The Historical Performance program at Boston University provides a training ground for students pursuing performance and teaching careers either as instrumentalists on period instruments or as singers specializing in music of the 17th and 18th centuries. Through performance practice seminars, instruction in period performance and thoroughbass realization, coached chamber music ensemble participation, and various performance opportunities both within and outside of the School, students develop a sensibility and repertoire of techniques that enable them to marry historical information with musical intuition.
- Master of Music (MM)
- Doctor of Musical Arts (DMA)
The city of Boston, long a world center for early music performance, serves as a supportive backdrop in developing student careers. Boston University’s resources—its libraries, facilities, and faculty—offer students rich support in the pursuit of their studies. Additionally, candidates enjoy professional-level performance opportunities in many local groups as well as mounting their own public performance projects.
- Teresa Wakim, soprano
- Leon Schelhase, harpsichordist, harpsichord instructor at the Curtis Institute
- Anne Harley, soprano, faculty at Scripps College
- Meng-Heng Chen, recorder
- Peter Sykes | Chair of Historical Performance Department; Associate Professor, Harpsichord; Director, Boston University Baroque Orchestra
- Aldo Abreu | Lecturer, Recorder
- Sarah Freiberg | Lecturer, Baroque Cello
- Greg Ingles | Lecturer, Sakbut
- Laura Jeppesen | Lecturer, Viola da Gamba
- Christopher Krueger | Lecturer, Baroque Flute
- Catherine Liddell | Lecturer, Lute
- Douglas Lundeen | Adjunct Associate Professor, Natural Horn
- Martin Pearlman | Professor of Music, Historical Performance
- Robinson Pyle | Lecturer, Natural Trumpet
- Marc Schachman | Lecturer, Baroque Oboe
- Aaron Sheehan | Lecturer, Historical Performance, Voice
- Jane Starkman | Lecturer, Baroque Violin
Every student must satisfactorily complete a minimum of 48 graduate credits. Of these, 18 must be in the field of the applied major instrument, and 18 will be completed in approved electives. Every student must take at least 12 credits in music history and music theory, Music Research Technique, and Doctoral Proseminar in Theory.
The qualifying examinations, written and oral, include two sections: (1) performance, and (2) history, theory, and literature of music.
Students must complete successfully all written requirements before proceeding to the oral examination.
All candidates for the DMA in Historical Performance must present three public recitals consisting of at least one hour of performance time each.
Document and Lecture-Recital
While enrolled in Research and Directed Study in Musicology, the candidate must write a scholarly document demonstrating the ability to accomplish independent research. This document should stress source materials, comparative editions, score analysis, and performance praxis. The candidate must give a lecture-recital based on this document and use the medium of performance to illustrate it.