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College Catalog 2023-2024

All Courses

 

Graduate Studies: Core Seminars in Music History
  

  • GRMUS 663H — Music in the 20th and 21st Centuries

    2 credits
    Spring
    Anne-Marie Reynolds

    This course is an in-depth exploration of art music in the context of the historical, cultural, social, ideological, and aesthetic influences of the 20th and 21st centuries, from Claude Debussy to Unsuk Chin. Students will expand their knowledge of the presence and significance of music throughout this historical period, working toward a level of competency and rigor consistent with the expectations of higher-level graduate work. To this end, reading, listening, and writing tasks designed to reinforce critical thinking and research skills and to strengthen digital literacy will be assigned regularly.
  

  • GRMUS 676H — 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 684H — 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 686H — 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 688H — Church as Conservatory

    2 credits
    Spring
    Fredara Hadley

    Based on W.E.B. Du Bois’s notion of the church as the “social center” of African American life, this course positions the church as the conservatory of African American music. Students will examine the ways in which the church, for centuries, has been the main locale of acculturation, pedagogy, performance, and tradition in Black American music, from which diverse genres emerge and circulate into the global musical sphere.

    We will survey hymns, spirituals, art songs, freedom songs, classical choral music, jazz, contemporary Christian music, and praise and worship music (i.e. music for liturgy) with special emphasis placed on the development and stylistic changes within the gospel music tradition. Course readings will provide in-depth historical and cultural context for musical analysis. Students will complete an ethnomusicological project applying knowledge gleaned alongside the rich tapestry of African American church music in New York City. 
  

  • GRMUS 693H — Soviet and Post-Soviet Music, 1922–2022

    2 credits
    Spring
    Jonathan Yaeger

    This class examines the music, history, and culture, of the Soviet Union and former Soviet Union, mainly (although not exclusively) the nations of Russia, Ukraine, and the Baltic region. We will seek to understand the Soviet Union on its own terms while exploring the continuities and discontinuities from imperial Russia into the Soviet era and from the Cold War into the 21st century, with the present Russo-Ukrainian War as a grim endpoint. Across all of these (supposed) boundaries, what remained, what was transformed, and what came to an end?

    We will explore these questions by studying the music and lives of composers and performers including but not limited to: Stravinsky, Leontovych, Shostakovich, Prokoviev, Khatachurian, Ustvolskaya, Kabalevsky, Weinberg, Schnittke, Silvestrov, Hrabovsky, Gubiadulina, Pärt, Tarnopolski, Hilarion (Alfeyev), Kourliandski. For their final projects, students will have the option of writing research papers or undertaking a performance project with a written, scholarly component.
  

  • GRMUS 695H — 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. 

Graduate Studies: Core Seminars in Music Theory
  

  • GRMUS 603T — Graduate Theory Review

    3 credits
    Fall
    Samuel Zyman Reinisch

    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 610T — 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 611T — The Well-Tempered Clavier

    2 credits
    Fall
    Philip Lasser

    What has been called the foundation of a pianist’s training, Bach’s Well-Tempered Clavier has had an impact on keyboard players and musicians in general for nearly three centuries, and has grown in influence to this day. Written two decades apart, each book contains 24 preludes and fugues in all major and minor keys. However, the Well-Tempered Clavier is much more than simply wonderful preludes and fugues. It is in fact a treatise on musical composition, written not with words but in sound. This course will explore selected preludes and fugues from both volumes and present the compositional world they create and teach. Special attention will be given to Bach’s principles and concepts of abstract composition and their impact on later composers from Mozart to Debussy.
  

  • GRMUS 615T — 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 620T — 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 621T — Building Baroque: Compositional Theory in the 18th Century

    2 credits
    Fall
    Jonathan Dawe

    The 17th and 18th centuries were robust times regarding developments in compositional thinking. This course promotes an appreciation of this music through an awareness of the creative attitudes of the period. Informed by historical theoretic sources of the Baroque period, this investigation offers contextually fresh views of this music. A study of these perspectives, analysis, and creation of compositional models draw upon contemporary-Baroque precepts of thorough-bass practices, counterpoint viewpoints, and rhetorical thinking. Cumulative course projects culminate in the creation of a mini-Baroque concerto movement, informed, fueled, and energized by compositional treatises of the time.
  

  • GRMUS 623T — 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 624T — Advanced Counterpoint

    2 credits
    Spring
    Philip Lasser

    Prerequisite: GRMUS 623T . 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 625T-626T — Advanced Studies in Harmony

    4 credits
    Full Year
    Philip Lasser

    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. Open to Composition majors and advanced students in other majors.
  

  • GRMUS 633T — 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 637T — 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 DMA and advanced MM students.
  

  • GRMUS 639T — The French String Quartet in the 19th and 20th Centuries

    2 credits
    Spring
    Kendall Briggs

    Studies of the history of the string quartet are almost exclusively German, starting with Haydn and following the trajectory of the German Classical and Romantic composers to the beginning of the 20th century. Only in the late 19th and early 20th century do the Debussy and Ravel string quartets emerge in the context of the French tradition, underscoring one of the challenges in the history of the French quartet: its late beginnings. There are no French string quartets prior to the French publication of Haydn’s Op. 3 in 1766, and only a handful of quartets are in the current repetoire, composed in the last 50 years. Yet, the quality and elegance of the quartets from France prior to and after Debussy and Ravel are some of the most beautiful and moving.  

    This course will examine the French Quartet from the late 19th century with Debussy and Ravel and to its latest representation in Boulez’s Livre pour Quatour in 1948-2015 (in its last edits Boulez made just before his death). With the quartets of Debussy, Ravel, Dutilleux, and Boulez as our point of departure, we will examine quartets from the earliest years in France, in the hands of Jadin, Gossec, and Vachon through Cherubini, Reicha, Franck, and Saint-Saens in light of their influences on Debussy and Ravel. From there we consider the influences of Debussy and Ravel in the hands of Emmanuel, Martinon, Milhaud, Tailleferre, Faure, Francaix, Boulez, Dutilleux, and Ohana in order to demonstrate the important coloristic effects and structural experiments found in the works of these later composers. In this way, Debussy and Ravel are framed within a long tradition of elegant quartet writing. 
  

  • GRMUS 640T — 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 644T — 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 650T — Der Ring des Nibelungen

    2 credits
    Fall
    Wayne Oquin

    Nearly one hundred and fifty years after its premiere, Wagner’s Ring Cycle continues to captivate and inspire audiences and scholars alike. Though much has been written on Wagner’s multifaceted Ring, musical analysis has regularly taken a subsidiary role to that of the theatrical.

    This course will explore all four operas of the Ring and strive for a deeper examination of Wagner’s music—its groundbreaking theory, orchestral color, and harmonic shifts—in order to more fully appreciate Wagner’s libretto, staging, and indeed his notion of art in its totality.  We will consider its leitmotifs, how these distinct melodic fragments are inextricably linked to one another and how they are radically transformed, each woven together to create a dense musical fabric of pioneering chromaticism; and we will study the Ring’s new approaches to harmony and tonality, both central to the music’s structure and dramatic conception.

    The Ring remains relevant. By absorbing it more fully we hope to better grasp the generations of subsequent composers under its indelible influence—orchestral, vocal, and film—from Wagner’s time to our own.
  

  • GRMUS 662T — 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 663T — 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 671T — Hearing Post-Tonal Analyses

    2 credits
    Fall
    Jonathan Dawe

    “But can you hear it?” This course addresses this common inquiry regarding analysis and the music it claims to elucidate. Compositions of the 20th and 21st centuries are considered not only in the context of Post-Tonal analysis but to the degree that these observations can be construed in real time. As a result, formal concepts, Set Class, Transformation, Similarity Relationships, and Set Complex are studied and applied to compositions with the goal of developing new strategies for hearing and appreciation. Included in the investigations are works by Webern, Stravinsky, Schoenberg, Seeger, Tower, Wuorinen, and others.  
  

  • GRMUS 672T — 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 675T — 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 680T — Organicism and Music

    2 credits
    Spring
    Steven Laitz

    Music is often viewed as an organism that exists in time, beginning as a seed and growing through variation and expansion akin to a plant’s metamorphosis—concepts which today are called motives and transformations. This idea made a remarkable impact in the late 18th century and well into the 19th century; Johann Wolfgang von Goethe (1749-1832), a central figure in the notion of organicism and metamorphosis, held that the small is to the large as the large is to the whole, a conviction based on this philosophy. Through an examination of works by composers from Beethoven through Brahms to early Schoenberg, this course will explore music within the framework of organicism—how a composition depends on a seed planted at the outset of the work, which germinates and is transformed throughout. That such changed repetition exists in time allows the performer to comprehend the composition as a living, vitally unfolding process, and carries profound performative implications.
  

  • GRMUS 682T — 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 693T — 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 694T — Schenkerian Analysis II

    2 credits
    Spring
    Eric Wen

    Prerequisite: GRMUS 693T . 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: Departmental Practicums in Music
  

  • GRMUS 613P — Baroque Chamber Music

    2 credits
    Fall or Spring
    Charlie Weaver

    This course introduces modern performers to the methods and practices of the historical performance movement. Each week, small group performances will be followed by a discussion of the issues raised in playing Baroque music: instrumentation, choosing editions, ornamentation, phrasing, rhythm, dynamics, and the role of improvisation. Featuring guest visits by Historical Performance faculty and students and culminating in a final concert, the course will consider the differences in instrument construction between modern and Baroque instruments and how these differences might influence performance decisions. Pitch will be A=440 and modern instruments will be used. Enrollment is subject to approval from the primary studio teacher. Students may enroll in pre-formed groups. 
  

  • GRMUS 623P — Classical Ornamentation in Context

    2 credits
    Spring
    Audrey Axinn

    This course addresses the crafting of vibrant ornamentation in Classical works as well as a broader introduction into historically stylistic performance of this repertoire. Students will incorporate performance-practice principles regarding tempo, notation, and phrasing, creating a fresh take on Classical works as well as gaining insight into which types of phrases and sections of pieces invite ornamentation by performers. Drawing upon information from 18th-century treatises, analysis of variation techniques in Haydn and Mozart’s works, and group improvisation exercises, students will develop their agility to embellish intervallic sequences as well as assemble a repertory of usable variations on typical Classical melodic patterns. By the semester’s end, students will be able to compose and/or improvise ornamentation that is organic to a composer’s musical language and that blends seamlessly into the composed score, creating unique and innovative ‘collaborations’ with great composers of the Classical era. Open to undergraduate/graduate piano, organ, string and wind majors.
  

  • GRMUS 634P — Tonal Improvisation

    2 credits
    Spring
    Yi-heng Yang

    This course is open to all instrumentalists and is ideal for students who are looking to acquire the fundamentals of tonal improvisation and start improvising regularly during our biweekly 50-minute meetings. Through ample group playing time, students develop increased proficiency listening to, imitating, and learning various styles and modes of tonal improvisation. Activities include improvising on baroque ground basses, improvising on harmonic patterns and dance forms, breaking down and improvising over composed Western classical repertoire, improvising on African, European, and American folk music, and text-based free improvisation. Emphasis is placed not only on honing individual skills, but also on playing in groups and exchanging musical ideas in real time to develop listening and real-time musical awareness. The final exam is an in-class performance where each student will perform in a style and mode of improvisation developed and tailored to their individual instrument and in the style of a composer/genre of their choice. 
  

  • GRMUS 658P — 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 670P — 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 671P — 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 673P — Opera Comp

    2 credits
    Fall
    Amy Beth Kirsten

    Opera Comp 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 674P — Opera Comp Practicum

    2 credits
    Spring
    Amy Beth Kirsten

    Opera Comp 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 676P — Essentials of Music and Video Technology for Performing Artists

    2 credits
    Fall
    Nathan Prillaman

    The course is an introduction to the basic tools and techniques for recording and editing audio and visual content. Topics include digital audio recording systems, microphones and microphone technique, cameras, video editing, lighting and distribution systems for audio and video. Projects will include creating a variety of types of content for different contexts, including music videos, social media content, concert recordings, and more. 
  

  • GRMUS 677P-678P — Opera Performance Technique for Pianists

    2 credits per semester
    Fall and Spring
    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 682P — 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 683P-684P — 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 685P-686P — 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. 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 687P-688P — 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 691P-692P — Instrumental Accompanying I

    2 credits per semester
    Fall and Spring
    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 693P-694P — Skills of Vocal Accompanying

    2 credits per semester
    Fall and Spring
    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 695P-696P — The Art of Vocal Coaching

    2 credits per semester
    Fall and Spring
    Lydia Brown

    Prerequisite: GRMUS 693P-694P . 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 697P-698P — 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 791P-792P — Instrumental Accompanying II

    2 credits per semester
    Fall and Spring
    Jonathan Feldman

    Prerequisite: GRMUS 691P-692P . 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 610P — 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 611P — 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 614P — Performance Skills for the Versatile Musician

    2 credits
    Fall
    Nadia Sirota

    This performance practicum delves into techniques and skills used in common professional settings, including studio fluency and etiquette, amplified performance, screen scoring sessions, work on Broadway, and more. Topics include sight-reading, playing to click, sound check best practices, the application of transposition and clef-reading skills, as well as basic information about unions, contracting, working in multiple genres, and working in interdisciplinary environments (dance productions, theater, awards shows). The class will feature guest artists and speakers from a range of musical fields and backgrounds and will culminate in a final exam set up as a recording session. Students will hone commonly overlooked musicianship and interpersonal skills that come up often in professional settings, becoming adaptable, sought-after artists who excel in a number of different contexts.
  

  • GRMUS 615P — Performance Practice in Contemporary Music

    2 credits
    Spring
    Nadia Sirota

    In this course, open to performance and composition majors, Juilliard student composers and performers will be paired together to workshop a new composition over the course of the semester. Students taking the class will learn about idiomatic writing, performer-friendly notation, constructive editing, commissioning, contracts, and the presentation of new works. 
  

  • GRMUS 631P — Chamber Music Improvisation

    2 credits
    Fall
    Curtis Stewart

    With a focus on string chamber music, the class will meet as a whole seven times over the semester, with four hours of individual coaching with groups scheduled separately during class time, and a final performance project. This course delves into the performance of notated and improvised contemporary chamber music - dealing with music whose influence extends beyond the “cannon,” addressing how to compose and arrange as a group, and how to begin improvising in various sized chamber collectives. We will explore how to create based on work that already exists and make personal connections to contemporary music with varying degrees of improvisation and composition.  The course explores recordings of various improvising ensembles and approaches to contemporary and improvised chamber music. Up to four ensembles can join.
  

  • GRMUS 639P — Collaborative Piano for 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 640P — Theatre Études

    2 credits
    Fall and Spring
    Amy Beth Kirsten

    This two-semester course places a “composed theatre’ practicum in the context of history. Students of all disciplines explore works of the 20th and 21st centuries that reimagine the musician as a performing body on a theatrical stage. Areas of focus include the evolution of ‘composed theatre’; experiments in voice; the development of collaborative processes; and the rise of embedded technologies. Material to be discussed includes works by Samuel Beckett, Georges Aperghis, Harry Partch, A.B. Kirsten, Theirry de Mey, Meredith Monk, Claude Vivier, Tan Dun, Heiner Goebbels, Liza Lim, Karmina Šilec, and Michel van der Aa. In addition to the close examination of repertoire, students will put new knowledge into practice by collaboratively developing their own ten-minute music-driven theatrical works. By engaging with different modes of collaborative development and all the elements the theatre has to offer, students learn to lean artistically into the visual aspect of music performance to evoke ritual, the otherworldly, the deeply human, and images of absence, with the aim of discovering new ways of storytelling using music-driven performance. These new works-in-progress are publicly premiered at the end of the spring semester. 
  

  • GRMUS 651P — Performance Workshop on 20th-and 21st-Century Music

    2 credits
    Fall
    David Serkin Ludwig

    Students taking this course will learn contemporary performance techniques through the applied scholarship and performance of selected works from the 20th and 21st centuries, focusing on solo and small ensemble pieces. Class participants will be asked to give presentations on works they are performing in a lecture-demonstration format, offering historical context and informed interpretation through analytical tools they develop in the class. The second phase of the class will involve participants identifying and selecting a composer from the Juilliard student body and workshopping a new piece written specifically for them. Students taking the class will learn about commissioning, contracts, and the presentation of new works. This course is open to all instrumental and voice students with a preference given to those students in the later part of their undergraduate studies or in graduate programs.
  

  • GRMUS 655P — Performance Practice of the Blues

    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 656P — Jazz Practicum

    2 credits
    Spring
    Mark Sherman

    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 659P — Roots: Rhythms, Music, and Dance of the Americas

    2 credits
    Fall
    Elio Villafranca

    This practicum-based course explores the rich and diverse rhythm, music, and dance traditions of the African Diaspora in Latin America and the Caribbean. Multiple resources such as reading materials, videos, and audio samples will be used to introduce and provide knowledge of the life, music, dance, rhythms, drums, and religious practices of people in these regions, with the aim of achieving an authentic cultural experience. Each topic will be followed by an in-class practicum, where each student will have the opportunity to demonstrate their knowledge through the discussion and presentation of original compositions, dance pieces, vocal works, or rhythm performances. Three regions will be covered in this course: The Caribbean (Cuba, Haiti, Puerto Rico), Central America (Panamá and Honduras), and South America (Perú, Colombia, Ecuador.)
  

  • GRMUS 660P — 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 662P — Composing Music for Film and Visual Media

    2 credits
    Fall
    Edward Bilous

    Prerequisite: GRMUS 660P . 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 663P — Creation, Improvisation, and Technology

    2 credits per semester
    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 664P — Scoring to Picture: Composing for Film and Television

    2 credits
    Spring
    Edward Bilous

    Prerequisite: GRMUS 660P , GRMUS 662P . 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 665P — Independent Study in Emerging and Collaborative Arts

    2 credits per semester
    Fall or Spring
    Edward Bilous

    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. With permission of the instructor.
  

  • GRMUS 666P — Music Production Workshop

    2 credits
    Spring
    Ed Bilous

    Prerequisite: GRMUS 660P . 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 667P — Introduction to Interactive Music Technology

    2 credits per semester
    Fall or 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 672P — From Studio to Stage

    2 credits
    Fall
    Dan Freeman

    Prerequisite: GRMUS 660P . 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 675P — Psychology of Peak Performance

    2 credits per semester
    Fall and 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 605E — Career Development Seminar

    2 credits
    Fall
    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 607E — 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 614E — 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 630E — 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 633E-634E — Suzuki Pedagogy

    2 credits per semester
    Fall and Spring
    Faculty

    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. Open to Piano, Violin, and Cello majors. With permission of the Executive Director, School for Strings.
  

  • GRMUS 644E — 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 645E — Practicum in Classroom Pedagogy

    1 credit
    Fall
    Alice Jones, Adrian Rodriguez

    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 645E-646E — Practicum in Classroom Pedagogy

    1 credit per semester
    Fall and Spring
    Alice Jones, Adrian Rodriguez

    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 651E — 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 653E — The Art of Teaching in the Music Studio

    2 credits per semester
    Fall or Spring
    Audrey Axinn

    After years of having themselves been a student, advanced musicians have amassed a wealth of intuitive expertise in studio instruction. In this course, students will augment that experience with up-to-date research and analysis of effective studio pedagogy, including approaches to practicing and mastery; recognizing and dealing with implicit bias; and assembling repertoire and materials. Students will learn strategies for managing a studio efficiently and benefit from expert advice in using digital marketing to create a successful studio. Students will gain hands-on teaching experience working with one another in class as well as taking on a student outside of class and reporting on their own teaching challenges and successes. Open to fourth-year undergraduate students by permission of the Registrar.
  

  • GRMUS 674E — 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 600R — Conductors’ Forum

    0 credit
    Fall and Spring
    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 601R-602R — Collaborative Piano Repertoire and Study

    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 603R-604R — 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 611R-612R — Songs for Accompanists

    2 credits per semester
    Fall and Spring
    Lydia Brown, Diane Richardson, 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 621R-622R — Principles of Conducting

    2 credits per semester
    Fall and Spring
    Conducting Faculty

    A critical exploration of the latitude of the conductor’s artistic vision as heard in the interpretive legacy of master practitioners of the art. Some of the questions raised: Does the score serve as Bible, as guide, or as point of departure? Is there more to the score than meets the eye? And if so, is this “more” embedded within it, or somehow existing in a realm beyond? Conducting majors only.
  

  • GRMUS 623R-624R — Studio Accompanying

    0 credits
    Fall and Spring
    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.
  

  • MSMUS 511R-512R — 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 623R-624R — 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 671E-672E — 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 681E-682E — 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 691E-692E — 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 DMA students.
  

  • DRMUS 811-812 — Analytical Methods

    2 credits per semester
    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 DMA 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 DMA students.
  

  • DRMUS 902 — Doctoral Topics

    2 credits
    Spring
    L. Michael Griffel

    Advanced study of the functions, genres, forms, and procedures of music; historical periods and times of transition; and representative masterworks from various periods. Consideration of the history of music theory, the history of opera, performance practice, and music history pedagogy. Study of and practice in speaking and writing about music. Required of all second-year DMA students.
  

  • DRMUS 911 — Studies in Style Criticism—Romanticism Unfolding: Schubert, Schumann, and Brahms

    2 credits
    Fall
    L. Michael Griffel

    Franz Schubert (1797–1828), Robert Schumann (1810–1856), and Johannes Brahms (1833–1897) are seminal representatives of the Austro-German Romantic style in music history. Each represents a discrete stage of musical Romanticism. Schubert moves away from Classicism as he ushers in novel ways of structuring and expressing musical ideas. Schumann becomes the spokesperson for the entire era of Romanticism in music. Brahms maintains the great traditions of Baroque, Classical, and Romantic music while composing in new ways that inspire a number of early 20th-century musicians. It was Schumann who discovered Schubert’s “Great” C Major Symphony in 1839, and it was also Schumann who promoted the compositional career of Brahms. Brahms was the editor of the symphonies for the first complete works edition of Schubert, a composer whom Brahms described as a melodist without equal. The course will consider John Daverio’s book Crossing Paths: Schubert, Schumann and Brahms, a study of interrelationships among these three musical giants, and will also assess the individual accomplishments of each of them within the history of musical Romanticism. Required of all second-year DMA students. 
  

  • DRMUS 912 — Analysis for Performers

    2 credits
    Fall
    Steven Laitz

    Implications for performance of melodic, rhythmic, and harmonic-contrapuntal analysis. Interpretive problems of works in various media are illuminated by examining insights gained through the application of analytical methods, primarily those of Schenker. Recordings and classroom performances provide material for critical listening and for practical demonstration of the ideas put forward. Required of all second-year DMA students.

Liberal Arts Core
  

  • LARTS 101 — Writing Studio

    3 credits
    Fall
    Faculty

    This course will introduce the standards and practices of critical reading and writing common to the humanities and social sciences. Emphasis is placed on the exposition of the arguments of nonfiction prose, response to such arguments, and application of those arguments to real-world problems. Special attention will be paid to the structures of expository prose such as the construction of sentences and paragraphs that build a formal argument. Students will apply processes of notetaking, drafting, and revision common to professional and academic writing and publishing. Please contact the instructor if you have questions or require accommodations.
  

  • LARTS 102 — College Writing

    3 credits
    Fall or Spring
    Faculty

    This course builds on the practices of critical reading and writing and the techniques of expository writing and argumentation taught in Writing Studio. Students will learn to exercise their own judgment using the tools of categorical thinking and critical analysis. Emphasis is placed on reading and entering into conversation with academic rather than popular sources and debates. Special attention will be paid to the basic skills of academic research, including the assessment of sources, the shape of critical discussions, and application of judgment to real-world problems. Students will apply processes of notetaking, drafting, peer review, and revision common to professional and academic writing.
 

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