater as well as the winter production in the Willson Theater. Ongoing individual and small group musical and dramatic coachings are held throughout the year. Participation in one Opera Chorus per academic year is required. Required of all students enrolled in MM degree or Graduate Diploma.
	OPMUS 701-702 — Juilliard Opera (postgraduate) 6 credits per semester Fall and Spring Stephen Wadsworth This two-year program is an intensive acting course for singers and a rigorous lab for the detailed integration of singing and acting, tailored to each individual performer’s needs and evolving technique. A strong focus of the program is career placement at the highest possible level, with regular private auditions for and consultations with top artist managers and general and artistic directors of opera companies. The central technique class centers on mental concentration and freedom, physical release, and emotional availability. The goal: collaborative, open, inventive singing actors who can work on any stage, in any style, in any circumstance, and with any director, who are fully committed in their work, who are leaders in the room wherever they go, and who are outstanding singers. Also included are musical and dramatic coachings, and diction work in a number of languages. Singers are expected to perform roles in Juilliard Opera productions and fulfill chorus assignments (once a year) as assigned. They may also be assigned to other classes offered at the school, such as ear training, theory, movement, and other languages. A certain amount of professional work outside the school is encouraged. At the end of the first year, faculty and administration of the Marcus Institute for Vocal Arts review the progress of each program member and determine the suitability of renewing participation in the program for a second year. Required of all students enrolled in Artist Diploma in Opera Studies.
	VAMUS 101-102 — Movement I 0 credits Fall and Spring Jeanne Slater A basic dance technique class. Jazz, theatrical, and Baroque dance styles will be covered in addition to turns, leaps, basic partnering, physical storytelling, stage deportment, gesture, and craft. This class focuses on body awareness, coordination, stretching, strengthening, fitness, and movement memory. Required of all undergraduates.
	VAMUS 103-104 — Movement II 0 credits Fall and Spring Jeanne Slater Prerequisite: Movement I . At the second level, the class will continue moving forward with more advanced dance technique, including multiple turns, leaps/jumps, and basic partnered lifts/tricks in addition to learning the basics of waltz, American tango, and swing. Each semester includes a project in which the students work on stagecraft and deportment within arias, songs, and opera scenes. Required of all undergraduates.
	VAMUS 611-612 — Movement for Graduates 0 credits Fall and Spring Jeanne Slater This class covers basic dance technique with a focus on strength, fitness, and flexibility in addition to turns, leaps, and partner work. Dance styles taught include jazz, theatrical, waltz, American tango, and swing. Required Movement classes and Opera Chorus are essential components of the opera studies program. Required of all students enrolled in the MM degree or Graduate Diploma.
Vocal Literature
	GRMUS 680P — Russian Diction - Vocal Literature 2 credits Fall Ksenia Leletkia Prerequisite: GRMUS-679P. 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. Offered in alternate years.
Jazz Performance Ensembles
	PFENS 511J-512J — Juilliard Jazz Orchestra 1 credit per semester Fall and Spring Faculty Performance of the big-band repertoire from the early works of jazz to newly composed works from established as well as emerging composers. Public concerts at Juilliard, Lincoln Center, venues around the greater New York area, as well as an annual tour.
	PFENS 521J-522J — Jazz Ensemble 2 credits per semester Fall and Spring Faculty Performance of the repertoire of small jazz ensembles from early New Orleans music to the present, including newly composed works from established as well as emerging composers. Public concerts at Juilliard and venues in Utah, Costa Rica, Spain, Japan, and Korea, to name a few.
Departmental Studies in Jazz
	JZMUS 100R — Doubles for Drummers 0 credits Full Year Mark Sherman Twenty-five percent of the private lesson grade. Doubles for Drummers meets weekly as primarily a one-on-one class in vibraphone and the harmonic elements needed for mallet improvisation. The curriculum includes basic mallet technique and a performance-based introduction to melodic improvisation for drummers. Required of all drummers seeking a Jazz Studies degree in each semester of residence. Interested Artist Diploma students must be approved by the Jazz Studies Office.
	JZMUS 200R — Doubles for Saxophones 0 credits Full Year Mark Vinci Twenty-five percent of the private lesson grade. Doubles for Saxophones meets weekly as a group class on clarinet and flute for all saxophonists. The curriculum includes a focus on fundamental difference in sound production between the flute (open cylinder), clarinet (closed cylinder) and saxophone (conical) and building successful doubling skills through group playing and solid conceptual understanding of the instruments’ tendencies. Required of all saxophonists seeking a Jazz Studies degree in each semester of residence. Interested Artist Diploma students must be approved by the Jazz Studies Office.
	JZMUS 321 — Jazz Seminar 1 credit Spring Faculty This course guides students in developing a set of practical skills around presenting effective performances. Students will study and create practical concert programs for various ensembles and venues, review basic conducting patterns, discuss rehearsal techniques, and explore ways to position their compositions appropriately within concert programs. They will draft their graduation recitals as part of their final assignment for the class.
	JZMUS 411 — Introduction to Jazz Arranging and Orchestration 3 credits Fall Andy Farber This course is designed to present and develop basic skills of arranging and orchestration in the context of small jazz ensembles. Students will learn notation skills from traditional paper and pencil to current computer notation software programs. In addition, the aesthetic purposes of arranging and orchestration, and the basic techniques therein will be discussed. Students will listen to seminal recordings that model their upcoming writing assignments. Those assignments may include transcribing, writing original lead sheet arrangements, and orchestrating arrangements that develop re-harmonization and counterpoint skills.
	JZMUS 412 — Jazz Arranging and Composition 3 credits Spring Andy Farber This course is designed to further develop skills of arranging and orchestration and introduce composition practices in the context of small to medium size jazz ensembles. Students will discuss aesthetic principles in composition and write and record original compositions that incorporate a varied number and mixture of front lines horns, motivic development, and considerations of form.
	JZMUS 421 — The Jazz Community Project 0 credit Fall Faculty This course helps students to understand the many important roles within the jazz community and to develop and implement meaningful and mutually beneficial projects. These may include mini-internships, performances, and teaching opportunities that connect students with the larger jazz community. A completed Jazz Community Project is the final required assignment.
	JZMUS 500 — Creative Ideas 1 credit per term Full Year Faculty and Guests A departmental practicum where students gain experience in performance, presentation, and professional development through studio classes, lectures, and master classes with guest artists and Juilliard Jazz faculty. Attendance required of all Jazz majors.
	JZMUS 506-507 — Vocal Jazz Seminar 1 credit per semester Fall and Spring Faculty
	JZMUS 510-510G — Jazz Business I 2 credits, 0 credit for Graduate students Fall Faculty This course provides a comprehensive survey of the functional business areas in jazz including production, marketing, finance, development, touring, and education. The class is team-taught by key administrative staff from Jazz at Lincoln Center.
	JZMUS 511-511G — Jazz Business II 2 credits, 0 credit for Graduate students Spring Faculty Prerequisite: JZMUS 510-510G . This course builds upon the conceptual foundation provided in the fall course and moves to project-based assignments where students engage with the key challenges of managing a jazz ensemble or organization, including marketing, interdisciplinary collaboration, production, and funding models. The class is team-taught by key administrative staff from Jazz at Lincoln Center.
	JZMUS 541-542 — Jazz Improvisation I and II 2 credits per semester Fall and Spring Faculty A workshop teaching the different concepts of improvising by listening to and studying the solos of the great improvisers throughout the history of jazz, placing an emphasis on the importance of hearing in improvisation and development of an individual sound.
	JZMUS 542 — Jazz Improvisation II 2 credits Spring Faculty A workshop teaching the different concepts of improvising by listening to and studying the solos of the great improvisers throughout the history of jazz, placing an emphasis on the importance of hearing in improvisation and development of an individual sound.
	JZMUS 543-544 — Advanced Jazz Improvisation 2 credits per semester Fall and Spring Faculty This course focuses on the development of improvisational reflexes through listening and performance, reinforced by discussions oncore recordings and the artist’s approach to developing solos. Assignments may incorporate odd meter and phrase lengths, and African and East Asian rhythmic concepts. The course will help develop the skill of listening, as well as develop a strong call and response reflex, which are keys to success in live improvisational performance.
	JZMUS 544 — Advanced Jazz Improvisation II 2 credits Spring Faculty Prerequisite: JZMUS 543-544 . This course builds upon a solid foundation in chord and scale relationship to explore conceptual approach to improvisation including various rhythmic shapes, odd meters, motivic development, and various chord substitutions.
	KSMUS 540J — Jazz Piano I for Non-Pianists 1 credit per semester Fall and Spring Donald Vega Designed to provide the non-pianist jazz musician with the basic proficiency necessary to utilize the piano as an aid to composition, arranging, and improvisation. Basics of piano technique, including scales, fingerings, arpeggios, hand position, touch, and sight-reading. Harmonic progressions and voicings will be studied in the context of the standard jazz repertoire.
	KSMUS 542J — Jazz Piano II for Non-Pianists 1 credit per semester Fall and Spring Donald Vega Prerequisite: KSMUS 540J . A continuation of Jazz Piano I for Non-Pianists. Designed to provide the non-pianist jazz musician with the basic proficiency necessary to utilize the piano as an aid to composition, arranging, and improvisation. Basics of piano technique, including scales, fingerings, arpeggios, hand position, touch, and sight-reading. Harmonic progressions and voicings will be studied in the context of the standard jazz repertoire.
	MHMUS 111J — Jazz History I 3 credits Spring Faculty A four-course sequence covering the origins and development of jazz music and an introduction to its major contributors as well as the exploration of musical and social issues associated with the genre. This first course aligns the early history of the United States, with particular focus on the 1820s through the 1920s, with the early developments of jazz, noting composer/performers such as Louis Gottschalk, Scott Joplin, Jelly Roll Morton, W.C. Handy, King Oliver, Louis Armstrong, and Duke Ellington. The impact of technology, the developing economy, and the movement of people around the United States on jazz music will be explored.
	MHMUS 211J — Jazz History II 3 credits Fall Faculty Prerequisite: MHMUS 111J . A course covering the origins and development of jazz music and an introduction to its major contributors as well as the exploration of musical and social issues associated with jazz. This course continues a review of the major developments in the United States with the many styles of jazz prevalent from approximately 1930 to 1970. The impact of the Great Depression, musical theater, black-owned record labels, the civil rights movement, as well as the music of artists such as Bennie Moten, Fletcher Henderson, Paul Whiteman, Count Basie, Louis Jordan, Benny Goodman, Miles Davis, Duke Ellington, and Charles Mingus will be studied.
	MHMUS 311J — Jazz History III 3 credits Spring Faculty Prerequisite: MHMUS 211J . This course builds upon the previous Jazz History courses, exploring the political and social environment as well as the music and musicians of critical eras in jazz music. It examines the international relationships within the history of jazz, such as the major contributors born outside the United States, and the impact that radio, recordings, film, and State Department and other tours had on the proliferation of jazz around the world.
	MHMUS 411J — Jazz History IV 3 credits Fall Fredara Hadley Prerequisite: MHMUS 311J . Jazz History courses explore the music and musicians that defined critical eras in jazz, and the political and social context in which they were situated. Jazz History IV, the final course in the sequence, examines modern jazz history from 1980 to the present with a focus on identifying the many streams in the genre that are current and enduring. Reflecting on this history, students will be challenged to project what their position in the world of jazz will be twenty years into the future, based on their evolving artistic vision, their mission statement as musicians, and their view of 21^st-century society.
	THMUS 111J — Jazz Theory I 3 credits Fall Sean Smither In this course, students develop a foundational understanding of melodic structure, harmony, meter, rhythm, and groove as performed in jazz. After a review of music fundamentals and notation basics, with which students must demonstrate fluency, students will study melodic construction, rhythmic and metric principles, and harmonic progressions key to the development of jazz. Students will study music drawn from the American vernacular tradition, including hymns, work songs, spirituals, marches, blues, folk music, and early jazz. Important musical terminology and concepts will be introduced. Assignments include transcriptions, short composition assignments, and analyses of musical phrases and short pieces.
	THMUS 211J — Jazz Theory II 3 credits Spring Sean Smither Prerequisite: THMUS 111J . This course expands on the study of melody, rhythm, and harmony to examine how each of these parameters intersect and overlap with one another. The relationship between melody and harmony within the jazz tradition will be examined, with an emphasis on writing, improvising, and analyzing melodic lines and chord changes. Students will then learn to distinguish various idiomatic elements of musical styles and their relationships to various Afro-diasporic musical traditions and practices, with special attention given to the ways in which melody and rhythm influence one another in Afro-Cuban and Brazilian musics. Assignments will include transcriptions, short composition assignments, analyses of musical phrases and short pieces, and improvisation exercises.
	THMUS 311J — Jazz Theory III: Chromatic Harmony 3 credits Fall Faculty Prerequisite: THMUS 211J . This course explores chromatic harmony and melodic principles, and advanced rhythmic concepts prevalent in mid- to late-20th-century jazz compositions by composers such as Wayne Shorter, John Coltrane, Duke Ellington, and others. This study will be applied to writing assignments that demonstrate students’ knowledge of arranging techniques from specific periods of jazz.
	THMUS 411J — Jazz Theory IV: Form 3 credits Spring Faculty Prerequisite: THMUS 311J . This course examines general principles of formal structure including phrase length, order of phrases, sections, movements in absolute and program music as well as common forms prevalent in jazz. Analysis of song forms and larger scale works, including repertoire performed by the Juilliard Jazz Orchestra, will be assigned.
Graduate Courses in Jazz
	GRMUS 601J — The Origins of Jazz 2 credits Fall Faculty At the turn of the 19th century, jazz, America’s original art form, was born in the historic city of New Orleans. Created by African-Americans, it incorporated everything from blues, Italian operas, Caribbean dances, and military marches to the music of the Baptist church. This graduate course explores these origins and the social climates that contributed to its evolution. Performers such as Buddy Bolden, Jelly Roll Morton, Joe “King” Oliver, Sidney Bechet, and Louis Armstrong will be studied. Reading and listening assignments, class discussions, and final paper required. When possible, students will present live performances.
	GRMUS 602J — The Swing Era 2 credits Spring Kenny Washington Prerequisite: The Origins of Jazz . Seen as a highly democratic musical form, and one that assisted in relaxing some of the racial divisions in America, the Swing Era was embraced by people of all walks of life. The Swing Era was not just music, but culture distinctive, generational culture with its own dances, clothing styles, and, most notably, slang. This graduate course explores the music and culture of this extraordinary time in American history via the works of jazz greats such as Count Basie, Duke Ellington, Glenn Miller, Tommy Dorsey, Chick Webb, Fletcher Henderson, and the “King of Swing,” Benny Goodman. Reading and listening assignments, class discussions, and final paper required.
	GRMUS 611J-612J — Advanced Jazz Composition and Arranging 2 credits per semester Fall and Spring Andy Farber Jazz composition and arranging for the instruments of the symphony orchestra, thus expanding the scope of writing beyond the traditional jazz band. This gives students the opportunity to explore beyond what is considered to be strictly jazz, and allows for a greater palette of expression with regard to style and orchestration. There will be six recording projects, ranging from chamber brass, woodwind quintet, larger brass and woodwind sections mixed, string quartet, and a studio orchestra that includes harp. All projects may utilize a rhythm section as desired.
Historical Performance Ensembles
	CMENS 531B-532B — Historical Performance Chamber Music 2 credits per semester Fall and Spring Faculty Chamber music groups prepare for performance through biweekly rehearsals and coachings with Historical Performance faculty. Repertoire is based one of four national themes (Italy, Germany, France, and England) in successive semesters, with the goal that each student participates in two chamber music groups per semester, and performs at least once. Students may request specific faculty coaches and chamber music partners, and any combination of instruments is permitted, including, schedules permitting, the participation of singers and modern instrument students enrolled in period instrument lessons. Required of all Historical Performance Majors.
	PFENS 611B-612B — Juilliard415 2 credits per semester Fall and Spring Robert Mealy and Guests Led by resident faculty and renowned guest conductors, intensive rehearsal periods culminate in frequent public performances of a wide range of 17th- and 18th-century instrumental and vocal music at Juilliard, around New York, and on national and international tour. Seatings take into account technical acuity, professionalism, dependability, collegiality, and level of experience. Required of all Historical Performance majors. Open by invitation to students taking Period Instrument Lessons for Modern Instrument Majors.
Historical Performance Core Studies
	HIMUS 600 — Historical Performance Studio Class 0 credit Full Year Robert Mealy and Faculty A departmental practicum in which students gain experience in the performance and presentation of solo and chamber music repertoire for an audience of their peers, under the guidance of the Historical Performance faculty. The class meets periodically throughout the academic year. Attendance required of all Historical Performance majors.
	HIMUS 611-612 — History and Literature of 17th- and 18th- Century Music 4 credits Full Year Robert Mealy This course is an in-depth investigation into specific historical moments and national styles in Italy, Germany, France, and England from the 17th through the mid-18th centuries. As the course progresses through each country in turn, topics covered will include historical and cultural perspectives; genre studies; musical forms and structures; rhetoric; analytical methods and treatises; notation; improvisation and ornamentation; questions of historical temperament and pitch; and organology. The class provides a practical forum to address the various aspects of research, interpretation, analysis, and issues of style through performance. Required of all first-year Historical Performance majors.
	HIMUS 611P-612P — Historical Performance Symposium 2 credits Fall and Spring Robert Mealy A symposium-style course in which esteemed scholars and performers address key topics in performance practice, often aligned with repertoire currently being performed by Juilliard415. Organized around the notion of national styles, each semester in the four-semester cycle focuses on a specific geographical region—Italy, France, Germany, and England. Classes include presentations and lectures by esteemed visiting artists and scholars and may include the study of treatises, ornamentation, improvisation, dance, art, and poetry. Required of all first- and second-year Historical Performance majors.
	HIMUS 613-614 — Historical Music Theory 2 credits per semester Fall and Spring Charlie Weaver Historical Music Theory is a yearlong study of theoretical ideas about music from the 17^th and 18^th centuries. Through readings from primary and secondary sources and the close analysis of musical works, the course explores the ancient and medieval background to Baroque ideas about music: the Greek science of harmonics; the use of the monochord; theories of consonance and dissonance; and theories of mensural rhythm and proportion. The first semester proceeds to the classic theory of species counterpoint, practicalities of tuning and temperament, the theory of modes, and the emergence of chordal harmony in the 17^th century. The second semester surveys theories of musical rhetoric, basso continuo and partimento as compositional tools, 18^th-century tonality, Rameau’s theory of the fundamental bass, theories of phrase construction and rhythm, and theories of schemata.
	HIMUS 615-616 — Ear Training for Historical Performance 0 credits Fall and Spring Charlie Weaver This course covers the methods of solfège used in Europe in the 17^th and 18^th centuries. An old saying at the Naples Conservatory was “chi canta suona,” or “Whoever sings plays.” 18^th-century students of the Neapolitan tradition, who went on to careers all over Europe and beyond, were not allowed to begin instrumental training until they were quite adept at singing. This course recreates that pedagogy for modern-day performers of 18^th-century music. The course follows a historical progression, beginning in the first semester with the Guidonian pitch system of plainchant. There will be exercises in modal polyphony and improvisation, approached from the point of view of the hexachord system. In the second semester, students will study 18^th-century solfeggi. Emphasis will be placed on style, vocal production, and intonation, with practice in spoken and sung solfège and clef reading.
	HIMUS 623 — Performance Practice Seminar 2 credits Spring Charlie Weaver This course begins with a consideration of the philosophical questions that lie behind the historical performance movement. What is the relationship between scholarship and performance? What is the relationship between improvisation, artistic freedom, and authenticity? The course will also address specific topics in Baroque performance practice, including expression, phrasing, rhythm, accentuation, articulation, ornamentation, instrumentation, and national styles, with an emphasis on empowering the student to pursue further research. Primary-source readings will include writings by Caccini, Frescobaldi, Niedt, Mattheson, North, and Quantz. Each student will be assigned a presentation about a particular work (solo, chamber, orchestral, or operatic) being performed in the department, identifying relevant writings and describing the practical issues the work raises for the performer.
	HIMUS 624 — History of Early Music 2 credits Fall Charlie Weaver This course surveys the history of the early music movement from its 19^th-century, antiquarian roots to its present position within the field of classical music. Together we will address some of the questions relevant to present-day performers of Baroque music. How have attitudes to historically informed performance changed in that time? What are the advantages and disadvantages of various editorial methods? What is the relationship between original notation and modern performance? Readings will be drawn from Dolmetsch, Landowska, Harnoncourt, Taruskin, Cyr, Butt, Kuijken, Haynes, and Burgess. Students will create an annotated bibliography on a particular question of performance practice.
Specialized Skills in Historical Performance
	HIMUS 635PI-636PI — Continuo Studies for Plucked Instruments 1 credit per semester Fall and Spring Charlie Weaver Through one-on-one sessions, presentations, ensemble playing, and symposium discussions, this course explores basso continuo and ensemble music for members of the lute and guitar families from 1500 to 1800. Emphasis is placed on study of the lute’s vast repertoire, lute-building traditions, and the selection and use of historically appropriate accompaniment instruments, including Renaissance and Baroque lutes, archlute, theorbo, and Baroque and transitional guitars, as well as rare, more distant instruments such as mandolino, bandora and cittern, English guittar, and gallichone. Practical sessions with guests will demonstrate the possibilities, drawbacks, advantages, and specific idioms suited to a variety of instruments.
	HIMUS 643-644 — Historical Improvisation for Non-Keyboard Players 2 credits per semester Fall and Spring Peter Sykes Combining practical instruction and in-class performance, this yearlong course investigates the historical foundations of improvisation on melody instruments, from Ortiz to Tartini and beyond. Skill-building elements will include a grounding in the rule of the octave, modulation, transposition, the development of memory through the five branches of rhetoric, counterpoint, and rudimentary keyboard skills. Students will study primary-source treatises by Ortiz, Ganassi, Bassano, Mace, Geminiani, Tartini, and Quantz; musical examples by Corelli and Telemann; and types of improvisation ranging from 16^th-century ornamentation to 17^th-century divisions and including playing over ground basses, ornaments and da-capo alterations, cadenzas, and free fantasias in the latter 18^th century. Each subject will be addressed chronologically, from 1533 to 1800, while skill-building components will be organized according to the level of complexity. Final projects include a paper and presentation on a topic specific to the student’s instrument and a class concert of improvised and ornamented music.
	KSMUS 635B-636B — Continuo Skills in Context 2 credits per semester Fall and Spring Avi Stein This course offers a historically-oriented approach to the technique and practice of continuo skills at the keyboard. Centered on the preparation of current concert programs, areas of focus include basso continuo accompaniment in chamber music, orchestra, and opera in various national styles; related treatises; working with facsimiles; clef reading; and realization and composition of complex harmonic progressions. Required of all Harpsichord majors.
Graduate Studies: Core Seminars in Music History
	GRMUS 602H — Proseminar in Music History: The Middle Ages and Renaissance 2 credits Spring Elizabeth Weinfield This course will investigate musical works written from approximately 900–1700 and the major ideas, genres, and composers that intersect with them. We will approach this music in the context of contemporaneous historical and political events, cultural institutions, and philosophical ideas, and examine acoustemological interactions—that is, exchanges about the music people make, and its significance, within and across cultures, borders, and regions— between western and global entities in the early modern world. Also a research class, the course will cover the major secondary literature on the field, as well as historiographical debates surrounding trends in Medieval and Renaissance reception.
	GRMUS 607H — Purcell and Handel in Score 2 credits Spring Ellen Harris Original sources for a baroque opera can range from none to overabundant. In this course we will look at the contrasting examples of Purcell’s Dido and Aeneas, for which no original materials survive and a Handel opera whose original sources are copious. These extremes present different difficulties for the editor and performer. By examining digital images, as well as the score of Dido in the Juilliard Manuscript Collection, we will evaluate current editions, considering the relative value of critical and performing scores, and have the opportunity to create and perform different options.
	GRMUS 611H — 19th-Century Music 2 credits Fall Jonathan Yaeger This course is an advanced study of the music, culture, and history of the Western notated tradition in the 19^th century, from Beethoven and Rossini to Mahler and Puccini. The course will help students broaden and deepen their command of 19^th-century repertory and style, helping them fill lacunae in their knowledge and prepare for further graduate work. Students will complete several short writing assignments that, in addition to the goals already mentioned, will develop their skills in bibliography, research, historiography, critical thinking, and digital literacy. There will be a midterm and a final exam, each focusing on repertory and style identification and contextualization.
	GRMUS 612H — The Classical Period (1730-1803) 2 credits Fall Edgardo Salinas This course is an advanced study of the composers, the culture, and the historical context that shaped the classical style during the second half of the 18^th century. The class will help students deepen their knowledge of the repertoire while examining the multiple styles, compositional techniques, and performance traditions that converged in the new musical synthesis epitomized by the oeuvre of Haydn, Mozart, and Beethoven. Students will complete several written assignments to help them prepare for graduate-level research and sharpen their cognitive skills in critical thinking and media literacy. The course will question traditional historical narratives about the period while addressing historiographical issues that will help students comprehend music history itself as a work in progress. There will be a midterm and final exam involving listening identification and short-essay questions to help students think critically about the aesthetic, social, and historiographical issues discussed in class.
	GRMUS 613H — The Stories of Music History 2 credits Fall Elizabeth Weinfield What is the story of music history? Who tells this story, and for whom is it intended? This course introduces students to the many intermingled narratives that form the discipline of musicology, offering a critique of the discipline as an active space for interpretation. A variety of theoretical approaches will be considered, from musicology’s 19th-century origins to the advent of social history and birth of the “New Musicology” to more recent scholarship addressing the evolving canon. Students will write thesis-driven essays and construct abstracts and proposals for concert-lectures; assess the way in which technology affects the creation and dissemination of knowledge; and develop skills and habits of mind that are critical for performers to make accurate and ethical use of music history.
	GRMUS 621H — From Classical to Romantic: Music and Society around 1800 2 credits Spring Edgardo Salinas This course undertakes a new approach to the momentous transition between classicism and romanticism using iconic works by Haydn, Mozart, and Beethoven as case studies. The course will also explore the era’s socio-historical context and consider the careers of influential figures who have been sidelined in the traditional narratives of Western art music. Known as the “Age of Revolutions,” the decades between 1770 and 1830 witnessed a series of cataclysmic events—including the Industrial Revolution, the French Revolution, and the Napoleonic wars—that reconfigured Western culture and society. How did these intertwined transformations reshape listening practices and musical discourses, ultimately making instrumental music “the most romantic of all arts”? How did the careers of contemporary composers of African ancestry, such as Joseph Bologne (Chevalier de Saint-Georges) and George Bridgetower, balance political engagement with artistic practice amid debates around race, rank, and identity? Case studies will include symphonies, piano concertos, piano sonatas, string quartets, and operas representative of each composer. Discussions will aim to examine the “master narratives” of Western art music, expanding the conventions of style periods and broadening the “great works” historiographical approach associated with them.
	GRMUS 632H — Music in New York 2 credits Spring Aaron Wunsch This course traces the impact of New York City on the composers and performers who resided here from approximately 1890 to the present, including Dvořák, Mahler, Bartók, Rachmaninoff, Gershwin, Copland, Carter, and Glass. Topics include musical works composed in (or influenced by) the city; the interaction between classical and popular idioms; concert life; the history of musical institutions (including the Metropolitan Opera, New York Philharmonic, Carnegie Hall, and The Juilliard School); the role of social structures and philanthropy in music-making; the history of career development; and the present musical culture. In projects and class discussions, students are urged to consider music in its wider social and historical context, drawing upon their own performance experiences and future goals.
	GRMUS 640H — Chopin and Liszt 2 credits Fall Aaron Wunsch This course will explore the lives, music, and cultural environment of Chopin and Liszt — contemporaries, friends, and, one might say, alter egos. The course investigates the composers’ lives as performers and the evolution of their musical styles against the backdrop of Parisian life and musical culture, and its cross currents with Romantic literature and poetry, in the 1830s and 1840s. Current scholarship and analytical studies on the music of the two composers will be considered, as well as their music’s reception history and its role in the musical culture of today.
	GRMUS 650H — Wagner’s Ring 2 credits Spring John J.H. Muller A detailed examination—through score study and listening—of the music, poetic text, and philosophical background of the four music-dramas comprising The Ring of the Nibelung.
	GRMUS 653H — Schumann at Work: Learning From the Manuscripts 2 credits Spring Michael Musgrave This course considers Schumann as a composer of piano, vocal, orchestral, and chamber works, with special reference made to sketches and revisions of his compositions as seen in the manuscripts and scores of the Juilliard Manuscript Collection. These works will be examined in the context of Schumann’s total output and students will discuss changing performance traditions and the relation of the materials to these traditions. The course will provide an opportunity to examine the original documents as well as reference their digital images.
	GRMUS 659H — Gustav Mahler and the Transition to the 20th Century 2 credits Fall John J.H. Muller Gustav Mahler lived during a turbulent time in European history, when the established political, social, and artistic norms were changing, and when Romanticism was in transition to the Modernist Age. After a survey of Mahler’s achievement in his first four symphonies and early songs, this course will focus on his middle and late period works to study their relationship to trends of the opening decade of the new century. These works include Symphonies Five through Ten, Kindertotenlieder, and Das Lied von der Erde. Of the Fifth Symphony, the composer himself remarked, “A completely new style demanded a new technique,” and the Seventh Symphony “converted” Arnold Schoenberg to Mahler. We will consider issues such as the expansion of the orchestra and symphonic form, the connections between Mahler’s songs and symphonies, changes in musical texture, and the autobiographical and programmatic elements often found in his music. The compositional process will be examined, especially in the case of the unfinished Tenth Symphony. Mahler’s career as a conductor will also be examined. His works will be placed in the context of fin-de-siècle European culture. Students will be exposed to significant resources in Mahler research.
	GRMUS 660H — 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 662H — The Musical Salon 2 credits Fall Elizabeth Weinfield This seminar will chart the musical salon as both a space for music making and as a praxis for understanding music making in the West, from the early modern period to the present day. We will consider the salon as a social space, in which music was contingent upon other domestic activities; challenge the historiographical origin of the musical salon in 18th-century France by approaching earlier events of “musicking” in Spain and the Low Countries; navigate the salon’s role in the formation of the Enlightenment sense of selfhood; study the salon’s transference to colonial America; reassess the salon at its heyday in 19th-century Germany; and investigate current iterations of salon culture, such as Groupmuse. Using recent scholarship by Rebecca Cypess, Elisabeth Le Guin, Elizabeth Weinfield, Susan Stabile, and others, we will assess the intersections of gender, religion, and social status at play in these complex spaces while deepening our understanding of the music performed within them.

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PFENS 541R-542R — Low Brass Class

PFENS 551R-552R — Double Bass Studio

PFENS 553R-554R — Orchestral Repertory for Double Bass

PFENS 561R-562R — Orchestral Repertory for Harp

PFENS 581R-582R — Trumpet Class

PFENS 583R-584R — Horn Class

PFENS 591R-592R — Oboe Class

PFENS 593R-594R — Bassoon Studio Class

PFENS 595R-596R — Clarinet Studio Class

OPMUS 501 — Juilliard Opera Chorus

OPMUS 502 — Juilliard Opera Chorus

VAMUS 161 — Phonics

VAMUS 551-552 — Russian Diction/Vocal Literature

VAMUS 560X — English Lyric Diction: Graduate Review

VAMUS 561 — English Diction

VAMUS 570X — French Lyric Diction: Graduate Review

VAMUS 571-572 — French Diction

VAMUS 580X — German Lyric Diction: Graduate Review

VAMUS 581-582 — German Diction

VAMUS 590X — Italian Lyric Diction: Graduate Review

VAMUS 591-592 — Italian Diction

MLMUS 391-392 — Italian Vocal Literature

MLMUS 471-472 — French Vocal Literature

MLMUS 481-482 — German Vocal Literature

MLMUS 562 — British and American Song Literature

MSMUS 100S — Alexander Technique for Singers

MSMUS 571 — Early Music Vocal Literature

VAMUS 400 — Recital Practicum

VAMUS 501 — Vocal Arts Seminar

VAMUS 510 — A History of Singing

OPMUS 101-102 — Acting I for Singers

OPMUS 201-202 — Acting II for Singers

OPMUS 211-212 — Opera Studies

OPMUS 301-302 — Acting III for Singers

OPMUS 311-312 — Opera Studies

OPMUS 401-402 — Acting IV for Singers

OPMUS 411-412 — Opera Studies

OPMUS 500 — Opera Chorus

OPMUS 601-602 — Acting for Singers

OPMUS 603-604 — Advanced Acting for Singers

OPMUS 611-612 — Juilliard Opera (Graduate)

OPMUS 701-702 — Juilliard Opera (postgraduate)

VAMUS 101-102 — Movement I

VAMUS 103-104 — Movement II

VAMUS 611-612 — Movement for Graduates

GRMUS 680P — Russian Diction - Vocal Literature

PFENS 511J-512J — Juilliard Jazz Orchestra

PFENS 521J-522J — Jazz Ensemble

JZMUS 100R — Doubles for Drummers

JZMUS 200R — Doubles for Saxophones

JZMUS 321 — Jazz Seminar

JZMUS 411 — Introduction to Jazz Arranging and Orchestration

JZMUS 412 — Jazz Arranging and Composition

JZMUS 421 — The Jazz Community Project

JZMUS 500 — Creative Ideas

JZMUS 506-507 — Vocal Jazz Seminar

JZMUS 510-510G — Jazz Business I

JZMUS 511-511G — Jazz Business II

JZMUS 541-542 — Jazz Improvisation I and II

JZMUS 542 — Jazz Improvisation II

JZMUS 543-544 — Advanced Jazz Improvisation

JZMUS 544 — Advanced Jazz Improvisation II

KSMUS 540J — Jazz Piano I for Non-Pianists

KSMUS 542J — Jazz Piano II for Non-Pianists

MHMUS 111J — Jazz History I

MHMUS 211J — Jazz History II

MHMUS 311J — Jazz History III

MHMUS 411J — Jazz History IV

THMUS 111J — Jazz Theory I

THMUS 211J — Jazz Theory II

THMUS 311J — Jazz Theory III: Chromatic Harmony

THMUS 411J — Jazz Theory IV: Form

GRMUS 601J — The Origins of Jazz

GRMUS 602J — The Swing Era

GRMUS 611J-612J — Advanced Jazz Composition and Arranging

CMENS 531B-532B — Historical Performance Chamber Music

PFENS 611B-612B — Juilliard415

HIMUS 600 — Historical Performance Studio Class

HIMUS 611-612 — History and Literature of 17th- and 18th- Century Music