ac a d e m i c c ata l o g 2010–2011

Johns Hopkins University P e a b o d y C o n s e r vat o r y 2 0 1 0 – 2 0 1 1

Peabody Institute
One East Mount Vernon Place
Baltimore, MD 21202-2397
 THE PEABODY CONS E RVATORY
OF THE JOHNS HOPKINS UNIVERSITY

Academic Year 2010–2011

Conservatory Admissions Office

Phone: 410-234-4848 or 800-368-2521 (outside Maryland)
www.peabody.jhu.edu
Academic Calendar

First Semester 2010–2011

Fall semester payment postmark date; August 10
late payment fee applied after this date
Orientation begins
Residence Hall opens August 22
Residence Hall move-in day August 24
Registration
All students: 8:30am–noon August 31
All students: 1:30–5:00pm
Late fee applied for late confirmation and registration September 1
Classes and lessons begin September 1
Convocation, noon September 2
Labor Day Holiday (no classes, lessons, or ensembles) September 6
Last day for course drop/add without fee September 10
Degree recital lottery Concert Office September 15
Last day for late registration September 17
Last day to add a course for fall semester September 17
Degree recital registration for fall semester recitals September 22 & 27
Last day to drop a fall semester course with deletion September 24
All work for spring and summer incompletes due to faculty September 24
First day to give a recital in the fall semester October 1
Midterm holiday (no classes, lessons, or ensembles) October 10-12
Classes, lessons, and ensembles resume October 13
Grades to remove spring and summer incompletes October 15
due to Registrar
Last day to withdraw from a course with an automatic “W” October 22
Last day to change a course to Audit October 2
Application deadline for spring semester diploma program November 1
Deadline for leave-of-absence return notification to November 15
Office of Academic Affairs
Last day to withdraw from any fall semester course November 23
Course selection for spring 2011 semester November 15–30
Thanksgiving Vacation (no classes, lessons, or ensembles) November 24–28
Classes, lessons, and ensembles resume November 29
Application deadline for regional and February auditions December 1
Spring semester payment postmark date; December 7
late payment fee applied after this date
Last day to give a recital in the fall semester December 11
Last day of classes, lessons, ensembles for fall semester December 14
Fall semester course examinations December 15–17
First semester ends December 18
Residence Hall move-out deadline for non- December 19
continuing students, noon
Residence Hall closes December 19
Fall grades due to Registrar, noon December 22
Second Semester 2011
Registration
Residence Hall opens January 14
Registration for new students January 14
Martin Luther King Jr. Holiday (no classes, lessons, or ensembles) January 17
Classes, lessons, and ensembles begin January 18
Degree recital lottery—Concert Office January 26
Petition to graduate in May 2011 due to Registrar January 28
Last day to drop or add courses or reconfirm registration January 28
without fee
Last day for late registration February 4
Last day to add a course for spring semester February 4
Last day to register for spring semester degree recital February 9
without a fee
Degree recital registration for graduating students only January 31 and
February 2 & 4
Degree recital registration for students with Degrees in Progress February 7 & 9
Last day to drop a course with deletion February 11
All work for fall semester Incompletes due to faculty February 11
Dissertation submission deadline for May graduation March 1
First day to give a recital in the spring semester February 21
Audition/Ensemble/Master Class Week (no classes or lessons) February 21–25
Classes, lessons, and ensembles resume February 28
Grades to remove fall semester Incompletes due to Registrar February 28
Last day to withdraw from a course with automatic “W” March 4
Last day to change a course to Audit March 4
Spring Vacation (no classes, lessons, or ensembles) March 20–27
Classes, lessons, and ensembles resume March 28
Deadline for MM/DMA document submission for May graduation April 15
Last day to withdraw from any spring semester course April 1
Application deadline for May auditions April 15
Deadline for leave-of-absence return notification to April 15
Office of Academic Affairs
Course selection for fall 2011 semester April 18-29
Last day to give a recital for graduating students May 1
Last day to give a recital for all continuing students May 9
Last day of classes and lessons May 9
Reading/examination preparation day May 10
Spring semester course examinations May 11–13
 Juries and final auditions May 16–19
Spring grades due to Registrar, noon May 19
Residence Hall closes, noon May 20
Commencement May 26
Graduate Summer Session 2010
Classes begin June 27
Classes end July 29

Audition Calendar
Application deadline November 30
Auditions for admission February 21–25
Application deadline for late auditions April 15
Final auditions for fall semester 2011 admission May 16–19

Cover photo: Artist Diploma candidates Marie-Ève Poupart (left) and Katarzyna Bryla
take part in a master class at Peabody with members of the Juilliard String Quartet, the
first Sandra Hittman Visiting Chamber Ensemble.
Photo: Will Kirk, Homewood Imaging and Photographic Services
Table of Contents
9 General Information
9 History
9 The Campus and Facilities

13 Procedural Information
13 Academic Advising
13 Large Ensembles
17 Recitals

21 Academic Regulations
21 Academic and Student Codes of Conduct
22 Undergraduate Students
23 Graduate Students
23 Grading System and Regulations
25 Satisfactory Academic Progress
26 Definition of Full-Time Status and Credit Limits
27 Attendance and Absences
31 Student Data 2009–2010

33 University Policies

38 Degree and Diploma Programs

39 Bachelor of Music Degree
45 Bachelor of Music Curricula
73 Bachelor of Music with JHU Concentration
74 Five-Year BM/MM Program
75 Master of Music Degree
78 Master of Music Curricula
97 Doctor of Musical Arts Degree
102 Doctor of Musical Arts Curricula
110 Graduate Performance Diploma
113 Artist Diploma
114 Performer’s Certificate
118 Extension Study
119 Conservatory Faculty
121 Course Listings
159 Financial Information
159 Tuition and Fees
162 Loan Programs and Grants
163 Assistantships
165 Administration
165 The Peabody Institute
167 The Johns Hopkins University
168 Index
General Information
History
George Peabody believed in the power
of the artist to open the minds and enrich
the lives of others. The Peabody Institute,
which he founded in 1857, is the practical
embodiment of this belief. From its begin-
nings, it has brought together a commu-
nity of artists, teachers, and scholars to
train other artists and to spread, by their
precept and example, an understanding of
what the arts can do to uplift the quality
of human life.
The Peabody Conservatory strives to
provide aspiring artists with the skills to
pursue professional careers in music as
well as the education to become leaders
in the cultural life of their communities.
As a division of The Johns Hopkins Uni-
versity, Peabody takes its place beside the
university’s other world-famous centers
of research and learning in the sciences,
humanities, and medicine, poised to define
the contribution of music in our lives in
the 21st century.
Among the leading musicians who have
served on the Peabody faculty are composers
Henry Cowell, Elliott Carter, Peter Men-
nin, Ernst Krenek, Benjamin Lees, Earle
Brown, and Hugo Weisgall; violinists Wil-
liam Kroll, Louis Persinger, Oscar Shum-
sky, and Roman Totenberg; cellists Aldo
Parisot and Zara Nelsova; pianists Harold
Bauer, Ernest Hutcheson, Mieczyslaw
Munz, Reginald Stewart, and Erno Balogh;
scholars Nadia Boulanger, Otto Ortmann,
and Nicolas Slonimsky. The Conservatory’s
present faculty is in the same distinguished
tradition, and includes prizewinners in the
Moscow Tchaikovsky Competition, Queen
Elisabeth of Belgium Competition, the
ASCAP Deems Taylor Awards, as well as
Guggenheim fellows and Fulbright grant-
ees. Among its most illustrious alumni are
pianist Andre Watts, vocalists James Morris
and Richard Cassilly of the Metropolitan
Opera, and the Pulitzer Prize–winning
composer Dominick Argento.
9
The Campus and Facilities
The first music conservatory established
in America, the Peabody Institute occu-
pies an entire city block of six intercon-
nected buildings on Mt. Vernon Place, the
cultural heart of Baltimore. The original
Conservatory building, completed in
1866, and the Peabody Library building,
completed in 1878, face Mt. Vernon Place
and are two of the city’s foremost archi-
tectural landmarks. The library building
served as a model for the domed main
reading room of the Library of Congress
in Washington and is acknowledged to be
the masterpiece of the American architect
Edmund G. Lind. Adjoining the library
building is Leakin Hall, built in 1927,
which serves as the headquarters of the
Institute’s Preparatory department and
contains studios for the use of both Con-
servatory and Preparatory faculty.
More recent additions include the resi-
dence hall structure, which was designed
by Edward Durrell Stone, architect of the
Kennedy Center for the Performing Arts
in Washington, and the Arthur Friedheim
Library building, which includes two
floors of classrooms and practice rooms.
The Peabody Inn is housed in a townhouse
complex that has become the home for
the Road Scholar at Peabody program.
In spring 2004, the Peabody Institute
completed a $26.8 million major con-
struction project to integrate the historic
19th-century buildings and created in the
95-seat Cohen-Davison Family Theatre, a
percussion studio, a renovated box office,
12 new practice rooms, and the elegant
Grand Arcade entrance.
Residence Hall
The Peabody Residence Hall consists of
two towers connected at the Plaza level by
the Dining Hall. Constructed in 1968, the
towers contain fully furnished rooms for
165 persons, a common room facility for
laundry, the Student Affairs Office Suite,
student mailboxes, and the recreational
space, Unger Lounge.
All freshmen, sophomores, and first-year
transfer students are required to live in
the Residence Hall unless they have been
granted an exemption by the Residence
Life Office. The Residence Hall is staffed
by a full-time professional coordinator
and part-time student resident assistants.
The staff is selected and trained to provide
programs, assistance, advising, and leader-
ship to each floor community within the
Residence Hall.
Dining Hall
The Peabody Dining Hall is located
between the two residence towers. Resi-
dency requires participation in the board
plan. The cafeteria serves breakfast, lunch,
and dinner from Monday through Friday
and brunch and dinner on the weekend.
Weekday dinner and all weekend meals
are an “all you care to eat” buffet using
a meal swipe; breakfast and lunch meals
are provided through the dining points
associated with each of the meal plans.
Off-campus students are encouraged to
participate in a “commuter” plan, either
the five meals per week with dining points
or an all-declining-balance plan. À la carte
retail service is also offered.
Performance Venues
The Miriam A. Friedberg Concert Hall,
with seating for 695, hosts performances
by the Peabody Symphony Orchestra and
the Peabody Concert Orchestra, as well as
the mainstage productions of the Peabody
Opera Department. The Conservatory’s
other performance halls are Leith Syming-
ton Griswold Hall, a renovated concert
and rehearsal space with a seating capacity
of 150 and a three-manual tracker-action
Holtkamp concert organ; the 95-seat
Cohen-Davison Family Theatre; and Hilda
and Douglas Goodwin Hall, the primary
facility for Preparatory recitals and for
many Conservatory repertory classes and
recitals.
10
Libraries
The Arthur Friedheim Library opened
in 1990 and contains one of the oldest
music collections in the United States.
The collection began as a few sets of
orchestra parts in 1868 and has grown
into a major regional collection of over
120,000 items. The open stack library
collection includes over 90,000 musical
scores and books, an audio-visual center
with over 25,000 sound recordings, and
25 study carrels. Located on the second
floor of the Arthur Friedheim Library, the
Archives of the Peabody Institute serves
as the official repository for the historical
records of the Institute. It also collects the
papers and records of musicians and musi-
cal organizations of the greater Baltimore
metropolitan area. The Peabody commu-
nity also has access to the Johns Hopkins
Sheridan Libraries collection, the majority
of which is contained in the Milton S.
Eisenhower Library on the Homewood
campus.
Recording Studios
The Peabody Recording Studios record
all concerts, degree recitals, and special
events at Peabody, utilizing advanced
techniques and state-of-the-art equipment.
Studio 220, the main Conservatory studio
facility, is directly linked to the Miriam
A. Friedberg Concert Hall. Studio 203,
also located in the Conservatory building,
is the primary studio for events in Gris-
wold Hall. Both studios are fully digital
and surround capable, as well as being
interconnected, permitting data transfer
between the facilities. Two other record-
ing control rooms, Studio 3036 and Stu-
dio 2002, are located in the Leakin Hall
building and provide services to Goodwin
Hall and East Hall.
Computer Music Studios
The Computer Music Studios serve as a
working laboratory for music composition
and research, as well as a center for courses,
demonstrations, and public programs.
There are two fully equipped studios: a
teaching studio, intended primarily for
introductory-level and non-major stu-
dents, and a production studio, a fully
professional facility designed for high-end
composition and research. The Digital Arts
Studio is a multiuser facility supporting
a variety of digital arts applications. The
Digital Performance Studio is an experi-
mental rehearsal space/practice room with
a Yamaha Disklavier grand piano as well as
other performance-oriented synthesizers.
Student Resources
Health Services
Full-time students receive their health
services from the Johns Hopkins Com-
munity Physicians at Wyman Park (3100
Wyman Park Drive). The health service
provides comprehensive outpatient health
care including evaluation and treatment
of minor illnesses, allergy shots, routine
gynecologic care and consultation, routine
ancillary testing, and minor surgical pro-
cedures. Visits for treatment at the health
service are covered by the mandatory stu-
dent health fee and are otherwise free to
the student. Referrals to outside providers
and some ancillary testing are charged to
the student’s health insurance.
All full-time students are required to
carry adequate health insurance coverage
for themselves and their dependents. The
Johns Hopkins University has developed
a comprehensive health insurance plan
that includes hospital, surgical, and major
medical benefits. Membership in this plan
is mandatory for all full-time students—
including Degree-in-Progress students
—unless a student provides evidence that
he or she has existing equivalent health
insurance coverage. International students
are required to purchase the school’s insur-
ance plan.
Counseling Center Services
The Counseling Center at 358 Garland
Hall on the Homewood campus is the
primary source of psychological assistance
for students. Services are oriented toward
helping students resolve emotional dif-
ficulties, manage stress and interpersonal
11
relationships more effectively, and over-
come problematic behaviors. A variety of
services are provided, including individual
and group psychotherapy, crisis interven-
tion, support groups, workshops, and con-
sultation on student-life problems. For the
convenience of Peabody students, a coun-
selor is available at Peabody one half-day
per week. For additional information or to
make an appointment, see www.jhu.edu/
counselingcenter or call 410-516-8278.
To speak to an on-call counselor in case of
an emergency during non-business hours,
Homewood Security should be contacted
at 410-516-7777.
Career Counseling and Placement
The Career Counseling Office is a
repository of information on jobs in music
across the U.S., musical and non-musical
work in the Baltimore area, competitions,
grants and awards, summer festivals, and
events of interest. All announcements
received are noted in the semimonthly
Job Vacancy Bulletin published by the
office for the benefit of Peabody students
and alumni. The complete newsletter is
available on campus, and the text portion
can be found at www.peabody.jhu.edu/
jvb. The office also operates a Musician
Referral Service which refers qualified stu-
dents and alumni to callers from outside
Peabody seeking music for concerts, wed-
dings, parties, or other events.
Disability Resources
Disability Resources in the Student
Affairs Office collaborates with students,
faculty, and staff to create learning envi-
ronments that are usable, equitable,
inclusive, and welcoming. Students with
disabilities who anticipate barriers to full
participation in courses and/or campus
activities are encouraged to contact Kat-
sura Kurita, Associate Dean for Student
Affairs and Disability Resources coordi-
nator, at 410-234-4540. Students must
register with Disability Resources to
receive reasonable accommodations and
are encouraged to identify themselves as
early as possible. Forms and guidelines to
document a disability may be found at
www.peabody.jhu.edu/disability.
Security
The Peabody campus is protected by
the Peabody Campus Security Department
24 hours a day. Guided by its community-
based philosophy, the department is
headed by a director and staffed by 12
uniformed officers, commissioned by the
state of Maryland with full arrest powers.
The department also provides a van escort
service which operates in the evenings to
transport members of the community to
and from campus within approximately a
12-block area. When school is in session,
the escort van runs every half hour from
5 p.m. to 2 a.m. and at 3, 4, and 5 a.m.
upon request, seven days per week.
The entrances to campus are secured at
all times, and community members may
enter at any time by use of their indi-
vidual “card-key access” identification and
sign-in at the main entrance. Most campus
buildings are open seven days a week from
6 a.m. to 2 a.m. The practice rooms in
the library building and the basement are
available 24 hours a day.
Shuttle Bus
A free university shuttle operates seven
days a week between the Homewood cam-
pus and the Johns Hopkins Medical Insti-
tutions with stops at the Peabody campus
and the train station. The buses run from
6:15 a.m. to 11:30 p.m. on weekdays; 7
a.m. to 6:30 p.m. on Saturdays; and noon
to 9:30 p.m. on Sundays.
Internet and Technology
The Peabody campus is interconnected
to other divisions of The Johns Hopkins
University through a high-speed network.
Most rooms on campus and all residence
halls are wired for Ethernet access. Most
public and teaching spaces on campus are
wired for secure Ethernet and/or WiFi.
Members of the Peabody community are
12
identified by the Johns Hopkins Enter-
prise Directory (JHED). The issued JHED
ID is used for e-mail accounts through
Johns Hopkins Enterprise Messaging
(JHEM). Students must maintain these
accounts (through use or forwarding) for
all electronic correspondence from the
Conservatory. The JHED ID is also used
for WiFi access and personal webspace.
Students must also use the JHED ID for
access to the Integrated Student Informa-
tion System (ISIS): the official Web-based
interface for course registration and aca-
demic records.
Computers for student use are avail-
able in the Friedheim Library, a computer
resource room in 205 Leakin Hall, and
in the Unger Lounge Computer Center.
“Information Systems Usage Policy: Use
of the Peabody Information Systems” is
governed by the “Guidelines for the Use of
Computing and Networked Information
Resources” and the “Policies for Student
Use of Shared Information Technology
Resources” of the Johns Hopkins schools
of Arts and Sciences, Business, Education,
and Engineering. The guidelines are avail-
able for review on the Peabody website
(www.peabody.jhu.edu/ITpolicies).
Accreditation Statement
The Peabody Conservatory of Music is
accredited by the National Association of
Schools of Music (NASM): 11250 Roger
Bacon Drive, Suite 21, Reston, VA 20190-
5248, 703-437-0700.
The Peabody Conservatory is a division
of The Johns Hopkins University, which is
accredited by the Maryland Higher Educa-
tion Commission (MHEC): 839 Bestgate
Road, Suite 400, Annapolis, MD 21401,
410-260-4500. The Johns Hopkins Uni-
versity is also accredited by the Middle
States Commission on Higher Education
(MSCHE), 3624 Market St., Philadelphia,
PA, 19104-2680, 267-284-5000.
Procedural Information
Studio Assignments
Studio assignments are arranged prior
to matriculation on the basis of student
request and teachers’ availability. Students
may contact teachers directly during the
admissions process to make their wishes
known. Once students matriculate into
the Conservatory, they may only change
studios with the oversight of the Associate
Dean for Academic Affairs and the agree-
ment of all faculty involved.
Academic Advising
Unlike most other fields of study, music
curricula depend on one-to-one lessons
between a student and an individual major
teacher. Over the course of a degree or
diploma program, a major teacher becomes
a trusted advisor to the student and frames
the instruction toward a mutually desired
outcome. The functions of study that
pertain to technique, repertoire, and pro-
fessional conduct are the hallmarks of the
major-teacher/student relationship. While
major teachers play a role in academic
advising, academic advising at Peabody is
a cooperative enterprise that includes the
offices of the Conservatory Registrar, Aca-
demic Affairs, and Student Affairs.
Students are responsible for the require-
ments of their curricula as listed in the
catalog in the year they matriculated. Cur-
ricula for each degree and diploma can also
be found on the website for the Office of
Academic Affairs. Students should care-
fully check their own progress toward the
degree or diploma each semester. At the
conclusion of each semester, the Registrar
performs an audit of the students’ degree
requirements. These audits are kept in the
students’ permanent files and can be seen
in the office of the Registrar or Academic
Affairs. Questions which require special
interpretation of academic requirements,
performance requirements, or evaluation
of transfer credits, for both undergraduates
13
and graduates, should be referred to the
Associate Dean for Academic Affairs.
Because of the attendant issues of transi-
tion and adjustment, Peabody devotes spe-
cial resources to freshmen and sophomores
in the undergraduate program. Students in
Music Education are specially mentored by
the Music Education faculty. The complex-
ities of the Recording Arts double-major
program are managed with advising from
the Recording Arts faculty. Double-degree
students are advised by the Associate Dean
for Academic Affairs. All other freshmen
and sophomores are assigned to one of
five advisors from the offices of Academic
Affairs and Student Affairs. The under-
graduate advisors will meet with the stu-
dents on the details of their schedules and
grading until the students play their soph-
omore juries. Thereafter, the role of advis-
ing rests with the major teacher. However,
regardless of advisor assignments, students
are welcome to contact the Registrar’s
Office and the Associate Dean for Aca-
demic Affairs on all matters pertaining to
curricula, registration, and grading.
Large Ensembles
Participation in instrumental or vocal
ensembles is a major feature of the degree
and diploma curricula at Peabody. With
the exception of students in the Art-
ist Diploma or Doctor of Musical Arts
degree, all students majoring in orches-
tral instruments or jazz must play in a
large ensemble in every semester they are
enrolled in major lessons. Early music
majors must participate in a separate cat-
egory of large ensembles, as dictated by
their curricula, which are overseen directly
by the early music faculty. Vocalists, pia-
nists, guitarists, composers and computer
musicians must play in large, ensembles as
dictated by their curricula. In every case,
the personnel in the Ensemble Office act
as the collective teacher of record for the
large ensembles. Students must abide by
all rules published by the Ensemble Office
as such rules constitute a syllabus and
course outline for ensemble grading.
Selection, Seating, and Parts
All string, woodwind, brass, and per-
cussion students are assigned to a specific
large ensemble and seated based on the
results of placement auditions taken dur-
ing orientation. Once students have been
assigned to a specific ensemble, they are
free to re-audition for a seating change
within that ensemble only. Requests to re-
audition are made through the Ensemble
Office and should not be made during the
first two weeks of classes. To be considered
for a seating change, any re-audition must
happen prior to seating assignments being
made for the next program.
At the beginning of the school term,
the Ensemble Office provides each player
with a folder containing parts for the first
concert, and a schedule for the assigned
ensemble’s rehearsals for the entire season.
Parts for subsequent concerts are available
from the Ensemble Office when the seat-
ings are posted on the ensemble bulletin
boards. Students are expected to return all
of their music at the end of each concert
and will be billed for the full replacement
cost of any music not returned within
three days following the end of a concert.
All students are expected to return their
folders at the end of the school year.
Concert Dress Policy
These dress guidelines are strongly
enforced to ensure that everyone in the
ensemble is dressed professionally for per-
formances. If in doubt as to what to wear,
students should stay as conservative as
possible. Students who arrive for a concert
improperly dressed will be sent home to
change or, if this is not possible, will have
their grade automatically lowered and may
be pulled from the concert.
Men
• Black tuxedo
• Pressed white dress shirt
14
• Black socks and black dress shoes
(No cowboy or combat boots)
• Black cummerbund or black tuxedo vest
• Suspenders are permitted, but must be
either black or white
• Black bow tie
Women
• Plain, black, floor to mid-calf length
gown with long or 3/4 sleeves, or
• Long or mid-calf black skirt (or black
dress slacks) with a black top having
long or 3/4 sleeves. If wearing slacks,
they must be wide, loose, and flowing
(nothing tight and no jeans).
• Black or neutral hosiery and black dress
shoes. (No open-toed shoes or sandals)
• No excessive jewelry, sequins, or spar-
kles. Hair accessories must be black,
silver, or gold.
• No plunging necklines, rising slits,
low-cut backs, or displays of midriff.
Dress and skirt slits must not exceed
six inches in length. Wear a slip if the
outfit requires it.
• A basic rule to follow is that no one
should be able to see a performer’s toes,
knees, or elbows.
For some opera performances, orchestra
members (both men and women) may be
asked to wear dressy black, i.e., black dress
shoes and socks, black pants or skirt, and a
black shirt or top. Black jeans and T-shirts
are not acceptable.
Large Ensemble Attendance and
Grading Policy
Large ensembles, which include the
Peabody Symphony and Concert Orches-
tras, Wind Ensemble, Jazz Orchestra, and
the Peabody-Hopkins Chorus and Singers,
are graded using the same letter grading
system as classroom courses. Large ensem-
ble grades are based primarily on the fol-
lowing four factors:
• Performance and preparation
• Contribution to the ensemble
• Cooperation and professionalism
• Attendance
 Attendance alone does not determine the final grade, but does determine a student’s
maximum attainable grade before other factors are considered. Unexcused absences
or lateness to ensemble services will cause a student to accrue grade reduction points as
indicated below:

Late to a regular rehearsal 1 point

Absent from a regular rehearsal 3 points
Late to the last rehearsal before a dress rehearsal 2 points
Absent from the last rehearsal before a dress rehearsal 4 points
Late to a dress rehearsal 3 points
Absent from a dress rehearsal 6 points
Late to a composition reading 2 points
Absent from a composition reading 6 points
Late to a combined orchestra/chorus rehearsal 2 points
Absent from a combined orchestra/chorus rehearsal 4 points
Late to a recording session 3 points
Absent from a recording session 6 points
Late to a performance call 4 points
Absent from a performance 8 points

Based on the total number of grade reduction points accumulated during a semester, a
student’s maximum attainable grade before other factors are considered will be as follows:

0–3 points A 8 points C+

4 points A- 9 points C
5 points B+ 10 points C-
6 points B 11 or 12 points D
7 points B- 13 or more points F

Any circumstances or behaviors that Excuse Requests

interfere with a student’s contribution to
a large ensemble will be considered in the
calculation of the grade at the discretion of
the ensemble’s manager.
Many of the large ensembles will have
occasional rehearsals that fall outside of
the ensemble’s regular rehearsal days and
times. Because of the importance of these
rehearsals, students are excused from their
regular classes during these times to allow
them to attend these rehearsals. This
is communicated to all affected faculty
members by memos from the Office of the
Conservatory Dean.
To request permission to be excused
from a large ensemble rehearsal or perfor-
mance or to be excused from being late
or leaving early, students are required to
fill out and submit an electronic excuse
request form which is available on the
ensemble office Web pages at www
.peabody.jhu.edu/ensembleoffice. These
requests are reviewed by the manager of
the ensemble who will either approve or
deny the request. Any absences or late-
nesses not documented by an approved
excuse request form will be considered
unexcused. Forms submitted later than a
week following the date of the absence or
lateness will not be approved.

15
 Absence or lateness due to schedule
conflicts with classes or private lessons
—including makeup lessons—are not
excused. Conservatory faculty are aware
of this policy and should not attempt to
schedule a lesson that would conflict with
large ensemble rehearsals.
Professional Leave
Under special circumstances, students
may request professional leave from a
rehearsal or performance. Leave will be
granted on a first-come basis for those
with direct conflicts involving major
performance or audition opportunities.
Requests for permission to miss a rehearsal
for such professional reasons must be
submitted no later than two weeks before
the date of the rehearsal in question.
Requests to be granted leave from an
entire program—that is, a concert and all
its associated rehearsals—must be submit-
ted no later than two weeks before the first
rehearsal for that program.
Medical Leave
Students with physical conditions requir-
ing short-term medical leave involving up
to a week of rehearsals, but who still expect
to perform in the program, are required to
attend rehearsals even if they cannot play or
sing, unless they are confined to bed or pose
a risk of exposing other ensemble members
to a contagious disease. Students requesting
absences of longer than a week which they
expect will prevent them from performing
on a program must submit suitable medical
documentation, in English, from a licensed
care practitioner to the Ensemble Office in
a timely manner.
Tendonitis and other similar repetitive
motion injuries do not exempt students
from fulfilling the ensemble requirements
for their degree programs. Instrumental-
ists who are suffering from such repetitive
motion injuries on a long-term basis may
be assigned to a choral ensemble dur-
ing their recovery at the discretion of the
director of ensemble operations. Vocalists
who are on vocal rest are still required to
attend choral ensemble rehearsals.
16
In case of sudden illness or a medical
emergency, it is the student’s responsibil-
ity to notify the Ensemble Office imme-
diately at 410-234-4510. If possible,
instrumentalists other than string players
should make arrangements for their music
to be delivered to the Ensemble Office
prior to the start of the rehearsal. The
student should submit an excuse request
form to the Ensemble Office within one
week of the incident. Students who miss
a dress rehearsal, performance, or two or
more consecutive rehearsals due to illness
or other medical reasons must submit suit-
able medical documentation, in English,
from a licensed care practitioner, along
with their excuse request form.
Instrument Problems
Missing a service due to an instrument
being repaired will not be considered an
excused absence. If a student’s instrument
is being repaired or is in sudden need of
repair, they should contact the Ensemble
Office, so that a substitute instrument can
be provided.
Opera Rotations
During opera performance runs, orches-
tra members who are scheduled to be off
for a particular performance, but are still
considered on-call must remain in the
vicinity and reachable in case they are
required to substitute for another player.
Other Emergencies
It is recognized that there are some-
times unforeseeable and uncontrollable
circumstances which can prevent a student
from being on time or even making it to a
rehearsal at all. These occurrences are rare,
however, often independently verifiable,
and are considered on a case-by-case basis.
They can include, but are not limited to,
extreme weather conditions, family emer-
gencies, traffic accidents, legal matters,
and other situations over which the stu-
dent has little or no control. They do not
include factors such as oversleeping, fail-
ing to allow enough travel time, having to
get something to eat, and so on. Students
should notify the Ensemble Office imme-
diately, if it is safe and possible to do so, if
they will be late or absent from a rehearsal
due to a legitimate emergency and should
submit an excuse request form along with
any supporting documentation within one
week of the lateness or absence.
Student Responsibility
The Ensemble Office establishes the
rules and procedures of good conduct for
the large ensembles. It is the responsibil-
ity of each student participating in ensem-
bles in fulfillment of a degree or diploma
to know and abide by the rules. For clarifi-
cation and notification of any changes, see
www.peabody.jhu.edu/ensembleoffice.
Recitals
Public recitals are required for the com-
pletion of all undergraduate and graduate
performance degrees and diplomas.
All recitals must be scheduled through
the procedures established by the Con-
cert Office, with the completion of all
required forms and in strict observation of
the established deadlines. Students must
be registered for major lessons during
the semester in which they give a degree
recital. All degree recitals must be on
campus. Exceptions are rarely made, and
only made with the written permission
of the teacher and the Associate Dean for
Academic Affairs. Grades given for off-
campus recitals may not be contested.
Repertoire
Degree recitals are solo recitals of rep-
ertoire selected in consultation with the
major teacher. In instrumental areas other
than piano, chamber works may be per-
mitted on the recital program with the
written permission of the major teacher
and clearance from the Ensemble Office
attesting to the availability of the other
performers and feasibility of the ensemble
repertoire.
Solo performances are normally given
from memory; music may be used in
chamber ensemble programs at the discre-
tion of the department. Students wishing
17
to perform ensemble works which are con-
tained within the Ensemble Library hold-
ings are allowed to check out the music,
subject to availability, by submitting a
music requisition form. Music from the
Ensemble Library must be returned within
a week of the recital.
Students programming works which
are only available on a rental basis must
make their rental arrangements through
the Ensemble Office, which acts as Pea-
body ombudsmen for copyright compli-
ance. Rental parts are rented on a per
performance basis, and students may only
use rental sets for the exact performance
for which they are obtained. An approved
music requisition form must be submit-
ted at least six weeks before the recital
date. Students may not negotiate directly
with music publishers for performances
presented at Peabody or under the aegis of
Peabody.
All conducting students who are giving
recitals are required to consult with Linda
Goodwin, administrator of the Conduct-
ing Program, prior to scheduling a recital.
Recital Timings
All degree recitals, including lecture-
recitals, will be limited to a total of 70
minutes of stage time, with the sole
exception of Artist Diploma piano recit-
als, as noted below. The 70-minute limit
includes all stage and personnel changes
from the beginning to the end of the
recital. Specific requirements for the
length of performance time vary by degree
as follows.
Minimum-Maximum Performance
Time (in minutes of music) for
Undergraduate Junior Recitals
Minimum Maximum
Guitar 25 60
Jazz 30 60
Violin 25 60
Voice 25 60
Minimum-Maximum Performance An Artist Diploma piano recital is the
Time (in minutes of music) for only degree recital that exceeds 60 min-
Undergraduate Senior Recitals utes of music, and as such, may contain
an intermission at the discretion of the
Minimum Maximum student and his or her teacher.
Early Music 50 60 Credit and Scheduling
Guitar and Organ 50 60 Peabody presents more than 350 degree
Harp and 50 60 recitals each year along with hundreds of
Percussion other kinds of concerts. To accommodate
Harpsichord 50 60 all students with the most equitable divi-
sion of resources, all degree recitals must
Jazz 50 60 be scheduled, prepared, and performed
Orchestral Strings 50 60 within the guidelines set by the Concert
Piano 50 60 Office.
Voice 45 60 1. A degree recital is a course. The course
Woodwinds and number for a degree recital is listed
50 60 in the curricula for each degree and
Brass
diploma. To receive credit for a recital,
students must register for the course
Minimum-Maximum Performance Time number through the registration
(in minutes of music) for MM, GPD, and processes used for all other courses at
DMA Graduate Recitals Peabody. Unlike other courses, a degree
recital requires special scheduling.
Minimum Maximum 2. To schedule a degree recital in Novem-
Early Music 60 60 ber, December, March, April, or May,
students must participate in the Con-
Guitar and Organ 50 60
cert Office’s Degree Recital Registra-
Harp 60 60 tion Lottery.
Harpsichord 60 60
All students who do not schedule their
Jazz (GPD) 55 60 degree recitals on the recital registration
Orchestral Strings 50 60 days noted under registration procedure
Percussion 50 60 (Lottery) will be charged a $50 late
Piano (GPD) 55 60 recital registration fee.
Piano (MM & At the Lottery, students will be given
50 60
DMA) an appointment to schedule a recital. It
Voice 50 60 is the student’s responsibility to choose
a date on which the major teacher is
Woodwinds and
50 60 available. Similarly, all other ensemble
Brass
participants must be secured and
scheduled before choosing a date at the
Minimum-Maximum Performance Time Lottery. There will be a $50 drop/add
(in minutes of music) for AD Graduate fee for changing the date of any recital
Recitals (degree or non-degree) and a $50 fee for
canceling any recital once it is officially
Minimum Maximum scheduled.
3. To schedule a degree recital at the
Piano 70 70
beginning of a semester (October in a
Voice 55 60 fall semester; January or February in a

18
 spring semester), students may simply
make an appointment at the Concert
Office.
Programs
Program forms (called “long forms”)
must be typed and submitted to the Con-
cert Office four weeks prior to the recital
date. No changes in day, date, or time of
program may take place once the program
is submitted to the Concert Office. The
Concert Office will charge a $25 fee to
duplicate programs for rescheduled recit-
als or to reprint programs due to student
errors. No degree recital may take place
unless the long program form with all
required signatures is presented to the
Concert Office by the deadline date. Fail-
ure to submit a long form will obligate
the student to provide his or her own
programs.
Rehearsals
Students must make an appointment
to schedule a dress rehearsal. An appoint-
ment sign-up sheet will be posted on the
Concert Office door. Students giving a
degree recital are allowed two hours in
the hall where their recital is taking place.
Junior recitals and non-degree recitals are
allowed one hour in the hall where their
recital is taking place. No additional time
can be scheduled. If a rehearsal is not
scheduled at least four weeks in advance,
the Concert Office cannot guarantee that
rehearsal space will be available.
Stage and Audio-Visual Needs
Stage crew is not normally provided for
recitals, other than those in the concert
hall, unless the setup and changes are
extremely difficult. Students who have
scheduled a degree recital that requires
stage support must submit a stage set-
up form to stage manager Darryl Carr
(Ensemble Office) at least four weeks prior
to the recital. The stage setup form may
also be submitted online at www.peabody
.jhu.edu/stagesetupform.
Only standard lighting will be provided
for degree recitals. Please do not plan for
19
any unusual lighting or special effects for
degree recital.
Students who require audio-visual sup-
port for a performance must contact the
Audio-Visual Department (via email to
avreqs@lists.peabody.jhu.edu) two weeks
in advance of the first date for required
support. Equipment is generally limited
to two microphones, appropriate stands
and cables, and stereo playback of CD or
cassette recordings and is provided for one
dress rehearsal and the performance at no
charge for degree recitals.
Recordings
Peabody records all degree recit-
als except junior recitals. Tapes of those
recordings are kept in the Recording Stu-
dio Archives, and one free copy is provided
for the student. Junior and non-degree
recitalists who wish their recital recorded
should make arrangements directly with
the Recording Studio. The Recording
Studio charges a fee for recording all junior
and non-degree recitals. The Peabody
Recording Studio retains exclusive rights
to recording in Peabody’s five concert halls.
Recital Receptions
Following recitals, many students like
to hold receptions for their families and
friends. The Conservatory is delighted to
support this celebratory activity by offer-
ing the Bank of America Lounge where
student receptions may be held. Students
hosting receptions must submit a recep-
tion request form (available in the Concert
Office) at least four weeks before their
recital date. Students are responsible for
providing refreshments and cleaning up
after the reception. During peak recital
times, students may be asked to share the
lounge with another recitalist. In compli-
ance with the Conservatory’s alcohol pol-
icy, no alcohol may be served if a reception
is held on campus.
Grades and Feedback
All degree recitals are graded by at least
two faculty members, including the major
teacher. Recital grades are submitted
directly to the Office of Academic Affairs
and recorded when received. When the
grade appears in the ISIS record, the stu-
dent may request to see the comments in
the Registrar’s Office.
Deferred Recitals
Noting again that a recital is ultimately
a course, students should be mindful that
the Conservatory must record a grade for
a recital. If a recital is canceled, the rules
for withdrawing from a class apply and
the grade of W is recorded. Students who
decide to cancel a registered degree recital
must notify the Concert Office or they will
be charged a $50 fee. If a recital must be
rescheduled in a subsequent semester, the
grade is recorded as IP.
The Concert Office reschedules recitals
for one of two contingencies: a delayed
recital and a postponed recital.
A delayed recital is only allowed for
documented injury, illness, or emergency.
A student must get written permission
from the Associate Dean for Academic
Affairs to schedule a delayed recital.
Students who have fulfilled all lesson
requirements and are granted permis-
sion to perform a delayed recital need not
register for lessons in the term the recital
is performed; however, the delayed recital
must be performed at the beginning of the
semester in the period designated by the
Concert Office for delayed recitals.
A postponed recital that is dropped or
changed for any other reason (preparation,
other commitments, etc.) is considered
a postponed recital, and will incur a $50
fee. Students who postpone a recital are
required to register for lessons as they
prepare for a postponed recital under the
guidance of their major teacher. The post-
poned recital that has been recorded with
20
the grade IP must performed at the begin-
ning of the semester to change the grade
before the mid-semester deadline.
Please note: International students must
consult the international student advisor
prior to delaying their recitals to the fol-
lowing semester.
Non-Degree Recitals
Non-degree recitals may only be sched-
uled on campus during the first seven
weeks of the fall semester and the first
six weeks of the spring semester, so that
we may give priority to the many degree
recitals which take place in Novem-
ber, December, March, April, and May.
Students may also perform off-campus
non-degree recitals at area churches,
schools, clubs, etc., provided they have
the approval of their major teacher and,
if they are a member of a large ensemble,
the Ensemble Office. For more informa-
tion, check the guidelines in the Student
Handbook or the webpage for the Concert
Office at www.peabody.jhu.edu/84.
Outside Instruction and Public Performance
Peabody facilities may not be used for
private teaching of lessons except as con-
nected in some way with Conservatory or
Preparatory programs. A student must
secure the approval of his or her teacher to
appear as soloist or ensemble member on
programs presented under auspices other
than the Conservatory’s. Peabody reserves
the right to prohibit such participation
if it is considered detrimental to either
the student or the school. Students in the
Harpsichord Program are permitted to use
the school’s instruments for public perfor-
mance outside the Conservatory, with the
permission of the teacher.
Academic Regulations
Applicability
The administrative regulations here
enumerated apply to all students who
have matriculated into a degree program
at the Peabody Conservatory of The Johns
Hopkins University. Every requirement
of a Conservatory curriculum is subject
to the regulations articulated in this sec-
tion regardless of where the requirements
were actually fulfilled. The other schools
of The Johns Hopkins University may
have different regulations, and Peabody
students must abide by those regulations
when taking courses on those campuses.
However, courses, performances and other
requirements fulfilled beyond the campus
of the Peabody Conservatory are assessed,
articulated and recorded by the Conserva-
tory’s administrative regulations.
Degree and Program Classification
Application deadlines for all classifica-
tions are:
December 1: Admission/Scholarship
April 15: Admission, except for DMA and
Artist Diploma, for which auditions
and interviews are held only during
February Audition Week.
In general, there is no midyear admis-
sion to a degree program except for cur-
rent Peabody students beginning a higher
degree. Students may seek midyear admis-
sion to Extension study subject to course
and teacher availability.
Academic and Student Codes of Conduct
The Peabody Conservatory of The Johns
Hopkins University, its faculty, staff, and
students are committed to encouraging
academic honesty and ethical conduct.
Membership in the Peabody community is
contingent upon adherence to high stan-
dards of personal and professional ethics.
The effective practice of an ethical code
of conduct requires the support of each
member of the Peabody community. Each
person is entrusted with two essential
21
responsibilities: to live honorably within
the established codes of conduct, and to
hold other members of the community to
the same high standard of conduct.
Students enrolled in the Peabody Con-
servatory assume an obligation to conduct
themselves in a manner appropriate to an
institution of higher education. A student
is obliged to refrain from acts which he
or she knows, or under the circumstances
has reason to know, threaten the academic
integrity of the Conservatory. Violations
of academic integrity include but are not
limited to cheating, plagiarism, misrepre-
sentation of work, multiple submissions of
the same work, falsification of an approval
signature, knowingly furnishing false
information to any agent of the Conserva-
tory for inclusion in the academic records,
and falsification, forgery, alteration,
destruction, or misuse of official Conser-
vatory documents or shared information
technology resources. Procedures for the
adjudication of alleged violations of the
academic and student codes of conduct
may be found in the Student Handbook.
Sources of Credit
Students must complete most of the
requirements for a degree or diploma
through credits earned for courses taken at
Peabody as a matriculated student. How-
ever, students may transfer some credits
taken at accredited post-secondary schools
or through the accelerated testing of rec-
ognized providers (such as the College
Board or International Baccalaureate).
Performance
Like most conservatories, Peabody does
not accept transfer credits for lessons,
juries, or recitals. For transfer students,
the year of study (sophomore or junior)
is determined by the department at the
time of the audition and validated by the
year-end departmental jury. Peabody does
not accept transfer credits for Ensembles.
Performance majors must participate in
ensembles in every semester of instruc-
tion. Transfer students must participate in
ensembles for at least two years.
Distance Learning
It is a policy of The Johns Hopkins
University that students may not take
online courses from another institution
while taking classes during the regular
fall or spring semesters. Over intersession
and the summer, students may take online
courses provided the courses are offered by
an accredited institution.
Transfer Credits
All other transfer credits are accepted
pending the submission of the neces-
sary documentation to the Conservatory
Registrar’s Office and at the discretion of
department chairs in consultation with the
Associate Dean for Academic Affairs. Pea-
body can only transfer credits for students
who have already matriculated into degree
or diploma programs. New students are
welcome to contact us before enrolling,
but cannot begin the process until stu-
dents enroll in classes.
Undergraduate Students
Accelerated Credit
For undergraduate students, accelerated
work in high school is only accepted on
the basis of an examination that is docu-
mented with scores mailed directly to the
Conservatory Registrar’s Office. Superior
scores of either a 4 or a 5 on the Advanced
Placement Examinations or a 50 on the
CLEP, administered by the College Board,
or a 6 or 7 on the International Baccalau-
reate Exam may be accepted. Credits for
courses taken at another accredited col-
lege or university may only be accepted
on receipt of a transcript demonstrating a
grade of “C” or better.
The requirements for each area of study
are detailed as follows:
Music Theory
The Department of Music Theory does
not accept transfer credits at the under-
22
graduate level. Advanced placement in
music theory is only possible on the basis
of the Advanced Placement Undergradu-
ate Exam in Music Theory (AP-UGrad)
during Orientation, which includes part-
writing, analysis, and counterpoint. Sam-
ples of this examination are available from
the Admissions Office or at www.peabody
.jhu.edu/theory.
Music History
The Musicology Department considers
transfer credits on a case-by-case basis.
Undergraduates may not apply more than
two courses from other institutions toward
their Peabody undergraduate degrees, and
they must receive at least a “B” in any
courses transferred. Advanced placement
courses in musicology or music history
cannot be counted toward the undergradu-
ate musicology curriculum.
Humanities
For Humanities, advanced placement
and transfer determinations are made
by the Humanities Department chair in
consultation with the Associate Dean for
Academic Affairs. The Humanities Depart-
ment will only accept six credits of AP,
IB, or CLEP work for the Humanities
curriculum. However, the associate dean
may approve additional credits as general
electives.
Transfer credits from an accredited
college or university that fulfill humani-
ties distribution requirements are also
accepted. Students should confer with the
Humanities Department chair to review
the articulation of credits from other
schools and how it affects their curriculum.
Because the state of Maryland requires
specific coursework for teacher certifica-
tion, the Music Education faculty directly
oversees the Humanities curriculum for
students in the Music Education program.
Music Education students should contact
the chair of Music Education about trans-
ferring AP or IB credits and consult with
the chair before enrolling in liberal arts
courses at other institutions.
General Electives
Additional AP, IB, or CLEP credits as
well as credits taken at other accredited
colleges may be transferred as general elec-
tives, pending approval of the Associate
Dean for Academic Affairs.
Graduate Students
A maximum of six credits of gradu-
ate study completed at other accredited
institutions may be applied to degree or
diploma programs at Peabody, with the
review and approval of department chairs
and the associate dean. Only credits which
have not been earned in fulfillment of a
previous degree may be transferred. All
credits transferred to a graduate degree or
diploma program must have been earned
within five years prior to first graduate
degree registration at Peabody.
Continuing Graduate Students
Peabody alumni continuing to sub-
sequent programs of study or Peabody
students transferring between programs
(e.g., from the GPD to the MM program)
may transfer more than six credits of work
competed at Peabody with the permission
their major teachers and the oversight of
the associate dean. Only credits which
have not been earned in fulfillment of
a previous degree may be transferred
between programs. In some cases, the
associate dean may refer such transfers to
the Graduate Committee or the Doctoral
Committee for advice and consent.
Grading System and Regulations
Letter grades are given for private les-
sons, classwork, ensembles, juries, and
recitals. For the purposes of assessing aca-
demic progress, letter grades are assigned
grade points as follows:
A 4.00
A– 3.67
B+ 3.33
B 3.00
B– 2.67
C+ 2.33
C 2.00
23
C– 1.67
D 1.00
F 0.00
No grade points are assigned for the fol-
lowing non-credit designations:
AU Audit
I Incomplete
IP In Progress
W Withdrawn
Audit, Incomplete, and Withdrawn
are permanent grades. For each of these
grades, the student receives no credit. The
grade of In Progress is temporary and will
resolve to a permanent grade before the
end of the next regular semester.
Grade point averages (GPA) are com-
puted each semester and reported as term
and cumulative GPA. A GPA is deter-
mined by multiplying the grade points for
each earned grade by the number of cred-
its for the course; the product is called the
number of quality points. For example,
a B– in a three-credit course earns 8.01
quality points (2.67 x 3 credits). A GPA is
the total number of quality points divided
by the total number of attempted credits.
Some classes are not assigned letter
grades and are therefore not calculated in a
GPA. Such classes include Artist Diploma
recitals, portfolios, dissertations, graduate
review courses, remedial undergraduate
courses, English as a Second Language
courses. These classes are graded as follows:
NCR No credit
P Passing
Incomplete Grades
A grade of IP (In Progress) may be
given if, for reasons deemed by the
instructor to be sufficiently warranted, a
student whose work has been satisfactory
is not able to complete the course require-
ments by the end of the semester. Grades
of IP must be requested before the end of
the semester by the student and approved
by the instructor.
The grade of IP for a jury or graduate
hearing is granted only for reasons of ill-
ness or injury. Students requesting the
grade of IP for a jury or graduate hear-
ing must provide appropriate medical
documentation to the Office of Academic
Affairs.
A grade of IP that is not satisfied by the
student within the first four weeks of the
succeeding semester will automatically be
changed to F on the student’s permanent
record. Students receiving an IP in any
course are not eligible for the Dean’s List
for that semester.
Grade Appeals
Students should feel welcome to make
respectful inquires about the calcula-
tion of their grade. If a student disputes
a recorded grade, the student can appeal
the grade. A grade should be appealed in
direct communication with the instruc-
tor. If the matter cannot be resolved with
the instructor, the student may take his
or her appeal to the chair of the depart-
ment. If the matter cannot be resolved
with the chair, the student may take his or
her appeal to the Associate Dean for Aca-
demic Affairs for a final decision. Neither
the chair nor the associate dean should
consider a student appeal until the student
has made an effort to resolve the matter
with the instructor.
Grade Changes
Student grades are only changed at
the request of the course instructor to
resolve an IP grade or to correct an error
in grading. The instructor should request
a change of grade by contacting the Con-
servatory Registrar, who will confer with
the Associate Dean for Academic Affairs.
Changes of grade should be requested and
addressed promptly. Absent extraordinary
circumstances—which would require
broader consultation with the Conserva-
tory leadership—no grade should be
changed after 18 months of being posted
to the student record.
Standard Academic Progress
Conservatory students who have matric-
ulated in curricular programs are required
to make measured progress toward their
24
degree or diploma every semester. The
yearly measure of accomplishment com-
prises the Conservatory’s benchmarks for
satisfactory academic progress.
The Office of Academic Affairs, in con-
sultation with the Conservatory Faculty
Assembly, is tasked with upholding the
standards of satisfactory academic prog-
ress. The Associate Dean for Academic
Affairs reviews all transcripts every semes-
ter and identifies those students who are
not meeting the benchmarks for standard
academic progress. The associate dean, in
consultation with a standing committee of
the Faculty Assembly, will then select an
appropriate corrective action for students
to improve their academic standing. Aca-
demic Affairs may place students on warn-
ing for dismissal when they do not meet
the minimum benchmarks. A student who
has been warned for dismissal is still eli-
gible for financial aid for one probationary
semester until Academic Affairs can re-
evaluate the student’s academic progress at
the conclusion of the subsequent regular
semester. Academic Affairs, in consulta-
tion with the faculty, may dismiss, with-
out prior warning, any student who does
not meet the minimum benchmarks.
Corrective Action
Conservatory students contend with the
same difficulties faced by other college
students, but the Conservatory’s curricula
demand a much higher credit load than
curricula for other degree programs. The
extensive academic requirements coupled
with the musical performance and a
shorter cycle for formative assessments—a
weekly private lesson and a yearly jury or
recital—create a situation that can hinder
the academic performance of some stu-
dents. Moreover, like athletic programs,
the physicality of extensive performing
can cause injuries to the physiological fea-
tures that are necessary to a student’s suc-
cess both in the Conservatory and beyond.
If a student fails to meet the bench-
marks for standard academic progress
because of health issues, personal difficulties,
or the competing demands of employment or
family responsibilities, then the student
may submit documentation to the associ-
ate dean in pursuit of a waiver or other
provisional mitigation such as an informal
letter of concern.
To be considered for a waiver or mitiga-
tion because of health issues, the student
must provide documentation from a
professional provider with licensure in
the United States. For matters unrelated
to health, the student must submit a let-
ter indicating: 1) the nature of his or her
personal difficulties; 2) the length of the
period of time the difficulties have affected
the student’s performance; 3) the steps
taken to resolve the difficulties; and 4) a
plan for resolving all difficulties before the
end of the subsequent semester.
Reevaluation
A student may appeal any censure by
the middle of the next regular semester by
petitioning the associate dean and provid-
ing all documentation before the end of
the eighth week of the semester. Once that
petition is received, it will be reviewed at
the next regular meeting of the Under-
graduate Committee.
Students are advised to report all dif-
ficulties to the Office of Academic Affairs
in advance of receiving a grade report.
The regular work of the Registrar with
regard to enrollment management as well
as the work of Academic Affairs to solicit
interim grades often identifies concerns
with particular students who are asked
to seek academic advising and document
their difficulties. Students who have
been placed on warning for dismissal are
tracked with particular scrutiny, and Aca-
demic Affairs contacts all faculty teach-
ing these students by the middle of the
subsequent regular semester. When grades
are reported, the associate dean, in con-
sultation with the relevant faculty com-
mittee, will either remove the warning for
dismissal, continue the warning under the
conditions described above for a waiver, or
dismiss the student from the Conservatory.
25
A student who is dismissed on academic
grounds may apply for readmission only
after one full semester, but Peabody is
under no obligation to grant readmission.
A dismissed student may not enroll at
Peabody in any capacity until such time as
he or she is readmitted. The Conservatory
reserves the right to exclude at any time a
student whose academic standing or gen-
eral conduct is considered unsatisfactory.
The Benchmarks for Satisfactory
Academic Progress
Undergraduate
Completed undergraduate courses result
in one of 10 possible grades: A, A–, B+,
B, B–, C+, C, C–, D, or F. The grade of A
indicates genuinely outstanding perfor-
mance. The grade of D is a passing grade
for coursework but indicates the need for
marked improvement to remain in the
program.
To maintain satisfactory academic prog-
ress, undergraduate students must:
1. Achieve a cumulative and current
grade point average of at least 2.00
2. Earn a grade of at least B– in major
area enrollments (lessons, juries, recit-
als, hearings)
3. Satisfactorily complete 30 credits each
year
Graduate
Completed courses result in one of 10
possible grades: A, A–, B+, B, B–, C+,
C, C–, D, or F. The grade of A indicates
genuinely outstanding performance. The
grade of C– is a passing grade for course-
work but indicates the need for marked
improvement to remain in the program.
The grades D and F are not acceptable at
the graduate level.
To maintain satisfactory academic prog-
ress, graduate students must:
1. Achieve a cumulative and current
grade point average of at least 3.00
2. Earn a grade of at least B– in major area
enrollments (lessons, juries, recitals)
3. Satisfactorily complete enough credits
each year as follows: Master of Music
and Doctor of Musical Arts students
must satisfactorily complete 18 credit
hours per academic year, while Gradu-
ate Performance Diploma and Artist
Diploma students must satisfactorily
complete 8 credits per academic year.
Outside Sources of Financial Aid
Maintenance of good academic stand-
ing and satisfactory academic progress are
requirements for continued eligibility for
financial assistance from federal and state
sources.

Definition of Full-Time Status and Credit Limits

Maximum credits
Minimum credits
(excluding lessons,
Program of Study for full-time status
ensembles and recitals)
each semester
each semester
Bachelor of Music (BM) 12 Unlimited
Performer’s Certificate (PC) 12 Unlimited
Master of Music (MM) 9 + 9*
Doctor of Musical Arts (DMA) 9 + 9*
Graduate Performance Diploma (GPD) 4 +4**
Artist Diploma (AD) 4 +4**
** AD and GPD students must be enrolled as full-time students.
  * MM and DMA students may take only a combined 6 credits from the departments of
Music Theory and Musicology. Music Theory courses begin with the prefix 710;
Musicology courses begin with the prefix 610. Remedial work is excluded from this total.

Conservatory tuition includes major Note that students enrolled in the

performance requirements and academic
credits. For most programs, a student will
take a lesson (4 credits), an ensemble (2
credits), and a recital (2 credits). Students
who give degree recitals must be enrolled
in lessons. Most performance majors
enrolled in lessons must be enrolled in an
ensemble. See individual curricular list-
ings for specific requirements.
Undergraduate students enrolled in the
BM degree program or the PC diploma
program may register for as many credits
as is appropriate for their plan of study.
Undergraduates must enroll in 12 credits
each semester to maintain full-time status
and complete 30 credits each year to dem-
onstrate satisfactory academic progress.
Music Education degree will be classified
as full-time students with a courseload
of 7 credits during the one semester
that they participate in Intern Teaching
(PY.510.411) in fulfillment of their degree
requirements.
Graduate students enrolled in the MM
or the DMA degree programs must enroll
in 9 credits each semester to maintain full-
time status and complete 18 credits each
year to demonstrate satisfactory academic
progress. MM and DMA students may
enroll in lessons, ensembles, recitals, and
a maximum of nine academic credits each
semester. Of those nine credits, only six
credits can be in the departments of Music
Theory and Musicology. Undergraduate
language classes, pedagogy classes, depart-

26
mental classes, remedial coursework,
and any elective coursework not offered
as Music Theory or Musicology will be
excluded from the credit limit. Any com-
bination of Music Theory and Musicology
credits in excess of six hours or any com-
bination of academic courses in excess of
nine credits will entail per-credit charges
added to the cost of yearly tuition.
Graduate students enrolled in the GPD
or AD diploma programs must be enrolled
in lessons and must maintain full-time
status and complete eight credits each
year. In addition to lessons, unlimited
ensembles, and recitals, students in the
GPD and AD programs are allowed to
enroll in a maximum of four academic
credits each semester. Academic credits in
excess of four will entail additional per-
credit hour fees.
The credit limits for graduate degrees
reflect Peabody’s educational philosophy
that graduate students should attend to
the intense challenges specific to their
major area and related academic studies.
Dean’s List Criteria
The criteria for inclusion on the Dean’s
List are:
1. Full-time status in an undergraduate
degree program
2. A semester grade point average of 3.67
or higher
3. No Incomplete grades for the semester
Dean’s List students with a semester
grade point average of 3.90 or higher will
be designated “High Honors.”
Graduation Eligibility
To be approved for graduation, students
must have resolved any and all outstand-
ing charges of misconduct and violations
of academic ethics, in addition to satisfy-
ing all degree requirements and settling
all financial obligations.
27
Attendance and Absences
Classes and Lessons
Regular and prompt attendance in
classes and lessons is expected of all stu-
dents. A statement of individual class
attendance policy is provided in each class
at the beginning of each semester. It is
expected that illness claimed as reasons for
absence will be appropriately documented.
All students who are absent from class
for an extended period of time, or for a
personal or medical emergency, should
contact the Office of Academic Affairs,
provide documentation, and ask that
their teachers be notified. These notifica-
tions do not signify approval but are sent
to instructors as a courtesy. The student
remains responsible for making up all
missed work and for securing the permis-
sion of the instructors for absences.
Performance Groups
Regulatory guidelines for ensemble
attendance are published in the Student
Handbook.
Auditing
Full-time students may audit any Con-
servatory class, upon permission of the
instructor. Part-time students must pay
the regular cost for each course of study,
unless otherwise specified.
Course Changes and Withdrawals
The Registrar’s Office must approve all
course additions, withdrawals, or changes.
Courses or lessons dropped within the first
four weeks of a semester will be deleted
from the student’s registration. With-
drawals do not become effective until the
properly signed forms are received in the
Registrar’s Office. For courses dropped
after the fourth week of the semester an
automatic grade of W will be recorded.
The deadline for changing sections or
withdrawing from classes is the end of the
10th week of the semester. Exact deadline
dates are listed in the Academic Calendar.
Courses may not be changed from Credit
to Audit after the sixth week of the semester.
Change of Major
Students requesting a change of major
must qualify through auditions and inter-
views with appropriate faculty. To initiate
a change of major, a student must com-
plete a change of major form available in
the Admissions Office.
Interruption of Degree Work
A leave of absence is an approved inter-
ruption of a degree program that is subject
to a fixed duration and/or specific require-
ments for return. A withdrawal is a com-
plete departure from the Conservatory and
its degree programs. A withdrawal can
only be reversed through the mechanisms
of reaudition and petition of the relevant
academic committee. Students who do not
return from a leave of absence will be con-
sidered withdrawn from the Conservatory.
Leave of Absence
A student may request a leave of
absence by writing to the Associate Dean
for Academic Affairs. The Peabody Con-
servatory is not obliged to grant a leave of
absence. Students should present compel-
ling personal or professional reasons for
the interruption of studies when request-
ing a leave of absence. A leave of absence
is not granted retroactively. Students must
request the leave of absence in writing
before postponing their studies. Moreover,
a leave of absence is subject to the follow-
ing conditions:
• The student must be a current student
who has matriculated into the Conser-
vatory.
• The student must be taking lessons or
coursework to fulfill the requirements
of a degree program.
• DMA students who have completed
their coursework are no longer eligible
for a leave of absence.
• The student may not be in immedi-
ate jeopardy for dismissal on academic
grounds.
• An international student must make
arrangements regarding his or her visa
with the international student advisor.
28
• A student who receives financial aid
must make the appropriate arrange-
ments with the Financial Aid Office.
• The student must be given clearance
for all financial obligations, including
but not limited to tuition, instrument
loans, library fines, and residence fees.
If a leave of absence has been granted,
the leave will be made for an agreed-upon
fixed duration of one semester or one year.
During that time, a student may not be
enrolled as a full-time student at another
institution. Any credits earned at another
institution during the leave of absence
must be approved for transfer by the Asso-
ciate Dean for Academic Affairs in consul-
tation with department chairs.
A student on a leave of absence must
notify the Office of Academic Affairs in
writing of the intent to return by Novem-
ber 15 for re-enrollment the following
spring semester, or by April 15 for fall re-
enrollment. A tuition deposit of $50 will
be required at that time to reserve space
on the major teacher’s roster; however, a
student requesting a leave of absence is
not guaranteed a space in a teacher’s studio
upon return to school.
Medical Leave of Absence
In certain circumstances, a student with
a chronic condition that is documented by
licensed caregiver will be placed on a med-
ical leave of absence. The Associate Dean
for Student Affairs initiates a medical
leave of absence. A student will be admin-
istratively withdrawn from all classes and
receive no credit.
In situations where a leave of absence
is indicated due to circumstances as
described below, the Associate Dean for
Student Affairs may require a medical or
involuntary leave of absence. This step
will be taken when necessary to protect
the safety of the student or other indi-
viduals or to preserve the integrity of the
university’s learning environment. Such a
decision may be based on behavior and/or
communication that:
• Harms or threatens harm to the health
or safety of the student or others
• Causes or threatens to cause significant
damage to the property or resources of
the university
• Evidences chronic and/or serious drug
or alcohol abuse
• Significantly disrupts the functioning
of the university community
• Reflects disorganized or altered think-
ing incompatible with successful par-
ticipation in the academic program
If a medical or involuntary leave of
absence is required, the leave will be made
for an indefinite duration that may not
exceed one year without requesting an
extension and providing the appropriate
documentation from a licensed profes-
sional. A student wishing to return must
notify the Office of Student Affairs in
writing of the intent to return. An assess-
ment of the student’s fitness for return
will be required as a condition of return-
ing from a medical or involuntary leave
of absence and study at the Conservatory
may only resume at the scheduled start of
a semester.
Extended Leave
Any student on a leave of absence must
report his or her status to the Conserva-
tory by the middle of the second semester
of leave to either make arrangements to
return or to extend the leave of absence.
Students who are granted an extension to
a leave of absence beyond the originally
stipulated year must petition the appro-
priate academic committee for readmis-
sion and certification of previously earned
credits toward the degree program. This
process may include reauditioning and/or
placement tests in specific areas.
Students who do not report their status
by the end of the second semester of leave
will be considered to have abandoned their
degree program and to have withdrawn
from the Conservatory without following
the proper withdrawal procedures. The
Peabody Conservatory has no obligation
29
to former students who abandon degree
programs, and former students can only
return to the Conservatory by reaudi-
tioning and petitioning the appropriate
committee for certification of previously
earned credits.
Special Circumstances for
Leave of Absence
Doctoral students may only take a
leave of absence while completing their
residency. Once a DMA candidate has
completed the required coursework, he
or she may no longer exercise the leave
of absence option, but must continue
to enroll for Consultation through the
semester of completion of degree require-
ments in order to maintain standing in
the program. If a student interrupts his
or her program by failing to register for
Consultation or failing to pay the Degree-
in-Progress (DIP) fee for more than one
year, the student must petition the DMA
Committee for readmission. If a petition is
approved, all retroactive fees must be paid
in order for the reinstatement of status to
become effective. Any DMA candidate
who fails to register for Consultation will
be dropped from the program
Double Degree students may request a
leave of absence from the Double Degree
program, but they cannot be granted leave
from only the Homewood or Peabody por-
tion of the program. A leave of absence for
Double Degree students is subject to the
guidelines of the advising office for the
Krieger School of Arts and Sciences or the
Whiting School of Engineering.
International students who request a
leave of absence should be aware that fed-
eral law governing the visa status of F-1
students requires them to leave the United
States for the duration of their leave of
absence, unless the leave is granted for rea-
sons of illness or other medical conditions.
Students wishing to remain in the United
States during their leave of absence must
provide medical documentation to the
school to support such a request. Medical
leaves of absence cannot exceed an aggre-
gate of one year.
Withdrawal and Readmission
Requests for total withdrawal from
degree programs must be initiated in
the Office of Academic Affairs. Students
must make arrangements for all financial
obligations, including but not limited to
tuition, instrument loans, library fines,
and residence fees.
Former degree candidates who have
withdrawn from the Conservatory must
submit a written request for readmis-
sion to the Associate Dean for Academic
Affairs. Final decisions on readmission
will be made by the associate dean in con-
sultation with the appropriate academic
committee and the major teachers who
may request an audition.
Student Rights and Responsibilities
Students are responsible for understand-
ing all academic regulations and require-
ments for graduation, as set forth in this
catalog and the Student Handbook, and
are responsible for completing the appli-
cable requirements for graduation. The
Peabody Institute of necessity reserves the
right to change any provision, require-
ment, policy, or regulation published in
the catalog within a student’s term of resi-
dence. However, it may be assumed that,
except under the most unusual circum-
stances, the regulations in force during a
student’s term of residence are those stated
in the catalog of the year in which that
student’s matriculation was begun.
Transcripts
Requests for transcripts involve two
offices of the Conservatory: the Business
Office and the Registrar’s Office. A fee is
charged for each official copy of any aca-
demic transcript. Transcripts may not be
released prior to payment of the transcript
fee and all outstanding monies owed the
Conservatory. Requests may be submit-
ted to the Registrar’s Office in person, in
writing or by fax. Upon clearance from the
Registrar’s Office, the request will be sent
30
to the Business Office for payment pro-
cessing. Once payment has been received,
official transcripts, carrying the school seal
and the signature of the Registrar, will be
mailed to the address(es) provided by the
student. The Registrar’s Office will also
send unofficial transcripts to the student
free of charge. For more details please see
the office’s website: www.peabody.jhu.edu/
registrar.
Official financial aid transcripts should
be requested directly from the Financial
Aid Office.
Photography and Film Rights
The Peabody Institute reserves the right
from time to time to take photographs of
and film faculty, staff, and students engaged
in teaching, rehearsals, and performances
and other activities at Peabody for use in
Peabody publications such as catalogs,
concert calendars, posters, fliers, media
advertising, admissions recruitment and
development brochures, as well as on the
Peabody website or for distribution to state
or national media for promotional purposes.
Classes and private lessons will only
be photographed with the permission of
the faculty member; performances and
rehearsals will only be photographed with
the permission of the conductor or director
in charge of the event. Such photographs
will be retained in the Peabody files and
archives and may be used by Peabody
without time limitations or restrictions.
Faculty, students, and staff are made aware
by virtue of this policy that the university
reserves the right to alter photography and
film for creative purposes.
Faculty, students, and staff who do not
wish their photographs used in the man-
ner described in this policy statement
should contact the Peabody Communica-
tions Office at 410-659-8100, ext.3045.
Faculty and students are advised that
persons in public places are deemed by law
to have no expectation of privacy and are
subject to being photographed by third
parties. Johns Hopkins University has no
control over the use of photographs or film
taken by third parties, including, without
limitation, the news media covering uni-
versity activities.
Right to Know Information
In compliance with Title IV, the Higher
Education Opportunity Act of 2008, and
other federal and state disclosure laws,
the Peabody Institute has listed consumer
information for prospective and current
students. The most recent information is
always available at www.peabody.jhu.edu/
righttoknow, which is maintained by
Katsura Kurita, Associate Dean for Stu-
dent Affairs.

Student Data 2009–2010

Geographical Distribution: United States
Alabama.. ....................3 Maine.. .......................1 Oregon.......................4
Alaska........................1 Maryland.. ............... 158 Pennsylvania.............. 30
Arizona............................ 3 Massachusetts............. 15 Rhode Island................1
Arkansas.....................1 Michigan.. ................. 13 South Carolina .............8
California.................. 29 Minnesota.. ..................2 South Dakota.. ..............1
Colorado.....................1 Missouri.. ....................7 Tennessee....................2
Connecticut............... 14 Nebraska.....................3 Texas.. ........................7
D.C................................. 6 Nevada.......................3 Vermont.. ....................3
Delaware.....................4 New Hampshire............3 Virginia.................... 37
Florida............................. 5 New Jersey................ 18 Washington.................6
Georgia.. ................... 10 New Mexico.. ...............1 West Virginia...............1
Illinois............................. 9 New York.. ................ 39 Wisconsin . .................1
Indiana............................ 1 North Carolina.. ............7 Puerto Rico .................1
Kansas . .......................... 1 Ohio . ............................. 9
Kentucky....................2 Oklahoma.. ..................3
Geographical Distribution: Foreign Countries
Australia.....................2 Hong Kong.. ................6 Romania.....................1
Belarus.......................1 Indonesia.. ...................1 Russia........................7
Brazil.........................2 Israel..........................2 Singapore....................5
Bulgaria......................4 Italy.. .........................1 Spain.. ........................6
Canada.. .................... 16 Japan.. ........................5 Taiwan/ROC.............. 33
Chile..........................2 Korea....................... 94 Thailand.....................2
Costa Rica...................1 Malaysia.. ....................1 Turkey........................3
China (P.R.C.).. ........... 17 Mexico.. ......................1 United Kingdom...........2
Croatia.. ......................2 New Zealand................2 Venezuela....................3
France........................1 Phillipines...................2 Vietnam......................1
Classification of Students by Program
Candidates for the BM degree . . . . . . . . . . . . . . . . . . 323
Candidates for the MM degree . . . . . . . . . . . . . . . . . . 171
Candidates for the MA degree . . . . . . . . . . . . . . . . . . . . 7
Candidates for the DMA degree . . . . . . . . . . . . . . . . . . 30
Candidates for the Performer’s Certificate . . . . . . . . . . . . 1
Candidates for the Graduate Performance Diploma . . . 84
Candidates for the Artist Diploma . . . . . . . . . . . . . . . . . 5
Graduate and Undergraduate Extension Students . . . . 15
Non-Resident Graduate Students . . . . . . . . . . . . . . . . 73
Cooperative and Visiting Students . . . . . . . . . . . . . . . . 96
——
805
31
Undergraduate Graduation Rates
Graduation rates after six, five, and four years of study for the undergraduate cohort
matriculating in 2002:

Six Years Five Years Four Years

Female 81% 78% 72%
Male 61% 61% 39%
American Indian or Alaska Native 100% 100% 0%
Asian 50% 50% 50%
Black or African American 75% 75% 75%
Caucasian 100% 83% 67%
Foreign 100% 100% 100%
Hispanic 0% 0% 0%
Unknown 67% 67% 50%
Pell/Subsidized Loan Recipient 100% 43% 32%
Non Pell/Sub DL Recipient 44% 25% 22%
Overall 70% 69% 55%
Questions about graduation data should be addressed to the Conservatory Registrar,
410-234-4577.

32
University Policies
Completion of Program
The awarding of degrees and certificates
of satisfactory completion is dependent
upon satisfaction of all current degree and
instructional requirements at the time of a
student’s matriculation, compliance with
university and divisional regulations at the
time of the award, as well as performance
meeting bona fide expectations of faculty.
No member of the faculty is obliged to
provide students or graduates with an
evaluation or letter of recommendation
which does not accurately reflect that fac-
ulty member’s true opinion and evaluation
of academic performance and conduct.
The Johns Hopkins University does
not guarantee the awarding of a degree or
a certificate of satisfactory completion of
any course of study or training program to
students enrolled in any instructional or
training program.
Inter-Institutional Academic
Arrangements
Within the university system, inter-
divisional registration (IDR) without
extra cost extends for Peabody students to
courses offered by the Krieger School of
Arts and Sciences, the Whiting School of
Engineering, the Carey Business School,
and the School of Education. Students
enrolled in the schools of Arts and Sci-
ences or Engineering may, similarly, reg-
ister for an unlimited number of classes,
on a space-available basis, at the Peabody
Conservatory. The granting of credit for
Conservatory study must be approved by
the deans of the appropriate Johns Hop-
kins University divisions.
Reciprocal arrangements also have been
made with several Baltimore colleges
whereby full-time sophomores, juniors,
and seniors may take one course per
semester for credit in academic classroom
courses, subject to course availability and
observance of all regulations of the host
institution.
33
Students requesting cross-registration
must complete appropriate forms which
are available in the Office of the Conserva-
tory Registrar. Credit sought for any other
courses taken outside the Conservatory
during the period of a student’s enroll-
ment must be approved in writing by the
Associate Dean for Academic Affairs.
Music and dance instruction is also avail-
able through the Peabody Preparatory.
Students wishing to take non-credit private
music lessons through the Preparatory
must go through placement interviews/
auditions. Lessons are scheduled on a space-
available basis. Students in the Krieger
School of Arts and Sciences or the Whit-
ing School of Engineering desiring to take
individual instruction pay 75 percent of the
Preparatory individual tuition as listed in
the current Preparatory catalog. Students
in all other JHU divisions desiring to take
individual instruction pay 100 percent
of the Preparatory individual instruction
tuition as listed in the current Preparatory
catalog. Non-Peabody students desiring to
take any music or dance class in the Prepa-
ratory are subject to full tuition as listed in
the current Preparatory catalog.
Peabody/Homewood Double Degree
Program
Peabody and the Homewood schools of
The Johns Hopkins University offer the
opportunity for a limited number of stu-
dents to pursue simultaneously a Bachelor
of Music degree and either a Bachelor of
Arts degree from the School of Arts and Sci-
ences or a Bachelor of Science degree from
the Whiting School of Engineering. Stu-
dents must be admitted independently to
Peabody and one of the Homewood schools
and be invited to participate in the Double
Degree Program. Students who have begun
their junior year of study are not eligible to
enter the Double Degree Program nor may
students transfer into the program midyear.
Typically, the Double Degree Program takes
five years to complete.
 Administrative services such as registra-
tion, financial aid, and health care are pro-
vided to Double Degree students by the
Homewood schools. Consequently, stu-
dents in the Double Degree Program do
not receive Peabody merit scholarships or
any other form of financial aid from Pea-
body. Double Degree students must enroll
at a minimum in private lessons and, for
instrumental majors, large ensembles to
maintain their status as Peabody degree
candidates in the Double Degree Program.
Additional information regarding the
Double Degree Program is available from
the Office of Admissions and in the Office
of Academic Affairs.
Study Abroad Program
Peabody currently facilitates three
international exchanges with the Yong
Siew Toh Conservatory of the National
University of Singapore, Paris Conserva-
tory, and Royal Academy in London.
Interested students should approach the
international student coordinator and fill
out an application, and then proactively
work through application details with the
offices of Financial Aid, International Stu-
dents, Ensembles, and Academic Affairs.
Notice of Nondiscriminatory Policy
as to Students
The Johns Hopkins University admits
students of any race, color, gender, reli-
gion, age, national or ethnic origin, dis-
ability, marital status or veteran status
to all of the rights, privileges, programs,
benefits, and activities generally accorded
or made available to students at the uni-
versity. It does not discriminate on the
basis of race, color, gender, marital status,
pregnancy, ethnicity, national origin, age,
disability, religion, sexual orientation,
gender identity or expression, veteran
status, or other legally protected charac-
teristic in any student program or activity
administered by the university, includ-
ing the administration of its educational
policies, admission policies, scholarship
and loan programs, and athletic and other
34
university-administered programs or in
employment.
Questions regarding Title VI, Title
IX, and Section 504 should be referred
to the Office of Institutional Equity, 130
Garland Hall, Telephone: 410-516-8075,
(TTY): 410-516-6225.
Policy on the Reserve Officer Training
Corps
Defense Department policies regard-
ing sexual orientation in ROTC programs
conflict with university policy. Because
ROTC is a valuable component of the
university that provides an opportunity for
many students to afford a Hopkins educa-
tion, to train for a career, and to become
positive forces in the military, the univer-
sity, after careful study, has continued its
ROTC program, but encourages a change
in federal policy that brings it into confor-
mity with the university’s policy.
Anti-Harassment Policy Preamble
The Johns Hopkins University is com-
mitted to providing its staff, faculty and
students the opportunity to pursue excel-
lence in their academic and professional
endeavors. This can only exist when each
member of our community is assured an
atmosphere of mutual respect. The free
and open exchange of ideas is fundamental
to the university’s purpose. It is not the
university’s intent in promulgating this
policy to inhibit free speech or the free
communication of ideas by members of
the academic community.
Policy against Discriminatory
Harassment
1. The university is committed to
maintaining learning and working
environments that are free from all
forms of harassment and discrimina-
tion. Accordingly, harassment based
on an individual’s gender, marital
status, pregnancy, race, color, ethnic-
ity, national origin, age, disability,
religion, sexual orientation, gender
identity or expression, veteran status,
or other legally protected characteristic
 is prohibited. The university will not
tolerate harassment, sexual harassment
or retaliation in the workplace or edu-
cational environment whether commit-
ted by faculty, staff, or students, or by
visitors to Johns Hopkins while they
are on campus. Each member of the
community is responsible for fostering
civility, for being familiar with this
policy, and for refraining from conduct
that violates this policy.
2. For purposes of this policy, harassment
is defined as: a) any type of behavior
which is based on gender, marital
status, pregnancy, race, color, ethnic-
ity, national origin, age, disability,
religion, sexual orientation, gender
identity or expression, veteran status,
that b) is so severe or pervasive that it
interferes with an individual’s work
or academic performance or creates an
intimidating, hostile or offensive work-
ing or academic environment.
3. Harassment when directed at an
individual because of his/her gender,
marital status, pregnancy, race, color,
ethnicity, national origin, age, dis-
ability, religion, sexual orientation,
gender identity or expression, personal
appearance, veteran status, or any
other legally protected characteristic
may include, but is not limited to:
unwanted physical contact; use of epi-
thets, inappropriate jokes, comments
or innuendos; obscene or harassing
telephone calls, e-mails, letters, notes
or other forms of communication; and,
any conduct that may create a hostile
working or academic environment.
4. Sexual harassment, whether between
people of different sexes or the same
sex, is defined to include, but is not
limited to, unwelcome sexual advances,
requests for sexual favors, and other
behavior of a sexual nature when:
• submission to such conduct is made
implicitly or explicitly a term or
condition of an individual’s employ-
ment or participation in an educa-
tion program
35
• submission to or rejection of such
conduct by an individual is used
as the basis for personnel deci-
sions or for academic evaluation or
advancement
• such conduct has the purpose or
effect of unreasonably interfering
with an individual’s work or
academic performance or creates
an intimidating, hostile or offen-
sive working or educational
environment
Sexual harassment may include, but
is not limited to, unwelcome sexual
advances; demands/threats for sexual
favors or actions; posting, distributing,
or displaying sexual pictures or objects;
suggestive gestures, sounds or stares;
unwelcome physical contact; sending/
forwarding inappropriate e-mails of a
sexual or offensive nature; inappropriate
jokes, comments or innuendos of a sexual
natures; obscene or harassing telephone
calls, e-mails, letters, notes or other forms
of communication; and any conduct of
a sexual nature that may create a hostile
working or educational environment.
5. Retaliation against an individual who
complains of discriminatory harassment
under this policy is strictly prohibited.
Intentionally making a false accusation
of harassment is also prohibited.
Responsibilities under this Policy
The university is committed to enforce-
ment of this policy. Individuals who are
found to have violated this policy will be
subject to the full range of sanctions, up to
and including termination of his/her uni-
versity affiliation.
1. All individuals are expected to conduct
themselves in a manner consistent with
this policy.
2. Staff, faculty and/or students who
believe that they have been subject to
discriminatory harassment are encour-
aged to report, as soon as possible,
their concerns to the Office of Institu-
tional Equity, their supervisors, divi-
 sional human resources or the Office of
the Dean of their school. The univer-
sity provides a network of confidential
consultants by which individuals can
discuss concerns related to discrimina-
tory harassment.
3. Individuals who witness what they
believe may be discriminatory harass-
ment of another are encouraged to
report their concerns as soon as possible
to the Office of Institutional Equity,
their supervisors, divisional human
resources, or the Office of the Dean of
their school.
4. Complainants are assured that reports
of harassment will be treated in a con-
fidential manner, within the bounds
of the university’s legal obligation to
respond appropriately to any and all
allegations of harassment.
5. Managers, including faculty manag-
ers, who receive reports of harassment
should contact human resources or the
Office of Institutional Equity for assis-
tance in investigating and resolving
the issue.
6. Managers, including faculty managers,
are required to implement corrective
action where, after completing the
investigation, it is determined correc-
tive action is indicated.
7. The university administration is
responsible for ensuring the consistent
application of this policy.
Procedures for Discrimination Com-
plaints Brought Within Hopkins
Inquiries regarding procedures on dis-
crimination complaints may be directed to
the Vice Provost for Institutional Equity,
or the Director for Equity Compliance &
Education, 130 Garland Hall, Homewood
Campus, 410-516-8075, 410-516-6225
(TTY).
Nonimmigrant Alien Students
The Peabody Institute enrolls nonimmi-
grant alien students and encourages appli-
cations from qualified foreign students.
36
University Policy on Alcohol and
Drug Abuse
The Johns Hopkins University rec-
ognizes that alcoholism and other drug
addiction are illnesses that are not eas-
ily resolved by personal effort and may
require professional assistance and treat-
ment. Faculty, staff and students with
alcohol or other drug problems are
encouraged to take advantage of the diag-
nostic, referral, counseling and preventive
services available through the university.
Procedures have been developed to assure
confidentiality of participation, program
files and medical records generated in the
course of these services.
Substance or alcohol abuse does not
excuse faculty, staff or students from
neglect of their employment or academic
responsibilities. Individuals whose work
or academic performance is impaired as
the result of the use or abuse of alcohol or
other drugs may be required to participate
in an appropriate diagnostic evaluation
and treatment plan. Further, use of alcohol
or other drugs in situations off campus or
removed from university activities that
in any way impairs work performance is
treated as misconduct on campus. Stu-
dents are prohibited from engaging in the
unlawful possession, use or distribution of
alcohol or other drugs on university prop-
erty or as a part of university activities.
It is the policy of The Johns Hopkins
University that the unlawful manufacture,
distribution, dispensation, possession or
use of controlled substances is prohibited
on the university’s property or as a part
of university activities. Individuals who
possess, use, manufacture or illegally
distribute drugs or controlled dangerous
substances are subject to university disci-
plinary action, as well as possible referral
for criminal prosecution. Such disciplinary
action of faculty and staff may, in accor-
dance with this policy, range from a mini-
mum of a three day suspension without
pay to termination of university employ-
ment. Disciplinary action against students
may include expulsion from school.
 As a condition of employment, each
faculty and staff member and student
employee must agree to abide by this
policy, and to notify the divisional human
resources director of any criminal convic-
tion related to drug activity in the work
place (which includes any location where
one is in the performance of duties) within
five (5) days after such conviction. If the
individual is supported by a federal grant
or contract, the university will notify the
supporting government agency within ten
(10) days after receiving notice.
Smoke-free Environment
The Johns Hopkins University is a
smoke-free environment, and, as such,
prohibits smoking in all its facilities.
Campus Violence
The Johns Hopkins University is
committed to providing a learning and
working environment that is safe to all
members of the university community.
The university will not tolerate violent
acts on its campuses, at off-campus loca-
tions administered by the university, or
in its programs. The policy of “zero toler-
ance” extends not only to actual violent
conduct but also to verbal threats and
intimidation, whether by students, faculty,
staff, or visitors to the university.
The university urges individuals who
have experienced or witnessed incidents
of violence to report them to Campus
Security. Alternatively, students are urged
to report concerns about violence to the
divisional office responsible for student
matters, faculty to the divisional office
responsible for faculty matters, and staff to
the applicable human resources offices.
The university will not permit retali-
ation against anyone who, in good faith,
brings a complaint of campus violence or
serves as a witness in the investigation of a
complaint of campus violence.
37
Firearms
The possession, wearing, carrying,
transporting, or use of a firearm or pellet
weapon is strictly forbidden on university
premises. This prohibition also extends
to any person who may have acquired
a government-issued permit or license.
Violation of this regulation will result in
disciplinary action and sanctions up to and
including expulsion, in the case of stu-
dents, or termination of employment, in
the case of employees. Disciplinary action
for violations of this regulation will be
the responsibility of the divisional student
affairs officer, dean or director, or the vice
president for human resources, as may be
appropriate, in accordance with applicable
procedures. Any questions regarding this
policy, including the granting of excep-
tions for law enforcement officers and for
persons acting under the supervision of
authorized university personnel, should be
addressed to the appropriate chief campus
security officer.
Availability of Annual Security Report
In accordance with the Crime Aware-
ness and Campus Security Act of 1990,
(Pub.L. 102-26), as amended, and the
regulations promulgated there under,
the university issues its Annual Security
Report which describes the security ser-
vices at each of the university’s divisions
and reports crime statistics for each of the
campuses. The report is published on the
university’s Web page (www.jhu.edu).
Students, faculty, and staff may obtain a
copy from the Web page or the universi-
ty’s Security Department, 14 Shriver Hall,
3400 North Charles Street, Baltimore,
Maryland 21218, 410-516-4600.
The Degree and Diploma Programs of the
Peabody Conservatory
The Peabody Conservatory awards four degrees:
• The Bachelor of Music in Performance, Jazz Performance, Composition, Computer
Music, Recording Arts, and Music Education
• The Master of Music in Composition, Computer Music, Conducting, Performance,
Jazz Performance, Music Education, Musicology, and Music Theory Pedagogy
• The Master of Arts in Recording Arts and Sciences
• The Doctor of Musical Arts in Composition, Conducting, and Performance
The Peabody Conservatory also awards three diplomas:
• The Performer Certificate in Performance
• The Graduate Performance Diploma in Performance and Conducting
• The Artists Diploma in Performance and Conducting
In the section that follows, there is an introduction to the requirements for each of
these seven awards. After the introduction, the curriculum for each major is listed as a
table. The tables are presented in a grid format recommended by the National Associa-
tion of Schools of Music (NASM). Under the heading for each study area the first column
gives the name of a required course. The second column provides the course numbers.
(Note: In ISIS, each Peabody course is preceded by the prefix PY.) The third column pro-
vides the sum of credits required for each group of courses.

38
The Bachelor of Music Degree
The Bachelor of Music degree program
at Peabody Conservatory is designed to
offer gifted students the training to pre-
pare themselves for careers in performance,
composition, computer music, music edu-
cation, recording arts, and related areas of
professional activity.
Admission Requirements
Students applying for the Bachelor of
Music degree program should meet the
following criteria:
1. Each applicant from the United States
must present SAT or ACT scores.
2. Each applicant whose native language
is not English must present a score
from the Test of English as a Foreign
Language (TOEFL). Scores of at least
550 from the basic paper test, at least
213 from the computer-based version,
or 79 from the Internet-based test are
expected of undergraduate applicants.
3. Undergraduate applicants are urged to
perform their auditions during a per-
sonal visit to Peabody, ideally during
the February audition week reserved by
the school exclusively for that purpose.
With the exception of piano, those
undergraduate applicants living over
300 miles to the west of Baltimore or
over 150 miles to the north or south
may audition by submitting a CD
recording. The CD must be a high-
quality recording containing only audi-
tion material. Full information about
the time, place, and circumstances of
the recording must be included. It is
also possible to play for a traveling
admissions representative who will
record the audition and present it to the
appropriate faculty during the February
audition period. Refer to the Academic
Calendar for dates. Detailed audition
repertoire requirements are available
from the Admissions Office and the
Peabody website at www.peabody.jhu For more detailed information about
.edu/admissions.
39
4. An individual may not apply for admis-
sion to a particular degree or diploma
program more than twice.
Successful applicants matriculating into
Bachelor of Music degree program must
meet the following criteria:
1. The student must be a graduate of an
accredited high school or present evi-
dence of equivalent study.
2. International students admitted to
Peabody must take responsibility to
improve their English. General admis-
sion requirements as listed for specific
degrees and programs are identical for
all applicants. However, immigration
regulations, varying educational back-
grounds, and financial considerations
make special procedures necessary in
order to help meet the needs of individ-
ual students. The detailed instructions
sent to each applicant should be studied
with utmost care.
Degree Requirements (BM)
A minimum of 122 semester hours,
excluding ensembles, is required for
the attainment of the Bachelor of Music
degree. Residence is normally four years,
during which time a student must main-
tain full-time status for at least four
semesters, accumulating no fewer than 60
credit hours during those four semesters.
Transfer students must fulfill a two-year
full-time requirement and obtain a mini-
mum of 60 hours at Peabody in order to
receive the Bachelor of Music degree. The
applied level of transfer students is deter-
mined by the department at the time of
the audition and validated by the year-end
departmental jury. The regulations that
pertain to the transfer of credits may be
found under the heading Sources of Credit
in the Academic Regulations section of
the catalog.
the BM curricula, see www.peabody.jhu
.edu/BM.
Common Curriculum Components
Major Area Study
Each student taking applied music
must demonstrate satisfactory progress as
determined by the faculty in the major
and minor applied area. Study in the
major field must continue through the
last semester of enrollment. For most stu-
dents, this will consist of eight semesters
of major field study. It is not expected
that entering freshmen will be granted
advanced placement in applied study.
Freshmen exhibiting extraordinary prog-
ress and extensive repertoire may, however,
complete their four performance examina-
tions in three years upon recommendation
of the major teacher and approval by the
Associate Dean for Academic Affairs.
The progress of each student is moni-
tored by the department at intervals not
greater than two semesters. Advance-
ment and assessment are accomplished
by individual lessons and departmental
examination (a “jury”). Lessons and juries
are the essential learning modalities of a
conservatory education, but are also for-
credit classes that require grades of at least
a B- for students to maintain satisfactory
academic progress. Every performance
major must play a departmental jury for
credit by the end of each school year. A
student who does not play a jury or a
recital is not considered to be making sat-
isfactory academic progress. A graduation
recital is required of all degree candidates.
Some departments require a half-recital in
the junior year.
109—The freshman jury is considered an
advising aid to the student and his or
her teacher in planning the following
year’s study.
209—The purpose of the 209 jury taken
at the end of the sophomore year (4th
semester or credit hour equivalent) is
to assess the student’s overall progress
and to determine whether or not he or
she should be advised to continue in the
chosen curriculum.
40
On the basis of this jury and the stu-
dent’s overall record, the jury commit-
tee makes recommendations for the
student’s remaining years of under-
graduate study. It is in the student’s
best interests that a careful professional
assessment and subsequent recommen-
dation be made.
309—The 309 jury is taken at the end
of the junior year. A half or full recital
may be accepted in fulfillment of the
309 requirement, if juried by the
majority of the department. Where the
309 also includes technical examina-
tion and/or orchestral excerpts, students
shall present those during the regular
jury period.
395—The 395 is the recital for the Per-
former’s Certificate. Candidates for
the Bachelor of Music degree in Music
Education also perform this recital in
their junior year and qualify for the
Performer’s Certificate.
495—The 495 is the senior recital.
Students majoring in Composition and
Computer Music Composition receive pri-
vate lessons with a member of the Com-
position Department. Weekly seminars
are scheduled with the entire Composition
Department in attendance, providing
ongoing departmental evaluation for each
student. Every composition student will
be assessed at the end of the sophomore
year in a portfolio review process that is
the equivalent of a 209 jury.
Pedagogy
In addition to pedagogy courses offered
in specific majors, studio repertoire and
master classes provide for regular discus-
sions on principles of pedagogy, enabling
all performance majors to achieve compe-
tency in this area.
Large Ensembles
All undergraduates participate in large
ensembles in fulfillment of their degree
requirements. Performance majors must
participate in large ensembles in every
semester for which they are enrolled in
major lessons. The regulations for per-
forming in large ensembles, which are set
by the Ensemble Office, may be found
in the Procedural Regulations section of
the catalog, or at www.peabody.jhu.edu/
ensembleoffice.
String and percussion majors are
required to enroll for four semesters
of chamber music. Woodwind and
brass majors have a two-semester small
ensemble requirement. To earn credit, a
minimum of 10 certified coaching hours
and a performance must be completed.
After completing the sight-reading course
in their freshman year, piano majors ful-
fill accompanying and chamber music
requirements specified in the curriculum.
Supportive Courses in Music
Thursday Noon Recital Series
Thursday Noon Recital Series provides
a weekly program throughout the aca-
demic year. Students have the opportunity
41
to hear a variety of solo and chamber
works, as well as occasional guest per-
formances of music outside the classical
tradition. No classes or lessons that enroll
first-year undergraduates are scheduled
during the Thursday Noon hour, and all
members of the campus community are
encouraged to attend. All first-year stu-
dents (freshmen and transfer students) will
be required to attend 10 Thursday Noon
recitals in their first and second semesters
of residency at Peabody. All second-year
students (sophomores and second-year
transfer students) will be required to com-
plete a concert attendance project during
their third and fourth semesters.
Music Theory/Ear-training/
Keyboard Studies
The music theory program is a three-
year requirement for all students. Enroll-
ment in Music Theory 1 presumes a firm
knowledge of the fundamentals of music,
i.e., rhythm, meter, scales, intervals, keys,
triads, and inversions. Entering students
who are not strong in this area are encour-
aged to review their preparatory work
during the months prior to the beginning
of the freshman year. Those who are not
able to show proficiency in these areas will
be placed in a remedial section. Advanced
placement in music theory is possible. See
Sources of Credit in the Academic Regula-
tions section of the catalog.
Ear-training and sight-singing classes
are closely coordinated with the music
theory sections during the first two years
of study. Students who are not able to
show proficiency in ear-training will be
placed into a special ear-training review
section for which no credit is given, in
addition to Ear-training/ Sight-singing I.
Keyboard Studies classes are coordi-
nated with the first two years of music
theory and ear-training classes. Auditions
held during fall Orientation determine
placement in sections which are grouped
according to piano and music theory back-
ground. Advanced placement is possible,
based on the audition.
Musicology
The academic discipline of musicology
investigates the varied relationships
between musical traditions and the cultures
that create and sustain them. The discipline
necessarily combines historical and cultural
research with analysis of music.
All undergraduate degree programs
at Peabody, with the exception of jazz,
require a four-semester sequence of courses
(History of Music I, II, III, IV) covering
all periods of Western art music from
classical antiquity to the present. The
courses may be taken in any order and at
any time, though students are encouraged
to enroll in their third and fourth years of
study. One semester of Music and Culture
may be substituted for one music history
course. Jazz majors are required to take
two of the five available offerings.
Transfer credits will be considered for
approval by the chair of the Musicology
Department on a case-by-case basis. See
Sources of Credit in the Academic Regula-
tions section of the catalog.

The distribution of supportive courses in music for most majors can be found in the
following chart:

SUPPORTIVE COURSES IN MUSIC

Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156-255-256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  44

42
General Studies
Humanities
Humanities courses serve a vital role in
the undergraduate curriculum. Studies in
liberal arts and language complement the
structured musical training of the Conser-
vatory, bridging the focused life of musical
endeavor and the broader, ever-changing
world from which that life draws shape
and meaning. The humanities curriculum
contributes richly to the undergraduate
experience at Peabody.
A flexible humanities curriculum
accommodates the individual needs of
undergraduates with varied backgrounds,
skills, interests, and goals. The program
also recognizes the unique situations of
transfers and international students. All
Peabody undergraduates are encouraged
to fulfill humanities requirements with
courses offered on the Homewood campus
The distribution of courses for most majors may be found in the following chart:
GENERAL STUDIES
Humanities Seminar
Humanities Electives GP
Humanities Electives HP
Humanities Electives LL
Humanities Elective HE
Humanities-approved Elective
Students in Peabody’s liberal arts
courses confront issues of relevance to
their lives as artists, teachers, and citizens
in the 21st century. Most of the liberal arts
courses are interdisciplinary, encouraging
students to formulate, explore, and express
their ideas. These classes rely heavily on
student input and class participation;
they demand creative thought within the
context of disciplined study. Writing is
emphasized in liberal arts courses.
43
(the Krieger School of Arts and Sciences
at Johns Hopkins University). Advanced
placement and transfer determinations
are made by the Humanities Department
chair in consultation with the Associate
Dean for Academic Affairs. See Sources of
Credit in the Academic Regulations sec-
tion of the catalog.
Liberal Arts
Each fall the Humanities Seminar
helps new undergraduates transition into
academic study at Peabody; in subse-
quent semesters students complete their
humanities distribution requirements
by selecting courses from three different
study areas: Language and Literature (LL),
Global Perspectives (GP), and Historical/
Philosophical Studies (HP). A fourth cat-
egory, Humanities Electives (HE), allows
students to choose an appropriate course in
consultation with the Humanities faculty.
260 • 115 4
260 • xxx, xxx 6
260 • xxx, xxx 6
260 • xxx, xxx 6
260 • xxx 3
260 • xxx 3
28
Foreign Languages
Knowledge of foreign languages opens
personal and professional opportunities for
our students. Classes in French, German,
and Italian are offered on the Peabody
campus, and other languages are offered
on the Homewood campus. Examinations
for advanced placement in these languages
are given during Orientation Week.
While only voice students are required
to take foreign language in fulfillment of
their degree requirements, all students are
strongly encouraged to take foreign lan-
guage as a Humanities elective.
The JHU Digital Portfolio
A portfolio requirement leads students
to reflect critically on their work in the
humanities and to make deliberate links
between musical and academic study.
Through the years of their undergraduate
study, students assemble work that best
represents the effort and achievement of
their humanities coursework for inclusion
in their personal digital portfolio. The
portfolio project puts broad perspective on
undergraduate studies in humanities; as a
marketing tool, it helps students as they
enter competitive fields of professional
endeavor and as they seek further opportu-
nities for study. The Humanities Depart-
ment works in partnership with the Johns
Hopkins University School of Education
on this initiative.
English as a Second Language (ESL)
Peabody offers intensive English as a
Second Language (ESL) courses for stu-
dents whose English language skills are
not at college level. All incoming inter-
national students will be tested and inter-
viewed to determine their level of English
proficiency during the fall semester Orien-
tation Week at Peabody. This testing must
be completed before the start of classes.
Students placed in ESL courses must suc-
cessfully complete these courses in order
to fulfill the requirements for the Bachelor
of Music degree program. Some Peabody
courses require ESL courses as a prerequi-
site. The ESL requirement may extend the
length of a student’s program. Intensive
English study over the summer months is
strongly recommended for ESL students.
Electives and Other Guidelines
Electives
Unless otherwise specified, the term elec-
tive means class elective. Additional lessons
and additional ensembles do not count as
electives. However, non-jazz majors who
successfully audition for the Peabody Jazz
Orchestra or the Peabody Improvisation
44
and Multimedia Ensemble may petition
to apply one semester (2 credits) of one
of the Jazz large ensembles as elective
credit. The Associate Dean for Academic
Affairs, in consultation with the Direc-
tor of the Ensemble Office, will make the
final decision about the appropriateness
of an undergraduate petition to count a
Jazz large ensemble for elective credit.
Questions about the appropriateness of all
other courses for elective credit should be
directed to the Registrar’s Office.
Repeated courses
Undergraduate students who fail a
required course must retake the course
for credit. On completion of a second
attempt, the second grade does not replace
the first failing grade. Rather, both grades
are equally computed in a student’s GPA.
Any student who fails a single course more
than once will be required to petition the
appropriate department and the Under-
graduate Committee before enrolling for
a third time. The appropriate department
may require additional prerequisites to the
course failed.
Students who pass a class with a grade
of B or lower may repeat a class, space
permitting, once to improve their skills
and grade. In such cases the grade for
the second attempt does replace the first
grade, which is changed to R (repeated),
even if the grade for the second attempt is
lower. If the student fails a repeat of a class
that he or she has previously passed, both
grades will stand and both grades will be
computed in the student’s GPA, but the
passing grade on the first attempt will
fulfill the student’s curricular obligation to
pass the class.
The policy to repeat a class that has
already been passed is an opportunity for
students to improve their skills. However,
this opportunity only exists in sections
that are not filled to capacity. No student
repeating a class should displace a student
who is taking the same class for the first
time.
Bachelor of Music Curricula
Performance

Guitar

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Half Recital 171 • 309 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
  62
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  52
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL 148
* Strongly suggested: Lute Tablature and Notation 530 • 431-432

45
Early Music Instruments: Harpsichord

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Organ Minor 010 • 100 2
Voice Minor* 010 • 100 2
Baroque Ensemble 950 • 527–528 7
Baltimore Baroque Band 910 • 527–528 8
  56
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 710 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Continuo I–II 530 • 315–445 4
Harpsichord Literature 530 • 421–422 2
Harpsichord Tuning 370 • 492 2
Baroque Ornamentation 530 • 441–442 4
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  53
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL  143
* Or other instrument with the permission of the department.

46
Early Music Instruments: Viola da Gamba, Baroque Flute, Recorder, Baroque Oboe,
Baroque Violin/Viola, Baroque Cello, Renaissance Lute, Baroque Lute, Theorbo

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Minor Lesson 010 • 100 4
Baroque Ensemble 950 • 527–528 7
Early Music Large Ensemble 910 • 527–528 12
  60
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 710 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Major Instrument Literature xxx • xxx 4
Baroque Ornamentation 530 • 441–442 4
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  49
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 3

TOTAL 140

47
 VARIATIONS:
— for Lute Majors 145 credits
Lute Tablature and Notation 530 • 431-432 4
Continuo I–II 530 • 315–445 4
No elective required -3
— for Viola da Gamba Majors 144 credits
Continuo I–II 530 • 315–445 4
Viola da Gamba Consort 530 • 353–354 [4]
[Substitutes for 4 credits of Baroque Ensemble]
— for Baroque Cello Majors 144 credits
Continuo I–II 530 • 315–445 4

Strings, Brass, Woodwinds, Harp, Percussion

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
Small Ensemble 950 • 531–532 2
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  45
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL 134

48
 VARIATIONS:  
— for Strings and Percussion: 136 credits
Small Ensemble 950 • 531–532 +2
— for Violin & Viola: 134 credits
Junior Recital 115, 113 • 309 [2]
[Replaces 309 jury]
— for Flute: 134 credits
Piccolo Class 530 • 463–464 [2]
[Taken as a required elective]

Organ

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 460 • 545–546 8
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  61
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 710 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530.315 2
Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  59
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28

49
 ELECTIVES
Electives xxx • xxx 3

T O T A L  151

Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Small Ensemble 950 • 531–532 4
  49
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  60
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL  143
* Recommended electives include:
Second semester of Piano Pedagogy (530 • 668)
Basic Conducting (330 • 311)

50
Voice

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Small Ensemble 950 • 531–532 4
  49
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  60
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL 143
* Recommended electives include:
Second semester of Piano Pedagogy (530 • 668)
Basic Conducting (330 • 311)

51
Jazz Performance
The Bachelor of Music degree program in jazz performance is designed to provide
students with the necessary performance skills to pursue a career in jazz. This goal will
be pursued through private study, improvisation workshops, ensemble rehearsals and
performances, master classes with prominent guest artists, plus classwork in jazz theory,
arranging and composition. Virtually all classes in the program include performance
activity, generally in small combos. Large ensembles, required each semester of enroll-
ment in the program, will provide performance experience with literature encompassing
all of the jazz idioms.
Students applying for admission into the jazz performance program must pass
entrance auditions on their major instrument of study. A certain number of scholarships
are available on a competitive basis.
A general placement test in music theory, dictation, and ear-training will be admin-
istered in accordance with standard Peabody practice. Auditions are held on campus in
Baltimore in February and May according to the Conservatory audition schedule. Due
to the interactive nature of these auditions, it is not possible to audition at off-campus
audition sites.

Jazz Performance

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 16
Small Ensemble 950 • 525–526 4
  57
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Jazz Fundamentals 710 • 127-128 4
Ear-training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Construct. Listening–Jazz History 530 • 569–570 4
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  48

52
 GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 9

TOTAL  142
* Recommended electives include:
Introduction to Web Page Design (350 • 465)
Music Notation Software (350 • 871)
Instrumentation & Arranging (710 • 412)

Composition
The undergraduate composition program stresses musical, technical, and conceptual
development as fundamental to the creative process. Diversity of compositional styles
and aesthetic viewpoints is welcomed and encouraged. During the first two years compo-
sitions for solo instruments, voice, and smaller chamber groups are emphasized. Works
of greater scope, including chorus, large chamber ensembles, and small orchestra, are
suggested for the remaining study period.
Composition students have numerous opportunities to hear their works performed in
recitals scheduled by the Composition Department or by individual teachers and stu-
dents in readings by the Peabody Orchestras, the Opera Workshop, and other Peabody
ensembles, by paid performers during Composition Seminar, and informally through
personal contact with the many excellent performers at Peabody. Many of these perfor-
mances are recorded for later listening and study. In the senior year, every composition
major is required to present a complete recital of compositions he or she has composed at
Peabody.
Composition majors are required to take four semesters of minor study of voice or an
instrument, which may include performance in computer music, with at least two con-
secutive semesters on the same instrument.

Composition

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Applied Minor 010 • 100 4
  55

53
 SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Introduction to Computer Music 350 • 463–464 6
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  63
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL 152

Computer Music
The undergraduate computer music program offers majors in either composition or
performance. The program is designed for students wishing to combine music and tech-
nology to enhance their career opportunities both within the music profession and in
related fields outside the profession.

Computer Music

MAJOR AREA
Major Lesson 100 • 100 32
Department Seminar: Composition 310 • 545–546 8
Department Seminar: Computer Music 350 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 4
  55

54
 SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Introduction to Computer Music 350 • 463–464 6
Introduction to Programming 350 • 466 3
Studio Techniques 350 • 835 3
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  69
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities Electives GP 260 • xxx, xxx 6
Humanities Electives HP 260 • xxx, xxx 6
Humanities Electives LL 260 • xxx, xxx 6
Humanities Electives HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 3

TOTAL 155

Music Education
The Peabody music education major is designed for the gifted performer who also
has a special interest in sharing his or her musical expertise through teaching music in
elementary or secondary schools. The aim of the professional preparation program is to
impart to prospective teachers the knowledge, skills, and attitudes that are necessary to
the effective teaching of music. Graduates of the program will be certified to teach music
N-12 in Maryland and in all other states with which Maryland shares reciprocity.
Music education students are students in the Conservatory; they are only admitted on
the basis of a successful performance audition or composition interview in addition to
their music education interview. Music education students receive the same attention to
their musical development (applied study, theory, history) as do students in the perfor-
mance programs at Peabody and are held to the same standard of excellence.
The music education curriculum has specific liberal arts requirements (31 credits) as
mandated by state and national accrediting agencies. To the extent these requirements
are not satisfied within the liberal arts core course of study required for all Peabody
undergraduates, students elect courses in communications, sociology, history, literature,

55
American history, cultural anthropology, math, and science. Advanced placement and
transfer credits are subject to the procedures found under the heading Sources of Credit
in the Academic Regulations section of the catalog and are accepted at the discretion of
the Music Education faculty.
All music education students are required to complete 15 weeks of intern teaching
in a Maryland public school under the direction of the clinical supervisor. Intern teach-
ing forms a capstone requirement of the curriculum, and students must meet all of the
prerequisites and requirements detailed in the Handbook for Intern Teaching, which is
assembled and distributed by the Music Education faculty.
Music education students qualify for the Performer’s Certificate in their performance
major area. Coursework for the Performer’s Certificate requires additional study beyond
the four-year degree for voice majors. The combination Music Education/Performance
double major can be accomplished by the addition of two to four credits. Please consult
with the Music Education faculty for credits that are needed for each area.

Music Education: Guitar

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Recital 190 • 395 2
Large Ensemble 910 • xxx 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 1
Voice Minor 187 • 111 1
  61
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637–638 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
52

56
 MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 171

Music Education: Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209 2
Recital 190 • 395 2
Large Ensemble 910 • xxx 14
Small Ensemble 950 • 531–532 2
Applied Minor xxx • xxx 1
  53
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
44

57
 MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Class Woodwinds – Brass 510 • 211–212 5
Class Percussion 510 • 223 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  40
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 168

Music Education: Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 395 2
Large Ensemble 910 • xxx 8
Small Ensemble 950 • 531–532 2
  47
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
58

58
 MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Piano Pedagogy 530 • 667 2
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  32
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 168

Music Education: Voice

MAJOR AREA
Major Lesson 100 • 10x 24
Vocal Coaching 186 • 411–412 2
Departmental Examination xxx • 109–209–309 3
Recital 190 • 395 2
Large Ensemble 910 • xxx 12
Opera Performance Electives 910 • 54x 3
  46
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Singing in English – English/American Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Mélodie 530 • 483–480 5

59
 Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
67
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
Italian I 250 • 111-112 6
German I 240 • 111-112 6
French I 230 • 111-112 6
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
31

TOTAL 171

Music Education: Jazz Performance, Vocal/General Education

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 14
Small Ensemble 950 • 525–526 4
  55

60
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Jazz Fundamentals 710 • 127-128 4
Ear-training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  48
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 161

61
Music Education: Jazz Performance, Instrumental Education

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 14
Small Ensemble 950 • 525–526 4
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Jazz Fundamentals 710 • 127-128 4
Ear-training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  48
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Class Woodwinds – Brass 510 • 211–212 5
Class Percussion 510 • 223 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  40
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 174

62
Music Education: Composition

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Applied Minor 010 • 100 4
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Introduction to Computer Music 350 • 463–464 6
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  62
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Class Woodwinds – Brass 510 • 211–212 5
Class Percussion 510 • 223 1
Conducting I :Choral–Instrumental 510 • 237–238 4
Conducting II: Choral–Instrumental 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  40
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Math or Science Elective xxx • xxx 3
Humanities Electives xxx • xxx 18
31

TOTAL 188

63
Music Education: Certification Program
The certification program is designed for individuals who hold a Bachelor of Music
degree from an accredited institution and who wish to become certified by the state of
Maryland to teach in the public schools.
An interview with the Music Education faculty should be arranged to gain admis-
sion. Individuals will be asked to supply an official transcript from their undergraduate
degree and may be asked to complete a basic musicianship skills test. Prior to entering
the program, accepted candidates must complete either Praxis I exams, SAT, or GRE
and submit passing scores to the Music Education division of the Professional Studies
Department.
Special tuition rates apply. For more information, consult the Tuition and Fees sched-
ule in this catalog. Enrollment for 9 credits is considered full time for this program.

Instrumental Music Certification

MUSIC EDUCATION
Class Woodwinds – Brass 510 • 211 3
Class Brass 510 • 212 2
Class Strings 510 • 324 3
Class Percussion 510 • 223 1
Techniques for Elementary Instrumental 510 • 312 3
Techniques for Secondary Instrumental 510 • 313 3
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
28

Vocal/General Music Certification

MUSIC EDUCATION
Basic Instrumental Pedagogy 510 • 213 1
Vocal/General: Elementary–Secondary 510 • 311–314 6
Conducting the Secondary Ensemble II 510 • 337 2
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
22

64
Performance/Recording Arts and Sciences Majors
The Bachelor of Music in recording arts and sciences program is designed to meet
the expanding need for skilled audio technicians, producers, and engineers who possess
both technical expertise and a sophisticated knowledge of music. A five-year dual-degree
program, Recording Arts combines an applied performance major with a technical
education in recording technology. Relevant studies in electrical engineering, math, sci-
ence, and computer science are taken at the Whiting School of Engineering of The Johns
Hopkins University on the Homewood campus.
The Recording Arts curriculum includes extensive practical experience, ranging from
jazz, rock, and pop music to grand opera and major choral and orchestral works. In
addition to regular laboratory sessions with live musical groups of all styles, students
participate in recording a wide variety of Peabody events, many of which are open to the
public. All recording majors, with the exception of first-semester freshmen, are expected
to work in the Recording Studios throughout the course of their enrollment as part of
the College Work Study program. In the fifth year, students complete an internship with
local radio, television, and recording companies. The place of internship requires prior
approval from the Recording Arts coordinator.
The degree recital should be performed in the fourth year of the program. If all require-
ments have been met, students may then receive the performance diploma in May of the
fourth year prior to completion of the recording internship. Students who also wish to
obtain a Bachelor of Science degree in electrical engineering from the Whiting School of
Engineering may apply to the Peabody/JHU Double Degree program in their fourth year.
Students must fulfill requirements for the performance degree at Peabody before entering
the Double Degree program. Simultaneous enrollment in three majors is not permitted.
Due to credit and scheduling conflicts, it is not possible to combine the recording arts
major with the music education major or any Double Degree program in electrical engi-
neering or arts and sciences at the Homewood campus of Johns Hopkins University.

Recording Arts: Composition

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Applied Minor 010 • 100 4
  55
SUPPORTIVE COURSES IN MUSIC
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  55

65
 RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 204
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

Recording Arts: Guitar

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Half Recital 171 • 309 1
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
  62

66
SUPPORTIVE COURSES IN MUSIC
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  50
RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 206
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

67
Recording Arts: Jazz Performance

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
Small Ensemble 950 • 525–526 4
  57
SUPPORTIVE COURSES IN MUSIC
Jazz Fundamentals 710 • 127-128 4
Ear-training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  46
RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
  Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
  Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28

68
 ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 197
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

Recording Arts: Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
Small Ensemble 950 • 531–532 2
  55
SUPPORTIVE COURSES IN MUSIC
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  43
RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
  Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
  Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60

69
 GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 192
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

Recording Arts: Organ

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 460 • 545–546 8
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  61
SUPPORTIVE COURSES IN MUSIC
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 710 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530.315 2
Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  57
RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
  Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
  Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3

70
 Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics – Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 212
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

Recording Arts: Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Small Ensemble 950 • 531–532 4
  49
SUPPORTIVE COURSES IN MUSIC
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  58

71
RECORDING ARTS
Recording I–III | Fundamentals – 550 • 111–112–211–212—
12
  Studio Tech 311–312
Recording IV–V | Studio Techniques–
550 • 411–412–511–512 12
  Production
Recording Arts Practicum 550 • 521 4
Intro Electrical and Computer Engineering EN.520 • 137 3
Digital System Fundamentals EN.520 • 142 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Copyrights and Contracts 360 • 411 2
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
60
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
Two Professional Electives* xxx • xxx 6

TOTAL 201
* Students choose one advanced elective from Peabody or WSE

72
Concentrations
Bachelor of Music with JHU Liberal Arts
Concentration
Peabody students wishing to earn a
Bachelor of Music with a liberal arts con-
centration must complete six courses at
the Krieger School of Arts and Sciences on
the Homewood campus with at least three
at the 200 level or higher. At least one of
the courses must be an expository writing
course or a writing-intensive course.
All students planning a BM with a
liberal arts concentration must have their
proposed program of study approved by
the chair of the Humanities Department
of the Peabody Conservatory of Music.
Language courses at the 100 level in the
Krieger School of Arts and Sciences can-
not be used to fulfill the requirements
for the liberal arts concentration. Music
courses offered at the Krieger School of
Arts and Sciences cannot be used to fulfill
the requirements for the liberal arts con-
centration.
The following statement will appear
on the transcript of any Peabody student
who successfully completes a liberal arts
concentration: Liberal Arts concentration
completed on the Homewood campus of
The Johns Hopkins University.
73
Bachelor of Music with JHU Engineering
Concentration
Peabody students wishing to earn a
Bachelor of Music with an engineering
concentration must complete six courses
in the Whiting School of Engineering on
the Homewood campus with at least three
at the 200 level or higher.
All students planning a BM with an
engineering concentration must have their
proposed program of study approved by
the chair of the Humanities Department
of the Peabody Conservatory of Music.
Courses taken in the Whiting School of
Engineering to satisfy a major require-
ment in a Peabody program of study may
not be used toward an engineering con-
centration.
The following statement will appear
on the transcript of any Peabody student
who successfully completes an engineering
concentration: Engineering concentration
completed on the Homewood campus of
The Johns Hopkins University.
Five-Year BM/MM Program and Five-Year BMRA/MA Program
Qualified Peabody undergraduates
have the option of applying to complete a
master’s degree in one additional year of
study after they complete their bachelor’s
degree. The selection process takes place
in the junior year and includes academic
and performance elements as well as the
recommendation of the faculty. Students
selected for the program maintain their
initial financial assistance levels through-
out the five years of study.
Admittance to the BM/MM program
is limited to outstanding performers with
excellent academic records. Minimum
standards for applying are an average of A-
and above in all major lessons and juries,
and grades of B+ or higher in each of the
following areas: two or more semesters
of the core music history courses; four or
more semesters of the core music theory
courses; two or more semesters of ear-
training/sight-singing courses; and two or
more semesters of keyboard skills courses.
In addition, successful applicants will
have a minimum cumulative grade point
average of 3.50 and will have attained the
Dean’s List (a cumulative GPA of 3.67 or
higher) for a minimum of four semesters.
Undergraduate students may apply for
admittance to the BM/MM program in the
academic year in which they are scheduled
to perform their 309 jury or junior recital
(or, for composition majors, in their junior
year) by submitting an application and
faculty recommendations to the Office of
Academic Affairs by April 1 of that year.
Admittance into the BM/MM program
includes the proviso that a student’s fourth
and fifth years of performance or composi-
tion study be with a single studio teacher
74
unless there are circumstances that require
special arrangements to be made by the
Associate Dean for Academic Affairs.
Students who wish to complete a BM in
performance or composition and then earn
an MM in musicology, music theory peda-
gogy, or performance/pedagogy are also
eligible to apply for this program.
Qualified students enrolled in the Bach-
elor of Music in Recording Arts (BMRA)
program have the option of applying
to complete the Master of Arts degree
in Audio Sciences in their fifth year of
study. Admittance to the BMRA/MA
program requires the same prerequisites
as admission to the BM/MM program
but also requires a recommendation from
the Recording Arts faculty. Unlike the
Bachelor of Music in Performance or Com-
position, the BMRA is already a five-year
degree program. Admission to the BMRA/
MA does not extend financial aid arrange-
ments beyond the fifth year of study, nor
does it guarantee continued major lessons
in performance or composition.
The selection process for both the BM/
MM and BMRA/MA programs is man-
aged by the Office of Academic Affairs.
The Associate Dean for Academic Affairs,
in consultation with faculty and the
administration, makes the final deci-
sions about admittance to the five-year
programs. Because the selection process
considers the results of the 309 jury, the
final decisions are not announced until
all spring grades have been recorded. For
further information and the application
forms, see www.peabody.jhu.edu/
academicaffairs.
The Master of Music Degree
The program leading to the degree of
Master of Music provides for intensive
development of performance skills, exten-
sive knowledge of the literature in the
major field of study, and achievement of a
broadened knowledge of the art.
Admission Requirements
Students applying for the Master of
Music degree program must meet the fol-
lowing criteria:
1. A GPA of at least 3.0—exclusive of
performance credits—in post-secondary
studies from an accredited institution.
The grades must reflect credits earned
in pursuit of a bachelor degree or the
equivalent, which must be earned prior
to matriculating in the program.
2. Each applicant whose native language
is not English must present a score
from the Test of English as a Foreign
Language (TOEFL). TOEFL scores of at
least 550 from the basic paper test, at
least 213 from the computer-based ver-
sion, or 79 from the Internet-based test
are expected of applicants.
3. All entering students must pass a per-
sonal audition, interview, or examination
in the major field. CDs are acceptable
only for international applicants who
cannot audition in person at Peabody.
Acceptance into a graduate program
is conditional until the satisfactory
performance of a personal audition and
successful completion of the written
entrance examinations to be taken in
September. The September validating
auditions have the same criteria as the
February auditions. Applicants should
prepare sufficient material to perform a
full solo recital containing works that
show a diversity of periods and styles.
All major works must be complete (to
include all movements). Pre-screening
recordings are required for some majors.
Detailed audition repertoire require-
ments are available from the Admissions
Office and the Peabody website at www
.peabody.jhu.edu/admissions.
75
4. All entering students take placement
examinations in music theory, music
history, and sight-singing at the time of
their auditions.
Successful applicants must matriculate
into the Master of Music degree program
at the start of the academic year: the fall
semester of the calendar year in which
they auditioned. The Conservatory does
not defer entrance into degree programs
or allow students to begin in the spring
semester. Matriculating MM students
must meet the following criteria:
1. A Bachelor of Music degree or the
equivalent from an accredited institu-
tion. Evidence of a degree recital in
the senior year must be submitted in
the form of a degree recital program or
credit listed on the student’s transcript.
Students holding a Bachelor of Arts
degree must satisfy the requirements of
the Peabody Bachelor of Music degree,
demonstrated by examination or by
completion of additional undergraduate
courses. As a rule, an applicant must
have achieved an undergraduate GPA
of at least 3.0, exclusive of performance
credits. Applicants must demonstrate
good musicianship, solid academic
skills, and substantive musical knowl-
edge through performance and written
examinations.
2. International students admitted to
Peabody must take responsibility to
improve their English in preparation
for their Peabody coursework. Non-
native speakers of English are urged to
take a summer language course at one
of the many U.S. institutions that offer
ESL, including Johns Hopkins Uni-
versity, prior to their first semester at
Peabody. The Conservatory reserves the
right to require non-native speakers of
English to complete ESL courses before
enrolling in required coursework in
Musicology and/or Music Theory.
Degree Requirements (MM)
For all majors except music education,
completion of a Master of Music degree
program will require full-time attendance
for a minimum of one year beyond receipt
of the Bachelor of Music degree. Excep-
tions to this residency requirement may
be made upon approval of the Graduate
Committee, with consideration given to
previous experience, professional record,
and demonstrated ability. The application
of previously earned coursework credits
does not remove the full-time residency
requirement for the graduate degree. Stu-
dents who have completed all program
requirements except the master’s thesis
(required of musicology majors), the
music theory pedagogy project (required
of music theory pedagogy majors), or port-
folio/thesis (computer music majors) must
register for Consultation (PY.610.813) and
pay for those credits as Degree-in-Progress
students.
A maximum of six semester hours of
graduate study (coursework) completed
at other accredited institutions may be
applied to the Master of Music degree
program at Peabody at the discretion of
department chairs and the Associate Dean
for Academic Affairs. Credits for work
completed at Peabody before matricula-
tion into the MM degree program may
also be transferred. See Sources of Credit
in Academic Regulations for details.
Deficiencies in the areas of music the-
ory, ear-training, music history, keyboard
skills, or English must be corrected by
remedial study at the Conservatory. Please
note: Students placed in ESL courses can-
not complete their history requirement in
their first year of study, which may delay
the completion of the degree. Review
courses do not count toward fulfillment
of degree requirements, and the grades
earned are not calculated in the student’s
GPA; however, the hours are counted as
part of the course load for tuition determi-
nation. Students must satisfy any review
requirements in music theory, music his-
tory, or keyboard skills before enrolling in
other graduate-level courses in these fields.
76
All requirements for the Master of
Music degree program must be completed
within five years of the date of initial reg-
istration.
For more detailed information about the
MM curricula, see www.peabody.jhu
.edu/MM.
Program Components
Major Area Study
Each student taking applied music
must demonstrate satisfactory progress as
determined by the faculty. Study in the
major field must continue through the last
semester of enrollment. For most students,
this will consist of four semesters of les-
sons.
The progress of each student is moni-
tored by the department at intervals not
greater than two semesters. Advancement
and assessment are accomplished by indi-
vidual lessons and departmental hearings.
Every performance major must play a
recital or a hearing in every semester of
study. Lessons and recitals are the essential
learning modalities of a conservatory edu-
cation, but are also for-credit classes that
require grades of at least a B- for students
to maintain satisfactory academic progress.
A student who does not play a recital or
hearing is not considered to be making
satisfactory academic progress.
Ensembles
MM students must participate in ensem-
bles in fulfillment of their degree require-
ments. Orchestral instrument majors must
participate in large ensembles in every
semester for which they are enrolled in
major lessons. Students in other majors
participate in large ensembles as required
for their curriculum. The regulations for
performing in large ensembles, which are
set by the Ensemble Office, may be found
in the Procedural Regulations section of
the catalog, or at http://www.peabody.jhu
.edu/ensembleoffice.
All graduate instrumental majors in the
MM program participate in one or two
semesters of chamber music as required by
the individual program (this may be stu- Electives and Other Requirements
dio accompanying for pianists). Unless otherwise specified, the term
elective means class elective. Ensemble
Core Curriculum credits cannot be counted as elective
The Master of Music core curriculum credits. Only courses designated as “G”
consists of Music Bibliography and courses (Graduate Elective) in the Master Schedule
in music theory and musicology. Full-time of Classes may be used to fulfill graduate
Master of Music students are strongly elective requirements. Curricular Practical
encouraged to take Music Bibliography Training may be used to fulfill a maxi-
in their first year of study. Most MM stu- mum of three elective credits. Questions
dents are also required to take two gradu- about the appropriateness of courses for
ate seminars in musicology; see individual elective credit can be directed to the
program descriptions for details. Registrar’s Office.
Please note: International students in For some curricula, certain require-
the ESL program who have tested into ments are not offered for credit. For exam-
English as a Second Language Level I ple, departmental hearings for performers
(PY.225.001,003) may not take Music or foreign language exams in Voice and
Bibliography until they successfully com- Musicology do not appear on transcripts.
plete their first year of English studies. Other requirements do appear on tran-
Exceptions are made only in consultation scripts but the credits are not applied in
with the Musicology faculty, the ESL fac- fulfillment of a degree. For example, reme-
ulty, and the Associate Dean for Academic dial coursework in Music Theory, Musicol-
Affairs. ESL students should note that ogy, or English is graded and recorded,
they may need more than two years to but the credits do not count toward
complete the MM. completion of the degree. In every case,
Before students can enroll in Graduate students must complete all requirements
Seminars, they must pass a music history to remain in good standing and complete
placement test offered about one week the Master of Music degree.
before the fall semester begins. The test
requires students to write short essays
without reference to books or notes about
various topics in music history from medi-
eval times to the present. Grading is on
the basis of demonstrated writing ability
and knowledge of music history. Students
who fail this examination are required to
enroll in Music History Intensive Review.
Only after passing Music History Inten-
sive Review are they permitted to enroll
in graduate seminars. The only musicol-
ogy graduate course which can be taken
concurrently with Music History Intensive
Review is Music Bibliography.
Other coursework requirements for the
MM degree include repertoire studies and
such electives as are considered appro-
priate by the department in which the
student is majoring. These courses shall
not be the same ones taken as part of the
undergraduate curriculum.

77
Master of Music Curricula
MM Curriculum—Performance Majors

Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Conducting Seminar 330 • 845–546 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Orchestration 710 • 413–414 6
Early Music Performance 4
24
ELECTIVES
Electives xxx • xxx 4

TOTAL  48

Wind Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Conducting Seminar 330 • 845–546 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Instrumentation 710 • 412 3
17
ELECTIVES
Electives xxx • xxx 6

TOTAL 43

78
Guitar

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Chamber Music 950 • 831–832 2
Guitar Ensemble 950 • 841–842 2
Guitar Seminar 470 • 845–846 2
24
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Guitar Literature 530 • 631–632 2
Lute Literature and Notation 530 • 433–434 4
Guitar Pedagogy 530 • 637–638 4
24

TOTAL 48

VARIATIONS:
Peabody BM Guitar Alumni 48 credits
Electives xxx • xxx 6
Guitar Pedagogy 530 • 637–638 -4
Minus Guitar Ensemble 950 • 841–842 -2

Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Large Ensemble 4
Chamber Ensemble 950 • 831 1
23
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14
ELECTIVES
Electives xxx • xxx 6

TOTAL 43

79
 VARIATIONS:
— for Violin, Viola and Cello 44 credits
Small Ensemble 950 • 832 1
— for Flute: 43 credits
Piccolo Class 530 • 463 or 464 [1]
[Taken as a required elective]

Organ

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
18
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14
ELECTIVES
Electives* xxx • xxx 6

TOTAL 38
* The following courses are recommended and may be required by the department:
Resources /Church Organist 530 • 425–426
Organ Literature 530 • 423–424

Piano

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Small Ensemble 950 • 831, 832 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Advanced Keyboard Skills for Pianists* 530 • 633–634 4
Analysis of 19th-Century Piano Literature 710 • 647 3
Analysis of 20th-Century Piano Literature** 710 • 648 3
Music Theory Seminar 710 • xxx 3
21

80
 ELECTIVES
Electives xxx • xxx 6

TOTAL  47
  * Students who completed the undergraduate courses in keyboard
skills (530 • 211–212–311–312) at Peabody with a minimum grade of B
are exempt from this class
** A 20th-century Music Theory analysis seminar may be substituted
with permission of the Piano Department

Piano: Ensemble Arts

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 4
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Instrumental Chamber Music 530 • 621–622 4
Accompanying and Coaching Skills 530 • 619–620 4
Advanced Accompanying 530 • 813–814–817–818 4
26

TOTAL 46

81
Piano: Ensemble Arts with a Concentration in Vocal Accompanying
The Master of Music degree program in Ensemble Arts: Vocal Accompanying is
designed for pianists wishing to expand their musical experience to include collaborative
playing in the study of art song, vocal chamber music, opera, and oratorio. The curricu-
lum provides advanced technical study while emphasizing the linguistic skills necessary
for comprehensively coaching opera and song literature. Versatility is stressed, with a
practical eye toward employment opportunities for skilled keyboard players in a variety
of areas including the professional recital accompanist, opera coach, church musician,
choral/symphonic pianist, and musical theater keyboardist.
The degree program normally requires a minimum of two years to complete. In
addition to two degree recitals, the curriculum requires the development of repertoire,
attained through the performance of non-degree collaborative vocal recitals and partici-
pation as an opera, studio, and/or classroom pianist.
All candidates must meet language and diction standards in English and two of the
following three languages: Italian, German, and French. These requirements may be
satisfied by successful completion of a departmental exam in translation and pronuncia-
tion, or by completing the appropriate diction course and the equivalent of one year of
college-level study in each language. Diction courses include Singing in Italian, Singing
in German, and Singing in French.

Piano: Ensemble Arts with a Concentration in Vocal Accompanying

MAJOR AREA
Major Lesson 100 • 100 16
Recitals 190 • 695 4
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Advanced Accompanying 530 • 813–814–817–818 4
Accompanying and Coaching Skills 530 • 619–620 4
Accompanying and Coaching Skills II 530 • 625–626 4
Student Coach, Opera Workshop 530 • 639 1
Student Coach, Opera Theatre Production 530 • 640 2
29

TOTAL 49

82
Voice

MAJOR AREA
Major Lesson 100 • 100 16
Vocal Coaching 186 • 611–612 2
Language and Diction Proficiency* ———— 0
Recital 190 • 695 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Vocal Literature Electives 530 • 621–622 4
18
ELECTIVES
Electives xxx • xxx 6

TOTAL 44
* All candidates for the MM in voice must meet language and diction standards in French,
German, Italian, and English, which will be assessed in early in their first semester of study.
Students who are designated for remedial work in language and diction will be reassessed
at their graduate hearing at the end of their first year and must demonstrate improvement
before performing their recital.

Early Music Performance: Harpsichord

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
  24
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Harpsichord Literature 530 • 421–422 2
Continuo 530 • 315–445 4
Baroque Ornamentation 530 • 441–442 4
Performance Practice Seminar 610 • 615 3
Harpsichord Tuning 370 • 492 2
  29

TOTAL 53

83
Early Music Performance: Instruments

Core Classes
MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 695 2
18
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Performance Practice Seminar 610 • 615 3
Musicology Seminar 610 • xxx 3
Music Theory Seminars 710 • xxx 6
Baroque Ornamentation 530 • 441–442 4
18

Specific Majors
BAROQUE OBOE
—— Major Area and Supportive Courses —— 36
Early Wind Literature 610 • 433–434 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
8

TOTAL 44

RECORDER
—— Major Area and Supportive Courses —— 36
Early Wind Literature 610 • 433–434 2
Recorder Consort 530 • 355–356 2
Renaissance Ensemble 950 • 829–830 4
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
14

TOTAL 50

TRAVERSO
—— Major Area and Supportive Courses —— 36
Early Wind Literature 610 • 433–434 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
8

TOTAL 44

84
RENAISSANCE LUTE
—— Major Area and Supportive Courses —— 36
Continuo 530 • 315–445 4
Lute Literature and Notation 530 • 433–434 4
Theorbo Minor 050 • 100 2
Renaissance Ensemble 950 • 829–830 4
Baroque Ensemble 950 • 827–828 2
Renaissance Chamber Ensemble 950 • 853–854 2
18

TOTAL 54

BAROQUE LUTE / THEORBO

—— Major Area and Supportive Courses —— 36
Continuo 530 • 315–445 4
Lute Literature and Notation 530 • 433–434 4
Renaissance Lute Minor 050 • 100 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
16

TOTAL 52

BAROQUE VIOLIN
—— Major Area and Supportive Courses —— 36
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
Literature Electives 530 • xxx 2
8

TOTAL 44

BAROQUE VIOLONCELLO
—— Major Area and Supportive Courses —— 36
Viola da Gamba Minor Lessons 050 • 100 2
Literature Electives 530 • xxx 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
10

TOTAL 46

85
Early Music Performance: Voice

MAJOR AREA
Major Lesson 100 • 100 16
Vocal Coaching 186 • 611–612 2
Recital 190 • 695 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Early Vocal Literature 530 • 543–544 4
Performance Practice Seminar 610 • 615 3
Continuo 530 • 315–445 4
Vocal Literature Electives 530 • 621–622 4
29

TOTAL 49

86
MM Curriculum—Performance/Pedagogy
This area of graduate focus is designed for students accepted to a performance major
who wish to broaden their study to include particular attention to the concurrent devel-
opment of pedagogical skills. Performance/Pedagogy is not a separate degree program,
but a pedagogy emphasis within the student’s MM performance program. Courses
specific to the area of pedagogical concentration fulfill the elective requirements in the
MM degree program. Pedagogy emphasis is currently available in the areas of harp,
guitar, piano, violin, viola, violoncello, double bass, and voice. In addition to the usual
performance major requirements (see MM curricula on previous pages), the curriculum
is designed to provide maximum opportunity for the student to develop his/her teach-
ing skills—through classwork, observation, and practice—using the combined resources
of the Institute’s Conservatory and Preparatory faculties and programs. The admission
process includes an audition before the major performance faculty plus an interview
with members of the pedagogy faculty. Individuals approved to embark upon this study
are assigned a three-person advisory group. The required 2-credit elective is waived for
guitar majors who are instead required to enroll in Guitar Seminar and Guitar Literature
and for voice majors due to language requirements. Performance/Pedagogy candidates
majoring in orchestral instruments must participate in the Peabody Symphony Orches-
tra or Peabody Concert Orchestra during each semester of residency.

Performance/Pedagogy

PEDAGOGY CONCENTRATION
Pedagogy Practicum (Choose one) 4
Guitar Pedagogy 530 • 637–638 [4]
Harp Pedagogy 530 • 629–630 [4]
Piano Pedagogy 530 • 667–668 [4]
Violin/Viola Pedagogy 530 • 651–652 [4]
Violoncello Pedagogy 530 • 641–642 [4]
Vocal Pedagogy and Lab 530 • 683–684 [4]
Pedagogy Internship 520 • 615 2
Internship Seminar 520 • 617 1
Portfolio Development 520 • 618 1
Pedagogy Elective (Choose one) 2–3
Psychology of Music Teaching 510.611 2
Music Theory Pedagogy 710.649 3
Human Growth & Development ED.882.511 3
Educational Psychology ED.700.502 3
Independent Study 530 • 998 2

TOTAL 10–11

87
MM Curriculum—Composition Majors
The Master of Music degree program in Composition normally requires a minimum
of two years to complete. Coursework in the master’s program will be chosen with the
advice and approval of the Composition Department, in keeping with the candidate’s
background and special interests, to ensure solid and comprehensive training. Skill in
the utilization of various chamber and choral resources is emphasized, as is composition
for orchestra in larger forms. The study of computer music and orchestration must be
included in the curriculum, unless previous experience in these areas has been docu-
mented.
Composition students have numerous opportunities to hear their works performed, in
recitals scheduled by the Composition Department or by individual teachers or students;
in readings by the Peabody Orchestra, the Opera Workshop, and other Peabody ensem-
bles; and through personal contact with the many excellent performers at Peabody. Many
of these are recorded for later listening and study.

Composition

MAJOR AREA
Major Lesson 100 • 100 16
Departmental Seminar 310 • 845–846 4
Composition Portfolio 310 • 691 2
Large Ensemble/Chorus 910 • 811–812 4
26
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14
ELECTIVES
Electives xxx • xxx 6

TOTAL 46

88
MM Curriculum—Computer Music Majors
The Master of Music degree program in this field prepares students for advanced work
in areas of music where technology occupies an essential role. It normally requires a min-
imum of two years to complete. Students specialize in one of three tracks: Composition,
Performance/Concert Production, and Research/Music Technology.
The Composition track allows special concentration in composing music utilizing
computer music systems. Students will work with the latest digital synthesis hardware
and software and learn to develop idiomatic composing techniques which take advan-
tage of the unique capabilities of digital music technology. Students in this track will
take instruction in composition. They must submit, by April 1 of the year they intend
to graduate, a portfolio of compositions created during the time of study. This should
include a variety of works in the computer music medium, with a substantive work of at
least 10 minutes’ duration, and at least one work that uses acoustic instrument(s) and/or
voice(s). Please refer to departmental guidelines for exact composition portfolio require-
ments.
The Performance/Concert Production track allows students to gain the skills and
sensibilities necessary to become expert performers with the new technology. The term
“performance” may include real-time control of musical parameters using existing tech-
nology in an expressive way, performance on electronic instruments such as synthesizers,
performance on conventional instruments combined with electronics, and concert pro-
duction techniques, depending on the student’s background and needs.
Students in this track will take instruction in performance. In the year they intend to
graduate, they will present a full program, which may be entirely computer music, or
combined with acoustic instrument(s) and voice(s). Please refer to departmental guide-
lines for exact performance concert requirements.
The Research/Music Technology track is designed for students pursuing musically
related research or developing new music technology. Students in this track may work
with practicing composers and performers in developing technology, such as real-time
performance systems in which computers are able to follow a conductor’s expressive
tempo variations during a concert. Research topics in psychoacoustics and perception
and in music-related computer science may also be pursued. Students in this track will
have a document advisor analogous to the instructor in composition or performance
mentioned above, and will submit by April 1 of the year they intend to graduate a thesis
documenting their research or new technology. Please refer to departmental guidelines
for exact research portfolio requirements.
Students in the three areas of concentration are expected to work together closely. Spe-
cifically, students in the Composition area are expected to create at least one composition
that requires the assistance of students in the performance and research/technology areas.
Students in the Performance/Concert Production area are similarly required to perform
or produce at least one piece by a student in the composition area that requires assistance
from a student in the research/technology area. Students in the Research/Technology area
are expected to create at least one technological advance that is applied by a student in
the performance or composition area.

89
Computer Music

MAJOR AREA
Major Lesson 100 • 100 16
Departmental Seminar 350 • 845–846 2
Capstone Project xxx • xxx 2
20
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 3
Music Theory Seminars 710 • xxx 6
History of Electroacoustic Music 350 • 840 3
Digital Music Programming 350 • 837–838 4
Studio Techniques 350 • 835 3
Synthesis Theory 350 • 867–868 6
Musical Acoustics 550 • 515 3
30

TOTAL 50

VARIATIONS:
[Each degree specifies a capstone project]
— CM Composition 42 credits
CM Composition Portfolio 350 • 693 [2]
— CM Performance/Concert Production 42 Credits
Recitals 190 • 695 [2]
— CM Performance/Concert Production 42 credits
Thesis 350 • 691 [2]

90
MM Curriculum—Music Education Majors
The Master of Music degree program in music education is designed for students
already possessing initial certification to teach music in the public schools. Coursework
in this program will be determined according to the background and professional goals
of the candidate. Students may elect to enroll in the music education degree
Peabody offers a partial tuition grant for degree-seeking graduate music education
majors. Students must be a teacher in the state of Maryland and enrolled for a maximum
of 6 credits per semester. Funds are limited. For more information, see www.peabody
.jhu.edu/musiceducation.

Music Education

MAJOR AREA
Psychology of Music Teaching & Learning 510 • 611 2
Research in Music Education 510 • 612 2
History and Philosophy of Music Education 510 • 613 2
Music Education Electives* 510 • 6xx 8
Indpendent Field Study 510 • 691 4
  18
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14

TOTAL 32

* Possible electives include:  

Supervision and Curriculum Development 510 • 614
Graduate Practicum 510 • 621
Conducting Wind Literature 510 • 624
Music Education and Society 510 • 626

91
MM Curriculum—Musicology Majors
The academic discipline of musicology investigates the varied relationships between
musical traditions and the cultures that create and sustain them. The discipline necessar-
ily combines historical and cultural research with analysis of music.
The Master of Music degree program in musicology offers the student an introduction
to the academic study of music at the graduate level. Coursework exposes the student
to a broad range of approaches to contemporary musical scholarship and emphasizes the
development of critical, analytical, and practical skills germane to the profession. All
students are assigned an advisor who will monitor the student’s progress during the first
year of the program. In the second year of study, the advisor will supervise an indepen-
dent project of research and writing leading to the completion of the master’s thesis.
Upon completion of the program, students are well positioned for admission to PhD
programs in musicology.
Students entering the program should demonstrate a strong potential for future suc-
cess in the field. Successful applicants normally possess (1) a solid undergraduate founda-
tion in music history, theory, and musicianship, (2) relevant experience as a performing
musician, or (3) a distinguished academic background in a related field of study. All
students are required to meet the proficiency standards in music history, theory, and ear
training required of master’s students in all disciplines.
All students must pass a reading exam in French, German, or Italian and should plan
to fulfill this requirement before the completion of the third semester of full-time study.
Entering students who are not prepared to meet this requirement are advised to under-
take appropriate coursework at Peabody or on the Homewood campus of The Johns
Hopkins University. In certain instances, a student may petition the department for an
examination in a language other than those listed above. In such cases, the student must
make a compelling case that knowledge of this language is of direct relevance to his/her
research interests. All such requests must be submitted in writing to the department
chair before the end of the second semester of study, and cases will be decided by a vote
of the full faculty. Any questions about the language requirement should be directed to
the graduate advisor.
As the final requirement for the master’s in musicology degree, all students complete a
master’s thesis, a serious scholarly endeavor displaying excellence in research, writing, and
critical thinking. The following guidelines are provided as a general model only, and, as
such, they are intended to be descriptive rather than prescriptive. Topics and approaches
vary widely, and detailed requirements for the content of the master’s thesis are deter-
mined on an individual basis in consultation with the student’s academic advisor.
1. During the second semester of full-time study, each student registers for graduate
research with a member of the faculty, to commence at the beginning of the third
semester.
2. During the third semester, the student and advisor devise an independent program of
reading and research leading to the identification of a topic for the master’s thesis.
3. Working closely with the advisor through the various stages of the writing process,
the student submits a draft of the completed thesis to the advisor at least one month
prior to the submission deadline set by the Office of Academic Affairs. The submis-
sion deadline for the final copy is currently March 30. As changes in the academic
calendar often occur, students should consult with the academic program coordinator
to verify the date of the submission deadline.

92
4. Once the advisor has approved the final version of the thesis, two copies are submitted
to the Office of Academic Affairs. The final copy should include a title page that fol-
lows the template provided in Appendix F of the DMA Guidelines (available from the
Office of Academic Affairs).
Final copies of the thesis, printed on acid-free paper, should be produced on a laser
printer. High-quality photocopies are acceptable as final copies.
1. The bibliography and footnotes should be formatted according to the methods out-
lined in The Chicago Manual of Style.
2. There is no required page length for the master’s thesis, but most range between 30
and 50 pages in length.

Musicology

MAJOR AREA
Seminars in Musicology 610 • 63x– 9
Musicology Colloquium 610 • 847–848 6
Graduate Research 610 • 755–756 4
Master’s Thesis 610 • 691 2
Applied Minor Lessons or Ensemble xxx • xxx 2
  23
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Music Theory Seminars 710 • xxx 6
8
ELECTIVES
Elective* ASEN.xxx • xxx 3

TOTAL 34
* To be selected in consultation with the Musicology chair from courses offered at
other divisions of The Johns Hopkins University or another affiliated institution.

93
MM Curriculum—Music Theory Pedagogy
The Master of Music in Music Theory Pedagogy is intended for musicians with
strong abilities and interest in teaching music theory. The program of study encourages
students to perceive and articulate large and small musical phenomena. In addition to
courses in music theory pedagogy, students take courses in counterpoint, analysis, and
20th-century music as well as Music Bibliography and two musicology seminars.

Music Theory Pedagogy

MAJOR AREA
Baroque Counterpoint* 710 • 634 3
Analysis Courses Choose Two 6
Twentieth-Century Analysis Course Choose One 3
Music Theory Pedagogy 710 • 649 3
Music Theory Internship 710 • 650 3
Music Theory Pedagogy Project 710 • 685 3
  21
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
8
ELECTIVES
Electives** xxx • xxx 6

TOTAL 35
* Students who test out of Baroque Counterpoint take
Renaissance Counterpoint 710 • 633

Possible Analysis Courses Include:  

Analysis and Performance 710 • 655
Analytical Techniques 710 • 702
Baroque Style and Practice 710 • 637
Fugue from Bach to Shostakovich 710 • 677
Schenkerian Analysis 710 • 623
Styles Analysis 710 • 635
Thinking by Ear: Common-Practice 710 • 713
Possible 20th-Century Analysis Courses Include:
Music from 1900–1945 (Fall) 710 • 643
Music from 1900–1945 (Spring) 710 • 644
Music Since 1945 (Fall) 710 • 645
Music Since 1945 (Spring) 710 • 646
Thinking by Ear: Segue – 20th Century 710 • 714
20th-Century Style and Analysis 710 • 651
** May include additional music theory, musicology, or graduate-level
courses offered at Homewood.

94
Master of Arts in Audio Sciences Degree
The Master of Arts program in Audio Sciences was developed in conjunction with
members of the professional audio community to provide the technical knowledge and
musical skills necessary to work at an advanced level in the field of audio and/or acous-
tics. The program is intended both for current audio professionals wishing to obtain a
post-baccalaureate credentials and individuals with a background in science, technology,
and/or music seeking additional training in order to gain employment in the audio or
acoustics industry. 
Students choose from two tracks: a concentration in recording and production or an
emphasis on acoustical studies. Core coursework will include Music Theory I, Musical
Acoustics, Electroacoustics, Psychoacoustics, and Physical Acoustics. The remaining
coursework in each track will consist of courses specific to the concentration chosen by
the student in accordance with his or her background and professional goals.
The acoustical studies concentration is designed to prepare students to work as profes-
sionals in the fields of acoustical consulting, sound systems design, acoustical product
design, and sound systems integration. The program provides a thorough grounding
in acoustical fundamentals and design practices to enable graduates to begin careers in
these specialized fields.
For admission, an undergraduate degree in architecture, audio technology, computer
sciences, electrical engineering, mechanical engineering, physics, or recording sciences
is required. Undergraduate coursework must include one year of college physics and one
year of calculus. Additional requirements are a background in music with the ability to
play an instrument at high school level, courses in music history, and skills sufficient to
enter Music Theory I. International students must demonstrate competency in English
commensurate with expectations for Peabody’s Master of Music degree program.

Audio Sciences

MAJOR AREA
Architectural Acoustics 550 • 624 3
Noise Control 550 • 626 2
Sound System Design 550 • 625 3
Acoustical and Audio Measurements 550 • 519 3
Computer Modeling 550 • 627 2
Professional Practices 550 • 631 2
Acoustics Design Practicum 550 • 64 3
Musical Acoustics 550 • 515 3
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
  30
SUPPORTIVE COURSES IN MUSIC
Music Theory Seminars 710 • xxx 6

TOTAL 36

95
Concentration in Recording and Production
The Recording and Production concentration is designed to prepare students to work
as professionals in the audio/video production field and as recording and broadcast engi-
neers. The program draws on the student’s previous work in the pertinent undergraduate
field to build skills that are applied to the proper use of professional digital and analog
audio recording and production equipment.
For admission, an undergraduate degree in music, physics, electrical engineering,
or audio technology is required. Undergraduate coursework must include one year of
college physics, one year of calculus, one year of audio fundamentals, basic audio engi-
neering, and circuits and signals or the equivalent. Additional requirements are a back-
ground in music with the ability to play an instrument at high school level, courses in
music history, and skills sufficient to enter Music Theory I. International students must
demonstrate competency in English commensurate with expectations for Peabody’s Mas-
ter of Music degree program.

MAJOR AREA
Music and Technology 550 • 611 3
Audio Science and Technology 550 • 612 3
Advanced Recording Systems 550 • 511–512 6
Advanced Studio Production 550 • 513–514 6
Musical Acoustics 550 • 515 3
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
  30
SUPPORTIVE COURSES IN MUSIC
Music Theory Seminars 710 • xxx 6

TOTAL 36

96
The Doctor of Musical Arts Degree
The objective of the program leading to
the degree of Doctor of Musical Arts is to
provide a select number of qualified stu-
dents with the highest level of professional
development in the art of musical perfor-
mance or the craft of musical composition,
within a context of comprehensive under-
standing of the common body of theoreti-
cal and historical knowledge and of the
literature specific to the applied major.
The Doctor of Musical Arts degree
certifies that its holder is a sophisticated
professional performer or composer who
is able to exercise professional leadership,
using his or her skills and understanding
to expand existing horizons of knowledge
and perception.
Admission Requirements
Students matriculating into the Doctor
of Musical Arts degree program should
meet the following criteria:
1. A Master of Music degree or its demon-
strated equivalent is a prerequisite for
admission to the Doctor of Musical Arts
degree program. Prior to applying to
Peabody, a DMA candidate should have
taken a course in Music Bibliography
or its demonstrated equivalent; if not,
the student will be required to enroll in
610 • 651 Bibliography.
2. All applicants must pass a personal audi-
tion. It is not possible to audition for the
DMA program by recording. Audition
requirements by major are available on
the Peabody website at www.peabody used to evaluate the applicant both for
.jhu.edu/admissions or from the Admis-
sions Office. Pre-screening recordings are
required for some majors.
3. All applicants must submit evidence
of their research and writing skills in
the form of an essay written within the
previous two years. This essay, of 1,500
or more words, should be on a musi-
cal subject of the applicant’s choice. It
must be typed and supported by cita-
tions and references. The essay serves
as the basis of the DMA interview and
should adequately reflect the applicant’s
97
academic capability. Of particular
interest to the DMA interviewing
committee is evidence of a capacity for
independent thinking, initiative, and
ability to present, develop, and support
a thesis or point of view. Four copies
of the essay must be submitted to the
Admissions Office by the application
deadline. If the essay is not submit-
ted by the application deadline, the
application is considered incomplete,
and the applicant must wait until the
next audition period for admission con-
sideration. Graduates of other Peabody
programs are not exempt from this
requirement.
4. At the time of audition, the DMA
applicant will be scheduled for an
interview with members of the Pea-
body faculty. The purpose of this 15- to
20-minute interview is to ascertain the
applicant’s suitability for the academic
aspects of the DMA program. The
meeting also provides an opportunity
for the faculty to assess the applicant’s
verbal skills, and to discuss the appli-
cant’s particular interests and motiva-
tion in pursuing the degree. A portion
of the interview will relate to the essay
submitted with the application.
5. At the time of auditions, all applicants
take music theory examinations, writ-
ten and aural, and a music history
exam in which they write essays chosen
from a list of topics in the history of
Western music. These examinations are
admissions and for placement in gradu-
ate courses.
Degree Requirements (DMA)
The program of study for the Doctor of
Musical Arts degree will normally require
an attendance of two years beyond receipt
of the master’s degree. The doctoral candi-
date must attend full time for at least one
year (minimum of 18 to maximum of 36
credits for one academic year, including
8 credits of private study), and may com-
plete the remainder of the requirements on
a part-time basis. International students
cannot drop below full-time status with-
out prior approval from the International
Student Affairs Office. Upon completing
coursework and recitals, students achieve
Degree-in-Progress (DIP) status. For the
purposes of student loans and F-1 visas,
students who have achieved DIP status are
considered full-time students. To main-
tain that status, students must register
for Consultation (610 • 813–814) each
semester and pay DIP fees. Continuous
registration each year in courses or applied
studies is required: a DIP student may not
take a leave of absence.
A maximum of 12 semester hours of
graduate study (coursework) completed
at other accredited institutions may be
applied to the Doctor of Musical Arts
degree, with the approval of the Associate
Dean for Academic Affairs, after examina-
tion of placement results and consultation
with the entrance interview committee.
Credit must have been earned within five
years of the student’s first graduate degree
registration at Peabody and must carry
grades of B or better.
Students may petition the Associate
Dean for Academic Affairs to have credits
for courses and/or ensembles that were over
and above the minimum requirements for
a previous Peabody degree applied to the
DMA degree program. No coursework that
was required or used to fulfill minimum
credit requirements for a previous degree
may be applied to a subsequent graduate
degree. Work completed in the Gradu-
ate Extension program, beyond the MM
degree level, may transfer to the DMA pro-
gram, upon satisfaction of all other admis-
sion requirements. All previously earned
credits applied to the DMA degree must
carry grades of B or better, and must have
been earned not more than five years prior
to initial registration in the program.
Deficiencies in ear-training and music
theory identified during the entrance/
placement examinations must be corrected
in the first year of enrollment and may be
corrected either by remedial study or by
re-examination. Students may not enroll
98
in graduate courses in these areas until
deficiencies are remedied. Review courses
carry zero credit and do not count toward
fulfillment of degree requirements, but
the grades earned are calculated in the
GPA and the hours are counted as part
of the course load which determines full-
time status.
All requirements for the Doctor of
Musical Arts degree must be completed
within seven academic years from the date
of initial DMA registration. Exceptions
to this regulation may be granted by the
DMA Committee only under extraordi-
nary circumstances.
For more detailed information about the
DMA curricula, see www.peabody.jhu
.edu/DMA.
Advisory Committees
Each student will be advised by a major
field advisory committee and an academic
advisory committee.
• The major field advisory committee is
appointed by departments in consulta-
tion with the Associate Dean for Aca-
demic Affairs. The major field advisory
committee is responsible for approving
the student’s repertoire list, approving
and jurying all the student’s recitals,
and submitting questions for the major
field qualifying examination.
• The academic advisory committee
consists of the major teacher and three
other faculty members. Each academic
advisory committee must have a faculty
member from the departments of Musi-
cology and Music Theory. This com-
mittee shall be available to the student
for consultation and advice concerning
curriculum and possible dissertation or
paper topics. Members of this committee
also shall submit appropriate questions
for the written qualifying examinations
and sit on the oral qualifying examina-
tion committee. The academic advisory
committee is selected by the student
but appointed by Associate Dean for
Academic Affairs and must be seated
before the student becomes a degree-in-
progress student.
 For more detailed information about the
DMA program, please consult the DMA
Guidelines, which is published yearly and
archived by the Office of Academic Affairs
at www.peabody.jhu.edu/DMA.
Curriculum Components (DMA)
Major Applied Study
Individual studio work includes in-
depth repertoire development, and culmi-
nates in a series of recitals or final projects,
depending on the chosen path of study.
DMA candidates may elect alternative
programs of study in some areas (see indi-
vidual curriculum descriptions).
Upon entry to the program, each can-
didate must submit a repertoire list to
the department faculty indicating works
memorized and works performed. At the
end of each year in the program, the can-
didate will submit an updated repertoire
list reflecting new works studied and per-
formed.
DMA students may perform in large
ensembles on a space-available basis after
students with an orchestral requirement
have been seated.
Recitals
A minimum of three recitals is required
of all performance majors. Any student
not playing a degree recital in a year of
residency will be scheduled for a graded
hearing before the department faculty at
the end of the spring semester.
For performance majors, one recital pro-
gram may be specialized in content if the
others are varied. One ensemble program
may be presented. One lecture-recital may
be presented subject to prior approval by
the major field advisory committee.
For conducting majors, the first two
recitals must be chosen from the following
three options:
1. A full-length program given on campus
2. A full-length program presented at
some other venue while the student is
in residence
3. A combination of performances pre-
sented during the student’s residency
99
that total at least 60 minutes. This
must be approved by both the student’s
advisor and the Ensemble Office.
Each performance must be videotaped
and copies provided by the student to
each committee member who is grading.
The student’s major field committee must
approve each program prior to perfor-
mance, and all students must complete the
necessary paperwork for scheduling and
registration as required by the Concert
Office in consultation with the Ensemble
Office.
It is advisable for the doctoral student
to register for recitals when enrolled full
time. The student must be registered
for private study during the semester in
which a recital is presented. Exceptions
to this include the chamber music recital
(chamber music registration) and lecture-
recital (lecture-recital registration). Every
degree recital must be approved by the
major field advisory committee and the
Concert Office.
Recital Programs
Each program must be approved by the
candidate’s major field advisory commit-
tee and the Associate Dean for Academic
Affairs. A copy of the approved program
must be received by the Concert Office
four weeks before the recital. Students are
responsible for obtaining the necessary
signatures.
The student must supply program notes
of publishable quality before each program
is approved. These should be approxi-
mately one page in length, and must be
approved by a representative of the musi-
cology faculty. The program submitted
to the candidate’s committee must carry
the appropriate signature indicating such
approval.
The lecture-recital must be based on an
analytical or historical document approved
by the candidate’s academic advisory com-
mittee and by the Graduate Document
Committee. The program submitted to
the Concert Office must carry the appro-
priate signatures indicating such approval.
The recital is juried by the members of the
candidate’s major field and academic advi-
sory committee. The document may be
filed with the Academic Affairs Office at
any point prior to April 1 of the semester
in which the candidate expects to graduate
and must be completed prior to presenta-
tion of the lecture-recital.
Portfolio of Compositions
Composition majors must submit to
the composition faculty, by April 15 of
the year in which they intend to graduate,
a work of major proportions as to length
and medium and a substantial research
paper on a topic approved by the candi-
date’s Academic Advisory Committee.
These together constitute the final docu-
ment for composition. In addition, the
portfolio must contain one or more smaller
works. The specific requirements of these
works will be determined in each case in
consultation with the composition faculty.
Candidates who are enrolled full time
may register for the portfolio of composi-
tions without additional fee; non-full-time
candidates will be charged fees on a credit-
hour basis. Students wishing to delay
submission of the portfolio beyond the
first week of the semester following reg-
istration must make application through
the Office of Academic Affairs and must
be registered for private study during the
semester in which the portfolio is actu-
ally presented. No additional fees will be
charged for a delayed submission.
The student should submit the com-
pleted portfolio to the composition fac-
ulty, at the same time advising the Office
of Academic Affairs that this is being
done. Following acceptance of the port-
folio by the faculty, the student should
prepare a final version, incorporating
any modifications which may have been
requested, and deliver the portfolio with
the official acceptance sheet signed by
members of the composition faculty to the
Office of Academic Affairs for presentation
to the library.
100
Coursework
Each student shall take a minimum of
six hours in musicology and six hours in
music theory, plus electives in repertoire
and other studies, including a minimum
of three hours of upper division course-
work in humanities at the School of Arts
and Sciences of The Johns Hopkins Uni-
versity or another accredited institution.
Minimum requirements vary depending
on the major. See the curriculum listings
for individual programs, below.
Doctor of Musical Arts students are
required to enroll in the Musicology Col-
loquium during their first year. The col-
loquium provides opportunities to hear
guest lecturers speak on musicology topics
of their expertise, and focuses on develop-
ing writing and critical thinking abili-
ties. Some majors require DMA students
to take additional graduate seminars in
musicology as well; see specific program
curricula for details. After DMA students
pass the preliminary oral examination
(usually at the beginning of their second
year of study), they will choose an advisor
from among the full-time members of the
Musicology faculty who will then serve as
a guide through the remaining portion of
the DMA musicology curriculum. These
duties will include approving program
notes, preparing and helping to administer
the DMA history examination, and advis-
ing on preparation of the document or
dissertation, lecture-recital, and final oral
examination. For further details students
should refer to the DMA guidelines, avail-
able in the Office of Academic Affairs.
Doctoral students will be required to
demonstrate proficiency in one language
besides English, the language to be
approved by the department and compe-
tency determined by the results of a read-
ing examination. As a rule, the foreign
languages must be chosen from among
French, German, or Italian. With approval
of the members of the DMA Committee,
other languages may fulfill the require-
ment when so indicated by the special
nature of the student’s intended research.
In addition to the reading examination,
voice majors must demonstrate diction
competency in all three languages (French,
German, Italian), conversational ability in
one of the three languages, and functional
knowledge of the other two.
Unless otherwise specified, the term elec-
tive means class elective. Ensemble credits
cannot be counted as elective credits. Ques-
tions about the appropriateness of courses
for elective credit can be directed to the
Associate Dean for Academic Affairs.
Preliminary Oral Examination
The third-semester preliminary oral
examination is intended to demonstrate
a student’s ability to speak about and
respond to questions on a single, sub-
stantial piece of repertoire, chosen by the
student and approved by members of the
DMA Committee.
The 25-minute preliminary oral
examination consists of an examination
on selected repertoire and a listening por-
tion. The intention of the preliminary oral
examination is to identify areas in which
the student may need additional guidance.
Admission to Candidacy
A student is not admitted to official
candidacy for the DMA degree until he or
she has satisfactorily passed all qualifying
examinations. In order to be eligible to
take the qualifying examinations the stu-
dent must have completed all coursework,
at least two recitals, and satisfied the
language requirement. Piano majors must
have completed the literature exam. The
qualifying examinations must be taken
within one calendar year after comple-
tion of the required coursework and shall
consist of:
1. Written examinations in musicology,
music theory, and the literature of the
major field. Detailed information on the
music theory qualifying examination may
be found in the DMA Guidelines, avail-
able in the Office of Academic Affairs.
2. The final oral examination shall be the
last of the comprehensive exams and
will cover many facets of the student’s
101
major field as well as a comprehensive
professional perspective (see DMA
Guidelines).
Curriculum Options: Lecture-Recital or
Dissertation
The following curriculum options are
available for the DMA program:
1. Option A—dissertation
2. Option B—lecture-recital
3. Option C—offered in piano (Ensemble
Arts) and voice (Performance/Pedagogy)
In fields where candidates for the DMA
degree have a choice of writing a disserta-
tion, they must choose a musical subject
which has been approved by the Graduate
Document Committee. Dissertations may
deal with any aspect of music, e.g., analy-
sis, theory, history, criticism, performance
practice, development of a critical edition,
etc. For composition majors, the disserta-
tion will be a composition of major pro-
portions as to length and medium (e.g.,
a symphony) accompanied by a substantial
written commentary on it. See also the
statement on page 100 under Portfolio
of Compositions (composition majors).
An oral defense of the dissertation must
immediately follow completion of the
dissertation, and must take place at least
two weeks prior to the date of submission
of the dissertation to the library. Detailed
procedures are available in the DMA
Guidelines.
For most DMA candidates, the final
recital will be a lecture-recital. The
lecture-recital will be based on an analyti-
cal or historical essay written under the
guidance of a member of the candidate’s
academic advisory committee. This essay
must be completed prior to the presenta-
tion of the lecture-recital. Candidates will
submit two clean copies of their essay,
incorporating all additions and correc-
tions, for placement in the Arthur Fried-
heim Library. Details concerning the scope
of the project, topic approval, the format
of the lecture-recital, and the timetable
of the process may be found in the DMA
Guidelines.
Doctor of Music Arts Curricula
DMA Curriculum—Composition Majors

Composition

MAJOR AREA
Major Lesson 100 • 100 16
Departmental Seminar 310 • 845–846 4
Compositions/Commentary 310 • 793 6
26
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Musicology Seminars 610 • xxx 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 12
Consultation [DIP] 610 • 813–814 (2–10)
26
ELECTIVES
Electives xxx • xxx 7
Humanities Elective xxx • xxx 3
10

TOTAL 62

DMA Curriculum—Conducting Majors

The DMA in conducting is available to qualified students seeking additional profes-
sional experience as conductors. Students are required to present a public lecture preced-
ing the third recital and a final document equivalent to a lecture-recital paper.
Following completion of course requirements as listed below, but within seven years
of their matriculation, candidates must furnish a videotape of one public performance
(Recital 190.797) for which they were engaged as conductor. The acceptability of the
program is determined prior to the performance in consultation with the director of con-
ducting programs.

Orchestral Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Recital, off campus 190 • 797 2
Lecture (with recital 190.796) 190 • 799 2
Conducting Seminar 330 • 847–848 4
Document 610 • 792 2
32
102
 SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 62

Wind Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital (or PWE performances) 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Conducting Seminar 330 • 847–848 4
Curriculum Option (dissertation or lecture-recital) 4–8
30–34
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 60–64

103
 CURRICULUM OPTIONS
— Option A 64 credits
  Dissertation 610 • 791 6
  Graduate Research + 610 • 756 2
— Option B 60 credits
  Lecture (with recital 190.796) 190 • 799 2
  Document 610 • 792 2

DMA Curriculum—Performance Majors

Guitar

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Recital (concerto) 190 • 797 2
Recital (chamber music) 190 • 798 2
Recital (lecture-recital) 190 • 799 2
Document 610 • 792 2
30
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 60

104
DMA Curriculum—Performance Majors
Orchestral Instruments: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Performance Elective xxx • xxx 2
Curriculum Option (dissertation or lecture-recital) 8
32
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 62

CURRICULUM OPTIONS
— Option A 64 credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 credits
  Recital (concerto) 190 • 797 2
  Recital (chamber music) 190 • 798 2
  Recital (lecture-recital) 190 • 799 2
  Document 610 • 792 2

105
DMA Curriculum—Performance Majors
Organ and Piano: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Piano Seminar 450 • 845 1
Curriculum Option (dissertation or lecture-recital) 8
31
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 14
Humanities Elective xxx • xxx 3
17

TOTAL 62

CURRICULUM OPTIONS
— Option A 64 credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 credits
  Recital (concerto) 190 • 797 2
  Recital (chamber music) 190 • 798 2
  Recital (lecture-recital) 190 • 799 2
  Document 610 • 792 2

106
Piano: Option C (Ensemble Arts)

MAJOR AREA
Major Lesson 100 • 100 16
Recital (chamber music / sonatas) 190 • 794 2
Recital (chamber music / sonatas) 190 • 795 2
Recital (chamber music / sonatas) 190 • 796 2
Recital (chamber music / sonatas) 190 • 797 2
Recital (chamber music / sonatas) 190 • 798 2
Piano Seminar 450 • 845 1
Recital (lecture-recital) 190 • 799 2
Document 610 • 792 2
31
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 12
Humanities Elective xxx • xxx 3
15

TOTAL 60

107
DMA Curriculum—Performance Majors
Voice: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Coaching 186 • 711-714 4
Curriculum Option (dissertation or lecture-recital) 8
34
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 64

CURRICULUM OPTIONS
— Option A 64 credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 credits
  Recital (concerto) 190 • 797 2
  Recital (chamber-music) 190 • 798 2
  Recital (lecture-recital) 190 • 799 2
  Document 610 • 792 2

108
Voice: Option C (Performance/Pedagogy)

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Recital (lecture-recital) 190 • 799 2
Coaching 186 • 711-714 4
Performance Electives xxx • xxx 2
Document 610 • 792 2
32
PEDAGOGY
Vocal Pedagogy 530 • 683 2
Vocal Pedagogy Lab 530 • 684 2
4
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 11
Humanities Elective xxx • xxx 3
14

TOTAL 64

109
The Graduate Performance Diploma
The Graduate Performance Diploma
program is designed to meet the needs
of highly accomplished graduate-level
performers who wish to pursue a more
performance-intensive goal than repre-
sented by the MM or DMA. Students may
pursue majors in all areas of performance,
including performance on early music
instruments. Students may also major in
performance in opera and chamber music.
Admission Requirements
Students matriculating into the Gradu-
ate Performance Diploma program should
meet the following criteria:
1. A Performer’s Certificate, undergradu-
ate degree in music, or equivalent from
a recognized institution is a prerequi-
site for admission to the Graduate Per-
formance Diploma program.
2. Applicants must perform selections
from a full recital program for the
applied department at the regularly
scheduled audition periods in February
and May. Detailed audition repertoire
requirements are available from the
Admissions office and the Peabody
website at www.peabody.jhu.edu/
admissions. Pre-screening recordings
are required for some majors.
3. For the Graduate Performance Diploma
in Chamber Music, all students must
be accepted into the studio of a major
teacher in their applied area. There are
no additional audition requirements
for the Chamber Music GPD. For more
information, see www.peabody.jhu.edu/
chambermusic.
Diploma Requirements (GPD)
Residency
The Graduate Performance Diploma
requires four semesters of full-time study.
One year of full-time residency—or
two continuous semesters of full-time
enrollment—is required of all students.
Students are expected to complete four
semesters of major lessons and two recit-
110
als in two years. No GPD student will be
permitted to enroll on a part-time basis
until her or she completes four semesters
of lessons and successfully petitions the
Associate Dean for Academic Affairs.
Through the assessment of an audi-
tion and the mechanism of advanced
placement, it is occasionally possible for
a student to complete the GPD in one
year. Such cases, which typically involve a
continuing working relationship between
a student and a major teacher, must be
presented to the dean of the Conservatory
for final approval.
Major Area Study
Each student taking applied music must
demonstrate satisfactory progress as deter-
mined by the faculty. Study in the major
field must continue through the last semes-
ter of enrollment. For most students, this
will consist of four semesters of lessons.
The progress of each student is moni-
tored by the department at intervals not
greater than two semesters. Advancement
and assessment are accomplished by indi-
vidual lessons and departmental hearings.
Every performance major must play a
recital or a hearing in every semester of
study. Lessons and recitals are the essential
learning modalities of a conservatory edu-
cation but are also for-credit classes that
require grades of at least a B- for students
to maintain satisfactory academic progress.
A student who does not play a recital or
hearing is not considered to be making
satisfactory academic progress.
A minimum of two recitals is required
for completion of the program. For an
individual majoring in performance, one
of the recitals may be a chamber music
recital with the permission of the major
applied department. For chamber music
majors, all recitals must be chamber music
recitals. For opera majors, at least one
opera performance (not necessarily a com-
plete role) during each semester of study
is required. For percussion majors, a juried
performance of orchestral repertoire will
serve as the second recital. Any student
not presenting a graded recital in a given
year is required to perform at a graded
hearing before the department faculty at
the end of the spring semester.
Ensembles
Graduate Performance Diploma can-
didates majoring in orchestral instru-
ments must participate in the Peabody
Symphony Orchestra, Peabody Concert
Orchestra, or Peabody Wind Ensemble
during each semester of enrollment.
Early Music students play in Early Music
ensembles. There is no large ensemble
requirement for other Graduate Perfor-
mance Diploma candidates. The regula-
tions for performing in large ensembles,
which are set by the Ensemble Office, may
be found in the Procedural Regulations
Curriculum Components (GPD)
Performance: Orchestral Instruments or Jazz
MAJOR AREA
Major Lesson
Two Recitals
Large Ensemble
ELECTIVES
Electives
TOTAL
Performance: Guitar, Organ, Piano, or Voice
MAJOR AREA
Major Lesson 100 • 100
Two Recitals 190 • 695–696
ELECTIVES
Electives xxx • xxx
TOTAL
111
section of the catalog, or at www
.peabody.jhu.edu/ensembleoffice.
Related Requirements
The student may choose electives from
music theory, musicology, repertoire
studies, Curricular Practical Training, or
other music courses at or above the 400
level. With the approval of the Associate
Dean for Academic Affairs, undergraduate
courses may be accepted when the student
demonstrates its special career relevance.
Students are limited to 4 credits of course-
work per semester, in addition to lessons,
recitals, and ensembles. Additional course
credits or audits carry a per-credit charge.
In the areas of music theory and musicol-
ogy, the student must take the appropriate
placement examinations and satisfy any
review requirements prior to enrolling in
graduate-level courses.
100 • 100 16
190 • 695–696 4
910 • xxx 8
28
xxx • xxx 8
36
16
4
20
8
28
Performance: Opera

MAJOR AREA
Major Lesson 100 • 100 16
Opera Coaching 530 • 893–894 4
Two Recitals (opera roles) 190 • 695–696 4
Opera Ensemble* 910 • xxx 4
28
ELECTIVES
Electives xxx • xxx 8

TOTAL 36
*Opera Theatre, Chamber Opera, or Opera Workshop

Performance: Early Music Instruments

MAJOR AREA
Major Lesson 100 • 100 16
Two Recitals 190 • 695–696 4
Large Ensemble 910 • xxx 8
Chamber Ensemble 950 • 5xx 4
32
ELECTIVES
Electives xxx • xxx 8

TOTAL 40

112
The Artist Diploma Program
The Artist Diploma is a non-degree
program reserved for the most exceptional
and experienced performers, with emphasis
on repertoire designed to meet the needs of
performers who are preparing and qualified
to embark upon a professional career.
Admission Requirements
Majors are available in all areas of per-
formance. There is no Artist Diploma in
composition. Applicants must submit the
following with their application:
1. Standard evidence of formal train-
ing, e.g., certificates and/or diplomas,
including transcripts certifying profi-
ciency in all basic areas of musical study.
2. Evidence of professional performing
experience, e.g., programs. Reviews are
optional.
3. Repertoire list indicating works studied
and works performed.
4. A 75-minute recital program ready to
be performed in its entirety.
5. Written recommendations from three
outstanding professional musicians
familiar with the applicant’s perfor-
mance ability. An individual may
not apply for admission to the Artist
Diploma program more than twice.
Entrance to the Artist Diploma pro-
gram is determined by live audition only
in February. All applicants must perform
selections from a full recital program for
the applied department at the regularly
scheduled audition time. Upon the rec-
ommendation of the department, the
Curriculum Components (AD)
MAJOR AREA
Major Lesson
Four Recitals
ELECTIVES
Electives
TOTAL
113
performer(s) will be scheduled for a second
audition before a panel of invited outside
judges on the final day of February audi-
tion week.
Diploma Requirements (AD)
One year of full-time residency is
required, with a minimum of two years of
study at Peabody expected. The program
must be completed within five years.
Financial aid is awarded for a maximum
of two years. International students in
the Artist Diploma program are consid-
ered by Immigration and Naturalization
Services to be full-time students when
enrolled for lessons and recitals. Students
enrolled in the program are expected to
be active performing members of the
Peabody campus community.
The Artist Diploma candidate must
present a minimum of four public recit-
als. For chamber music majors, all recitals
must consist of chamber music. In voice,
a major opera role may be considered an
appropriate substitute for one or more
recitals, subject to approval of the major
teacher and the departments involved.
The Artist Diploma curriculum
includes pertinent coursework as deter-
mined by the student or as advised by the
major teacher in consultation with mem-
bers of the department and the dean. The
program also includes counseling, course-
work, and/or independent study projects
in various aspects of career development,
as directed by the dean, the major teacher,
and/or the department.
100 • 100 16
190 • 795–796-797-798 8
24
xxx • xxx 8
32
The Performer’s Certificate
The Performer’s Certificate is designed primarily for those undergraduate students
with outstanding musical and performance ability who do not choose to include the
academic component of the Bachelor of Music curriculum. Majors are available in guitar,
orchestral instruments, organ, piano, and voice.
A student who has matriculated into the Performer’s Certificate program may later
change to the Bachelor of Music degree program with the approval of the Associate Dean
for Academic Affairs and the Undergraduate Committee.
The admission requirements for the Performer’s Certificate are the same as those for
the Bachelor of Music degree program. Students should consult the appropriate section
of this catalog and the Peabody website at www.peabody.jhu.edu/ admissions for com-
plete information. Pre-screening recordings are required for some majors.
The Performer’s Certificate is normally a three-year course of study, with a minimum
residency of two years. At least 80 semester hours of course credit are needed for the
completion of requirements. Candidates must participate in ensembles throughout their
period of study.

Guitar

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Seminar 470 • 545–546 6
Departmental Examination 171 • 109–209 2
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
  50
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  52

TOTAL 102

114
Strings, Brass, Woodwinds, Harp, Percussion

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble 910 • xxx 12
Small Ensemble 950 • 531–532 6
46
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  45

TOTAL 91

VARIATIONS:  
— for Flute: 93 credits
  Piccolo Class 530 • 463–464 2

Organ

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Seminar 460 • 545–546 6
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  50

115
 SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530 • 315 2
Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  59

T O T A L  109

Piano

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Small Ensemble 950 • 531–532 4
  40
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  60

TOTAL 100

116
Voice

MAJOR AREA
Major Lesson 100 • 10x 24
Vocal Coaching 186 • 411–412 2
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Opera Performance Electives 910 • 54x 3
41
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear-training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Singing in English – English Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Mélodie 530 • 483–480 5
Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
67
GENERAL STUDIES
Italian I 250 • 111-112 6
German I 240 • 111-112 6
12

TOTAL 120

117
Extension Study
Undergraduate
Individuals wishing to enroll in private
lessons or courses on an undergraduate
non-degree basis, or in preparation for
application to a Conservatory degree pro-
gram, may register for such study through
the Peabody Extension Division, pending
faculty availability and demonstration of
appropriate qualifications.
A student who has been dismissed from
a degree or certificate program at Peabody
may not enroll as an extension student
for at least one full semester following
dismissal. The student may apply for read-
mission after that semester, but Peabody
is under no obligation to grant readmis-
sion. The Conservatory reserves the right
to exclude at any time a student whose
academic standing or general conduct is
considered unsatisfactory.
Further information may be obtained
from the Registrar’s Office.
Graduate
Graduate Extension is designed for the
individual who already holds an under-
graduate or master’s degree in music, or
the equivalent of a Peabody Performer’s
Certificate, and who may fall into the fol-
lowing categories:
1. Has been working in the field for sev-
eral years and is seeking to refresh his/
her knowledge or improve pedagogical
or technical skills
2. Has a particular personal goal, and pre-
fers to make use of Peabody’s resources
in an unstructured way
3. Is the recipient of a special one-year
grant such as a Fulbright
4. Has missed the degree or diploma
entrance deadlines and wishes to begin
work on a space-available basis
A student who has been dismissed from
a degree or certificate program at Peabody
may not enroll as an extension student for
at least one full semester following dis-
118
missal. The student may apply for
readmission after that semester, but
Peabody is under no obligation to grant
readmission. The Conservatory reserves
the right to exclude at any time a student
whose academic standing or general con-
duct is considered unsatisfactory.
An undergraduate or graduate degree
in music from a recognized institution, or
the equivalent of the Performer’s Certifi-
cate, is required. A Graduate Extension
student may make his/her own arrange-
ments with an applied teacher before
making formal application to the Conser-
vatory. The audition (then or earlier) must
be heard by the accepting teacher. A tape
or CD will be acceptable, but the perform-
ing level must be validated in person upon
the student’s arrival at Peabody before
Graduate Extension status is confirmed.
When at all possible, the audition should
be a part of the regular audition schedule.
A Graduate Extension student may be
accepted onto a teacher’s schedule or into
coursework on a space-available basis if
the application process is complete before
registration.
The student may register for applied
study and/or any combination of academic
coursework. In the areas of music theory
and music history, the Graduate Extension
student must take the appropriate place-
ment examinations and satisfy any review
requirement prior to enrolling in gradu-
ate-level courses. Lesson, performance, and
coursework credits may count toward ful-
fillment of subsequent graduate diploma
or degree requirements, if approved by
the major department. Formal application
for any change in graduate program must
be made with the Admissions Office and
all other requirements for entrance must
be met. Graduate Extension registrants
are eligible to participate in ensembles by
audition but generally are not considered
for institutional scholarship support.
Conservatory Faculty
Chamber Music Graduate Conducting Horn
Small Ensembles Gustav Meier, Coordinator Philip Munds
Michael Kannen, Director Markand Thakar Denise Tryon
Katherine Jacobson Trombone
Guitar Randall Campora
Seth Knopp Manuel Barrueco
Maria Lambros David Fetter
Ray Chester James Olin, Coordinator
Violaine Melancon Julian Gray, Chair
Mellasenah Y. Morris Tuba
Jeffrey Sharkey Jazz David Fedderly
Alison Wells Nasar Abadey Euphonium
Larry Williams Paul Bollenback Steven Kellner
Jay Clayton Harp
Early Music Michael Formanek Ruth Inglefield,
Baroque cello, viola da Timothy Murphy    Coordinator
gamba Alexander Norris Percussion, Timpani, and
John Moran Gary Thomas, Chair Marimba
Baroque flute Robert Van Sice
Colin St. Martin Opera Organ
Baroque lute, theorbo Carol Bartlett Donald Sutherland,
Richard Stone Garnett Bruce    Coordinator
Baroque oboe Roger Brunyate, Chair John Walker
Stephen Bard Eileen Cornett
Baroque violin JoAnn Kulesza Piano
Risa Browder Ensemble Arts
Orchestral Instruments Eileen Cornett
Harpsichord
and Organ Ellen Mack, Coordinator
Adam Pearl
Recorder Woodwinds
Piano
Gwyn Roberts Flute
Leon Fleisher
Renaissance lute Marina Piccinini
Brian Ganz
Mark Cudek, Director Emily Skala
Marian Hahn
Laurie Sokoloff
Composition Seth Knopp
Piccolo
Composition Ellen Mack
Laurie Sokoloff
Oscar Bettison Yong Hi Moon
Clarinet
Michael Hersch, Chair Benjamin Pasternack
Steven Barta
Kevin Puts Alexander Shtarkman
Anthony McGill
Boris Slutsky, Chair
Saxophone
Computer Music
Gary Louie Repertoire Studies
McGregor Boyle, Chair
Oboe Michael Habermann
Geoffrey Wright
Jane Marvine Sharon Levy
Ensembles and Conducting Katherine Needleman Hyunsook Park
Ensembles Bassoon Adam Pearl
Hajime Teri Murai, Chair Phillip Kolker, Chair
Harlan Parker Trumpet
Edward Polochick Josef Burgstaller
Gene Young Edward Hoffman

119
Strings Humanities Ear-training
Violin Language Clinton Adams,
Victor Danchenko Paul Oorts    Coordinator
Pamela Frank Patricia Palmer Courtney Orlando
Herbert Greenberg Karen Pevac Keyboard Studies
Violaine Melancon Sebastian Vogt, Patricia Graham,
Keng-Yuen Tseng, Chair    Coordinator    Coordinator
Viola Ken Johansen
Victoria Chiang, Liberal Arts Lura Johnson
   Coordinator Ron Levy, Chair Shirley Yoo
Richard Field Gary Popoli
Hollis Robbins Professional Studies
Stephen Wyrczynski
Violoncello Sarah Snyder Business of Music
David Hardy Linda Goodwin
Musicology Gary Louie
Amit Peled Suhnne Ahn
Alan Stepansky, Music Education
Richard Giarusso Harlan Parker, Chair
   Coordinator John Gingerich
Alison Wells Laura Parker
David Hildebrand Audrey Cardany
Double Bass John Moran
Ira Gold Recording Arts
Jennifer Ottervik Michael MacDonald
Paul Johnson, Coordinator Elam Ray Sprenkle
Jeffrey Weisner Scott Metcalfe, Chair
Andrew Talle Neil Thompson Shade
Voice Elizabeth Tolbert Edward Tetreault
Phyllis Bryn-Julson, Chair Piero Weiss Repertoire Studies
Marianna Busching Susan Weiss, Chair Rebecca Henry
Stanley Cornett Music Theory Pedagogy
Ah Hong Music Theory Laura Parker, Coordinator
Steven Rainbolt Vern Falby
William Sharp Mark Janello
John Shirley-Quirk Ildar Khannanov
Vocal Coaching and Sharon Levy
Repertoire Studies Paul Mathews
Vera Danchenko-Stern Joel Puckett
Wolfgang Justen David Smooke
Ernest Ligon Elam Ray Sprenkle
Ernest Liotti Stephen Stone, Chair
Stacey Mastrian Kip Wile
Robert Muckenfuss

Distinguished Visiting Faculty

Marin Alsop, Conducting
William Nerenberg, Business of Music
Christopher Rouse, Composition
Harold Hall Robinson, Bass
Dame Gillian Weir, Organ

120
Course Listings
In most cases, there are two semester hours numbers in parentheses following the
course description. The first number refers to the first semester and the second number
refers to the second semester. A dash separating the two numbers indicates that the com-
pletion of the course in the first semester is a prerequisite for continuing the course in
the second. A comma separating the two numbers indicates that the first semester is not
a prerequisite for the second. 400-level courses may be used to fulfill graduate require-
ments. Undergraduates may enroll in 600- or 700-level courses with permission of the
instructor and the registrar.
Students should check with the Registrar’s Office each semester for the latest informa-
tion on course availability.

Brass
James Olin, Coordinator
530 • 419,420 Trombone Repertoire Class
The development of orchestral skills through low brass sectionals; performance in trombone
choir, departmental recitals, and mock orchestral auditions. (1,1) Olin

530 • 453,454 Horn Repertoire Class

Open to all horn students wishing a variety of performing situations involving solo and
orchestral repertoire. Includes a class recital and mock audition each semester. (1,1) Munds/
Tryon

530 • 459 Respiratory Function

Basic techniques of breathing and breath control for wind instruments tailored to the stu-
dent’s instrument with a goal of enhancing one’s use of air and efficiency to improve perfor-
mances. Consists of five private one-hour lessons during the semester. Enrollment is limited
to three students per semester. (1) Fedderly

530 • 457,458 Orchestral Repertoire for Trumpet

The development of orchestral performance skills for trumpet with emphasis on repertoire.
(1,1) Hoffman

950 • 547,548/847,848 Brass Repertoire Class

Performance of large brass ensemble repertoire and British-style brass band repertoire;
rehearsal of important orchestral literature for brass. (1,1) Olin/Kellner

Chamber Music
Michael Kannen, Director
530 • 521,522 Chamber Music Seminar
Open to complete groups enrolled in the chamber music program. This class focuses on a dif-
ferent area of the chamber music repertoire each semester. It is an open forum in which all
participants contribute, a goal being that active listening will lead to meaningful and helpful
responses. Through each group’s performance, the class will explore the issues that lead to the
successful re-creation of a work, and will strive to put single works into larger contexts. Groups
must apply for admission into the seminar each semester, and will be admitted at the discretion
of the faculty. This class is offered as an elective. (2,2) Kannen/Knopp/Lambros/Melancon

121
530 • 621,622 Instrumental Chamber Music Class
Designed for concentrated study of the sonata and instrumental chamber music literature.
Audition/permission of the instructor required. (2,2) Hahn/Mack

530 • 579,580 Vocal Chamber Music

This class brings together singers and instrumentalists to explore the vast chamber music
literature that includes voice, from the baroque to the 21st century. Ensembles can include
all orchestral instruments, organ, harpsichord, piano, guitar, and percussion. This course is
offered as an elective. Permission of the instructor is required. (2,2) Sharp/Shirley-Quirk

950 • 531,2/831,2 Chamber Ensemble

The study and performance of the chamber music literature from all periods of music history
and including instrumental groups and combinations of orchestral instruments, keyboard
instruments, guitar, early music instruments, and voice, where appropriate. All groups
receive weekly coachings and are required to perform at the end of the semester. (1,1) Faculty

950 • 535,6/835,6 Peabody Camerata

A larger chamber ensemble devoted to study and performance of the music of the 20th cen-
tury. Works performed are typically for five winds and four or five strings. Works may call for
a single solo performer or for variations up to larger combinations of instruments. The ensem-
ble may also take part in chamber opera. Assignment is by audition to this elective designed
for advanced performers. (2,2) Young

950 • 539,540/839,840 Piano Ensemble

The study and performance of selected duo piano literature, including music written for one
piano, four hands, as well as repertoire for two pianos. (1,1) Jacobson/Faculty

950 • 527,8/827,8 Baroque Ensemble

Small ensembles of instruments and singers formed by faculty coaches who cover aspects of
historic performance styles as well as ensemble playing. Instrumental students are matched
according to ability on period or modern instruments. Prior experience on period instruments
is desirable. (1,1) Faculty

950 • 553,4/853,4 Renaissance Chamber Ensemble

The study and performance of selected Renaissance literature for specific instrumental and
vocal groups such as, but not limited to, quartets of like instruments (e.g., guitars), lutesongs
(for voice and guitar), and the “English” or mixed consort of violin, flute, viol, lute, and gui-
tar. (1,1) Cudek

Composition
Michael Hersch, Chair
310 • 411 Junior Bach Outreach
Weekly after-school lessons in composition with middle-school students from St. Ignatius Loyola
Academy, culminating in a concert of new works at the end of each semester. (0.5-2) Stone

310 • 517,518 Music Now II

This elective course will focus on music of the last 25 years by international region and will
look at the major figures and movements of those countries with a special, extended look at
music from the United States. I and II are offered in alternate years. (2,2) Faculty

122
310 • 545-546/845-846 Composition Seminar
Informal sessions in which works of students and faculty are discussed in depth, guest lectur-
ers appear, and important contemporary works, trends, and techniques are analyzed. Required
for composition majors all semesters of residence. Open to others with permission of the
Composition Department. (1-1) Faculty

310 • 691 Composition Portfolio

The completion of works of major proportions, for full orchestra and chamber ensemble, as
required in the Master of Music degree program. (2) Faculty

310 • 793 Compositions/Commentary

The completion of works of major proportions, for full orchestra and chamber ensemble,
accompanied by a substantial written commentary, as required in the Doctor of Musical Arts
degree program. (6) Faculty

Computer Music
Geoffrey Wright, Coordinator
350 • 437-438/837-838 Digital Music Programming
This course will teach computer programming theory and skills pertaining to computer
music composition, performance, and research. It covers data structures, networking, real-
time computing, machine architecture, advanced C, MAX external objects, and Java. Prereq-
uisites: 350 • 466 and 350 • 835 or equivalent. (2-2) Boyle

350 • 463-464 Introduction to Computer Music

A study of the techniques, repertoire, and aesthetics of computer music. Composition and
research projects are completed using the resources of the Computer Music Studios. Participa-
tion in at least one public program. (3-3) Boyle

350 • 465 Introduction to Web Design

Designed for music students with little computer experience, this course will provide an
overview of the usefulness of computers for musicians by looking at what computers are, how
they work, what they can do, and how they affect many other aspects of living. Focus will be
on both the humanistic and technical sides of computing. (3,0) Wright

350 • 466 Introduction to Programming (using Java)

A non-mathematical introduction to computer science, this course is designed for musicians
with limited background in computing. It is similar to Computer Science I courses at Johns
Hopkins and other universities but focuses on musical, multimedia, and World Wide Web
projects instead of mathematical or statistics projects to learn programming. The course will
be taught using Java J2SE and Music. (0,3) Wright

350 • 467-468/867-868 Synthesis Theory

A course designed to examine digital signal processing techniques as applied to computer
music applications. Topics include theoretical background of digital synthesis and processing
techniques (sampling theory, FM, linear and nonlinear synthesis systems), hybrid synthesis
systems, mixed digital synthesis systems (MIDI), direct digital synthesis (Csound), various
music synthesis and processing languages. Specifically for computer music majors and record-
ing arts majors, but open to others with permission of the instructor. Prerequisites: 350 •
463-464 and 350 • 835 or equivalent. (3-3) Faculty

123
350 • 545-546/845-846 Computer Music Seminar
The seminar focuses on the work of student and faculty composers, performers, and research-
ers, with class discussion of these and other current developments in the field of computer
music. The seminar also functions as a repertoire class, and the participation of computer
music majors is required and evaluated as part of lessons and research practicum. Open to
others with permission of the department. (1-1) Faculty

350 • 835 Studio Techniques

A course that covers advanced computer music studio techniques, including advanced use
of MIDI, synthesizer programming, sample editing and processing, SMPTE Time Code and
synchronization, and recording and production techniques. Prerequisite: 350 • 463-464 or
equivalent. (3,0) Wright

350 • 840 History of Electroacoustic Music

A course devoted to the history, literature, and bibliography of electronic and computer
music, and the relationship between this field and other trends in 20th-century music. The
focus is on musical and technological developments since 1900, and the impact these have
had on musical thought. (0-3) Boyle

350 • 841-842 Research Practicum

An intensive course for those following the computer music research/technology track. Substan-
tial individual projects will be pursued. Prerequisite: Permission of the instructor. (4-4) Faculty

350 • 871 Music Notation Software

A course that introduces the basic concepts of music notation using computer software,
focusing on the Finale application from Coda Music Technology. No prerequisite, open to all
Conservatory students. May be taken by computer music majors for Special Topics credit. (2)
Faculty

350 • 691 Computer Music Master’s Thesis

A scholarly work describing the author’s research activities as required for the Research track
of the MM program in Computer Music. (2) Faculty

350 • 693 Computer Music Composition Portfolio

The completion of works of major proportions that utilize computer technology, accompanied
by a substantial written commentary, as required by the MM program in Computer Music.
(2) Faculty

Conducting
Gustav Meier, Coordinator
330 • 311 Basic Conducting
A basic course in orchestral techniques. Offered fall and spring. (1) H. Parker

330 • 411,412 Intermediate Conducting

Designed for the student who desires more intensive study in conducting. Literature will be
sequenced with the more difficult works in the Advanced Conducting course. Prerequisite:
Basic Conducting or permission of instructor. (1,1) H. Parker

330 • 413,414 Advanced Conducting

Designed for the student who desires more intensive study in conducting. Prerequisite: Inter-
mediate Conducting or permission of the instructor. (1,1) H. Parker

124
330 • 845-846/847-848 Conducting Seminar
A seminar in all aspects of conducting as a profession, from orchestra management to pro-
gram making. Videotapes of each week’s rehearsal with the conductor’s orchestra will be
discussed. Required of all conducting majors throughout period of enrollment. (1-1) Meier/
Thakar

Early Music
Mark Cudek, Director
530 • 315 Continuo I: Figured Bass
Designed to develop the skill of continuo playing, reading, and improvising from a figured
bass, this course will use standard repertoire as well as exercise drills. Open to all qualified
keyboard students. Offered on an as-needed basis. (2-0) Pearl/Stone

530 • 337-338 Baroque Violin/Viola Repertoire

An introduction to the playing of early repertoire on period violin or viola and bow. The student
will learn the basics of baroque technique and will be introduced to a range of music, from early
baroque to early classical, and its interpretation from a historical perspective. (1-1) Browder

530 • 351-352 Beginning Viola da Gamba

An introduction to the playing technique of the viola da gamba through easy to intermedi-
ate-level ensemble literature. A preparatory step to consort playing and the viol solo litera-
ture. Prior string experience is not necessary. (1-1) Moran

530 • 353,354 Viola da Gamba Consort

Designed for students of intermediate to advanced proficiency on viola da gamba, the consort
class provides an opportunity to read and perform music written specifically for combinations
of two to six viols (primarily from 17th-century England). Refinement of ensemble playing is
stressed. Students have the opportunity to work with other instruments of the period in bro-
ken consort and consort songs. Prerequisite: 530 • 351-352 or permission of the instructor.
(1,1) Moran

530 • 355-356 Recorder Consort

The study and performance of ensemble music of the Renaissance for recorder consort, with
emphasis on sound, blend, tuning, style, articulation, and historical fingerings. (1-1) Roberts

530 • 421,422 Harpsichord Literature

A study of the literature for the harpsichord from the late 16th to the 20th century. The
course is approached from the performer’s point of view with analysis and discussion of form
and style. Offered on an as-needed basis. (1,1) Pearl

530 • 433-434 Lute Literature and Notation

Intensive study of repertoire and genres for Renaissance and baroque lute and vihuela through
listening, transcribing, and performance of selected works from French, Italian, and German
tablatures. Performance practice is also a key focus of this class and will be learned initially
through simple ensemble pieces transcribed for guitar duo, trio, and quartet. Required for
guitar majors. (2-2) Cudek

530 • 435 Viola da Gamba Repertoire

A chronological survey of the viola da gamba and its literature (16th to 18th centuries). The
class includes live performances of seldom heard repertoire in addition to discussions of viol
technique and history. No prior early music training is required. (1,0) Moran

125
530 • 436 Early Cello Literature
A chronological survey of violoncello literature, pedagogical as well as musical, with an
emphasis on historical techniques and performance practices of the 17th, 18th, and 19th cen-
turies. The class includes consideration of the most important cellists of the 18th and 19th
centuries. No prior early music training is required, but familiarity with cello repertoire is
expected. Prerequisite: Music History II or permission of the instructor. (0,1) Moran

530 • 439,440 Baroque Violoncello

This course combines the history of the violoncello with listening and hands-on experience.
Students have use of Peabody’s recently “baroqued” instruments and work with primary
source tutorials as an introduction to performance practice. Solo and ensemble playing are
integral to the course. The art of bowed continuo playing is stressed and practiced in ensem-
bles with other “original” instruments. (1,1) Moran

530 • 441-442 Baroque Ornamentation

A course in performance practices in baroque literature from 1600 to 1785. An in-depth
study of melodic and harmonic embellishments organized by country with emphasis on
sources of the period. Examples from vocal, keyboard, and other instrumental sources used.
May be used to satisfy music history electives. Text is Frederick Neumann’s Ornamentation in
Baroque and Post-Baroque Music. (2-2) Pearl

530 • 443,444 Baroque Flute Class

An introduction to the playing technique of the baroque flute with emphasis on fingering,
tonal production, historic styles, and appropriate literature. (1,1) Roberts

530 • 445 Advanced Continuo

A continuation of 530 • 315 Continuo I: Figured Bass. Specific styles of accompanying rec-
itative, chamber ensembles, orchestral, including Italian, French, German. Offered on an as-
needed basis. (0-2) Pearl/Stone

530 • 543,544 Early Vocal Literature

Fall: a study of vocal works and styles from the Middle Ages and Renaissance. From chant
and early polyphony to mass, motet, madrigal, and lute song. Spring: transition from Renais-
sance to baroque—monody, opera and oratorio, aria, and recitative. An emphasis on coached
in-class performances. (2,2) Cudek/Stone

530 • 577,578 Early Wind Literature

A chronological survey of the literature for recorder, flute, and oboe from the beginnings of
soloistic composition in the late 16th century through the end of the 18th century, with atten-
tion to historical context and performance practice. Includes history and development of the
instruments themselves and consideration of how the recorder, flute, and oboe repertoires over-
lap, differ, and developed over time. No prior early music experience is necessary. (1,1) Roberts

610 • 634 Baroque Performance Practice

What assumptions did performers bring to interpretation in the baroque era? This class pro-
vides a detailed overview of prevalent performance conventions of the time as taught to us by
primary sources, including Quantz, CPE Bach, Leopold Mozart, Muffat, and Geminiani, as
well as some insight into why these matters are important and what drives the early music
movement. While everyone will be expected to develop a solid grasp of the most significant
issues, each student will also independently cultivate expertise in a specific area of his or her
choosing. (3,0) Moran

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910 • 527-528/910 • 827-828 Baltimore Baroque Band (Baroque Orchestra)
At the core of the baroque orchestra are the strings and continuo, forces ranging from one on
a part to the “Twenty-four Violins” of Versailles. Winds were regularly added, to suit reper-
toire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Col-
legium Musicum, it is a flexible group that explores a broad repertoire where students work
in close partnership with experts. Playing on historical instruments, students gain firsthand
experience in period style in an environment combining orchestral discipline and chamber
music sensibility. (2-2) Moran/Browder

950 • 527,8/827,8 Baroque Ensemble

Small ensembles of instruments and singers formed by faculty coaches who cover aspects of
historical performance styles as well as ensemble playing. Instrumental students are matched
according to ability on period or modern instruments. Prior experience on period instruments
is desirable. (1,1) Faculty

950 • 553,4/950 • 853,4 Renaissance Chamber Ensemble

The study and performance of selected Renaissance literature for specific instrumental and
vocal groups such as, but not limited to, quartets of like instruments (e.g., guitars), lute
songs (for voice and guitar), and the “English” or mixed consort of violin, flute, viol, lute, and
guitar. (1,1) Cudek

Ensemble Arts
Ellen Mack, Coordinator
530 • 213-214 Accompanying
Open to all qualified keyboard students at any level. Required for keyboard majors as part of
the chamber music program. (1-1) E. Cornett

530 • 513-514 Advanced Accompanying (Undergraduate)

(2-2) Mack

530 • 619,620 Accompanying and Coaching Skills for Pianists

An in-depth study of basic accompanying and vocal coaching skills, including diction and
phonetics, standard aria repertoire, operatic and oratorio coaching, ornamentation, and musi-
cal style. Also incorporates studies of popular styles: musical theater accompanying, synthe-
sizer skills, lead sheet reading, transposition, and improvisation. Offered in alternate years.
(2,2) E. Cornett

530 • 621,622 Instrumental Chamber Music

Designed for concentrated study of the sonata and instrumental chamber music repertoire.
Audition/permission of the instructor required. (2,2) Hahn/Mack

530 • 625,626 Accompanying and Coaching Skills II

A continuation of Accompanying and Coaching Skills I, this course is designed to build rep-
ertoire, interpretation, and coaching skills in the operatic literature. Audition/permission of
the instructor required. (2,2) E. Cornett

530 • 813-814,817-818 Advanced Accompanying (Graduate)

(2-2) Mack

530 • 639,640 Student Coach, Opera Workshop

Participation as student coach in the preparation and performance of scenes from the operatic rep-
ertoire, in simple stagings with piano accompaniment. Offered on an as-needed basis. (1) Faculty

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General Studies
360 • 411 Copyrights and Contracts
This course examines the business and commercial factors the musician encounters when
making a living in the United States. It considers the legal, financial, and marketing aspects
of a professional musician’s livelihood. Topics include the basics of contract and copyright
laws, key aspects of the recording industry, performing rights and venues, broadcasting, pub-
lishing, unions and other professional societies, managers, booking agents, tax planning, and
marketing. (2,0) Goodwin

360 • 415,416 The Arts Administrator/Orchestra Management

An examination of the principles of orchestra management and its administrative structure,
with detailed practical consideration given to programming, planning, budgeting, fund rais-
ing, staffing, library science, development, and community relations. (2,2) Goodwin

360 • 421 The Business of Music

The course explores the strategies for starting a career as a soloist or chamber musician. It will
help musicians define their personal career goals and will provide the tools necessary for suc-
cess. (1,1) Louie/Nerenberg

AS 376 • 242 Introduction to Popular Music

A survey of the stylistic features and social contexts of American popular music since the
1950s. (3,0) Smooke
530 • 403,404 Community Engagement and Creativity
A laboratory course in which students develop practical skills for sharing music in a variety
of contexts. The first semester focuses on basic communication skills necessary for performers
and teaching artists and culminates in a presentation of a repertoire piece in a community set-
ting. The second semester focuses on collaborative composition and facilitating active music-
making, culminating in a community project with other Peabody students and community
participants. (2,2) Trahey/Collier

530 • 501-502 Thursday Noon Recital Series

Student performances covering all historical periods and a variety of genres. Attendance
required in the first two semesters of undergraduate enrollment. (1/2-1/2)

530 • 503-504 Thursday Noon Alternate Project

A concert attendance project required in the third and fourth semesters of undergraduate
enrollment. (1/2-1/2)

Guitar
Julian Gray, Chair
530 • 431,432 Guitar Literature: Undergraduate
A study of the literature for the guitar from the Renaissance to the present. Offered in alter-
nate years. (2,2) Gray

530 • 631,632 Guitar Literature: Graduate

A more advanced and specialized course which includes detailed study of selected works from
the guitar literature. It will include additional research and documentation beyond the under-
graduate level. Offered in alternate years. (1,1) Gray

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530 • 433-434 Lute Literature and Notation
Intensive study of repertoire and genres for Renaissance and baroque lute and vihuela through
listening, transcribing, and performance of selected works from French, Italian, and German
tablatures. Performance practice is also a key focus of this class and will be learned initially
through simple ensemble pieces transcribed for guitar duo, trio, and quartet. Required for
guitar majors. (2-2) Cudek

530 • 585-586 Guitar Music Skills I

The application of theoretical skills to the guitar. Includes harmony, position reading,
rhythm, transposition, analysis, and more. (1-1) Chester

530 • 587-588 Guitar Music Skills II

A continuation of 530 • 585-586 for guitar majors; emphasis on form and analysis and basic
skills such as transposition, sight-reading. (1-1) Chester

530 • 637-638 Guitar Pedagogy

A study of guitar instructional principles and procedures for their application. Graduate stu-
dents enrolled in this course will be required to do more advanced and specialized research
and documentation. (2-2) Chester

470 • 545-6/845-6 Guitar Seminar

A seminar for performance and discussion of the guitar and related repertoire. Required of all
guitar majors in all semesters of enrollment. (1-1) Faculty

950 • 541,2/841,2 Guitar Ensemble

The development of guitar ensemble skills with two, three, and four guitars. (1,1) Chester/Barrueco

Harp
Ruth Inglefield, Coordinator
370 • 497-498 Harp Maintenance
Incoming students take this class for one year unless expertise can be established. Class covers
the basics of instrument care, changing felts, replacing rods, minor regulation, pedal adjust-
ment, etc.; students must demonstrate ability to perform standard maintenance on the school
instruments. (1-1) Inglefield

530 • 495-496 Harp Repertoire

All harp majors are expected to participate in this class every semester. Individual perfor-
mances of standard and contemporary repertoire (as per lesson material and/or recital prepa-
ration) with discussion of both musical and practical aspects of performance. May include
chamber performances, periodic written “reviews” by classmates, etc. (2-2) Inglefield

420 • 545-546/845-6 Harp Seminar

Varying topics relative to different aspects of the profession: contest/audition preparation,
arranging, orchestral techniques, amplification, resume writing, etc. For all majors from
sophomore year. Expectations vary with topic, but normally involve preparation as well as
participation. (1-1) Inglefield

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530 • 629-630 Harp Pedagogy
May be taken by all majors from sophomore year, and may be repeated (at least one year is
required). Materials covered in first semester include principles of hand position, fingering,
placing, sequencing of materials, choice of music, etc., as these apply to beginning students
at every age level. Second semester consists of continued discussion as above, plus a practicum
level in which each member of the class must teach one student for 12 weeks, after which a
mini-recital will provide the basis for group evaluation and final discussion. Graduate stu-
dents are further expected to prepare a notebook of specialized teaching materials for begin-
ners. (2-2) Inglefield

Humanities
Ron Levy, Chair
260 • 011-012 Introduction to Liberal Arts
Designed for international students for whom English is a second language, this course nurtures
the basic skills of critical thought and self-expression necessary for success in Peabody’s under-
graduate academic program. Students in this class will study Greek myths, selections from the
Bible, Shakespeare plays, and other works that have inspired Western composers and artists.
Course readings will form the basis of class discussion and writing exercises. (3-3) Snyder

220 • 514 Writing Workshop (LL)

Working in a variety of genres (short stories, poems, essays, etc.), students draft, discuss,
revise, and edit their own writing projects. Student-led classes allow for creative activities.
Student work is published in a class anthology at the end of the semester. Material changes
each year so that students may enroll more than once. (0,3) Snyder

260 • 117 Writing Skills (LL)

This course emphasizes practical strategies for successful academic and professional writing.
Students complete a variety of writing exercises and projects. Student writing is frequently
exchanged for discussion and critique. The course is not available for open enrollment; a small
group of students selected from the first semester’s Humanities Seminar will enroll in spring
semester. (0,3) Snyder

260 • 115 Humanities Seminar

A team-taught course designed for new Peabody undergraduates. The course introduces stu-
dents to college-level academic studies. Designed as a text-based, interdisciplinary course,
course themes and assignments change from year to year: In the fall of 2009, the seminar was
entitled Literary Portraits: Challenge, Responsibility, and Identity. The course fosters critical
thinking through discussion and a range of carefully supervised projects in a small-group set-
ting. Writing and collaborative work are central to the Humanities Seminar. (4,0) Faculty

260 • 214 Art and Censorship (HP/GP)

By considering controversial artworks as well as theoretical and legal documents relevant to
them, this course addresses art within its social contexts. Readings will prod consideration of
the meaning and purposes of art in society, government’s role in supporting the arts, and pub-
lic opinion as a force of censorship. The course gives rise to a range of historical, recent, and
current viewpoints—some overlapping, some incompatible, and most challenging common
ways of thinking. (0,3) Levy

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260 • 216 Twentieth-Century Aesthetics and Politics (HP/GP)
This course will introduce students to the ways that the relationships among art (aesthetics
and critical theories of art), ideology, and politics were articulated in the 20th century. We
will look at politics in its broadest sense to mean “the total complex of relations between peo-
ple living in society, and the relations or conduct in a particular area of experience especially
as seen or dealt with from a political point of view” (Merriam Webster). We will look specifi-
cally at the relationship between aesthetic innovation (including of course transgression) and
social/political revolutions; we will explore the many links between aesthetics, critical theory,
politics, and modernity. We will consider the different ways in which aesthetic discourse has
been caught up, implicated in, and called to serve process of revolution in the modern period.
We will read writers such as Mao, Lenin, Trotsky, Brecht, Georg Lukács, Theodor W. Adorno,
and Walter Benjamin. (0,3) Robbins

260 • 222 Introduction to Interpretation (LL)

This course will help you to develop reading and writing skills, to expand your understand-
ing of aesthetic and rhetorical principles, and to introduce you to the discipline of literary
study. You will learn how to read and interpret literary texts from poetry, short fiction, and
novels to drama and film. You will be introduced to traditional interpretive approaches and
theories and learn to be active (as opposed to passive) readers. You will develop a critical
vocabulary to help you read and interpret literary texts, to articulate your own points of view,
and locate your own positions within current theoretical debates. This course will help you to
improve your paper-writing skills for all future classes at Peabody. Texts include poetry, one
play (Twelfth Night), one novel (Lolita), and one film (The Big Lebowski). (0,3) Robbins

260 • 243 Classics of Political Thought (HP/GP)

Characterized in basic terms, politics addresses “the relation between the one and the
many”—relations that pose many problems and give rise to even more questions. Considered
this way, most of the challenges that we face in our individual lives are, at base, political.
This course will consider the problems and questions raised by some of the most influential
writings in the history of political thought. Working with historical texts spanning over two
millennia, the class will consider formulations that have been the basis for social and political
order through the centuries as well as the formative statements ushering in the revolution-
ary change and radical social experiments of the modern world. This will be a text-driven,
discussion-based class in which writing—yours—will be emphasized. (3,0) Levy

260 • 244 Enlightenment and Revolution: 18th-Century France (HP)

The dynamic changes in 18th-century France are arguably the most consequential in his-
tory—radical ideas challenged centuries of tradition, transforming political and social order
with a new promise of human potential. Modern history pivots on this transformation. This
course considers the assumptions of the old, the assumptions of the new, and the dynamic
ideas and events that lead to—and through—the French Revolution at the end of the century.
Course readings include literary, philosophical, and legal texts of Montesquieu, Voltaire,
Robespierre, and others. (0,3) Levy

260 • 245 Nineteenth-Century British Monsters: From Book to Film (LL/HP)

This course will focus on the representation of “monsters” in four canonical 19th-century
novels: Mary Wollstonecraft Shelley’s Frankenstein, or The Modern Prometheus (1831), H. Rider
Haggard’s She (1887), Oscar Wilde’s The Picture of Dorian Gray (1890) and Bram Stoker’s
Dracula (1897). The readings and discussion will explore changing ideas about literary form
(novels and films) and allow us to analyze the aesthetics of monstrosity, reading Edmund
Burke’s writings on the sublime and beautiful as well as Charles Darwin’s Origin of Species
(1859). (3,0) Robbins

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260 • 247 Representing Peace: An Introduction to Peace Studies (GP)
War seems to be a permanent and unchanging feature of the human landscape, yet anthropol-
ogists observe that war-proneness varies considerably throughout history, and across cultures.
This course will examine attitudes toward war and peace in a range of times and cultures—
as well as in our own world, today. A partial list of topics addressed during the semester
includes the nature of violence; “waging peace” (peace as an active pursuit, not a mere absence
of war); cultural-specific definitions of heroism; conflict resolution and peace negotiation; and
media representations of war and peace. Readings will range from Thoreau, Mohandas Gan-
dhi, Martin Luther King, to Tim O’Brien, Marjane Satrapi, and others. (3,0) Ulansey

260 • 314 The Bible as Literature (LL/HP)

This course will focus on reading the Bible as a work of literature from the beginning
through to the various “ends.” We will explore questions of authorship, character, and narra-
tive. We will discuss how characters change over the course of the text and how various con-
tradictions affect a literary reading of the text. We will discuss how scholars have examined
the authorship of the Bible over the coruse of centuries. We will explore the cultural afterlife
of biblical stories in the larger marketplace of ideas. You will be required to read and discuss
and write about the Bible as a work of literature critically and analytically. (0,3) Robbins

290 • 111 Introduction to Psychology (HE)

An introduction to the fields and research methods of contemporary psychology, including
such topics as biological and social bases of behavior, human development, perception, mem-
ory, learning theory, intelligence, and abnormal behavior. Special emphasis will be placed on
subjects of importance to music education. (0,3) Popoli

530 • 539 Poetry in German (LL)

Beginning with Goethe’s work, this course focuses on German poems representative of a
poet, a period, or a genre, from the 18th century to the present. Special attention will be
paid to works set to music by various composers from Mozart to Henze. Texts will be read in
the original German (with English translations); discussion will be in English. Prerequisite:
none. (3,0) Vogt

Languages
Sebastian Vogt, Coordinator
225 • 001-002 English Skills for Classroom Success: Listening and Speaking
This intensive course develops the English skills of listening and speaking necessary for success
in Peabody classes. Placement is determined through an entrance exam and a personal inter-
view. Students in this class must concurrently enroll in 225.003-004 Reading and Writing.
Graduate students placed in this course are required to complete it with a grade of B or better
and to enroll in ESL II in their second year at Peabody. Attendance is mandatory. (0-0) Pevac

225 • 003-004 English Skills for Classroom Success: Reading and Writing
This intensive course develops the English skills of reading and writing necessary for success
in Peabody classes. Placement is determined through an entrance exam and a personal inter-
view. Students in this class must concurrently enroll in 225.001-002 Listening and Speaking.
Graduate students placed in this course are required to complete it with a grade of B or better
and to enroll in ESL II in their second year at Peabody. Attendance is mandatory. (0-0) Palmer

225 • 007-008 ESL II – English Skills for Graduate Study

This intensive course for international graduate students develops English skills for aca-
demic success. The first semester emphasizes oral communication, including listening and
note taking, class discussion, and conversation; academic vocabulary, reading and writing;

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and cultural differences in and out of the classroom. The second semester continues the skill
development begun in the first semester, with concentration on expository writing, especially
resource-based writing, self-evaluation, and editing; critical reading; and informal and formal
presentations. Placement is determined through an entrance exam and a personal interview.
Students placed in this class must complete the course with a grade of B or better in order to
proceed with their degree requirements. Attendance is mandatory. (0-0) Palmer

230 • 111-112 French I (LL)

A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of French. (3-3) Faculty

240 • 111-112 German I (LL)

A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of German. Students should plan to complete both the fall and spring
semesters of this course. (3-3) Vogt

240 • 114 German for Reading Knowledge

This course is designed to help students prepare for translations on the level required to pass
DMA exams. Students in the class will concentrate on recognizing sentence structure and
grammatical features encountered in musical biographies, theory analyses, and musicological
essays. This course does not stress speaking competency of the language and does not count
as a Liberal Arts elective. Prerequisite: one year of college-level German, or one semester and
permission of instructor. (0,2) Vogt

240 • 211-212 German II (LL)

A review and continuation of grammatical and syntactical structures, with a view to improv-
ing ability in the four language skills. Through the use of readings based on cultural and
topical material, students will enhance conversational and writing skills. Prerequisite: Ger-
man I or placement test. Students should plan to complete both the fall and spring semesters
of this course. (3-3) Vogt

250 • 111-112 Italian I (LL)

A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of Italian. (3-3) Oorts

Jazz
Gary Thomas, Director of Jazz Studies
530 • 547, 548 Singing/Playing Jazz Standards
A performance class which includes learning the jazz standard repertoire, establishing keys
and making jazz charts, developing a personal repertoire book, counting off tempos and
understanding form, working with instrumentalists with stock arrangements and the begin-
nings of vocal improvisation. Instrumentals will get the opportunity to play vocal standards
with instructor and other singers, working on playing intros, soloing in different keys, end-
ings, exploring different feels and the concept of instrumental accompaniment. (1,1) Clayton

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530 • 561-562 Jazz Improvisation I
Performance/theory course designed to help students acquire and develop basic language for
improvisation through the practical application of information learned in 720 • 127-128 Jazz
Fundamentals: chords, scales/modes, melody, rhythm, patterns, harmonic progression, and
song forms. Incorporates the performance and examination of several vehicle types, including
songs drawn from standard jazz repertoire. Special emphasis will be devoted to the perfor-
mance and analysis of various improvised solos by master musicians. In addition, develop-
ment of technical facility, listening/hearing skills, sound and musical awareness will also be
addressed. Prerequisites: 720 • 127-128 Jazz Fundamentals and 530 • 570 Jazz History or
placement by the instructor. (2,2) Thomas

530 • 563-564 Jazz Improvisation II

The continued development of knowledge and skills acquired in Jazz Improvisation I with
emphasis on increased fluency and mastery. Prerequisite: Jazz Improvisation I or placement
by the instructor. (2-2) Thomas

530 • 569-570 Constructive Listening and Analysis/Jazz History

This course has two main areas of focus: 1) The People—a survey of the chronological his-
tory of jazz through the use of texts, recordings, videos, and when possible, guest lecturers.
The development of jazz as an art form will be traced from the acculturation of Africans in
America to the present day by learning about its major instrumentalists, ensembles, com-
posers, arrangers, innovators, revivalists, and revisionists. 2) The Methods—a survey of the
techniques and processes that have been employed by jazz musicians throughout its history
to help make it into the highly structured and evolved art form that it is today. Students will
receive limited firsthand performance, arranging, and composing experience, along with lec-
tures, demonstrations, and extensive discussion. Improvisation is an essential element of daily
life, and now more than ever it is becoming a basic requirement for any performing musician
or composer to have some understanding of jazz styles and practices. (2-2) Formanek

720 • 127-128 Jazz Fundamentals

Course covering the fundamental aspects of jazz theory through the study of notation,
melody, harmony, rhythm, chords, scales, modes, harmonic progressions, etc. Provides the
musician with the foundation necessary for study in 530 • 561-562 Jazz Improvisation I and
720 • 259-260 Jazz Theory/Keyboard Lab I. Class includes both an ear-training and singing
component. Basic improvisation skills will be covered as well. (2-2) Thomas

720 • 259-260 Jazz Theory/Keyboard Lab I

The introduction of the fundamental grammar, vocabulary, and structure of the jazz idiom
through the study of its notational conventions, melodic and harmonic functions, and their
application on the piano. (2-2) Murphy

720 • 263-264 Jazz Ear-Training

A progressive course designed for real-world use in the music business, it will help students
understand basic hearing of jazz harmonies, melodies, and forms. (2-2) Bollenback

720 • 359-360 Jazz Theory/Keyboard Lab II

Continuation of the techniques and harmonic concepts studied in Jazz Theory/Keyboard Lab I.
(2-2) Murphy

720 • 361-362 Jazz Arranging and Composition

Beginning study of the language, techniques, and disciplines employed in arranging music
for various jazz ensembles, including orchestration, notation, rhythmic embellishment,
melodic ornamentation, chord substitution, and harmonization techniques. Prerequisite:
720 • 259-260 Jazz Theory/Keyboard Lab I. (2-2) Murphy

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910 • 537-538/837-838 Jazz Orchestra (Big Band)
The study and performance of literature encompassing all of the jazz idioms with emphasis on
historically significant works. Strong readers, sax/flute doubles are required. Student composi-
tions are encouraged. Open to all Conservatory students by audition or permission of instruc-
tor. May be repeated for credit. (2-2) Formanek

Large Ensembles
Hajime Teri Murai, Chair
Orchestral instrument majors please note: the large ensemble requirement can be met with
participation in the Peabody Symphony Orchestra, the Peabody Concert Orchestra, and/or
the Peabody Wind Ensemble. Credit is awarded for participation in the other large ensembles
but is in addition to the aforementioned organizations.

910 • 511-512/811-812 Peabody/Hopkins Chorus

Devoted to the study and performance of major choral repertoire, sacred and secular, from
the baroque through the present day. Its repertoire will range from a cappella music to major
works with full orchestra. Placement is by audition. (2-2) Polochick

910 • 515-516/815-816 Peabody Concert Singers

A select group of mixed voices organized to study and perform choral masterworks from the
Renaissance through the present day. This group also joins the Peabody/Hopkins chorus for
major choral performances. Placement is by audition. (2-2) Polochick

910 • 521-522/821-822 Peabody Symphony Orchestra

A full symphony orchestra which provides comprehensive orchestral training and perfor-
mance experience. Its members are primarily graduate and upper-division undergraduate stu-
dents. Each season, the Symphony Orchestra and the Concert Orchestra (see below) perform a
cross section of the standard orchestral repertoire, supplemented by new works and lesser-
known compositions. The Symphony Orchestra also performs opera with the Peabody Opera
Theatre. Seating assignments in both orchestras are rotated as much as possible. Placement is
by audition. (2-2) Murai

910 • 523-524/823-824 Peabody Concert Orchestra

A full symphony orchestra which provides comprehensive orchestral training and perfor-
mance experience. It includes graduate and undergraduate students. The Concert Orchestra
occasionally performs opera with the Peabody Opera Theatre. Placement is by audition.
Qualified Peabody Preparatory students and Hopkins students from other divisions may be
assigned to this orchestra on a space-available basis. (2-2) Murai

910 • 527-528/827-828 Baltimore Baroque Band (Baroque Orchestra)

At the core of the baroque orchestra are the strings and continuo, forces ranging from one on
a part to the “Twenty-four Violins” of Versailles. Winds were regularly added, to suit reper-
toire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Col-
legium Musicum, it is a flexible group that explores a broad repertoire where students work
in close partnership with experts. Playing on historical instruments, students gain firsthand
experience in period style in an environment combining orchestral discipline and chamber
music sensibility. (2-2) Moran/Browder

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910 • 529,30/829,30 Renaissance Ensemble
Open to singers and instrumentalists who wish to play early winds and strings such as
recorder, krummhorn, shawm, sackbut, cornetto, rebec, vielle, viola da gamba, lute, cittern,
Renaissance guitar, harp, etc. Repertory will include madrigals and chansons, motets and
anthems, lute and consort songs, and various instrumental consorts. (2,2) Cudek

910 • 535-536/835-836 Peabody Wind Ensemble

A large wind and percussion ensemble which studies and performs well-known and unusual
symphonic wind ensemble/wind symphony literature, including world premieres and works
for larger chamber ensemble. Public performances, audition required. (2-2) H. Parker

910 • 537-538/837-838 Jazz Orchestra (Big Band)

The study and performance of literature encompassing all of the jazz idioms with emphasis on
historically significant works. Strong readers, sax/flute doubles are required. Student composi-
tions are encouraged. Open to all Conservatory students by audition or permission of instruc-
tor. May be repeated for credit. (2-2) Formanek

910 • 539/839 Peabody Improvisation and Multimedia Ensemble

The Peabody Improvisation and Multimedia Ensemble (PIME) is a large ensemble of varied
instruments: strings, brass, woodwinds, percussion, voices. While the major focus of PIME
is to provide an ensemble setting in which the students gain valuable experience and develop
practical performance skills, an additional aim is to expand the boundaries of traditional
ensemble performance by incorporating elements of other genres of artistic expression: dance,
visual art, poetry; and various multimedia technologies: computers, midi, and video. Perfor-
mance pieces cover a broad scope, ranging from standard big band repertoire to audio-visual
works combining elements of music, visual art, dance, film, and poetry. Students are encour-
aged to actively participate in the creation of new works. The Peabody Improvisation and
Multimedia Ensemble is open to all Hopkins students. Placement is by audition or by per-
mission of the ensemble director. (2,2) Thomas

910 • 541,2/841,2 Opera Theatre

Preparation and performance of complete fully staged operas with orchestra. Casting by audi-
tion. Previous or concurrent acting training required. (1,1 or 2,2 depending on size of role)
Brunyate/Faculty

910 • 545,6/845,6 Opera Workshop

Preparation and performance of scenes from the operatic repertoire, in simple stagings with
piano accompaniment. Enrollment by audition. Previous or concurrent acting training
required. (1,1) Brunyate/Faculty

910 • 547,8/847,8 Chamber Opera

Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending on the size of the role) Brunyate/Faculty

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Music Education
Harlan D. Parker, Coordinator
510 • 112 Introduction to Music Education
An overview of music teaching as a profession. Included is an examination of contemporary
philosophical and pedagogical trends in music education as well as roles and attitudes of the
elementary and secondary school music teacher. (0,1) Cardany

510 • 211 Brass Class

Study of the trumpet, trombone, French horn, and tuba with emphasis on methods and mate-
rials for instruction of beginners in the public school setting. (0,2) TBA

510 • 212 Woodwinds Class

Study of the clarinet, flute, oboe, bassoon, and saxophone with emphasis on methods and
materials for instruction of beginners in the public school setting. (3,0) L. Parker

510 • 213 Basic Instrumental Pedagogy

Study of the trumpet, clarinet, and violin to familiarize guitarists, vocalists, and pianists with
fundamental concepts of brass, woodwind, and stringed instrument playing. Also includes
elementary pedagogy related to those instruments. (3,0) H. Parker

510 • 222 Guitar Class

Basic guitar techniques including complete fingerboard and chords in first position for use in
accompanying basal series pieces and instruction of beginners. (0,1) Cudek

510 • 223 Percussion Class

Study of the percussion instruments. Emphasis is on playing techniques, percussion notation,
and diagnosis of student problems. Also included are basic maintenance and repair proce-
dures. (0,1) Locke

510 • 237/337 Conducting the Secondary Choral Ensemble I/II

Development of conducting skills and rehearsal strategies appropriate to the secondary school
choir. Also includes methods of teaching singing in the large ensemble setting. (2-0) Cardany

510 • 238/338 Conducting the Secondary Instrumental Ensemble I/II

Development of conducting skills and rehearsal strategies appropriate to the secondary school
band/orchestra. Also includes methods of teaching wind, string, and percussion playing in
the large ensemble setting. (0-2) H. Parker

510 • 311 Techniques for Teaching Elementary General Music

An eclectic approach to teaching vocal, and general music in the elementary and middle
school. Includes organization of instruction, selection of appropriate materials, theories of
learning, and childhood development. Observation and guided teaching in local schools are
required. (3,0) Cardany

510 • 312 Techniques for Teaching Elementary Instrumental Music

A performance-based approach to teaching instrumental music in the public school setting,
particularly beginning and intermediate instruction. Includes organization of instruction,
selection of appropriate materials, theories of learning, childhood and adolescent develop-
ment. Observation and guided teaching in local schools included. (0,3) L. Parker

137
510 • 313 Techniques for Teaching Secondary Instrumental Music
This course includes principles of secondary education and activities of Conducting the Sec-
ondary Instrumental Ensemble (510 • 338), plus independent projects and workshops related
to marching band and jazz ensembles. For certification candidates only. (0,3) H. Parker

510 • 314 Techniques for Teaching Secondary Vocal/General Music

A performance-based approach to teaching vocal and general music in secondary schools,
and continued study of an eclectic approach to teaching general music. Includes principles of
secondary education, organization of instruction, selection of appropriate materials, theories
of learning, and adolescent development. Observation and guided teaching in local schools
included. (0,3) Cardany

510 • 324 String Class

Study of the violin, viola, cello, and double bass with emphasis on methods and materials for
instruction of beginners in the public school setting. (3,0) Faculty

510 • 411 Intern Teaching

Supervised student teaching in public schools daily for one semester (eight weeks in elemen-
tary, seven weeks in secondary). (6,0) L. Parker

510 • 413 Music and Language

An overview of strategies for teaching reading and other language skills, and examination of
relationships between music learning and language learning. Students who take 510 • 413 for
3 credits will be required to complete additional projects and/or observations. (3,0) Cardany

510 • 414 Music and the Special Student

An overview of instructional strategies and modifications for special students, including phys-
ically impaired students, talented/gifted students, abused children, and students with social/
emotional disorders. Students who take 510 • 414 for 3 credits will be required to complete
additional projects and/or observations. (0,3) Cardany

510 • 441 Intern Teaching Seminar

Concomitant with 411, the seminar is devoted to discussion of problems related to teaching
music in the schools. Special emphasis is on practices in the secondary school. (1,0) L. Parker

510 • 611 Psychology of Music Teaching

Application of selected theories of learning to teaching music in the elementary and secondary
school. Characteristics of childhood and adolescent development will also be examined with
implications for designing and implementing appropriate musical instruction. (2,0) H. Parker

510 • 613 History and Philosophy of Music Education

Seminar in the historical and philosophical perspectives of music education. Includes the
study of history of music education in the United States and various philosophies of music
education. Offered in alternate years. (0,2) L. Parker

510 • 615-616 Music Education Electives

Elective credit may be granted for graduate courses or workshops in the area of specialization;
Orff, Kodaly, Dalcroze, or Suzuki certification; courses included in JHU’s Carey Business
School and School of Education. (1-1) Faculty

138
510 • 621 Graduate Practicum
Observation and guided teaching in a variety of settings, designed to enhance and expand the
teaching skills of the practicing educator. Includes individualized videotaping of teaching dem-
onstrations, and follow-up conferences. Practicum experiences are arranged according to student
interests and needs, and may include teaching and supervisory internships. (2,0) Faculty

510 • 626 Music Education and Society

Seminar examining the role of music in general society and the role of music education in
schools. Discussions will be based on readings from two disciplines: the sociology of music
and the sociology of education. The course focuses on schools as social organizations and the
role music plays in them. (2,0) Faculty

510 • 691 Independent Field Study

An exit project which may include, but is not limited to, the following options: (1) develop-
ment of instructional/curriculum materials, (2) demographic profile of a school district and
the music education program, (3) historical or descriptive research, (4) limited experimental
research. (4) Faculty

Music Theory
Stephen Stone, Chair
Undergraduate Curriculum for Juniors and Seniors: Applies to undergraduate stu-
dents who entered before 2009

710 • 311 “Old” Theory III, Fall: Romantic and Early 20th-Century Styles
Extension and expansion of harmonic, formal, and contrapuntal techniques into music from
the mid-19th to early 20th centuries. (3,0) Faculty
* Will be offered for the last time in fall 2010

710 • 312 “Old” Theory III, Spring: 20th-Century Styles

A study of the newer formal, contrapuntal, and harmonic techniques of the 20th and 21st
centuries. A wide variety of styles and techniques will be covered, as well as new analytical
approaches. (0,3) Faculty
* Will be offered for the last time in spring 2011

Revised Undergraduate Curriculum: Applies to undergraduate students entering

after 2009–2010

710 • 111 Music Theory 1: Diatonic Voice Leading

This course includes study of melody, figured bass, diatonic and chromatic harmony, and
analysis and composition of short homophonic and polyphonic pieces. (3,0) Faculty

710 • 112 Music Theory 2: Diatonic and Chromatic Voice Leading; Introduction to
Form and Counterpoint
Continuation of techniques learned in Theory I and a study of counterpoint in two and three
voices. Students study simple binary, rounded binary, and ternary forms. (0,3) Faculty

710 • 211 Music Theory 3: Baroque Counterpoint

Analysis and composition of two- and three-voice baroque-style pieces, including fugue. (3,0)
Faculty

139
710 • 212 Music Theory 4: Studies of Classic and Romantic Styles
This course will center on music from Viennese Classicism to the mid-19th century, draw-
ing examples from a variety of genres and formal designs. Topics will range from aspects of
motive, harmony, line and counterpoint, to their uses in large-scale architectural design, with
particular attention to sonata forms and principles. (0,3) Faculty

710 • 311 Music Theory 5: Late Romantic and 20th-Century Musical Practices
A study of the newer formal, contrapuntal, and harmonic techniques of the late 19th through
the 21st centuries. A wide variety of styles and techniques are covered, through listening,
analysis, and writing. (3,0) Faculty
* First offered in fall 2011

710 • xxx Music Theory 6: Elective

Students take one of several specially designated electives. (TBA) Faculty.
* First offered in spring 2012

710 • 415 Graduate Music Theory Review

An intensive review of the materials and techniques of tonal music, including diatonic and
chromatic harmony, part writing, and analysis. Offered fall semester only. (0) Faculty

710 • 843,844 Independent Study in Music Theory

Designed for those who wish to make a concentrated study of selected topics in music theory.
May not be used to substitute for an offered course. Open only to advanced students with
approval of the instructor and the Department of Music Theory. Hours to be determined. Faculty

Music Theory Seminars

Music Theory seminars offer in-depth study of selected topics in music theory. Prerequisite:
passing mark on music theory placement exam or passing grade in Music Theory Intensive
Review.

Fall Semester
710 • 412 Instrumentation and Arranging
A course for developing skills in orchestration, arranging, and transcribing. A study of instru-
mentation and its practical application through the scoring of excerpts and complete pieces.
For music education and recording arts majors; others by permission of the instructor. Offered
fall and spring. (3,0) Adashi

710 • 413-414 Orchestration

A course for composers and conductors studying instrumental technique and ensemble com-
binations as demonstrated in orchestral literature, 1750 to the present. Music theory credit
available only for graduate composers and conductors; other students are directed to take
710 • 412 Instrumentation and Arranging for music theory credit. Course must be taken for
the entire school year. (3-3) Stone

710 • 630 Chopin

A detailed study of Chopin’s music in relation to the harmonic, tonal, motivic, and formal
aspects of his technique. A significant part of the discussion will be devoted to musical dra-
maturgy, musical semiotics, and philosophical aspects of Chopin’s music, as well as literary
analogies and analyses of romantic genre. The format of this seminar will include student per-
formances, short presentations, and exercises in harmonization. (3,0) Khannanov

140
710 • 633 Renaissance Counterpoint
An examination of sacred music in the late Renaissance. Intensive analysis and composition in
the style are stressed. (3,0) Janello

710 • 643 Music from 1900 to 1945

A survey of important trends in music since the turn of the century with particular attention
to the works of Stravinsky, Hindemith, Schoenberg, and Bartok. Emphasis on score analysis
and listening. (3,0) Stone

710 • 647 Analysis of 19th-Century Piano Literature

Detailed analysis of representative works from the piano repertoire. (3,0) S. Levy

710 • 649 Music Theory Pedagogy

Designed for those who may wish to teach undergraduate theory. The course will include an
investigation and discussion of available teaching resources, including current technology, as
well as classroom observation and practice teaching. (3,0) Wile

710 • 651 20th-Century Styles and Analysis

Analysis of selected music in the 20th century to show the diversity of techniques and
approaches to pitch, rhythm, and formal structures. (3,0) Smooke

710 • 673 Bartok

A detailed study of representative works of Bela Bartok with a view to penetrating the man-
nerisms and signatures that make Bartok “Bartok.” (3,0) Sprenkle

710 • 687 The Well-Tempered Clavier

A detailed analysis of the preludes and fugues in Book I of Bach’s Well-Tempered Clavier.
(3,0) Adams

710 • 691 Tonal Composition: Classical

Analysis and study of music of the classical era through model composition. The course will
involve intensive analytical study of phrase structure, harmonic usage, and the interaction of
form and function in classical style. Works of Haydn, Mozart, and Beethoven will serve as
models for our own compositions in various instrumental and vocal forms. (3,0) Janello

710 • 713 Thinking by Ear: Strategies for Music Making

An exploration of issues concerning music of the common practice period. Examines the prac-
tical implications for research and performance of various approaches to analytical interpreta-
tion of music. The work involves listening, reading, creative thinking, and analysis. (3,0)
Falby

Spring Semester
710 • 412 Instrumentation and Arranging
A course for developing skills in orchestration, arranging, and transcribing. A study of instru-
mentation and its practical application through the scoring of excerpts and complete pieces.
For music education and recording arts majors; others by permission of the instructor. Offered
fall and spring. (3,3) Adashi

141
710 • 413-414 Orchestration
A course for composers and conductors studying instrumental technique and ensemble com-
binations as demonstrated in orchestral literature, 1750 to the present. Music theory credit
available only for graduate composers and conductors; other students are directed to take 710
• 412 Instrumentation and Arranging for music theory credit. Course must be taken for the
entire school year. (3-3) Stone

710 • 619 Chamber Music Analysis

Analysis of chamber music in various styles, with particular emphasis on works currently
being performed in Peabody’s chamber music program. (0,3) Wile

710 • 620 Song Analysis

An exploration of the interactions between text and music within the art-song repertoire
from various style periods, drawing on theories of drama, linguistics, cognition, and music.
(0,3) Smooke

710 • 634 Baroque Counterpoint

The course concentrates on the contrapuntal practice of J.S. Bach, including analysis and com-
position of a suite movement, invention, fugue, and chorale-prelude or passacaglia. (0,3) Janello

710 • 648 Analysis of 19th-Century Piano Literature

Detailed analysis of representative works from the piano repertoire. (0,3) S. Levy

710 • 662 Russian Music Theory

A study of Russian music, including Old Russian chant theory, the role and the influence of
Russian folk music, Russian opera and instrumental music, the idea of intonatsia and its sig-
nificance for understanding Russian music, aspects of semiotics and musical dramaturgy, and
the features of Russian musical pedagogical system. (0,3) Khannanov

710 • 676 Stravinsky

A detailed study of representative works of Igor Stravinsky with a view to penetrating the
mannerisms and signatures that make Stravinsky “Stravinsky.” (0,3) Sprenkle

710 • 677 Fugue: From Bach to Shostakovitch

This course will look at the wide-ranging use of fugue in music from the high baroque to the
mid-20th century. The class will examine the techniques and designs themselves, and how
those techniques and designs relate to both the larger works studied and the broader musical
styles of the times. (0,3) S. Levy

710 • 685 Music Theory Pedagogy Project

Designed for Music Theory Pedagogy students; to be taken under the supervision of a music
theory advisor. The project will examine a specific aspect of music theory teaching. (0,3) Faculty

710 • 688 The Well-Tempered Clavier

A detailed analysis of the preludes and fugues in Book II of Bach’s Well-Tempered Clavier.
(0,3) Adams

710 • 692 Orchestration for the Modern Wind Ensemble

A course for composers and conductors dissecting and modeling the instrumental technique
and timbral combinations as demonstrated in the modern wind literature, 1953 to the pres-
ent. Projects will include extensive score study and orchestration projects which will be read
by the Peabody Wind Ensemble. Prerequisite: Orchestration 710 • 413 and 414 (or the
equivalent from another institution) or permission of instructor. (0,3) Puckett

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710 • 714 Thinking by Ear: Segue to the 20th Century
An exploration of issues concerning music of the 20th century. Examines the practical impli-
cations for research and performance of various approaches to analytical interpretation of
music. The work involves listening, reading, creative thinking, and analysis. (0,3) Falby

Ear-Training/Sight-Singing
Clinton Adams, Coordinator
710 • 119-120 Ear-Training/Sight-Singing Intensive
(2-2) Orlando

710 • 123-124 Ear-Training, Rhythm Studies, and Sight-Singing

A basic course in the skills of reading and hearing music, employing Dalcroze techniques
for the development of musicianship. To be taken in conjunction with Music Theory I. (2-2)
Adams/Orlando

710 • 125-226 Ear-Training, Rhythm Studies, and Sight-Singing

Perfect Pitch accelerated version of 710 • 123 and 710 • 223 that covers the material of the
two-year course in one year. (2-2) Adams

710 • 223-224 Ear-Training, Rhythm Studies, and Sight-Singing

A continuation of the first-year course, with heavy emphasis on Bach chorales and 20th-cen-
tury techniques. (2-2) Adams/Orlando

710 • 323-324 Ear-Training: Contemporary Music Studies

After a short review of highly chromatic late 19th- and early 20th-century music, classes will
focus on atonal music, beginning with the late works of Liszt and Wolf and continuing into
the music of today. This course is open to undergraduates who have successfully completed
both semesters of 710 • 223-224. (2-2) Orlando

710 • 425-426 Ear-Training Review

A review course in the principles of ear-training, dictation, sight-singing, and clefs. (2-2)
Adams/Orlando

710 • 521-522 Ear-Training Tutorial

Individual work in ear-training and sight-singing. Hours to be determined. Adams/Orlando

Keyboard Studies
Patricia Graham, Coordinator
710 • 155-156 Keyboard Studies: Non-piano majors
A study of basic skills involved in reading, harmonization, transposition, improvisation, and
analysis, to be taken in conjunction with Music Theory I. Assignments to sections of varying
levels will be based on the student’s piano background and determined through audition.
(2-2) Graham/Faculty

710 • 255-256 Keyboard Studies: Non-piano majors

A continuation of 710 • 155-156. Emphasis on harmonic and formal analysis as tools for
sight-reading and memorization. Repertoire includes solo and duet works, accompaniments,
and score-reading. (2-2) Graham

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Musicology
Susan Weiss, Chair
610 • 311 History of Music I
A study of music from classical antiquity through the Renaissance period. Fall and spring. (2)
S. Weiss

610 • 312 History of Music II

A study of music from the baroque period through the end of the 18th century. Fall and
spring. (2) Green/Sprenkle

610 • 313 History of Music III

A study of music in the 19th century. Fall and spring. (2) P. Weiss

610 • 314 History of Music IV

A study of music since the beginning of the 20th century. Fall and spring. (2) Giarusso

AS 376 • 231 Introduction to Western Music History (Homewood)

This course is a study of five famous pieces of music, both as timeless works of art and as
moments in cultural history. Close attention is given to techniques of musical listening, and
to the details of the first performance of each work, with a consideration of the problems
involved in assembling such a picture. Works studied are Monteverdi, L’Orfeo; Handel, Mes-
siah; Beethoven, Symphony no. 9; Berlioz, Symphonie Fantastique; and Stravinsky, Le Sacre du
Printemps. A series of additional pieces commissioned especially for the course from Peabody
composers concludes the semester. No previous knowledge of musical notation or termi-
nology is required. This course meets on the Homewood campus and requires registration
through the Krieger School of Arts and Sciences. (0,3) Giarusso

610 • 601 Music History Intensive Review

A review course for graduate students, covering classical antiquity to the 21st century. Fall
only. (2,0) Tremblay

610 • 651 Music Bibliography

As an introduction to the materials and techniques available to the performing musician, the
course will include fundamentals of library research, the computer as a library research tool,
acquaintance with and use of essential music reference texts, and exploration of local and
national library resources. Fall and spring. (2) Green/TBD

610 • 691 Master’s Essay

A scholarly work written under the supervision of a member of the musicology faculty.
Required for the master’s degree in Musicology. See the specific guidelines in this catalog.
Fall and spring. (2) Giarusso/Tolbert/P. Weiss/S. Weiss

610 • 755-756 Graduate Research

An introduction to methods of research through independent written projects in music his-
tory. Required of all doctoral candidates and musicology majors. Fall and spring. (2) Giarusso/
Tolbert/P. Weiss/S. Weiss

610 • 791 Dissertation

A study of an original musical topic, approved by the DMA Committee, culminating in the
completion and defense of a scholarly work written under supervision of the student’s aca-
demic advisor. (4) Faculty

144
610 • 792 Lecture-Recital Paper
A study of a specific musical topic, approved by the DMA Committee and suitable as the
basis for a lecture-recital, culminating in a written paper and a public lecture-recital. Fall and
spring. (2) Giarusso/Tolbert/P. Weiss/S. Weiss

610 • 813,814 Consultation/Degree-in-Progress

For graduate students working with a faculty member to complete a dissertation or a lecture-
recital essay. Registration required each semester following completion of coursework in order
to maintain active status in the program. Fall and spring. (1) Giarusso/Tolbert/P. Weiss/S. Weiss

610 • 843,4 Musicology Independent Study

Designed for those who wish to make a concentrated study of selected topics in musicology.
Open only to advanced students with approval of the instructor and the department. Fall and
spring. (1-3) Giarusso/Tolbert/P. Weiss/S. Weiss

610 • 847-848 Musicology Colloquium

The colloquium introduces DMA students to doctoral-level academic study at Peabody.
Emphasis is on critical thinking, argument from sources, written and oral presentation. Every
other week an invited speaker gives a talk in the area of his or her expertise (speakers and
topics will be announced at the beginning of each semester). In alternate weeks students give
presentations. The lectures are open to members of the Peabody community and the general
public. (3-3) S. Weiss

Musicology Seminars
Musicology seminars offer in-depth study of selected topics in musicology. Each section is
limited to 15 students. The seminar format encourages individual initiative on the part of
students, who are expected to share in the discussion, prepare projects for presentation, and
write reports on work done outside of class. Prerequisite: passing mark on music history
placement exam or passing grade in Music History Intensive Review. Students required to
take English as a Second Language courses must obtain permission of the instructor to enroll
in graduate seminars, even if they have already passed Music History Intensive Review.

Fall Semester
610 • 611 Verdi’s Operas I
Verdi’s operas from Oberto to La traviata. A two-semester seminar covering all of Verdi’s
operas. The two semesters may be taken independently but see Verdi’s Operas II for its
prerequisite. Textbook: Julian Budden, The Operas of Verdi, 3 vols., on reserve at the Music
Library’s circulation desk. (3,0) P. Weiss

610 • 613 Schubert’s Beethoven Project

The course will cover the large instrumental works Schubert began writing in 1824 in
Beethoven’s genres: the Octet (D 803), the Arpeggione Sonata (D 821), the three last string
quartets (D 804, D 810, D 887), the string quintet (D 956), the last six piano sonatas (start-
ing with D 845), the two piano trios (D 898, D 929), and the “Great” C-major Symphony (D
944). With these works Schubert began to write for publication and for public performance
in genres that previously he had avoided making part of his professional profile. The course
will involve in-depth analysis of many of these works, as well as a consideration of Schubert’s
reception of Beethoven and of the timing and meaning of the divide of 1824 in Schubert’s
work. (3,0) Gingerich

145
610 • 625 Between Romanticism and Modernism: A Tale of Three Cities
In the history of Western art music, the years between 1880 and 1920 witnessed the creation
of a particularly rich and diverse body of repertoire that defies easy categorization. Often, histo-
rians refer to the period either as the “twilight” of Romanticism or the “dawn” of Modernism,
thereby emphasizing its identity as a transitional moment in the history of music. But, beyond
serving as the bridge between these two periods, the decades leading up to and following the
turn of the century have an artistic identity that is uniquely their own. This course will exam-
ine the complex aesthetics of late Romanticism and early Modernism by studying a number
of seminal works within the cultural and social contexts of three European cities: Vienna,
Berlin, and Paris. The repertoire for the course will be drawn from works of Brahms, Bruckner,
Mahler, Schoenberg, Schreker, Strauss, Saint-Saëns, Fauré, and Debussy, among others. We will
also consider contemporary developments in literature, visual art, and architecture in an effort
to assess the place of music within the broader aesthetic trends of the age. (3,0) Giarusso

610 • 632 Music and Evolution

This course will examine the bio-cultural evolution of music in light of recent interdisciplin-
ary research on the social bases of human cognitive evolution, and explore its implications for
current debates in musicology, ethnomusicology, psychology of music, and human cognitive
evolution. (3,0) Tolbert

610 • 634 Baroque Performance Practice

What assumptions did performers bring to interpretation in the baroque era? This class pro-
vides a detailed overview of prevalent performance conventions of the time as taught to us by
primary sources, including Quantz, CPE Bach, Leopold Mozart, Muffat, and Geminiani, as
well as some insight into why these matters are important and what drives the early music
movement. While everyone will be expected to develop a solid grasp of the most significant
issues, each student will also independently cultivate expertise in a specific area of his or her
choosing. (3,0) Moran

610 • 663 Bach: The Passions

An overview of the work of J. S. Bach with concentration on the Passions. (3,0) Sprenkle

610 • 671 Issues in Ethnomusicology

An introduction to the theories and methods of ethnomusicology. Topics include transcrip-
tion and analysis, fieldwork, performance practice, and intercultural aesthetics. (3,0) Tolbert

610 • 677 The Concerto in the 19th Century

A historical overview of standard repertoire concerti from the 19th century, including an
in-depth analysis of works by Beethoven, Schumann, Mendelssohn, Chopin, Liszt, Brahms,
Tchaikovsky, and Dvorak. (3,0) Sprenkle

AS 376 • 335 Mozart’s Piano Music (Homewood)

A study of Mozart’s piano music, with particular attention to the sonatas and mature concer-
tos, and with emphasis on salient features, stylistic development, and historical context. (3,0)
Levy

146
Spring Semester
610 • 612 Verdi’s Operas II
Verdi’s Operas from Les Vêpres siciliennes to Falstaff. Students who have not taken Verdi’s
Operas I should prepare to take a brief exam (specifics to be announced at the first meeting )
covering chapters 1-2 in volume 1 and chapters 1-2 in volume 2 of the course textbook. Text-
book: Julian Budden, The Operas of Verdi, 3 vols. on reserve at the Music Library’s circulation
desk. (0,3) P. Weiss

610 • 622 Beethoven String Quartets

The string quartets of Ludwig van Beethoven constitute some of the most exquisite, expan-
sive, passionate, and poignant masterpieces ever composed. Beethoven’s lifelong dedication
to this chamber music genre is an acknowledgment of the string quartet as a unique vehicle
for challenging his own ever evolving compositional technique as well as a means for real-
izing artistic expression. This seminar will examine Beethoven’s string quartets from several
perspectives. In addition to in-depth analysis of works, we will seek to untangle Beethoven’s
compositional process in various sources and also address performance issues by comparing
significant recordings throughout generations of artists. All musicians welcome. (0,3) Ahn

610 • 624 England’s Queen, Opera’s Muse: Elizabeth I

Music flourished in the court of Queen Elizabeth I, who reigned from 1558 to 1603. Com-
posers thrived in all genres: secular and sacred, instrumental and vocal. Centuries later, the
legendary monarch inspired opera composers such as Rossini, Donizetti, and Britten to create
musical works dramatizing the Renaissance queen’s life. This course reviews the masterpieces
of English Renaissance and also examines the rich operatic works depicting the royal heroine.
Topics to be addressed will include 19th-century continental reception of English history and
20th-century revivals of the Elizabethan lore. (0,3) Ahn

610 • 646 Schubert Song Cycles

The course will center on Schubert’s settings of the two cycles of Müller poems, Die schöne
Müllerin and Winterreise, and on Schwanengesang, especially his Heine settings. Issues dis-
cussed will include the poetic backgrounds of the cycles, their narrative structures, poeti-
cally and musically, and related controversies. The cycles will be considered in the context of
Schubert’s life and career, and of their history of reception. (0,3) Gingerich

610 • 667 Beethoven’s Symphonies

A structural analysis of Beethoven’s nine symphonies with attention to historical effect on the
genre: listening and analytical quizzes, essay. (0,3) Sprenkle

610 • 678 Two Operas, Two Historical Epochs

A detailed study of Berg’s Wozzeck and Mozart’s The Marriage of Figaro in their cultural con-
texts. (0,3) Sprenkle

610 • 683 Music in the United States: 1607–1950

A survey of American music, from colonial times to the middle of the 20th century. There
will be a considerable emphasis on relating musical expressions to changing social/historical
conditions. We will examine the roles played by technological developments and the rise of
the music business shortly after the American Revolution. Our country’s varied musical styles
invite serious study of all modes of performance and dissemination, not just “classical” com-
position and performance. Active participation in discussion is a requirement of this seminar,
as is writing a research paper on a topic of the student’s choice. (0,3) Hildebrand

147
610 • 684 Transnationalism and Globalism in Music
An examination of contemporary world music genres from an ethnomusicological perspec-
tive, with emphasis on transnational and global issues. (0,3) Tolbert

Opera
Roger Brunyate, Chair
530 • 391 Stage Movement for Singers
Techniques for attaining intellectual and physical control to achieve greater security and facil-
ity on stage in general, and to use movement as a tool in characterization. (1) Bartlett

530 • 491-492 Acting for Opera

An approach to dramatic characterization through the development of the actor’s imagination
and expressive range, with special emphasis on the ensemble and projection techniques of the
lyric stage. (1-1) Brunyate

530 • 497-8/697-8 Dramatic Text

A practical acting course which will examine some of the main styles of dramatic performance
from the Greeks to the present day, and explore the technical choices open to the interpreter
in performing each style. Although intended as an advanced-level acting class for opera stu-
dents, the course will use mainly material from the spoken theater, and so may be accessible
to non-music majors. Enrollment limited, by permission of the instructor. (2-2) Brunyate

530 • 535,536 Opera Styles and Traditions

Musical performance practice in opera and musical theater for singers, pianists, and conduc-
tors. Topics will rotate on a semester-by-semester basis to include such subjects as standard
arias, operatic recitative, and musical theater. Enrollment by audition. (2,2) Kulesza/E. Cornett

530 • 893,4 Professional Coaching in Opera

Individual musical and dramatic coaching for advanced voice students seeking a career in
opera. In regular weekly coachings students may work on preparing audition material, role
study, or other professional needs not otherwise covered by the courses and production pro-
grams of the school. Enrollment limited, by permission of the instructor. (1,1) Kulesza/Faculty

910 • 541,2/841,2 Opera Theatre

Preparation and performance of complete fully staged operas with orchestra. Casting by audi-
tion. Previous or concurrent acting training required. (1,1 or 2,2 depending on size of role)
Brunyate/Faculty

910 • 545,6/845,6 Opera Workshop

Preparation and performance of scenes from the operatic repertoire, in simple stagings with
piano accompaniment. Enrollment by audition. Previous or concurrent acting training
required. (1,1) Brunyate/Faculty

910 • 547,8/847,8 Chamber Opera

Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending upon the size of the role) Brunyate/Faculty

148
Organ
Donald Sutherland, Coordinator
530 • 425-426 Resources for Contemporary Church Musicians
A survey of liturgics, choir training, choral literature for the average choir, conducting styles
and interpretation, and related subjects. Offered in alternate years. (3-3) Walker

460 • 545-6/845-6 Organ Seminar

Classes in performance covering the repertoire and stylistic concepts from all periods of organ
literature. A yearly requirement of organ majors. (1-1) Sutherland

Pedagogy
Laura Parker, Coordinator
520 • 615 Pedagogy Internship
The internship is intended to provide a one-year supervised work experience during which
students will be expected to demonstrate repeatedly the ability to present well-planned and
engaging classes and lessons. (2,0) Faculty

520 • 617 Internship Seminar

The seminar is intended to provide a forum for the following activities and discussion topics:
sharing of successful teaching experiences, group review of videotapes, microteaching, discus-
sion of recordkeeping systems, the business of teaching music, motivational techniques for
special situations, the importance of the parent and parent-teacher relationship. (1,0) Faculty

520 • 618 Portfolio Development

Guidance in professional portfolio development. The result will be a professional portfolio
demonstrating and utilizing the student’s knowledge, materials, experience, references, audio
and videotapes of teaching and performances obtained or collected during the first three
semesters of MM Performance/Pedagogy. In addition, students will explore various employ-
ment opportunities and discuss how to effectively use their portfolio to gain a position as a
studio instructor. (0,1) L. Parker

Percussion
Robert Van Sice, Coordinator
530 • 567, 568 Contemporary Chamber Music for Percussion
(1,1) Van Sice

Piano
Boris Slutsky, Chair
530 • 111-112 Sight-reading
A course to help foster fluency in the essential skill of transforming written music into
sound. Includes score scanning, pattern recognition, and analysis of harmonic, rhythmic, and
melodic structures in music from all periods. Required for undergraduate piano and organ
majors. Also offered as an elective. (2-2) Johansen

530 • 211-212 Keyboard Skills for Piano Majors I - II

A course in keyboard harmony, including transposition, figured bass, melody harmonization,
and analysis. Required for undergraduate piano and organ majors. (2-2) Johansen

149
530 • 311-312 Keyboard Skills for Piano Majors III - IV
A course designed to build score-reading skills at the keyboard. Required for undergraduate
piano majors. (2-2) Adams

530 • 415-416 Keyboard Skills Review

A remedial course in sight-reading and keyboard harmony for graduate piano majors. (2-2)
Johansen

530 • 633-634 Advanced Keyboard Skills for Pianists

A course in score-reading, transposition, and figured bass accompaniment. Required for MM
piano majors. Students who completed the undergraduate courses in keyboard skills (530 •
211-212 and 530 • 311-312) at Peabody with a minimum grade of B or higher are exempt
from this course. Also available for elective credit. (2-2) Johansen

530 • 411 Keyboard Literature I

A study of the solo and chamber literature for keyboard instruments from the early 19th cen-
tury to the classical period. (0,2) Pearl

530 • 412 Keyboard Literature II

A survey of the piano music of the classical period, with emphasis on the works of Haydn,
Mozart, Beethoven, and Schubert. Works will be considered from a range of perspectives,
including stylistic, analytic, historical, and interpretive. (0,2) S. Levy

530 • 413 Keyboard Literature III

A survey of piano music from the romantic period to the start of the 20th century. (2,0)
Habermann

530 • 414 Keyboard Literature IV

A survey of the piano music of the 20th century, from its post-romantic roots to the present.
Works will be considered from a range of perspectives, including stylistic, analytic, historical,
and interpretive. (2,0) S. Levy

530 • 667-668 Piano Pedagogy

Exploration of principles, materials, career development in the teaching of piano. Includes
observation of Preparatory teachers and some supervised teaching of precollege students. (2-2)
Park

450 • 845 Graduate Piano Seminar

A seminar required of all doctoral students and open to second-year MM students with
departmental permission. Focus will be on preparation for entering the music profession,
which will include practice teaching, press kit and resume preparation, discussion of job
searches, and topics of special interest. (0,1) Faculty

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Recording Arts
Scott Metcalfe, Chair

550 • 111-112 Recording I – Fundamentals

A course designed for the beginning Recording Arts and Sciences student that will introduce
and discuss components of the recording process. Included is a detailed analysis of the nature
of sound, basic recorder and console operation, basic microphone types and placement, digital
editing, and other skills required to work in the studio. (2-2) Metcalfe

550 • 211-212 Recording II – Studio Technology

A continuation of Recording I, providing students with an in-depth exploration of the tools
and technology associated with the recording process including signal flow, analog and digital
theory, signal processing and recording systems. (2-2) Tetreault

550 • 311-312 Recording III – Studio Techniques

Building on the Recording I and II courses, students will explore techniques for recording in
the “tonmeister” style of engineering, particularly as it relates to microphone techniques for
classical and jazz music recording, and editing using a digital audio workstation. Additional
topics include time code-based automation systems and an introduction to sound-for-picture.
(2-2) Metcalfe

550 • 411-412 Recording IV – Studio Techniques

A continuation of Recording III, this course focuses on contemporary recording techniques
associated with rock/pop music production. Topics include multi-track recording, mixing,
overdubbing, and headphone monitoring. (3-3) Mazurek

550 • 419 Internship

Undergraduate students work in supervised professional positions in which they will have
the opportunity to apply the knowledge and expertise developed during their course of study.
The internship requires 320 hours of service in an approved facility. (4) Metcalfe

550 • 511-512 Advanced Recording Systems

A study and practical application of the tools and techniques used in professional audio
recording in all common musical styles. This course is open only to incoming students in
the Recording and Production track of the Master of Arts in Audio Sciences program. (3-3)
Metcalfe

550 • 513-514 Advanced Studio Production

Advanced practical training in producing and engineering music recordings at a professional
quality level comparable to commercial products. (3-3) MacDonald/Metcalfe

550 • 515 Musical Acoustics

A course concerned with the physics of sound as applied to properties of musical instruments,
perception of musical sound, electronic music reproduction, and the spaces in which they per-
form. Prerequisites for recording arts majors: Basic Recording I and II or the equivalent. Pre-
requisite for non-recording majors: Basic Recording Techniques or the equivalent. (3,0) Atkins

550 • 516 Electroacoustics

Basics of electroacoustical principles relating to microphones and loudspeakers. Topics
include general transducer theory, microphone fundamentals, dynamic and condenser micro-
phones, proximity effect, dynamic cone loudspeakers, closed and vented enclosures, Thiele
Small parameters, compression drivers and coaxial loudspeakers, horn loudspeaker theory, and
crossover networks. Prerequisites: Musical Acoustics or Audio Design. (0,3) Orth

151
550 • 517 Psychoacoustics
Basics of the physiological and psychological aspects of hearing with applications to audio
and sound systems, architectural acoustics, and musical acoustics. Topics include auditory
physiology of the outer and inner ear, masking, critical bands, loudness, duration, binaural
hearing, localization, and pitch. (3,0) Faculty

550 • 519 Acoustical and Audio Measurements

The theory and application of objective acoustical and audio measurements are studied. Mea-
surement techniques used in the evaluation of both physical spaces and electronic equipment
are presented. Topics include measurement microphones, sound level meters, noise sources,
spectrum and FFT analysis, reverberation, speech intelligibility, transfer function, swept sine
techniques, audio power measurements, ADC and DAC linearity, harmonic distortion, and
mixed signal testing. Prerequisites: Architectural Acoustics or Audio Science and Technology.
Offered every odd year, spring semester. (0,3) Shade

550 • 521,522 Recording Arts Practicum

This is a required course for students pursuing the double-degree program in Recording Arts
and Sciences. Throughout the four successive semesters that make up the course, students
will assume the role of principal engineer on outside-of-class recordings including classical
large and chamber ensembles, a jazz combo and large jazz ensemble, and a studio recording
session involving two or more instruments. Students will meet as a group twice per semester
to critique work that has been completed. (1,1) Metcalfe

550 • 524 Sound Design for Video Games

This course is designed for advanced Composition, Computer Music, and Recording Arts
students to study and collaborate on sound design and composition for video games. The class
population is made up of 50/50 composers and recording engineers for the purposes of project
collaboration. Students enrolling must first receive permission from their department chair
(Composition/Computer Music or Recording Arts). (0,2) Knorr

550 • 611 Music and Technology

An in-depth study of the audio playback chain from digital source to loudspeakers. Each
product in the chain is reviewed at a block diagram level, and components are evaluated by
both subjective and objective means. Technologies that are covered include Dolby Digital,
DTS and THS systems, MP3 and other compressed audio formats, classes of power amplifica-
tion, and digital to analog conversion techniques. Offered every even year, spring semester.
(0,3) Lyons

550 • 612 Audio Science and Technology

This class focuses on the core science that forms the basis of audio technology. Topics include
electronic circuit elements, reactive elements, filtering, linear amplification, AC and DC
power, as well as time and frequency domain representation of signals. Offered every odd year,
fall semester. (3,0) Lyons

550 • 623 Physical Acoustics

Basic fundamentals of physical acoustics involving the generation and propagation of sound.
Topics include free and forced vibrations, one-dimensional systems (strings and bars), two-
dimensional systems (membranes and plates), coupled vibrating systems, general wave
phenomena, types of sound waves (plane, spherical, and cylindrical), and types of radiating
sources (point, monopole, dipole, and line.) Prerequisites: Musical Acoustics, Psychoacoustics.
(3,0) Johnson

152
550 • 624 Architectural Acoustics
The behavior of sound in enclosed spaces is explored. Topics include sound absorption, sound
reflection, refraction and diffusion, large and small room acoustics, room modes, reverbera-
tion, energy ratios, acoustical materials, psychoacoustic aspects, and design of rooms for
speech, music, and recording. Prerequisites: Physical Acoustics, Psychoacoustics. (3,0) Shade

550 • 625 Audiovisual System Design

This class will cover the basic fundamentals of sound and light; an understanding of audio,
visual, and control signals; various signal transmission schemes; how to properly design con-
duit, cable tray, and other pathway to support these systems; electrical power and grounding
fundamentals; IT networking, HVAC, structural, lighting, and acoustical fundamentals;
interior design coordination; common audio, video, and control components; and how to
properly integrate those components together into effective systems. The course will also look
at the differences and unique considerations associated with each of the most common types
of venues in which these systems are typically found. Additionally, the course will include an
overview of the architectural process and typical contractual relationships with which the AV
systems designer must be familiar. Prerequisites: Electroacoustics, Architectural Acoustics,
Psychoacoustics. Offered every odd year, spring semester. (0,3) Faculty

550 • 626 Noise Control

A continuation of Architectural Acoustics (550 • 624) with an emphasis on noise control for
buildings and equipment. Topics include noise reduction, transmission loss theory, impact
insulation, noise barriers, equipment enclosures and noise control materials, HVAC noise pre-
dictions and control. Prerequisites: Physical Acoustics, Architectural Acoustics. Offered every
even year, spring semester. (0,2) Shade

550 • 627 Computer Modeling

Basics of computer modeling for room acoustics and sound systems design. Topics include
general theory and assumptions underlying computer modeling, different types of acoustical
models, auralization, small room acoustic, large room acoustic, and sound system computer
models. Introduction to popular computer models including Room Sizer, Room Optimizer,
EASE, and ODEON. Prerequisites: Architectural Acoustics, Sound System Design. Offered
every even year, spring semester. (0,2) Shade

550 • 631 Professional Practices

This course examines professional practices common in industry. Topics include interaction
with clients, design professionals, and contractors; professional ethics and liability; insurance;
contracts; and fee setting, specifications, reports, and project documentation. Offered every
even year, spring semester. (0,2) Shade

550 • 640 Acoustics Design Practicum

In this course taken in the final semester of study, students will act as acoustical consultants
to design or analyze an existing room or sound system using the knowledge gained through
prior classes. The students will be responsible for complete analysis, measurements, modeling,
design documentation, and presentation of the final design in class. (0,3) Shade

550 • 651-652 Basic Recording for Musicians

A comprehensive course in recording and associated technologies designed for the musician
who wishes to know about the recording arts. The course is taught parallel to Basic Record-
ing I and II but without the required mathematics and physics and is open to upper-level
undergraduates and graduate students of all majors. A paper is required each semester in lieu
of an exam. (2-2) Tetreault

153
550 • 699 Graduate Final Project or Internship
Culminating project or internship for students in the Master of Arts in Audio Sciences
program. Projects or internship plans are submitted to the respective faculty member for
approval. (3) Faculty/Shade

Strings
Keng-Yuen Tseng, Chair
530 • 449,450 Orchestral Repertoire for Violin
The development of orchestral performance skills for violinists with emphasis on repertoire
and preparation for auditions. (1,1) Greenberg

530 • 451,452 Orchestral Repertoire for Viola

The development of orchestral performance skills for violists. Minimum of three students per
class. (1,1) Field

530 • 465,466 Orchestral Repertoire for Cello

(1,1) Stepansky

530 • 467,468 Orchestral Repertoire for Double Bass

(1,1) Faculty

530 • 532 Orchestral Audition Seminar for Violists

An intensive course to assist violists in their final stages of preparation before winning an
orchestral audition. The most common repertoire is not only studied but reinforced in a con-
stant audition environment. Mock auditions are held every four weeks. Audition strategies
are discussed privately and as a group. (0,1) Wyrczynski

530 • 641 Violoncello Pedagogy

Cello teacher training and study of various pedagogues. Open to both graduate and under-
graduate (junior and senior) cello majors in the fall semester. Materials covered in the fall
semester include set up, left hand, bow hand, sequencing of instruction, choice of music and
activities, etc., as these apply to beginning students at every age level. This course includes
observation of Preparatory teachers and some supervised teaching of students. If time allows,
the instructor may include teacher training at Intermediate and Advanced levels. (2-0) Chen

530 • 651-652 Violin/Viola Pedagogy

Violin/viola teacher training from beginning to advanced levels. Study of various pedagogues.
Observation of violin/viola instructors and supervised studio teaching experience. Open to
both undergraduate (juniors and seniors) and graduate violin or viola majors in the fall semes-
ter and by permission of instructor in the spring semester. Required for all Master of Music in
Violin or Viola Performance/Pedagogy majors. (2-2) Henry

Voice
Phyllis Bryn-Julson, Chair
530 • 469 Singing in Italian
This course will prepare students to sing artistically in Italian, through a combination of dic-
tion study, text translation, and in-class singing of repertory chosen by the students and their
voice teachers. Special attention will be given to poetic word order and vocabulary and to
archaic forms common in the repertory. Prerequisite: minimum one year of college study of
Italian language or consent of instructor. (2,0) Mastrian

154
530 • 470 Italian Song
A study of the history, interpretation, and poetic content of Italian vocal music. Each student
will prepare and perform in class two pieces of different periods and styles. (0,2) Mastrian

530 • 471 Singing in Russian

A study of Russian vocal music, its poetry and interpretation, including analysis and perfor-
mance of selected works. (2,0) Danchenko-Stern

530 • 472 Russian Arias

(0,2) A study of Russian arias, including analysis and performance of selected works.
Danchenko-Stern

530 • 473,474 Opera Literature

A study of selected works in opera from the 17th century to present, with emphasis on com-
positional styles and traditions of performance. Offered in alternate years. (2,2) Liotti

530 • 475 Singing in English

An introduction to the International Phonetic Alphabet as well as the sounds of English and
their applications to the singing process. (2,0) Ligon

530 • 476 English and American Song

A study of the history, interpretation, and poetic content of English and American songs,
from the baroque period to the present. (0,2) Ligon

530 • 477 Singing in German

A thorough examination of the phonemic/phonetic system of German pronunciation and its
application in singing in that language. The course is designed to give students not only the
professional tools to analyze the phonetic problems in German texts (and to transcribe those
solutions with the aid of IPA), but also the ability to hear for themselves how those solutions
can be applied. Special emphasis is placed on Bühnenaussprach/Hochlautung, noting the dif-
ferences between speaking and singing in that language, and the resulting choices that the
student will need to make in achieving a good and flexible singing pronunciation. This is
essentially a practical course; the major part of the teaching will be through speaking and then
singing excerpts from the German vocal repertoire from opera, oratorio, and lieder. (3,0) Justen

530 • 480 French Mélodie

An introduction to French art song with emphasis on important contributions of composers
from Berlioz to Poulenc. Listening assignments and class performances of selected materials
are included. Required for undergraduate voice majors. (0,2) Ligon

530 • 481 German Lieder

A study of the development of the Lied from its origins in the Piano Songs of the 17th
century to its first flowering in the songs of Schubert (especially those of 1828) and in
Schumann’s Lieder year (1840). From this point, the focus will be upon the later part of the
19th century (Mendelssohn, Brahms, Mahler, Wagner) and the 20th century (Berg, Schön-
berg, Strauss, etc.). Offered in alternate years. (2,0) Shirley-Quirk

530 • 483 Singing in French

A study of French vocal music, its poetry and interpretation, with attention to diction (using
the International Phonetic Alphabet) and grammar, including analysis and performance of
selected works. (3,0) Ligon

155
530 • 539 Poetry in German
Beginning with Goethe’s work, this course focuses on German poems representative of a poet,
a period, or a genre, from the 18th century to the present. Special attention will be paid to
works set to music by various composers from Mozart to Henze. Texts will be read in the origi-
nal German (with English translations); discussions will be in English. This course is a liberal
arts elective (voice students may receive Advanced Studies credit by permission). (3,0) Vogt

530 • 571,572 Advanced British and American Song Literature

An in-depth study of British and American song literature for the solo voice, this two-semes-
ter course will cover songs from the baroque through the 21st century and include historical
context, background, textual analysis, and compositional characteristics. Selected composers
and songs will be studied in depth and performed. Influences on style will also be discussed.
(2,2) Muckenfuss

530 • 579,580 Vocal Chamber Music

This class brings together singers and instrumentalists to explore the vast chamber music
literature that includes voice, from the baroque to the 21st century. Ensembles can include
all orchestral instruments, organ, harpsichord, piano, guitar, and percussion. This course is
offered as an elective. Permission of the instructor is required. (2,2) Sharp/Shirley-Quirk

530 • 617 Passion Recitatives

A “hands-on” course for singers and instrumentalists in which the styles involved in the per-
formance of the recitatives in the German Passions—notably by Schütz, Handel, and Bach
—will be studied. Plainsong tradition assigns the singing of these recitatives to male voices,
although this can be debated. However, the stylistic study should be of value to all musicians
interested in directing or playing baroque recitative. A good standard of German pronuncia-
tion and, if possible, a fair knowledge of the language would be enormously helpful to par-
ticipants in the course. If in doubt, please consult Mr. Shirley-Quirk. (2,0) Shirley-Quirk

530 • 618 Great Singers of the Recent Past

A continuation of the first semester with an emphasis on more recent singers of the post-
1950’s era, Rise Stevens, Robert Merrill, Franco Corelli, Renata Tebaldi, Maria Callas, and
Beverly Sills. (0,2) Liotti

530 • 686 Opera: Bel Canto/Verismo

An overview of two forms of Italian opera of the early and late 19th century. Their stylistic
conventions will be discussed with examples from historic recordings and video selections.
(0,3) Liotti

530 • 672 Operas of Verdi

A study of the operas with special attention to Verdi’s development and his influence on other
composers of the 19th and 20th centuries. Class not limited to voice majors. Offered in alter-
nate years. (3,0) Liotti

530 • 682 Arioso and Recitative

Although this is a (vocally) practical course, instrumentalists (e.g., continuo players, whether
cellists, gambists, or keyboard players) and conductors are more than welcome. The course
will recognize the two sources of recitative [plainsong which led to the Passion tradition of
Schütz and Bach, and the “nuove musiche” of the “camerata” giving rise to the more operatic
style of, say, Handel], the subsequent amalgamation of these styles in Wagner’s operas, and
the creation of the operatic style of the 20th century [Berg, Debussy, Britten]. Offered in
alternate years. (2,0) Shirley-Quirk

156
530 • 683 Vocal Pedagogy
A class participation course that includes an introduction to various voice teaching methods
and their respective approaches to posture and breathing, registration, resonation, coordina-
tion, interpretation, and vocal health; an examination of the anatomy and function of the
vocal mechanism; student teaching; teacher observation; repertoire and recital planning.
Required for the MM in Voice with Pedagogy Emphasis and the DMA in Voice, Option C;
an elective for seniors and other graduate students. (2,0) Rainbolt

530 • 684 Vocal Pedagogy Lab

A continuation of student teaching and teacher observation from 530 • 683 Vocal Pedagogy.
Required for the MM in Voice with Pedagogy Emphasis and the DMA in Voice, Option C.
(2) Rainbolt

530 • 687 Oratorio

Students learn standard repertoire, with emphasis on the 18th and 19th centuries, for use in
auditions and/or performance. Offered in alternate years. (0,2) S. Cornett

530 • 693 Great Singers of the Remote Past

This course traces the legacy of the great singers of the first half of the 20th century through
recorded sound, including singers such as Adelina Patti, Francesco Tamagno, Enrico Caruso,
Amelita Galli-Curci, Lily Pons, Lauritz Melchio, and more. The course will also focus on the
history and evolution of recorded sound from early Edison innovations to the world of today’s
recordings and feature visits to Peabody’s state-of-the-art recording studio. (2,0) Liotti

530 • 695 Advanced Lieder Studies from the Poetic Perspective

The course is designed to present voice and interested piano students who perform Lied set-
tings a detailed analysis and understanding of the texts, as well as a deeper understanding of
the meaning and the significance of the poetry they read or perform. One of the desired out-
comes of this class is to give students the tools to recognize poetry from the various historic
and stylistic periods, and to reflect this understanding in their interpretations of the musical
settings. The course will start with a thorough examination of the poem: structure, historic/
poetic period, possible meanings, and how they are set by major composers. Some of these
settings will be performed in class. The poets discussed will be Goethe (fall), and Heine and
Eichendorff (spring). (2,2) Justen/Shirley-Quirk

Woodwinds
Phillip Kolker, Chair
530 • 455,456 Orchestral Repertoire for Clarinet
The development of orchestral performance skills for clarinet with emphasis on repertoire.
(1,1) Barta

530 • 459 Respiratory Function

Basic techniques of breathing and breath control for wind instruments tailored to the stu-
dent’s instrument with a goal of enhancing one’s use of air and efficiency to improve perfor-
mances. Consists of five private one-hour lessons during the semester. Enrollment is limited
to three students per semester. (1) Fedderly

530 • 463,464 Piccolo Class

Covers repertoire from both the solo and orchestral literature, increasing proficiency, famil-
iarity, and comfort with the “little flute.” Emphasis on audition preparation and experience.
Required material: Jack Wellbaum’s Orchestral Excerpts for Piccolo. (1,1) Sokoloff

157
530 • 519,520 Orchestral Repertoire for Flute
The development of orchestral performance skills for flute with emphasis on repertoire. (1,1)
Skala

530 • 573, 574 Orchestral Repertoire for Oboe/English Horn

The development of orchestral performance skills for oboe and English horn with emphasis
on repertoire. (1,1) Marvine

530 • 591,592 Oboe Reedmaking

The construction of oboe reeds. (1,1) Marvine

530 • 575,576 Orchestral Repertoire for Bassoon

The development of orchestral performance skill for bassoon with emphasis on repertoire.
(1,1) Kolker

Recitals
190 • 395 Recital
A public performance required of all students earning the Bachelor of Music in Music Educa-
tion and/or the Performer’s Certificate. (2)

190 • 495 Recital

A public performance required of students earning the Bachelor of Music degree program. (2)

190 • 695 Recital

A public performance required of all students with a major in performance in the Master of
Music degree program or the Graduate Performance Diploma program. (2)

190 • 696 Recital

A second public solo or ensemble performance required of all students with a major in perfor-
mance in the Graduate Performance Diploma program, and as may be required by individual
departments for students with a major in performance in the Master of Music degree pro-
gram. (2)

190 • 794-799 Recital

Public performances required of all students in the Artist Diploma and Doctor of Musical
Arts programs, with the exception of those majoring in composition. (2)

158
Financial Information
Tuition and Fees, 2010–2011
It is required that all students pay tuition and fees in full in order to complete regis-
tration and attend classes each semester.
Tuition
Full-time study (per academic year)
Degree programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 35,600
Artist Diploma and Graduate Performance Diploma programs . . . . . . . . . . $ 29,800
Part-time study (per academic year)
Major study (one-hour lessons + jury/recital); unlimited ensembles  . . . . . . $ 15,820
Major study (half-hour lessons + jury/recital); one ensemble . . . . . . . . . . . . $ 8,250
Vocal coaching or minor study: one hour lessons . . . . . . . . . . . . . . . . . . . . . $ 8,250
Vocal coaching or minor study: half-hour lessons . . . . . . . . . . . . . . . . . . . . . $ 4,040
Supplementary Study
Second major field lessons (double performance major) . . . . . . . . . . . . . . . . $ 6,900
Hourly per semester credit or audit:
Classroom studies, ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 1,015
Music Education certification courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 510
Degree-in-progress, graduate consultation* . . . . . . . . . . . . . . . . . . . . . . . . $ 1,500
Elective minor study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 555
Remedial tutorial study (per clock hour)
(assigned only in consultation with the Dean’s Office) . . . . . . . . . . . . . . . . . $ 220
General Fees
Application for degree program (nonrefundable) . . . . . . . . . . . . . . . . . . . . . $ 100
Application for Extension students (nonrefundable) . . . . . . . . . . . . . . . . . . . $ 100
Tuition deposit** (students returning from leave, nonrefundable) . . . . . . . . $ 50
Tuition deposit (new students, nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . $ 600
Matriculation*** (one-time fee for new degree/diploma candidates) . . . . . . $ 700
Health services fee (required for all full-time students) . . . . . . . . . . . . . . . . $ 250
Information technology fee (required for all full-time students) . . . . . . . . . . $ 175
Health insurance—individual coverage . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 1,627
Special Fees
Late payment (payments postmarked after August 11 for . . . . . . . . . . . . . . $ 100
  fall semester and December 8 for spring semester)
Late registration (late registrations/registration confirmations . . . . . . . . . . . $ 100
  after September 3 for fall semester and January 9 for spring semester)
Change of course after first week each semester, per request . . . . . . . . . . . . . . . $ 20
Special examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50
Graduate examination retake  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50
Recital rescheduling fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50
Transcript (academic) per copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 5

159
Instrument rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 100–$125
Bass case rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50–$200
Lost folder (ensembles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 500 min
Lost ID (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost key (studio/classroom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 25
   * Degree-in-progress fee is required of graduate students not registered for course-
work and/or lessons or granted official leave of absence.
  ** Due prior to registration for all students returning from leave of absence.
*** One-time fee required for each degree/certificate/diploma program. 
Room and Board Fees (per academic year)
Room reservation (nonrefundable after June 30) . . . . . . . . . . . . . . . . . . . . . $ 150
Residence Hall security deposit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 100
Room and Board—Single occupancy/Board Plan I . . . . . . . . . . . . . . . . . . . $ 13,130
Room and Board—Double occupancy/Board Plan I . . . . . . . . . . . . . . . . . . $ 11,700
Room and Board—Triple occupancy/Board Plan I . . . . . . . . . . . . . . . . . . . $ 10,450
Room and Board—Single occupancy/Board Plan II . . . . . . . . . . . . . . . . . . $ 12,730
Room and Board—Double occupancy/Board Plan II . . . . . . . . . . . . . . . . . . $ 11,300
Lost key (Residence Hall and mailbox) nonrefundable . . . . . . . . . . . . . . . . $ 25
Lock replacement (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50 min
Note: There is a two-year residence hall requirement for full-time undergraduate stu-
dents. Transfer students have a one-year residency requirement.

Schedule of Payments, 2010–2011 Residence Hall

Tuition and Fees
Fall semester payment:
Postmark date August 10, 2010
Spring semester payment:
Postmark date December 7, 2010
Entering students must pay the tuition
deposit upon notification of admission.
Student account invoices for returning
students are available on the student web-
site (https://isis.jhu.edu). Paper bills are
only issued for the initial fall and spring
bills. All other account statements will be
sent by e-mail. A JHED logon is required
to access an invoice (https://isis.jhu.edu/
sswf for more information). Students are
notified via e-mail when the invoice is
posted. Students can establish additional
authorized users to allow someone else to
view and pay on their accounts. Federal
regulations prohibit the Peabody Insti-
tute from releasing student information
(records, billing, etc.) without written
consent from the student, according to the
Family Educational Rights and Privacy
Act of 1974 (FERPA).
Room contracts are based on the academic
year.
First semester payment:
Postmark date August 10, 2010
Second semester payment:
Postmark date December 7, 2010
The Residence Hall security deposit and
the room reservation fee must accompany
all applications for Residence Hall rooms. 
The room reservation fee is applied to the
Residence Hall charges and is not refundable
after June 30.
The security deposit is not credited to
Residence Hall charges but will be returned
upon termination of residence. Rooms will be
inspected immediately after they are vacated,
and any repairs, exclusive of normal wear and
tear, needed to restore them to their original
condition will be deducted from the security
deposit. In the case of double occupancy,
when the damage or repair charges cannot
be specifically identified with an individual
person, each occupant shall share the cost
equally.

160
Tuition Refund Schedule for Withdrawals, 2010–2011
Withdrawal Date Refund
Fall Semester 2010
Before 09/01/10 100% less $100 administrative cost
09/02/10 – 09/11/10  90% less $100 administrative cost
09/12/10 – 09/26/10 50% less $100 administrative cost
09/27/10 – 10/22/10 25% less $100 administrative cost
After 10/22/10 No refund
Spring Semester 2011
Before 01/18/11 100% less $100 administrative cost
01/19/11 – 01/29/11 90% less $100 administrative cost
01/30/11 – 02/23/11 50% less $100 administrative cost
02/24/11 – 03/20/11 25% less $100 administrative cost
After 03/20/11 No refund
Students withdrawing after classes have begun are liable for that portion of their tuition
that has not been canceled. Withdrawals must be in writing and do not become effective
until received by the Office of Academic Affairs.
Residence Hall refunds for withdrawals 2010–2011
Before October 22 (Fall), March 20 (Spring) Fees prorated proportionately
After October 22 (Fall), March 20 (Spring) No refund

Tuition Payment Assistance Graduation

The Clarence Manger and Audrey
Cordero Plitt Loan Fund
This fund was specifically designed to help
parents of full-time undergraduate students
pay for college in regular installments, over
an extended period of time, at a lower than
usual interest rate. It is intended to help
meet the needs of the middle income family.
Eligibility is established by the Peabody
Institute after a review of the loan applica-
tion form. In general, parents are eligible if
combined annual gross income is between
$30,000 and $150,000. The interest cur-
rently being charged is 3 percent.
For additional information about the fund,
call or write:
Donna Stinnette
21 E. Mt. Vernon Place
Baltimore, MD 21202
410-234-4545
Peabody also offers a 10-month payment
plan through Tuition Management Systems
(TMS). Call 1-800-356-8329 or see www
.afford.com/jhupeabody for more information.
Students may not obtain their certificate
or diploma until all outstanding charges
have been paid.
Federal Aid Programs
General
Federal aid programs consist of financial
assistance in the form of federal grants,
federal loans, and federal Work Study.
Awards are based on demonstrated finan-
cial need and the availability of funds.
To apply for these types of aid, the Free
Application for Federal Student Aid
(FAFSA) must be completed, listing Pea-
body TITLE IV CODE EOO233. The
FAFSA can be filed online at www.fafsa
.ed.gov. A paper version of the FAFSA
may also be obtained from the Peabody
Financial Aid Office or the student’s high
school or college counselor’s office.
Additional information and other
required forms are available on the Pea-
body Financial Aid Office website at www
.peabody.jhu.edu/finaid.

161
Loan Programs
(Students must be enrolled at least half-time.)
Federal Perkins Loans
Federal Perkins Loan is available to
students enrolled at least half-time and
is based on demonstrated financial need
and availability of funds. Perkins Loan
has a 5 percent interest rate, and payment
is deferred while a student is enrolled at
least halftime. Awards range from $500 to
$8,000.
Peabody Student PLITT Loans
Student PLITT Loans are available to
students enrolled at least half-time and
are based on demonstrated financial need
and availability of funds. Student PLITT
Loans carry a 3 percent interest rate, and
payment is deferred while a student is
enrolled at least halftime. Awards range
from $500 to $10,000.
Subsidized Federal Direct Student Loans
Subsidized Federal Direct Student Loans
have replaced the Stafford Loan Program.
Students no longer need to file a separate
bank application. Federal Direct Student
Loan is available to students enrolled at
least half-time who demonstrate financial
need. The following limits are set for loans:
freshmen, $3,500; sophomores, $4,500;
juniors and seniors, $5,500; graduate
students, $8,500 • Payments are deferred
while a student is enrolled at least half-
time. The interest rate is currently fixed
at 4.5 percent for undergraduate student
loans, and 6.8 percent for graduate stu-
dent loans.
Unsubsidized Federal Direct
Student Loans
Unsubsidized Federal Direct Student
Loans are available to graduate students,
independent undergraduate students,
and dependent undergraduate students.
Dependent undergraduate students may
not borrow more than $2,000 per year
unless a parent is denied a PLUS Loan.
However, independent undergraduate
students and dependent undergraduate
students whose parents are not eligible to
borrow a PLUS Loan may borrow as much
162
as $5,000 in additional unsubsidized loan.
Freshmen and sophomores can borrow
no more than $4,000 per year. Graduate
students may borrow up to an additional
$12,000 in unsubsidized loans. Unsubsi-
dized loan interest is fixed at 6.8 percent
for all students. Payment may be deferred
while the student is still in school, but
interest should be paid, as it will accrue
and be capitalized.
Federal Direct Graduate PLUS Loans
Federal Direct Graduate PLUS Loans
are federally guaranteed loans available
to graduate students who have exhausted
their eligibility for subsidized and unsub-
sidized Federal Direct Student Loans.
There is no financial need requirement to
receive these loans, but, a credit review is
required.
Federal Direct Parent PLUS Loans
Federal Direct Parent PLUS Loans are
federally guaranteed loans available to
parents of undergraduate students. There
is no financial need requirement to receive
these loans, but, a credit review is required.
The interest rate on both Parent and Direct
Graduate PLUS loans is fixed at 7.9 percent.
Undergraduate Grants
Federal Pell Grant
Federal Pell Grant is only available to
undergraduates. Pell Grant ranges from
$555 to $5,550 and is based on demon-
strated financial need.
Federal SEOG
Federal Supplemental Educational
Opportunity Grant is also only available
to undergraduates. FSEOG ranges from
$500 to $3,000 and is based on demon-
strated financial need and the availability
of funds.
Federal Academic Competitiveness
Grant
The Academic Competitiveness Grant
(ACG) is a federal grant for first-year
undergraduate students who graduated
from high school after January 1, 2006,
and second-year undergraduate students
who graduated from high school after
January 1, 2005. Students may receive an
ACG of up to $750 for their first year of
study and up to $1,300 for their second
academic year of study. To receive the
ACG, applicants must meet these initial
qualifications:
• U.S. citizens or permanent residents of
the U.S.
• Federal Pell Grant recipient
• Completion of a rigorous high school
program of study (for both first- and
second-year students) as determined by
the U.S. Department of Education
• Full-time enrollment in a degree
program
• First-year students must not have been
previously enrolled in an undergraduate
program. Students enrolled less than
full time will have their awards pro-
rated.
• Second-year undergraduate students
must have a cumulative GPA of at least
3.0 on a 4.0 scale.
Federal Work Study
Federal Work Study is available to
students who demonstrate financial need.
Awards typically range from $500 to
$2,500 and are based on the availability
of funds. Additional information can be
obtained from the Financial Aid Office.
Institutional Aid Programs
Peabody Scholarships are awarded based
on the merit, talent, and financial need of
the student and the needs of the school
for a balanced ensemble. All students are
considered for Peabody Scholarship when
they apply for admission; however, only
students who submit the Free Applica-
tion for Federal Student Aid (FAFSA) or
the International Student Financial Aid
and Scholarship Application by February
1 will be considered for amounts higher
than $10,000. Students receive written
notification of scholarship award with
the acceptance letter. All scholarships are
for one year and are renewed annually for
the duration (eight semesters for under-
graduate students and four semesters for
graduate students) of a student’s degree or
certificate, depending on the progress of
163
the student as indicated by examination
and grade-point average. The amount of
Peabody Scholarship remains the same
throughout a student’s program, pro-
vided the student maintains satisfactory
academic progress. Peabody Scholarships
will not increase in subsequent years in
the same program, and students cannot
re-audition in the same program for a new
scholarship or to increase current scholar-
ship. Completing a satisfactory jury is a
personal benefit to the student and will
not result in a Peabody Scholarship award
or increase.
Scholarship is not awarded to students
in the Doctor of Musical Arts program.
Applicants to the DMA are encouraged to
apply for graduate assistantships.
Auditions are held by the departmental
faculties and by the traveling admissions
representative on the dates indicated in
the admissions packet.
Assistantships
A limited number of assistantships
are available to students who have been
admitted into a graduate program as full-
time degree or diploma candidates. A
graduate assistantship is awarded on the
basis of previous academic record, place-
ment examination results, and a personal
interview/audition in the specific area of
interest. Assistantships are available in the
following areas:
Accompanying
Chamber Music
Composition
Computer Music
Conducting
Ear-Training
English as a Second Language
Guitar
Jazz
Keyboard Studies
Liberal Arts
Library
Music Education
Musicology
Music Theory
Opera Accompanying
Opera Outreach
 Piano Maintenance
Recording Arts
Voice
Wind Conducting
The assistantship is for a term of one
year, but upon recommendation of the
faculty, may be extended to a maximum
of two years. Only under extraordinary
circumstances may an assistantship be
renewed for a third year. This requires
a recommendation from the faculty and
approval of the dean.
Full-time graduate assistants are
expected to assist the faculty for up to an
average of 15 hours per week, with specific
assignments made by individual faculty
members. Graduate assistants should not
work more than a combined total of 20
hours per week for the university. A por-
tion of assistantship income is considered
taxable unless it qualifies for special con-
sideration by tax authorities. Graduate
assistants must be registered as full-time
students for a minimum of 18 credits
per year. It is advisable not to take more
than 12 hours of study per semester. The
student must be registered for study in
the major area. All credits taken must be
necessary and applicable to the degree for
164
which the candidate is enrolled. The Con-
servatory reserves the right to restrict the
activities of holders of assistantships.
Students holding graduate assistant-
ships must maintain a consistently high
level of performance in every area of study,
with a grade point average of at least 3.0,
and a grade of at least B- in the major les-
son and departmental examinations. Fail-
ure to fulfill terms of the assistantship may
result in its immediate termination and
may require repayment of income.
Employment
Jobs are available at Peabody for full-
time students enrolled in a degree or
diploma program. Students are authorized
to work on campus up to a maximum of
20 hours per week after they complete
the necessary paperwork with the Office
of Human Resources and Payroll Services.
Students are encouraged to apply for avail-
able positions at the beginning of the
academic year, as jobs are available on a
first-come, first-served basis. A listing of
hiring departments and further informa-
tion may be obtained through the Office
of Human Resources and Payroll Services
(410-234-4559).
Administration
The Peabody Institute
Principal Administrative Officers and Deans
Jeffrey Sharkey, Director of the Institute
Mellasenah Morris, Dean of the Conservatory and Deputy Director
Carolee Stewart, Dean of the Preparatory
Gayle Ackley, Senior Associate Dean for Finance and Administration
Katsura Kurita, Associate Dean for Student Affairs
Paul Mathews, Associate Dean for Academic Affairs
Andrea Trisciuzzi, Associate Dean for Development and Alumni Relations

Directors – Department Managers

Admissions Head Librarian
David Lane Jennifer Ottervik
Alumni Relations Human Resources/Payroll Services
Debbie Kennison Laura Brooks
Business Services Information Technology and Telecommunications
Larry Catron Jonathan Richardson
Campus Security International Student Advisor
David Fulgham Susana Rodriguez
Concert Office Major Gifts
Teresa Perez Shirley-Quirk Patrick O’Neall
Ensemble Office Marketing and Communications
Linda Goodwin Richard Selden
Facilities Management Registrar
Joseph Brant James Dobson
Financial Aid Residence Life
Thomas McDermott Kyley McClain

National Advisory Council of the Peabody Institute of

The Johns Hopkins University
Robert J. Abernethy Dwight Im, MD Tracey Schutty
Liza Bailey Allan D. Jensen, MD Solomon H. Snyder, MD
Rheda Becker Thomas Kaurich Sally A. White, PhD
Max W. Corzilius Julia Martin Keelty Shirley S. L. Yang, MD
Richard Davison M. Lucinda Kelly Carol Jean Young
Leon Fleisher Christopher Kovalchick
Robert Gensler Lori Laitman Members Emeriti
Sandra Levi Gerstung Hugh Marbury Pilar Bradshaw, MD
Robert T. Goldstein H. Bruce McEver Linda Shapiro Chemtob
Benjamin H. Griswold IV Milton H. Miller Sr. Hilda Perl Goodwin
Hilary Hahn Terry Morgenthaler Frederick N. Griffith
Taylor A. Hanex Mark Paris Arthur E. Rosenbaum, MD
Sandra S. Hittman Matthew S. Polk Jr.

165
The Johns Hopkins University
Trustees David P. Nolan
Pamela P. Flaherty Ronald M. Nordmann
Chair Walter D. Pinkard Jr.
Joseph R. Reynolds Jr.
C. Michael Armstrong, ex officio Brian C. Rogers
Richard S. Frary David M. Rubenstein
Mark E. Rubenstein Marshal L. Salant
Vice Chairs Robert A. Seder
Christopher C. Angell Donald J. Shepard
Jeffrey H. Aronson Rajendra Singh
Janie E. Bailey Raymond W. Snow, ex officio
Lenox D. Baker Jr. Adena W. Testa
Alfred R. Berkeley III Selwyn M. Vickers
Abhiram R. Bhashyam William F. Ward Jr.
James L. Winter
Paula E. Boggs
Shirley S. L. Yang
Michelle A. Brown
George L. Bunting Jr. Trustees Emeriti
Francis B. Burch Jr. Robert J. Abernethy
Charles I. Clarvit Leonard Abramson
N. Anthony Coles Peter G. Angelos
Ronald J. Daniels, ex officio Norman R. Augustine
Sarah R. David H. Furlong Baldwin
Anthony W. Deering Jeremiah A. Barondess
Ina R. Drew Ernest A. Bates
Harvey P. Eisen David H. Bernstein
Maria T. Fazio Aurelia G. Bolton
Marjorie M. Fisher Randolph W. Bromery
Louis J. Forster Constance R. Caplan
Sanford D. Greenberg William P. Carey
Benjamin H. Griswold IV A. James Clark
Taylor A. Hanex Victor J. Dankis
Lee Meyerhoff Hendler Edward K. Dunn
David C. Hodgson Manuel Dupkin
R. Christopher Hoehn-Saric James A. Flick Jr.
Frank L. Hurley Robert D. H. Harvey
Stuart S. Janney III Rafael Hernandez-Colon
Jeong H. Kim David H. Koch
Donald A. Kurz F. Pierce Linaweaver
Christopher H. Lee Raymond A. Mason
Joanne Leedom-Ackerman Harvey M. Meyerhoff
Alexander H. Levi Charles D. Miller
Kwok-Leung Li Milton H. Miller
Roger C. Lipitz Naneen Hunter Neubohn
Diana C. Liu Ralph S. O’Connor
Christopher E Louie Morris W. Offit
Howard C. Mandel George G. Radcliffe
Christina L. Mattin John F. Ruffle
Terri McBride, ex officio Arthur Sarnoff
Gail J. McGovern Frank Savage
Westley W. O. Moore Wayne N. Schelle

166
Herschel L. Seder Helmut Sonnenfeldt
Huntington Sheldon Shale D. Stiller
R. Champlin Sheridan Jr. Morris Tanenbaum
Wendell A. Smith Calman J. Zamoiski Jr.

Principal Administrative Officers and Deans

Ronald J. Daniels Pam Cranston
President of the University Vice Provost for International Programs
Lloyd B. Minor Scott Zeger
Provost and Senior Vice President for Vice Provost for Research
Academic Affairs Sarah Steinberg
Daniel G. Ennis Interim Vice Provost for Student Affairs
Senior Vice President for Finance Jerome D. Schnydman
and Administration Executive Assistant to the President and
Edward D. Miller Secretary of Board of Trustees
CEO of Johns Hopkins Medicine, Gregory S. Oler
Vice President for Medicine, and Controller
Dean of the Medical Faculty
Kathryn J. Crecelius
Stephen S. Dunham Chief Investment Officer
Vice President and General Counsel
Michael Strine Katherine S. Newman
Vice President for Finance and Treasurer Dean, Krieger School of Arts and Sciences
Michael C. Eicher Nicholas P. Jones
Vice President for Development and Dean, Whiting School of Engineering
Alumni Relations Michael Klag
Thomas S. Lewis Dean, Bloomberg School of Public Health
Vice President for Government, Community, Yash P. Gupta
and Public Affairs Dean, Carey Business School
Charlene Moore Hayes Martha N. Hill
Vice President for Human Resources Dean, School of Nursing
Michela Gallagher Jessica P. Einhorn
Vice Provost for Academic Affairs Dean, Nitze School of Advanced
International Studies
Edgar E. Roulhac
Vice Provost for Academic Services David W. Andrews
Jonathan Bagger Dean, School of Education
Vice Provost for Graduate and Postdoctoral Jeffrey Sharkey
Programs and Special Projects Director, Peabody Institute
Stephanie L. Reel Ralph Semmel
Chief Information Officer and Director, Applied Physics Laboratory
Vice Provost for Information Technology Winston Tabb
Caroline Laguerre-Brown Dean of University Libraries and Museums
Vice Provost for Institutional Equity Vice Provost for the Arts

167
Index
A C
Academic Advising 13
Academic Code of Conduct 21
Academic Regulations 21
Academic Standing 25
Accelerated Credit 22
Accreditation Statement 12
Administration
The Johns Hopkins University 167
The Peabody Institute 165
Admission to Candidacy, DMA 101
Admission Requirements
Artist Diploma 113
Bachelor of Music Degree 39
Doctor of Musical Arts Degree 97
Extension Study 118
Graduate Performance Diploma 110
Master of Arts in Audio Sciences 95
Master of Music Degree 75
Performer’s Certificate 114
Advanced Standing 22
Advisory Committees, DMA 98
Application Deadlines 4
Arthur Friedheim Library 10
Artist Diploma 113
Admission Requirements 113
Diploma Requirements 113
Assistantships 163
Attendance and Absences 27
Auditing 27
B Languages 132
Bachelor of Music 39
Admission Requirements 39
Common Curriculum Components 40
Curricula 45
Degree Requirements 39
Electives 43
Foreign Language 43
General Studies 42
Recitals 40
Supportive Courses in Music 41
Brass Courses 121
168
Calendars
Academic 2
Audition 4
Summer Session 4
Campus and Facilities 9
Career Counseling and Placement 11
Chamber Music Courses 121
Change of Major 28
Change of Studio Teacher 13
Composition Courses 122
Computer Music Studios 10
Computer Music Courses 123
Concert Dress Policy 14
Concert Halls 10
Conducting Courses 124
Corrective Action 24
Counseling Center Services 11
Course Changes and Withdrawals 27
Course Listings 121
Brass 121
Chamber Music 121
Composition 122
Computer Music 123
Conducting 124
Early Music 125
Ear-Training 143
Ensemble Arts 127
General Studies 128
Harp 129
Humanities 130
Keyboard Studies 143
Jazz 133
Large Ensembles 135
Music Education 137
Musicology 144
Music Theory 139
Opera 148
Organ 149
Pedagogy 149
Percussion 149
Piano 149
Recitals 158
Recording Arts 151
Strings 154
Voice 154
Woodwinds 157
Credit Limits 26
Cross Registration 30
Curriculum
Artist Diploma 113
Bachelor of Music
Composition 53
Computer Music 54
Early Music Performance 46
Guitar 45
Jazz 52
Music Education 55
Orchestral Instruments 48
Organ 49
Piano 50
Recording Arts and Sciences 65
Voice 51
Doctor of Musical Arts
Composition 102
Conducting 102
Guitar 104
Orchestral Instruments 104
Organ 106
Performance/Pedagogy 109
Piano 106
Voice 108
Graduate Performance Diploma 111
Master of Arts in Audio Sciences 95
Master of Music
Conducting 78
Composition 88
Computer Music 89
Guitar 79
Early Music Performance 84
Music Education 91
Musicology 92
Music Theory Pedagogy 94
Orchestral Instruments 79
Organ 80
Performance/Pedagogy 87
Piano 80
Piano: Ensemble Arts 82
Voice 83
Performer’s Certificate 114
D General Studies Courses 128
Dean’s List Criteria 27
Degree-in-Progress 98
Dining Hall 10
Disability Resources 11
Discrimination Policy 34
Dismissal 25
Dissertation Requirements 101
Distinguished Visiting Faculty 120
169
Doctor of Musical Arts Degree 97
Admission Requirements 97
Curriculum Components 99
Curricula 102
Degree Requirements 97
Entrance Examinations 97
Lecture Recital 101
Preliminary Oral Examination 101
Recitals 99
Double Degree Program 31
Drug and Alcohol Policy 36
E
Early Music Courses 125
Ear-Training Courses 143
Employment 164
Engineering Concentration 73
English as a Second Language
Bachelor of Music Degree 43
Master of Music Degree 75
Ensemble Arts Courses 127
Ensemble Requirements 13, 41, 76
Examinations
Qualifying, DMA 97
Preliminary Oral, DMA 97
Extension Study 118
F
Faculty Listing 119
Federal Aid Programs 161
Fee Payment Schedule 160
Financial Information 159
Firearm Policy 36
Five-Year BM/MM Program 74
Five-Year BMRA/MA Program 74
Full-Time Status 26
G
General Information 9
Grade Appeals 24
Grade Changes 24
Grading System and Regulations 23
Graduate Assistantships 163
Graduate Performance Diploma 110
Admission Requirements 110
Diploma Requirements 110
Graduation Eligibility 27
Graduation Rates 33
Grants 161
Guitar Courses 128
H Medical Leave of Absence 28
Harp Courses 129
Health Insurance and Services 11
History of Peabody 9
Humanities Courses 130
I
Incomplete Grades 23
Internet and Technology 12
J Organ Courses 149
Jazz Courses 133
JHU Concentrations 73
Juries 40
K Pedagogy 87
Keyboard Studies Courses 143
L Photography and Film Rights 37
Language Courses 132
Language Requirements
Bachelor of Music Degree 43
Doctor of Musical Arts Degree 101
Master of Music Degree 83
Large Ensembles 13
Attendance and Grading Policy 14
Courses 135
Selection, Seating, and Parts 14
Excuse Requests 15
Leave of Absence 28
Lecture–Recital, DMA 101
Liberal Arts Concentration 73
Liberal Arts 42
Libraries 10
Loan Programs 161
M Recordings 19
Master of Arts in Audio Sciences 95
Master of Music Degree 75
Admission Requirements 75
Curricula 78
170
Degree Requirements 76
Program Components 76
Recitals 76
Master’s Thesis 92
Master’s Portfolio 89
Music Education 55
Certification Program 64
Music Education Courses 137
Music Theory Courses 139
Musicology Colloquium 100
Musicology Courses 144
O
Opera Courses 148
Oral Defense of Dissertation 101
Outside Instruction and Performances 20
P
Peabody National Advisory Council 165
Pedagogy Courses 149
Percussion Courses 149
Performance Venues 10
Performer’s Certificate 114
Piano Courses 149
Portfolio of Compositions 100
Previously Earned Peabody Credits 23
Procedural Information 13
R
Readmission 30
Recitals 17
Artist Diploma 113
Bachelor of Music Degree 40
Deferred Recitals 19
Doctor of Musical Arts Degree 99
Graduate Performance Diploma 110
Master of Music Degree 76
Non-Degree Recitals 20
Programs 19
Receptions 19
Recording Arts Courses 151
Recording Studios 10
Repeated Courses 43
Residence Hall 9
Residency Requirements
Artist Diploma 113
Bachelor of Music Degree 39
Doctor of Musical Arts Degree 97
Graduate Performance Diploma 110
Master of Music Degree 76
Review Courses 76
ROTC 33
U
University Policies 30
V
Violence Policy 36
Voice Courses 154

S W
Satisfactory Academic Progress 25 Withdrawals
Security 12 Course 27
Shuttle Bus Service 12 Degree Program 30
String Courses 154 Refund Schedule 161
Student Data 2009-2010 32 Woodwind Courses 157
Student Rights and Responsibilities 30
Studio Assignments 13
Study Abroad Program 31

T
Transcripts 30
Transfer Credits 22
Trustees, JHU 166
Thursday Noon Recital Series 41
Tuition and Fees 159

171