Performance
Programs of study within the School of Music vary according to degree sought, area of specialization, and major instrument. Candidates study a major instrument with the exception of students in: MusM in Music Theory, MusM and MusAD in Composition, MusM and MusAD in Conducting, MusM in Musicology, and the MusM and MusAD in Music Education.
Performance instruction is offered in the following areas:
- Bassoon
- Cello
- Clarinet
- Double Bass
- Flute
- French Horn
- Harp
- Harpsichord
- Historical Performance
- Oboe
- Percussion
- Piano
- Saxophone
- Trombone
- Trumpet
- Tuba
- Viola
- Violin
- Voice
Each student is assigned to a member of the faculty for private instruction. Individual instruction is given in one-hour lessons; every effort is made to consider the student’s preferences in studio assignment.
Participation in a musical organization is a vital component of the graduate programs. These organizations and ensembles include:
- Alea III (contemporary ensemble)
- Chamber Chorus
- Chamber Orchestra
- Collaborative Piano
- Opera Theatre
- Opera Workshop
- Percussion Ensemble
- Symphonic Chorus
- Symphony Orchestra
- Time’s Arrow New Music Ensemble
- Concert Choir
- Wind Ensemble
- Women’s Chorale
Performance Diploma
The Performance Diploma is a non-degree program for the specialized training of performers of orchestral instruments and piano who seek advanced musical training. The program is narrow in focus, selective in nature, and specifically tailored to the student who desires intensive, performance-oriented training.
Admission Requirements
Applications are evaluated by audition. Applicants who live within 300 miles of Boston are expected to audition live. If travel to Boston is not possible, DVDs or videotapes (U.S. VHS format) are acceptable.
Orchestral Instruments
The Performance Diploma in orchestral instruments places emphasis on orchestral and chamber music repertoire as well as the solo repertoire. The program focuses on the practical aspects of musical training: private instruction, performance, participation in musical organizations and chamber music, and musicianship skills.
Audition/Orchestral Instruments
Applicants should prepare material equivalent to a master’s-level recital program. In addition, string bass, brass, wind, and percussion applicants should prepare a minimum of three standard orchestral excerpts. A complete repertoire list and listing of ensemble repertoire must accompany the application.
Program of Study
Candidates are required to spend two years in residence and to pursue private instruction (four semesters) in their performance field.
Candidates on orchestral instruments are required to participate in chamber music and large ensembles (four semesters each). Candidates will present a minimum of two solo recitals or the equivalent while in residence.
| Private Instruction | 12 cr |
| Musical Organization | 4 cr |
| Chamber Music | 4 cr |
| Approved Music Electives | 8 cr |
| Total 28 cr |
Piano
The backbone of the curriculum in the piano Performance Diploma program consists of the study of solo, chamber, collaborative, and ensemble piano repertoire.
Audition/Piano
Applicants must demonstrate proficiency by performing from memory at least four compositions: one from the Baroque, one from the Classical, one from the Romantic, and one from the Impressionist or Contemporary periods.
Piano students are required to participate in chamber music, collaborative, and duo-piano programs. Candidates will present a total of three recitals, two of solo piano repertoire and one of chamber/collaborative repertoire.
Program of Study
| Private Instruction | 12 cr |
| Chamber Music | 4 cr |
| Accompanying | 4 cr |
| Piano Ensemble | 4 cr |
| Collaborative Lab | 4 cr |
| Total 28 cr |
Artist Diploma
The Artist Diploma is a non-degree program for the specialized training of the unusually gifted and accomplished performer. The program focuses on the practical aspects of musical training: private instruction, performance, participation in musical organizations and chamber music, and musicianship skills.
Admission Requirements
Applicants must be superior performers who have demonstrated strong potential for a successful performing career. Applicants must have a bachelor’s degree or diploma in music, or equivalent, to be determined by the faculty.
Applicants must submit a preliminary DVD or videotape (U.S. VHS format) and a completed application for admission by December 1. In addition to the audition, solo and ensemble experience and breadth of repertoire are taken into consideration as criteria for admission. Based on the review of the recording, applicants may be invited to audition in person.
Artist Diploma applicants in Voice should submit a preliminary CD or tape of not less than 30 minutes of music. The tape should include song literature in English, Italian, German, and French, as well as one oratorio or operatic aria in the original language.
Program of Study
Students spend two years in residence and pursue private instruction in their performance field during every semester. Each student gives a minimum of three recitals or the equivalent. Voice majors must satisfactorily complete an examination in the application of the International Phonetic Alphabet to English, French, German, and Italian.
MusB in Performance
Degree Programs
The School of Music awards the Bachelor of Music degree. Majors are offered in performance, composition, composition & theory, music education, and musicology.
The Bachelor of Arts in Music is offered through the College of Arts & Sciences.
Degree Requirements
To attain the MusB, each student must meet the following requirements:
- Satisfactory completion of all courses in the chosen program of study as prescribed by the School of Music
- Completion of at least 132 semester credits
- Registration for eight semesters as a full-time student or the equivalent
- Demonstration of proficiency in all technical or professional courses, including a satisfactory recital at the senior level for performance majors and a recital of original compositions for composition majors.
Performance Requirement (Applied Music)
Programs of study within the School of Music vary according to degree sought, area of specialization, and major instrument. Every undergraduate degree candidate in music must study a major instrument. Instruction is offered in the following areas: Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, Harp, Horn, Oboe, Percussion, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, and Voice.
Each student taking applied music is assigned to a member of the faculty for private instruction. Individual instruction is given in half-hour or hour lessons. An effort is made to consider the student’s preference in studio assignment. Students prepare and present recitals under the tutelage of a School of Music faculty member. Recital Permission Examinations must be passed before the scheduled recital.
Proficiency Levels
The School of Music employs the following system of levels to assess a student’s preparation or attainment in music performance.
Undergraduate Levels 1–8
These levels measure the student’s progress through the undergraduate program. Normally students progress one level each semester. Level 1 is the lowest level permitted for credit on the student’s major instrument. Level 6 is the minimum level required for graduation of students not majoring in performance. Level 8 is the minimum level required for graduation of performance majors.
Musical Organizations
Every full-time undergraduate student is required to perform in a musical organization for credit every semester in residence, up to a maximum of eight semesters. Music education students are exempt from musical organization during their semester of full-time student teaching practicum. In the junior and senior years, piano majors may enroll in Accompaniment Lab (MU 656) as an alternate activity that fulfills the requirement of participation in musical organizations.
Choral Requirements (CFA MU 653 and CFA MU 654)
For students who are not concentrating in an orchestral instrument, these organizations include the following:
| MU 653 A1 | Symphonic Chorus |
.5 cr |
| MU 654 A1 | Chamber Chorus |
.5 cr |
| MU 654 B1 | Women’s Chorale |
.5 cr |
| MU 654 C1 | Concert Choir |
.5 cr |
Students must register for two ensembles each semester including CFA MU 653 Symphonic Chorus, and one of the CFA MU 654 sections to be determined by audition. All undergraduate voice, keyboard, and musicology majors must audition for placement in one of the ensembles with a CFA MU 654 number. Freshman vocal performance majors must also attend the Movement Lab.
Registration
- The student’s registration must be Symphonic Chorus (CFA MU 653) for .5 credit and one of the ensembles under the MU 654 number for .5 credit.
- Because placement cannot be determined until an audition is completed, the 654 section for purposes of preregistration is X1. Once assignment has been made, the School of Music administration will substitute the appropriate section for X1.
All incoming and returning students must sign up electronically for an audition during the first days of the fall term. Those undergraduate students selected by the faculty for Opera Workshop should combine that registration (CFA MU 651) with one of the 654 sections, each for .5 credit.
Orchestra/Wind Ensemble—CFA MU 650
Students concentrating in an orchestral instrument are placed in Symphony Orchestra, Chamber Orchestra, and/or Wind Ensemble.
Auditions
Initial assignments to large instrumental ensembles, and seating within them, will be made on the basis of auditions held during the first week of school.
Each new and returning instrumentalist planning to participate in CFA MU 650 must audition. The audition will last approximately ten minutes. Sign up for auditions as well as audition repertoire is available online through the Music Student Resources link on our website. We advise students not to delay signing up before available times fill up quickly.
Music History Requirement
All undergraduate music majors are required to take four semesters of music history. MU 221/223 History and Literature of Music I and MU 222/224 History and Literature of Music II are required. The remaining music history requirements may be taken from a selection of elective offerings.
The list of electives is broken down into Series A and Series B. In order to take any course in Series A (up to MU 329/339), which includes all of the period courses along with Opera and Performance Practice, the prerequisites are MU 221/223 and MU 222/224.
Courses in Series B (beginning with MU 340/350), comprising non-Western, jazz, and popular repertories, as well as interdisciplinary topics, are open to all students and do not require a prerequisite.
Piano Program Outline
| First Year | 1st | 2nd |
|---|---|---|
| Writing Seminar | 4 | – |
| Liberal arts elective | 4 | 8 |
| Concert Music | 0 | 0 |
| Applied Piano | 3 | 3 |
| Music Organization: Symphonic Chorus | .5 | .5 |
| Music Theory I, II | 3 | 3 |
| Ear-Training and Sight-Singing I, II | 1 | 1 |
| Keyboard Skills | 1 | 1 |
| Total | 16.5 | 16.5 |
| Second Year | ||
| English Literature | 4 | 4 |
| Elective | 2 | 2 |
| Applied Piano | 3 | 3 |
| Music Organization: Piano Ensemble | 1 | 1 |
| Music Theory III, IV | 3 | 3 |
| Ear-Training and Sight-Singing III, IV | 1 | 1 |
| Music History I, II | 3 | 3 |
| Total | 17 | 17 |
| Third Year | ||
| Liberal arts elective | 4 | 4 |
| Applied Piano | 4 | 4 |
| Music Organization: Collaborative Piano or Piano Ensemble | 1 | 1 |
| Music Theory V, VI | 2 | 2 |
| Music History | 3 | 3 |
| Piano Literature, I, II | 2 | 2 |
| Harpsichord for Pianists/Intro to Organ | 1 | 1 |
| Total | 17 | 17 |
| Fourth Year | ||
| Applied Piano | 4 | 4 |
| Music Organization: Collaborative Piano or Chamber Music | 1 | 1 |
| Music Organization: Symphonic Chorus | .5 | .5 |
| Piano Literature III, IV | 2 | 2 |
| Piano Pedagogy I, II | 2 | 2 |
| Choral or Instrumental Conducting | 2 | 2 |
| Elective | 4 | 4 |
| Total | 15.5 | 15.5 |
Voice Program Outline
| First Year | 1st | 2nd |
|---|---|---|
| Concert Music | 0 | 0 |
| Voice, Level 1, 2 | 3 | 3 |
| Music Theory I, II | 3 | 3 |
| Ear-Training and Sight-Singing I, II | 1 | 1 |
| Group Piano | 1 | 1 |
| Musical Organization | 1 | 1 |
| Writing Seminar | 4 | – |
| English Literature | – | 4 |
| Modern Language | 3 | 3 |
| Phonetics | 1 | 1 |
| Total | 17 | 17 |
| Second Year | ||
| Voice, Level 3, 4 | 3 | 3 |
| Music Theory III, IV | 3 | 3 |
| Ear-Training and Sight-Singing III, IV | 1 | 1 |
| Music History I, II | 3 | 3 |
| Musical Organization | 1 | 1 |
| Modern Language | 3(4) | 3(4) |
| Advanced Performance Seminar (English, Italian) | 1 | 1 |
| Elective | 1 | 1 |
| Total | 16(17) | 16(17) |
| Third Year | ||
| Voice, Level 5, 6 | 4 | 4 |
| Music Theory V, VI | 2 | 2 |
| Music History | 3 | 3 |
| Song Literature I, II | 2 | 2 |
| Acting for Singers | 3 | – |
| Intro to Conducting | – | 2 |
| Music Organization | 1 | 1 |
| Advanced Performance Seminar (German, French) | 1 | 1 |
| Elective | 1 | 2 |
| Total | 17 | 17 |
| Fourth Year | ||
| Voice, Level 7, 8 | 4 | 4 |
| Song Literature III | 2 | – |
| English Literature | 4 | – |
| Musical Organization | 1 | 1 |
| Liberal arts elective | 4 | 4 |
| Elective | – | 5 |
| Voice Dept elective | – | 1 |
| Total | 15 | 15 |
Strings, Harp Program Outline
| First Year | 1st | 2nd |
|---|---|---|
| Concert Music | 0 | 0 |
| Applied Music, Level 1, 2 | 3 | 3 |
| Music Theory I, II | 3 | 3 |
| Ear-Training and Sight-Singing I, II | 1 | 1 |
| Group Piano | 1 | 1 |
| Musical Organization | 1 | 1 |
| Writing Seminar | 4 | – |
| Liberal arts elective | 4 | 8 |
| Total | 17 | 17 |
| Second Year | ||
| Applied Music, Level 3, 4 | 3 | 3 |
| Music Theory III, IV | 3 | 3 |
| Ear-Training and Sight-Singing III, IV | 1 | 1 |
| Music History I, II | 3 | 3 |
| Musical Organization | 1 | 1 |
| English Literature | 4 | 4 |
| Chamber Music (Bass majors may substitute orchestral techniques. Harp majors may substitute approved electives.) |
1 | 1 |
| Elective | 2 | 2 |
| Total | 18 | 18 |
| Third Year | ||
| Applied Music, Level 5, 6 | 4 | 4 |
| Music Theory V, VI | 2 | 2 |
| Music History | 3 | 3 |
| Chamber Music (Bass majors may substitute orchestral techniques. Harp majors may substitute approved electives.) |
1 | 1 |
| Musical Organization | 1 | 1 |
| Liberal arts elective | 4 | 4 |
| Elective | 1 | 1 |
| Total | 16 | 16 |
| Fourth Year | ||
| Applied Music, Level 7, 8 | 4 | 4 |
| String Literature | 2 | 2 |
| String Pedagogy2† | 2 | 2 |
| Chamber Music (Bass majors may substitute orchestral techniques. Harp majors may substitute approved electives.) |
1 | 1 |
| Musical Organization | 1 | 1 |
| Intro to Conducting | 2 | – |
| Choral or Instrumental Conducting | – | 2 |
| Elective | 3 | 3 |
| Total | 15 | 15 |
Woodwinds, Brass, Percussion Program Outline
| First Year | 1st | 2nd |
|---|---|---|
| Concert Music | 0 | 0 |
| Applied Music, Level 1, 2 | 3 | 3 |
| Music Theory I, II | 3 | 3 |
| Ear-Training and Sight-Singing I, II | 1 | 1 |
| Group Piano | 1 | 1 |
| Musical Organization | 1 | 1 |
| Writing Seminar | 4 | – |
| Liberal arts elective | 4 | 8 |
| Total | 17 | 17 |
| Second Year | ||
| Applied Music, Level 3, 4 | 3 | 3 |
| Music Theory III, IV | 3 | 3 |
| Ear-Training and Sight-Singing III, IV | 1 | 1 |
| Music History I, II | 3 | 3 |
| Musical Organization | 1 | 1 |
| English Literature | 4 | 4 |
| Elective | 3 | 3 |
| Total | 18 | 18 |
| Third Year | ||
| Applied Music, Level 5, 6 | 4 | 4 |
| Music Theory V, VI | 2 | 2 |
| Music History | 3 | 3 |
| Intro to Conducting | 2 | – |
| Choral or Instrumental Conducting | – | 2 |
| Chamber Music | 1 | 1 |
| Musical Organization | 1 | 1 |
| Liberal arts elective | 4 | 4 |
| Total | 17 | 17 |
| Fourth Year | ||
| Applied Music, Level 7, 8 | 4 | 4 |
| Pedagogy and Practicum | 2 | – |
| Chamber Music | 1 | 1 |
| Musical Organization | 1 | 1 |
| Elective | 6 | 8 |
| Total | 14 | 14 |
MusM in Performance
Admission Requirements
Applicants must meet the admissions requirements for graduate study. In addition, each applicant for a master’s-level program in performance must have presented a senior recital at his or her undergraduate institution.
Strings
Audition Requirements
Applicants in string performance must perform the first movement of a standard concerto, a movement of unaccompanied Bach, a virtuoso piece, and a movement of a sonata. Concerti and unaccompanied works should be performed from memory. A staff accompanist will be available only in Boston. Applicants auditioning in Boston should bring the piano scores (not photocopies) for their chosen pieces to the audition. All violinists, violists, and cellists will be expected to perform with piano.
Program of Study
| Music Research Techniques | 2 cr |
| Applied Music, Levels 9 and 10 | 12 cr |
| Musicology and/or Theory | 6 cr |
| Chamber Music (Bass and harp majors may substitue approved electives.) | 4 cr |
| Musical Organization | 4 cr |
| Approved music electives | 4 cr |
| Total 32 cr |
*Bass and harp major may substitute approved electives.
Terminal Projects
Two recitals are required containing a minimum of 60 minutes of music each.
Winds, Brass, Percussion, Harp
Audition Requirements
Auditions are performed without piano accompaniment.
Winds, Brass, and Harp applicants must be prepared to perform three compositions, one from the Baroque or Classical periods, one from the Romantic period, and one from the 20th to 21st centuries. The applicant may also offer orchestral excerpts suitable to his or her own instrument.
Flute applicants must perform four works and be prepared to play any of the solo passages from the orchestral literature listed below. The major works should include one each from the Baroque, the Classical, the Contemporary, and either the Romantic or the French School of the late 1800s or mid 1900s. Orchestral excerpts: Daphnis et Chloé; R. Strauss, Till Eulenspiegel, Opus 28; Mendelssohn, A Midsummer Night’s Dream, Incidental Music, Opus 21 and 61; Debussy, Prélude à l’après midi d’un faune; and Prokofiev, Peter and the Wolf, Opus 67.
Bassoon applicants must perform three works: a complete Vivaldi concerto, Mozart’s Concerto in B-flat, K. 191 (complete), and one Characteristic Study by M. Piard.
Program of Study
| Music Research Techniques | 2 cr |
| Applied Music, Levels 9 and 10 | 12 cr |
| Musicology and/or Theory | 6 cr |
| Chamber Music | 2 cr |
| Musical Organization | 4 cr |
| Approved music electives | 6 cr |
| Total 32 cr |
Terminal Projects
Two recitals are required containing a minimum of 60 minutes of music each.
Piano
Audition Requirements
Applicants must demonstrate proficiency by performing from memory at least three compositions: one from the Baroque, one from the Classical, and one from either the Romantic or Contemporary periods. Examples of representative literature include preludes and fugues from The Well-Tempered Clavier and toccatas by J. S. Bach; Sonata in E-flat Major, Op. 81a, by Beethoven; Sonata in B Minor, by Chopin; Pour le piano, Estampes, Images, Books I and II, by Debussy; and Variations and Fugue on a Theme by Handel, Op. 24, by Brahms.
Program of Study
| Music Research Techniques | 2 cr |
| Applied Music, Levels 9 and 10 | 12 cr |
| Musicology and/or Theory | 6 cr |
| Approved electives | 10 cr |
| Musical Organizations—Chamber Music | 2 cr |
| Total 32 cr |
Terminal Projects
Two recitals are required containing a minimum of 60 minutes of music each.
Collaborative Piano
Audition Requirements
Applicants must audition with all listed repertoire. If requested, the School will provide collaborative partners, although applicants are urged to audition with their own pre-rehearsed ensemble partners whenever possible.
Vocal
(Please prepare all songs in HIGH keys.)
Schubert Ganymed
Brahms Wie Melodien Ziehtesmir
Fauré La lune blanche luit dans les bois (from La Bonne Chanson)
Debussy C’est l’extase (from Ariettes Oubliées)
Barber St. Ita’s Vision (from Hermit Songs)
Instrumental
(Please prepare both complete sonatas.)
Beethoven Violin Sonata Op. 12 in D major
Brahms Violin Sonata No.2 in A major
Solo Piano
Piece or movement less than 10 minutes in length from the Classical or Romantic repertoire; memorization not required.
Other
Applicants will be asked to sight-read both vocal and instrumental literature.
Foreign language proficiency will be evaluated.
Program of Study
| Music Research Techniques | 2 cr |
| Repertoire Coaching | 12 cr |
| Musicology and/or Theory courses | 6 cr |
| Chamber Music | 2 cr |
| Performance Seminar in Vocal Coaching | 1 cr |
| Song Literature | 2 cr |
| Diction/Vocal Coaching for Pianists | 2 cr |
| Duo Instrumental Sonata Repertoire | 2 cr |
| Approved music electives | 3 cr |
| Total 32 cr |
Terminal Projects
Two recitals are required, each containing a minimum of 60 minutes of music including vocal, instrumental, and chamber repertoire.
Voice
Audition Requirements
Applicants are expected to perform from memory at least four songs drawn from the standard concert repertory: Lieder, French and Italian art songs, oratorio, opera, or contemporary vocal literature. Applicants will be expected to demonstrate prerequisite proficiency in the International Phonetic Alphabet, as well as a level of foreign language ability corresponding to that in the undergraduate curriculum at Boston University. An accompanist will be available for auditions in Boston.
Program of Study
| Music Research Techniques | 2 cr |
| Applied Music, Levels 9 and 10 | 12 cr |
| Musicology and/or Theory | 6 cr |
| Practical Piano | 2 cr |
| Approved music electives | 3 cr |
| Voice Department elective | 1 cr |
| Musical Organization (2 sem.) | 1 cr |
| Special Topics in Song Literature | 2 cr |
| French, German, and Italian Diction | 3 cr |
| Total 32 cr |
Students must either take two credits of practical piano or pass a proficiency examination. See the department chair for details.
Terminal Projects
One recital is required containing a minimum of 50 minutes of music.
Historical Performance
The Program and Boston Baroque Residency
Three-time Grammy nominee Boston Baroque serves as resident professional ensemble for the Historical Performance Program, providing educational enrichment, training, and professional performance opportunities for students. Students work closely in a wide range of ensemble settings with seasoned professionals. Distinguished guest artists enrich the program with master classes and special presentations. Students audition for understudy and public performance roles in Boston Baroque’s orchestral, choral, and opera productions, observe Boston Baroque’s rehearsal process, and attend the ensemble’s public performances.
Audition Requirements
This program is for performers on harpsichord, fortepiano, other period instruments, and singers. Applicants must demonstrate proficiency in different national styles from the 17th and 18th centuries.
Program of Study
Music Research Techniques
| Applied Music, Levels 9 and 10 | 12 cr |
| Performance Practice Seminar | 4 cr |
| Continuo for keyboard or | 4 cr |
| Continuo for non-keyboard | 2 cr |
| Studio in Historical Performance (Ensemble performance) | 4 cr |
| Musicology and/or Theory | 6 cr |
| Elective (non-keyboard) | 2 cr |
| Total 32 or 34 cr |
Terminal Projects
Two recitals are required, each containing a minimum of 60 minutes of music.
Conducting—Orchestral
Audition Requirements
Each applicant must submit a preliminary video by December 1, before a live audition can be scheduled. This tape should include 20–30 minutes of the applicant conducting in rehearsal and/or performance with an orchestral ensemble. The repertoire for the live audition must be chosen from the following works: Beethoven, Symphonies 1 and 2; Mozart, Overture to Die Zauberflöte; Stravinsky, L’histoire du soldat: “Royal March” and “Petit concert.” The audition will also include an individual interview that will examine skills in conducting, sight-singing (in all clefs), keyboard, dictation, musical terminology, score-reading, orchestration, and analysis. Each candidate will also be asked to perform on his or her principal instrument. Selected candidates will conduct an ensemble as the final part of the audition.
Program of Study
| 4 semesters/Orchestral | 8 cr |
| 1 semester/Choral | 2 cr |
| Orchestration | 3 cr |
| Analytical Techniques | 4 cr |
| Music Research Techniques | 2 cr |
| Musicology | 6 cr |
| Directed Study in Conducting | 3 cr |
| Approved music electives | 4 cr |
| Total 32 cr |
Terminal Projects
Each candidate will present one conducting recital.
Conducting—Choral
Audition Requirements
Each applicant must submit a preliminary video by December 1, before a live audition can be scheduled. This tape should include 20–30 minutes of the candidate in rehearsal and/or performance with a choral ensemble. The repertoire for the live audition must consist of the following pieces: Bach, Cantata No. 131, “Aus der Tiefe rufe ich,” final chorus (“Israel hoffe auf den Hern”); Mozart, “Lacrymosa” from Requiem; Britten, Rejoice in the Lamb, pp. 1–10 (through the “Nimrod” chorus); Victoria, Ave Maria. Each applicant will also be asked to sing an art song and play a solo keyboard composition at the level of a Bach two-part invention.
Proficiencies evaluated at the audition:
Score-reading: Realization at the piano of a Bach chorale in open score; treble and bass clefs acceptable.
Piano: Proficiency at the minimum level of Italian art song accompaniment and Bach two-part inventions.
Language: Evidence of one year of college-level German. Knowledge and application of the International Phonetic Alphabet are required.
Voice: Demonstrated knowledge of vocal technique.
Program of Study
| Conducting Seminars | |
| 4 semesters/Choral | 8 cr |
| 1 semester/Orchestral | 2 cr |
| Choral Literature (2 semesters) | 4 cr |
| Analytical Techniques | 6 cr |
| Music Research Techniques | 2 cr |
| Musicology | 6 cr |
| Directed study in Conducting | 3 cr |
| Approved music electives | 1 cr |
| Total 32 cr |
Terminal Projects
Each candidate will present one conducting recital.
MusAD in Performance
Admission Requirements
Applicants to the MusAD program should possess a Master of Music degree or a Master of Arts degree with a major in music and should have completed theory, harmony, and solfège (20 credits); history of music (12 credits); and liberal arts courses distributed among the humanities, natural sciences, and social sciences (32 credits). Any deficiency must be made up without credit toward the fulfillment of the degree requirements.
Applicants must pass an entrance audition after presenting a repertoire list to the faculty including works of representative composers from several periods. The faculty will select 15 minutes of music from this list. Although taped auditions are accepted, the faculty strongly recommends live auditions for doctoral applicants.
Audition Requirements
Strings, Wind, Brass, and Piano
Strings, winds, brass, and piano applicants should prepare material equivalent to a master’s-level recital program.
Collaborative Piano
Collaborative pianists in the MusAD program may choose to concentrate on either vocal or instrumental repertoire, or a combination of both. Audition repertoire choices should reflect the intended concentration. Therefore, applicants should select either repertoire choice a. or b. from each category. (Please note that all songs should be prepared in the HIGH key.)
- a. Beethoven—sonata for cello or violin
b. Schubert—Im Frühling and Rastlose Liebe - a. Brahms—sonata for cello, violin, or viola
b. Strauss—Cäcilie and Glückesgenug - a. Franck—Violin Sonata
b. Debussy—Trois Chansons de Bilitis - a. Shostakovich—Cello Sonata
b. Argento—Six Elizabethan Songs (complete) - Solo piano—a piece or movement less than 10 minutes in length from the Classical, Romantic, or 20th-century repertoire; memorization not required.
In addition, applicants will be asked to sight-read both vocal and instrumental literature. Foreign language proficiency will be evaluated for those applicants choosing the vocal repertoire focus.
Orchestral Conducting
Each candidate must submit a preliminary video by December 1, before an audition can be scheduled. This tape should include 20–30 minutes of the candidate conducting in rehearsal and/or performance with an orchestral ensemble. The repertoire for the live audition will be chosen from the following works: Beethoven, Symphonies 1 and 2; Mozart, Overture to Die Zauberflöte; Stravinsky, L’histoire du soldat: “Royal March” and “Petit concert.” The audition will also include an individual interview that will examine skills in conducting, sight-singing (in all clefs), keyboard, dictation, musical terminology, score-reading, orchestration, and analysis. Each candidate will also be asked to perform on his or her principal instrument. Selected candidates will conduct an ensemble as the final part of the audition.
Voice
Applicants must present a full recital program of approximately one hour’s length. Four languages must be presented: English, Italian, German, and French. An aria from opera and an aria from oratorio should be included.
Choral Conducting
Choral conducting candidates must submit a preliminary video by December 15, before an audition can be scheduled. This tape should include 20–30 minutes of the candidate conducting in rehearsal and/or performance with a choral ensemble. The repertoire for the live audition consists of the following pieces: Gregorian Chant, Pange Lingua (suggested edition: Gems of Gregorian Chant, Collegium Music Publishers, John Rutter); Victoria, O Magnum Mysterium (suggested edition: Hinshaw Music Inc., Walter S. Collins); Bach, St. John Passion (2a, b, c, d, e Neue Bach Ausgabe); Haydn, The Creation, Opening Recitative and Chorus (“In the Beginning”) (suggested edition: Dover); Stravinsky, Symphony of Psalms, Movement 1.
Program of Study
Students must complete a minimum of 48 graduate credits including Music History and Music Theory, including:
| Music Research Techniques (MU 749) and Doctoral Proseminar in Theory (MU 719) [MU 749 and MU 719 must be completed within the first three semesters of doctoral study.] | 6 cr |
| Musicology and/or Music Theory | 6 cr |
| Applied Music (if appropriate) | 18 cr |
| Approved music electives | 18 cr |
Choral conducting majors must take eight credits of Choral Literature Seminar.
Doctoral students in Performance may elect one of two program options: the Dissertation Track or the Recital Track.
Dissertation Track
Each candidate in Performance and Historical Performance must present three public recitals, each consisting of at least one hour of performing time.
For candidates in Collaborative Piano, the programs for the three recitals should reflect the specific interest of the individual student, who may wish to specialize in either vocal or instrumental literature. Chamber music (compositions for three or more instruments) must comprise at least one-third of each recital program.
For candidates in String Performance, two of the recitals will consist of solo literature (unaccompanied and/or works with piano, including sonatas), and one recital will be composed entirely of chamber music (not including sonatas with piano).
Candidates for the MusAD in Conducting must give two public recitals. The programs for the recitals can reflect the specific interest of the individual student, but the programs must include literature from a broad historical span.
Terminal Project: Independent Research
Document Dissertation
and Lecture-Recital
The student must write a substantial document demonstrating the ability to conduct independent research. This document should stress source materials, comparative editions, score analysis, and performance practice. The student must give a lecture-recital based on this document and use the medium of performance to illustrate it. The lecture-recital must be supervised and approved by assigned faculty readers. A copy of the lecture must be included as an appendix in the final copies of the document. Conducting students are not required to give a lecture-recital.
Recital Track
MusAD candidates may pursue the recital track following successful completion of one semester of MusAD-level coursework and applied lesson study, and upon approval by their major teacher and area head. Appropriate paperwork must be filed with the Applied Department Chair. In lieu of the dissertation as terminal project, each candidate in Performance and Historical Performance must present five public recitals: Solo Recital, Concerto Recital, Chamber Music Recital, Recital Prepared Without Guidance, and Lecture Recital. Detailed requirements for each recital vary by area, and applicable written and research components require faculty approvals.
