ac a d e m i c c ata l o g 2010–2011

THE OF THE JOHNS HOPKINS UNIVERSITY

PEABODY CONS E RVATORY

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 Fall semester payment postmark date; late payment fee applied after this date Orientation begins residence Hall opens residence Hall move-in day Registration All students: 8:30am–noon All students: 1:30–5:00pm Late fee applied for late confirmation and registration Classes and lessons begin convocation, noon Labor Day Holiday (no classes, lessons, or ensembles) Last day for course drop/add without fee degree recital lottery concert Office Last day for late registration Last day to add a course for fall semester degree recital registration for fall semester recitals Last day to drop a fall semester course with deletion All work for spring and summer incompletes due to faculty First day to give a recital in the fall semester Midterm holiday (no classes, lessons, or ensembles) Classes, lessons, and ensembles resume Grades to remove spring and summer incompletes due to registrar Last day to withdraw from a course with an automatic “W” Last day to change a course to Audit Application deadline for spring semester diploma program deadline for leave-of-absence return notification to Office of Academic Affairs Last day to withdraw from any fall semester course course selection for spring 2011 semester Thanksgiving Vacation (no classes, lessons, or ensembles) Classes, lessons, and ensembles resume Application deadline for regional and February auditions Spring semester payment postmark date; late payment fee applied after this date Last day to give a recital in the fall semester Last day of classes, lessons, ensembles for fall semester Fall semester course examinations 2010–2011 August 10

August 22 August 24 August 31 September 1 September 1 September 2 September 6 September 10 September 15 September 17 September 17 September 22 & 27 September 24 September 24 October 1 October 10-12 October 13 October 15 October 22 October 2 November 1 November 15 November 23 November 15–30 November 24–28 November 29 december 1 december 7 december 11 december 14 december 15–17

First semester ends residence Hall move-out deadline for noncontinuing students, noon residence Hall closes Fall grades due to registrar, noon Second Semester Registration residence Hall opens registration for new students Martin Luther King Jr. Holiday (no classes, lessons, or ensembles) Classes, lessons, and ensembles begin degree recital lottery—concert Office Petition to graduate in may 2011 due to registrar Last day to drop or add courses or reconfirm registration without fee Last day for late registration Last day to add a course for spring semester Last day to register for spring semester degree recital without a fee degree recital registration for graduating students only degree recital registration for students with degrees in Progress Last day to drop a course with deletion All work for fall semester incompletes due to faculty dissertation submission deadline for may graduation First day to give a recital in the spring semester Audition/Ensemble/Master Class Week (no classes or lessons) Classes, lessons, and ensembles resume Grades to remove fall semester incompletes due to registrar Last day to withdraw from a course with automatic “W” Last day to change a course to Audit Spring Vacation (no classes, lessons, or ensembles) Classes, lessons, and ensembles resume deadline for mm/dmA document submission for may graduation Last day to withdraw from any spring semester course Application deadline for may auditions deadline for leave-of-absence return notification to Office of Academic Affairs course selection for fall 2011 semester Last day to give a recital for graduating students Last day to give a recital for all continuing students Last day of classes and lessons reading/examination preparation day Spring semester course examinations

december 18 december 19 december 19 december 22 2011 January 14 January 14 January 17 January 18 January 26 January 28 January 28 February 4 February 4 February 9 January 31 and February 2 & 4 February 7 & 9 February 11 February 11 march 1 February 21 February 21–25 February 28 February 28 march 4 march 4 march 20–27 march 28 April 15 April 1 April 15 April 15 April 18-29 may 1 may 9 may 9 may 10 may 11–13

Juries and final auditions Spring grades due to registrar, noon residence Hall closes, noon commencement Graduate Summer Session classes begin classes end

may 16–19 may 19 may 20 may 26 2010 June 27 July 29

Audition Calendar
Application deadline Auditions for admission Application deadline for late auditions Final auditions for fall semester 2011 admission November 30 February 21–25 April 15 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 9 9 13 13 13 17 21 21 22 23 23 25 26 27 31 33 38 39 45 73 74 75 78 97 102 110 113 114 118 119 121 159 159 162 163 165 165 167 168 General Information History The campus and Facilities Procedural Information Academic Advising Large ensembles recitals Academic Regulations Academic and Student codes of conduct Undergraduate Students Graduate Students Grading System and regulations Satisfactory Academic Progress definition of Full-Time Status and credit Limits Attendance and Absences Student data 2009–2010 University Policies Degree and Diploma Programs Bachelor of music degree Bachelor of music curricula Bachelor of music with JHU concentration Five-Year Bm/mm Program master of music degree master of music curricula doctor of musical Arts degree doctor of musical Arts curricula Graduate Performance diploma Artist diploma Performer’s certificate extension Study Conservatory Faculty Course Listings Financial Information Tuition and Fees Loan Programs and Grants Assistantships Administration The Peabody institute The Johns Hopkins University 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 beginnings, it has brought together a community 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 University, 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 Mennin, Ernst Krenek, Benjamin Lees, Earle Brown, and Hugo Weisgall; violinists William Kroll, Louis Persinger, Oscar Shumsky, 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 grantees. 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.

The Campus and Facilities
The first music conservatory established in America, the Peabody Institute occupies an entire city block of six interconnected 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 architectural 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 Conservatory and Preparatory faculty. More recent additions include the residence 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 construction 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,

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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 leadership to each floor community within the Residence Hall. Dining Hall The Peabody Dining Hall is located between the two residence towers. Residency 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 Symington 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.

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 musical organizations of the greater Baltimore metropolitan area. The Peabody community 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 Griswold Hall. Both studios are fully digital and surround capable, as well as being interconnected, permitting data transfer between the facilities. Two other recording control rooms, Studio 3036 and Studio 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

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introductory-level and non-major students, 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 experimental 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 Community 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 procedures. Visits for treatment at the health service are covered by the mandatory student 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 insurance 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 difficulties, manage stress and interpersonal

relationships more effectively, and overcome problematic behaviors. A variety of services are provided, including individual and group psychotherapy, crisis intervention, support groups, workshops, and consultation on student-life problems. For the convenience of Peabody students, a counselor 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 students and alumni to callers from outside Peabody seeking music for concerts, weddings, parties, or other events. Disability Resources Disability Resources in the Student Affairs Office collaborates with students, faculty, and staff to create learning environments 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 Katsura Kurita, Associate Dean for Student Affairs and Disability Resources coordinator, 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

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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 communitybased 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 individual “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 campus and the Johns Hopkins Medical Institutions 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

identified by the Johns Hopkins Enterprise 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 Information System (ISIS): the official Web-based interface for course registration and academic records. Computers for student use are available 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 available 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 201905248, 703-437-0700. The Peabody Conservatory is a division of The Johns Hopkins University, which is accredited by the Maryland Higher Education Commission (MHEC): 839 Bestgate Road, Suite 400, Annapolis, MD 21401, 410-260-4500. The Johns Hopkins University is also accredited by the Middle States Commission on Higher Education (MSCHE), 3624 Market St., Philadelphia, PA, 19104-2680, 267-284-5000.

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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 agreement 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 professional 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, Academic Affairs, and Student Affairs. Students are responsible for the requirements of their curricula as listed in the catalog in the year they matriculated. Curricula for each degree and diploma can also be found on the website for the Office of Academic Affairs. Students should carefully 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 and graduates, should be referred to the Associate Dean for Academic Affairs. Because of the attendant issues of transition and adjustment, Peabody devotes special resources to freshmen and sophomores in the undergraduate program. Students in Music Education are specially mentored by the Music Education faculty. The complexities 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 undergraduate advisors will meet with the students on the details of their schedules and grading until the students play their sophomore juries. Thereafter, the role of advising rests with the major teacher. However, regardless of advisor assignments, students are welcome to contact the Registrar’s Office and the Associate Dean for Academic 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 Artist Diploma or Doctor of Musical Arts degree, all students majoring in orchestral 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 category of large ensembles, as dictated by their curricula, which are overseen directly by the early music faculty. Vocalists, pianists, 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

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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 percussion students are assigned to a specific large ensemble and seated based on the results of placement auditions taken during 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 reaudition 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 seatings 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 performances. 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

• 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 sparkles. 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 Orchestras, Wind Ensemble, Jazz Orchestra, and the Peabody-Hopkins Chorus and Singers, are graded using the same letter grading system as classroom courses. Large ensemble grades are based primarily on the following four factors: • Performance and preparation • Contribution to the ensemble • Cooperation and professionalism • Attendance

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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 Absent from a regular rehearsal Late to the last rehearsal before a dress rehearsal Absent from the last rehearsal before a dress rehearsal Late to a dress rehearsal Absent from a dress rehearsal Late to a composition reading Absent from a composition reading Late to a combined orchestra/chorus rehearsal Absent from a combined orchestra/chorus rehearsal Late to a recording session Absent from a recording session Late to a performance call Absent from a performance 1 point 3 points 2 points 4 points 3 points 6 points 2 points 6 points 2 points 4 points 3 points 6 points 4 points 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 4 points 5 points 6 points 7 points A AB+ B B8 points 9 points 10 points 11 or 12 points 13 or more points C+ C CD F

Any circumstances or behaviors that 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.

Excuse Requests To request permission to be excused from a large ensemble rehearsal or performance 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 latenesses 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.

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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 submitted no later than two weeks before the first rehearsal for that program. Medical Leave Students with physical conditions requiring 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. Instrumentalists who are suffering from such repetitive motion injuries on a long-term basis may be assigned to a choral ensemble during 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.

In case of sudden illness or a medical emergency, it is the student’s responsibility to notify the Ensemble Office immediately 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 suitable 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, orchestra 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 sometimes 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 emergencies, traffic accidents, legal matters, and other situations over which the student has little or no control. They do not include factors such as oversleeping, failing to allow enough travel time, having to get something to eat, and so on. Students should notify the Ensemble Office imme-

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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 responsibility of each student participating in ensembles in fulfillment of a degree or diploma to know and abide by the rules. For clarification and notification of any changes, see www.peabody.jhu.edu/ensembleoffice.

Recitals
Public recitals are required for the completion of all undergraduate and graduate performance degrees and diplomas. All recitals must be scheduled through the procedures established by the Concert 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 offcampus recitals may not be contested. Repertoire Degree recitals are solo recitals of repertoire selected in consultation with the major teacher. In instrumental areas other than piano, chamber works may be permitted 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 discretion of the department. Students wishing

to perform ensemble works which are contained within the Ensemble Library holdings 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 Peabody ombudsmen for copyright compliance. 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 submitted 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 Conducting Program, prior to scheduling a recital. Recital Timings All degree recitals, including lecturerecitals, will be limited to a total of 70 minutes of stage time, with the sole exception of Artist Diploma piano recitals, 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 Jazz Violin Voice

25 30 25 25

60 60 60 60

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Minimum-Maximum Performance Time (in minutes of music) for Undergraduate Senior Recitals
Minimum Maximum

An Artist Diploma piano recital is the only degree recital that exceeds 60 minutes of music, and as such, may contain an intermission at the discretion of the student and his or her teacher. Credit and Scheduling Peabody presents more than 350 degree recitals each year along with hundreds of other kinds of concerts. To accommodate all students with the most equitable division of resources, all degree recitals must be scheduled, prepared, and performed within the guidelines set by the Concert Office. 1. A degree recital is a course. The course number for a degree recital is listed in the curricula for each degree and diploma. To receive credit for a recital, students must register for the course number through the registration processes used for all other courses at Peabody. Unlike other courses, a degree recital requires special scheduling. 2. To schedule a degree recital in November, December, March, April, or May, students must participate in the Concert Office’s Degree Recital Registration Lottery. All students who do not schedule their degree recitals on the recital registration days noted under registration procedure (Lottery) will be charged a $50 late recital registration fee. At the Lottery, students will be given an appointment to schedule a recital. It is the student’s responsibility to choose a date on which the major teacher is available. Similarly, all other ensemble participants must be secured and scheduled before choosing a date at the Lottery. There will be a $50 drop/add fee for changing the date of any recital (degree or non-degree) and a $50 fee for canceling any recital once it is officially scheduled. 3. To schedule a degree recital at the beginning of a semester (October in a fall semester; January or February in a

Early Music Guitar and Organ Harp and Percussion Harpsichord Jazz Orchestral Strings Piano Voice Woodwinds and Brass

50 50 50 50 50 50 50 45 50

60 60 60 60 60 60 60 60 60

Minimum-Maximum Performance Time (in minutes of music) for MM, GPD, and DMA Graduate Recitals
Minimum Maximum

Early Music Guitar and Organ Harp Harpsichord Jazz (GPD) Orchestral Strings Percussion Piano (GPD) Piano (MM & DMA) Voice Woodwinds and Brass

60 50 60 60 55 50 50 55 50 50 50

60 60 60 60 60 60 60 60 60 60 60

Minimum-Maximum Performance Time (in minutes of music) for AD Graduate Recitals
Minimum Maximum

Piano Voice

70 55

70 60

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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 Concert 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 recitals 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. Failure 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 appointment 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 setup 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

any unusual lighting or special effects for degree recital. Students who require audio-visual support 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 recitals except junior recitals. Tapes of those recordings are kept in the Recording Studio 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 offering the Bank of America Lounge where student receptions may be held. Students hosting receptions must submit a reception 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 compliance with the Conservatory’s alcohol policy, 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

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directly to the Office of Academic Affairs and recorded when received. When the grade appears in the ISIS record, the student 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 permission 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 postponed recital that has been recorded with

the grade IP must performed at the beginning 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 following semester. Non-Degree Recitals Non-degree recitals may only be scheduled 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 November, 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 information, 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 connected 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 performance outside the Conservatory, with the permission of the teacher.

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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 section 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 Conservatory’s administrative regulations. Degree and Program Classification Application deadlines for all classifications 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 admission to a degree program except for current Peabody students beginning a higher degree. Students may seek midyear admission 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 standards 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 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 Conservatory 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, misrepresentation of work, multiple submissions of the same work, falsification of an approval signature, knowingly furnishing false information to any agent of the Conservatory for inclusion in the academic records, and falsification, forgery, alteration, destruction, or misuse of official Conservatory 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. However, students may transfer some credits taken at accredited post-secondary schools or through the accelerated testing of recognized 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

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ensembles in every semester of instruction. 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 necessary documentation to the Conservatory Registrar’s Office and at the discretion of department chairs in consultation with the Associate Dean for Academic Affairs. Peabody 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 students enroll in classes.

graduate level. Advanced placement in music theory is only possible on the basis of the Advanced Placement Undergraduate Exam in Music Theory (AP-UGrad) during Orientation, which includes partwriting, analysis, and counterpoint. Samples 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 undergraduate 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 Department 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 humanities 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 certification, 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 transferring AP or IB credits and consult with the chair before enrolling in liberal arts courses at other institutions.

Undergraduate Students
Accelerated Credit For undergraduate students, accelerated work in high school is only accepted on the basis of an examination that is documented 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 Baccalaureate Exam may be accepted. Credits for courses taken at another accredited college 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-

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General Electives Additional AP, IB, or CLEP credits as well as credits taken at other accredited colleges may be transferred as general electives, pending approval of the Associate Dean for Academic Affairs.

C– D F

1.67 1.00 0.00

Graduate Students
A maximum of six credits of graduate 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 subsequent 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.

No grade points are assigned for the following 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 computed each semester and reported as term and cumulative GPA. A GPA is determined by multiplying the grade points for each earned grade by the number of credits 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 requirements 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 illness or injury. Students requesting the

Grading System and Regulations
Letter grades are given for private lessons, classwork, ensembles, juries, and recitals. For the purposes of assessing academic 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

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grade of IP for a jury or graduate hearing 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 calculation 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 instructor. If the matter cannot be resolved with the instructor, the student may take his or her appeal to the chair of the department. If the matter cannot be resolved with the chair, the student may take his or her appeal to the Associate Dean for Academic 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 Conservatory 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 Conservatory leadership—no grade should be changed after 18 months of being posted to the student record. Standard Academic Progress Conservatory students who have matriculated in curricular programs are required to make measured progress toward their

degree or diploma every semester. The yearly measure of accomplishment comprises the Conservatory’s benchmarks for satisfactory academic progress. The Office of Academic Affairs, in consultation with the Conservatory Faculty Assembly, is tasked with upholding the standards of satisfactory academic progress. The Associate Dean for Academic Affairs reviews all transcripts every semester 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. Academic Affairs may place students on warning for dismissal when they do not meet the minimum benchmarks. A student who has been warned for dismissal is still eligible for financial aid for one probationary semester until Academic Affairs can reevaluate the student’s academic progress at the conclusion of the subsequent regular semester. Academic Affairs, in consultation with the faculty, may dismiss, without 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 students. Moreover, like athletic programs, the physicality of extensive performing can cause injuries to the physiological features that are necessary to a student’s success both in the Conservatory and beyond. If a student fails to meet the benchmarks for standard academic progress because of health issues, personal difficulties,

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or the competing demands of employment or family responsibilities, then the student may submit documentation to the associate dean in pursuit of a waiver or other provisional mitigation such as an informal letter of concern. To be considered for a waiver or mitigation 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 letter 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 providing 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 Undergraduate Committee. Students are advised to report all difficulties 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 Academic Affairs contacts all faculty teaching these students by the middle of the subsequent regular semester. When grades are reported, the associate dean, in consultation with the relevant faculty committee, 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.

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 general 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 performance. 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 progress, 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, recitals, 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 coursework 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 progress, 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)

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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 Graduate Performance Diploma and Artist Diploma students must satisfactorily complete 8 credits per academic year.

Outside Sources of Financial Aid Maintenance of good academic standing 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
Program of Study Bachelor of Music (BM) Performer’s Certificate (PC) Master of Music (MM) Doctor of Musical Arts (DMA) Graduate Performance Diploma (GPD) Artist Diploma (AD) Minimum credits for full-time status each semester 12 12 9 9 4 4 Maximum credits (excluding lessons, ensembles and recitals) each semester Unlimited Unlimited + 9* + 9* +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 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 listings 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 demonstrate satisfactory academic progress.

Note that students enrolled in the 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 fulltime 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 combination of Music Theory and Musicology credits in excess of six hours or any combination 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 percredit 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 outstanding charges of misconduct and violations of academic ethics, in addition to satisfying all degree requirements and settling all financial obligations.

Attendance and Absences
Classes and Lessons Regular and prompt attendance in classes and lessons is expected of all students. 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 notifications 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 permission 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 Conservatory 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. Withdrawals 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.

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Change of Major Students requesting a change of major must qualify through auditions and interviews with appropriate faculty. To initiate a change of major, a student must complete a change of major form available in the Admissions Office. Interruption of Degree Work A leave of absence is an approved interruption of a degree program that is subject to a fixed duration and/or specific requirements for return. A withdrawal is a complete 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 considered 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 Conservatory is not obliged to grant a leave of absence. Students should present compelling personal or professional reasons for the interruption of studies when requesting 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 following conditions: • The student must be a current student who has matriculated into the Conservatory. • 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 immediate jeopardy for dismissal on academic grounds. • An international student must make arrangements regarding his or her visa with the international student advisor.

• A student who receives financial aid must make the appropriate arrangements 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 Associate Dean for Academic Affairs in consultation 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 November 15 for re-enrollment the following spring semester, or by April 15 for fall reenrollment. 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 medical leave of absence. The Associate Dean for Student Affairs initiates a medical leave of absence. A student will be administratively 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 individuals or to preserve the integrity of the university’s learning environment. Such a decision may be based on behavior and/or communication that:

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• 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 thinking incompatible with successful participation 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 professional. A student wishing to return must notify the Office of Student Affairs in writing of the intent to return. An assessment of the student’s fitness for return will be required as a condition of returning 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 Conservatory 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 appropriate academic committee for readmission 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

to former students who abandon degree programs, and former students can only return to the Conservatory by reauditioning 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 requirements 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 Degreein-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 portion 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 federal 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 reasons 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

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leaves of absence cannot exceed an aggregate 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 readmission to the Associate Dean for Academic Affairs. Final decisions on readmission will be made by the associate dean in consultation with the appropriate academic committee and the major teachers who may request an audition. Student Rights and Responsibilities Students are responsible for understanding all academic regulations and requirements for graduation, as set forth in this catalog and the Student Handbook, and are responsible for completing the applicable requirements for graduation. The Peabody Institute of necessity reserves the right to change any provision, requirement, policy, or regulation published in the catalog within a student’s term of residence. However, it may be assumed that, except under the most unusual circumstances, 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 academic transcript. Transcripts may not be released prior to payment of the transcript fee and all outstanding monies owed the Conservatory. Requests may be submitted to the Registrar’s Office in person, in writing or by fax. Upon clearance from the Registrar’s Office, the request will be sent

to the Business Office for payment processing. 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 manner described in this policy statement should contact the Peabody Communications 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

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taken by third parties, including, without limitation, the news media covering university 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 Student Affairs.

Student Data 2009–2010
Geographical Distribution: United States
Alabama.....................3 Alaska .......................1 Arizona........................... 3 Arkansas ....................1 California ................. 29 Colorado ....................1 Connecticut .............. 14 D.C. ............................... 6 Delaware ....................4 Florida............................ 5 Georgia .................... 10 Illinois............................ 9 Indiana ........................... 1 Kansas ........................... 1 Kentucky ...................2 Australia ....................2 Belarus ......................1 Brazil ........................2 Bulgaria .....................4 Canada..................... 16 Chile .........................2 Costa Rica ..................1 China (P.R.C.) ............ 17 Croatia.......................2 France .......................1 Maine ........................1 Maryland ................ 158 Massachusetts ............ 15 Michigan .................. 13 Minnesota ...................2 Missouri .....................7 Nebraska ....................3 Nevada ......................3 New Hampshire ...........3 New Jersey ............... 18 New Mexico ................1 New York ................. 39 North Carolina .............7 Ohio .............................. 9 Oklahoma...................3 Hong Kong.................6 Indonesia ....................1 Israel .........................2 Italy ..........................1 Japan.........................5 Korea ...................... 94 Malaysia .....................1 Mexico.......................1 New Zealand ...............2 Phillipines ..................2 Oregon ......................4 Pennsylvania ............. 30 Rhode Island ...............1 South Carolina ............8 South Dakota...............1 Tennessee ...................2 Texas .........................7 Vermont.....................3 Virginia ................... 37 Washington ................6 West Virginia ..............1 Wisconsin ..................1 Puerto Rico ................1

Geographical Distribution: Foreign Countries
Romania ....................1 Russia .......................7 Singapore ...................5 Spain .........................6 Taiwan/ROC ............. 33 Thailand ....................2 Turkey .......................3 United Kingdom ..........2 Venezuela ...................3 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 Female Male American Indian or Alaska Native Asian Black or African American Caucasian Foreign Hispanic Unknown Pell/Subsidized Loan Recipient Non Pell/Sub DL Recipient Overall 81% 61% 100% 50% 75% 100% 100% 0% 67% 100% 44% 70% Five Years 78% 61% 100% 50% 75% 83% 100% 0% 67% 43% 25% 69% Four Years 72% 39% 0% 50% 75% 67% 100% 0% 50% 32% 22% 55%

Questions about graduation data should be addressed to the Conservatory Registrar, 410-234-4577.

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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 faculty 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, interdivisional 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 Sciences or Engineering may, similarly, register 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 Hopkins 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. Students requesting cross-registration must complete appropriate forms which are available in the Office of the Conservatory Registrar. Credit sought for any other courses taken outside the Conservatory during the period of a student’s enrollment must be approved in writing by the Associate Dean for Academic Affairs. Music and dance instruction is also available 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 spaceavailable basis. Students in the Krieger School of Arts and Sciences or the Whiting 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 Preparatory 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 students to pursue simultaneously a Bachelor of Music degree and either a Bachelor of Arts degree from the School of Arts and Sciences or a Bachelor of Science degree from the Whiting School of Engineering. Students 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.

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Administrative services such as registration, financial aid, and health care are provided to Double Degree students by the Homewood schools. Consequently, students in the Double Degree Program do not receive Peabody merit scholarships or any other form of financial aid from Peabody. 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 Conservatory, 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 Students, Ensembles, and Academic Affairs. Notice of Nondiscriminatory Policy as to Students The Johns Hopkins University admits students of any race, color, gender, religion, age, national or ethnic origin, disability, marital status or veteran status to all of the rights, privileges, programs, benefits, and activities generally accorded or made available to students at the university. 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 characteristic in any student program or activity administered by the university, including the administration of its educational policies, admission policies, scholarship and loan programs, and athletic and other

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 regarding 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 education, to train for a career, and to become positive forces in the military, the university, after careful study, has continued its ROTC program, but encourages a change in federal policy that brings it into conformity with the university’s policy. Anti-Harassment Policy Preamble The Johns Hopkins University is committed to providing its staff, faculty and students the opportunity to pursue excellence 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 discrimination. Accordingly, harassment based on an individual’s gender, marital status, pregnancy, race, color, ethnicity, national origin, age, disability, religion, sexual orientation, gender identity or expression, veteran status, or other legally protected characteristic

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is prohibited. The university will not tolerate harassment, sexual harassment or retaliation in the workplace or educational environment whether committed 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, ethnicity, 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 working or academic environment. 3. Harassment when directed at an individual because of his/her gender, marital status, pregnancy, race, color, ethnicity, national origin, age, disability, 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 epithets, 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 employment or participation in an education program

• submission to or rejection of such conduct by an individual is used as the basis for personnel decisions 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 offensive 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 enforcement 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 university 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 encouraged to report, as soon as possible, their concerns to the Office of Institutional Equity, their supervisors, divi-

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3.

4.

5.

6.

7.

sional human resources or the Office of the Dean of their school. The university provides a network of confidential consultants by which individuals can discuss concerns related to discriminatory harassment. Individuals who witness what they believe may be discriminatory harassment 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. Complainants are assured that reports of harassment will be treated in a confidential manner, within the bounds of the university’s legal obligation to respond appropriately to any and all allegations of harassment. Managers, including faculty managers, who receive reports of harassment should contact human resources or the Office of Institutional Equity for assistance in investigating and resolving the issue. Managers, including faculty managers, are required to implement corrective action where, after completing the investigation, it is determined corrective action is indicated. The university administration is responsible for ensuring the consistent application of this policy.

Procedures for Discrimination Complaints Brought Within Hopkins Inquiries regarding procedures on discrimination 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 nonimmigrant alien students and encourages applications from qualified foreign students.

University Policy on Alcohol and Drug Abuse The Johns Hopkins University recognizes that alcoholism and other drug addiction are illnesses that are not easily resolved by personal effort and may require professional assistance and treatment. Faculty, staff and students with alcohol or other drug problems are encouraged to take advantage of the diagnostic, 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. Students are prohibited from engaging in the unlawful possession, use or distribution of alcohol or other drugs on university property 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 disciplinary action, as well as possible referral for criminal prosecution. Such disciplinary action of faculty and staff may, in accordance with this policy, range from a minimum of a three day suspension without pay to termination of university employment. Disciplinary action against students may include expulsion from school.

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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 conviction 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 locations administered by the university, or in its programs. The policy of “zero tolerance” 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 retaliation 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.

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 students, 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 exceptions 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 Awareness 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 services 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 university’s Security Department, 14 Shriver Hall, 3400 North Charles Street, Baltimore, Maryland 21218, 410-516-4600.

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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 Association 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 provides the sum of credits required for each group of courses.

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The Bachelor of Music Degree
The Bachelor of Music degree program at Peabody Conservatory is designed to offer gifted students the training to prepare themselves for careers in performance, composition, computer music, music education, 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 personal 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 audition 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 .edu/admissions. 4. An individual may not apply for admission 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 evidence of equivalent study. 2. International students admitted to Peabody must take responsibility to improve their English. General admission requirements as listed for specific degrees and programs are identical for all applicants. However, immigration regulations, varying educational backgrounds, and financial considerations make special procedures necessary in order to help meet the needs of individual 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 maintain 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 minimum of 60 hours at Peabody in order to receive the Bachelor of Music degree. The applied level of transfer students is determined 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. For more detailed information about the BM curricula, see www.peabody.jhu .edu/BM.

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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 students, 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 progress and extensive repertoire may, however, complete their four performance examinations in three years upon recommendation of the major teacher and approval by the Associate Dean for Academic Affairs. The progress of each student is monitored by the department at intervals not greater than two semesters. Advancement 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 forcredit 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 satisfactory 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.

On the basis of this jury and the student’s overall record, the jury committee makes recommendations for the student’s remaining years of undergraduate study. It is in the student’s best interests that a careful professional assessment and subsequent recommendation 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 examination and/or orchestral excerpts, students shall present those during the regular jury period. 395—The 395 is the recital for the Performer’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 private lessons with a member of the Composition 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 discussions on principles of pedagogy, enabling all performance majors to achieve competency 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-

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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 fulfill 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 academic year. Students have the opportunity

to hear a variety of solo and chamber works, as well as occasional guest performances 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 students (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 complete a concert attendance project during their third and fourth semesters. Music Theory/Ear-training/ Keyboard Studies The music theory program is a threeyear requirement for all students. Enrollment in Music Theory 1 presumes a firm knowledge of the fundamentals of music,

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i.e., rhythm, meter, scales, intervals, keys, triads, and inversions. Entering students who are not strong in this area are encouraged 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 Regulations 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 coordinated 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 background. 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 Regulations 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 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156-255-256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Musicology: four of five offerings 610 • 311, 312, 313, 314, 555

1 1 8 8 15 3 8 44

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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 Conservatory, 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 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 section of the catalog. Liberal Arts Each fall the Humanities Seminar helps new undergraduates transition into academic study at Peabody; in subsequent 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 category, Humanities Electives (HE), allows students to choose an appropriate course in consultation with the Humanities faculty.

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 260 • 115 260 • xxx, xxx 260 • xxx, xxx 260 • xxx, xxx 260 • xxx 260 • xxx 4 6 6 6 3 3 28

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.

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 language as a Humanities elective.

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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 opportunities for study. The Humanities Department 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 students whose English language skills are not at college level. All incoming international students will be tested and interviewed to determine their level of English proficiency during the fall semester Orientation Week at Peabody. This testing must be completed before the start of classes. Students placed in ESL courses must successfully complete these courses in order to fulfill the requirements for the Bachelor of Music degree program. Some Peabody courses require ESL courses as a prerequisite. 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 elective 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

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 Director 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 Undergraduate 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.

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Bachelor of Music Curricula
Performance
Guitar MAJOR AREA Major Lesson Departmental Seminar Departmental Examination Half Recital Recital Large Ensemble Guitar Ensemble Small Ensemble

100 • 100 470 • 545–546 171 • 109–209 171 • 309 190 • 495 910 • xxx 950 • 541, 542 950 • 531–532

SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I 710 • 155–156 Guitar Music Skills I–II 530 • 585–586–587–588 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Guitar Literature 530 • 431, 432 Guitar Pedagogy 530 • 637-368 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 GENERAL STUDIES Humanities Seminar 260 • 115 Humanities Electives GP 260 • xxx, xxx Humanities Electives HP 260 • xxx, xxx Humanities Electives LL 260 • xxx, xxx Humanities Elective HE 260 • xxx Humanities-approved Elective 260 • xxx ELECTIVES Electives* TOTAL * Strongly suggested: Lute Tablature and Notation 530 • 431-432

32 8 3 1 2 8 6 2 62 1 1 8 4 4 15 3 4 4 8 52 4 6 6 6 3 3 28 6 148

xxx • xxx

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

32 3 2 2 2 7 8 56 1 1 8 4 15 3 4 2 2 4 1 8 53 4 6 6 6 3 3 28 6 143

xxx • xxx

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

32 3 2 4 7 12 60 1 1 8 4 15 3 4 4 1 8 49 4 6 6 6 3 3 28 3 140

xxx • xxx

47

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

4 4 -3 4 [4]

4

Strings, Brass, Woodwinds, Harp, Percussion MAJOR AREA Major Lesson 100 • 100 Departmental Examination xxx • 109–209–309 Recital 190 • 495 Large Ensemble 910 • xxx Small Ensemble 950 • 531–532 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Basic Conducting 330 • 311 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 GENERAL STUDIES Humanities Seminar 260 • 115 Humanities Electives GP 260 • xxx, xxx Humanities Electives HP 260 • xxx, xxx Humanities Electives LL 260 • xxx, xxx Humanities Electives HE 260 • xxx Humanities-approved Elective 260 • xxx ELECTIVES Electives TOTAL 32 3 2 16 2 55 1 1 8 8 15 3 1 8 45 4 6 6 6 3 3 28 6 134

xxx • xxx

48

VARIATIONS: — for Strings and Percussion: Small Ensemble — for Violin & Viola: Junior Recital [Replaces 309 jury] — for Flute: Piccolo Class [Taken as a required elective] Organ

136 credits 950 • 531–532 134 credits 115, 113 • 309 134 credits 530 • 463–464 +2 [2]

[2]

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

32 8 3 2 12 2 2 61 1 1 8 4 15 3 4 6 2 6 1 8 59 4 6 6 6 3 3 28

49

ELECTIVES Electives TOTAL Piano

xxx • xxx

3 151

MAJOR AREA Major Lesson 100 • 100 Departmental Examination xxx • 109–209–309 Recital 190 • 495 Large Ensemble 910 • xxx Small Ensemble 950 • 531–532 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Sight Reading 530 • 111–112 Accompanying 530 • 213–214 Keyboard Literature I–IV 530 • 411–412–413–414 Piano Pedagogy 530 • 667 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 GENERAL STUDIES Humanities Seminar 260 • 115 Humanities Electives GP 260 • xxx, xxx Humanities Electives HP 260 • xxx, xxx Humanities Electives LL 260 • xxx, xxx Humanities Electives HE 260 • xxx Humanities-approved Elective 260 • xxx ELECTIVES Electives* TOTAL * ecommended electives include: R Second semester of Piano Pedagogy (530 • 668) Basic Conducting (330 • 311)

32 3 2 8 4 49 1 1 8 8 15 3 4 2 8 2 8 60 4 6 6 6 3 3 28 6 143

xxx • xxx

50

Voice MAJOR AREA Major Lesson 100 • 100 Departmental Examination xxx • 109–209–309 Recital 190 • 495 Large Ensemble 910 • xxx Small Ensemble 950 • 531–532 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Sight Reading 530 • 111–112 Accompanying 530 • 213–214 Keyboard Literature I–IV 530 • 411–412–413–414 Piano Pedagogy 530 • 667 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 GENERAL STUDIES Humanities Seminar 260 • 115 Humanities Electives GP 260 • xxx, xxx Humanities Electives HP 260 • xxx, xxx Humanities Electives LL 260 • xxx, xxx Humanities Electives HE 260 • xxx Humanities-approved Elective 260 • xxx ELECTIVES Electives* TOTAL * ecommended electives include: R Second semester of Piano Pedagogy (530 • 668) Basic Conducting (330 • 311) 32 3 2 8 4 49 1 1 8 8 15 3 4 2 8 2 8 60 4 6 6 6 3 3 28 6 143

xxx • xxx

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

52

GENERAL STUDIES Humanities Seminar Humanities Electives GP Humanities Electives HP Humanities Electives LL Humanities Electives HE Humanities-approved Elective ELECTIVES Electives*

260 • 115 260 • xxx, xxx 260 • xxx, xxx 260 • xxx, xxx 260 • xxx 260 • xxx

4 6 6 6 3 3 28 9 142

xxx • xxx

TOTAL * ecommended electives include: R 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 compositions 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 students 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 performances 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 consecutive semesters on the same instrument.
Composition MAJOR AREA Major Lesson Departmental Seminar Departmental Examination Recital Large Ensemble Applied Minor 100 • 100 310 • 545–546 xxx • 209 190 • 495 910 • xxx 010 • 100 32 8 1 2 8 4 55

53

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

1 1 8 8 15 3 6 6 1 6 8 63 4 6 6 6 3 3 28 6 152

xxx • xxx

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 technology to enhance their career opportunities both within the music profession and in related fields outside the profession.
Computer Music MAJOR AREA Major Lesson Department Seminar: Composition Department Seminar: Computer Music Departmental Examination Recital Large Ensemble 100 • 100 310 • 545–546 350 • 545–546 xxx • 209 190 • 495 910 • xxx 32 8 8 1 2 4 55

54

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

1 1 8 8 15 3 6 6 1 6 3 3 8 69 4 6 6 6 3 3 28 3 155

xxx • xxx

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

32 8 3 2 8 6 1 1 61 1 1 8 4 4 15 3 4 4 8 52

56

MUSIC EDUCATION Introduction to Music Education Basic Instrumental Pedagogy Conducting the Secondary Ensemble I Conducting the Secondary Ensemble II Vocal/General: Elementary–Secondary Music and Language Music and the Special Student Intern Teaching Intern Teaching Seminar GENERAL STUDIES Humanities Seminar Introductory Psychology US History Math or Science Elective Humanities Electives

510 • 112 510 • 213 510 • 237–238 510 • 337 510 • 311–314 510 • 413 510 • 414 510 • 411 510 • 441

1 1 4 2 6 3 3 6 1 27 4 3 3 3 18 31 171

260 • 115 290 • 111 xxx • xxx xxx • xxx xxx • xxx

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

32 2 2 14 2 1 53 1 1 8 8 15 3 8 44

57

MUSIC EDUCATION Introduction to Music Education Class Woodwinds – Brass Class Percussion Conducting the Secondary Ensemble I Conducting the Secondary Ensemble II Methods I: Vocal/General –Instrumental Class Strings Music and Language Instrumentation and Arranging Music and the Special Student Intern Teaching Intern Teaching Seminar GENERAL STUDIES Humanities Seminar Introductory Psychology US History Math or Science Elective Humanities Electives

510 • 112 510 • 211–212 510 • 223 510 • 237–238 510 • 337–338 510 • 311–312 510 • 324 510 • 413 710 • 412 510 • 414 510 • 411 510 • 441

1 5 1 4 4 6 3 3 3 3 6 1 40 4 3 3 3 18 31 168

260 • 115 290 • 111 xxx • xxx xxx • xxx xxx • xxx

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

32 3 2 8 2 47 1 1 8 8 15 3 4 2 8 8 58

58

MUSIC EDUCATION Introduction to Music Education Basic Instrumental Pedagogy Conducting the Secondary Ensemble I Conducting the Secondary Ensemble II Vocal/General: Elementary–Secondary Music and Language Instrumentation and Arranging Music and the Special Student Piano Pedagogy Intern Teaching Intern Teaching Seminar GENERAL STUDIES Humanities Seminar Introductory Psychology US History Math or Science Elective Humanities Electives

510 • 112 510 • 213 510 • 237–238 510 • 337 510 • 311–314 510 • 413 710 • 412 510 • 414 530 • 667 510 • 411 510 • 441

1 1 4 2 6 3 3 3 2 6 1 32 4 3 3 3 18 31 168

260 • 115 290 • 111 xxx • xxx xxx • xxx xxx • xxx

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

24 2 3 2 12 3 46 1 1 8 8 15 3 4 4 4 5

59

Acting for Opera Stage Movement Opera Literature Musicology: four of five offerings MUSIC EDUCATION Introduction to Music Education Basic Instrumental Pedagogy Conducting the Secondary Ensemble I Conducting the Secondary Ensemble II Vocal/General: Elementary–Secondary Music and Language Music and the Special Student Intern Teaching Intern Teaching Seminar GENERAL STUDIES Humanities Seminar Introductory Psychology Italian I German I French I US History Math or Science Elective

530 • 491 530 • 391 560 • 473–474 610 • 311, 312, 313, 314, 555

1 1 4 8 67 1 1 4 2 6 3 3 6 1 27 4 3 6 6 6 3 3 31 171

510 • 112 510 • 213 510 • 237–238 510 • 337 510 • 311–314 510 • 413 510 • 414 510 • 411 510 • 441

260 • 115 290 • 111 250 • 111-112 240 • 111-112 230 • 111-112 xxx • xxx xxx • xxx

TOTAL Music Education: Jazz Performance, Vocal/General Education MAJOR AREA Major Lesson Departmental Examination Recital Large Ensemble: PJO Small Ensemble

100 • 100 109–209–309 190 • 495 910 • 537–8 950 • 525–526

32 3 2 14 4 55

60

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

1 1 4 4 4 6 8 4 8 4 4 48 1 1 4 2 6 3 3 6 1 27 4 3 3 3 18 31 161

TOTAL

61

Music Education: Jazz Performance, Instrumental Education MAJOR AREA Major Lesson 100 • 100 Departmental Examination 109–209–309 Recital 190 • 495 Large Ensemble 910 • xxx Small Ensemble 950 • 525–526 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Jazz Fundamentals 710 • 127-128 Ear-training I 710 • 123–124 Jazz Ear-training 710 • 263–264 Music Theory 1–2 710 • 111–112 Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 Jazz Arranging and Composition 710 • 361–362 Jazz Improvisation I–II 530 • 561, 562, 563, 564 Construct. Listening–Jazz History 530 • 569–570 Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 MUSIC EDUCATION Introduction to Music Education 510 • 112 Class Woodwinds – Brass 510 • 211–212 Class Percussion 510 • 223 Conducting the Secondary Ensemble I 510 • 237–238 Conducting the Secondary Ensemble II 510 • 337–338 Methods I: Vocal/General –Instrumental 510 • 311–312 Class Strings 510 • 324 Music and Language 510 • 413 Instrumentation and Arranging 710 • 412 Music and the Special Student 510 • 414 Intern Teaching 510 • 411 Intern Teaching Seminar 510 • 441 GENERAL STUDIES Humanities Seminar 260 • 115 Introductory Psychology 290 • 111 US History xxx • xxx Math or Science Elective xxx • xxx Humanities Electives xxx • xxx 32 3 2 14 4 55 1 1 4 4 4 6 8 4 8 4 4 48 1 5 1 4 4 6 3 3 3 3 6 1 40 4 3 3 3 18 31 174

TOTAL

62

Music Education: Composition MAJOR AREA Major Lesson 100 • 100 Departmental Seminar 310 • 545–546 Departmental Examination xxx • 209 Recital 190 • 495 Large Ensemble 910 • xxx Applied Minor 010 • 100 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Music Theory: advanced electives 710 • xxx, xxx Orchestration 710 • 413–414 Introduction to Computer Music 350 • 463–464 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 MUSIC EDUCATION Introduction to Music Education 510 • 112 Class Woodwinds – Brass 510 • 211–212 Class Percussion 510 • 223 Conducting I :Choral–Instrumental 510 • 237–238 Conducting II: Choral–Instrumental 510 • 337–338 Methods I: Vocal/General –Instrumental 510 • 311–312 Class Strings 510 • 324 Music and Language 510 • 413 Instrumentation and Arranging 710 • 412 Music and the Special Student 510 • 414 Intern Teaching 510 • 411 Intern Teaching Seminar 510 • 441 GENERAL STUDIES Humanities Seminar 260 • 115 Introductory Psychology 290 • 111 US History xxx • xxx Math or Science Elective xxx • xxx Humanities Electives xxx • xxx 32 8 1 2 8 4 55 1 1 8 8 15 3 6 6 6 8 62 1 5 1 4 4 6 3 3 3 3 6 1 40 4 3 3 3 18 31 188

TOTAL

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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 admission. 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 schedule in this catalog. Enrollment for 9 credits is considered full time for this program.
Instrumental Music Certification MUSIC EDUCATION Class Woodwinds – Brass Class Brass Class Strings Class Percussion Techniques for Elementary Instrumental Techniques for Secondary Instrumental Music and Language Music and the Special Student Intern Teaching Intern Teaching Seminar

510 • 211 510 • 212 510 • 324 510 • 223 510 • 312 510 • 313 510 • 413 510 • 414 510 • 411 510 • 441

3 2 3 1 3 3 3 3 6 1 28

Vocal/General Music Certification MUSIC EDUCATION Basic Instrumental Pedagogy Vocal/General: Elementary–Secondary Conducting the Secondary Ensemble II Music and Language Music and the Special Student Intern Teaching Intern Teaching Seminar

510 • 213 510 • 311–314 510 • 337 510 • 413 510 • 414 510 • 411 510 • 441

1 6 2 3 3 6 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, science, 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 requirements 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 engineering or arts and sciences at the Homewood campus of Johns Hopkins University.
Recording Arts: Composition MAJOR AREA Major Lesson 100 • 100 Departmental Seminar 310 • 545–546 Departmental Examination xxx • 209 Recital 190 • 495 Large Ensemble 910 • xxx Applied Minor 010 • 100 SUPPORTIVE COURSES IN MUSIC Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Music Theory: advanced electives 710 • xxx, xxx Orchestration 710 • 413–414 Basic Conducting 330 • 311 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555
65

32 8 1 2 8 4 55 8 8 15 3 6 6 1 8 55

RECORDING ARTS Recording I–III | Fundamentals – Studio Tech Recording IV–V | Studio Techniques– Production Recording Arts Practicum Intro Electrical and Computer Engineering Digital System Fundamentals Psychoacoustics Acoustical and Audio Measurements Circuits – Signals & Systems (WSE) Copyrights and Contracts Musical Acoustics–Electroacoustics Internship GENERAL STUDIES Calculus I–II (KSAS) Physics/Lab (KSAS) Humanities Electives ELECTIVES Two Professional Electives* TOTAL

550 • 111–112–211–212— 311–312 550 • 411–412–511–512 550 • 521 EN.520 • 137 EN.520 • 142 550 • 517 550 • 519 EN.520 • 213–214 360 • 411 550 • 515–516 550 • 419

12 12 4 3 3 3 3 8 2 6 4 60 8 8 12 28 6 204

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

xxx • xxx

* tudents choose one advanced elective from Peabody or WSE S in consultation with the department. Recording Arts: Guitar MAJOR AREA Major Lesson Departmental Seminar Departmental Examination Half Recital Recital Large Ensemble Guitar Ensemble Small Ensemble

100 • 100 470 • 545–546 171 • 109–209 171 • 309 190 • 495 910 • xxx 950 • 541, 542 950 • 531–532

32 8 3 1 2 8 6 2 62

66

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

8 4 4 15 3 4 4 8 50 12 12 4 3 3 3 3 8 2 6 4 60 8 8 12 28 6 206

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

xxx • xxx

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Recording Arts: Jazz Performance MAJOR AREA Major Lesson Departmental Examination Recital Large Ensemble Small Ensemble

100 • 100 109–209–309 190 • 495 910 • xxx 950 • 525–526

SUPPORTIVE COURSES IN MUSIC Jazz Fundamentals 710 • 127-128 Ear-training I 710 • 123–124 Jazz Ear-training 710 • 263–264 Music Theory 1–2 710 • 111–112 Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 Jazz Arranging and Composition 710 • 361–362 Jazz Improvisation I–II 530 • 561, 562, 563, 564 Construct. Listening–Jazz History 530 • 569–570 Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 RECORDING ARTS Recording I–III | Fundamentals – 550 • 111–112–211–212— Studio Tech 311–312 Recording IV–V | Studio Techniques– 550 • 411–412–511–512 Production Recording Arts Practicum 550 • 521 Intro Electrical and Computer Engineering EN.520 • 137 Digital System Fundamentals EN.520 • 142 Psychoacoustics 550 • 517 Acoustical and Audio Measurements 550 • 519 Circuits – Signals & Systems (WSE) EN.520 • 213–214 Copyrights and Contracts 360 • 411 Musical Acoustics–Electroacoustics 550 • 515–516 Internship 550 • 419 GENERAL STUDIES Calculus I–II (KSAS) Physics/Lab (KSAS) Humanities Electives

32 3 2 16 4 57 4 4 4 6 8 4 8 4 4 46 12 12 4 3 3 3 3 8 2 6 4 60 8 8 12 28

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

68

ELECTIVES Two Professional Electives* TOTAL

xxx • xxx

6 197

* tudents choose one advanced elective from Peabody or WSE S in consultation with the department. Recording Arts: Orchestral Instruments MAJOR AREA Major Lesson Departmental Examination Recital Large Ensemble Small Ensemble

100 • 100 xxx • 109–209–309 190 • 495 910 • xxx 950 • 531–532

SUPPORTIVE COURSES IN MUSIC Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Basic Conducting 330 • 311 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 RECORDING ARTS Recording I–III | Fundamentals – 550 • 111–112–211–212— Studio Tech 311–312 Recording IV–V | Studio Techniques– 550 • 411–412–511–512 Production Recording Arts Practicum 550 • 521 Intro Electrical and Computer Engineering EN.520 • 137 Digital System Fundamentals EN.520 • 142 Psychoacoustics 550 • 517 Acoustical and Audio Measurements 550 • 519 Circuits – Signals & Systems (WSE) EN.520 • 213–214 Copyrights and Contracts 360 • 411 Musical Acoustics–Electroacoustics 550 • 515–516 Internship 550 • 419

32 3 2 16 2 55 8 8 15 3 1 8 43 12 12 4 3 3 3 3 8 2 6 4 60

69

GENERAL STUDIES Calculus I–II (KSAS) Physics/Lab (KSAS) Humanities Electives ELECTIVES Two Professional Electives* TOTAL

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

8 8 12 28 6 192

xxx • xxx

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

32 8 3 2 12 2 2 61 8 4 15 3 4 6 2 6 1 8 57 12 12 4 3 3 3 3

70

Circuits – Signals & Systems (WSE) Copyrights and Contracts Musical Acoustics – Electroacoustics Internship GENERAL STUDIES Calculus I–II (KSAS) Physics/Lab (KSAS) Humanities Electives ELECTIVES Two Professional Electives* TOTAL

EN.520 • 213–214 360 • 411 550 • 515–516 550 • 419

8 2 6 4 60 8 8 12 28 6 212

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

xxx • xxx

* tudents choose one advanced elective from Peabody or WSE S in consultation with the department. Recording Arts: Piano MAJOR AREA Major Lesson Departmental Examination Recital Large Ensemble Small Ensemble 100 • 100 xxx • 109–209–309 190 • 495 910 • xxx 950 • 531–532 32 3 2 8 4 49 8 8 15 3 4 2 8 2 8 58

SUPPORTIVE COURSES IN MUSIC Ear-training I–II 710 • 123–124–223–224 Keyboard Skills for Piano Majors I–IV 710 • 211–212–311–312 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Sight Reading 530 • 111–112 Accompanying 530 • 213–214 Keyboard Literature I–IV 530 • 411–412–413–414 Piano Pedagogy 530 • 667 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555

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RECORDING ARTS Recording I–III | Fundamentals – Studio Tech Recording IV–V | Studio Techniques– Production Recording Arts Practicum Intro Electrical and Computer Engineering Digital System Fundamentals Psychoacoustics Acoustical and Audio Measurements Circuits – Signals & Systems (WSE) Copyrights and Contracts Musical Acoustics–Electroacoustics Internship GENERAL STUDIES Calculus I–II (KSAS) Physics/Lab (KSAS) Humanities Electives ELECTIVES Two Professional Electives* TOTAL

550 • 111–112–211–212— 311–312 550 • 411–412–511–512 550 • 521 EN.520 • 137 EN.520 • 142 550 • 517 550 • 519 EN.520 • 213–214 360 • 411 550 • 515–516 550 • 419

12 12 4 3 3 3 3 8 2 6 4 60 8 8 12 28 6 201

AS.110 • 108-109 AS.171 • 101–102 xxx • xxx

xxx • xxx

* Students choose one advanced elective from Peabody or WSE

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Concentrations
Bachelor of Music with JHU Liberal Arts Concentration Peabody students wishing to earn a Bachelor of Music with a liberal arts concentration 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 cannot 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 concentration. 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. 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 requirement in a Peabody program of study may not be used toward an engineering concentration. 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.

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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 throughout 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 eartraining/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 composition study be with a single studio teacher 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 pedagogy, or performance/pedagogy are also eligible to apply for this program. Qualified students enrolled in the Bachelor 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 Composition, the BMRA is already a five-year degree program. Admission to the BMRA/ MA does not extend financial aid arrangements 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 managed by the Office of Academic Affairs. The Associate Dean for Academic Affairs, in consultation with faculty and the administration, makes the final decisions 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.

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The Master of Music Degree
The program leading to the degree of Master of Music provides for intensive development of performance skills, extensive 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 following 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 version, or 79 from the Internet-based test are expected of applicants. 3. All entering students must pass a personal 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 requirements are available from the Admissions Office and the Peabody website at www .peabody.jhu.edu/admissions. 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 institution. 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 knowledge through performance and written examinations. 2. International students admitted to Peabody must take responsibility to improve their English in preparation for their Peabody coursework. Nonnative 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 University, 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.

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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. Exceptions 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. Students 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 portfolio/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 matriculation into the MM degree program may also be transferred. See Sources of Credit in Academic Regulations for details. Deficiencies in the areas of music theory, ear-training, music history, keyboard skills, or English must be corrected by remedial study at the Conservatory. Please note: Students placed in ESL courses cannot 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 determination. Students must satisfy any review requirements in music theory, music history, or keyboard skills before enrolling in other graduate-level courses in these fields.
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All requirements for the Master of Music degree program must be completed within five years of the date of initial registration. 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 lessons. The progress of each student is monitored by the department at intervals not greater than two semesters. Advancement and assessment are accomplished by individual 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 education, 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 ensembles in fulfillment of their degree requirements. 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 studio accompanying for pianists).
Core Curriculum

Electives and Other Requirements

The Master of Music core curriculum consists of Music Bibliography and courses in music theory and musicology. Full-time Master of Music students are strongly encouraged to take Music Bibliography in their first year of study. Most MM students are also required to take two graduate seminars in musicology; see individual program descriptions for details. Please note: International students in the ESL program who have tested into English as a Second Language Level I (PY.225.001,003) may not take Music Bibliography until they successfully complete their first year of English studies. Exceptions are made only in consultation with the Musicology faculty, the ESL faculty, and the Associate Dean for Academic Affairs. ESL students should note that they may need more than two years to complete the MM. Before students can enroll in Graduate Seminars, they must pass a music history placement test offered about one week 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 medieval 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 Intensive Review are they permitted to enroll in graduate seminars. The only musicology 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 appropriate by the department in which the student is majoring. These courses shall not be the same ones taken as part of the undergraduate curriculum.

Unless otherwise specified, the term elective means class elective. Ensemble credits cannot be counted as elective credits. Only courses designated as “G” (Graduate Elective) in the Master Schedule of Classes may be used to fulfill graduate elective requirements. Curricular Practical Training may be used to fulfill a maximum of three elective credits. Questions about the appropriateness of courses for elective credit can be directed to the Registrar’s Office. For some curricula, certain requirements are not offered for credit. For example, departmental hearings for performers or foreign language exams in Voice and Musicology do not appear on transcripts. Other requirements do appear on transcripts but the credits are not applied in fulfillment of a degree. For example, remedial coursework in Music Theory, Musicology, or English is graded and recorded, but the credits do not count toward completion of the degree. In every case, students must complete all requirements to remain in good standing and complete the Master of Music degree.

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Master of Music Curricula
MM Curriculum—Performance Majors
Conducting MAJOR AREA Major Lesson Recital Conducting Seminar 100 • 100 190 • 695 330 • 845–546 16 2 2 20 2 6 3 3 6 4 24 4 48

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

xxx • xxx

16 2 2 20 2 6 3 3 3 17 6 43

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Counterpoint 710 • xxx Music Theory Analysis 710 • xxx Instrumentation 710 • 412 ELECTIVES Electives TOTAL

xxx • xxx

78

Guitar MAJOR AREA Major Lesson Recital Chamber Music Guitar Ensemble Guitar Seminar 100 • 100 190 • 695 950 • 831–832 950 • 841–842 470 • 845–846 16 2 2 2 2 24 2 6 6 2 4 4 24 48

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Guitar Literature 530 • 631–632 Lute Literature and Notation 530 • 433–434 Guitar Pedagogy 530 • 637–638

TOTAL VARIATIONS: Peabody BM Guitar Alumni Electives Guitar Pedagogy Minus Guitar Ensemble Orchestral Instruments MAJOR AREA Major Lesson Recital Large Ensemble Chamber Ensemble 100 • 100 190 • 695 950 • 831

48 credits xxx • xxx 530 • 637–638 950 • 841–842

6 -4 -2

16 2 4 1 23 2 6 6 14 6 43

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx ELECTIVES Electives TOTAL

xxx • xxx

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VARIATIONS: — for Violin, Viola and Cello Small Ensemble — for Flute: Piccolo Class [Taken as a required elective] Organ MAJOR AREA Major Lesson Recital

44 credits 950 • 832 43 credits 530 • 463 or 464

1 [1]

100 • 100 190 • 695

16 2 18 2 6 6 14 6 38

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx ELECTIVES Electives* TOTAL * he following courses are recommended and may be required by the department: T Resources /Church Organist 530 • 425–426 Organ Literature 530 • 423–424

xxx • xxx

Piano MAJOR AREA Major Lesson Recital Small Ensemble 100 • 100 190 • 695 950 • 831, 832 16 2 2 20 2 6 4 3 3 3 21

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Advanced Keyboard Skills for Pianists* 530 • 633–634 Analysis of 19th-Century Piano Literature 710 • 647 Analysis of 20th-Century Piano Literature** 710 • 648 Music Theory Seminar 710 • xxx

80

ELECTIVES Electives TOTAL

xxx • xxx

6 47

* tudents who completed the undergraduate courses in keyboard S skills (530 • 211–212–311–312) at Peabody with a minimum grade of B are exempt from this class ** 20th-century Music Theory analysis seminar may be substituted A with permission of the Piano Department Piano: Ensemble Arts MAJOR AREA Major Lesson Recital 100 • 100 190 • 695 16 4 20 2 6 6 4 4 4 26 46

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Instrumental Chamber Music 530 • 621–622 Accompanying and Coaching Skills 530 • 619–620 Advanced Accompanying 530 • 813–814–817–818

TOTAL

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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 curriculum 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 participation 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 pronunciation, 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 Recitals

100 • 100 190 • 695

16 4 20 2 6 6 4 4 4 1 2 29 49

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Advanced Accompanying 530 • 813–814–817–818 Accompanying and Coaching Skills 530 • 619–620 Accompanying and Coaching Skills II 530 • 625–626 Student Coach, Opera Workshop 530 • 639 Student Coach, Opera Theatre Production 530 • 640

TOTAL

82

Voice MAJOR AREA Major Lesson Vocal Coaching Language and Diction Proficiency* Recital

100 • 100 186 • 611–612 ———— 190 • 695

16 2 0 2 20 2 6 6 4 18 6 44

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Vocal Literature Electives 530 • 621–622 ELECTIVES Electives TOTAL

xxx • xxx

* ll candidates for the MM in voice must meet language and diction standards in French, A 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 Recital 190 • 695 Baltimore Baroque Band 910 • 827–828 Baroque Ensemble 950 • 827–828 SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Harpsichord Literature 530 • 421–422 Continuo 530 • 315–445 Baroque Ornamentation 530 • 441–442 Performance Practice Seminar 610 • 615 Harpsichord Tuning 370 • 492 TOTAL 16 2 4 2 24 2 6 6 2 4 4 3 2 29 53

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Early Music Performance: Instruments Core Classes MAJOR AREA Major Lesson Recital

100 • 100 190 • 695

16 2 18 2 3 3 6 4 18

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Performance Practice Seminar 610 • 615 Musicology Seminar 610 • xxx Music Theory Seminars 710 • xxx Baroque Ornamentation 530 • 441–442 Specific Majors BAROQUE OBOE —— Major Area and Supportive Courses —— Early Wind Literature 610 • 433–434 Baltimore Baroque Band 910 • 827–828 Baroque Ensemble 950 • 827–828

36 2 4 2 8 44

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

36 2 2 4 4 2 14 50

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

36 2 4 2 8 44

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

36 4 4 2 4 2 2 18 54

TOTAL BAROQUE LUTE / THEORBO —— Major Area and Supportive Courses —— Continuo 530 • 315–445 Lute Literature and Notation 530 • 433–434 Renaissance Lute Minor 050 • 100 Baltimore Baroque Band 910 • 827–828 Baroque Ensemble 950 • 827–828

36 4 4 2 4 2 16 52

TOTAL

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

36 4 2 2 8 44

TOTAL

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

36 2 2 4 2 10 46

TOTAL

85

Early Music Performance: Voice MAJOR AREA Major Lesson Vocal Coaching Recital

100 • 100 186 • 611–612 190 • 695

16 2 2 20 2 6 6 4 3 4 4 29 49

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx Early Vocal Literature 530 • 543–544 Performance Practice Seminar 610 • 615 Continuo 530 • 315–445 Vocal Literature Electives 530 • 621–622

TOTAL

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 development 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 teaching 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 Orchestra or Peabody Concert Orchestra during each semester of residency.
Performance/Pedagogy PEDAGOGY CONCENTRATION Pedagogy Practicum Guitar Pedagogy Harp Pedagogy Piano Pedagogy Violin/Viola Pedagogy Violoncello Pedagogy Vocal Pedagogy and Lab Pedagogy Internship Internship Seminar Portfolio Development Pedagogy Elective Psychology of Music Teaching Music Theory Pedagogy Human Growth & Development Educational Psychology Independent Study TOTAL

(Choose one) 530 • 637–638 530 • 629–630 530 • 667–668 530 • 651–652 530 • 641–642 530 • 683–684 520 • 615 520 • 617 520 • 618 (Choose one) 510.611 710.649 ED.882.511 ED.700.502 530 • 998

4 [4] [4] [4] [4] [4] [4] 2 1 1 2–3 2 3 3 3 2 10–11

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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 documented. 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 ensembles; 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 Departmental Seminar Composition Portfolio Large Ensemble/Chorus

100 • 100 310 • 845–846 310 • 691 910 • 811–812

16 4 2 4 26 2 6 6 14 6 46

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx ELECTIVES Electives TOTAL

xxx • xxx

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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 minimum 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 advantage 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 requirements. 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 technology in an expressive way, performance on electronic instruments such as synthesizers, performance on conventional instruments combined with electronics, and concert production 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 guidelines 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. Specifically, 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.

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Computer Music MAJOR AREA Major Lesson Departmental Seminar Capstone Project

100 • 100 350 • 845–846 xxx • xxx

16 2 2 20 2 3 6 3 4 3 6 3 30 50

SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx History of Electroacoustic Music 350 • 840 Digital Music Programming 350 • 837–838 Studio Techniques 350 • 835 Synthesis Theory 350 • 867–868 Musical Acoustics 550 • 515

TOTAL VARIATIONS: [Each degree specifies a capstone project] — CM Composition CM Composition Portfolio — CM Performance/Concert Production Recitals — CM Performance/Concert Production Thesis

42 credits 350 • 693 42 Credits 190 • 695 42 credits 350 • 691

[2] [2] [2]

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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 Research in Music Education 510 • 612 History and Philosophy of Music Education 510 • 613 Music Education Electives* 510 • 6xx Indpendent Field Study 510 • 691 SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx Music Theory Seminars 710 • xxx

2 2 2 8 4 18 2 6 6 14 32

TOTAL * Possible electives include: Supervision and Curriculum Development Graduate Practicum Conducting Wind Literature Music Education and Society 510 • 614 510 • 621 510 • 624 510 • 626

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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 necessarily 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 independent 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 success in the field. Successful applicants normally possess (1) a solid undergraduate foundation 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 undertake 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 determined 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 submission 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.

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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 follows 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 outlined 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– Musicology Colloquium 610 • 847–848 Graduate Research 610 • 755–756 Master’s Thesis 610 • 691 Applied Minor Lessons or Ensemble xxx • xxx SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Music Theory Seminars 710 • xxx ELECTIVES Elective* TOTAL * o be selected in consultation with the Musicology chair from courses offered at T other divisions of The Johns Hopkins University or another affiliated institution.

9 6 4 2 2 23 2 6 8 3 34

ASEN.xxx • xxx

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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 Analysis Courses Choose Two Twentieth-Century Analysis Course Choose One Music Theory Pedagogy 710 • 649 Music Theory Internship 710 • 650 Music Theory Pedagogy Project 710 • 685 SUPPORTIVE COURSES IN MUSIC Music Bibliography 610 • 651 Musicology Seminars 610 • xxx ELECTIVES Electives** TOTAL * Students who test out of Baroque Counterpoint take Renaissance Counterpoint 710 • 633 Possible Analysis Courses Include: Analysis and Performance Analytical Techniques Baroque Style and Practice Fugue from Bach to Shostakovich Schenkerian Analysis Styles Analysis Thinking by Ear: Common-Practice Possible 20th-Century Analysis Courses Include: Music from 1900–1945 (Fall) Music from 1900–1945 (Spring) Music Since 1945 (Fall) Music Since 1945 (Spring) Thinking by Ear: Segue – 20th Century 20th-Century Style and Analysis 710 • 655 710 • 702 710 • 637 710 • 677 710 • 623 710 • 635 710 • 713 710 • 643 710 • 644 710 • 645 710 • 646 710 • 714 710 • 651 3 6 3 3 3 3 21 2 6 8 6 35

xxx • xxx

** ay include additional music theory, musicology, or graduate-level M courses offered at Homewood.
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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 acoustics. 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 professionals 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 Noise Control 550 • 626 Sound System Design 550 • 625 Acoustical and Audio Measurements 550 • 519 Computer Modeling 550 • 627 Professional Practices 550 • 631 Acoustics Design Practicum 550 • 64 Musical Acoustics 550 • 515 Pyschoacoustics 550 • 517 Electroacoustics 550 • 516 Physical Acoustics 550 • 623 SUPPORTIVE COURSES IN MUSIC Music Theory Seminars 710 • xxx TOTAL

3 2 3 3 2 2 3 3 3 3 3 30 6 36

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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 engineers. 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 engineering, and circuits and signals or the equivalent. 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.
MAJOR AREA Music and Technology 550 • 611 Audio Science and Technology 550 • 612 Advanced Recording Systems 550 • 511–512 Advanced Studio Production 550 • 513–514 Musical Acoustics 550 • 515 Pyschoacoustics 550 • 517 Electroacoustics 550 • 516 Physical Acoustics 550 • 623 SUPPORTIVE COURSES IN MUSIC Music Theory Seminars 710 • xxx TOTAL

3 3 6 6 3 3 3 3 30 6 36

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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 students with the highest level of professional development in the art of musical performance or the craft of musical composition, within a context of comprehensive understanding of the common body of theoretical 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 demonstrated 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 audition. 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 .jhu.edu/admissions or from the Admissions 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 musical subject of the applicant’s choice. It must be typed and supported by citations and references. The essay serves as the basis of the DMA interview and should adequately reflect the applicant’s 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 submitted by the application deadline, the application is considered incomplete, and the applicant must wait until the next audition period for admission consideration. 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 Peabody 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 applicant’s particular interests and motivation 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, written 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 used to evaluate the applicant both for admissions and for placement in graduate 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 candidate 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 complete the remainder of the requirements on

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a part-time basis. International students cannot drop below full-time status without 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 maintain 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 examination 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 Graduate Extension program, beyond the MM degree level, may transfer to the DMA program, upon satisfaction of all other admission 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
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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 fulltime 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 extraordinary 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 consultation with the Associate Dean for Academic 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 Musicology and Music Theory. This committee 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 examination 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-inprogress 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

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 performance, 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 lecturerecital (lecture-recital registration). Every degree recital must be approved by the major field advisory committee and the Concert Office.
Recital Programs

Individual studio work includes indepth repertoire development, and culminates 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 individual curriculum descriptions). Upon entry to the program, each candidate 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 candidate will submit an updated repertoire list reflecting new works studied and performed. 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 program 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 presented during the student’s residency

Each program must be approved by the candidate’s major field advisory committee 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 approximately one page in length, and must be approved by a representative of the musicology 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 committee and by the Graduate Document Committee. The program submitted to the Concert Office must carry the appropriate signatures indicating such approval.

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The recital is juried by the members of the candidate’s major field and academic advisory 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 presentation of the lecture-recital.
Portfolio of Compositions

Coursework

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 candidate’s Academic Advisory Committee. These together constitute the final document 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 compositions without additional fee; non-full-time candidates will be charged fees on a credithour basis. Students wishing to delay submission of the portfolio beyond the first week of the semester following registration must make application through the Office of Academic Affairs and must be registered for private study during the semester in which the portfolio is actually presented. No additional fees will be charged for a delayed submission. The student should submit the completed portfolio to the composition faculty, at the same time advising the Office of Academic Affairs that this is being done. Following acceptance of the portfolio 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.

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 coursework in humanities at the School of Arts and Sciences of The Johns Hopkins University 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 Colloquium during their first year. The colloquium provides opportunities to hear guest lecturers speak on musicology topics of their expertise, and focuses on developing writing and critical thinking abilities. 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 advising on preparation of the document or dissertation, lecture-recital, and final oral examination. For further details students should refer to the DMA guidelines, available 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 competency determined by the results of a reading 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 requirement when so indicated by the special nature of the student’s intended research.

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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 elective means class elective. Ensemble credits cannot be counted as elective credits. Questions about the appropriateness of courses for elective credit can be directed to the Associate Dean for Academic Affairs.
Preliminary Oral Examination

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 dissertation, 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., analysis, theory, history, criticism, performance practice, development of a critical edition, etc. For composition majors, the dissertation will be a composition of major proportions 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 analytical 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 presentation of the lecture-recital. Candidates will submit two clean copies of their essay, incorporating all additions and corrections, for placement in the Arthur Friedheim 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.

The third-semester preliminary oral examination is intended to demonstrate a student’s ability to speak about and respond to questions on a single, substantial 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 portion. 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 student 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 completion 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, available 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

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Doctor of Music Arts Curricula
DMA Curriculum—Composition Majors
Composition MAJOR AREA Major Lesson Departmental Seminar Compositions/Commentary 100 • 100 310 • 845–846 310 • 793 16 4 6 26 6 6 2 12 (2–10) 26 7 3 10 62

SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Musicology Seminars 610 • xxx Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 ELECTIVES Electives Humanities Elective

xxx • xxx xxx • xxx

TOTAL

DMA Curriculum—Conducting Majors The DMA in conducting is available to qualified students seeking additional professional experience as conductors. Students are required to present a public lecture preceding 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 conducting programs.
Orchestral Conducting MAJOR AREA Major Lesson Recital Recital Recital Recital, off campus Lecture (with recital 190.796) Conducting Seminar Document
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100 • 100 190 • 794 190 • 795 190 • 796 190 • 797 190 • 799 330 • 847–848 610 • 792

16 2 2 2 2 2 4 2 32

SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

6 2 6 (2–10) 0 14 13 3 16 62

xxx • xxx xxx • xxx

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

16 2 2 2 4 4–8 30–34 6 2 6 (2–10) 0 14 13 3 16 60–64

xxx • xxx xxx • xxx

TOTAL

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CURRICULUM OPTIONS — Option A Dissertation Graduate Research + — Option B Lecture (with recital 190.796) Document

64 credits 610 • 791 610 • 756 60 credits 190 • 799 610 • 792

6 2 2 2

DMA Curriculum—Performance Majors
Guitar MAJOR AREA Major Lesson Recital (solo) Recital (solo) Recital (solo) Recital (concerto) Recital (chamber music) Recital (lecture-recital) Document

100 • 100 190 • 794 190 • 795 190 • 796 190 • 797 190 • 798 190 • 799 610 • 792

16 2 2 2 2 2 2 2 30 6 2 6 (2–10) 0 14 13 3 16 60

SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

xxx • xxx xxx • xxx

TOTAL

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DMA Curriculum—Performance Majors
Orchestral Instruments: Options A and B MAJOR AREA Major Lesson 100 • 100 Recital (solo) 190 • 794 Recital (solo) 190 • 795 Recital (solo) 190 • 796 Performance Elective xxx • xxx Curriculum Option (dissertation or lecture-recital) SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

16 2 2 2 2 8 32 6 2 6 (2–10) 0 14 13 3 16 62

xxx • xxx xxx • xxx

TOTAL CURRICULUM OPTIONS — Option A Dissertation Graduate Research — Option B Recital (concerto) Recital (chamber music) Recital (lecture-recital) Document

64 credits 610 • 791 610 • 756 64 credits 190 • 797 190 • 798 190 • 799 610 • 792

6 2 2 2 2 2

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DMA Curriculum—Performance Majors
Organ and Piano: Options A and B MAJOR AREA Major Lesson 100 • 100 Recital (solo) 190 • 794 Recital (solo) 190 • 795 Recital (solo) 190 • 796 Piano Seminar 450 • 845 Curriculum Option (dissertation or lecture-recital) SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective 16 2 2 2 1 8 31 6 2 6 (2–10) 0 14 14 3 17 62

xxx • xxx xxx • xxx

TOTAL CURRICULUM OPTIONS — Option A Dissertation Graduate Research — Option B Recital (concerto) Recital (chamber music) Recital (lecture-recital) Document

64 credits 610 • 791 610 • 756 64 credits 190 • 797 190 • 798 190 • 799 610 • 792

6 2 2 2 2 2

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Piano: Option C (Ensemble Arts) MAJOR AREA Major Lesson Recital (chamber music / sonatas) Recital (chamber music / sonatas) Recital (chamber music / sonatas) Recital (chamber music / sonatas) Recital (chamber music / sonatas) Piano Seminar Recital (lecture-recital) Document

100 • 100 190 • 794 190 • 795 190 • 796 190 • 797 190 • 798 450 • 845 190 • 799 610 • 792

16 2 2 2 2 2 1 2 2 31 6 2 6 (2–10) 0 14 12 3 15 60

SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

xxx • xxx xxx • xxx

TOTAL

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DMA Curriculum—Performance Majors
Voice: Options A and B MAJOR AREA Major Lesson 100 • 100 Recital 190 • 794 Recital 190 • 795 Recital 190 • 796 Coaching 186 • 711-714 Curriculum Option (dissertation or lecture-recital) SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

16 2 2 2 4 8 34 6 2 6 (2–10) 0 14 13 3 16 64

xxx • xxx xxx • xxx

TOTAL

CURRICULUM OPTIONS — Option A Dissertation Graduate Research — Option B Recital (concerto) Recital (chamber-music) Recital (lecture-recital) Document

64 credits 610 • 791 610 • 756 64 credits 190 • 797 190 • 798 190 • 799 610 • 792

6 2 2 2 2 2

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Voice: Option C (Performance/Pedagogy) MAJOR AREA Major Lesson Recital Recital Recital Recital (lecture-recital) Coaching Performance Electives Document PEDAGOGY Vocal Pedagogy Vocal Pedagogy Lab

100 • 100 190 • 794 190 • 795 190 • 796 190 • 799 186 • 711-714 xxx • xxx 610 • 792

16 2 2 2 2 4 2 2 32 2 2 4 6 2 6 (2–10) 0 14 11 3 14 64

530 • 683 530 • 684

SUPPORTIVE COURSES IN MUSIC Musicology Colloquium 410 • 847-848 Graduate Research 610 • 755 Music Theory Seminars 710 • xxx Consultation [DIP] 610 • 813–814 Program Notes for All Recitals ELECTIVES Electives Humanities Elective

xxx • xxx xxx • xxx

TOTAL

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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 represented 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 Graduate Performance Diploma program should meet the following criteria: 1. A Performer’s Certificate, undergraduate degree in music, or equivalent from a recognized institution is a prerequisite for admission to the Graduate Performance 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

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 audition 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

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-

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 lessons. The progress of each student is monitored by the department at intervals not greater than two semesters. Advancement and assessment are accomplished by individual 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 education 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 complete role) during each semester of study is required. For percussion majors, a juried

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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

section of the catalog, or at www .peabody.jhu.edu/ensembleoffice.
Related Requirements

Graduate Performance Diploma candidates majoring in orchestral instruments 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 Performance Diploma candidates. The regulations for performing in large ensembles, which are set by the Ensemble Office, may be found in the Procedural Regulations

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 coursework 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 musicology, the student must take the appropriate placement examinations and satisfy any review requirements prior to enrolling in graduate-level courses.

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 Two Recitals ELECTIVES Electives TOTAL 100 • 100 190 • 695–696 16 4 20 8 28 100 • 100 190 • 695–696 910 • xxx 16 4 8 28 8 36

xxx • xxx

xxx • xxx

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Performance: Opera MAJOR AREA Major Lesson Opera Coaching Two Recitals (opera roles) Opera Ensemble* ELECTIVES Electives TOTAL *Opera Theatre, Chamber Opera, or Opera Workshop Performance: Early Music Instruments MAJOR AREA Major Lesson Two Recitals Large Ensemble Chamber Ensemble ELECTIVES Electives TOTAL

100 • 100 530 • 893–894 190 • 695–696 910 • xxx

16 4 4 4 28 8 36

xxx • xxx

100 • 100 190 • 695–696 910 • xxx 950 • 5xx

16 4 8 4 32 8 40

xxx • xxx

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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 performance. There is no Artist Diploma in composition. Applicants must submit the following with their application: 1. Standard evidence of formal training, e.g., certificates and/or diplomas, including transcripts certifying proficiency 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 performance ability. An individual may not apply for admission to the Artist Diploma program more than twice. Entrance to the Artist Diploma program 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 recommendation of the department, the performer(s) will be scheduled for a second audition before a panel of invited outside judges on the final day of February audition 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 considered 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 recitals. 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 determined by the student or as advised by the major teacher in consultation with members of the department and the dean. The program also includes counseling, coursework, and/or independent study projects in various aspects of career development, as directed by the dean, the major teacher, and/or the department.

Curriculum Components (AD)
MAJOR AREA Major Lesson Four Recitals ELECTIVES Electives TOTAL
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100 • 100 190 • 795–796-797-798

16 8 24 8 32

xxx • xxx

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

24 6 2 2 8 6 2 50 1 1 8 4 4 15 3 4 4 8 52 102

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Strings, Brass, Woodwinds, Harp, Percussion MAJOR AREA Major Lesson Departmental Examination Recital Large Ensemble Small Ensemble

100 • 100 xxx • 109–209–309 190 • 495 910 • xxx 950 • 531–532

24 2 2 12 6 46 1 1 8 8 15 3 1 8 45 91

SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Basic Conducting 330 • 311 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 TOTAL VARIATIONS: — for Flute: Piccolo Class Organ MAJOR AREA Major Lesson Departmental Seminar Departmental Examination Recital Large Ensemble [Chorus] Piano Minor Voice Minor 93 credits 530 • 463–464

2

100 • 100 460 • 545–546 xxx • 109–209–309 190 • 495 910 • xxx 010 • 100 010 • 100

24 6 2 2 12 2 2 50

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SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Skills/ Piano Majors I–II 530 • 211–212 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Sight Reading 530 • 111–112 Resources /Church Organist 530 • 425–426 Continuo I: Figured Bass 530 • 315 Organ Literature 530 • 423–424 Basic Conducting 330 • 311 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 TOTAL Piano MAJOR AREA Major Lesson 100 • 100 Departmental Examination xxx • 109–209–309 Recital 190 • 495 Large Ensemble [Chorus] 910 • xxx Small Ensemble 950 • 531–532 SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 Music Theory 1–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Sight Reading 530 • 111–112 Accompanying 530 • 213–214 Keyboard Literature I–IV 530 • 411–412–413–414 Piano Pedagogy 530 • 667 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 TOTAL

1 1 8 4 15 3 4 6 2 6 1 8 59 109

24 2 2 8 4 40 1 1 8 8 15 3 4 2 8 2 8 60 100

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Voice MAJOR AREA Major Lesson Vocal Coaching Departmental Examination Recital Large Ensemble Opera Performance Electives

100 • 10x 186 • 411–412 xxx • 109–209–309 190 • 495 910 • xxx 910 • 54x

24 2 2 2 8 3 41 1 1 8 8 15 3 4 4 4 5 1 1 4 8 67 6 6 12 120

SUPPORTIVE COURSES IN MUSIC Thursday Noon Recital Series 530 • 501–502 Thursday Noon Alternate Project 530 • 503–504 Ear-training I–II 710 • 123–124–223–224 Keyboard Studies I–II 710 • 155–156–255–256 Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 Music Theory 6 / Elective 710 • xxx Singing in English – English Song 530 • 475–476 Singing in Italian – Italian Song 530 • 469–470 Singing in German – German Lieder 530 • 477–481 Singing in French – French Mélodie 530 • 483–480 Acting for Opera 530 • 491 Stage Movement 530 • 391 Opera Literature 560 • 473–474 Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 GENERAL STUDIES Italian I German I

250 • 111-112 240 • 111-112

TOTAL

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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 program, 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 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 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 undergraduate or master’s degree in music, or the equivalent of a Peabody Performer’s Certificate, and who may fall into the following categories: 1. Has been working in the field for several years and is seeking to refresh his/ her knowledge or improve pedagogical or technical skills 2. Has a particular personal goal, and prefers 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 dismissal. 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 conduct is considered unsatisfactory. An undergraduate or graduate degree in music from a recognized institution, or the equivalent of the Performer’s Certificate, is required. A Graduate Extension student may make his/her own arrangements with an applied teacher before making formal application to the Conservatory. The audition (then or earlier) must be heard by the accepting teacher. A tape or CD will be acceptable, but the performing 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 placement examinations and satisfy any review requirement prior to enrolling in graduate-level courses. Lesson, performance, and coursework credits may count toward fulfillment 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.

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Conservatory Faculty
Chamber Music Small Ensembles Michael Kannen, Director Katherine Jacobson Seth Knopp Maria Lambros Violaine Melancon Mellasenah Y. Morris Jeffrey Sharkey Alison Wells Larry Williams Early Music Baroque cello, viola da gamba John Moran Baroque flute Colin St. Martin Baroque lute, theorbo Richard Stone Baroque oboe Stephen Bard Baroque violin Risa Browder Harpsichord Adam Pearl Recorder Gwyn Roberts Renaissance lute Mark Cudek, Director Composition Composition Oscar Bettison Michael Hersch, Chair Kevin Puts Graduate Conducting Gustav Meier, Coordinator Markand Thakar Guitar Manuel Barrueco Ray Chester Julian Gray, Chair Jazz Nasar Abadey Paul Bollenback Jay Clayton Michael Formanek Timothy Murphy Alexander Norris Gary Thomas, Chair Opera Carol Bartlett Garnett Bruce Roger Brunyate, Chair Eileen Cornett JoAnn Kulesza Orchestral Instruments and Organ Woodwinds Flute Marina Piccinini Emily Skala Laurie Sokoloff Piccolo Laurie Sokoloff Clarinet Steven Barta Anthony McGill Saxophone Gary Louie Oboe Jane Marvine Katherine Needleman Bassoon Phillip Kolker, Chair Trumpet Josef Burgstaller Edward Hoffman Horn Philip Munds Denise Tryon Trombone Randall Campora David Fetter James Olin, Coordinator Tuba David Fedderly Euphonium Steven Kellner Harp Ruth Inglefield, Coordinator Percussion, Timpani, and Marimba Robert Van Sice Organ Donald Sutherland, Coordinator John Walker Piano Ensemble Arts Eileen Cornett Ellen Mack, Coordinator Piano Leon Fleisher Brian Ganz Marian Hahn Seth Knopp Ellen Mack Yong Hi Moon Benjamin Pasternack Alexander Shtarkman Boris Slutsky, Chair Repertoire Studies Michael Habermann Sharon Levy Hyunsook Park Adam Pearl

Computer Music

McGregor Boyle, Chair Geoffrey Wright

Ensembles and Conducting Ensembles Hajime Teri Murai, Chair Harlan Parker Edward Polochick Gene Young

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Strings Violin Victor Danchenko Pamela Frank Herbert Greenberg Violaine Melancon Keng-Yuen Tseng, Chair Viola Victoria Chiang, Coordinator Richard Field Stephen Wyrczynski Violoncello David Hardy Amit Peled Alan Stepansky, Coordinator Alison Wells Double Bass Ira Gold Paul Johnson, Coordinator Jeffrey Weisner Voice Phyllis Bryn-Julson, Chair Marianna Busching Stanley Cornett Ah Hong Steven Rainbolt William Sharp John Shirley-Quirk Vocal Coaching and Repertoire Studies Vera Danchenko-Stern Wolfgang Justen Ernest Ligon Ernest Liotti Stacey Mastrian Robert Muckenfuss

Humanities Language Paul Oorts Patricia Palmer Karen Pevac Sebastian Vogt, Coordinator Liberal Arts Ron Levy, Chair Gary Popoli Hollis Robbins Sarah Snyder Musicology Suhnne Ahn Richard Giarusso John Gingerich David Hildebrand John Moran Jennifer Ottervik Elam Ray Sprenkle Andrew Talle Elizabeth Tolbert Piero Weiss Susan Weiss, Chair Music Theory Music Theory Vern Falby Mark Janello Ildar Khannanov Sharon Levy Paul Mathews Joel Puckett David Smooke Elam Ray Sprenkle Stephen Stone, Chair Kip Wile

Ear-training Clinton Adams, Coordinator Courtney Orlando Keyboard Studies Patricia Graham, Coordinator Ken Johansen Lura Johnson Shirley Yoo Professional Studies Business of Music Linda Goodwin Gary Louie Music Education Harlan Parker, Chair Laura Parker Audrey Cardany Recording Arts Michael MacDonald Scott Metcalfe, Chair Neil Thompson Shade Edward Tetreault Repertoire Studies Rebecca Henry Pedagogy Laura Parker, Coordinator

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

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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 completion 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 requirements. 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 information 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 student’s instrument with a goal of enhancing one’s use of air and efficiency to improve performances. 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 different 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

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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 century. 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 ensemble 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 guitar. (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

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310 • 545-546/845-846 Composition Seminar Informal sessions in which works of students and faculty are discussed in depth, guest lecturers 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, realtime computing, machine architecture, advanced C, MAX external objects, and Java. Prerequisites: 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. Participation 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 recording arts majors, but open to others with permission of the instructor. Prerequisites: 350 • 463-464 and 350 • 835 or equivalent. (3-3) Faculty

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350 • 545-546/845-846 Computer Music Seminar The seminar focuses on the work of student and faculty composers, performers, and researchers, 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. Substantial 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: Intermediate Conducting or permission of the instructor. (1,1) H. Parker

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330 • 845-846/847-848 Conducting Seminar A seminar in all aspects of conducting as a profession, from orchestra management to program 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 intermediate-level ensemble literature. A preparatory step to consort playing and the viol solo literature. 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 broken 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

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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 centuries. 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 ensembles 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 recitative, chamber ensembles, orchestral, including Italian, French, German. Offered on an asneeded 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 Renaissance 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 attention to historical context and performance practice. Includes history and development of the instruments themselves and consideration of how the recorder, flute, and oboe repertoires overlap, 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 provides 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 repertoire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Collegium 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 musical style. Also incorporates studies of popular styles: musical theater accompanying, synthesizer 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 repertoire, 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 repertoire, 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, publishing, 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 raising, 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 success. (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 setting. The second semester focuses on collaborative composition and facilitating active musicmaking, 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 alternate 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 undergraduate 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 students 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 adjustment, 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 performances of standard and contemporary repertoire (as per lesson material and/or recital preparation) 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 students are further expected to prepare a notebook of specialized teaching materials for beginners. (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 undergraduate 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 students 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 setting. 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 public 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 people 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 specifically 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 understanding 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 revolutionary 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 history—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 anthropologists 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 Gandhi, 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 narrative. We will discuss how characters change over the course of the text and how various contradictions 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, memory, 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 interview. 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 interview. 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 academic 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, speaking, 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, speaking, 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 improving 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: German 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, speaking, 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 beginnings 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, endings, 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 performance and analysis of various improvised solos by master musicians. In addition, development 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 history 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, composers, 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 lectures, 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 compositions are encouraged. Open to all Conservatory students by audition or permission of instructor. 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 performance experience. Its members are primarily graduate and upper-division undergraduate students. 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 lesserknown 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 performance 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 repertoire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Collegium 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 compositions are encouraged. Open to all Conservatory students by audition or permission of instructor. 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. Performance 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 encouraged 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 permission 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 audition. 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 acting 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 materials 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 procedures. (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 development. Observation and guided teaching in local schools included. (0,3) L. Parker

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510 • 313 Techniques for Teaching Secondary Instrumental Music This course includes principles of secondary education and activities of Conducting the Secondary 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 elementary, 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 physically 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

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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 demonstrations, 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) development 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 students 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

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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, drawing 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 instrumentation 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 combinations 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 dramaturgy, 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 performances, short presentations, and exercises in harmonization. (3,0) Khannanov

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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 mannerisms 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 practical implications for research and performance of various approaches to analytical interpretation 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 instrumentation 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

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710 • 413-414 Orchestration A course for composers and conductors studying instrumental technique and ensemble combinations 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 composition 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 significance 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 present. 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 implications 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-century 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, Messiah; 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 terminology 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 history. 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 academic advisor. (4) Faculty

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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 lecturerecital 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 (starting 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

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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, historians 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 examine 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 interdisciplinary 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 provides 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 transcription 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 concertos, and with emphasis on salient features, stylistic development, and historical context. (3,0) Levy

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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. Textbook: 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, expansive, 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 realizing 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. Composers 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 discussed will include the poetic backgrounds of the cycles, their narrative structures, poetically 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 contexts. (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” composition 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

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610 • 684 Transnationalism and Globalism in Music An examination of contemporary world music genres from an ethnomusicological perspective, 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 facility 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 students, 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 conductors. 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 programs 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 audition. 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 acting training required. (1,1 or 2,2 depending upon the size of the role) Brunyate/Faculty

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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, discussion 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 employment 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

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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 century 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

150

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 perform. Prerequisites for recording arts majors: Basic Recording I and II or the equivalent. Prerequisite 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 microphones, 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

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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. Measurement 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 amplification, 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), twodimensional 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

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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, reverberation, 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 conduit, 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 predictions 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 Recording 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

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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 constant 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 undergraduate (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 semester 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 diction 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

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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 performance 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 compositional 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 differences 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, Schönberg, 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

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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 original 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-semester 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 performance 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 pronunciation and, if possible, a fair knowledge of the language would be enormously helpful to participants 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 post1950’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 alternate 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

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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, coordination, 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 settings 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 outcomes 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 student’s instrument with a goal of enhancing one’s use of air and efficiency to improve performances. 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, familiarity, and comfort with the “little flute.” Emphasis on audition preparation and experience. Required material: Jack Wellbaum’s Orchestral Excerpts for Piccolo. (1,1) Sokoloff

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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 Education 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 performance 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 program. (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)

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

$ 35,600 $ 29,800 $ 15,820 $ 8,250 $ 8,250 $ 4,040 $ 6,900 $ 1,015 $ 510 $ 1,500 $ 555 $ 220

$ 100 $ 100 $ 50 $ 600 $ 700 $ 250 $ 175 $ 1,627 $ $ $ $ $ $ $ 100 100 20 50 50 50 5

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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 coursework 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) . . . . . . . . . . . . . . . . . . . . . $ Residence Hall security deposit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ Room and Board—Single occupancy/Board Plan I. . . . . . . . . . . . . . . . . . . . $ Room and Board—Double occupancy/Board Plan I . . . . . . . . . . . . . . . . . . . $ Room and Board—Triple occupancy/Board Plan I . . . . . . . . . . . . . . . . . . . . $ Room and Board—Single occupancy/Board Plan II . . . . . . . . . . . . . . . . . . . $ Room and Board—Double occupancy/Board Plan II . . . . . . . . . . . . . . . . . . $ Lost key (Residence Hall and mailbox) nonrefundable . . . . . . . . . . . . . . . . . $ Lock replacement (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 150 100 13,130 11,700 10,450 12,730 11,300 25 50 min

Note: There is a two-year residence hall requirement for full-time undergraduate students. Transfer students have a one-year residency requirement. Schedule of Payments, 2010–2011 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 website (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 Institute 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). Residence Hall 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.

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Tuition Refund Schedule for Withdrawals, 2010–2011 Withdrawal Date Fall Semester 2010 Before 09/01/10 09/02/10 – 09/11/10 09/12/10 – 09/26/10 09/27/10 – 10/22/10 After 10/22/10 Spring Semester 2011 Before 01/18/11 01/19/11 – 01/29/11 01/30/11 – 02/23/11 02/24/11 – 03/20/11 After 03/20/11 Refund 100% less $100 administrative cost 90% less $100 administrative cost 50% less $100 administrative cost 25% less $100 administrative cost No refund 100% less $100 administrative cost 90% less $100 administrative cost 50% less $100 administrative cost 25% less $100 administrative cost 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 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 application form. In general, parents are eligible if combined annual gross income is between $30,000 and $150,000. The interest currently 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. Graduation 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 financial 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 Peabody 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 Peabody Financial Aid Office website at www .peabody.jhu.edu/finaid.

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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 halftime. The interest rate is currently fixed at 4.5 percent for undergraduate student loans, and 6.8 percent for graduate student 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

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. Unsubsidized 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 unsubsidized 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 demonstrated 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 demonstrated 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

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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 prorated. • 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 Application 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 undergraduate students and four semesters for graduate students) of a student’s degree or certificate, depending on the progress of

the student as indicated by examination and grade-point average. The amount of Peabody Scholarship remains the same throughout a student’s program, provided 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 scholarship. 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 fulltime degree or diploma candidates. A graduate assistantship is awarded on the basis of previous academic record, placement 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

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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 portion of assistantship income is considered taxable unless it qualifies for special consideration 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

which the candidate is enrolled. The Conservatory reserves the right to restrict the activities of holders of assistantships. Students holding graduate assistantships 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 lesson and departmental examinations. Failure 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 fulltime 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 available 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 information may be obtained through the Office of Human Resources and Payroll Services (410-234-4559).

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

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

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The Johns Hopkins University
Trustees Pamela P. Flaherty Chair C. Michael Armstrong, ex officio Richard S. Frary Mark E. Rubenstein Vice Chairs Christopher C. Angell Jeffrey H. Aronson Janie E. Bailey Lenox D. Baker Jr. Alfred R. Berkeley III Abhiram R. Bhashyam Paula E. Boggs Michelle A. Brown George L. Bunting Jr. Francis B. Burch Jr. Charles I. Clarvit N. Anthony Coles Ronald J. Daniels, ex officio Sarah R. David Anthony W. Deering Ina R. Drew Harvey P. Eisen Maria T. Fazio Marjorie M. Fisher Louis J. Forster Sanford D. Greenberg Benjamin H. Griswold IV Taylor A. Hanex Lee Meyerhoff Hendler David C. Hodgson R. Christopher Hoehn-Saric Frank L. Hurley Stuart S. Janney III Jeong H. Kim Donald A. Kurz Christopher H. Lee Joanne Leedom-Ackerman Alexander H. Levi Kwok-Leung Li Roger C. Lipitz Diana C. Liu Christopher E Louie Howard C. Mandel Christina L. Mattin Terri McBride, ex officio Gail J. McGovern Westley W. O. Moore David P. Nolan Ronald M. Nordmann Walter D. Pinkard Jr. Joseph R. Reynolds Jr. Brian C. Rogers David M. Rubenstein Marshal L. Salant Robert A. Seder Donald J. Shepard Rajendra Singh Raymond W. Snow, ex officio Adena W. Testa Selwyn M. Vickers William F. Ward Jr. James L. Winter Shirley S. L. Yang Trustees Emeriti Robert J. Abernethy Leonard Abramson Peter G. Angelos Norman R. Augustine H. Furlong Baldwin Jeremiah A. Barondess Ernest A. Bates David H. Bernstein Aurelia G. Bolton Randolph W. Bromery Constance R. Caplan William P. Carey A. James Clark Victor J. Dankis Edward K. Dunn Manuel Dupkin James A. Flick Jr. Robert D. H. Harvey Rafael Hernandez-Colon David H. Koch F. Pierce Linaweaver Raymond A. Mason Harvey M. Meyerhoff Charles D. Miller Milton H. Miller Naneen Hunter Neubohn Ralph S. O’Connor Morris W. Offit George G. Radcliffe John F. Ruffle Arthur Sarnoff Frank Savage Wayne N. Schelle 166

Herschel L. Seder Huntington Sheldon R. Champlin Sheridan Jr. Wendell A. Smith

Helmut Sonnenfeldt Shale D. Stiller Morris Tanenbaum Calman J. Zamoiski Jr.

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

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Index
A Academic Advising Academic Code of Conduct Academic Regulations Academic Standing Accelerated Credit Accreditation Statement Administration The Johns Hopkins University The Peabody Institute Admission to Candidacy, DMA Admission Requirements Artist Diploma Bachelor of Music Degree Doctor of Musical Arts Degree Extension Study Graduate Performance Diploma Master of Arts in Audio Sciences Master of Music Degree Performer’s Certificate Advanced Standing Advisory Committees, DMA Application Deadlines Arthur Friedheim Library Artist Diploma Admission Requirements Diploma Requirements Assistantships Attendance and Absences Auditing B Bachelor of Music Admission Requirements Common Curriculum Components Curricula Degree Requirements Electives Foreign Language General Studies Recitals Supportive Courses in Music Brass Courses 39 39 40 45 39 43 43 42 40 41 121 13 21 21 25 22 12 167 165 101 113 39 97 118 110 95 75 114 22 98 4 10 113 113 113 163 27 27 C Calendars Academic Audition Summer Session Campus and Facilities Career Counseling and Placement Chamber Music Courses Change of Major Change of Studio Teacher Composition Courses Computer Music Studios Computer Music Courses Concert Dress Policy Concert Halls Conducting Courses Corrective Action Counseling Center Services Course Changes and Withdrawals Course Listings Brass Chamber Music Composition Computer Music Conducting Early Music Ear-Training Ensemble Arts General Studies Harp Humanities Keyboard Studies Languages Jazz Large Ensembles Music Education Musicology Music Theory Opera Organ Pedagogy Percussion Piano Recitals Recording Arts Strings Voice Woodwinds Credit Limits Cross Registration 2 4 4 9 11 121 28 13 122 10 123 14 10 124 24 11 27 121 121 121 122 123 124 125 143 127 128 129 130 143 132 133 135 137 144 139 148 149 149 149 149 158 151 154 154 157 26 30

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Curriculum Artist Diploma Bachelor of Music Composition Computer Music Early Music Performance Guitar Jazz Music Education Orchestral Instruments Organ Piano Recording Arts and Sciences Voice Doctor of Musical Arts Composition Conducting Guitar Orchestral Instruments Organ Performance/Pedagogy Piano Voice Graduate Performance Diploma Master of Arts in Audio Sciences Master of Music Conducting Composition Computer Music Guitar Early Music Performance Music Education Musicology Music Theory Pedagogy Orchestral Instruments Organ Performance/Pedagogy Piano Piano: Ensemble Arts Voice Performer’s Certificate D Dean’s List Criteria Degree-in-Progress Dining Hall Disability Resources Discrimination Policy Dismissal Dissertation Requirements Distinguished Visiting Faculty

113 53 54 46 45 52 55 48 49 50 65 51 102 102 104 104 106 109 106 108 111 95 78 88 89 79 84 91 92 94 79 80 87 80 82 83 114

Doctor of Musical Arts Degree Admission Requirements Curriculum Components Curricula Degree Requirements Entrance Examinations Lecture Recital Preliminary Oral Examination Recitals Double Degree Program Drug and Alcohol Policy E Early Music Courses Ear-Training Courses Employment Engineering Concentration English as a Second Language Bachelor of Music Degree Master of Music Degree Ensemble Arts Courses Ensemble Requirements Examinations Qualifying, DMA Preliminary Oral, DMA Extension Study F Faculty Listing Federal Aid Programs Fee Payment Schedule Financial Information Firearm Policy Five-Year BM/MM Program Five-Year BMRA/MA Program Full-Time Status G General Information General Studies Courses Grade Appeals Grade Changes Grading System and Regulations Graduate Assistantships Graduate Performance Diploma Admission Requirements Diploma Requirements Graduation Eligibility

97 97 99 102 97 97 101 101 99 31 36

125 143 164 73 43 75 127 13, 41, 76 97 97 118

119 161 160 159 36 74 74 26

27 98 10 11 34 25 101 120

9 128 24 24 23 163 110 110 110 27

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Graduation Rates Grants Guitar Courses H Harp Courses Health Insurance and Services History of Peabody Humanities Courses I Incomplete Grades Internet and Technology J Jazz Courses JHU Concentrations Juries K Keyboard Studies Courses L Language Courses Language Requirements Bachelor of Music Degree Doctor of Musical Arts Degree Master of Music Degree Large Ensembles Attendance and Grading Policy Courses Selection, Seating, and Parts Excuse Requests Leave of Absence Lecture–Recital, DMA Liberal Arts Concentration Liberal Arts Libraries Loan Programs M Master of Arts in Audio Sciences Master of Music Degree Admission Requirements Curricula

33 161 128

129 11 9 130

Degree Requirements Program Components Recitals Master’s Thesis Master’s Portfolio Medical Leave of Absence Music Education Certification Program Music Education Courses Music Theory Courses Musicology Colloquium Musicology Courses O Opera Courses Oral Defense of Dissertation Organ Courses Outside Instruction and Performances P Peabody National Advisory Council Pedagogy Pedagogy Courses Percussion Courses Performance Venues Performer’s Certificate Photography and Film Rights Piano Courses Portfolio of Compositions Previously Earned Peabody Credits Procedural Information R Readmission Recitals Artist Diploma Bachelor of Music Degree Deferred Recitals Doctor of Musical Arts Degree Graduate Performance Diploma Master of Music Degree Non-Degree Recitals Programs Receptions Recordings Recording Arts Courses Recording Studios Repeated Courses Residence Hall

76 76 76 92 89 28 55 64 137 139 100 144

23 12

133 73 40

148 101 149 20

143

132 43 101 83 13 14 135 14 15 28 101 73 42 10 161

165 87 149 149 10 114 37 149 100 23 13

95 75 75 78

30 17 113 40 19 99 110 76 20 19 19 19 151 10 43 9

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Residency Requirements Artist Diploma Bachelor of Music Degree Doctor of Musical Arts Degree Graduate Performance Diploma Master of Music Degree Review Courses ROTC S Satisfactory Academic Progress Security Shuttle Bus Service String Courses Student Data 2009-2010 Student Rights and Responsibilities Studio Assignments Study Abroad Program T Transcripts Transfer Credits Trustees, JHU Thursday Noon Recital Series Tuition and Fees

113 39 97 110 76 76 33

U University Policies V Violence Policy Voice Courses W 36 154 30

25 12 12 154 32 30 13 31

Withdrawals Course Degree Program Refund Schedule Woodwind Courses

27 30 161 157

30 22 166 41 159

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